I first read The Divine Comedy by Dante Alighieri (1265-1321) in 1977. I read the translation by American poet and translator John Ciardi (I still have the book), who had undertaken the work from 1954 to 1970. He used Dante’s terza rimaform, an arrangement of tercets or three-line stanzas that use an interlocking rhyming scheme. Ciardi’s translation is considered defective today (who knew?), but it’s still widely read.
The Divine Comedy has been translated into English alone scores of times since 1782. Some translators attempt the tera rima form; others choose blank verse, prose, quatrains, six-line stanzas, irregular rhyme, and just about every other imaginable form. The first complete American translation, one still read today, was by none other than Henry Wadsworth Longfellow in 1867, who is credited with a kind of American renaissance of Dante that continues today. (Longfellow employed blank tercets, if you want to know.) In fact, more translations of The Divine Comedy exist in English than in any other language.
To continue reading, please see my post today at Tweetspeak Poetry.
Some Tuesday Readings
Behind Each Number, One Beloved Face – poem by Malcom Guite.
“Of Elizabeth Bishop” and “Tribute to Roethke” – poems by Julian Woodruff at Society of Classical Poets.
“One Art,” poem by Elizabeth Bishop – Andrew Roycroft at New Grub Street.
“The Man with the Hoe,” poem by Edwin Markham – Joseph Bottum at Poems Ancient and Modern.