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Adaptation Of Dante's Inferno

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Adaptations are form of art, like video games, that open up dimensions for makers to transcode them while giving them new meanings, in this way keeping them intriguing. In any case, when the same poem, or a component of a poem is utilized in a new way, it will spark debates on which one is superior. Mary Jo Bang gives an innovative, new interpretation of Dante’s Inferno, represented with illustrations by Henrik Drescher. Dante’s epic lyric and Mary Jo Bang’s translation of the Inferno are both extraordinary and novel vehicles through which to experience a journey. When translating this epic poem from the fourteenth century, Mary Jo Bang had substantial shoes to fill and received a lot of flack. All things considered, the poems’ quality…show more content…
Translations are a form of creative expression, but it is important to inquire as to if it kept the integrity of the thing it is adapting. There are excellent, thought-provoking questions to be explored regarding Bang’s taboo and eccentric version of this story. It is an audacious risk that makes the poem live in a way that has never been rendered before. One noteworthy distinction appears right off the bat in Mary Jo Bang’s interpretation of Inferno. Dante-pilgrim talks about his relief after issuing from the dark wood. He says that he felt like a man who, nearly suffocated adrift, arrives, gasping, on the shore. Bang places him, rather, at the edge of a swimming pool. Be that as it may, these two things, the sea and the neighborhood pool, are not close to the same. Bang has made an adaptation of the Inferno that includes components from the modern world that we live in, adding elements from her own poetic style. However, many trust that she payed homage to the original well, while adding some spice to the medieval poem. This is an Inferno with velcro, machine guns, Mickey Mouse, heat-seeking missiles, swift boating, and so forth which makes for an exciting and never been done version. Bang was willing to take risks in order to make the poem more available to the time she was writing it in, and she was happy to court lack of clarity. She says that the she-wolf that prevents Dante from passing has a “bitch-kitty” face; a ghostly Virgil
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