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A complete listing and criticism of all English translations of at least one of the three cantiche (parts) was made by Cunningham in 1966. [12] The table below summarises Cunningham's data with additions between 1966 and the present, many of which are taken from the Dante Society of America's yearly North American bibliography [13] and Società Dantesca Italiana [] 's international ...
The Dorothy L Sayers Society: The Letters of Dorothy L. Sayers: 1944–1950, A Noble Daring: 1999: The Dorothy L Sayers Society: The Letters of Dorothy L. Sayers: 1951–1957, In the Midst of Life: 2000: The Dorothy L Sayers Society: The Letters of Dorothy L. Sayers: Child and Woman of Her Time: 2002: The Dorothy L Sayers Society: A supplement ...
[160] [161] The three volumes of the Sayers translation sold 1.25 million copies by 1999. [120] Writing in 1989 Reynolds noted that because of Sayers's translations, Dante has been read by "more English-speaking readers in the last forty years than he had in the preceding six and a quarter centuries". [162]
SchroCat and I have been working together on the Sayers article with a view to taking it to FAC. Although she is best known nowadays as a crime novelist, Sayers had several more strings to her bow – playwright, theological essayist, critic, and – most important to her – translator, notably of Dante's The Divine Comedy.
The Comedy of Dante Alighieri, the Florentine. Cantica III, Paradise. Translated by Dorothy L. Sayers; Barbara Reynolds. Penguin Books. ISBN 978-0140441055. Dorothy L. Sayers: Her Life and Soul. London: Hodder & Stoughton. 2002 [1993]. ISBN 0-340-72845-0. The Letters of Dorothy L. Sayers: Volume One 1899–1936 : the making of a detective ...
Nominator(s): SchroCat and Tim riley talk 15:06, 14 November 2023 (UTC) [] Dorothy L Sayers was a fascinating person. Although she is best known nowadays as a crime novelist, she had several more strings to her bow – playwright, theological essayist, critic, and – most important to her – translator of Dante's The Divine Comedy.
Dante's use of real characters, according to Dorothy Sayers in her introduction to her translation of the Inferno, allows Dante the freedom of not having to involve the reader in description, and allows him to "[make] room in his poem for the discussion of a great many subjects of the utmost importance, thus widening its range and increasing ...
Sayers’ plot hinged on the eyewitness account of Gervase the Monk who attributed the fall to "either the vengeance of God or the envy of the Devil." [1] Based on this enigmatic line of Gervase’s, Sayers created a prideful William of Sens whose intrigue with the choir’s benefactress leads inadvertently to the tragic accident. The title of ...