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, by Gustave Dore
Get Free Ebook , by Gustave Dore
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Product details
File Size: 105037 KB
Print Length: 144 pages
Publisher: Dover Publications; 1st edition (September 21, 2012)
Publication Date: August 24, 2012
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B00A3YECY8
Text-to-Speech:
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Amazon Best Sellers Rank:
#1,030,364 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
The Kindle version of this is terrible. It does support page flip, so you can't view illustrations full screen (horizontal only). The resolution on the images is shockingly low, and zooming in does not load a higher resolution version, it just enlarges the compressed version. Some of the text is part of a page scan, some of it is actual text. For $9.99, I expected a lot more quality and attention. Very disappointing. Do not buy.
Gustave Dore, the most successful illustrator of the 19th century, has produced a grim, dark, precise, nightmare masterwork in his illustrations for the Divine Comedy by Dante. For those familiar with the vast poem, The Divine Comedy, it is obvious that Dore knew the work well and in his grisly etchings captures the terror that dwells at the edge of each scene. Dore is a master of strategic composition with his careful, thoughtful arrangements of dark and light so as to direct the eye of the viewer to the center of interest. In misery the souls of the dead get into Charon's boat and are taken across the River Acheron. Dante mixed pagan and Christian images in the underworld and Dore captures both. Dante is lead into Limbo by the pagan Roman poet Virgil where he meets the great poets of antiquity who can never cross into heaven due to their pagan beliefs. Dante is often pictured clinging to Virgil as the souls of the dead reach for him. As Dante and Virgil cross the Styx, the doomed lost souls come out of the water and attempt to cling to the boat. Demons are illustrated in the classical bat wing style, but looking oily due to Dore's illustration skills. It only makes sense that pagan mythological creatures would reside in the inferno as they were pre-Christian. Thus Dante and Virgil encounter a Minotaur and Centaurs. Suicides become gnarly trees, sexual seducers are whipped by demons, while flatterers live in a pond of feces. The journey gets worse as they encounter damned souls that are so grossly disfigured that their dismantled body parts all act independently. Forgers must itch and scratch into eternity. Traitors are frozen for eternity in ice with only their heads above the water and ice line. Of course there are historic and church figures throughout for Dante made commentary about those in public and religious life with whom he disagreed. Purgatory is full of naked people but is far less interesting than the inferno. The images of Paradise are anemic in comparison to those of the Inferno. The book is actually fun to view, packed with full page illustrations, and wonderfully creepy illustrations of the tortures of Hell.
Though they can also be appreciated on their own by the casual viewer, Dore's illustrations for Dante's Divine Comedy are a great aid while reading Dante's Divine Comedy. And, in turn, reading Dante's poem heightens one's appreciation of the illustrations. In his translation of Purgatory, John Ciardi cautions readers "to visualize Dante's scenes in terms of Dante's own details rather than in terms of Dore's romantic misconceptions." (Ciardi note to Canto xiii, l. 61-66.) I think Ciardi's criticism is overdone. Dore's illustrations sometimes vary from the text of the Divine Comedy, for example, in canto viii of the Inferno the walls of the city of Dis are surmounted by the minarets of Islam, but Dore omits that detail. That and other variances, however, can, where noticed, also precipitate a reader's insight.Dore's illustrations depict the scenes in the Inferno best, they're worthwhile for depicting Purgatory, but -- though some have raved about the depictions of Paradise -- were of little value to me while I read Paradise. Perhaps Dore thought so too: the greatest number of the illustrations depict hell, fewer depict Purgatory, and the fewest heaven. Some of the illustrations are masterpieces, including the depictions of Paolo and Francesca (including that of their assassination) and that of Bertram de Born, which is on the cover of the book.In the back and white woodcuts, the darkness of hell lightens in purgatory and washes out even more in heaven. The scenes in hell seem the most "fun" as souls suffer their often gruesome eternal punishments. In an ironic twist, the "bodies" of those in hell seem the most muscular and robust. The black and white illustrations sometimes suffer where Dante uses color to make a theological point (there is no color in Dante's hell, though). For example, in canto ix of Purgatory, Dante has three colored steps lead up to the gate of purgatory. The colors have theological significance, which is lost to one only viewing the illustrations.The extremely reasonable price of this volume suggests that anyone with a passing interest in Dante or Catholicism or art and culture should own a copy.
Perhaps they already are!I recently had the opportunity to read Danté's Divine Comedy as part of a book discussion group. Given the number of cultural references to the work I've observed and used over my life (I even entitled a college dance party "The Inferno" many years ago because the dance floor was hot!), reading the work was on my "bucket list." Of course the language and descriptions were very thick in places, and having the Dore's book of illustrations really helped the story come to life as well as helped me to stay on track while reading. The illustrations are gorgeous, in many places gruesomely so, and really convey the torture or rapture of the characters depicted in the Divine Comedy. This book of illustrations is a must-have companion to the Divine Comedy, and is highly recommended!
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