Henry Boyd was born in the UK; the year of birth is unknown, but it is estimated to be around 1749, with his death confirmed in 1832. He is credited with the first known translation of the entire Divine Comedy published between the years of 1785-1802. Previously, the only translated portion was Inferno, translated by Charles Rogers and published in 1782, two years before Boyd’s edition (Alighieri and Rogers).

Boyd had a passion for poetry, publishing his first original poetry book in 1793. In addition to The Comedy, he also attempted to get his translation of La Araucana (from Spanish) published and succeeded in publishing a translation of The triumphs of Petrarch (from Italian). He also published a collection of essays and notes on John Milton’s Paradise Lost (Lunney).

In his introduction, Boyd compares Dante’s poetry to the works of Shakespeare, comparing their “bold original strokes of sublimity and pathos; and often… just and striking delineations of character”, however he remarks that “the nature of the Epic Poetry and the obscurity of his language deprived him of some advantages possessed by the British bard” (Boyd 2). Thus, emphasizing how the imagery of Dante’s Comedy exists only within the minds of the readers, unlike visual dramas. This may be Boyd’s way of indicating that in the translation, he has had no choice but to impart some of his own perspectives onto the text, regardless if this was his intent. Each of the cantos in Boyd’s translation is prefaced with an “argument” which provides a brief summary of what occurs within, in addition to footnotes which mostly provide historical context.

Boyd’s translation is particularly interesting in that the names of many characters and beings are altered from not only the original text, but also the other translations. Most notably, Dante often addresses Vigril as “Maro”—the real-life Roman poet’s last name (Inferno 97). This is an odd choice, considering he is not referred to in this way in the original Italian text or the previously existing translation of the Inferno. Boyd may have used this name as an attempt at familiarity with the poet and text on his behalf or to reflect respect on behalf of the character of Dante.

This is far from the only difference. Later in the same canto, the leopard that appears before Dante in all other translations is replaced by a panther—although it is still said to have a speckled coat (Boyd 95). This is likely due to the early publication date of this translation, as panthers and leopards were not discovered to be different species until around the time Boyd’s translation was written. Looking at the early etymology of different large cat breeds, “the Latin terms panther, pardus, and leopardus were not clearly distinguished in early sources” and were thought to cross-mate with each other—along with lions—leading to the development of different breeds (Lewis et al. 251). The role of the panther in this translation is also noticeably more antagonistic, appearing to be stalking Dante rather than acting more like a blockade as it appears in other translations. This may be an instance of Boyd dramatising the narrative in an effort to create the illusion of more conflict for readers; the drama is heightened as Boyd focuses more on the fear Dante feels while traversing the forest rather than confusion. This gives not just the beasts of the forest—but also the woods themselves—a more ominous feeling.

Moving into Inferno Canto 13, the descriptions of the trees of the suicides are noticeably more graphic than in other translations. After Dante plucks a twig from one of the trees, his hands are said to be “all embru’d in gore” (Inferno 200). Additionally, there is a focus on the profuseness of the bleeding in general. These choices in translation make the forest come across as more grotesque. These more violent depictions may be due to the more negative attitudes surrounding suicide around this time. “It is conventionally assumed that suicide became secularized in the eighteenth century as religious understandings gave way to medical ones” (Houston). During the time Boyd was working on his translation this transformation may not have been fully complete yet, leading to a more negative, rather than empathetic approach towards suicide.

In Canto 14 of Inferno, names are altered yet again as “young Ammon” takes the place of “Alexander”. Although “young Ammon” is not directly clear, it can be assumed this is referring to how Alexander received and proudly wore the title of being the son of Ammon (who is now perhaps more commonly known as Zeus) (Wagner). Similar to Virgil’s name change, the most likely reason for this change seems to be to demonstrate familiarity with—or at the very least knowledge of—the history surrounding Alexander.

The strong ties to Christianity of this time period continue to appear as Boyd appears to refer to paganism as worshipping Hades (Purgatorio 272). This reference to the underworld and Hades, the god of death, reads as intentionally derogatory, but also brings up additional questions as throughout The Comedy aspects of Christianity appear to blur together with Greek mythology and other forms of paganism. This said, Boyd is the only translator to mention a pagan god by name in this instance, once again supplying some degree of familiarity with the subject at hand.

Boyd continues to make religious references in a manner other translators do not, as he writes of “Enna’s bowers” in Canto 28 of Purgatorio, most likely referring to Eden’s garden, although I have not been able to find a source confirming “Enna” to be a substitute for “Eden”. Even the modern day city of Enna in Sicily was not referred to as such until 1927 (Encyclopædia Britannica). Although the city was known as “Henna” in very ancient times there is no evidence to suggest this is what Boyd is referring to.

The strong biblical references Boyd makes return with the description of the mystic rose, as in this translation it is at one point referred to as “Sharon’s rose” (Paradiso 277). This is also a term symbolically used to refer to Jesus in the Old Testament, stemming from the verse: “I am the rose of Sharon, and the lily of the valleys” (Solomon 2:1). Further, “Sharon” refers to a large and beautiful plain in Palestine (Bradley). Together, these create an image of the rose that is very impressive and beautiful. Boyd seems to be assuming his audience will understand these biblical references (and those who read his translation close to the time of its publication likely would) and utilizes them to paint a picture of how he imagines the majesty of the rose.

As a whole, Boyd’s translation seems as though it was a good translation for its time, but for modern day studies the old English is difficult to parse and the font these translations are published in can be difficult to read; the letters “s” and “f” were printed very similarly in all editions I was able to find. The inclusion of catchwords in the Inferno volume truly cements the age in which this translation was written. This version of The Comedy is strikingly different from the rest considering the different names that are given to referenced characters—especially someone as significant as Virgil—and it is interesting to see how the translations have evolved since this one, but I do not see a reason to use it as a standard translation unless for specific scholarly purposes and it certainly would not make sense in this day to read for leisure.

Works Cited

Alighieri, Dante, and Henry Boyd. The Divina Commedia: Inferno. Vol. 1, A. Strahan, 1802.

Alighieri, Dante, and Henry Boyd. The Divina Commedia: Paradiso. Vol. 3, A. Strahan, 1802.

Alighieri, Dante, and Henry Boyd. The Divina Commedia: Purgatorio. Vol. 2, A. Strahan, 1802.

Alighieri, Dante. Dante’s Inferno: First English Translation by Charles Rogers. Translated by Charles Rogers, T. Payne & Son et Al, 1782, dantecomedy.com, https://dantecomedy.com/wp-content/uploads/2022/09/Rogers-Inferno-9-27-22-4.pdf.

Alighieri, Dante. The Divina Commedia of Dante Alighieri. Translated by Henry Boyd, vol. 1, A. Strahan, 1802.

Bible. Solomon 2:1

Bradley, Michael. “Jesus as the Rose of Sharon.” Bible Knowledge, 13 Aug. 2023, www.bible-knowledge.com/jesus-as-the-rose-of-sharon/.

“Enna.” Encyclopædia Britannica, Encyclopædia Britannica, inc., www.britannica.com/place/Enna. Accessed 13 June 2025.

Houston, R. A. “The secularization of suicide?” Punishing the Dead?, 26 Aug. 2010, pp. 285–324, https://doi.org/10.1093/acprof:oso/9780199586424.003.0007.

Lewis, W. J., et al. The Etymologies of Isidore of Seville. Cambridge University Press, 2006.

Lunney, Linde. “Boyd, Henry.” Dictionary of Irish Biography, 2009, www.dib.ie/biography/boyd-henry-a0828.

Wagner, B. B. “Alexander the Great: God of Youth and Ambition?” Ancient Origins Reconstructing the Story of Humanity’s Past, Ancient Origins, 13 Mar. 2023, www.ancient-origins.net/history-famous-people/alexander-great-0013658.