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Such straightforwardness is so unusual and striking that the readers who are not immediately won over by it may be at least disarmed by whatever prejudices they might have at first.The readers’ benevolence is further conquered by the additional disclaimers that follow: “This is not Dante, but an approximation [...]”; “Every translation begins and ends with failure” (vii); and finally, at the conclusion of the “Note”: “It is our hope that the reader will find this translation a helpful image to the untranslatable magnificence of Dante’s poem” (ix).As far as the Comedy is concerned, counting only what I have in my personal library, I can list the following: 1993, Dante’s Inferno: Translations by Twenty Contemporary Poets (Hopewell, NJ: Ecco Press), with notes (169-99) but no Italian text; 1994, The Inferno of Dante, A Verse Translation by Robert Pinsky, illustrated by Michael Mazur, with Notes by Nicole Pinsky (377-427), foreword by John Freccero (xi-xix; New York: Farrar, Straus and Giroux), with facing Italian text; 1996, The Divine Comedy of Dante Alighieri, vol. Durling (a massive volume of 654 pages); 2000, Purgatorio, a new verse translation by W. Merwin (New York: Knopf), with facing Italian text and notes (333-59).1, Inferno (New York: Oxford UP), edited and translated by Robert M. Finally, at the conclusion of the Annali d’italianistica 20 (2002) 461 second millennium of the Christian era, there appears Robert and Jean Hollander’s new translation of Dante’s Inferno, with an introduction, facing Italian text, and notes.That the two translators view their translation as poetry, in fact, is reiterated shortly below in the same introduction (“a new verse translation” vii); the same epithet (“A verse translation”) also appears on the volume’s dust jacket, although it does not appear as part of the book’s title.Further comments in the “Note” emphasize the introductory statement concerning the book’s honesty.In brief, the translation is viewed as a means to approach Dante himself in the Italian text, available to the reader next to the English version.
È il lavoro più delicato dell’ecdotica sul quale poi si Annali d’italianistica 20 (2002) 460 Annali d’italianistica 20 (2002) costruisce l’edizione.De Robertis non costruisce alcuno stemma, essendo impossibile mettere sullo stesso piano tradizioni unitarie così diverse come quella della Vita nova e del Convivio rispetto a quello delle Rime; ciò non significa che l’edizione di ogni componimento non sia “critica”. Intanto l’ordine dei componimenti è quello discusso nel cap.VII dell’Introduzione, ed è diverso da quello proposto da altri editori.Paolo Cherchi, University of Chicago Dante and His Translators: Dante Alighieri, Inferno, translated by Robert Hollander and Jean Hollander; introduction and notes by Robert Hollander, New York: Doubleday, 2000, pp. Not one single year goes by, or so it seems, without the publication of a new English translation of one of Dante’s works.
Let us just make very brief references to some of the translations of the so-called minor works of Dante: Dante’s lyrics poems (Joseph Tusiani, Brooklyn: LEGAS, 1992; 2000); the translation of Dante’s Vita nuova with facing Italian text (Notre Dame: U of Notre Dame P, 1995); the two translations of Monarchia (Prue Shaw, Cambridge: Cambridge UP, 1995; Richard Kay, Toronto: Pontifical Institute of Mediaeval Studies, 1998); and the Fiore (Christopher Kleinhenz and Santa Casciani, Notre Dame: U of Notre Dame P, 2000).
Il tempo dirà, ma per il momento si ha l’impressione d’avere sul tavolo di lavoro un’opera di importanza epocale per gli studi danteschi.