Readers of the poethead blog will note that I dedicate Saturday mornings to the work of women writers, editors and translators. The translation of The Divine Comedy undertaken by Dorothy L. Sayers was completed in part by Barbara Reynolds.
Dorothy L. Sayers considered her translation of The Commedia to be her most important work, and yet only one copy of the book was available through the Dublin Library Service last week. The Guardian Newspaper devoted just a single line to the fact that this work of translation was undertaken by Sayers. In the same instance both The Guardian and the Dublin library service suffer a surfeit of Sayers’ genre or detective stories.
The Divine Comedy translated by Dorothy L. Sayers ( some useful links)
- The published works of Dorothy L. Sayers
- Biography of Dorothy L. Sayers
- Wikipedia Bibliography of the works of Dorothy L. Sayers
- Guardian biography page , gives one line to Sayers‘ translation of The Divine Comedy, www.guardian.co.uk/books/2008/jun/11/dorothylsayers
- The Divine Comedy, Part I, Hell (Penguin Classics)
- The Divine Comedy, Part II, Purgatory (Penguin Classics)
- The Divine Comedy, Part III, Paradise (Penguin Classics) Sayers and Reynolds (Introduction)
Bibliography for Barbara Reynolds (Wikipedia)
- Dante: The Poet, the Political Thinker, the Man. London: I.B. Tauris. 2006. ISBN 978-1845111618.
- Dorothy L. Sayers: Her Life and Soul. London: Hodder & Stoughton. 2002 . ISBN 0-340-72845-0.
- Radice, William; Reynolds, Barbara, eds. (1987). The Translator’s Art: Essays in Honour of Betty Radice. London: Penguin Books. ISBN 0140092269.
- The Passionate Intellect, Dorothy L. Sayers’s Encounter with Dante. Kent, Ohio:. 1989. ISBN 0873383737.
Allegorical portrait of Dante, Agnolo Bronzino, c. 1530 The book he holds is a copy of the Divine Comedy, open to Canto XXV of the Paradiso.
Dorothy L. Sayers produced a classic translation of Dante’s Hell and Purgatorio which is still read. The problem with media and literary journals not citing Sayers or Glasscoe, appears to be based in an institutionalised sexism which is a contributory factor in the invisibility of women editors. Evidently, The Guardian Newspaper and the Dublin library service give more attention to Sayers’ genre works than they do to her translation and other works.
It does not seem to pose great difficulty for male editors and writers to consistently cite what they feel are the definitive texts when the writer happens to be a dude. I believe that women editors and writers must begin to cite the works of women when quoting classical works of literature. If nothing else it may help those women journalists who seem incapable of taking women’s literature seriously.
Note : Recent attacks on Dante’s Commedia delineated in this article show a lack of critical discernment and appreciation by those who would chose what anyone may read.