Mark Musa’s Translation of Dante’s Inferno
and the Moral Interpretation
Kären Brandon

Throughout Dante's Inferno, the Pilgrim speaks with many sinners as he journeys through the Underworld. In fact, the words of the sinners are one of the most important aspects of Dante's work because it is through these words that the Pilgrim learns about the personal anguish each soul must suffer for eternity. Often, as the Pilgrim listens to the sinners, he participates in their sin. This is central to understanding the Commedia on a moral level (i.e. from a perspective that focuses upon the individual soul), since the Pilgrim must confront his sin face-to-face in order to repent and save his soul from damnation. Thus, the translator has a difficult task: choosing words for the sinners' monologues that appeal to the Pilgrim and, consequently, emphasize the Pilgrim's involvement in sin. One instance that is worth particular notice is Pier delle Vigne's dialogue with the Pilgrim. Some translators are more successful in conveying this particular part of the Pilgrim's journey than others; Mark Musa, in particular, does a good job of communicating the Pilgrim's participation in della Vigne's sins of pride and fixation on reputation. Furthermore, Musa's translation forcefully presents the danger of sin. Dorothy Sayers' and Allen Mandelbaum's translations are far surpassed by Musa's in this respect.

The first pertinent difference in these three translations is line 63. Sayers' and Mandelbaum's della Vigne says that because he was so dedicated to his work as Frederick II's counselor he "sacrificed my sleep and strength" and "lost both strength and sleep," respectively (line 63). However, Musa goes a step further in characterizing the danger of della Vigne's complete absorption in his power; in his translation, Pier says that "I lost not only sleep but life itself" (63). Musa's translation denotes a sin of value; Pier has become so power-hungry that he committed suicide rather than see his reputation falter. Furthermore, the juxtaposition of "sleep" and "life" open the line to multiple levels of interpretation. In essence, because della Vigne is suffering in Hell in death (the big "sleep"), it can be said that he has forfeited a restful afterlife. In only Musa's translation is this interpretation readily available to the reader.

Musa advances della Vigne's snobbish nature in line 64 by calling Envy a "courtesan" rather than a "harlot" (Sayers) or "whore" (Mandelbaum). A courtesan is a prostitute of a higher caliber, a lady with a courtly, upper-class clientele. This small decision on the part of Musa is made to emphasize della Vigne's preoccupation with status and reputation.

It is worth noting Sayers' use of "obloquies" as compared with Mandelbaum's "sadness" and Musa's "sad laments" (69). Obloquy means the condition of one who is discredited. In this instance, Sayer's emphasis on reputation gives a deeper meaning to della Vigne's words. While Mandelbaum's and Musa's translations do not include (in this line) reputation, Sayer's line serves to further highlight a sin that the Pilgrim can relate to.

Pier della Vigne put too much hope in his death, thinking it could deflect the scorn he encountered after falling out of the court's favor. While Sayers and Mandelbaum translate that Pier thought that death could be an "escape" (Sayers 71) or something to "flee" to (Mandelbaum 71), Musa writes that Pier "believ[ed] death would free me from all scorn" (71). By characterizing death as a liberator rather than a mere escape, Musa intensifies della Vigne's encasement in his sin. In effect, Musa makes the sin more perilous in this line.

Musa also provides more words that indicate della Vigne's pompous, self-important character. Musa's Pier uses the phrases "me who was all just" and "By these strange roots of my own tree I swear" (72-3). This inclusion of "all" and of "my own" are a subtle difference from Sayers' and Mandelbaum's passages. In Musa's translation, not only does della Vigne believe he is just, all parts of his character are just. Likewise, Musa's Pier thinks so highly of himself to not conceal that he swears by himself that he was faithful to Frederick.

Similarly, in Musa's line 77, Pier asks the Pilgrim to "restore" his memory. That is, elevate it to its former glory. The fact that Pier believes that his reputation was ever so great shows his arrogance. Sayers' "heal" and Mandelbaum's "help" do not denote the same haughtiness that Musa's translation does.

Finally, Musa's choice of "chokes" in line 84 far exceeds Sayers' "unhearts" and Mandelbaum's "takes." The image of the Pilgrim's sympathy with della Vigne strangling the Pilgrim emphasizes the dangerous nature of sin. Without "chokes," it seems that the Pilgrim's pity has simply overcome him, not endangered his soul.

Why does it matter that Musa emphasizes della Vigne's obsession with his courtly reputation and the danger of this sin for the soul? This sin of pride is a sin which the Pilgrim dearly relates to, even more so than della Vigne's suicide. It is necessary for the reader to recognize the Pilgrim's participation in sin if they are to interpret Pier della Vigne's passage on a moral level. If the connection between della Vigne and the Pilgrim is not strongly emphasized, the reader does not get the sense (in this particular passage) that the Pilgrim's journey is a story of a soul's path to heaven. Furthermore, the Pilgrim (and thus the reader) must be made to realize the severity of the danger of sin. While the Soul is traveling through Hell, participating in sin, it is in severe danger of damnation. Overall, Musa is more successful than Sayer and Mandelbaum in portraying these ideas in Pier della Vigne's passage.

Works Cited
Mandelbaum, Allen, trans. The Inferno. By Dante. New York: Bantam Books, 1980.
Musa, Mark, trans. The Inferno. By Dante. Bloomington, IN: Indiana University Press, 1995.
Sayers, Dorothy, trans. The Inferno. By Dante. Baltimore, MD: Penguin Books, 1949.

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