Inferno Metaphor. The Revised Interlinear Edition and 5 novi canti by Anthony Christiano.

Aus der Bibliothek von Prof. Wolfgang Haase, langj�igem Herausgeber der ANRW und des International Journal of the Classical Tradition (IJCT) / From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - sehr guter Zustand / very good condition - As long as the English translators have measured themselves against Dante�s Commedia. the endeavour of a linguistic transposition was accompanied by reverential fear toward the terzina, thus, developing the idea of the total irreproducibility of Dante�s syntactical order, and consequently renouncing to attempt a literal English version of the poem. Even in this case, Anthony Cristiano subverts preconceived and �immutable� schemes, undertaking a literal version. If with interlation are opened new semantic and intertextu-al fields and relations, with interlinearity the semantic space is reduced, original text and translation are intimately connected, the one being tied to the other. The pedagogical efficacy of this operation is indisputable: the student, or fledgling Dante enthusiast, can follow slavishly and directly the vortex of Dante�s verse, remaining in close contact with the original, rather than being confined to a �separate and independent� translation, removed from its source. Even the reader who may be totally oblivious or somewhat oblivious to the Italian language can come in contact with the burning magma of Dante�s word. Cristiano chooses to tackle a path, which is not easy, without seeking refuge behind the easy pretext that it is impossible to attempt a rendition of the Dantean dictum, or behind the easy solution of a syntactical and grammatical distortion of the terzine. it is easy for me to recognize how much this interlinear translation has to offer to the analysis of the Dantean sentence and to the detection of the various grammatical and syntactical components of the same. The �body of the language� (to cite the words of an eminent humanist, Pietro Bembo, who, however, was not a big admirer of the Florentine poet) is recognizable here in all of its parts, and the English reader can finally draw close and �touch it with hands.�