The Vision of Paradise, Complete by Dante Alighieri
Download The Vision of Paradise, Complete ebook. The Divine Comedy, Complete The Vision of Paradise, Purgatory and Hell By Dante Alighieri Illustrator: Gustave Dore Translator: Rev. H. F. Cary
on the winding up of his affairs that it would be necessary to do something for my support. I had written a strange, wild novel, called the Mummy, in which I had laid the scene in the twenty-second century, and attempted to predict the state of improvement to which this country might possibly arrive.
She may have drawn inspiration from the general fashion for anything Pharaonic, inspired by the French researches during the Napoleonic invasion of Egypt; the 1821 public unwrappings of Egyptian mummies in a theatre near Piccadilly, which she may have attended as a girl; and, very likely, the 1818 novel by Mary Shelley, Frankenstein. As Shelley had written of Frankenstein’s creation, “A mummy again endued with animation could not be so hideous as that wretch,” which may have triggered young Miss Webb’s later concept. In any case, at many points she deals in greater clarity with elements from the earlier book: the loathing for the much-desired object, the immediate arrest for crime and attempt to lie one’s way out of it, etc. However, unlike the Frankenstein monster, the hideous revived Cheops is not shuffling around dealing out horror and death, but giving canny advice on politics and life to those who befriend him. In some ways The Mummy! may be seen as her reaction to themes in Frankenstein: her mummy specifically says he is allowed life only by divine favour, rather than being indisputably vivified only by mortal science, and so on, as Hopkins’ 2003 essay covers in detail.
Unlike many early science fiction works (Shelley’s The Last Man, and The Reign of King George VI, 1900-1925, written anonymously in 1763), Loudon did nWe, Leopold Publishing, set for ourselves the objective of publishing the best version of the Divine Comedy. By best, we mean quality in prose, aesthetics in presentation, typography and engraving for its plates, of course. But, as the Divine Comedy is a story Dante wrote in a cryptic fashion not every reader can fully understand today, we managed to add to it as many commentaries and explanations as necessary to solve this problem.
In the end, we obtained: a translation in blank verse in the style of Milton by Rev. Henry Francis Cary (which was the first complete English translation of the greatest works of Dante); each canto begins with a synopsis (equally presents in the table of contents); 2140 technical and historical footnotes; 50 pages of explanatory introduction written by great Italian specialist of Dante, Francesco Flamini (translated by Freeman M. Josselyn), which is illustrated with numerous technical diagrams and sketches; and, of course, all plates great French artist Gustave Doré did for the Divine Comedy between 1857 and 1867.
As a matter of fact, the original English version of the Divine Comedy illustrated by Gustave Doré was M. Cary’s translation.
To those who are familiar with the translation Cary did of the Divine Comedy, we find useful to precise that the text we chose for this book is his third edition of it; so with all typos and mistakes fixed with the help of famous English translator John Aitken Carlyle.
To those who are familiar with the plates Gustave Doré drew for the Divine Comedy, we scanned ours from original printings of his 1857 (Inferno) and 1867 (Purgatorio and Paradiso) editions before we carefully restored them, fixed small scratches and various printing imperfections visible on any original copies. We also reviewed their contrasts (real black inking instead of gray) so as to restitute their depths often lost due to insufficient inking during the printing process. Also, we opted for a large format (8.5 x 11 inches for 4 pounds of weight).
As an aside, some readers might be surprised to discover in this text numerous symbolical allusions, references and cryptic descriptions belonging to the realm of masonry and its rites, written several centuries before the appearance of the first masonic lodges in England in early 1700’s.ot portray the future as her own day with only political changes. She filled her world with foreseeable changes in technology, society, and even fashion. Her court ladies wear trousers and hair ornaments of controlled flame. Surgeons and lawyers may be steam-powered automatons. A kind of Internet is predicted in it. Besides trying to account for the revivification of the mummy in scientific terms—galvanic shock rather than incantations–“she embodied ideas of scientific progress and discovery, that now read like prophecies” to those later down the 1800s. Her social attitudes have resulted in this book being ranked among feminist novels.
The Mummy!: Or a Tale of the Twenty-Second Century was published anonymously in 1827 by Henry Colburn in three volumes, as was usual in that day so that each small volume could be easily carried around. It drew many favourable reviews, including one in 1829 in The Gardener’s Magazine on the inventions proposed in it. In 1830, the reviewer, John Claudius Loudon, sought out Webb, and they married the next year.
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Durante degli Alighieri (1265-1321) was a major Italian poet of the Middle Ages. His Divine Comedy, originally called Comedìa (modern Italian: Commedia) and later called Divina by Boccaccio, is widely considered the greatest literary work composed in the Italian language and a masterpiece of world literature. Dante is also considered as “the Father of the Italian language” as William Shakespeare is to English’.
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