Divine Comedy, Longfellow's Translation, Complete — Edition Insights
Edition facts
The catalog record for Divine Comedy, Longfellow's Translation, Complete — Edition Insights provides practical reading context through 117,958 words, 8 hr 33 min estimated reading time, and 102 detected text sections.
The text analysis averages about 29.6 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Epic poetry, Italian -- Translations into English,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
So bitter is it, death is little more; But of the good to treat, which there I found, Speak will I of the other things I saw there.
I cannot well repeat how there I entered, So full was I of slumber at the moment In which I had abandoned the true way.
But after I had reached a mountain’s foot, At that point where the valley terminated, Which had with consternation pierced my heart,
Upward I looked, and I beheld its shoulders, Vested already with that planet’s rays Which leadeth others right by every road.
Then was the fear a little quieted That in my heart’s lake had endured throughout The night, which I had passed so piteously.
And even as he, who, with distressful breath, Forth issued from the sea upon the shore, Turns to the water perilous and gazes;
So did my soul, that still was fleeing onward, Turn itself back to re-behold the pass Which never yet a living person left.
After my weary body I had rested, The way resumed I on the desert slope, So that the firm foot ever was the lower.
And lo! almost where the ascent began, A panther light and swift exceedingly, Which with a spotted skin was covered o’er!
And never moved she from before my face, Nay, rather did impede so much my way, That many times I to return had turned.
The time was the beginning of the morning, And up the sun was mounting with those stars That with him were, what time the Love Divine
At first in motion set those beauteous things; So were to me occasion of good hope, The variegated skin of that wild beast,
The hour of time, and the delicious season; But not so much, that did not give me fear A lion’s aspect which appeared to me.
He seemed as if against me he were coming With head uplifted, and with ravenous hunger, So that it seemed the air was afraid of him;
And a she-wolf, that with all hungerings Seemed to be laden in her meagreness, And many folk has caused to live forlorn!
She brought upon me so much heaviness, With the affright that from her aspect came, That I the hope relinquished of the height.
And as he is who willingly acquires, And the time comes that causes him to lose, Who weeps in all his thoughts and is despondent,
E’en such made me that beast withouten peace, Which, coming on against me by degrees Thrust me back thither where the sun is silent.
While I was rushing downward to the lowland, Before mine eyes did one present himself, Who seemed from long-continued silence hoarse.
When I beheld him in the desert vast, “Have pity on me,” unto him I cried, “Whiche’er thou art, or shade or real man!”
He answered me: “Not man; man once I was, And both my parents were of Lombardy, And Mantuans by country both of them.
‘Sub Julio’ was I born, though it was late, And lived at Rome under the good Augustus, During the time of false and lying gods.
A poet was I, and I sang that just Son of Anchises, who came forth from Troy, After that Ilion the superb was burned.
But thou, why goest thou back to such annoyance? Why climb’st thou not the Mount Delectable, Which is the source and cause of every joy?”
“Now, art thou that Virgilius and that fountain Which spreads abroad so wide a river of speech?” I made response to him with bashful forehead.
“O, of the other poets honour and light, Avail me the long study and great love That have impelled me to explore thy volume!
Thou art my master, and my author thou, Thou art alone the one from whom I took The beautiful style that has done honour to me.
Behold the beast, for which I have turned back; Do thou protect me from her, famous Sage, For she doth make my veins and pulses tremble.”
“Thee it behoves to take another road,” Responded he, when he beheld me weeping, “If from this savage place thou wouldst escape;
Because this beast, at which thou criest out, Suffers not any one to pass her way, But so doth harass him, that she destroys him;
And has a nature so malign and ruthless, That never doth she glut her greedy will, And after food is hungrier than before.
Many the animals with whom she weds, And more they shall be still, until the Greyhound Comes, who shall make her perish in her pain.
He shall not feed on either earth or pelf, But upon wisdom, and on love and virtue; ’Twixt Feltro and Feltro shall his nation be;
Longfellow's translation of the Divine Comedy presents Dante's journey in blank verse, preserving the original's terza rima structure through a flexible iambic pentameter. The text is divided into 102 sections, each prefaced by a catalog-style summary that lists episodes and characters—for instance, Canto V is headlined "The Second Circle: The Wanton. Minos. The Infernal Hurricane. Francesca da Rimini." These summaries function as a structural map, guiding readers through the poem's dense geography of sin and redemption. The translation itself balances fidelity to Dante's Italian with a nineteenth-century poetic idiom, evident in lines like "Thy words, and my sequacious intellect, / I answered him, have love revealed to me."
Catalog Summaries as Structural Guides
The canto summaries, printed as headings before each section, offer a concise inventory of characters and punishments. For example, Canto VII lists "The Fourth Circle: The Avaricious and the Prodigal. Plutus. Fortune and her Wheel. The Fifth Circle: The Irascible and the Sullen. Styx." These summaries do not interpret the poem but rather serve as a table of contents for the journey, allowing readers to locate specific episodes quickly. The pattern is consistent throughout: each canto's heading names the circle or terrace, the sin punished, and the notable figures encountered. This editorial feature, likely added by Longfellow or the publisher, transforms the poem into a reference work as much as a narrative. It also highlights the systematic architecture of Dante's afterlife, where each sin occupies a precise location and is embodied by a historical or mythological exemplar.
Philosophical Dialogue on Love and Will
In the excerpt from Purgatory, a lengthy exchange between Dante and a shade (identified as the Abbot of San Zeno) explores the nature of love and free will. The shade argues that love is an innate impulse, like "instinct in the bee / To make its honey," and therefore not inherently meritorious or blameworthy. Merit arises from the "power that counsels"—the faculty of reason that can restrain or direct love. This passage, with its scholastic vocabulary ("substantial form," "sequacious intellect"), grounds the poem's moral system in Aristotelian ethics, as the shade notes: "Those who, in reasoning, to the bottom went, / Were of this innate liberty aware, / Therefore bequeathed they Ethics to the world." The dialogue is interrupted by a crowd of souls running past, crying out examples of haste in well-doing, such as "Mary in haste unto the mountain ran" and "Caesar, that he might subdue Ilerda, / Thrust at Marseilles, and then ran into Spain." This juxtaposition of abstract reasoning with concrete exempla is a recurring structural pattern.
The Shade of San Zeno and Historical Specificity
One of the running souls identifies himself as the Abbot of San Zeno in Verona, serving under Emperor Frederick Barbarossa. He laments that a future abbot—"his son, in his whole body sick, / And worse in mind, and who was evil-born"—will be appointed through nepotism, causing the monastery to suffer. This reference to a specific historical figure (Barbarossa) and a local ecclesiastical scandal grounds the allegorical journey in contemporary Italian politics. The shade's speech is truncated by his haste: "If more he said, or silent was, I know not, / He had already passed so far beyond us." This narrative technique—interrupting a character's speech to emphasize the urgency of purgatorial purification—creates a sense of motion and incompleteness. The reader, like Dante, must piece together meaning from fragmentary encounters, a pattern that recurs throughout the poem.
Longfellow's translation rewards attention to both its poetic texture and its structural apparatus. The canto summaries offer a ready reference for the poem's geography, while the philosophical passages demand careful rereading. Readers may find it useful to compare the summaries with the verse itself, noting how the catalog's dry list of sins and sinners is transformed into vivid dramatic encounters. The translation's blank verse, though occasionally archaic, conveys the intellectual rigor of Dante's original without sacrificing narrative momentum.
Sometimes a poem stays with you less for its scenes and more for its quiet questions—like how Dante’s climb made me think of my own stubborn steps. Reading Ireton, a Poem felt like that again, a soft echo of choosing and being chosen by our own convictions. Ireton, a Poem — Themes and Context lingers in that same patient way.
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