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...this does not mean that the translator sacrifices accuracy in the name of making his lines rhyme. Working with a "more relaxed definition" of rhyme, Pinsky fills out the Inferno's tercets with `half rhymes," like "aim/come," as well as the more traditional "full rhymes,' like "plunder/under...

Author: By Andrew L. Wright, | Title: Pinsky's Hell of a Good Inferno | 2/9/1995 | See Source »

...bold symphony of Dante's volgare comes to life with renewed vitality in Boston University professor Robert Pinsky's new verse translation of Inferno, the first and mostfamous of the three cantiche of the Divine Comedy (Farrar, Straus & Giroux...

Author: By Andrew L. Wright, | Title: Pinsky's Hell of a Good Inferno | 2/9/1995 | See Source »

...Pinsky's translations, passion triumphs over literalness and the result is that Pinsky--the author of several poetry collections--reveals his true identity in his work: He is more a poet than a translator. The fruit of Pinsky's labor, a vivid and passionate Inferno, is the benefactor of this bias...

Author: By Andrew L. Wright, | Title: Pinsky's Hell of a Good Inferno | 2/9/1995 | See Source »

Even more impressive than PInsky's infusion of life into the translation is that fact that he is also faithful to the Inferno's original interlocking rhyme scheme, called terza rima (aba, bcb, cdc, etc). Pinsky avoids he possible pitfalls of this demanding form and triumphs with crisp and inventive rhymes that not only meet the demands of form but also bring the poem to life...

Author: By Andrew L. Wright, | Title: Pinsky's Hell of a Good Inferno | 2/9/1995 | See Source »

Pinsky's ability to convey the profound spirit of depression found in many of the Inferno's cantos supports his contention that the poem may be about the inner state of the soul in life, as well as after death...

Author: By Andrew L. Wright, | Title: Pinsky's Hell of a Good Inferno | 2/9/1995 | See Source »

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