Lost in Florence (2. IMDb. Goofs. In the scene of them out on the river, double sculling under the Ponte Vecchio, it was clear that the long shot was of guys who knew how to scull, but that in the close ups we could see that the actors didn't have a clue, especially Ercole (Brett Dalton) who really made it look like a Labour of Hercules! They were quite obviously so incompetent that some form of float had been attached to the boat to prevent them from capsizing. This appeared to be of a light coloured wood, and was clearly visible in two shots, one out on the river and another as they returned to the dock. In fact, once back at the dock they both drew their oars in out of the water while still sitting in the boat, something no sculler or rower would ever do, as it would almost certainly flip over (without that poorly concealed float attached). It is always necessary to get out of the boat while the oars are still all the way out on the water.

The Divine Comedy, Vol. Inferno) (English trans.)EVERY new translation of the Divine Comedy, though in itself a fresh tribute, however humble, to the interlingual, as well as to the international claims of “the loftiest of poets,” calls for a word of justification. That justification involves the expression of some theory as to the translation of Dante’s world- poem, itself implying a criticism, whether expressed or not, of competitors already in the field. The present translation, which is the result of over twenty years’ work with large classes in “Dante in English” at Brown University, was undertaken and continued with the object of meeting a need, which did not seem adequately met by the well known translations of Cary, Longfellow, Norton, or others more recent; it, therefore, frankly aimed at being in every possible way an improvement on its rivals old and new. Since the advent of the feeling that minute loyalty to the actual words and thought of the original is a prerequisite to a translation of any poem of supreme human import, such a pioneer work as that of Cary, which so long held the field, came to be recognized as being, not only no longer abreast of the modern achievements of Dante scholars, but as inadequate in the above all- important respect.

Longfellow’s widely diffused version, which is an almost painfully accurate translation of the then accepted Italian text, at once attained great popularity not only in America Edition: current; Page: . Longfellow, however, in his apparent eagerness to be true to every syllable of the Italian, was led to draw too much upon the tempting Latin element, which looks like Italian, and too little upon the stronger, homely Anglo- Saxon element, of his English medium, to bring due conviction to an English ear; he was also betrayed into infelicities of construction and rhythm peculiarly surprising in such a poet as the author of the incomparable Dante Sonnets, a betrayal which has found explanation in the state of his mind and heart during the prosecution of the work. This, consequently, remains as an instance of a great translation which, not intended to be prose, ought not to have been thought of as poetry. After using it for two or three years, I gave it up, in spite of its many happy lines, and valuable notes, because I found that I could not read it aloud with continuous pleasure either to myself or to my hearers. Possibly as a reaction against these obvious defects, Charles Eliot Norton produced his well known and excellent prose version, against which the only thing that can be said is, that it is just what it purports to be, prose, a prose only slightly hampered by extreme verbal loyalty; and that it was composed under the strange conviction, expressed in his preface, that “to preserve in its integrity what” (of the Edition: current; Page: . Norton unfortunately added: “but the difference is fatal,” and in giving up the creation of a new harmony himself, he lent the great authority of his name to the suggestion that any such attempt by others would prove futile.

As to such efforts as that of Dean Plumptre and others to translate Dante in English terza rima, it ought to be sufficient to urge, in the first place, that rhymes are practically an insurmountable obstacle for one who, as a translator, is already limited by the demands of loyalty to another’s articulated thought and feeling; and, secondly, that terza rima is not an indigenous, or even a fully acclimated, form of verse in English, and can not be made to sound natural to an English ear, or, at any rate, produce the effect it does in Italian, where it is to the manner born. I, therefore, feel that neither terza rima, nor, indeed, any rhymed translation in metrical forms still more alien in poetical tone to that in which the Divine Comedy was written, can prove to be at best other than unnatural and unsympathetic, though at times brilliant, tours de force. Their readers will too often be met by forced constructions, and forced or weak rhymes, while students familiar with the Italian original will too often be grieved by omissions, weakenings, or additions, to Edition: current; Page: .

It is, therefore, possible for the indwelling spirit of a supremely great poem to reclothe itself fittingly, and yet retain its essential identity, because in such a case the spirit, and not the clothing, is paramountly the thing; being that which originally made itself a body, it can make itself another, whatever the former’s perfection; but this is true only on condition that the new clothing fit it, and hold Edition: current; Page: . Now the evolution and acquired associations of poetical forms having, as I believe, given the qualities of blank verse the nearest possible position in English to those sustained by terza rima in Italian, notwithstanding the rhymes of the latter, blank verse would seem to be the translator’s natural choice. Being rhythmical and also metrical, it can supply the translator with the emotional and fusing element fatally lacking in prose; and being free from the artificial bondage of rhymes, or stanza schemes, which can only rarely prove happy under the restraints of dictated thought, it will release him from all temptation to disloyalty to the integrity of the original’s intellectual and spiritual message, or to any interruption of that formal continuity, which is a quality that blank verse and terza rima possess in common, in spite of the latter’s divisibility into terzine. For these reasons I cannot but feel that blank verse would be the medium that Dante himself would use, were he writing the same poem in English now, to say nothing of what he would do, were he translating it into that language. This blank verse must, however, be loyal to itself and to its own laws, and must not take any such liberties with them as too many manufacturers of “vers libres,” so- called, seem to think proof against the charge of license. In other words, a blank verse line cannot be made by applying scissors to indifferent prose. Again, in some such use of blank verse Edition: current; Page: .

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Aiming ever at keeping the reader’s attention from being unnaturally diverted, I have tried to avoid the use of any word whose archaic nature would draw an attention to itself, not drawn to its Italian counterpart. I have furthermore striven to keep myself free from all organic omissions or additions, however sorely tempted by actual indolence, or fancied inspiration, in the hope that a faithful translation, expressed in the best English and in the best blank verse at my command, would ultimately enable me to render with some success the homely directness and familiarity, Edition: current; Page: . Accurate and sympathetic reproduction of its author’s thoughts and moods, good English, and good verse have, therefore, been the triune aim of my long continued work on the poem’s every line and poetic unit, with what result the reader and student must be the ultimate judge, no one realizing more than I how far any achievement is likely to be from its inspiring ideal. The Italian text is that of the Vandelli edition of 1. Italian editors of the poem as Torraca, Casini, Passerini, or, in some instances, by our American Dantist, Dr. In very few cases only have I risked erring heretically on the side of radical boldness in adopting a rejected variant which seemed more Dante- like, or more consistent with its immediate or more remote context, than that of the textus receptus.

On the other hand, several temptations to make Dante say in my translation something in Edition: current; Page: . On the English page the reader will see that in the vast majority of cases I have found it possible to have three lines of blank verse match the three lines of each opposite terzina without disloyalty to the interests of either.

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