Musa's translations preserve all the brilliant visionary beauty & humble humanness of Petrarch's voice. & where would western literature be without Petrarch? He was one of the main people to bring Europe out of the Middle Ages.

By any Earthly measure, Petrarch was a genius. Father of Humanism, Philosopher, Diplomat, Poet, Theologian...these are all terms we can fling at his ghost. Yet what make of this obsession, this idolatry?

Musa's rendition sings with the music of the sphere's--let no one fool you on that score. I doubt that these 366 little songs could suffer too badly at anyone's hands, but my money's with Musa in English.

Moving right along and back, what do we make of this? Time and again Petrarch tried to make these verses seem a vulgar trifle in the greater scheme of things. His actions give the lie to this. He revised them continually over the span of his life. They could not possibly be more polished.

His spiritual life stumbled upon this altar. He wrote as much to Augustine in his secret book.

One feels that his art about Laura impaired him far more than the real Laura ever did. What to make of this?

Petrarch was a very important, influential figure in european history, & this book offers authoritative translations of his lyric poems. In fact, Mark Musa did so well translating the poems that sometimes the english sounds better than the original italian. With this bilingual edition you can look at both as they face each on the pages.

The Inferno is a record of Dante the Pilgrim's first trip through hell. It was Virgil's second. This was my fifth trip through the Inferno, and having Musa along for the ride made it wonderful. Whether this is your first time through or not, you ought to have this critical edition as your guide. As another reviewer noted, Musa isn't nearly as fettered by the rhyme scheme as translators like John Ciardi and Robert Pinsky. Even Ciardi apologizes often for his liberties in the name of rhyme. Musa has gorgeous footnotes on lines that Pinsky and Ciardi neglect for the rhyme. If you have the great fortune to teach the Inferno, it makes great sense, of course to have multiple translations before you, but Musa's critical edition will be the most weathered edition in the end. Your students will gain a great understanding of the importance at looking at multiple sources as well.

Musa is a scholar, not a poet, at least not professionally. But the authenticities of his translation's thunder, juices, epiphanies, and whiffs would indicate that scholarship makes a successful move to a new language more probable than do poetic gifts. Dante, now, was a poet. The infinite riches of his simple simple lines glow from each line of Musa's. While the essential deep love for the poem glows from each line of his commentary. Pinsky, a very good poet, spent his powers on reproducing the virtually unreproducible--the never-ending aba bcb cdc terza rima rhyme scheme. And he did an expert job. But the poetry is the loser. It's in the back seat, trying to stay awake. The real surprise is how careless Pinsky's rhythms are. Musa's pound right along-a fairly consistent, and unobtrusive, iambic pentameter. Dante, of course, rhymes and rhymes and rhymes, but always to profoundest purpose. (It is said he wrote three lines a day. The deeper one goes into the Commedia the easier it is to believe this.) What rhymes with what was clearly something Dante cared a lot about. Take Inferno 34, 34-39. Dante's final six words (and I should point out that my Italian is very limited) for these six lines are: UGLY, EYEBROW, SORROW/ WONDER, HEAD, RED. Pinsky's are: beautiful, brows, well/ was, head, this. Musa's: foul, Maker, him/ up, faces, red. The parallels the rhymes convey, as I see it, are these. Lucifer, now UGLY, is the source of the world's SORROW. (Musa faithfully pairs "foul" and "all grief should spring from him." Pinsky pairs "beautiful" (reversing Dante's careful sequence of beautiful to ugly) with "then all sorrow may well" which depends on the next line to mean anything, which sort of weakens the parallel: Like saying 1 plus 1 = 1.2 and uh oh another eight tenths.) And the second parallel: Lucifer, whose fall to hell began with the raising of an insolent EYEBROW, has become hideous, a three-headed WONDER. From beautiful to UGLY, from the happiness of Eden to a world of SORROW. Musa's "Maker"/"looked up" is admittedly not terrific. Pinsky's "brows"/"How great a marvel it was" is more successful. But compare the two translations' net impact. If you saw what Dante saw, and he was very much writing so that you would, which set of lines below would better convey your reaction?

"If he was truly once as beautiful / As he is ugly now, and raised his brows / Against his Maker--than all sorrow may well /

Come out of him. How great a marvel it was / For me to see three faces on his head: / In front there was a red one; joined to this, /

. . . "

"If he was once as fair as now he's foul / and dared to raise his brows against his Maker, / it is fitting that all grief should spring from him. /

Oh, how amazed I was when I looked up / and saw a head--one head wearing three faces! / One was in front (and that was a bright red)."

The Inferno is a book that everybody should read (if they can even read). Mark Musa translates Dante's original pros. into a cloak wheel which is very easy for almost anybody understand. The poetry is lost(as with any translation), but the story Dante will tell shall live forever.

My interest in classic literature did not arise until recently. I read many reviews which indicated that people with this such interest absolutely MUST read Dante's Inferno. With that hefty weight upon my "newbie" shoulders I decided to undergo the journey that so many others have made over the last 700 years.

As it turns out, Mark Musa's translation of Inferno is fantastic. Each chapter begins with a very brief but informative synopsis, followed by the prose, then finally capped off my Musa's notes on the text. Musa's notes give backgroud on all of the characters and situations that take place throughout the story. These notes are a MUST for any newcomer to Dante and classical literature in general. So, not only is there the original text in English for us non-Italian speakers, but there are notes to increase the readers comprehension.

Dante is guided by the author of the Aeneid, Virgil. Virgil takes Dante through the Nine Levels of Hell to show him the pain and suffering of all those who do not love and follow God. Dante learns a great deal on this journey as does the reader.

Mark Musa's translation of Dante is smooth, entertaining, and very informative. Anyone interested in Christianity, Hell, famous Greeks, and classical literature should definitely indulge themselves as this translation is not overwhelming in the slightest. Five stars across the board.

The pilgrim's journey continues to heaven.

If you, like me, are intimidated by Dante but are interested in these great works of Western Literature, you now have an accessible translation of the Divine Comedy. Musa's translation communicates the divinity of the events in the story on an understandable level. The Divine Comedy colored my perception of religion and helped me to a new understanding of the harmony of responsibility and grace. The work also educates the reader in an enriching way about the belief system of the middle ages.

Don't miss this book and don't read any other translation.

In this translation of paradise, Mark Musa exhibits the same sensitivity to language and knowledge of translation that enabled his versions of the Inferno and Purgatory to caputure the vibrant powers of Dantes poetry. Thats what it says on the back of the book and boy you couldnt have said it better than that. This book is by far better than the first and a perfect sequel to the secound translation. Mark Musa puts Dante's complex poetry into plain english so that even a common student like myself can understand. I think anyone who likes Dantes interpretations about life will love this addition to his work.

Aside from being a concise collection of Machiavelli's important political works, this volume serves another great purpose - it shows you a side of Machiavelli never seen before by publishing the HILARIOUS letters to his brother. The letter to his brother about his encounter with a prostitute is absolutely hysterical. This volume provides selections which show you both sides of Machiavelli - the serious political scientist and the satirical, comical human being.

Those familiar with his most famous work 'The Prince' may find this hard to believe. In this collection we see a totally different side of the man through; a humorous letter to his brother about an encounter with a less than attractive prostitute, a hilarious short story with a dubious message about marriage and a completely comic play. The nearly 500 years since their appearance does nothing to diminish their comedic value. These three pieces alone make the work worth the money. If that's not enough for you, there are also selections from his famous 'Art of War' and 'The Discourses.' True Machiavelli fans like myself will not want to miss this gem!

A concise collection of machiavelli's work. The editors prefaces were interesting to read thru--aiding inmy understanding of the time period that influnced machiavelli's writing. i came to realizt that i didnt like his work but this book was an easy read thru for me to make that determination

As with Laurence Sterne's TRISTRAM SHANDY, Pirandello's 1921 masterpiece, SIX CHARACTERS IN SEARCH OF AN AUTHOR, was well ahead of its time. It confronts issues in the fields of metaphysics, epistemology, postmodernism (structuralism and deconstruction) as well as prefacing experimental theater, metatheater, and performance art. Pirandello's work is a nearly flawless play which breeches the topics of self-identity (a la Descartes), truth and illusion (before Albee), and aesthetics (questioning the legitimizing factor in Aristotle's theory of catharsis). Furthermore, it forces the audience--as too many works of art fail to do--to think without lapsing into philosophic didacticism. Highly recommended.

Pirandello had writer's block. Luisa felt sorry for him. "Just write whatever's in your head", she said, "That's what you're always telling me. Everyone who's ever written a play-- I suppose that leaves out the critics and the university professors--knows that YOU don't write the play, you let the CHARACTERS write the play. Here", she said, "have a glass of wine. It'll help relax you." Two days later, when he was done, Luigi took the manuscript over to Alphonse, the literature teacher. Alphonse declared, after scanning it, "You've written a masterpiece!" "Really?" said Pirandello, "I mean, of course!" Alphonse stood up and gestured grandly with his arms, saying "Ah, the metaphysical ramifications! Reality and the imagination! You've started Postmodernism!" So Luigi did a little dance and headed home to bed.

He must be around here somewhere. Let me see, hello? Mr. Reviewer? Ms. Reviewer? How I am I supposed to start this? I guess I am a review for the Luigi Pirandello play, "Six Characters in Search of an Author." What am I supposed to say about it? I guess I could say that it is a wonderful piece about the search for truth. A reflection of the human experience. Dazzled and question ridden, on a journey to nowhere. But I haven't even read the thing! Mr. Reviewer? Ms. Reviewer? Tell me what it's about so I could have some idea to tell the readers out there. What? I can't hear you. Pirndello's best play? A post modern triumph? An easily stageable highway? Substitute for butter? What? I give up, you wicked person. Find someone else to be your slave, I am going to sleep now

This translation of Inferno, one of the three pieces of the epic ensemble The Divine Comedy, is perhaps the best yet. Mark Musa does a truly amazing job, and the narrative is very easy to follow along. As an addition, Musa also has "translated" each line of each canto, just so readers can get a better understanding of the constant metaphors and allegories that Dante places within his tale. This book is recommened to anybody who craves a great imaginative tale, along with anyone interested in epics.

I had to read a good part of "The Decameron" last quarter and I have gone back to read more stories from it even though the Fall quarter is over. This is a great book: funny, entertaining, subtly revolutionary, insightful, and superbly well-written. Approach it without fear. It is a Classic, but it will have you laughing, thinking, and learning far better than any current best-seller. Anyone with an interest in journalism and/or history will profit from Boccaccio's Introduction, at the beginning of the First Day. His description of the Plague in Florence is vivid and gripping, and this eventually provides the background for the setting of the one hundred and one tales that seven young women and three young men will narrate in a villa away from the dying city. Also, the Introduction to the Fourth Day presents the reader with an unfinished, but hilarious story about a man who has been kept away from women. This story is what my teacher called the 101st, and I have to agree with her.

Do not think that all "The Decameron" deals with is sex. The mostly illicit sexual encounters depicted are some times funny, sometimes sad, but they share a common trait with the stories from the Tenth Day, for example (these ones are mostly about sacrifice, abnegation, and servitude), or with those of the Second: Boccaccio's concern for his society and the terrible tensions that had reached a breaking point by the 14th century. The Plague, in Boccaccio's universe, acts as a catalyst of emotions, desires, and changes that had to come.

Read, then, about Alibech putting the Devil back in Hell, Lisabetta and her pot of basil, Ser Ceperello and his "saintly" life, Griselda and her incredible loyalty in spite of the suffering at the hands of a God-like husband, Tancredi and his disturbing love for his daughter, Masetto and the new kind of society he helps create with some less-than-religious nuns, and then it will be easier to understand why Boccaccio is so popular after 650 years. And although it may be skipped by most readers, do not miss the Translator's (G. M. McWilliam) introduction on the history of "The Decameron" proper, and that of its many, and mostly unfortunate, translations into English. This book is one of the wisest, most economic ways of obtaining entertainment and culture. Do not miss it.

Giovanni Boccaccio THE DECAMERON. Second Edition. Translated with an Introduction and Notes by G. H. McWilliam. cli + 909 pages. Penguin Classics. London: Penguin Books, 1995. ISBN 0-14-044629-X (Pbk).

Second-hand opinions can do a lot of harm. Most of us have been given the impression that The Decameron is a lightweight collection of bawdy tales which, though it may appeal to the salacious, sober readers would do well to avoid. The more literate will probably be aware that the book is made up of one hundred stories told on ten consecutive days in 1348 by ten charming young Florentines who have fled to an amply stocked country villa to take refuge from the plague which is ravaging Florence.

Idle tales of love and adventure, then, told merely to pass the time by a group of pampered aristocrats, and written by an author who was quite without the technical equipment of a modern story-teller such as Flannery O'Connor. But how, one wonders, could it have survived for over six hundred years if that's all there were to it? And why has it so often been censored? Why have there always been those who don't want us to read it?

A puritan has been described as someone who has an awful feeling that somebody somewhere may be enjoying themselves, and since The Decameron offers the reader many pleasures it becomes automatically suspect to such minds. In the first place it is a comic masterpiece, a collection of entertaining tales many of which are as genuinely funny as Chaucer's, and it offers us the pleasure of savoring the witty, ironic, and highly refined sensibility of a writer who was also a bit of a rogue. It also provides us with an engaging portrait of the Middle Ages, and one in which we are pleasantly surprised to find that the people of those days were every bit as human as we are, and in some ways considerably more delicate.

We are also given an ongoing hilarious and devastating portrayal of the corruption and hypocrisy of the medieval Church. Another target of Boccaccio's satire is human gullibility in matters religious, since, then as now, most folks could be trusted to believe whatever they were told by authority figures. And for those who have always found Dante to be a crushing bore, the sheer good fun of The Decameron, as Human Comedy, becomes, by implication (since Boccaccio was a personal friend of Dante), a powerful and compassionate counterblast to the solemn and cruel anti-life nonsense of The Divine Comedy.

There is a pagan exuberance to Boccaccio, a frank and wholesome celebration of the flesh; in contrast to medieval Christianity's loathing of woman we find in him what David Denby beautifully describes as "a tribute to the deep-down lovableness of women" (Denby, p.249). And today, when so many women are being taught by anti-sex radical feminists to deny their own bodies and feelings, Boccaccio's celebration of the sexual avidity of the natural woman should come as a very welcome antidote. For Denby, who has written a superb essay on The Decameron that can be strongly recommended, Boccaccio's is a scandalous book, a book that liberates, a book that returns us to "the paradise from which, long ago, we had been expelled" (Denby, p.248).

The present Penguin Classics edition, besides containing Boccaccio's complete text, also includes a 122-page Introduction, a Select Bibliography, 67 pages of Notes, four excellent Maps and two Indexes. McWilliam, who is a Boccaccio scholar, writes in a supple, refined, elegant and truly impressive English which successfully captures the highly sophisticated sensibility of Boccaccio himself. His translation reads not so much as a translation as an original work, though his Introduction (which seems to cover everything except what is most important) should definitely be supplemented by Denby's wonderfully insightful and stimulating essay, details of which follow:

Chapter 17 - 'Boccaccio,' in 'GREAT BOOKS - My Adventures with Homer, Rousseau, Woolf, and Other Indestructible Writers of the Western World'
by David Denby. pp.241-249. New York: Simon & Schuster, 1997. ISBN 0-684-83533-9 (Pbk).

Ten young Florentine noblemen and women escaping the Black Death in Florence in 1348 entertain themselves by each relating a story per day for ten days - 100 entertaining stories in all, mostly set in and around medieval Florence. Although famously naughty, none of these stories strikes a modern reader as more than mildly erotic. Rather, they consistently astonish by their thoroughly modern message that women are as good as men, nobility doesn't come from birth, sanctity doesn't come from the church, and - above all - true love must never be denied. Amazingly, Boccaccio often delivers this message while pretending to say the exact opposite; sometimes he presents very sympathetic characters who get away with things thought scandalous in his time, offering a mere token condemnation at the end, while other times he depicts someone actually following the accepted code and committing some horrible act of cruelty in the process. Either way - and despite his claims to be upholding convention - we always know what he really means, and apparently he didn't fool too many people in his own day either.

But one doesn't need to focus on the revolutionary aspects of the Decameron to enjoy the book; each of the stories delights the reader with a different tasty morsel, and, you can read as much or as little at a time as you please. Once you get past the introduction, (and that's probably the most serious part of the book, so be sure not to give up before you get to the first story) the stories will make you laugh, make you cringe, and make you sit on the edge of your seat. Inspiring authors from Chaucer to Shakespeare and entertaining audiences for over 700 years, the Decameron continues to delight.

Mark Musa's translation of the Divine Comedy is the smoothest, most enjoyable version I have read. (I've read a few.) Mr. Musa provides a brief summation at the beginning of each Canto of Dante's Inferno. He then follows the summation with the actual poem (his translation), and then, after each Canto, he gives in-depth notes on all the references Dante has made -- which may often be obscure to the modern reader. This version is perfect for high-school and college students as well as the leisure time reader who simply wants to become acquainted with this foundation of Western poetry.

The Inferno is the first volume of the Divine Comedy and tells the story of how Dante is taken by the spirit of Virgil through the depths of Hell. The scenes and characters that they encounter cover many different human emotions; mostly sorrowful ones while Dante and Virgil are in Hell. This first volume is the most famous of the three, but Mark Musa's translation makes it so quick and entertaining to read, that I think most will find themselves wanting to continue on into the final two volumes, which I would highly recommend in order for one to obtain the entire perspective of this brilliant poem.

My interest in classic literature did not arise until recently. I read many reviews which indicated that people with this such interest absolutely MUST read Dante's Inferno. With that hefty weight upon my "newbie" shoulders I decided to undergo the journey that so many others have made over the last 700 years.

As it turns out, Mark Musa's translation of Inferno is fantastic. Each chapter begins with a very brief but informative synopsis, followed by the prose, then finally capped off my Musa's notes on the text. Musa's notes give backgroud on all of the characters and situations that take place throughout the story. These notes are a MUST for any newcomer to Dante and classical literature in general. So, not only is there the original text in English for us non-Italian speakers, but there are notes to increase the readers comprehension.

Dante is guided by the author of the Aeneid, Virgil. Virgil takes Dante through the Nine Levels of Hell to show him the pain and suffering of all those who do not love and follow God. Dante learns a great deal on this journey as does the reader.

Mark Musa's translation of Dante is smooth, entertaining, and very informative. Anyone interested in Christianity, Hell, famous Greeks, and classical literature should definitely indulge themselves as this translation is not overwhelming in the slightest. Five stars across the board.

About twenty years ago I read Dorothy Sayers's translation of Dante's "Divine Comedy" with great pleasure, finding an awesome grandeur in Dante's progression from Hell through Purgatory to Heaven. When I decided to re-read the work, I found the poetry tortured and the references obscure. So I went comparison shopping, settling on Mark Musa's version. He created an excellent, free-flowing, poetic, and easily understandable translation of the three canticles of Dante's "Divine Comedy" for Penguin Classics.

In addition to the direct translation, Musa provides an introductory summary to each canto, detailed notes following each canto, a glossary of names in the back of each volume, and an introductory essay for each volume. The introduction to "Volume 1: Inferno" gives a thorough introduction to Dante and to his other works as well as to the Inferno. Following the introduction is a translator's note. The introductions to "Purgatory" and "Paradise" do not go over the extra information presented in "Inferno". It is useful to read all three of Dante's canticles in the Musa translation to get a complete, consistent presentation of the work. Musa does make reference in his notes to one volume to ideas or people presented in the others.

The notes are vital for almost everyone. The references to Biblical, classical, and medieval personalities, myths, time systems, theology, and events come frequently. Few people are up on the ins and outs of Guelf vs. Ghibelline in medieval Italian politics. Musa makes it all as clear as it needs to be.

Musa's version of "Inferno" italicizes the introductory summary before each canticle and retains the detailed, interesting mappings of Hell used in the Sayers edition.

Dante's poem is central to Western civilization. Allowing for some poetic necessities, it pulls classical and medieval history into the framework of Christian theology to show how God's love powers the universe, how people can exercise free will, and how God can help and reward those who trust in Him. It is very easy for the reader to ask how he or she would fare in the afterlife and how to go about finding a better outcome. Some sins are punished severely [like traitors frozen near Lucifer in the ice of the Cocytus lake], and some sins have varying outcomes [E.g., there are some sodomites running on the burning sand of Lower Hell forever and some having their sins burned way in the last stage of Purgatory before going to Paradise.]. Some loves are more blessed than others too. There is much to reflect on. Dante the Pilgrim, drawn by his love for Beatrice gets the full experience.

Reading "The Divine Comedy" is valuable in any translation; Musa's flies along, bringing his audience along with understanding.

This review for "Inferno" applies to "Purgatory" and "Paradise" as well, since the productions are so comparable.

I'll keep this short , i agree it a good book, but it been edited, so parts were cut out, for ex if you see inferno, it around 190 pages in this book, but other it ranges from 430 pages. I don't believe they could fit 400 pages of text in 191 pages.If you want to read the COMPELTE Divine Comedy without editing don't read this book. For me I think this book is too small to fit all 3 Comedys and include Vita Nuova.

Take it from somebody who has three translations of the Divine Comedy. This translation is the best.

With every translation, something is lost (as Dante himself states in his Convivio, book 1), but very little seems to be lost in this one. Mark Musa has preserved the form, the vivid imagery, and the beautiful truths of the Divine Comedy in this translation to English. However, I can't say for certain, because I can't read Italian, much less medieval Tuscan-Italian.

I choose to focus on the translation instead of the work itself since the Divine Comedy is one of the unquesitoned great works of world literature.

In addition to that great work, Dante's other well-known work is his La Vita Nuova (The New Life). Want to have some chills? Finish "Paradise," then dive straight in to La Vita Nuova, and read it as fast as possible. You'll see what I mean.

Also included is a nice biography on Dante and a nice treatment and explanation of Dante's writing. This book is a must own for anybody.

Dante's "Divine Comedy" has been something I wanted to read for a very long time, but never quite got around to until recently. I haven't yet compiled anything like a Top Ten list of favorite books, but if I did, the Comedy would surely find a place on the list. Dante's vision of the ethereal, and his vivid descriptions of the travels he supposedly undertook were stunning and tremendously descriptive. I've read that many of Dante's contemporaries fully believed, after reading his accounts, that he did indeed travel to Hell, Purgatory and Paradise (indeed, some of Dante's contemporaries swear that he had singe marks on his face as a result of his travels in Hell). I'm not surprised--the story is told with such a painstaking attention to detail that it is hard to believe it could have been imagined.

The overarching message of the Comedy appealed to me--in order to overcome sin and evil, man must first encounter and understand it fully. This Dante does, traveling through Hell and Purgatory to intellectually comprehend the various and manifold degrees of sin and fault. Through the patience and teaching of his guides: Virgil, Beatrice and finally St. Bernard, Dante is exposed to sin and accounts of human frailty, without actually succumbing to that frailty himself. It is, in many ways, the best of both worlds. And with each lesson--and the corresponding conquest of sinful desire associated with the lesson--Dante further prepares himself for his ascent to Paradise, and for his glimpse into the Mind of God, whom Dante, in the last canto of "Il Paradiso," unforgettably portrays as an Unmoved Mover of the sun and the stars. Dante's exploration of the ethereal--and his corresponding self-exploration--is profoundly intellectual in nature, and yet, it captures very effectively the full range of emotions a pilgrim would feel if he undertook the extraordinary journey that Dante purports to have taken--emotions which include shock, horror, terror, pity, sadness, and ultimately ecstatic joy.

Of course, there are a large number of political motivations behind the writing of "The Divine Comedy." It seems that just about every canto has at least one character condemning--often in violent terms--the state of the Catholic Church in Dante's time. As an opponent of the Church at the time of the writing of the Comedy, Dante likely benefited from employing this argument in his work. Dante also has an interesting habit of placing the souls of friends, comrades and family members in Paradise, or at least Purgatory where they have a chance for redemption--while Dante's enemies find themselves in Hell. Additionally, Dante ensures that characters in the Comedy make very self-serving statements about the conflict between the Guelphs and the Ghibellines--a conflict which caused Dante, as a White Guelph, to be exiled from his beloved city of Florence. I was amused at the fact that many of the characters--indeed, a vast majority of them--were of Italian origin (at times, one cannot help but wonder whether Hell, Purgatory or Paradise are in any way multicultural melting pots). And while individual Jewish figures of great import--such as the prophets--are treated well in the Comedy, at times, Dante makes disturbing statements about how Jews were supposedly responsible for the death of Jesus (though to be fair, this was not an uncommon sentiment in the early 14th century).

However, the self-serving aspects of the Comedy aside, it is a wonderful and fascinating read--one that engenders a large number of emotions. At times, one cannot help but laugh out loud at some of the more hilarious descriptions in the story (whether those descriptions involve a sinner in Hell literally giving the finger to God in the Italian fashion by placing his thumb in between his forefinger and middle finger, or whether they involve the . . . um . . . gaseous emissions of a demon from an orifice that is not his mouth). Others are quite horrifying and disgusting in their gruesome nature--causing me either to turn away momentarily in slight disgust, or to worry about my own fate in some vague and uncertain way. And then, of course, there are images of surpassing beauty described in the Comedy; the radiant beauty of Beatrice, the awesome nature of Paradise, its many spheres, and the characters found there, the complex intellectual design of Hell, Purgatory and Paradise, and the carefully constructed explanations for various physical and spiritual phenomena. "The Divine Comedy" succeeds not only as an epic tale, it succeeds as well as a lucid and serious philosophical text. Indeed, it is one of the best works of literature I have come across in its ability to combine philosophical pedagogy with the clever and compelling relation of an epic tale.

In short, I thoroughly enjoyed this story, and I imagine that I will return to the Comedy for re-readings many a time in the future. And I hope and expect to delight in the story just as much, if not more than I did the first time I read it.

Required reading at many Universities and Business Schools, The Prince is a classic. People the world over continue to show an enduring fascination for Machiavelli, some five hundred years after his death. Equally applicable to political science and business alike, this book is highly recommended for all readers.

Machiavelli's principles, conveyed through The Prince, are timeless; they address a side of human nature not often stated explicitly. By no means 'politically correct,' these principles touch the base emotions and desires of politics and everyday life. While greedy and evil as judged by many of today's cultural norms, the eloquent logic and sound arguments contained within The Prince are captivating. The fascination with Machiavelli is likely to endure for centuries to come.

In today's increasingly competitive and global economic climate, the CEOs of large corporations in many ways face the situation found in Italy in the 16th century. As the fervent wave of large mergers and acquisitions continues, Machiavelli's principles become that much more applicable. A "Prince" or the manager of a new company may also find the advice contained within The Prince very useful, however 'politically incorrect' this advice may be in today's world.

Politicians usually read this text in the first political science class which they take. Actually, understanding Politics without understanding the principles in this text is an impossibility. A person who does not understand the principles of this text is too naive to understand why their leaders do what they do. Politics occurs in business, family life, and other settings, as well as government; Machiavelli's rules may be applied in all of these. Though living by these rules isn't necessary, a successful politician must act with mindfulness of their implications, or face failure. Considering the far reaching implications of Machiavelli's thought, one might wonder why elementary school children do not study "the Prince."

Many people don't have the guts to face what Machiavelli says. He presents the rules of 'hardball' politics; the only time that he mentions morality is when he describes the occasions in which a leader may need to fake it. Politicians have become so adept in following these rules that those whom they lead will often take offense at the suggestion that their leaders live by them. Read this book and understand the daily news.

"The Prince" is the quintessential text of Political Science. The Dover edition, though small, does not lack any of the origional text. It does lack the clutter of scholarly commentaries. It belongs on the shelf of anyone interested in the politics which impacts their life, but it will merely irritate the gullible

After being described as Machiavellian by some of the fellow members of my youth government group, I decided to find out what they meant. I soon discovered that to be Machiavellian, is to be " a person having ruthless ambition, craftiness, and merciless political tactics." I took this comparison as a compliment and learned more Niccolo Machiavelli by reading one of his books, The Prince. The Prince begins with an in-depth historical introduction by Christian Gauss discussing the history of Italy. This background is essential so that readers have a basic understanding of where Machiavelli was coming from with his ideas. Machiavelli, a son of a Florentine lawyer, lived back in the 16th Century. He was a humanist and grew up reading the works of the Romans and the Greeks. It was because of his studies that he was able to analyze history and formulate his own theories on ruling a nation. Following this introduction, Machiavelli essentially provides the first ever "idiots guide to ruling a country" in 26 chapters. Within these chapters he answers questions such as whether it is better to be hated by the people or loved by the aristocracy, whether one should raise armies within a nation or hirer mercenaries, and what happens when you rule as a villain. Machiavelli's philosophy on every aspect of ruling a nation is discussed within this novel. The best part of this novel is how straightforward Machiavelli was in his writing. He cuts the fluff, and is blunt with his points. He is also very original in his thoughts about power. He does not try to conceal the political motives. In one section Machiavelli clearly presents his view on the importance for a prince to have religion:

Whoever reads Roman history attentively will see in how great a degree religion served in the command of the armies, in uniting the people and keeping them well conducted, and in covering the wicked with shame.(Machiavelli, pg. 78)

In this quote, Machiavelli never talks about how spirituality is important in satiating a God. Instead he talks about how a ruler can take advantage of a religion's power to be a massive propaganda machine. This is just the way Machiavelli presents his ideas. His views are often described as ruthless, but I feel they are just honest, accurate reflections of men's motives in politics. When reading the book, the only thing that bothered me was that my knowledge of European history is severely lacking. Frequently within the novel Machiavelli would make references to ancient battles such as the Venetians and France versus the Duke of Milan, or ancient people such as the Spartans, or the Medici. For this reason I would advise taking an AP or College Class in European History. A important insight is lost by a reader without this knowledge in any number of quotes such as this one:

But when one cannot avoid it, as happened in the case of the Florentines when the Pope and Spain went with their armies to attack Lombardy, the prince ought to join for the above reasons.(Machiavelli, pg. 112)

In this quote, I was completely ignorant to the fact that Spain and the Pope ever united, and furthermore that they then attacked a country, Lombardy, one that I had never heard of before. It was just frustrating to read a section and be completely bewildered afterwards, so that is why I suggest having a good knowledge of history before reading this book. By the end of the novel, my mind was racing with Machiavelli's theories on being a great ruler and I was anxious to go out and conquer my own nation. Unfortunately, Machiavelli wrote this a while ago and many of the things he described cannot be implemented today. However, a lot of his basic ideas can still be applied and this serves as an inspiration for me in my quest for power. Even though the days of Princes ruling are dead, anyone from modern day politicians to tech-company owners can appreciate Machiavelli's theories about control of power.