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Dante: The Essential Commedia
Prue Shaw’s absorbing, highly accessible introduction to the Commedia promises to be the essential edition for years to come.
Dante’s epic story of one man’s journey from darkness to the revelation of divine light is one of the greatest works of Western literature. Because of its length and its language, it is viewed as forbidding. College courses often cherry-pick from the Inferno and barely glance at Purgatorio and Paradiso. In The Essential Commedia, Prue Shaw, a renowned Dante scholar, fillets the epic to create an absorbing tour of all three realms of the afterlife. Extensive passages of the work’s greatest poetry, astutely excerpted, are offered in translation alongside the original, making it easy to read Dante in English, Italian, or both. The translation into modern, idiomatic English avoids archaisms, padding, and syntactic contortions. With no loss of rigor, a complex text is rendered accessible by a teacher whose decades of experience enable her to highlight those aspects of the poem—the drama, the poetry, the intellectual excitement—any reader will appreciate.
Dante’s epic story of one man’s journey from darkness to the revelation of divine light is one of the greatest works of Western literature. Because of its length and its language, it is viewed as forbidding. College courses often cherry-pick from the Inferno and barely glance at Purgatorio and Paradiso. In The Essential Commedia, Prue Shaw, a renowned Dante scholar, fillets the epic to create an absorbing tour of all three realms of the afterlife. Extensive passages of the work’s greatest poetry, astutely excerpted, are offered in translation alongside the original, making it easy to read Dante in English, Italian, or both. The translation into modern, idiomatic English avoids archaisms, padding, and syntactic contortions. With no loss of rigor, a complex text is rendered accessible by a teacher whose decades of experience enable her to highlight those aspects of the poem—the drama, the poetry, the intellectual excitement—any reader will appreciate.
- GenresPoetryLiteratureClassics
544 pages, Hardcover
Published September 30, 2025
29 people are currently reading
171 people want to read
About the author
Dante Alighieri
4,467 books6,222 followersDante Alighieri, or simply Dante (May 14/June 13 1265 – September 13/14, 1321), is one of the greatest poets in the Italian language; with the story-teller, Boccaccio, and the poet, Petrarch, he forms the classic trio of Italian authors. Dante Alighieri was born in the city-state Florence in 1265. He first saw the woman, or rather the child, who was to become the poetic love of his life when he was almost nine years old and she was some months younger. In fact, Beatrice married another man, Simone di' Bardi, and died when Dante was 25, so their relationship existed almost entirely in Dante's imagination, but she nonetheless plays an extremely important role in his poetry. Dante attributed all the heavenly virtues to her soul and imagined, in his masterpiece The Divine Comedy, that she was his guardian angel who alternately berated and encouraged him on his search for salvation.
Politics as well as love deeply influenced Dante's literary and emotional life. Renaissance Florence was a thriving, but not a peaceful city: different opposing factions continually struggled for dominance there. The Guelfs and the Ghibellines were the two major factions, and in fact that division was important in all of Italy and other countries as well. The Pope and the Holy Roman Emperor were political rivals for much of this time period, and in general the Guelfs were in favor of the Pope, while the Ghibellines supported Imperial power. By 1289 in the battle of Campaldino the Ghibellines largely disappeared from Florence. Peace, however, did not insue. Instead, the Guelf party divided between the Whites and the Blacks (Dante was a White Guelf). The Whites were more opposed to Papal power than the Blacks, and tended to favor the emperor, so in fact the preoccupations of the White Guelfs were much like those of the defeated Ghibellines. In this divisive atmosphere Dante rose to a position of leadership. in 1302, while he was in Rome on a diplomatic mission to the Pope, the Blacks in Florence seized power with the help of the French (and pro-Pope) Charles of Valois. The Blacks exiled Dante, confiscating his goods and condemning him to be burned if he should return to Florence.
Dante never returned to Florence. He wandered from city to city, depending on noble patrons there. Between 1302 and 1304 some attempts were made by the exiled Whites to retrieve their position in Florence, but none of these succeeded and Dante contented himself with hoping for the appearance of a new powerful Holy Roman Emperor who would unite the country and banish strife. Henry VII was elected Emperor in 1308, and indeed laid seige to Florence in 1312, but was defeated, and he died a year later, destroying Dante's hopes. Dante passed from court to court, writing passionate political and moral epistles and finishing his Divine Comedy, which contains the Inferno, Purgatorio, and Paradiso. He finally died in Ravenna in 1321.
Politics as well as love deeply influenced Dante's literary and emotional life. Renaissance Florence was a thriving, but not a peaceful city: different opposing factions continually struggled for dominance there. The Guelfs and the Ghibellines were the two major factions, and in fact that division was important in all of Italy and other countries as well. The Pope and the Holy Roman Emperor were political rivals for much of this time period, and in general the Guelfs were in favor of the Pope, while the Ghibellines supported Imperial power. By 1289 in the battle of Campaldino the Ghibellines largely disappeared from Florence. Peace, however, did not insue. Instead, the Guelf party divided between the Whites and the Blacks (Dante was a White Guelf). The Whites were more opposed to Papal power than the Blacks, and tended to favor the emperor, so in fact the preoccupations of the White Guelfs were much like those of the defeated Ghibellines. In this divisive atmosphere Dante rose to a position of leadership. in 1302, while he was in Rome on a diplomatic mission to the Pope, the Blacks in Florence seized power with the help of the French (and pro-Pope) Charles of Valois. The Blacks exiled Dante, confiscating his goods and condemning him to be burned if he should return to Florence.
Dante never returned to Florence. He wandered from city to city, depending on noble patrons there. Between 1302 and 1304 some attempts were made by the exiled Whites to retrieve their position in Florence, but none of these succeeded and Dante contented himself with hoping for the appearance of a new powerful Holy Roman Emperor who would unite the country and banish strife. Henry VII was elected Emperor in 1308, and indeed laid seige to Florence in 1312, but was defeated, and he died a year later, destroying Dante's hopes. Dante passed from court to court, writing passionate political and moral epistles and finishing his Divine Comedy, which contains the Inferno, Purgatorio, and Paradiso. He finally died in Ravenna in 1321.
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December 19, 2025
Divine? Only added by promoters after it appeared from Dante's pen in the fourteenth century. Why {Commedia}? It may not amuse as much as edify, but nobody can deny its happy ending. Prue Shaw offers an ideal bridge to guide readers past its dark depths, into the light beckoning saved souls up towards the Beatific Vision. In this excellent expansion of her guidebook {Reading Dante} from a decade ago, Professor Shaw combines a prose paraphrase of Dante's {terza rima} compressed rhyme scheme, rendering fluently a third of his hundred cantos, with summaries of the remaining content and commentary on his intricate, dense or airy verse. Its Italian nestles next to the English, enabling us to compare her effort, and, for the diligent exegete, inviting contemporary audiences to learn its lingo.
Shaw explains that she eschews her own versified version, as our language doesn't allow room for the Florentine bard's compacted articulation of nuance and force which energized his bold Tuscan vernacular. While her fellow Australian and former husband, the critic-poet Clive James, managed an unexpectedly elegant and ingeniously produced fourth line per stanza to incorporate explanatory remarks neatly within his 2013 delivery of {The Divine Comedy}, Shaw opts for an approach pioneered by John Carey in Liveright's edition of John Milton's {Paradise Lost}, coupling a solid orientation to the whole work with enough of the original inspiration to ground, and to elevate, modern minds who, both academics presume, may lack belief in the Christian cosmos, and even if they do accept its doctrine, might well need instruction in theological, historical and cultural references now bygone or often obscure.
Anyone browsing shelves finds more copies of the {Inferno}, and as with Milton, far fewer manage not only to make it through the harrowing hellish haunts, ending not in fire but ice, to where the aftermath widens after Satan's fall. The vision of the redemptive model engineered for human salvation literally and symbolically upends Dante the pilgrim and Virgil his handler into a dawn landscape of the seven-story mountain of penitentiary rehabilitation. The second and third stages of the otherworld crafted by Dante the author turn away from the sinners profiled, pitied or scorned who, no matter their sob stories, refuse the offer of repentance, demanding their selfish right to self-love.
Shaw's careful exposition goads us to study how Dante dramatically dissects their plight, yet upholds concepts of justice which may not easily jibe with our sensibilities of indulging individualism at the cost of communal harmony. By contrast, the scenes that can't be satirized as smugly or romanticized as indulgently as the damned sinners merit their equal opportunity in her judiciously paced, open-minded investigation. She delves into the headier, if lesser known, theoretical poetics of Purgatory and Trinitarian model of Paradise as masterfully as the infernal expected intricacies. This broad panorama encourages one to get beyond the first installment where most of us stay stuck.
Appended the student will find necessary maps, for comprehension of the stratified structure of the afterlife model, and suggested sources. Including links to online portals which Shaw has contributed to, enriching the resources which, back to Botticelli's unfinished sketches, display how admirers of the {Commedia} labored to convey Dante's learning and love, for the two terms deserve equal mention as a careful observer of the progression she limns will understand, over eight centuries. Shaw inserts brief footnotes into the text sparingly to elucidate arcane asides or tricky allusions, but most of the elaborations embed in her chapters, one per canto. As the velocity of Dante's lofty journey points him higher, so the nod to his masterful exegesis within his stanzas increases. It's as if Shaw wisely if tacitly admits nobody can substitute the jargon of a seminar or the arguments of a monograph for the man himself.
Shaw explains that she eschews her own versified version, as our language doesn't allow room for the Florentine bard's compacted articulation of nuance and force which energized his bold Tuscan vernacular. While her fellow Australian and former husband, the critic-poet Clive James, managed an unexpectedly elegant and ingeniously produced fourth line per stanza to incorporate explanatory remarks neatly within his 2013 delivery of {The Divine Comedy}, Shaw opts for an approach pioneered by John Carey in Liveright's edition of John Milton's {Paradise Lost}, coupling a solid orientation to the whole work with enough of the original inspiration to ground, and to elevate, modern minds who, both academics presume, may lack belief in the Christian cosmos, and even if they do accept its doctrine, might well need instruction in theological, historical and cultural references now bygone or often obscure.
Anyone browsing shelves finds more copies of the {Inferno}, and as with Milton, far fewer manage not only to make it through the harrowing hellish haunts, ending not in fire but ice, to where the aftermath widens after Satan's fall. The vision of the redemptive model engineered for human salvation literally and symbolically upends Dante the pilgrim and Virgil his handler into a dawn landscape of the seven-story mountain of penitentiary rehabilitation. The second and third stages of the otherworld crafted by Dante the author turn away from the sinners profiled, pitied or scorned who, no matter their sob stories, refuse the offer of repentance, demanding their selfish right to self-love.
Shaw's careful exposition goads us to study how Dante dramatically dissects their plight, yet upholds concepts of justice which may not easily jibe with our sensibilities of indulging individualism at the cost of communal harmony. By contrast, the scenes that can't be satirized as smugly or romanticized as indulgently as the damned sinners merit their equal opportunity in her judiciously paced, open-minded investigation. She delves into the headier, if lesser known, theoretical poetics of Purgatory and Trinitarian model of Paradise as masterfully as the infernal expected intricacies. This broad panorama encourages one to get beyond the first installment where most of us stay stuck.
Appended the student will find necessary maps, for comprehension of the stratified structure of the afterlife model, and suggested sources. Including links to online portals which Shaw has contributed to, enriching the resources which, back to Botticelli's unfinished sketches, display how admirers of the {Commedia} labored to convey Dante's learning and love, for the two terms deserve equal mention as a careful observer of the progression she limns will understand, over eight centuries. Shaw inserts brief footnotes into the text sparingly to elucidate arcane asides or tricky allusions, but most of the elaborations embed in her chapters, one per canto. As the velocity of Dante's lofty journey points him higher, so the nod to his masterful exegesis within his stanzas increases. It's as if Shaw wisely if tacitly admits nobody can substitute the jargon of a seminar or the arguments of a monograph for the man himself.
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