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posted on September 7, 2020 by

Gathered at the Edge of Light Exhibition – Michael Mazur

“Albert Merola Gallery at 424 Commercial St. [Provincetown, Mass.] is happy to present its first exhibition of 2020 from June 12 to July 1 — paintings by Michael Mazur. The exhibition’s title, Gathered at the Edge of Light, comes from a passage early on in Dante’s Inferno. It is appropriate in many ways, not least of which is that Mazur deeply studied Dante’s masterwork, and had a deep love of all things Italian. One of his major accomplishments was the epic illustration of the Inferno. He made drawings, monoprints, and a complete suite of etchings, illustrating the story of Dante and Virgil’s journey through Hell. This accompanied the translation done by Robert Pinsky, a United States Poet Laureate and dear friend of Michael and Gail Mazur.”    —Wicked Local, June 10, 2020

See our previous post on Mazur’s work here.

Filed Under: Visual Art & Architecture Tagged With: , , , , , , , , , ,
posted on May 15, 2020 by

“Celebrate Dante and Help Fight the Coronavirus”

 

“Canadian sculptor Timothy Schmalz has a heart for God. It’s evident in his works, such as ‘Homeless Jesus,’ his popular portrayal of Jesus sleeping on a park bench, and more recently, ‘Angels Unawares,’ Schmalz’ three-ton sculpture based on Hebrews 13:2. That latter sculpture, which depicts a boat carrying 140 migrants and refugees from periods of stress throughout recorded history, was unveiled by Pope Francis in St. Peter’s Square in September 2019.

“In Italy, March 25 [2020] was the first official ‘Dante Day’ — a day dedicated by the Italian government to celebrate the accomplishments of the Florentine poet who penned the long narrative poem titled The Divine Comedy. On that day, Schmalz introduced a new set of sculptures through an online book which will include a series of 100 sculptures, representing all 100 cantos in the Divine Comedy. Modern readers have found the existing translations of the Divine Comedy from the original Italian, including one translation by Henry Wadsworth Longfellow, somewhat cumbersome — so Schmalz is partnering with translator Daniel Fitzpatrick, who is working to produce an easy-to-read version that will appeal to a wide audience.

[. . .]

“Schmalz had originally intended for the book’s initial release to be in hardcover March 25, 2021, when the nation of Italy will celebrate the 700th anniversary of Dante’s death. That plan changed, however, when Schmalz became aware of the scope of the tragedy emerging in Italy due to the novel coronavirus. ‘As I was coming to my studio early last Friday,’ Schmalz told the Register, ‘I was listening to the news about the horrors and the tragedy that’s happening in Italy. I thought, “Isn’t it ironic? Here I am, creating this greatest hero of Italy, while Italy is going through such a horrible situation!” Then I put the two things together: I could use the book to help Italy!’

“Daniel Fitzpatrick, the translator, agreed, and plans were made to release the book of poetry and art in a series format, and to donate all proceeds from sales of the e-book to help the hospitals of Italy better care for their critically ill patients. For a donation of just $5, readers can sign up to receive two cantos each week — one on Wednesday and the second on Sunday — beginning with Dante’s first vision of the Inferno, and culminating in the Paradiso, in time for Italy’s 700th anniversary celebration.”    –Kathy Schiffer, National Catholic Register, March 30, 2020

See our original post about Timothy Schmalz here.

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posted on March 25, 2020 by

“Dante’s Vita Nova“

“Frisardi has chosen to present his Vita Nuova as Dante’s readers encountered it—as a single book in a single language. In 1861, Dante Gabriel Rossetti made the same monolingual choice, but subsequent translations have usually been bilingual ones (or ones that gave the prose in English but the poems in both Italian and English). Frisardi wishes to offer us the Vita Nuova (which he calls, borrowing Dante’s introductory Latin, Vita Nova) in “contemporary American English”: we sink or swim in an American text. (An appendix reproduces the poems in their original Italian, with literal prose translations.) The monolingual page is the outcome of an understandable decision: few American readers would be much helped by a facing page in thirteenth-century Italian. And, after all, most foreign authors are offered to us in “straight English”—Herodotus, Cervantes, Pascal.

[. . .]

Poems such as those in the Vita Nuova (whatever the continuing efforts to translate their sentiments) entirely lose their function as poems when their constituting sound-chains, their word-notes, are made to disappear. The Vita Nuova has left many rhetorical and thematic legacies to Western poetry—the disturbances and vacillations of possessive love, the eye as the erotic organ par excellence,the refinement of the mixed genre of prose and poetry, the symmetry of the arrangement of the poetic sequence, the drama of direct address to a beloved, the power of simplicity in language in poems of complex interiority—and for all these bequests the Vita Nuova will continue to be remembered and debated. In their original Italian, the poems will be memorized, pondered, and loved. Andrew Frisardi—through his translation, introduction, and generous annotation—enables us to revisit this decisive step in the invention of the Western psyche, and reminds us, by the very difficulties of his attempt at rendering Dante’s verse in English rhyme, of the existence of one peculiar but fundamental species of poetry—ear-fixated, insistent, repetitive, hypnotic—that is resistant even to paraphrase, and, in the end, fatally insusceptible to translation.”    –Helen Vendler, The New Republic, October 5, 2012

Check out Andrew Frisardi’s translation, Vita Nova, on Amazon.

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posted on March 7, 2020 by

“Dante Rides Again” at Potsdam Museum

An interactive reading of Walter Noble’s translation of the Divine Comedy in Potsdam, New York, taking place on November 10, 2019.

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posted on February 24, 2020 by

“Bang’s Purgatorio“

“Heading over waters getting better all the time
My mind’s little skiff now lifts its sails,
Letting go the oh-so-bitter sea behind it.

The next realm, the second I’ll sing,
Is here where the human spirit get purified
And made fir for the stairway to heaven.

Here’s where the kiss of life restores the reign
Of poetry—O true-blue Muses, I’m yours—
And where Calliope jumps up just long enough

To sing backup with the same bold notes
That knocked the poor magpie girls into knowing
Their audacity would never be pardoned.”    –Excerpt from Mary Jo Bang’s translation of Purgatorio, The New Yorker, December 23, 2019

Illustration by Berke Yazicioglu.
See more about Mary Jo Bang’s translation of Purgatorio here.
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posted on January 30, 2020 by

“Mary Jo Bang Discusses Purgatorio“

“Well. And I think that the other aspect of the note is my trying to rationalize my own translation decisions. So, for instance, in in one of the cantos, in one of the early cantos in Purgatorio, Dante and Virgil encounter Belacqua, who is lounging in a shadow and being very sarcastic about Dante’s hurry to get up to the top of Mount Purgatory. He says, Fine, Mr. Lightning Bolt, you go right on up to the top. And at that point, Dante realizes who he is. And commentators link this to a bookseller that Dante used to know who would sit around all day. And Dante was always teasing him about his laziness. And so he’s using him as an example. But this. You go right on up, Mr. Lightning Bolt.”    –Mary Jo Bang, in an interview with Kevin Young for The New Yorker, December 23, 2019

See excerpts from Mary Jo Bang’s translation of Purgatorio here.

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posted on January 12, 2020 by

Dante’s Inferno – A Modern Rendition

“With your kindest indulgence, Dear Reader, I wish to interpret the work
of the Poet, embracing his views and perceptions. At times if through quirk
or ineptness the rendering fails to achieve any part of this task,

you’ll excuse my attempt to extrapolate, gently, respectfully, filled
with appropriate zeal, a degree of contemporization instilled
in the quest for connections with centuries past. This is all that I ask.

[. . .]

This poetic interpretation of Dante’s Inferno seeks to maintain much of the original intent of the work while updating it with carefully veiled references to current-day political and economic issues. It is written in classical poetic form, with strict anapestic hexameter meter and an ‘aabccb‘ rhyming scheme. Accent marks have been added to the first appearance of many mythical names to assist the reader with pronunciation.”    –Paul, DanteInferno.org

 

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posted on December 13, 2019 by

Að þýða Dante

“Á haustdögum kom út þýðing Einars Thoroddsen á Víti eftir ítalska skáldið Dante Alighieri. Bræðurnir Einar og Jón Thoroddsen ræða um glímuna við að staðfæra Gleðileik Dantes yfir í íslenska ljóðahefð. Verða lesnir kaflar úr Víti og þýðingar úr ýmsum tungumálum bornar saman við frumtexta. Einnig mun Sólveig Thoroddsen leika á ítalska barokkhörpu.

Þýðingin á Víti Dantes er ein sex bóka sem tilnefndar eru til Íslensku þýðingarverðlaunanna sem veitt verða í febrúar næstkomandi. Dómnefndin segir um þýðingu Einars Thoroddsen á Víti Dantes, í ritstjórn Jóns Thoroddsen: ‘Gleðileikurinn guðdómlegi eftir Dante Alighieri er eitt áhrifamesta bókmenntaverk allra tíma. Fyrsti hluti þessa sjöhundruð ára gamla söguljóðs, Víti, birtist nú í fyrsta skipti í heild sinni í bundnu máli á íslensku. Áralöng glíma þýðandans, Einars Thoroddsen, við ítalska rímformið, tersínuháttinn, sem hann setur sér að vinna eftir, er virðingarverð og reynir verulega á þanþol tungumálsins. Þótt þýðandinn beri ætíð virðingu fyrir upprunaverkinu verður þýðingin á köflum gáskafull og fjörug með óvæntum og oft grínaktugum tilvísunum í íslenskan sagnaarf og þjóðsögur.'”    —Stofnun Vigdísar Finnbogadóttur í Erlendum Tungumálum, January 29, 2019

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posted on August 6, 2019 by

Reviewed: Dante’s Divine Comedy by Ian Thomson

“Ian Thomson’s eclectic and erudite romp through the work of Dante Alighieri – born in Florence in 1265, died in Ravenna in 1321 – features sharp observations and piquant elucidations concerning Divina Commedia (The Divine Comedy) and its author.

“Thomson sets the tone from the off, beginning with an amusing epigraph which ran in Private Eye in December 2017, a `Very Late News’ about how the 14th century Italian poet Dante Alighieri and how he would be glad to see the back of that year, saying  ‘Phew, I’ve been trapped in this circle of hell for so long, I can’t wait to get out of it.’

“As for the matter in hand, this welcome book – whose subtitle is A Journey Without End  – is no skit, despite the Private Eye reference. Dorothy L Sayers offers a more relevant reflection on the work of the great Florentine in another epigraph to the work. ‘To understand Dante is not, of course, necessary to believe what he believed, but it is, I think, necessary to understand what he believed.’

“There have been myriad translations in English of Divina Commedia including a recent offering from Clive James, which appears to have won some and lost some fans – a quote from Ciaran Carson’s version is favoured instead for the back cover.” […]    –Paddy Kehoe, RTE, January 14, 2019

For more, consult the reviews of Thomson’s work in The Guardian, The Spectator, and Church Times.

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posted on July 25, 2019 by

Extracts from Alasdair Gray’s New Translation of Dante

“DANTE writes that at the age of 35, exactly half way through the 70 years the Bible tells us is the span of human life, he found himself lost in a dark wood, and that his way out was barred by three fierce animals – a leopard, a lion and a wolf. The wood is a symbol for the state of sin in which Dante believed himself to have fallen, and the animals may be specific sins – lust, arrogance and avarice, although the meanings are disputed.

“As Dante flounders about, he is approached by a shadow who turns out to be Virgil, the great poet of ancient Rome, who tells him he has been dispatched by saints in heaven to aid him. Virgil will be Dante’s ‘Guide, Lord and Master,’ as Alasdair Gray puts it. The only passable route will take him through Hell, Purgatory and Heaven, where he will end up before the throne of God.” […]    –Alasdair Gray and Joseph Farrell, The National, October 7, 2018

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