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　　充满想象力与才情的但丁划时代巨著《神曲》
　　全面描绘西方文明
　　透露出文艺复兴的曙光
　　寓意人类灵魂的进修历程
　　插画大师杜雷原版插图
　　要到达天堂，必须经历地狱和炼狱
　　一部中古文化的“百科全书”

内容简介

但丁的《神曲》是西方世界除了《圣经》以外，影响力*大的一本书。但丁本人也成为西方三大著名诗人之一，被称为意大利语之父，文学的三大精神源泉之一。《神曲》分为《地狱篇》、《炼狱篇》和《天堂篇》来展开故事情节。《神曲：炼狱篇》为中间篇内容，为全英文读本。

作者简介

但丁(1265-1321)：意大利最著名的诗人，现代意大利语的奠基者，欧洲文艺复兴时代的开拓人物，被恩格斯誉为“中世纪的最后一位诗人，同时又是新时代的最初一位诗人”。其代表作《神曲》是古希腊、古罗马文学和文艺复兴时朝文学这两个欧洲文学高峰之间承上启下的伟大作品。在但丁身上，既体现了中世纪的文化思想，又昭示了文艺复兴时期最初的光芒。

目　　录

版权信息
General Preface
Purgatorio：Canto I
Purgatorio：Canto II
Purgatorio：Canto III
Purgatorio：Canto IV
Purgatorio：Canto V
Purgatorio：Canto VI
Purgatorio：Canto VII
Purgatorio：Canto VIII
Purgatorio：Canto IX
Purgatorio：Canto X
Purgatorio：Canto XI
Purgatorio：Canto XII

版权信息 General Preface Purgatorio：Canto I Purgatorio：Canto II Purgatorio：Canto III Purgatorio：Canto IV Purgatorio：Canto V Purgatorio：Canto VI Purgatorio：Canto VII Purgatorio：Canto VIII Purgatorio：Canto IX Purgatorio：Canto X Purgatorio：Canto XI Purgatorio：Canto XII Purgatorio：Canto XIII Purgatorio：Canto XIV Purgatorio：Canto XV Purgatorio：Canto XVI Purgatorio：Canto XVII Purgatorio：Canto XVIII Purgatorio：Canto XIX Purgatorio：Canto XX Purgatorio：Canto XXI Purgatorio：Canto XXII Purgatorio：Canto XXIII Purgatorio：Canto XXIV Purgatorio：Canto XXV Purgatorio：Canto XXVI Purgatorio：Canto XXVII Purgatorio：Canto XXVIII Purgatorio：Canto XXIX Purgatorio：Canto XXX Purgatorio：Canto XXXI Purgatorio：Canto XXXII Purgatorio：Canto XXXIII

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前　　言

　General Preface
　　Millions of Chinese are learning English to acquire knowledge and skills for communication in a world where English has become the primary language for international discourse. Yet not many learners have come to realize that the command of the English language also enables them to have an easy access to the world literary classics such as Shakespeare's plays, Shelley's poems, mark Twain's novels and Nietzsche's works which are an important part of liberal-arts education. The most important goals of universities are not vocational, that is, not merely the giving of knowledge and the training of skills.

General Preface 　　Millions of Chinese are learning English to acquire knowledge and skills for communication in a world where English has become the primary language for international discourse. Yet not many learners have come to realize that the command of the English language also enables them to have an easy access to the world literary classics such as Shakespeare's plays, Shelley's poems, mark Twain's novels and Nietzsche's works which are an important part of liberal-arts education. The most important goals of universities are not vocational, that is, not merely the giving of knowledge and the training of skills. 　　In a broad sense, education aims at broadening young people's mental horizon, cultivating virtues and shaping their character. Lincoln, Mao Zedong and many other great leaders and personages of distinction declared how they drew immense inspiration and strength from literary works. As a matter of fact, many of them had aspired to become writers in their young age. Alexander the Great (356-323 B.C.) is said to take along with him two things, waking or sleeping: a book and a dagger, and the book is Iliad, a literary classic, by Homer. He would put these two much treasured things under his pillow when he went to bed. 　　Today, we face an unprecedented complex and changing world. To cope with this rapid changing world requires not only communication skills, but also adequate knowledge of cultures other than our own home culture. Among the most important developments in present-day global culture is the ever increasing cultural exchanges and understanding between different nations and peoples. And one of the best ways to know foreign cultures is to read their literary works, particularly their literary classics, the soul of a country's culture. They also give you the best language and the feeling of sublimity. 　　Liaoning People's Publishing House is to be congratulated for its foresight and courage in making a new series of world literary classics available to the reading public. It is hoped that people with an adequate command of the English language will read them, like them and keep them as their lifetime companions. 　　I am convinced that the series will make an important contribution to the literary education of the young people in china. At a time when the whole country is emphasizing “spiritual civilization”, it is certainly a very timely venture to put out the series of literary classics for literary and cultural education. 　　Zhang Zhongzai 　　Professor 　　Beijing Foreign Studies University 　　July, 2013 Beijing 　　总序 　　经典名著的语言无疑是最凝练、最优美、最有审美价值的。雪莱的那句“如冬已来临，春天还会远吗？”让多少陷于绝望的人重新燃起希望之火，鼓起勇气，迎接严冬过后的春天。徐志摩一句“悄悄的我走了，正如我悄悄的来；我挥一挥衣袖，不带走一片云彩”又让多少人陶醉。尼采的那句“上帝死了”，又给多少人以振聋发聩的启迪作用。 　　读经典名著，尤其阅读原汁原味作品，可以怡情养性，增长知识，加添才干，丰富情感，开阔视野。所谓“经典”，其实就是作者所属的那个民族的文化积淀，是那个民族的灵魂缩影。英国戏剧泰斗莎士比亚的《哈姆雷特》和《麦克白》等、“意大利语言之父”的但丁的《神曲》之《地狱篇》《炼狱篇》及《天堂篇》、爱尔兰世界一流作家詹姆斯·乔伊斯的《尤利西斯》及《一个艺术家的肖像》等、美国风趣而笔法超一流的著名小说家马克·吐温的《哈克历险记》以及《汤姆索亚历险记》等，德国著名哲学家尼采的《查拉图斯特拉如是说》及《快乐的科学》等等，都为塑造自己民族的文化积淀，做出了永恒的贡献，也同时向世界展示了他们所属的民族的优美剪影。 　　很多著名领袖如林肯、毛泽东等伟大人物，也都曾从经典名著中汲取力量，甚至获得治国理念。耶鲁大学教授查尔斯·希尔曾在题为《经典与治国理念》的文章，阐述了读书与治国之间的绝妙关系。他这样写道：“在几乎所有经典名著中，都可以找到让人叹为观止、深藏其中的治国艺术原则。” 　　经典名著，不仅仅有治国理念，更具提升读者审美情趣的功能。世界上不同时代、不同地域的优秀经典作品，都存在一个共同属性：歌颂赞美人间的真善美，揭露抨击世间的假恶丑。 　　读欧美自但丁以来的经典名著，你会看到，西方无论是在漫长的黑暗时期，抑或进入现代进程时期，总有经典作品问世，对世间的负面，进行冷峻的批判。与此同时，也有更多的大家作品问世，热情讴歌人间的真诚与善良，使读者不由自主地沉浸于经典作品的审美情感之中。 　　英语经典名著，显然是除了汉语经典名著以外，人类整个进程中至关重要的文化遗产的一部分。从历史上看，英语是全世界经典阅读作品中，使用得最广泛的国际性语言。这一事实，没有产生根本性变化。本世纪相当长一段时间，这一事实也似乎不会发生任何变化。而要更深入地了解并切身感受英语经典名著的风采，阅读原汁原味的英语经典作品的过程，显然是必不可少的。 　　辽宁人民出版社及时并隆重推出“最经典英语文库”系列丛书，是具有远见与卓识的出版行为。我相信，这套既可供阅读，同时也具收藏价值的英语原版经典作品系列丛书，在帮助人们了解什么才是经典作品的同时，也一定会成为广大英语爱好者、大中学生以及学生家长们挚爱的“最经典英语文库”。 　　北京外国语大学英语学院 　　北外公共外交研究中心 　　欧美文学研究中心主任 　　全国英国文学学会名誉会长 　　张中载 教授 　　2013年7月于北京

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媒体评论

（但丁是）中世纪的*后一位诗人，同时又是新时代的*初一位诗人。
　　——恩格斯

　　整部《神曲》只有莎士比亚全部剧作堪与比拟。
　　——艾略特“

在线试读部分章节

To run o'er better waters hoists its sail
　　The little vessel of my genius now,
　　That leaves behind itself a sea so cruel;
　　And of that second kingdom will I sing
　　Wherein the human spirit doth purge itself,
　　And to ascend to heaven becometh worthy.
　　But let dead Poesy here rise again,
　　O holy Muses, since that I am yours,
　　And here Calliope somewhat ascend,
　　My song accompanying with that sound,
　　Of which the miserable magpies felt
　　The blow so great, that they despaired of pardon.
　　Sweet colour of the oriental sapphire,
　　That was upgathered in the cloudless aspect
　　Of the pure air, as far as the first circle,
　　Unto mine eyes did recommence delight
　　Soon as I issued forth from the dead air,
　　Which had with sadness filled mine eyes and breast.
　　The beauteous planet, that to love incites,

To run o'er better waters hoists its sail 　　The little vessel of my genius now, 　　That leaves behind itself a sea so cruel; 　　And of that second kingdom will I sing 　　Wherein the human spirit doth purge itself, 　　And to ascend to heaven becometh worthy. 　　But let dead Poesy here rise again, 　　O holy Muses, since that I am yours, 　　And here Calliope somewhat ascend, 　　My song accompanying with that sound, 　　Of which the miserable magpies felt 　　The blow so great, that they despaired of pardon. 　　Sweet colour of the oriental sapphire, 　　That was upgathered in the cloudless aspect 　　Of the pure air, as far as the first circle, 　　Unto mine eyes did recommence delight 　　Soon as I issued forth from the dead air, 　　Which had with sadness filled mine eyes and breast. 　　The beauteous planet, that to love incites, 　　Was making all the orient to laugh, 　　Veiling the Fishes that were in her escort. 　　To the right hand I turned, and fixed my mind 　　Upon the other pole, and saw four stars 　　Ne'er seen before save by the primal people. 　　Rejoicing in their flamelets seemed the heaven. 　　O thou septentrional and widowed site, 　　Because thou art deprived of seeing these! 　　When from regarding them I had withdrawn, 　　Turning a little to the other pole, 　　There where the Wain had disappeared already, 　　I saw beside me an old man alone, 　　Worthy of so much reverence in his look, 　　That more owes not to father any son. 　　A long beard and with white hair intermingled 　　He wore, in semblance like unto the tresses, 　　Of which a double list fell on his breast. 　　The rays of the four consecrated stars 　　Did so adorn his countenance with light, 　　That him I saw as were the sun before him. 　　"Who are you? ye who, counter the blind river, 　　Have fled away from the eternal prison?" 　　Moving those venerable plumes, he said: 　　"Who guided you? or who has been your lamp 　　In issuing forth out of the night profound, 　　That ever black makes the infernal valley? 　　The laws of the abyss, are they thus broken? 　　Or is there changed in heaven some council new, 　　That being damned ye come unto my crags?" 　　Then did my Leader lay his grasp upon me, 　　And with his words, and with his hands and signs,

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