Robert M. Durling is Professor Emeritus of English and Italian Literature at the University of California, Santa Cruz. Ronald L. Martinez is Professor of Italian at Brown University. Their works together include Dante's Inferno and Purgatorio and Time and the Crystal: Studies in Dante's "Rime petrose."
Robert Turner has been a professional illustrator for thirty years.

CONTENTS
Abbreviations, xv
Introduction, 2
PARADISO
CANTO 1
Notes to Canto 1
CANTO 2
Notes to Canto 2
CANTO 3
Notes to Canto 3
CANTO 4
Notes to Canto 4
CANTO 5
Notes to Canto 5
CANTO 6
Notes to Canto 6
CANTO 7
Notes to Canto 7
CANTO 8
Notes to Canto 8
CANTO 9
Notes to Canto 9
CANTO 10
Notes to Canto 10
CANTO 11
Notes to Canto 11
CANTO 12
Notes to Canto 12
CANTO 13
Notes to Canto 13
CANTO 14
Notes to Canto 14
CANTO 15
Notes to Canto 15
CANTO 16
Notes to Canto 16
CANTO 17
Notes to Canto 17
CANTO 18
Notes to Canto 18
CANTO 19
Notes to Canto 19
CANTO 20
Notes to Canto 20
CANTO 21
Notes to Canto 21
CANTO 22
Notes to Canto 22
CANTO 23
Notes to Canto 23
CANTO 24
Notes to Canto 24
CANTO 25
Notes to Canto 25
CANTO 26
Notes to Canto 26
CANTO 27
Notes to Canto 27
CANTO 28
Notes to Canto 28
CANTO 29
Notes to Canto 29
CANTO 30
Notes to Canto 30
CANTO 31
Notes to Canto 31
CANTO 32
Notes to Canto 32
CANTO 33
Notes to Canto 33
THE NICENE CREED
BOETHIUS' O QUI PERPETUA MUNDUM RATIONE GUBERNAS
Notes to "O qui perpetua'
ADDITIONAL NOTES
1. The Figure of Beatrice (After Canto 2)
2. The Paradiso and the Monarchia
3.The Primacy of the Intellect, the Sun, and the Circling Theologians (After Canto 14)
4. Dante and the Liturgy (After Canto 15)
5. The Religious Orders in the Paradiso
6. The Threshold Cantos in the Comedy
7. The Fate of Phaethon in the Comedy
8. Circle-Cross-Eagle-Scales: Images in the Paradiso
9. The Final Image
10. The Neoplatonic Background
11. Dante and Neoplatonism
12. Dante's Astrology
13. The Heavens and the Sciences: Convivio 2
14. The Paradiso as Alpha and Omega
Textual Variants
Bibliography
Index of Italian, Latin, and Other Foreign Words Discussed in the Notes
Index of Passages Cited in the Notes
Index of Proper Names in the Notes
Index of Proper Names in the Text and Translation

In the early 1300s, Dante Alighieri set out to write the three volumes which make the up The Divine Comedy. Purgatorio is the second volume in this set and opens with Dante the poet picturing Dante the pilgrim coming out of the pit of hell. Similar to the Inferno (34 cantos), this volume is divided into 33 cantos, written in tercets (groups of 3 lines). The English prose is arranged in tercets to facilitate easy correspondence to the verse form of the Italian on the facing page, enabling the reader to follow both languages line by line. In an effort to capture the peculiarities of Dante's original language, this translation strives toward the literal and sheds new light on the shape of the poem. Again the text of Purgatorio follows Petrocchi's La Commedia secondo l'antica vulgata, but the editor has departed from Petrocchi's readings in a number of cases, somewhat larger than in the previous Inferno, not without consideration of recent critical readings of the Comedy by scholars such as Lanza (1995, 1997) and Sanguineti (2001). As before, Petrocchi's punctuation has been lightened and American norms have been followed. However, without any pretensions to being "critical", the text presented here is electic and being not persuaded of the exclusive authority of any manuscript, the editor has felt free to adopt readings from various branches of the stemma. One major addition to this second volume is in the notes, where is found the Intercantica - a section for each canto that discusses its relation to the Inferno and which will make it easier for the reader to relate the different parts of the Comedy as a whole.