The Best Translation of Divine Comedy: Dante’s Masterpiece in English

The enduring power of Dante Alighieri’s Divine Comedy lies not only in its intricate allegory and vivid imagery but also in its masterful use of language. For English-speaking readers, experiencing the full depth and beauty of the Commedia hinges on finding the best translation. This seemingly simple task, however, opens up a complex world of choices, each with its own strengths and weaknesses. So, which translation of Dante’s Divine Comedy reigns supreme?

Navigating the Forest of Translations

Choosing a translation is like entering Dante’s dark wood: numerous paths beckon, but only one leads to the truest understanding. One of the most crucial factors to consider is the translator’s approach to terza rima, Dante’s interlocking rhyme scheme (ABA, BCB, CDC, etc.). This defining feature poses a formidable challenge for translators, forcing them to choose between preserving the form or sacrificing it for a more natural flow in English.

Comparing the Contenders: A Look at the Opening Lines

Let’s examine the opening lines of the Inferno – a microcosm of the larger translation debate:

Nel mezzo del cammin di nostra vita

mi ritrovai per una selva oscura

ché la diritta via era smarrita.

These lines, simple yet profound, establish the poem’s central theme of a spiritual journey. How different translators render these lines reveals much about their overall approach.

Dorothy Sayers: A Faithful Rhyme

Dorothy Sayers, renowned for her detective fiction, also embarked on translating the Comedy. Her version adheres to the terza rima:

Midway this way of life we’re bound upon

I woke to find myself in a dark wood,

Where the right road was wholly lost and gone.

Sayers prioritizes preserving the rhyme scheme, even if it means adding words not present in the original Italian.

Allen Mandelbaum: Embracing Blank Verse

Allen Mandelbaum opts for blank verse, prioritizing a natural cadence over strict adherence to rhyme:

When I had journeyed half of our life’s way,

I found myself within a shadowed forest,

for I had lost the path that does not stray.

Mandelbaum’s translation, while not rhyming consistently, often captures the directness and clarity of Dante’s language.

Other Notable Translations: Palma, Longfellow, James, and Bang

Michael Palma manages to maintain both terza rima and a relatively faithful rendering of the original text. Henry Wadsworth Longfellow’s nineteenth-century blank verse translation remains surprisingly readable today. Clive James employs quatrains, while Mary Jo Bang offers a contemporary, unrhymed version. Each of these translations brings a unique perspective to the Comedy, appealing to different sensibilities.

The Verdict: Finding Your Ideal Dante

Ultimately, the “best” translation of The Divine Comedy is subjective. Readers who value fidelity to form might gravitate towards Sayers or Palma. Those seeking a more natural-sounding English rendition might prefer Mandelbaum or Longfellow. And those open to a more contemporary voice might find Bang’s translation compelling.

Beyond the Opening Lines: A Journey Through Language

When choosing a translation, it’s essential to consider not just the opening lines, but the entire journey through Inferno, Purgatorio, and Paradiso. Do you prefer a translation that prioritizes accuracy, musicality, or modern accessibility? Exploring different translations allows you to discover the nuances of Dante’s language and find the version that resonates most deeply with you. This journey of discovery is, in itself, a fitting homage to Dante’s enduring masterpiece.