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THE
PARADISE OF DANTE
THE
PARADISE
OF
DANTE ALIGHIERI
EDITED WITH TRANSLATION AND NOTES
BY
ARTHUR JOHN BUTLER
LATE FELLOW OF TRINITY COLLEGE CAMBRIDGE
Bonbon
MACMILLAN AND CO.
1885
CHARLES DICKENS AND EVANS,
CRYSTAL PALACE PRESS.
PREFACE.
THE transition from the " Purgatory " to the " Paradise "
will produce, it may be feared, on the minds of many
readers the deterrent effect which Dante himself seems to
have foreseen. Several of the reasons which, in the preface
to the second Cantica, I urged as justifying the claims of
that part of the Commedia to special attention, no longer
apply. The mere fact that the doctrine of the Church
respecting the future state would preclude Dante from intro-
ducing many of his own contemporaries as already glorified
spirits,* is sufficient, in some measure, to account for a
falling-off in the human interest of the poem. Most of the
personages who are introduced are, as it were, the common
property of all mankind. They do not owe their very iden-
tity to their place in the great poem as do Francesca,
Farinata, the two Counts of Montefeltro, Forese, and a score
* Of his actual acquaintances, Carlo Martello and Piccarda are the
only two who appear ; Albert the Great, Aquinas, Bonaventura, and
possibly Cunizza, the only others whose lifetime coincided at all with his.
In placing Aquinas and Bonaventura among the saints he only antici-
pated the Church, but even in their cases he must have stretched a
point, so to speak, in order to include them. Quinet's notion of " the
old Ghibeline from the height of heaven letting fall his sentence of pro-
scription on all the world " is as ludicrous as his statement that no one.
whom Dante had known appears in Paradise is incorrect.
vi PREFACE.
of others whom we meet in its first two divisions. Then
again it must be remembered, that while physical pain
offers an endless choice of possibilities, the only pleasure
which is admitted by the dignity of the Christian heaven
is in its nature incapable of much variation. From the
lowest sphere to the highest, it is in the contemplation of
God, and the conforming of the will to His will, that the
souls of the righteous find their perfect consummation and
bliss. The bodily senses, which were all available as
vehicles of torment, whether for punishment or for chasten-
ing, are now reduced to sight and hearing only. From the
objects of these alone can images be drawn ; and though
Dante's genius is nowhere more conspicuous than in the
way he has made use of the means at his disposal, till the
reader himself seems almost to hear the changing melodies
of Heaven and see around him its "primal, essential, all-
pervading light," we must admit that even that genius is at
times overweighted, and, in seeking to avoid monotony, is
apt now and again to fall into what verges on the grotesque.
Let no one, however, suppose that the "Paradise"
shows any failure in the author's powers. It rather affords
a splendid testimony to the richness of their maturity.
Where, for example, has he equalled that noble summary of
Roman history put into the mouth of Justinian, in which
the reader almost hears the rush of the eagle down his
triumphant course ? Where has he drawn any picture with
clearer and yet with more delicate strokes than in Caccia-
guida's description of the old Florentine life, before pride,
envy, avarice, and the lusts of the flesh had marred its
tranquil purity ? Where, in Dante, or indeed in any other
poet, shall we find dignity pathetic as in the lines perhaps
the most often quoted of the whole poem in which his
PREFACE. vii
exile is foretold ? or stern as in St. Peter's invective,
whereat all heaven grew red, against his unworthy succes-
sors ? For pure beauty of devotion what shall we compare
with St. Bernard's address to the Blessed Virgin ? Nor are
these and the like merely " purple patches," as some may
deem, inserted in a dull tissue of metaphysics and theology.
For the philosophical student, to be sure, those parts will
possess the deepest interest, over which one who reads
solely for literary enjoyment will be inclined to pass most
quickly ; though even he, if he does not leave them wholly
unread, will appreciate the skill which has caused a spring
of tender emotion to flow in a desert of metaphysics, and
with a word here or an image there, drawn the music of
Apollo's lute out of harsh and crabbed philosophy. But
those who care for such things will know that, dry and
futile as the disquisitions of the schoolmen may sometimes
appear, and erroneous as we now, with our improved means
of observation, can see that their conclusions often were,
they represent a learning, an acuteness, and an industry
combined in a measure of which the world has rarely seen
the like. Between Aristotle and Bacon it would be hard to
name any thinker who, for knowledge of all that was know-
able in his day, and for force and clearness of reasoning
upon the premises that he had, has left such a mark upon
human thought as Aquinas had done, when he was cut off
at the age of forty-nine. Doubtless he and the rest of the
great band of philosophers whom the twelfth and thirteenth
centuries brought forth, spent their time in efforts to solve
the insoluble ; but are we so very much nearer to success ?
Will Mr. Herbert Spencer's cast seem to the twenty-fifth
century very far beyond the mark of St. Thomas ? This is
not the place to consider how that may be; and I only wish
viii PREFACE.
here to justify myself for having been at some pains in my
notes to consult the interests of those who care to trace the
history of metaphysical speculation. It has seemed best ta
give Greek and Latin quotations in the original. Those
for whom they are intended will probably prefer them in
this form, while others would equally skip them if they were
translated. It must, of course, be understood that both
Dante and St. Thomas read their Aristotle only through
the medium of a Latin rendering ; but this appears to have
been sufficiently accurate to make it quite possible for us to
follow them in the original Greek.
The remarks made in the preface to the " Purgatory " in
regard to the commentators from whom I have derived
most assistance, will apply equally to the present instalment.
I ought however to have spoken with more gratitude of
Dr. Scartazzini, though I still think that his work would
have been more useful if it were less copious. It is hardly
necessary, except perhaps where one is going to differ from
the best authorities, to review all the opinions of prede-
cessors upon disputed passages, still less to record interpre-
tations which are obviously erroneous. The only edition of
importance that has been added to those which we then
possessed is Professor Lubin's ; * another comprehensive
work, consisting of nearly one thousand closely printed
pages. It contains elaborate studies and analyses of the
poem, discussions on allegorical points, plans, and tables ;
also along with the text, an " Ordo," or rearrangement in a
prose form. I cannot profess to have mastered it ; but it is
evident that it contains much that will be of service to
students, more especially in regard to such matters as the
symbolism of certain passages, or the connexion of the
* Padova: Stabilimento della Ditta L. Penada. 1881.
PREFACE. ix
orders of the angelic hierarchy respectively with the various
spheres of which the heaven is composed, and so with the
influences which they exercise upon earthly affairs. He
also gives synoptical tables of the three Cantiche, showing
in a convenient form the general structure * of the poem.
Those who wish to study the " Paradise " with full
comprehension, will find it expedient not only to consult
such commentators as those to whom I have referred, but
to make themselves familiar with the authorities on whom
Dante chiefly relied. I have given in notes such extracts
as seemed more directly to illustrate passages under con-
sideration ; but extracts alone are not enough. The
student should read, either in the original or in Grote,
Aristotle de Caelo, Books i. and ii. ; Metaphysica A. Ch. 6
to the end of the book; and Plato Timaeus, 27 -42 D.
I pretermit any reference to Aquinas, both because it is
difficult to select any particular parts where the whole
system is important, and because so far as selection is pos-
sible, the notes of Philalethe* and Scartazzini will be found
excellent guides. Of Dante's own works, Conv. ii. 2-6,
14, 15, iii. 5; De Mon. i. 11-13, n - 2 J an( ^ perhaps most
of all, the Epistle to Can Grande, form a useful intro-
duction.
We still await the edition of Benvenuto's Commentary,
which has been promised from two quarters ; but, as I said
before, an unknown hand has copied a great deal of it in a
MS. belonging to the University of Cambridge, and of this
I have occasionally availed myself. He appears to have
* This will perhaps be the best point for drawing attention to the
most notable instance of symmetry in the " Paradise." The three great
invectives against the Popes will be found to occur in the 9th, 1 8th,
and 27th Cantos.
x PREFACE.
been the most intelligent of the early commentators. Pietro
di Dante, as edited by Lord Vernon, is now and then
helpful ; but, on the whole, one regrets that he did not see
more of his father in more senses than one. I must express
my thanks to Dr. Moore for information as to MS. readings,
and my hope that his labours in this line may soon bear
fruit for Dante students at large. To thank Mr. Henry
Jackson for help is becoming a " common form " among
Cambridge men in all works where references to Greek
philosophy have to be made. In the present case his assist-
ance in tracing various passages to their Aristotelian source
has been of great service to me.
In editing the text, I have had constantly before me
the Codex Cassinensis, the MS. I call " Gg.," Lord Vernon's
reprint of the four first editions, the two Aldines, and Witte's
large edition. I do not think that there is any variant of
importance which is not to be found in one or other of
these. The various readings given at the foot of the pages
are of course only a selection ; though I have, as a rule,
recorded any which materially affect the sense, or are in
some way typical. It must not therefore be assumed that
where no variant is specified, the authorities all agree ;
indeed, it may be taken for granted that wherever, for
example, chiaro occurs, somebody reads caro, and vice versa ;
so with affetto and effetto. Wherever it is a question of
the omission or insertion of the letter n, MSS. are practically
indeterminate, this letter being usually denoted only by a
line over the preceding vowel. To say more on this point
would be trespassing on Dr. Moore's province ; but I should
like here to express my belief that in many cases the dif-
ference of reading is due to the author himself, and that as
the work proceeded, he distributed copies among his friends,
PREFACE. xi
admitting modifications here and there as they suggested
themselves to him. If this be so, it is clear not only that
all search for an " archetype " will be fruitless, but that even
if we found an undoubted copy in Dante's own hand, it
would not necessarily embody the readings on which he
finally decided.
A few words may perhaps be added in reference to
certain forms peculiar to the last part of the Commedia.
First among them comes that remarkable series of reflexive
verbs compounded with in, which are usually quite untrans-
latable except by a periphrasis. Of these I have counted
twenty-six which occur only in this Cantica. That chiarezza,
chiarita, chiarire, should be found here and not elsewhere,
is perhaps due to the special need of terms implying bright-
ness ; but this is not enough to account for parvente and
parvenza, which occur pretty frequently, though entirely
absent from the former parts of the poem, nor for a large
proportion of the words given in the Glossary. I am strongly
inclined to suspect that an* investigation of these forms
might give a clue to Dante's most frequent place of resi-
dence during the time that he was engaged upon the
concluding portion of his work.
November I, 1885.
CONTENTS.
CANTO I i
CANTO II 15
CANTO III 28
CANTO IV 38
CANTO V 51
CANTO VI 64
CANTO VII. 79
CANTO VIII 94
CANTO IX 109
CANTO X 125
CANTO XI 139
CANTO XII 152
CANTO XIII 167
CANTO XIV 180
CANTO XV 193
CANTO XVI 206
CANTO XVII 223
CANTO XVIII 236
CANTO XIX 248
CANTO XX. . 261
CONTENTS, xiii
PAGE
CANTO XXI 273
CANTO XXII 284
CANTO XXIII 296
CANTO XXIV. 307
CANTO XXV 319
CANTO XXVI 330
CANTO XXVII 343
CANTO XXVIII 35 6
CANTO XXIX 368
CANTO XXX ' 384
CANTO XXXI 395
CANTO XXXII 407
CANTO XXXIII 418
GLOSSARY 429
PRELIMINARY NOTE.
To understand Dante's conception of Paradise, we must
imagine the universe as consisting of nine spheres con-
centric with the earth, which is fixed at the centre, and
surrounded by the spheres of air and fire. The sphere of
fire is immediately in contact with that of the Moon,
beyond which come in order those of Mercury, Venus, the
Sun, Mars, Jupiter, Saturn, and the fixed stars. The last
of all is the sphere of the First Movement, or Primum
Mobile, which governs the general motion of the heavens
from east to west, and by which all place and time is
ultimately measured. Each of these is under the direction
of one of the angelic orders,* and exercises its special in-
fluence on earthly affairs. The three lowest spheres are
allotted to the souls of those whose life on earth was
marred by yielding to the temptations of the world; the
next four to those whose actions were wholly directed by
virtuous motives. The last two have no special tenants
assigned to them, but appear to serve as common places of
meeting, the one to saints, the other to angels. Finally,
outside of all, comes the Empyrean heaven, where is
neither time nor place, but light only ; the special abode of
Deity and resting-place of the saints.
The time occupied in the journey through the different
heavens is twenty-four hours.
* The medieval doctrine on this subject appears to have been
largely drawn from Jewish Cabalistic philosophy. See Ueberweg,
Hist, of Phil. vol. i. 97, especially as to the book called Zohar, com-
posed in the thirteenth century.
ADDITIONS AND CORRECTIONS.
P. 32,1. i for "which below appears so great" read "which
seems so far down."
P. 56, 1. 6 after " shoulder" insert " of his own will."
P. 89, note to canto vii. 109 for " Cf. i. 69 " read " Cf. 1. 69."
P. 115, note to canto ix. 54, last line for "thirteenth" read
" fourteenth."
P. 156, note to canto xii. 50 add : "fogamay mean only 'course/
but I am inclined to think that the idea of heat comes in. See Gloss.
Purg. s. v."
P. 164, note to canto xii. 134 add : "The number twelve appears
to be made up by reckoning the six books of which the seventh is com-
posed, as separate treatises."
P. 168, note to canto xiii. TO add : "It is called in Spanish bocina,
'the horn.'"
P. 172, note to canto xiii. 61 add : "Cf. S. T. i. Q. 54. A. 3:
Accidens vero quod est individui non consequens totam speciem, con-
sequitur materiam, quae est individuationis principium."
P. 228, canto xvii. 52 add note : " offensa : see note to Purg. xxxi.
12. The meaning here seems to be 'stumbled.' "
P. 250, 1. 5 for " any " read "another " ; and for note to canto xix.
28, substitute: "The allusion seems to be to the fact that another
sphere, viz. that of Saturn, which was moved by the order of ' Thrones,'
was more specially connected with God's justice. See ix. 6l."
P. 303, 1. 12 for "divine" read "bright."
P. 398, canto xxxi. 41 add note : "tra esso e il gaudio. For this
curious use of tra-e, cf. Purg. vii. 70, xxiv. 13. It is found even with
a second preposition, as ' tra con parole e con atti,' ' tra per 1' una cosa
e per 1' altra.' Corticelli."
PARADISO.
CANTO I.
ARGUMENT.
Dante, following the direction of Beatrice's eyes, gazes fixedly at the sun,
and presently finds that he is rising on high. He is astonished thereat,
and Beatrice expounds to him the cause of it.
THE glory of Him who moves all things penetrates through
the universe, and shines forth in one quarter more, and
less in another. In the heaven which receives most of His
light was I, and I beheld things which whoso descends
thence has neither knowledge nor power to tell again, seeing
LA gloria di Colui che tutto muove,
Per 1' universo penetra, e risplende
In una parte piu, e meno altrove.
Nel ciel che piu della sua luce prende
Fu' io, e vidi cose che ridire
Ne sa ne puo qual di lassu discende ;
1 che tutto muove. S. T. ii. 2. Q. 104. A. 4 : Deus est primus
motor omnium qui naturaliter moventur. It will be seen throughout
that God is identified with the KIVOVV ou Kivov/jifvov of Aristotle,
Metaph. X. 7. See note to 1. 76, post.
, s. 6 Cf. 2 Cor. xii. 4.
B
PARADISO. CANTO i.
that as it draws near to its desire our understanding plunges
so deep, that back the memory cannot go. Howbeit, so
much of the holy realm as I could treasure up within my
mind shall now be matter for my lay.
O good Apollo, at my latest labour make me a vessel of
thy power so fashioned as thou requirest for the gift of the
beloved laurel. Up to this point the one peak of Parnassus
has sufficed me, but now with both it is meet that I enter
on the remaining lists. Enter thou into my breast and
Perche appressando se al suo disire,
Nostro intelletto si profonda tanto,
Che retro la memoria non pub ire.
Veramente quant' io del regno santo 10
Nella mia mente potei far tesoro,
Sara ora materia del mio canto.
O buono Apollo, all' ultimo lavoro
Fammi del tuo valor si fatto vaso,
Come dimandi a dar 1' amato alloro.
Insino a qui 1' un giogo di Parnaso
Assai mi fu, ma or con ambedue
M' e uopo entrar nell' aringo rimaso.
Entra nel petto mio, e splra tue,
7 al SUO disire : that is to God, TO optKrov, KIVOVV u>s tpd>fj.evov.
S. T. i. Q. 44. A. 3 : Omnia appetunt Deum ut finem. Cf. Conv.
iii. 2.
16-18 There is some difficulty as to the two peaks of Parnassus. The
mountain was " Bromio Phoeboque sacer," but it is plain that Dante is
referring to his invocations of the Muses, Inf. ii. 7 and Pg. i. 8, and an
allusion to Bacchus, though some commentators have been satisfied with
it, would be out of place here. Probably, like Landino after him, he
confused the " biceps Parnassus " with Helicon and Cithaeron. Giogo,
as Philalethes notes, probably suggested the other sense of the Lat.
jugum, and so the metaphor of the race-course.
CANTO i. PARADISO.
inspire, in such wise as when thou drewest forth Marsyas
from the sheath of his limbs. O power divine, if thou
impart thyself to me until I make manifest the image of the
blessed realm which is stamped within my head, thou wilt
see me come to the tree beloved by thee, and crown myself
then with those leaves whereof my matter and thou will
make me worthy. So seldom, Father, is aught plucked
thereof for the triumphing of either Caesar or poet (a fault
Si come quando Marsia traesti 20
Delia vagina delle membra sue.
O divina virtu, se mi ti presti
Tanto che 1' ombra del beato regno
Segnata nel mio capo io manifesti, 3
Venir vedra' mi al tuo diletto legno, b
E coronarmi allor di quelle foglie,
Che la materia e tu mi farai degno.
Si rade volte, Padre, se ne coglie,
Per trionfare o Gesare o poeta
a capo m. Gg. Aid. b Vedrami al pie del t. d. I. Gg.
c Venir, e coronarmi delle f. Gg.
- The reason for the introduction of Marsyas is not clear ; but it
may be meant as an indirect warning to those who would sing without
inspiration. Cf. the allusion to the Picae in Purg. i. n. The story of
Marsyas is told in Ov. Met. vi. 381 sqq. and Fasti vi. 703 sqq.
24 Some omit io, regarding manifest! as the second person, which
gives perhaps even a better sense: "grant thyself to me until thou
bring to light what is now shadowed in my brain."
27 Che is a kind of general relative, standing for " who," " whose,"
" where," "when," etc., as the sense requires. See note to Purg. i. 3,
and Diez iii. 348 ; also Corticelli, s. v. French que is used even more
freely in a similar way. Diez considers that in this use both represent
the Lat. quam.
B 2
PARADISO. CANTO I.
and a reproach of the wills of men) that the leaf of Peneus
ought to bring forth joy upon the joyous godhead of
Delphi whenever any is athirst for it. A mighty flame
follows a little spark; haply after me will men pray with
better words, for Cirrha to make answer.
Through divers passages arises to mortals the lamp of
the world ; but from that one which joins four circles with
three crosses, it issues with a better course and in conjunc-
(Colpa e vergogna dell' umane voglie), 30
Che partorir letizia in su la lieta
Delfica Deita dovria la fronda
Peneia, quando alcun di se asseta. d
Poca favilla gran fiamma seconda :
Forse diretro a me con miglior voci e
Si preghera, perche Cirra risponda.
Surge a' mortali per diverse foci
La lucerna del mondo ; ma da quella,
Che quattro cerchi giugne con tre croci,
d altrtii Gg.
e Dietro da seforse Cass. 14 ; da me 23. Forse retro d. m. W,
3 6 Cirrha, on the coast a few miles distant from Delphi, seems to
have been by the Latin poets confused with Crissa, the town more
immediately connected with the oracle. Pliny (iv. 4), however, dis-
tinguishes them. See on the whole subject, Grote, Hist. Gr. Part II.
ch. xxviii. Here, of course, Cirra is practically synonymous with
Delphi.
37 "Dividitur ista pars, sen tertia cantica, quae Paradisus dicitur,
principaliter in duas partes, scilicet in prologum et partem executivam .
Pars secunda incipit ibi : Surgit mortalibus per diver sas fauces"
Epistle to Can Grande.
38. 39 The equator, the ecliptic, and the equinoctial colure, or great
circle through the pole of the equator and the equinoxes, intersect on
the first point of Aries. At sunrise about the spring equinox this
CANTO i. PARADISO. 5
tion with a better constellation, and more to its own fashion
moulds and seals the wax of the world.
The morning on that side and the evening on this had
made that passage nearly, and there all that hemisphere
was white, and the other part dark, when I saw Beatrice
turned round upon the left flank, and gazing at the Sun :
never did eagle so fix himself on it. And as a second ray
is wont to issue from the first and mount upwards again,
Con miglior corso e con migliore stella 40
Esce congiunta, e la - mondana cera
Piu a suo modo tempera e suggella.
Fatto avea di la mane e di qua sera
Tal foce quasi, e tutto era la bianco f
Quello emisperio, e 1' altra parte nera,
Quando Beatrice in sul sinistro fianco
Vidi rivolta, e riguardar nel sole :
Aquila si non gli s' affisse unquanco.
E si come secondt) raggio suole
Uscir del primo e risalire insuso, 50
f Tal foce e quasi Gg. Bi,
point is therefore on the horizon, which makes the fourth circle : the
three crosses being made by the others with it. Aristotle (De Gen. et
Corr. ii. 9) holds that the cause of creation and dissolution is the sun's
movement in the ecliptic : oi^ V Trpwrr; (popa alria eVri yeveaecos Kal
(pdopas, dXX' T) Kara TOV \obv KI>K\OV . . . 6p>pfv -yap on irpocriovros
p.fv TOV 77X1011 ytvttris ecmv' diriovros 8e cpdi<Tis. So Met. X. 5> 6.
43-45 The time, as we know from Purg. xxxiii. 104, was just mid-day
(not, as Philalethes takes it, " the moment of sunrise "), and accordingly
the hemisphere in which Dante was, was all illuminated, mane must
be understood as the space from sunrise to noon. For fatto, cf. Purg.
ix. 8. On this side of the earth the "evening," i.e., the time from
sunset to midnight, had " made " the like " passage " on the other side.
PARADISO. CANTO i.
even like a pilgrim who wills to return ; so of her action,
poured through the eyes into my imagination, did mine
frame itself, and I fixed my eyes on the Sun beyond our
wont.
Much is lawful there which here is not lawful to our
power, thanks to the place made for a property of the
human kind. I endured it not much, but not so little that
I did not see it sparkle all about, like iron which comes
forth seething from the fire. And of a sudden day seemed
to be added to day, as though He that has the power had
adorned the heaven with a second sun. Beatrice was
Pur come peregrin che tornar vuole,
Cosl dell' atto suo, per gli occhi infuso
NelF immagine mia, il mio si fece,
E fissi gli occhi al sole oltre a nostr' uso. g
Molto e licito la, che qui non lece
Alle nostre virtu, merce del loco
Fatto per proprio dell' umana spece.
lo nol soffersi molto, ne si poco
Ch' io nol vedessi sfavillar dintorno,
Qual ferro che bollente esce del fuoco. 60
|)i E di subito parve giorno a giorno
Essere aggiunto, come Quei che puote
Avesse il ciel d' un altro sole adorno.
s volsi il viso al s. Gg.
quasi, because the time was a few days after the equinox, and there-
fore the sun's path did not pass exactly through the point named. It
seems better to take it thus than to read with Bianchi, " e quasi tutto."
57 Cf. Pg. xxviii. 92, 3. So Aquinas, S. T. i. Q. 104. 2 : Para-
disus est locus conveniens humanae habitation! secundum primum
primae immortalitatis statum.
61 Cf. Isaiah xxx. 26.
CANTO i. PARADISO.
standing all fixed with her eyes upon the eternal wheels ;
and I, my eyes fixed on her, removed from on high, in her
aspect became such inwardly as Glaucus became in the
tasting of the herb, which made him a consort in the sea
with the other Gods. To signify in words transhumanation
were impossible : wherefore let the example suffice him to
whom grace is reserving an experience. If I was only that
part of me which thou last createdst, O Love who orderest
Beatrice tutta nelP eterne ruote
Fissa con gli occhi stava ; ed io in lei
Le luci fisse, di lassii remote,
Nel suo aspetto tal dentro mi fei,
Qual si fe Glauco nel gustar dell' erba,
Che il fe cpnsorto in mar degli altri Dei.
Trasumanar significar per verba 70
Non si poria : pero 1' esempio basti
A cui esperienza grazia serba.
//' S' io era sol di me*quel che creasti
Novellamente, Amor, che il ciel governi,
Tu il sai, che col tuo lume mi levasti.
68 Glaucus tells his own story inOv. Met. xiii. 918 sqq. The lines
to which reference is here made are 944-7 :
" Vix bene combiberant ignotos guttura sucos
Quum subito trepidare intus praecordia sensi,
Alteriusque rapi naturae pectus amore.
Nee potui restare loco."
And 956-9 :
" Hactenus acta tibi possum memoranda referre ;
Hactenus et memini ; nee mens mea cetera sensit.
Quae postquam rediit alium me corpore toto,
Ac fueram nuper, nee eundem mente, recepi. "
73 I.e. " I was in my body" : that being the part of man which
is last to be created. Cf. 2 Cor. xii. 2, 3.
8 PAR AD ISO. CANTO I.
the heaven, thou knowest, for with thy light thou liftedst
me. When the revolution that thou makest everlasting
through desire, brought itself to my attention, with the
harmony which thou temperest and distributest, so much of
the heaven then appeared to me kindled by the flame of
the'Tsun, that rain nor river ever made so wide-spread a
Quando la rota, che tu sempiterni
Desiderate, a se mi fece atteso
Con 1' armonia che temperi e discerni, h
Parvemi tanto allor del cielo acceso
Dalla fiamma del Sol, che pioggia o fiume 80
Lago non fece mai tanto disteso.'
i
11 Con la rota 145 ; isterni Ald.(i) Land. Dan.
' L. non fece alcun Gg. 134; loco . . . alcun Cass.
> 6 '" Literally, "which thou, being desired, makest everlasting. 1 '
We are reminded of the language of the Platonic Timaeus : Ofiav upxrjv
fjpl-aTO anavcrrov KOI efj,(ppovos filov Ttpbs rbv vfjuravra xpovov
(chap. 36) ; but the germ of the doctrine that the movement of the
heavens proceeds from the desire which all created things have for God
is rather to be sought in Ar. Met. A. 7 (1072 a) : etrrt'rt o ov K.ivovfj.fvov
Kivel, diSiov Kal ovcria KOI evepytia ovcra. Ktvei Se S)8e'ro opficrbv KOI
TO vor]Tov Kivti ov Kivovfj-fvov. Cf. also de An. iii. 10. In de Caelo
ii. 2, the various movements of the heavens are explained as depending
on their nearness to the divine origin. Aquinas (S. T. i. Q. 105. A. 2)
translates Aristotle: " Deus movet sicut desideratum et intellectum."
See also Q. 70. So again Conv. ii. 4 : per lo ferventissimo appetito
che ha ciascuna sua pane d' esser congiunta con ciascuna parte di
quello divinissimo cielo quieto in quello si rivolve [sc. il primo mobile]
con tanto desiderio che la sua velocita e quasi incomprensibile.
? 8 armonia. It is curious that Dante should have adopted, as he
appears here to do, the Pythagorean and Platonic doctrine of a harmony
caused by the revolution of the heavenly bodies. Aristotle (de Caelo
ii. 9) discusses it, and decides against it. Aquinas, on Job xxxviii. 37
("concentum caeli quis dormire faciet "), follows Aristotle, and holds
CANTO i. PARADISO.
pool. The strangeness of the sound and the great light
kindled in me a desire for their cause never before felt with
such keenness. Wherefore she who saw me as I see myself,
to set at rest my disturbed mind, before I could do it to
ask, opened her mouth, and began : " Thou thyself makest
thyself gross with false imagining, so that thou seest not
that which thou wouldest have seen, if thou hadst shaken
it off. Thou art not on the earth as thou deemest : but a
thunderbolt flying from its proper abode never sped as thou
dost who art returning to the same." If I was stripped of
the first doubt by the few short words which were smiled
La novitk del suono e il grande lume
Di lor cagion m' accesero un disio
Mai non sentito di cotanto acume.
Ond' ella, che vedea me si com' io,
A quietarmi 1' animo commosso, k
Pria ch' io a dimandar, la bocca aprio :
E comincib : Tu stesso ti fai grosso
Col falso immaginar, si che non vedi
Cib che vedresti, se 1' avessi scosso. 90
Tu non se' in terra si come tu credi ;
Ma folgore, fuggendo il proprio sito,
Non corse come tu ch' ad esso riedi. 1
S' io fui del primo dubbio disvestito
Per le sorrise parolette brevi,
k acquetarmi Cass. ' corria Gg.
that the " concentus " must be taken metaphorically " pro sola con-
venientia caelestium motuum qui nunquam dormiunt. "
92 il proprio sito, i.e., the sphere of fire, in which it is generated
and to which it belongs. v
93 corse, in aorist sense. See note to Purg. xxxii. 34.
io PARADISO. CANTO I.
on me, inwardly I was more enmeshed in a new; and I
said : "Already I have rested content from a great wonder-
ing; but now I wonder how I may rise past these light
bodies." Wherefore she, after a kindly sigh, directed her
eyes toward me with that countenance which a mother
makes over a son whose reason wanders, and began : " All
things whatsoever have an order among themselves; and
this is form, which makes the universe in the likeness of
God. Here the created beings on high see the traces of
the eternal goodness, which is the end whereunto the rule
aforesaid has been made. In that order which I say have
Dentro ad un nuovo piu fui irretito :
E dissi : Gia contento requievi
Di grande ammirazion : ma ora ammiro
Com' io trascenda questi corpj lievi.
Ond' ella, appresso d' un pio sospTro, 100
Gli occhi drizzo ver me con quel sembiante,
Che madre fa sopra figliuol deliro :
E comincib : le cose tutte quante
Hann' ordine tra loro ; e questo e forma, 1 "
Che 1' universe a Dio fa simigliante.
Qui veggion 1' alte creature 1' orma
Dell' eterno valore, il quale e fine,
Al quale e fatta la toccata norma.
NelP ordine ch' io dico sono accline
m questo in forma 5.
97 Bianchi notes the Lat. form reqitievi, and compares the audivi
of Inf. xxvi. 78.
99 corpi lievi, i.e. air and fire, through the spheres of which he
is now passing.
103.111 g ee no t e at the en( j o f this Canto.
106 1' alte creature. Cf. Pg. xi. 3, "i primi effetti di lassu."
CANTO r. PARADISO. ii
all natures their propension, through divers lots, [as they
are] more or less near to their origin : whereby they move
to divers ports through the great sea of being, and each
with instinct given to it to bear it. This bears away fire
towards the moon ; this is the motive power in the hearts
of men; this binds the earth together and makes it one.
Nor only the creatures which are outside of understanding
does this bow shoot forth, but those that have intellect and
love. The Providence that settles so much, gives ever that
Tutte nature per diverse sorti, no
Piu al principio loro e men vicine ;
Onde si muovono a diversi porti
Per lo gran mar dell' essere, e ciascuna
Con istinto a lei dato che la porti.
Questi ne porta il fuoco inver la Luna ;
Questi nei cuor mortali e permotore ;
Questi la terra in se stringe ed aduna.
Ne pur le creature* che son fuore
D ; intelligenzia, quest' arco
Ma quelle ch' hanno intelletto ed amore. 120
La prowidenza, che cotanto assetta,
Del suo lume fa il ciel sempre quieto,
"5 Cf. Pg. xviii. 28.
118-20 f g T. i. Q. 2. A. 3 : Ea quae non habent cognitionem
non tendunt in finem, nisi directa ab aliquo cognoscente et intelligente,
sicut sagitta a sagittante ; ergo est aliquid intelligens, a quo omnes res
ordinantur ad finem : et hoc dicimus Deum.
121,122 j e t h e Empyrean, or fixed heaven, "luogo di quella somma
Delta che se sola compiutamente vede," and therefore at rest ; while
that next within it, or "primo mobile," "per lo ferventissimo appetite
che ha ciascuna sua parte d' essere congiunta con ciascuna parte di
quello decimo Cielo divinissimo e quieto, in quello si rivolve con tanto
desiderio, che la sua velocita e quasi incomprensibile," Conv. ii. 4. See
also note to 1. 76.
12 PARADISO. CANTO I.
heaven rest in His light, within the which turns that one
which has greatest speed. And now thither, as to a site
appointed, the virtue of that string is bearing us away,
which directs to a happy mark whatsoever it shoots forth.
True is it that as form many times accords not with the
intention of the art, because the matter is deaf to respond,
so from this course the creature departs at whiles ; for it
has the power, when thus urged, to swerve in another
Nel qual si volge quel ch' ha maggior fretta.
Ed ora li, com' a sito decreto,
Qea porta la virtu di quella corda,
Che cio che scocca drizza in segno lieto.
Vero e che come forma non s' accorda
Molte fiate alia intenzion dell' arte,
Perch' a risponder la materia e sorda ;
Cosi da questo corso si diparte 130
Talor la creatura, ch' ha podere
Di piegar, cosi pinta, in altra parte,
(E si come veder si pub cadere
125. 126 Aquinas uses the simile again, S. T. i. Q. 23. Art. I : Ad
..lucl ad quod non potest aliquid virtute suae naturae pervenire, oportet
quod ab alio transmittatur ; sicut sagitta a sagittante mittitur ad
signum : unde, proprie loquendo, rationalis creatura, quae est capax
vitae aeternae, perducitur in ipsam, quasi a Deo transmissa ; and again,
S. T. ii. I. Q. 4. A. 5 : Voluntas tendit in finalem actum intellectus, qui
est beatitudo ; et ideo recta inclinatio voluntatis praeexigitur ad bead-
tudinem : sicut rectus motus sagittae ad percussionem signi.
I2 7 Cf. De Mon. ii. 2 : Perfecto existente artifice, atque optime
organo se habente, si contingat peccatum in forma artis, materiae
tantum imputandum est ; and S. T. ii. I. Q. 4. Art. 4 : Finis com-
paratur ad id quod ordinatur ad finem, sicut forma ad materiam, etc.
133 I.e. as fire, under certain conditions, may behave in a way
contrary to its nature, so may the natural impulses of the soul. Cf.
Purg. xviii. 28-33.
CANTO I. PARADISO. 13
direction (even as fire may be seen to fall from a cloud), if
the first impulse brings it to earth, being turned aside by a
false pleasure. Thou oughtest no more to wonder, if I
rightly judge, at thy ascent, otherwise than at a river if it
falls from a high mountain down to the bottom. It would
be a marvel in thee, if being rid of impediment thou hadst
sate below, as would be living fire quiet on the ground."
Herewith she turned again towards the heaven her gaze.
Fuoco di nube), se 1' impeto primo
L' atterra torto da falso piacere. "
Non dei piu ammirar, se bene stimo,
Lo tuo salir, se non come d' un rivo,
Se d' alto monte scende giuso ad imo.
Maraviglia sarebbe in te, se privo
D' impedimento giu ti fossi assiso, 140
Com' a terra quieto fuoco vivo. p
Quinci rivolse inver lo cielo il viso.
n Laterra torta del f. p. Gg.; dal 5; da 124 ; latcrra a torto da
Cass.; A terra e torto Aid. Land.
salire, non Gg.; per lotuo salir se non Cass.
P aterra quieta ilf. v. Gg.; a terra quiete in Cass.; in terra quiete
in 3 W.; commatera quiete in 145 ; come matera quieta in 2.
137 se non come, lit. "if not as," sc. thou wouldst wonder at.
So iii. 44, where the use is still more curious.
NOTE TO LINES 103 SQQ.
This passage, though it is introduced merely as an explanation
of the process by which Dante is enabled to rise through a medium
lighter than his body, contains in a few lines so perfect a specimen of
the method by which the Aristotelian philosophy was fitted to Christian
1 4. FARAD ISO. CANTO i.
doctrine as to deserve comment and illustration. The general drift of
it is as follows : The Final Cause (TO ov evfica) of created things is
eternal happiness, which consists in the sight of God. (S. T. i. Q. 23.
Art. I : Finis ad quern res creatae ordinantur a Deo est duplex ;
unus ... est vita aeterna, quae in divina visione consistit. With line
106 we may compare the famous passage in Plato, Phaedrus, 247 c :
Kadopq fj.ev avTrjv SiKaioo-vvr)v, Kadopq e o~a>(ppoo-vvr)v, K.r.X.)
But to this end it is necessary that the creature should become like
God. (S. T. i. Q. 86. Art. I : Requiritur ad cognoscendum ut simili-
tude rei cognitae sit in cognoscente quasi quaedam forma ipsius. So
Ar. Met. /3. 4 (1000 b) : 'H yva>o~is TOV 6/j.oi'ou T<W o/iotw. And cf.
I St. John iii. 2.)
Now God being one ev KOI Xdyo> KO.\ dpid/j.<a TO irpatrov KIVOVV
OKLVIJTOV ov, Met. X. 8 (1074 a) likeness to Him can only be obtained
in unity which ' ' pertains to the essence of goodness ; as Boethius proves
by the fact that as all things desire the good, so they desire unity, without
which they cannot exist, for everything exists in so far as it is one."
(S. T. i. Q. 103. Art. 3. and cf. Boeth. Cons. Phil. iii. Prosa II. So
again De Mon. i. 17 : "In omni genere rerum illud est optimum, quod
est maxima unum, ut Philosopho placet, in iis quae de simpliciter ente.")
But this unity, and therefore likeness with God, is found in the order
of creation. (Met. X. 10. ndvra 5e truzTfVa/mu' TTQ)?, dXX' OVK o^ottas
per diverse sorti Koi TrXcora *al Trrrjva Kal (pvrd. Kal 011% OVTWS
f%fi wore IJLTJ eivai darfpat Trpbs Garepov fj.r]8ev, dXX' f<Trl Trpos ri.
Tlpos ntv yap ev airavra crvvrfTaKTcu. S. T. i. Q. 47. Art. 3 : Ipse
ordo in rebus a Deo creatis existens unitatem mundi manifestat. Mundus
enim iste unus dicitur unitate ordinis, secundum quod quaedam ad alia
ordinantur. Quaecunque autem sunt a Deo, ordinem habent ad invicem
et ad ipsum Deum.) This order, then, is the Formal Cause, or quiddity
(6 \oyos rr/s ova-ias, TO TI rjv elvcu) of creation ; and it is by virtue of
this that all things animate and inanimate have their natural propension,
acting more or less strongly according as they are nearer to or further
from their Efficient Cause or dpx^j TTJS Kivfjo-fas; "rotounj y!ip
fud&TOV apx^l aiirav rj (pvais etrri." (Met. I.e.)
But God, as we have seen, is the dpx*) TJJS iuvff<r*tts both for the
universe and for the souls of men ; therefore the same power which
makes the heavens move faster as they are nearer to the Empyrean,
makes the soul in whom will is rightly directed fly to God with more
speed as it draws nearer to Him. S. T. ii. I. Q. 4. A. 4, quoted above,
note to 1. 125.
CANTO II.
ARGUMENT.
They ascend to the first Heaven, of the Moon, and Beatrice corrects an
error in which Dante lay respecting the cause of the marks on its face.
O YE who are in a little bark, desirous to listen, having
followed behind my skiff which goes singing, return to
behold again your own shores, put not forth to sea : for
haply, losing me, ye would be left astray. Over the
O Voi, che siete in piccioletta barca,
Desiderosi d' ascoltar, seguiti
Dietro al mio legno ehe cantando varca,
Tornate a riveder i vostri liti ;
Non vi mettete in pelago, che forse
Perdendo me rimarreste smarriti.
1 sqq. F or t ne metaphor compare the opening lines of the Purgatory.
Whether the caution contained in this passage has reference to any
special persons it is impossible now to say ; but it would seem not
improbable that Dante may have begun to find imitators. In the next
generation we have Fazio degli Uberti, whose " Dittamondo " is un-
doubtedly modelled on the D.C. The resemblance of the warning to
careless hearers and the invitation to those who have qualified them-
selves by due study to be his disciples with the end of the 4th and
beginning of the 5th chapters of the 1st book of the Ethics, to which
Dante himself refers in Conv. iv, 15, can hardly be unintentional. In
1 6 PARADISO. CANTO II.
water which I take none ever sped ; Minerva sends the
breeze, and Apollo is my pilot, and nine Muses point me
out the Bears. Ye other few who have stretched forth your
necks betimes to the angels' bread, whereof one lives here,
but comes not away sated, may well set your vessel through
the deep sea, keeping my wake in front of the water which
comes back smooth again. Those glorious ones who passed
L' acqua ch' io prendo giammai non si corse :
Minerva spira, e conducemi Apollo,
E nove Muse mi dimostran 1' Orse. a
Voi altri pochi, che drizzaste il collo io
Per tempo al pnn deiili Angeli, del quale
Vivesi qui, ma non sen vien satollo :
Metter potete ben per 1' alto sale
Vostro navigio, servando mio solco
Dinanzi all' acqua che ritorna eguale.
Que' gloriosi che passaro a Colco,
a mtove Cass. 3.
Conv. i. I he takes a somewhat different view. "Oh beati," he
exclaims, " que' pochi che seggono a quella mensa ove il pane degli
Angeli si mangia, e miseri quelli che hanno colle pecore comune cibo ! "
But he goes on to say that in common humanity the former should
impart of their plenty to the latter.
7 Portirelli compares Lucr. iv. I, "Avia Pieridum peragro loca,
nullius ante trita solo : " but the idea is a commonplace with poets.
Corse. So Purg. i. i.
9 The question as to nove or miove does not seem to have occurred
to any one before Daniello : but since his time commentators have
been divided. MSS. are of little help, the two words being so easily
miswritten for each other, and miove being possible to spell with or
without the . As far as argument goes, it may be said that nove is
somewhat frigid ; but on the other hand no one has explained why new
Muses should be required, but not a new Minerva or Apollo.
16 *<i<5. See Ov. Met. vii. 120 : Mirantur Colchi ; Minyae clamori-
bus implent, adjiciuntque animos. In Ovid it is rather the residents
CANTO ii. PAR AD ISO, 17
to Colchos wondered not as ye shall do, when they saw
Jason turned to a ploughman.
The innate and everlasting thirst for the God-formed
realm was bearing us off swift as ye see the heaven.
Beatrice was gazing upward and I on her ; and perhaps in
so long a time as a quarrel settles, and flies, and is loosed
from the notch, I saw myself come where a wondrous thing
turned aside my sight to itself; and therefore she from
whom my care could not be hidden, turning toward me
Non s' ammiraron, come voi farete,
Quando lason vider fatto bifolco.
La concreata e perpetua sete
Del deiforme regno cen portava 20
Veloci quasi, come il ciel vedete.
Beatrice in suso, ed io in lei guardava :
E forse in tanto, in quanto un quadrel posa, b
E vola, e dalla noce si dischiava,*
Giunto mi vidi, ove mirabil cosa
Mi torse il viso a se : e perb quella,
Cui non potea mia cura essere ascosa,
Volta ver me si lieta, come bella ;
b in tanto quanto Gg. Cass.
than the visitors with whom astonishment is the chief feeling. Here
again, as in i. 20, there seems no special propriety in the classical
allusion. Is it impertinent to suggest that Dante had just been reading
the 6th and 7th Books of the Metamorphoses when he wrote these
Cantos ?
71 I.e. probably "as swiftly as ye see the heaven move." But may
it not mean " as quickly as the sight of the heaven reaches you," that is,
with the velocity of light, that is, as far as Dante knew, instantaneously ?
2 3. 24 posa, vola, dischiava. Note the inversion of the real order ;
perhaps to indicate the all but simultaneous occurrence of each event.
2 5 The heaven of the Moon.
i8 PARADISO. CANTO II.
joyous as beautiful, said : " Address thy mind with thanks
to God, who has brought us in union with the first star."
It seemed to me that a cloud covered us, lucid, close,
solid and polished, like a diamond which the sun should
strike. Within itself the eternal pearl received us, as water
receives a ray of light, remaining united. If I was body
and here is not conceived how one extension was patient
of another, which must be the case if body enters into
Drizza la mente in Dio grata, mi disse,
Che n' ha congiunti con la prima Stella. 30
Pareva a me, che nube ne coprisse
Lucida spessa solida e pulita,
Quasi adamante che lo Sol ferisse. c
Per entro se 1' eterna margherita
Ne ricevette, com' acqua ricepe
Raggio di luce, permanendo unita.
S' io era corpo, e qui non si concepe
Com' una dimension altra patio,
Ch' esser convien se corpo in corpo repe,
c in che Gg. ; in cut Aid.
i* 39 S. T. L Q. 67. Art. 2 : Locus cujuslibet corporis est alius a.
loco alterius corporis, nee est possibile secundum naturam duo corpora
esse simul in eodem loco ; (from which he proves that light is not a
body). So iii. Q. 57. Art. 4 : Quamvis de natura corporis non sit,
quod possit esse in eodem loco cum alio corpore ; tamen potest hoc
Deus facere per miraculum . . . Corpus ergo Christ! simul potest esse
cum alio corpore in eodem loco, non ex proprietate corporis ; sed per
divinam virtutem assistentem et hoc operantem. See Suppl. Q. 83.
Art. 3 throughout.
38 dimensione usually, as in S. T. Suppl. Q. I.e., represents the
Aristotelian pfyfdos, but here it seems to be rather loosely used in
the sense of "extended body." In S. T. iii. Q. 77. Art. 4, it cor-
responds with o-upa. "Dimensio idem est quod corpus," P. di
Dante.
CANTO II. PAR AD ISO. 19
body the desire ought more to inflame us of beholding
that Essence in which is seen how our nature was united to
God. There will be seen that which we hold by faith,
not demonstrated ; but it will be known of itself, in fashion
of the primary truth which man believes.
I answered : " Lady, as devout as I can most be, do I
give thanks to Him who has removed me from the mortal
world. But tell me, what are the dark marks of this body
which below on earth make some tell tales of Cain ? "
She smiled a little, and then: " If the opinion of mortals
Accender ne dovria piu il disio 40
Di veder quella essenzia, in che si vede, d
Come nostra natura e Dio s' unlo.
Li si vedra cio che tenem per fede,
Non dimostrato, ma fia per se noto,
A guisa del ver primo che 1' uom crede.
lo risposi : Madonna, si devoto,
Quant' esser posso piu, ringrazio lui, e
Lo qual dal mortal mondo m' ha rimoto :
Ma ditemi, che sono i segni bui
Di questo corpo, che laggiuso in terra 50
Fan di Cain favoleggiare altrui ?
Ella sorrise alquanto ; e poi : S' egli erra
L' opinion, mi disse, de' mortali,
d scienzia Gg* e Com esser Gg. Cass. 1234.
45 Not intuitively for Dante, following both Aristotle and Aquinas,
would not admit that our knowledge of primary truths was of this
kind but as a direct object of sense, since it is through the senses
that we obtain our first beliefs. See Purg. xviii. 5S~S7 ; Grote,
Aristotle, p. 256.
51 Cain, cf. Inf. xx. 126; altrui, as in Pg. iv. 54.
5a egli. See note, Pg. xxviii. 37.
C 2
20 PARADISO. CANTO II,
errs," said she to me, "where key of sense unlocks not,
surely the darts of wonder ought not henceforth to prick
thee, since thou seest that in following the senses reason
has its wings shortened. But tell me what thou thinkest
about it of thyself." And I : " That which appears diver-
sified to us up here, I believe that rare and dense bodies
cause." And she : " Thou wilt surely see that thy belief is
sunk in falsehood, if thou listen well to the reasoning that
Dove chiave di senso non disserra,
Certo non ti dovrien punger li strali
D' ammirazione omai ; poi, dietroju sensi f
Vedi che la ragione ha corte 1' ali.
Ma dimmi quel che tu da te ne pensi.
Ed io : Ci6 che n' appar quassu diverse,
Credo che il fanno i corpi rari e densi. 60
Ed ella : Certo assai vedrai sommerso
Nel falso il creder tuo, se bene ascolti 2
L' argomentar, ch' io gli faro avverso.
f dentro ai Gg> s il veder Gg.
60 "J'l. Conv. ii. 14 : Se la Luna si guarda bene, due cose si
veggono in essa proprie, che non si veggono nell' altre stelle ; 1'una
si e 1' ombra ch' e in essa, la quale non e altro che rarita del suo corpo,
alia quale non possono terminare i raggi del Sole e ripercuotersi cosl
come nell' altre parti. He now repeats this theory as to the markings
on the moon's disk; but Beatrice shows that it is untenable, on the
following grounds: (i) the fixed stars are of various degrees of bright-
ness, but we know that this is due to the variety of formal principles
(see below), and not to density or rarity; (2) if the moon's body consist
of rare and dense strata, the former must either extend all through, in
which case they would allow the sun's light to pass in an eclipse, or
must be arranged with the denser parts in layers, lying over them in some
places, so that the light in the darker parts is reflected from a surface
at some distance below the general level of the planet. (She seems to
assume that the "rare" must be absolutely transparent.) But an
OANTO II. PARADISO.
I shall make in opposition to it. The eighth sphere shows
you many lights, the which in quality and magnitude may
be remarked to be of different aspects. If rare and dense
alone had caused this, there would be in all one sole
virtue, more and less distributed, and in proportion. Divers
virtues must needs be the fruits of formal principles, and
these, all save one, would be as a consequence of thy
La spera ottava vi dimostra molti
Lumi, li quali e nel quale e nel quanto
Notar si posson di diversi volti.
Se raro e denso cib facesser tanto,
Una sola virtu sarebbe in tutti
Piu e men distributa, ed altrettanto.
Virtu diverse esser convegnon frutti 70
Di principi formali, e quei, fuor ch' uno,
Seguiteriano a tua ragion distrutti.
experiment with mirrors will show that the intrinsic brightness of light
is not affected by distance. The real cause is to be sought in the virtue
which, having its origin in the ninth heaven, or friinum mobile, is
distributed by the next, or heaven of the fixed stars, in various influence
throughout the universe. It is to be noticed that the heaven of the
Moon is occupied by the souls of those who have failed to keep their
vows unbroken, which may be typified by the flaws in the moon's
lustre, as their inconstancy is by her changes.
7, 71 That is to say, the various influences of the heavenly bodies
are the result of a variety in the original formal causes. See note to
Purg. xvi. 63. Ueberweg quotes Aquinas, Contra Gentiles iii. 24 :
Formae quae sunt in materia venerunt a formis quae sunt sine materia,
et quantum ad hoc verificatur dictum Platonis, quod formae separatae
sunt principia formarum quae sunt in materia, licet posuerit eas per se
subsistentes et causantes immediate formas sensibilium, nos vero
ponimus eas in intellectu existentes et causantes formas inferiores per
motum caeli. convegnon. It is rare to find con-venire used per-
sonally in this sense. Corticelli gives an instance from Boccaccio,
Day 7, Nov. 7 : Per certo io il convengo vedere.
PARADISO. CANTO II.
reasoning destroyed. Further, if rarity were the cause that
thou seekest of that dark part, either this planet would be
to that extent lacking of its matter, or, just as a body
arranges the fat and the lean, so would it change leaves in
its volume. If it were the first, it would be manifest in the
eclipses of the sun, by the light showing through, as when
it is borne into any other rare thing. This is not the case ;
and therefore we have to see about the other : and if it
befall that I quash the other, thy notion will be proved false.
If it be the case that this rare does not pass through, there
must needs be a limit, from whence its contrary does not
allow it to pass further ; and thence the ray from another
body is poured back in such wise as colour returns through
Ancor se raro fosse di quel bruno
Cagion, che tu dimandi, od oltre in parte,
Fora di sua materia si digiuno
Esto pianeta, o s\ come comparte
Lo grasso e il magro un corpo, cosi questo,
Nel suo volume cangerebbe carte.
Se il primo fosse, fora manifesto
Nell' eclissi del Sol, per trasparere 80
Lo lume, come in altro raro ingesto.
Questo non e ; perb e da vedere
Dell' altro, e s' egli avvien, ch' io 1' altro cassi,
Falsificato fia lo tuo parere.
S' egli e che questo raro non trapassi,
Esser conviene un termine, da onde
Lo suo contrario piu passar non lassi :
E indi 1' altrui raggio si rifonde
Cosl, come color torna per vetro,
82 da. For this use see Diez iii. 221.
CANTO ii. PARADISO. 23
glass, which has lead hidden behind it. Now thou wilt say
that the ray shows itself more discoloured there than in
other parts, through being there reflected from a point
further back. From this objection experiment may set thee
free, if thou ever make trial of it ; which is wont to be the
fountain to the streams of your arts. Thou shalt take three
mirrors, and remove two of them from thee in the same
measure, and let the other, further removed, meet thy eyes
between the first two. Turn towards them, and cause a
light to be placed behind thy back so as to illuminate
Lo qual diretro a se piombo nasconde. 90
Or dirai tu, che si dimostra tetro
Quivi lo raggio piii che in altre parti,
Per esser li rifratto piu a retro.
Da questa instanzia pub diliberarti
Esperienza, se giammai la pruovi,
Ch' esser suol fonte ai rivi di vostre arti.
Tre specchi prenderai, e due rimuovi
Da te d' un modo, e 1' altro piu rimosso
Tr' ambo li primi gli occhi tuoi ritruovi :
Rivolto ad essi fa che dopo il dosso h 100
Ti stea un lume, che i tre specchi accenda,
h Rivolti Gg. 14.
The mirror of glass backed with lead is mentioned, Conv. iii. 9.
9 3 rifratto, as in Purg. xv. 22.
' 4 instanzia is the scholastic rendering of Gr. evorao-is, "an
objection," as in Ar. Rhet. ii. 25. See Grote, Aristotle, chap. vi.
96 arte = rather our " science," as in Purg. iv. 80, etc. It represents
Gr. Texyr). Cf. Metaph. a. i : airoftaivti 8' fjrurnmr) KOI Tex^n 8'a
njy ffvrrfipias rots dvdpatTTois.
97 sqq. xhe point is that the intrinsic quality of light is not affected
by distance. The light from the further mirror will only be less in
proportion to the apparent size of the reflecting surface.
24 PARADISO. .CANTO n.
the three mirrors, and return to thee struck back by all.
Although in point of magnitude the furthest image is not
so much extended, thou wilt there see how it is of equal
brightness. Now, as at the strokes of the hot rays, that
which lies under the snow remains bare both of the colour
and the cold which it had before, thee, thus remaining, I
wish to inform in thy intellect with light so living, that it
shall glimmer upon thee in its aspect. Within the heaven
of the eternal peace revolves a body in whose virtue lies the
E torni a te da tutti ripercosso :
Benche nel quanto tanto non si stenda
La vista piii lontana, li vedrai
Come convien ch' egualmente risplenda.
Or come ai colpi degli caldi rai
Delia neve riman nudo il suggetto,
E dal colore e dal freddo primai,
Cos! rimaso te nello intelletto'
Voglio informar di luce si vivace, no
Che ti tremolera nel suo aspetto.
Dentro dal ciel della divina pace
Si gira un corpo, nella cui virtute
' rimosso Gg.
I0 ? Bianchi is clearly wrong in taking suggetto = " sostanza. " It is
absurd to say that when the snow is gone, its substance or matter
remains, stripped of its accidents. I have followed Blane and
Philalethes. " E ogni cosa in che si posa la neve." Danielle.
111 tremolerk. So Purg. i. 117, xii. 90.
n sqq- inside o f the fixed heaven, or Empyrean, revolves the/n'#/w
mobile (i. 122, 123) in which originate the influences which are distributed
by the next heaven, that of the fixed stars (see note to 1. 70), to the
various spheres which make up the universe, much as the various orga ns
make up the human frame.
CANTO ii. PARADISO. 25
being of all that is contained in it. The heaven that follows,
which has so many objects of sight, apportions that being
through divers essences, distinct from it and contained by it.
The other whorls through various differences dispose to
their ends the distinctions which they have within them-
selves, and the germs thereof. These organs of the world
go thus, as thou now seest, from step to step, for they receive
from above and act below. Regard me well, how I am going
L' esser di tutto suo contento giace.
Lo ciel seguente, ch' ha tante vedute,
Quell' esser parte per diverse essenze
Da lui distinte e da lui contenute.
Gli altri giron per varie differenze
Le distinzion, che dentro da se hanno,
Dispongono a lor fini, e lor semenze. 120
Questi organi del mondo cosi vanno,
Come tu vedi omai, di grado in grado,
Che di su prenclono e di sotto fanno. k
Riguarda bene a me si com' io vado 1
k procedono Gg. l Rig. omai a me si Cass.
120 Looking to Purg. xxx. i io, it is, I think, clear that lor semenze
is not coupled with lor fini, but with distinzion, and is governed by
dispongono, as Bianchi takes it. Daniello's note, "lor fine, che sono
gli effetti, e lor semenze, che sono le cause effettive," does not seem to
the purpose, because if that be the meaning here, semenze ought to
come first. He reads fine, it will be observed.
121 De Mundo, ch. 6 : KivrjOfv yap erepov v(f)' erepov, KOI avro
Trd\iv fKivrjcrfv oXXo trvv KoayiO). Met. d. 2 (1013 a. b. ): Sera 8rj
KiVT]<TavTQS aXXov fjLfra^v yiyvtrai rovTfXovs . . . 8ia<p(pfi aXAr/Aaji' o>?
ovra. TO. fifv opyava TU 8' fpya. S. T. i. Q. 106. A. 4 : Dionysius dicit
15 cap. cael. hierarch. quod unaquaeque caelestis essentia intelligentiam
sibi a superiore datam inferiori communicat.
26 PARADISO. CANTO II.
through this topic to the truth which thou desirest, so that
hereafter thou mayest have knowledge to hold the passage
by thyself. The movement and virtue of the holy circles, as
from the smith the craft of the hammer, must needs from
the blessed movers have their breath. And the heaven
which so many lights make fair, from the deep mind of Him
who revolves it takes the image, and makes thereof a seal.
And as the soul within your dust is diffused through
members different and conformed to divers faculties, so
the Intelligence unfolds its goodness multiplied through the
stars, revolving itself upon its unity. Divers virtue makes
Per questo loco al ver che tu disiri,
. ^* -
Si che poi sappi sol tener lo guado.
Lo moto e la virtu dei santi giri,
Come dal fabbro 1' arte del martello,
Da beati motor convien che spiri.
E il ciel, cui tanti lumi fanno bello, 130
Dalla mente profonda che lui volve,
Prende F image, e fassene suggello.
E come 1' alma dentro a vostra polve,
Per differenti membra, e conformate
A diverse potenzie, si risolve ;
Cosi 1' intelligenzia sua bontate
Moltiplicata per le stelle spiega,
Girando se sovra sua unitateT~
130 That is, the heaven of the fixed stars.
134, 135' Bianchi quotes Boethius iii. Metr. 9 : In triplicis mediam
naturae cuncta moventem Connectens animam per consona membra
resolvis. potenzie. Cf. Purg. iv. 10, and note at end of that
Canto.
136 bontate here and in 1. 148 appears to be nearly equiv. to dperij.
See note to Purg. iv.
CANTO II. PARADISO. 27
divers alloy with the precious body which it quickens, in
which it is bound as life in you. Through the happy nature
whence it has its source, the virtue mingled beams through
the body, as joy through a living pupil. From this comes
that which appears different between light and light, not
from dense and rare; this is the formal principle, which
produces in conformity with its goodness, the dull and the
bright."
Virtu diversa fa diversa lega
Col prezioso corpo ch' ell' avviva, 140
Nel qual, si come vita in voi, si lega.
Per la natura lieta, onde deriva,
La virtu mista per lo corpo luce,
Come letizia per pupilla viva.
Da essa vien cio che da luce a luce
Par differente, non da denso e raro :
Essa e formal principle che produce,
Conforme a sua bonta, lo turbo e il chiaro.
139 Cf. S. T. i. Q. 115. Art. 3: Actiones corporum caelestium
diversimode recipiuntur in inferioribus corporibus, secundum diversam
materiae dispositionem.
142 lieta. Cf. Purg. xvi. 89.
*& P. di Dante ends his Commentary on this Canto with the
following remark, which deserves quoting for its almost touching
naivete: "Alia per te vide, imo omnia, quia nil vidi, nee intellexi." //
It is fair to say that the last seven words are not found in all Codices.
'
CANTO III.
ARGUMENT.
Certain souls appear, of those who on earth have taken holy vows, and
failed to keep them. Dante speaks with Piccarda, who shows him
how in Paradise all are content with their lot ; and he sees Constance
the Empress.
THAT sun, which once scalded my breast with love, had,
in proving and refuting, discovered to me the sweet counte-
nance of fair truth; and I, to confess myself corrected,
and certain in such measure as was meet, raised my head
more erect to utter. But a vision appeared, which held
me so straitly to itself by the sight of it, that I did not
remember my confession.
QUEL Sol, che pria d' amor mi scaldb il petto,
Di bella verita m' avea scoverto,
Provando e riprovando, il dolce aspetto :
Ed io, per confessar corretto e certo
Me stesso, tanto quanto si convenne
Levai il capo a profferer piu erto.
Ma visione apparve, che ritenne
A se me tanto stretto, per vedersi,
Che di mia confession non mi sovenne.
3 provando e riprovando, by showing me wherein I was wrong,
and pointing out the true theory.
CANTO in. PARADISO. 29
As through glasses transparent and polished, or through
waters clear and calm, not so deep as to make the bottom
dark, the outlines of our visages return so weak that a pearl
on a white forehead comes not with less force to our eyes,
like this saw I many faces, ready to speak : so that I ran
into the contrary error to that which kindled love between
the man and the fountain. Soon as I took notice of them,
judging them to be mirrored features, I turned aside my
eyes, to see whose they were ; and saw nothing and turned
Quali per vetri trasparenti e tersi, 10
O ver per acque nitide e tranquille
Non si profonde che i fondi sien persi,
Tornan de' nostri visi le postille
Debili si, che perla in bianca fronte
Non vien men tosto alle nostre pupille : a
Tali vid' io piu facce a parlar pronte :
Per ch' io dentro all' error contrario corsi
A quel ch' accese amor tra 1' uomo e il fonte.
Subito, si com' io di lor m' accorsi,
Quelle estimando specchiati sembianti, b 20
Per veder di cui fosser, gli occhi torsi,
E nulla vidi, e ritorsili avanti
* venne forte Gg.; vien men forte 124. b spiegati Gg.
" persi. Many, perhaps most comm. take this as here = per-
duti. There is, however, no other instance in D. C. of this form,
so that it seems better on the whole to take it in the usual sense. See
note to Purg. ix. 97. The image is one of Dante's best.
13 postille. Lit. short marginal or interlinear notes, giving the
sense of a word or passage.
J 7 Narcissus supposed a reflection to be a real face ; I supposed
these faces to be reflections of persons behind me.
30 PARADISO. CANTO in.
them back straight forward in the light of my sweet guide,
who was glowing with a smile in her holy eyes.
" Marvel not though I smile," she said to me, " after
thy childish thought, since thou dost not yet trust thy foot
upon the truth, but turnest round, as the wont is, on
vacancy. These that thou seest are true substances, rele-
gated here for failure of a vow. Wherefore talk with them,
and hear and believe ; for the light of truth which satisfies
them, suffers them not to turn aside their feet from it."
And I directed myself toward the shade that seemed
most fain to converse, and began, like a man from whom
excess of willing takes power : " O spirit created to good
Dritti nel lume della dolce guida,
Che sorridendo ardea negli occhi santi.
Non ti maravigliar perch' io sorrida,
Mi disse, appresso il tuo pueril cotp,
Poi sopra il vero ancor lo pie non fida,
Ma te rivolve, come suole, a voto ;
Vere sustanzie son cio che tu vedi,
Qui rilegate per manco di voto. 30
Pero parla con esse, ed odi e credi, c
Che la verace luce che le appaga,
Da se non lascia lor torcer li piedi.
Ed io all' ombra che parea piu vaga
Di ragionar, drizza' mi, e cominciai,
Quasi com' uom cui troppa voglia smaga :
O ben create spirito, ch' ai rai
c parla con lor Gi>.; cortese 2.
3,33 Perhaps a reference to Psalm cxix. (Vulg. cxviii.) 105 : Lucerna
pedibus meis verbum tuum, et lumen semitis meis.
37 ben create, so ben nati, Purg. v. 60.
CANTO III. PAR AD I SO. 31
who in the rays of eternal life perceivest the sweetness
which if not tasted is never understood, it will be gracious
to me, if thou content me with thy name and your lot."
Wherefore she, readily and with laughing eyes : " Our
charity locks not doors upon a just wish, any more than
that which would have all its court like to itself. I was in
the world a virgin Sister ; and if thy mind regards me well,
my being more fair will not hide me from thee, but thou
wilt recognise that I am Piccarda, who posted here with
these other blessed ones, am blessed in the sphere that
moves most slowly. Our affections which are inflamed only
in the pleasure of the Holy Spirit rejoice, being formed in
Di vita eterna la dolcezza senti,
Che non gustata non s' intende mai ;
Grazioso mi fia, se mi contenti 40
Del nome tuo e della vostra sorte.
Ond' ella pronta e con occhi ridenti :
La nostra carita non serra porte
A giusta voglia, se non come quella,
Che vuol simile a se tutta sua corte.
lo fui nel mondo vergine sorella :
E se la mente tua ben si riguarda,
Non mi ti celera 1' esser piu bella,
Ma riconoscerai ch' io son Piccarda,
Che posta qui con questi altri bead, 50
Beata son nella spera piu tarda.
Li nostri affetti, che solo infiammati
Son nel piacer dello Spirito Santo,
41 vostra, i.e. of thyself and those with thee.
44 se non come. Cf. i. 137. quella = the love of God.
49 Piccarda. See Purg. xxiv. 10-16. She was sister to Corso ancf
Forese Donati.
32 PARADISO. CANTO ill.
His order. And this lot, which below appears so great, is
for this reason given to us, because our vows were neglected,
and void in some part." Wherefore I to her : " In your
marvellous aspects shines forth something divine, which
transmutes you from the former conception. Wherefore I
was not quick to remember; but now that which thou
sayest aids me, so that to recall thy figure is easier to me.
But tell me, ye who are happy here, do ye feel the want of
a higher place, for the sake of fuller vision, or to make to
you more friends?" With those other shades she first
Letizian del suo ordine formati :
E questa sorte, che par giu cotanto,
Perb n' e data, perche fur negletti
Li nostri voti, e voti in alcun canto.
Ond' io a lei : Ne' mirabili aspetti
Vostri risplende non so che divino,
Che vi trasmuta dai primi concetti : 60
Perb non fui a rimembrar festino ;
Ma or m' aiuta cib che tu mi dici,
Si che il raffigurar m j e piu latino. _
Ma dimmi : voi, che siete qui felici,
Desiderate voi piu alto loco,
Per piu vedere, o per piu farvi amici ?
Con quell' altr' ombre pria sorrise un poco :
s4 Remember that ordine is forma : i. 104.
57 Observe the play on voti. See Purg. xxv. 42.
58-60 f t jjjg difficulty at first in recognising her brother Forese,
Purg. xxiii. 43. Dante seems to take a certain pleasure in such parallels
between members of the same family, as in the case of Guido da
Montefeltro and his son Buonconte, Inf. xxvii. and Purg. v.
63 latino. So Conv. ii. 3 : A piu latinamente vedere la sentenzia
litterale. See Glossary.
CANTO in. PARAD1SO. 33
smiled a little ; after that she answered me with such joy
that she appeared to be burning in the prime fire of love :
" Brother, a virtue of charity sets at rest our will, which
makes us wish that only which we have, and lets us not
thirst for aught else. If we desired to be more on high,
our desires would be out of harmony with the will of Him
who distributes us here, for which thou wilt see there is no
capacity in these circles, if to be in charity is necessary
here, and thou regardest well its nature. Rather is it
Da indi mi rispose tanto lieta,
Ch' arder parea d' amor nel primo foco :
Frate, la nostra volonta quieta 70
Virtu di carita, che fa volerne
Sol quel ch' avemo, e d' altro non ci asseta.
Se disiassimo esser piu superne,
Foran discordi gli nostri disiri
Dal voler di colui, che qui ne cerne :
Che vedrai non capere in questi giri ;
S' essere in cantate e qui necesse,
E se la sua natura ben rimiri :
Anzi e formale ad esso beato esse,
68 Da indi = precisely Lat. deinde.
*9 Land, and others understand primo foco as the Moon, and take
d' amor directly with arder; but Vellutello's interpretation seems best :
" cioe nel piu vehemente fuoco d' amore."
. 73 " Nulli beato deest aliquod bonum desiderandum, cum habet
ipsum bonum infinitum." S. T. ii. I. Q. 5. Art. 2.
79 S. T. ii. I. Q. 19. Art. 10 : Conformatur quantum ad hoc
voluntas hominis voluntati divinae quia vult hoc quod Deus vult eum
velle. Est et alius modus conformitatis secundum rationem causae
formalis, ut scilicet homo velit aliquid ex charitate sicut Deus vult ; et
ista etiam conformitas reducitur ad conformitatem formalem, quae
attenditur ex ordine ad ultimum finem: quod est proprikm objectum
charitatis. . . . Sed in particulari nescimus quod Deus velit ... in statu
34 PARADISO. CANTO ill.
formal to this blessed existence to hold oneself within the
divine will, wherefore our wills themselves become one.
So that as we are from threshold to threshold throughout
this realm it pleases all the realm as well as the King who
makes us will within His will. In His will is our peace ; it
is that sea whereunto all moves, that which it creates and
which nature makes." It was clear to me then how every-
where in heaven is paradise, even if the grace of the highest
Good falls not there in one fashion. But as it befalls, if
one food satiates, and the appetite for another still remains,
Tenersi dentro alia divina voglia, 80
Per ch' una fansi nostre voglie stesse.
SI che come noi siam di soglia in soglia
Per questo regno, a tutto il regno piace,
Com' allo re ch' in suo voler ne invoglia. d
In la sua volontade e nostra pace; 6
Ella e quel mare, al qual tutto si muove
Cib ch' ella crea e che natura face.
Chiaro mi fu allor, com' ogni ^oye
In cielo e Paradiso, e si la grazia
Del sommo ben d' un modo non vi piove. 90
Ma si com' egli avvien, se un cibo sazia/
E d' un altro rimane ancor la gola,
d a suo v. Aid. W. Et la sua v. 124 Aid. W.
f che un cibo Gg. 24.
tamen gloriae omnes videbunt in singulis quae volent ordinem eorum ad
id quod Deus circa hoc vult : et ideo non solum formaliter, sed mate-
rialiter in omnibus suam voluntatem Deo conformabunt.
84 invoglia. The use is a little different from that in Purg. xiv. 1 10.
There ne (=n0i) is the remote, here the immediate object.
8 ? God creates the matter, nature ma>kes the form. See S. T. i.
Q. 45, passim.
'
CANTO ill. PAR ADI SO. 35
that one is asked for and the other refused with thanks, in
such wise did I with act and word, to learn from her what
was the web whereof she did not draw the shuttle to the
end.
" A perfect life and high desert place in a higher heaven,"
said she to me, "a dame after whose rule down in your
world they wear the robe and veil, so that all through till
death, waking and sleeping, they may be with that spouse
who accepts every vow which charity conforms to his
pleasure. To follow her I fled a young girl from the world,
and in her habit I enclosed myself and undertook the way
Che quel si chiede, e di quel si ringrazia,
Cosl fee' io con atto e con parola,
Per apprender da lei qual fu la tela,
Onde non trasse insino al_cola spola.
Perfetta vita ed alto merto inciela
Donna piu su, mi disse, alia cui norma
Nel vostro mortdo giu si veste e vela ;
Perche in fino al morir si vegghi e dorma 100
Con quello sposo, ch' ogni voto accetta,
Che caritate a suo piacer conforma.
Dal mondo, per seguirla, giovinetta
Fuggimmi, e nel suo abito mi chiusi,
E promisi la via della sua setta.
95 Danielle's explanation seems the best: "cioe qual si fosse stato
il voto ch' ella non havea adempiato." The objection that Dante
must have known it already, would apply to most of the questions
that he asks concerning the former life of the persons whom he
introduces.
98 Donna. St. Clara was born of a noble family at Assisi, 1194.
She attached herself to her fellow-citizen St. Francis, and under his
direction founded the order which goes by her name. She died 1253.
D 2
36 PARADISO. CANTO in.
of her order. Afterwards men more used to ill than to
good carried me away forth of the sweet cloister; God
knows of what sort was my life thereafter !
"And this other glory, which is displaying itself to thee
on my right side, and which is kindled with all the light
of our sphere, that which I say of me understands of
herself. She was a Sister, and in this wise from her head
was taken the shade of the sacred coif. But after that
she was turned back even to the world, against her own
will and against good custom, she was in her heart never
Uomini poi a mal piu ch' a bene usi,
Fuor mi rapiron della dolce chiostra :
Dio lo si sa, qual poi mia vita fusi.
E quest' altro splendor, che ti si mostra
- _ <-
Dalla mia destra parte, e che s' accende no
Di tutto il lume della spera nostra,
Cib ch' io dico di me, di se intende :
Sorella fu, e cosi le fu tolta
Di capo 1' ombra delle sacre bende.
Ma poi che pur al mondo fu rivolta
Contra suo grado e contra buona usanza,
106 Uomini. I.e. her brother Corso, and a band of his satellites,
who dragged her from the convent, and compelled her to resume the
secular life.
109 S qq. Constance, daughter of Roger, King of Sicily, Apulia, and
Calabria, son of Roger, "the Great Count," the brother of Robert
Guiscard. Her brother William, " the Bad," put her into a convent,
whence she was taken by his son William, " the Good," to be married
to the Emperor Henry VI., son of Frederick Barbarossa. By him she
became the mother of Frederick II., who from her, William having
died without children, inherited the kingdoms of Sicily and Apulia.
(See Villani iv. 20 and v. 16. He rather mixes up the genealogy of
the family.)
CANTO ill. PARADISO. 37
loosed from the veil. This is the light of the great
Constance, who by the second whirlwind of Suabia gave
birth to the third, and the last power."
Thus she talked with me, and then began singing Ave
Maria, and singing she vanished as does a heavy body
through deep water. My sight which followed her so long
as was possible after it lost her turned to the mark of
greatest desire, and converged wholly upon Beatrice ;
but she flashed so in my gaze that at first the sight
endured it not ; and that made me more slow at asking.
Non fu dal vel del cuor giammai disciolta.
Quest' e la luce della gran Gostanza,
Che del secondo vento di Soave
Genero il terzo, e 1' ultima possanza. 120
Cosi parlommi : e poi comincio Ave
Maria, cantando ; e cantando vanio,
Come per acqua cupa cosa grave.
La vista mia, che. tahto la seguio
Quanto possibil fu, poi che la perse,
Volsesi al segno di maggior disio,
Ed a Beatrice tutta si converse :
Ma quella folgoro nello mio sguardo
Si che da prima il viso nol sofferse :
E cio mi fece a dimandar piu tardo. 130
"7 This is the converse of Villani's view: "la quale non volon-
tariamente, ma per temenza di morte, quasi come monaca si nutricava
in alcuno munistero di monache ; " and " era del corpo non della mente
monaca."
120 ultima. Cf. the often-quoted passage Conv. iv. 3 : Federigo
di Soave, ultimo imperadore e re de' Romani (ultimo, dico, per
rispetto al tempo presente, non ostante che Ridolfo e Adolfo e Alberto
poi eletti sieno . . . )
I2 3 Observe the return to the image of 1. n.
CANTO IV.
ARGUMENT.
Dante falls into doubt concerning two matters : first, hgw merit can be
diminished by acts done under compulsion ; secondly in regard to a
certain doctrine of Plato, touching the abode of souls in the stars.
Beatrice resolves both questions.
BETWEEN two foods, distant and moving in like measure, a
man being free would die of hunger, before he should
bring one to his teeth. So would a lamb stand between
two ravening fierce wolves, fearing equally ; so would a
hound stand between two does. Wherefore, if I held my
INTRA due cibi, distanti e moventi
D' un modo, prima si morria di fame,
Che libero uomo 1' un recasse at denti. a
Si si starebbe un agno intra due brame
Di fieri lupi, igualmente temendo :
Si si starebbe un cane intra due dame.
a huon? f un si rec. Aid. Land.
1-6 The dilemma which Dante here states, and which a little later
became known as " the ass of Buridan " (whence doubtless our
familiar phrase is derived), seems to have been a favourite subject of
logic in the Middle Ages. It is at least as old as Aristotle, who in
De Caelo ii. 13 speaks of 6 Trepi TTJS rpixos \6yos rrjs
CANTO iv. PARADISO. 39
peace, I do not blame myself, being urged in one and the
same measure by my doubts, since it was necessary, nor
do I praise.
I held my peace, but my desire was depicted on my
face, and my demand with it in far warmer colours than by
distinct speech. So did Beatrice as did Daniel, in easing
Nebuchadnezzar of wrath which had made him unjustly
cruel ; and said : " I see well how one and another desire
draws thee, so that thy care binds its own self in such
Per che s' io mi tacea, me non riprendo,
Dalli miei dubbj d' un modo sospinto,
Poich' era necessario, ne commendo.
Io mi tacea : ma il mio disir dipinto io
M' era nel viso, e il dimandar con ello
Piu caldo assai, che per parlar distinto.
Fe si Beatrice, qual fe Daniello, b
Nabucodonosor levando d' ira,
Che 1' avea fatto ingiustamente fello.
E disse : Io veggio ben come ti lira
Uno ed altro disio, si che tua cura
Se stessa lega si che fuor non spira.
b Fes si 134 Aid.; Fe se 2.
6p.oia>s Se Trdvrrj TtlVOfUVTlS, on. ov diappayrjcrerai' Kal TOV 8f\^S>VTOS
Kal ireivtoifos cr(p68pa p,V, opolcas 8e Kal rfov eScoSt/iwi/ Kai Troratv
tcrov aTre^ovros' KOI yap TOIITOV r)pefj.eiv avayKaiov- Aquinas S. T. ii. I.
Q. 13. Art. 6 makes the opponent of the orthodox doctrine employ it
as an argument against the freedom of the will, so that it may be
intentionally introduced here at the beginning of a Canto in which
questions concerning the will are discussed. moventi, because
"voluntas movetur ab appetitu sensitive." brame di lupi, like
"sapientia Laeli."
13 I.e. she divined his thought without being told. The allusion is
to Dan. ii. 24.
40 PARADISO. CANTO IV.
wise, that it sends not forth breath. Thou debatest ; if
the good will endures, by what reason does another's
violence diminish the measure of desert in me ? Further
it gives thee occasion for doubting, that the souls appear
to return to the stars, according to the opinion of Plato.
These are the questions which are thrusting with equal
force in thy will ; and therefore I will first treat of that
which has most of gall.
" Of the Seraphim not that one who has most part in
Tu argomenti : Se il buon voler dura,
La violenza altrui per qual ragione 20
Di meritar mi scema la misura ?
Ancor di dubitar ti da cagione,
Q Parer tornarsi 1' anime alle stelle,
Secondo la sentenza di Platone.
Queste son le quistion, che nel tuo velle
Pontano igualmente ; e perb pria
Trattero quella che piu ha di felle.
Dei Serafin colui che piu s' india,
22 - 2 * See the account of the creation of souls in Timaeus 41, 42 :
ucrr7j(ra? 8e TO irav SieiXe v^i^ay lcrapt.dfj.ovs TOIS acrrpot? fvei^if ff
(Kaa-Trjv Trpos fKaarov, not eppipdo-as ois es o^/xa TTJV TOV Trairbs
<j)vcriv e'8e, vopovs T TOVS flfj.app,fvovs ftprjKev avrovs, on yevf(ris
7rpa>Tr) p.ev fcroiro Tfray/jLtvr) pta Tra<riv . . . Kal 6 p,ev ev TOV Trpoo-f]-
Kovra XP VOV /3'ov? TtaXiv els TTJV TOV vn>6flOV 7ropev6els O'IKT)O~IV
ao-Tpov ftiov evdaifjiova KO.\ crvvrj^r/ foi. Dante's doubt arises, as
P. di Dante rightly sees, from the fact that Piccarda having implied
that a place in the sphere of the Moon was assigned to her, "vide-
batur sequi quod dicit Plato, in quo libro asserit animas ad astra redire,
quod est erroneum et reprobatum."
2 ? She deals first with the question which, as affecting the indi-
vidual creation of souls and the freedom of the will, involves a
theological error rather than one of ethics only.
CANTO IV. PAR AD I SO. 41
God, Moses, Samuel, nor that John, whichever thou wilt
take, I say, not Mary, have their stalls in another heaven
than those spirits who but now appeared to thee, nor have
to their being more years or fewer. But all make the first
circle beautiful, and have a life diversely sweet, through
feeling more and less the eternal breath. They show
themselves here, not because this sphere is allotted to
them, but to give a sign of their heavenliness, that it has a
Moise, Samuello, e qnel Giovanni
Qual prender vuogli, io dico, non Maria, 30
Non hanno in altro cielo i loro scanni,
Che quegli spirti che mo t' appariro,
Ne hanno all' esser lor piu o meno anni.
Ma tutti fanno bello il primo giro,
E differentemente han dolce vita,
Per sentir piu e men 1' eterno spiro.
Qui si mostraro, non perche sortita J r~r /
Sia questa spera*lor, ma per far segno
Delia celestial ch' han men salita. 6
c Che pr. Gg. Cass. 124. d d app. Gg.
e della spiritual Gg. 23.
30 I.e. the Evangelist or the Baptist. Corticelli notes vuogli as an
old form.
31 sqq. AH the Blessed have, as will be seen later, their own places
in the Empyrean, or highest heaven, and are not fixed in particular
spheres, as the Platonic doctrine would make them. Nevertheless, the
degree of their blessedness differs (1. 36). This has been from early
times the interpretation of such expressions in N. T. as "many
mansions" ("Per quas," says Aquinas, S. T. ii. I. Q. 5. A. 2, "ut
Augustinus dicit, diversae meritorum dignitates intelliguntur in vita
aeterna "), "one star differeth from another star in glory," the end
of the " Parable of the Talents," etc.
42 PARADISO. CANTO IV.
less ascent. Thus it behoves to speak to your wit, seeing
that only from an object of sense does it apprehend that
which it afterwards makes meet for intelligence. For
this cause the Scripture condescends to your faculty,
and attributes feet and hands to God, and understands
something else ; and holy Church represents to you
with human likeness Gabriel and Michael, and the other
who made Tobias whole again. That which Timaeus
reasons about the souls is not like to what is seen here,
for it seems that as he says he thinks. He says that the
Cos! parlar conviensi al vostro ingegno, 40
Perocche solo da sensato apprende
Cib che fa poscia d' intelletto degno.
Per questo la Scrittura condiscende
A vostra facultate, e piedi e mano
Attribuisce a Dio, ed altro intende :
E santa Chiesa con aspetto umano
Gabbriel e Michel vi rappresenta,
E 1' altro, che Tobbia rifece sano.
Quel che Timeo dell' anime argomenta,
Non e simile a cib, che qui si vede, 50
Perb che come dice par che senta.
Dice, che 1' alma alia sua Stella riede,
41 A very explicit statement of the doctrine, " Nihil esse in intellectu
quod non prius fuerit in sensu." See Purg. xviii. 55. St. Thomas
modifies it slightly: "intellectus operatic oritur a sensu." S. T. i.
Q. 78. A. 4.
48 1' altro. Raphael. Observe that Dante confuses Tobit with
Tobias.
s* Because he appears to be giving what he intends for a real and
not merely a metaphorical account of the origin and destination of the
soul.
CANTO iv. PARADISO. 43
soul returns to its own star, believing that it was cut
thence when nature gave it for form. And haply his own
opinion is otherwise than his words sound, and it may be
that it is with intent not to be mocked. If he means
that to these wheels returns the honour of their influence
and the blame, haply his bow strikes upon some truth.
This principle ill-understood has already turned aside the
whole world almost, so that it has gone astray to give
the names of Jove Mercury and Mars.
Credendo quella quindi esser decisa,
Quando natura per forma la diede.
E forse sua sentenzia e d' altra guisa,
Che la voce non suona, ed esser puote
X - - > r
Con intenzion da non esser derisa.
S' egli intende tornare a queste ruote
L' onor dell' influenza e il biasmo, forse
In alcun vero suo arco percuote. 60
Questo principio male inteso torse
Gia tutto il mondo quasi, si che Giove
Mercuric e Marte a nominar trascorse.
54 De An. ii. I : dvayKoiov apa TTJV ^v^rfv ovcriav elvai a>s
<r<Bfiaroff (j)v<riK.ov Svvajuei a>r]i> e^oiros 1 . S. T. i. Q. j6. A. 4 :
Anima est forma substantialis hominis, etc. Longf. quotes Spenser,
Hymne in Honour of Beauty, 1. 133 : " For soule is forme, and doth the
bodie make."
55-57 This suggestion is rather curious, considering that in an imme-
diately preceding passage of the Timaeus (40 D. ) Plato very distinctly
is speaking otherwise than as he thinks. See Grote ad loc. and Dr.
Thompson's note to Archer Butler, vol. ii. p. 23. Eusebius, it appears,
has noticed the irony in this latter passage.
56 che non suona. For the use of non in comparative sentences
see Diez iii. 394.
63 nominar, "adoravan," Landino. Scartazzini says "to call
upon," referring to Genesis iv. 26. There is clearly an allusion to St.
44 PARADISO. CANTO iv.
" The other doubt which disturbs thee has less venom,
inasmuch as its mischief would not be able to lead thee from
me elsewhere. That our justice should appear unjust in
the eyes of mortals is argument of faith and pertains not to
heretic pravity. But seeing that your understanding well can
L' altra dubitazion che ti commuove,
Ha men velen, pero che sua malizia
Non ti poria menar da me altrove.
Parere ingiusta la nostra giustizia
Negli occhi dei mortali, e argomento f
Di fede, e non d' eretica nequizia.
Ma perch b puote vostro accorgimento 70
f Nel senso Gg.
Augustine, De Civ. Dei vii. 15 : "De stellis quibusdam, quas pagani
deorum suorum nominibus nuncupaverunt." Philalethes, without much
authority, reads "numinar," and renders " vergottern."
67-69 These lines present a good deal of difficulty. Taking them in
connection with those that precede and follow, we see clearly their general
drift, viz., that no heresy is involved in the question under discussion ;
since " nee fides nee opinio potest esse de ipsis visis aut secundum sensum
aut secundum intellectum " (S. T. ii. Q. I. A. 4), while "haeresis
consistit circa ea quae fidei sunt" (ib. id. Q. u) ; and human reason is
able of itself to see that "God's ways are not as man's ways." (See,
for instance, Ar. Eth. v. 7. 3 : TOVTO 8" [ra 8t*caia Kivcla-dai] OVK
ecrriv OVTCOS ex ov > ^-' tcrriv &s. KaiYoi Trapa ye rois deals icrcos
ov8ap.S>f Trap' TJ/JUV 8' eort p.ev ri Kal <pvcret, KIVIJTOV p.fvroi 7rai>.)
This is of course the reason why this second doubt "ha men velen,"
no theological error being involved in it (1. 66). But how can any
doubt on this matter be an " argomento" of faith ? The word has been
variously taken as = " evidence of " (cf. Heb. xi. I , where faith itself
is the argitmentum, in the rendering of the Vulg. ); " argument in favour
of"; "motive, ground for"; or " subject-matter." The last is excluded
by the consideration that the subject-matter of faith is also that of
heresy; while in regard to the others there is the difficulty that if the
doubt was an evidence of Dante's own faith, or an argument or motive
CANTO iv. PARADISO. 45
penetrate to this truth, I will as thou desirest make thee
content. If violence is when he who suffers contributes
nothing to him who compels, these souls were not on its
account excused ; for will, if it wills not, is not brought to
nought, but acts as Nature does in fire, if violence wrench it
Ben penetrare a questa veritate,
Come disiri, ti faro contento.
Se violenza e quando quel che pate
Niente conferisce a quel che sforza,
Non fur quest' alme per essa scusate ;
Che volonta, se non vuol, non s' ammorza,
Ma fa come natura face in foco,
for faith generally, there was no reason why it should be said to have
any "gall" or "venom" at all. The solution is, I think, to be sought
in a phrase of Aquinas, S. T. ii. I. Q. 14. A. 4: "ratio inquisitiva,
quae dicitur argumentum, est rei dubiae faciens fidem." The question
is one which may be fairly discussed, with the result of strengthening
faith, and with no fear of lapsing into heresy. It seems best then to join
d' eretica nequizia directly with e, 4 and interpret 11. 65-72 thus : " There f
is no offence to theological truth in your doubt as to the justice of the I
inferior lot assigned to Piccarda and the rest. To find apparent injustice /
in certain of God's dealings is not a matter of heresy, its discussion is /
even a possible aid to faith. But as it is a matter which reason can |
deal with, I will explain the case before us."
73 sqq. j n or d e r that an action may be blameless it is not sufficient
that it should be involuntary, or done under constraint of violence, i.e.
that the person undergoing compulsion should refrain from any
co-operation with the person compelling : as soon as the pressure is
removed, he must return to his original position, or course of action.
73, 74 Word for word from Aristotle, Eth. iii. i (translated by
Aquinas, S. T. ii. 2. Q. 175. A. I, but incidentally to a different
subject) : Bi'aioi/ Se o\i f/ dp^fj t^asdfv, roiavrr] ovcra ev >J firjdev
crujLi/3aXAerai 6 irpdrrav rj ("or rather") 6 Trao"xcav.
? 6 S. T. ii. I. Q. 6. Art. 4 : Duplex est actus voluntatis : unus
quidem, qui est ejus immediate, velut ab ipsa elicitus, scilicet velle.
Alius autem est actus voluntatis a voluntate imperatus et mediante alia
potentia exercitus. . . . Quantum igitur ad actus a voluntate imperatos.
46 PARAD1SO. CANTO iv.
a thousand times. Wherefore, if it bends little or much, it
follows the force ; and so did these when they might have
returned to the sacred place. If their will had remained
whole, as it held Laurence on the gridiron and made
Mutius stern to his own hand, so it would have hurried
them back by the way whence they were dragged, as soon
as they were loosed ; but so stout a will is too rare. And
by these words, if thou hast gathered them up as thou
oughtest, is the argument quashed, which would have
annoyed thee many times yet.
Se mille volte violenza il torza.
Per che s' ella si piega assai o poco,
Segue la forza ; e cosi queste fero, 80
Possendo ritornare al santo loco. g
Se fosse stato il lor volere intero,
Come tenne Lorenzo in su la grada,
E fece Muzio alia sua man severe,
Cosi P avria ripinte per la strada,
Ond' eran tratte, come furo sciolte :
Ma cosi salda voglia e troppo rada.
E per queste parole, se ricolte
L' hai come dei, e 1' argomento casso,
Che t' avria fatto noia ancor piii volte. 90
s rifuggir Gg.
voluntas violentiam pati potest, inquantum per violentiam exteriora
[? -orem] membra impediri possunt ne imperium voluntatis exequantur ;
sed quantum ad ipsum proprium actum voluntatis, non potest ei violentia
inferri. Aquinas takes the example of a stone thrown upwards, its
nature being to descend ; Dante, as elsewhere, takes fire forced down-
wards. See also Ar. Eth. iii. i, passim, ammorza, lit. "put to
death," but always metaph. Inf. xiv. 63 and (in foxmammorta) 90, etc.
84 Dante is fond of referring to the story of Mutius Scaevola : see
Conv. iv. 5, De Mon. ii. 5,
CANTO iv. PAR AD I SO. 47
" But now another strait is in the way, before thy eyes
such that by thyself thou wouldest not issue from it, before
thou shouldst be weary. I have put it for certain into thy
mind that a soul in bliss could not lie, inasmuch as it is ever
near to the primal truth. And then it was possible for
thee to hear from Piccarda that Constance retained her love
for the veil ; so that she appears in this to be at variance with
me. Many times already, brother, has it befallen that in
order to shun danger, against his will a man has done
Ma or ti s' attraversa un altro passo
Dinanzi agli occhi tal. che per te stesso
Non n' usciresti pria saresti lasso.
lo t' ho per certo nella mente messo,
Ch' alma beata non poria inentire,
Pero che sempre al primo vero e presso : h
E poi potesti da Piccarda udire,
Che 1' affezion del vel Gostanza tenne,
SI ch' ella par qm meco contraddire.
Molte.fiate gia, frate, addivenne 100
Che per fuggir periglio, contro a grato
h Perb ch' 2 . . . appresso Gg. Cass. 124 W.
90 piti volte. I.e. you will see other instances of the same apparent
inequality. See especially xix. 67 sqq. where the question of God's
justice is again discussed.
91 sqq. Beatrice meets a possible objection : if, as Piccarda has said
(iii. 117), Constance was never in heart separated from the religious
life, why did she not act in the way above suggested ?
94.95 See iii. 31 sqq.
100.105 Ar. Eth. I.e.: Evia 8' lews OVK f<mv ai/ay/cacr^iji'at, aXXa
a.Tro6avfTfov iradovn TO. dfivorara- Kal yap TOV ~Evpini8ov
yeXoia (paiverai ra dvayKCKravra p.r)TpoKTOvr)crai. See
Purg. xii. 50 for the story of Alcmaeon.
48 PARADISO. CANTO IV.
that which it behoved not to do : like Alcmaeon, who
when entreated on that behalf by his father, slew his own
mother; not to lack piety, he made himself pitiless.
In regard to this point I wish thee to think that the force
mingles itself with the will, and they act so that the
offences cannot be excused. Will absolute consents not
to the wrong, but it does consent to it in so far as
it fears if it draws back, to fall into a greater distress.
Wherefore, when Piccarda uses that expression, she means
Si fe di quel che far non si convenne :
Come Almeone, che di cio pregato
Dal padre suo, la propria madre spense ;
Per non perder piet^, si fe spietato.
A questo punto voglio che tu pense
Che la forza al voler si mischia, e fanno'
Si che scusar non si posson 1' offense.
Voglia assoluta non consente e\ danno :
Ma consentevi intanto, quanto teme no
Se si ritrae, cadere in piii affanno.
Pero quando Piccarda quello spreme,
' e V voler Gg.
Io s A reminiscence of Ov. Met. ix. 408 : " facto pius et sceleratus
eodem."
io6.m g_ -p. ii. i. Q. 6. A. 6: Quod per metum fit, simpliciter volun-
tarium est, secundum quid autem involuntarium. ... Id enim quod per
metum agitur in se consideratum non est voluntarium, sed fit voluntarium
in casu, scilicet ad vitandum malum quod timetur ; sed si quis recte con-
sideret, magis sunt hujusmodi voluntaria quam involuntaria . . . sicut
projectio mercium in mare fit voluntarium tempore tempestatis, propter
timorem periculi. And Aristotle, I.e.: ebrXwf (voglia assoluta) fj.ev
yap ovftels aTrojSaXAerai CKOU/, eVi o-amjpi'a 8' avrov Kal T>V \onr>v
airavrfs ol vavv f^ovres. Mi/crai ^.tv ovv elcrlv al Toiavrai
CANTO iv. PARADISO. 49
it of the will absolute, and I of the other, so that we both
say true together." ,
Such was the rippling of the sacred stream, which
issued from the fount whence all truth flows down ; such
set at rest one and the other desire. " O love of the
primal Lover, O goddess," said I thereafter, " whose speak-
ing bathes and warms me so that more and more it
quickens me, my affection has no such depth that it may
suffice to render to you grace for grace ; but may He
who sees and can, reply to this. I see well that our
intellect is never sated, if the True illuminate it not, out-
side of whom no truth has space. In that it reposes, as a
creature in a den, so soon as it has reached it; and it
can reach it if not each desire would be in vain. For
Delia voglia assoluta intende, ed io
Dell' altra, si che ver diciamo insieme.
// Cotal fu 1' ondeggiar del santo rio, x -
Ch' usci del fonte, ond' ogni ver deriva :
Tal pose in pace uno ed altro disio.
O amanza del primo amante, o diva,
Diss' io appresso, il cui parlar m' innonda
E scalda si che piii e piu m' avviva : 1 20
Non e 1' affezion mia tanto profonda,
Che basti a render voi grazia per grazia :
Ma quei che vede e puote, a cio risponda.
Io veggio ben, che giammai non si sazia <*,
Nostro intelletto, se il ver non Io illustra,
Di fuor dal qual nessun vero si spazia.
Posasi in e^sp_come fera in lustra,
Tosto che giunto 1' ha : e giunger puollo,
Se non ciascun disio sarebbefrustra.
122 grazia has, of course, the two meanings of "thanks" and
" favour." Cf. Purg. xxxi. 136.
12 9 Cf. Purg. iii. 38 sqq.
E
50 PARADISO. CANTO IV.
that reason is born, in fashion of a scion, the doubt at the
foot of the truth ; and it is nature which urges us to the
summit from ridge to ridge. This invites me, this makes
me bold, with reverence, Lady, to ask you of another truth
which is obscure to me. I would know if one can so make
satisfaction for broken vows with other good deeds, that
they shall not be wanting in your balance."
Beatrice regarded me with her eyes full of love's sparks,
so divine that my powers overcome I turned my back, and
as it were lost myself with downcast eyes.
Nasce per quello a guisa di rampollo 130
Appie del vero il dubbio : ed e natura,
Ch' al sommo pinge noi di collo in collo. k
Questo m' invita, questo m' assicura
Con riverenza, Donna, a dimandarvi
D' un' altra verita, che m' e oscura.
lo vo' saper se 1' uom pub satisfarvi
Ai voti manchi si con altri beni,
Ch' alia vostra stadera non sien parvi.
Beatrice mi guardo con gli occhi pieni
Di faville d' amor, cosi divini, 1 140
Che, vinta mia virtu, diedi le reni, m
E quasi mi perdei con gli occhi chini.
145- ' ton si div. Gg. 3 Aid. Land.
m virtute die Cass. 134 Aid.; virtu diede 2 W.
136 The question as to the commutation of a vow is treated of
S. T. ii. 2. Q. 88. A. 10, but only as a subordinate case of the mor
general one of dispensation.
141 diedi le reni. The commentators contend as to the literal or
figurative application of these words, chiefly, it would appear, on the
ground that Dante would not be guilty of the bad manners of turning
his back on a lady. Those who take the latter view for the most part
read diede, making virtu the subject of it.
:'
CANTO V.
ARGUMENT.
Beatrice shows how no other service can compensate for the breach of
religious vows, because the freedom of the will is the greatest of God's
gifts. Afterwards they rise to the second heaven, of Mercury.
" IF I blaze upon thee in the heat of love beyond the
fashion which is seen upon earth, so that I surpass the
strength of thy eyes, marvel thou not, for this proceeds
from perfect vision, which as it apprehends so moves its
*
S' 10 ti fiammeggio nel caldo d' amore
Di la dal modo che in terra si vede,
Si che degli occhi tuoi vinco il valore,
Non ti maravigliar : che cib precede
Da perfetto veder, che come apprende,
1-6 As we have seen already (Purg. xvii. 91 sqq., xviii. 19 sqq.,
etc. ), apprehension or conception gives rise to love, or desire, and this
is followed by action in the direction of the desired good. " Bonum
est causa amoris per modum objecti ; bonum autem non est objectum
appetitus, nisi prout est apprehensum, et ideo amor requirit aliquam
apprehensionem boni quod amatur. Et propter hoc Philosophus dicit
9. Ethic, quod visio corporalis est principium amoris sensitivi ; et simi-
liter contemplatio spiritualis pulchritudinis vel bonitatis est principium
amoris spiritualis. Sic igitur cognitio est causa amoris ea ratione qua
et bonum, quod non pot est amari nisi cognitum." S. T. ii. I. Q. 27.
E 2
52 PARADISO. CANTO v.
foot towards the apprehended good. I see well how
already shines in thy intellect the eternal light, which when
seen, alone ever kindles love ; and if aught else leads your
love astray, it is nought but some vestige of that, ill-
recognised, which there shines through. Thou wouldst
know if with other service one may repay so much for a
Cos! nel bene appreso muove il piede. 3
lo veggio ben si come gik risplende
Nello intelletto tuo 1' eterna luce,
Che vista sola sempre amore accende : b
E s' altra cosa vostro amor seduce, 10
Non e se non di quella alcun vestigio
Mai conosciuto, che quivi traluce.
Tu vuoi saper se con altro servigio,
Per manco voto si pub render tanto,
a appresso 124 IV. b vista (? vi sta) sola e sempre Gg. Cass. 14.
A. 2. (The reference would seem to be to Eth. ix. 12: rots epSxn TO
opav ayaTrrjroraTov e'trri.) Thus Beatrice meets Dante's desire for more
knowledge with an assurance of her own perfect knowledge, which again
gives rise to perfect love.
6 That appreso and not appresso is the right reading, seems clear
from Mon. i. 14 : primo res apprehenditur, deinde apprehensa bona
aut mala judicatur.
^s Obviously intended to recall his words in 11. 124-126 of the last
Canto.
9 Some take vista sola as = "only by being seen"; but besides the
doubt whether the words can bear that meaning, there is the further
objection that it will apply equally to all objects of desire. The
emphasis is on sempre ; God alone is the one object which is always
desired when seen. There is something to be said for the reading,
"vi sta sola, e sempre." Note in Gg. says: "i.e. quae lux stat in
intellectu tuo sola, sine alia affectione impediente ; quia intellectus auc-
toris erat totus depuratus, et contemplativus circa amorem divinorum."
10 -" Cf. Purg. xvi. 91, xvii. 127.
CANTO v. PARADISO. 53
broken vow as may secure the soul from controversy." So
Beatrice began this chant ; and just as one who breaks not
up his speech, she thus continued her sacred argument :
" The greatest gift which God of His bounty made in
creating, and the most conformed to His goodness, and
that which He most values, was the freedom of the
will, wherewith the creatures that have intelligence all,
and they only, were and are endowed. Now will
Che 1' anima sicuri di litigio.
Si comincio Beatrice questo canto :
E si com' uom che suo parlar non spezza,
Continue cosi il processo santo.
Lo maggior don, che Dio per sua larghezza
Fesse creando, e alia sua bontate 20
Piu conformato, e quel ch' ei piu apprezza,
Fu della volonta la libertate,
Di che le creature intelligent},
E tutte e sole furo e son dotate.
15 litigio, i.e. with God. The idea is the same as in Micah vi. 2.
18 processo. Cf. the "sic proceditur" of Aquinas passim,
'9 sqq. j n almost identical words, De Mon. i. 14, he says : Haec
libertas (sc. arbitrii) . . . est maximum donum humanae naturae a Deo
collatum ; where, according to Giuliani, some too zealous scribes have
added, in certain MSS., "sicut in Paradise comediae jam dixi." See
also Purg. xviii. 73. The argument in the following passage, that free-
will being the greatest of human possessions, and the monastic vows
being the sacrifice of this, no other sacrifice can compensate for the
breach of those vows, appears to be Dante's own. No trace of it is to
be found in S. T. ii. 2. Q. 88, where the subject of vows is fully dis-
cussed, and the orthodox doctrine stated ; though it may have been
suggested by some of the expressions in Art. 6, e.g. "suam voluntatem
obligavit."
231 ** " Solum id quod habet intellectum potest agere judicio liber o
. . . unde ubicunque est intellectus, ibi est liberum arbitrium.''
S. T. i. Q. 59. A. 3, and cf. De Mon. I.e.
54 PARADISO. CANTO v.
appear to thee, if thou argue from this, the high worth
of the vow, if it is so made that God consent when
thou consentest ; because, in the confirming of the pact
between God and the man, a sacrifice is made of this
treasure, being such as I say, and it is made by its own
operation. Therefore what can be rendered for recom-
pense ? If thou thinkest to make a good use of that which
has been offered, thou art desiring to make a good work of
a bad gain. Now thou art informed of the chief point ;
but seeing that holy Church dispenses in this matter
which appears contrary to the truth that I have revealed
Or ti parra, se tu quinci argomenti,
L' alto valor del voto, s' b si fatto,
Che Dio consenta, quando tu consent! :
Che nel fermar tra Dio e 1' uomo il patto,
Vittima fassi di questo tesoro,
Tal qual io dico, e fassi col suo atto. 30
Dunque che render puossi per ristoro ?
Se credi bene usar quel ch' hai offerto,
Di mal toilette vuoi far buon lavoro.
Tu sei omai del maggior punto certo ;
Ma perche santa Chiesa in cio dispensa,
Che par contra lo ver ch' io t' ho scoverto,
c del primo p. Gg. 124.
30 SUO. I.e. of the free-will itself.
33 tolletto. More usually tolto. In Inf. xi. 36 we find the form
tolletta (according to the best reading). The male tolte of the Middle
Ages is well known.
34 maggior punto. I.e. that nothing can wholly atone for the
breach of a vow.
35 s<jq. B u t how then can the Church dispense?
CANTO v. PARADISO. 55
to thee it behoves thee to sit yet a little longer at table,
inasmuch as the hard food which thou hast taken yet
requires aid to be digested by thee.
" Open thy mind to that which I set forth to thee, and
shut it therewithin, for to have heard without retaining,
does not make knowledge. Two things combine to the
essence of this sacrifice ; the one is that in respect of which
it is made ; the other is the agreement. This last is never
cancelled, if not kept, and it is about it that my words
above are so precise ; for this cause the offering only was
Convienti ancor sedere un poco a mensa,
Pero che il cibo rigido ch' hai preso,
/ Richiede ancora aiuto a tua dispensa.
Apri la mente a quel ch' io ti paleso, 40
E fermalvi entro : che non fa scienza,
Senza lo ritenere avere inteso.
Due cose si convengono all' essenza
Di questo sacrificio : 1' una e quella
Di che si fa ; 1' altra e la convenenza.
Quest' ultima giammai non si cancella,
Se non servata, ed intorno di lei
Si precise di sopra si favella :
4*. v Cf. Plato Phaedo 96 B and Menon 98 A.
43 sqq. The v ow must be kept, though the matter may be changed ;
but this only OB condition that what is offered in exchange be of greater
value than that originally proposed. In the case of the monastic vows,
as explained above, this cannot happen, and therefore, as St. Thomas
(S. T. ii. 2. Q. 88. A. n) also holds, "in voto [sc. continentiae]
solennizato per professionem religionis, non potest per ecclesiam
dispensari. "
v Se non servata. I.e. " otherwise than by being kept." Se non
as in i. 138, etc.
56 PARADISO. CANTO v.
made a necessity to the Hebrews, albeit some offered thing
might be commuted, as thou oughtest to know. The other,
which has been explained to thee as the material, can well
be of such a nature that no failure should result if it be
exchanged with other material. But let not any shift a
burden on his shoulder without the turning both of the
white key and of the yellow ; and let him deem every ex-
change foolish if the thing laid aside be not contained in
Perb necessitato fu agli Ebrei d
Pur 1' offerire, ancor che alcuna offerta 50
Si permutasse, come saper dei.
L' altra, che per materia t' e aperta,
Puote bene esser tal che non si falla,
Se con altra materia si converta.
Ma non trasmuti carco alia sua spalla
Per suo arbitrio alcun, senza la volta
E della chiave bianca e della gialla :
Ed ogni permutanza credi stolta,
Se la cosa dimessa in la sorpresa,
d necessit& Gg. W.
49 See Leviticus xxvii. for the Mosaic law on vows generally. The
offerings that might be commuted were the first-born of unclean beasts
and of men ; see also Exodus xiii. 13. The reading necessith is the
more satisfactory from a metrical point of view ; but the weight of
authority seems to be against it.
52 materia. I.e. "di che si fa," 1. 45.
53 falla. This is undoubtedly a subjunctive ; but if so, it cannot be,
as Scartazzini supposes, from fallare (which appears to be used by
Dante only in the sense of " to deceive "); nor, as Eianchi suggests,
from "the old fallert" which, if it existed, would have the same
meaning. There seems no difficulty in taking it as horn fallire.
57 See note to Pg. ix. 118.
CANTO v. PARADISO. 57
that taken up as four in six. For this cause whatsoever
thing weighs so much by its own value that it drags down
every balance cannot be redeemed with other expense.
Let not mortals take the vow jestingly ; be faithful, and
not purblind in doing this, as was Jephthah at his first
offering ; whom it behoved rather to say ' I did ill ' than in
keeping his vow to do worse. So too thou mayest find the
great leader of the Greeks foolish, wherefore Iphigenia
Come il quattro nel sei, non e raccolta. 60
Perb qualunque cosa tanto pesa
Per suo valor, che tragga ogni bilancia,
Soddisfar non si pub con altra spesa.
Non prendano i mortali il voto a ciancia ;
Siate fedeli, ed a cib far non bieci,
Come lepte alia sua prima mancia; 6
Cui piii si convenia dicer : Mai feci,
Che servando far peggio : e cosi stolto
Ritrovar puoi Iq gran duca dei Greci :
Onde pianse Ifigenia il suo bel volto, 70
e come fu 3 Land.; fit lepte Aid.
60 I.e. half as great again. In Lev. xxvii. one-fifth is the addition
required.
6l fe Ecclus. xxiv. 20. Omnis autem ponderatio non est digna con-
tinentis animae.
56 The instance of Jephthah is taken from Aquinas, who quotes
Jerome : "in vovendo fuit stultus, quia discretionem non habuit ; et in
reddendo, impius." prima mancia probably = "offering of the first
thing," and not (as Post. Gg. has it) "filiae primogenitae. "
68 It is quite in Dante's manner to parallel the act of Jephthah with
a case from profane history.
70 In order to make the line scan we must pronounce the name
Ifigenia according to the accent, not the quantity, of 'l
This is the usual, if not invariable rule.
58 PARADISO. CANTO v.
lamented her fair face, and made both fools and wise
lament for her, when they heard tell of a rite so ordered.
Christians, be you of more weight to be moved ; be not
like a feather to every wind ; and deem not that every water
may wash you. Ye have the old and the new Testament,
and the pastor of the Church who guides you ; let this
suffice you to your salvation. If evil concupiscence cries
aught else to you, be men and not senseless cattle, so that
the Jew among you laugh not at you. Do not as a lamb
which leaves its mother's milk, and simple and sportive
fights with itself at its own pleasure."
E fe pianger di se i folli e i savi,
Ch' udir parlar di cosi fatto colto.
Siate, Cristiani, a muovervi piu gravi :
Non siate come penna ad ogni vento,
E non crediate ch' ogni acqua vi lavi.
Avete il vecchio e il nuovo Testamento,
E il Pastor della Chiesa che vi guida :
Questo vi basti a vostro salvamento.
Se mala cupidigia altro vi grida,
Uomini siate, e non pecore matte, 80
Si che il Giudeo tra voi di voi non rida. f
Non fate come agnel, che lascia il latte
Delia sua madre, e semplice e lascivo
Seco medesmo a suo piacer combatte.
f di voi tra voi Cass. 134 W.
?' i folli e i savi. There does not seem to be any special signi-
ficance in this expression. It is most likely a reminiscence of the
Lucretian "aspectuque suo lacrimas effundere cives."
7 2 colto, probably in allusion to Lucretius's "Tantum relligio."
73 Cf. Purg. x. 121.
81 The Jew, having only the Old Testament to guide him, yet
knows what is right in the matter of vows, and does it.
CANTO v. PARADISO. 59
Thus Beatrice to me, as I write ; then she turned round
all full of desire to that quarter where the universe has more
life. Her hush and the change of her countenance imposed
silence on my craving intellect, which already had new
questions before it. And as an arrow, which strikes upon
the mark before the bow-string is at rest, so sped we into
the second realm. Here I saw my Lady so joyous, as she
entered the light of that heaven, that the planet grew
more lucent therefrom. And if the star changed itself and
Cos! Beatrice a me com' io scrivo :
Poi si rivolse tutta disiante
A quella parte, ove il mondo e piii vivo.
Lo suo piacer, e il tramutar sembiante
Poser silenzio al mio cupido ingegno,
Che gia nuove quistioni avea davante. 90
E si come saetta, che nel segno
Percuote pria che sia la corda queta,
Cos! corremmo nel secondo regno.
Quivi la donna mia vid' io si lieta
Come nel lume di quel ciel si mise,
Che piu lucente se ne fe il Pianeta.
8 ? There is considerable diversity in the interpretation of this line.
It is pretty clear that it can neither mean "towards the equator,"
where, as we read in Conv. ii. 4, "ha piu movimento, e piu vita,
e piu forma," nor "towards the prime mobile," because she could
hardly "turn towards" a circle or a sphere exterior to her position.
Some think it = "towards the east." Thus an Italian annotator of Gg.,
probably following Buti, says "cioe verso la parte orientale." The
regular " postillator," who copies Benvenuto, says, "melior expositio
est, i.e. ad speram mercurii, quae est vivacior spera lunae." This,
which is also Giuliani's view (see note to Conv. I.e.), seems the most
reasonable ; only we must understand, not the sphere of Mercury, but
the planet itself. In any case it only means "she looked upwards."
Cf. i. 64.
93 They ascend to Mercury.
60 PARADISO. CANTO v-
smiled, what became I who of my very nature am change-
able through all fashions !
As in a stew, which is calm and clear, the fish draw to
that which from without comes in such a way that they
deem it their food ; so did I see, ay, more than a thousand
splendours draw toward us, and in each was heard, " Lo
one who will increase our loves." And as each came to us,
one might see that the shade was full of joy in the bright
flash which issued from it. Think, reader, if that which is
here begun did not advance, how thou wouldst have a
tormenting want to know more ; and by thyself thou wilt
E se la Stella si cambio e rise,
Qual mi fee' io, che pur di mia natura
Trasmutabile son per tutte guise !
Come in peschiera, ch' e tranquilla e pura, TOO
Traggono i pesci a cio che vien di fuori,*
Per modo che lo stimin lor pastura ; h
Si vid' io ben piu di mille splendori ,
Trarsi ver noi, ed in ciascun s' udia :
Ecco chi crescera li nostri amori.
E si come ciascuno a noi venia,
Vedeasi 1' ombra piena di letizia
Nel folgor chiaro che di lei uscia.
Pensa, Letter, se quel che qui s' inizia
Non procedesse, come tu avresti no
Di piu savere angosciosa carizia :
e Traggonsi Gg. W. 3. h chello stimi sua Gg.
105 crescere is noted by Corticelli among neuter verbs which are
sometimes used actively ; and see Diez iii. 104. Eng. increase is like
it. This line is explained by Pg. xv. 55-57 and 71 sqq.
CANTO v. PARAD1SO. 6 1
see how I had it in desire to hear from these their con-
ditions, so soon as they were manifest to my eyes.
" O born to good, to whom grace is granting to see the
thrones of the eternal triumph before that thy warfare is
abandoned ; we are kindled with the light which is spread
throughout the heaven; and therefore if thou desire to be
enlightened of us, sate thyself at thy pleasure."
Thus by one of those kind spirits was it said to me ;
and by Beatrice : " Speak, speak in safety, and trust as if in
Gods."
" I see well how thou dost nestle in thy own light, and
E per te vederai, come da questi 1
M' era in disio d' udir lor condizioni,
Si come agli occhi mi fur manifest!.
O ben'e nato, a cui veder li troni
Del trionfo eternal concede grazia
Prima che la milizia s' abbandoni ;
Del lume, che per iutto il ciel si spazia,
Noi semo accesi : e perb se disii
Da noi chiarirti, a tuo piacer ti sazia. 120
Cosi da un di quelli spirti pii
Detto mi fu ; e da Beatrice : Di' di'
Sicuramente, e credi come a Dii.
lo veggio ben si come tu t' annidi
Nel proprio lume, e che da gli occhi il traggi,
1 Eparte 2,
116 del trionfo eternal : "della Chiesa trionfante," Bi.
120 Th ere seems about equally good authority for di and da ; ' ' to be
enlightened concerning" or "by us."
121 un. This is the Emperor Justinian.
125 proprio. Daniello appears to be right in explaining " nel tuo pro-
prio splendore, " though another view is that it means " in that share of the
62 PARADISO. CANTO v.
that thou drawest it by the eyes, because they sparkle as thou
smilest ; but I know not who thou art, nor wherefore thou
hast, O worthy soul, the rank of the sphere which veils
itself from mortals with another's rays." This I said
directly to the light which before had spoken to me, where-
fore it became far more lucent than it had been. As the
Sun, which conceals itself through excess of light, when
the heat has eaten away the tempering of the thick vapours,
Perche corruscan, si come tu ridi : k
Ma non so chi tu sei, ne perche aggi,
Anima degna, il grado della spera,
Che si vela a mortai con gli altrui raggi.
Questo diss' io diritto alia lumiera, 130
Che pria m' avea parlato : ond' ella fessi
Lucente piu assai di quel ch' ell' era.
Si come il sol, che si cela egli stessi
Per troppa luce, quando il caldo ha rose
Le temperanze dei vapori spessi :
k corrusca Gg. Cass. Aid. ; ei corruscan W. Bi.
divine light which is appropriate to your position in heaven. " Landino
in his note hasfirimo, which Vellutello has adopted in his text (1544.) ;
and there is some MS. authority for it. The difference is only between
(Pprio and prio. This of course would mean " in the light of God."
126 Cf. ii, 144, and the opening lines of this Canto. This seems
conclusive in favour of corruscan ; though many read e' (sc. lume)
corrusca, understanding traggi in the sense of "send out," as in
Pg. iii. 69.
129 Because Mercury is usually invisible from his nearness to the
sun.
'33 Cf. Pg. xvii. 53. stessi "nel caso retto del minor numero, a
somiglianza de questi o di qtieglt, fu usato da Dante." Corticelli,
quoting this passage. It is no doubt the genuine form, being from
iste ipse.
'35 Cf. Pg. xxx. 26.
CANTO v. PARADISO. 63
so for greater joy did the holy figure hide itself from me
within its own ray, and thus all shut in it answered me in
the manner which the following Chant chants.
Per piii letizia si mi si nascose
Dentro al suo raggio la figura santa,
E cosi chiusa chiusa mi rispose
Nel modo che il seguente canto canta.
CANTO VI.
ARGUMENT.
Justinian the Emperor recounts in brief the history of the Roman Empire,
and speaks of the divisions that are troubling it. He tells Dante that
in this sphere are the souls of those who have sought honour in the
active life.
"AFTER that Constantine turned the eagle back against the
course of the heaven, which it followed in the train of the
ancient who carried off Lavinia, a hundred and a hundred
years and more the bird of God abode on the confines of
Europe, near to the hills from which at first it issued ; and
POSCIACH Costantin 1' aquila volse
Contra il corso del ciel, ch' ella seguio 3
Dietro all' antico che Lavina tolse ;
Cento e cent' anni e piu 1' uccel di Dio
Nello stremo d' Europa si ritenne
Vicino ai monti, dei quai prima uscio ;
a che la Gg. 2 Aid. W.
1 s <w- Constantine moved the seat of the Roman Empire eastward to
Byzantium in 324 A. D. Justinian became emperor in 527.
3 1' antico. Aeneas, whom Dante, following Virgil, regards as the
founder of the Roman power. De Mon. ii. 3.
6 monti. Those of the Troad, over against Byzantium.
CANTO vi. PARADISO. 65
under the shadow of its holy feathers it governed the world
there from hand to hand, and so changing, it came upon
mine. Caesar I was ; and I am Justinian, that, by will of
the primal Love, whom I feel, drew from among the laws
the superfluous and the vain. And before I was intent on
the work, I used to deem that one nature was in Christ,
E sotto 1' ombra delle sacre penne,
Governb il mondo li di mano in mano,
E si cangiando in su la mia pervenne.
Cesare fui, e son Giustiniano, 10
Che per voler del primo Amor ch' io sento,
D' entro alle leggi trassi il troppo e il vano :
E prima ch' io all' opra fossi attento,
Una natura in Cristo esser, non piue,
7 penne. Cf. Psalm xci. 4.
10 fui son. The idea is the same as Pg. xix. 137.
12 With allusion to Justinian's great work, the codification of the
Roman law ; and the still more ** arduous operation," as Gibbon says,
of extracting "the spirit of jurisprudence from the decisions and con-
jectures, the questions and disputes, of the Roman civilians" in the
Pandects. "Two thousand treatises," he continues, "were comprised
in an abridgment of fifty books ; and it has been carefully recorded,
that three millions of lines or sentences were reduced, in this abstract,
to the moderate number of one hundred and fifty thousand." (Decline
and Fall, ch. xliv.) See also Justinian's own words in the Preface to
the Institutes : " Cum sacratissimas constitutiones an tea confusas in
luculentam ereximus consonantiam, tune nostram intendimus curam
ad immensa veteris prudentiae volumina; et opus desperatum, caelesti
favore jam adimplevimus. "
14 sqq. it appears to have been not Justinian, but his wife Theodora
who was attached to the Eutychian, or Monophysite heresy. The
Emperor's own orthodoxy seems to have been unimpeachable till quite
the end of his life, when he lapsed into erroneous views concerning not
the nature but the person of Christ. See Gibbon (chap, xlviii.), who
makes no reference to the alleged visit of Agapetus. Dante no doubt
F
66 PARADISO. CANTO vi.
not more; and with such faith I was content. But the
blessed Agapetus, who was the chief shepherd, directed me
to the untainted faith with his words. I believed him, and
that which was in his faith I now see clear, just as thou seest
that all contradictories are both false and true. So soon as
with the Church I moved my feet, it pleased God of His
Credeva, e di tal fede era contento.
Ma il benedetto Agabito, che fue
Sommo Pastore, alia fede sincera
Mi dirizzo con le parole sue.
lo gli credetti ; e cio che in sua fede era, b
Veggio ora chiaro, si come tu vedi 20
Ogni contraddizione e falsa e vera. c
Tosto che con la Chiesa mossi i piedi,
A Dio per grazia piacque d' inspirarmi
b che suo dir Aid. ; che in suo dir Gitil. Bi.
c Ch' ogni contr. Gg.
got the story from the Tresor of Brunette Latini, who says (I quote
from the Italian version of 1533): "E tutto [? fosse] al cominciamento
de li errori de li heretici, al fine riconobe lo suo errore, per lo consiglio
di Agabito, che al' hora era apostolico," ii. 25. He probably followed
Paulus Diaconus. Agapetus was only Pope for one year, 535-6, just
at the time when the Gothic power in Italy was being destroyed by
Belisarius ; and the story is that he was sent by Theodatus, the Gothic
king, to make terms with Justinian, and so incidentally discovered and
reformed the emperor's heterodox views. Ryd's "Catalogus" (1540)
says : " Eundem Imperatorem (Justinianum) Agapitus i. ab Arrianis in
Constantinopolitana Synodo, ubi mortuus est, avertit."
16 Notice the Greek accent again in Agabito, from 'AyaTTJjTos.
21 I.e. that of every pair of contradictories one must be false and
the other true. Ar. Categ. ch. x.: wore eVt p,6va>v TOVTCOV i8tov
av fir] TO del ddrepov avrStv d\r)6(s rj vJ/'eCSo? flvat, ocra las Kardtydcris
KOI aTTotyacris dvTiKfirai.
22 As a matter of fact the work was begun in the first year of his
reign.
CANTO vi. PARADISO. 67
grace to inspire in me the lofty task, and I put myself wholly
into it. And to my Belisarius I entrusted the wars, to whom
the right hand of Heaven was so conjoined as to be a sign
that my duty was to stay quiet. Here then my reply to the
first question reaches its point ; but its circumstances con-
strain me to pursue some addition to it. In order that
thou mayest perceive by how clear a proof he moves against
the most holy ensign, both who claims it for his own, and
who opposes himself to it, see how great virtue hath made
it worthy of reverence ; and I begin from the hour when
L' alto lavoro, e tutto in lui mi diedi.
E al mio Bellisar commendai 1' armi,
Cui la destra del Ciel fu si congiunta,
Che segno fu ch' io dovessi posarmi.
Or qui alia quistion prima s' appunta
La mia risposta, ma sua condizione
Mi stringe a seguitare alcuna giunta. 30
Perche tu veggi con quanta ragione
Si muove contra il sacrosanto segno
E chi '1 s' appropria, e chi a lui s' oppone,
Vedi quanta virtu 1' ha fatto degno
Di reverenza ; e comincio dalP ora,
'
- 8 quistion prima, i.e., " chi tu sei," v. 127.
31 con quanta ragione. Th ; s is usually taken to mean, "with how
much reason" or "right," as in iv. 20. I have preferred to take it as
(e.g.) in Inf. xi. 33, because the other rendering assumes what has to be
proved, viz. that chi '1 s' appropria (the Ghibeline) is acting against I
the sanctity of the empire quite as much as chi s' oppone (the j
Guelf). I have also ventured slightly to alter the usual punctuation, by I
putting a full stop at giunta, and a comma at oppone. Observe that 1
this passage alone upsets the ordinary notion of Dante as a Ghibeline /
partisan.
F 2
68 PAR ADI SO. CANTO vi.
Pallas died to give it a kingdom. Thou knowest that it
made in Alba its dwelling-place for three hundred years
and more, until the end when the three fought the three,
for its sake still. Thou knowest what it did from the
wrong of the Sabine women up to the woe of Lucretia, in
seven kings, conquering the neighbour folk around. Thou
knowest what it did, borne by the illustrious Romans to
meet Brennus, to meet Pyrrhus, to meet the other kings
and commonwealths ; whence Torquatus and Quinctius
Che Pallante mori per darli regno.
Tu sai ch' ei fece in Alba sua dimora d
Per trecent' anni ed oltre, infino al fine,
Che i tre ai tre pugnar per lui ancora. 6
Sai quel che fe dal mal delle Sabine 40
Al dolor di Lucrezia in sette regi,
Vincendo intorno le genti vicine.
Sai quel che fe, portato dagli egregi
Romani incontro a Brenno, incontro a Pirro,
E contro agli altri principi e collegi :
Onde Torquato, e Quintio, che dal cirro
d sua gran d. Gg. e tre a tre Cass. Aid.; tre e tre Gg. 2.
& Because the death of Pallas led to that of Turnus (Aen. xii. 948),
and so to the possession by Aeneas of Lavinia and the Latin kingdom.
See De Mon. ii. 10.
37 ei, i.e. the eagle, "il sacrosanto segno."
38 The Horatii and Curiatii, Livy i. 25, where the last Horatius is
made to say to the last Curiatius, " duos fratrum manibus dedi, tertium
causae belli hujusce, tit Romanus Albano imperet, dabo." Until this
event, Alba represented so to speak the elder branch of the line founded
by Aeneas. See again De Mon. ii. 10, the whole of which chapter,
together with Conv. iv. 5, forms the best commentary on this Canto.
The instances given in the following lines are mostly too well known to
require reference or explanation.
CANTO vi. PARADISO. 69
who was named from his neglected locks, and Decii and
Fabii had the fame which I with good will embalm. It
brought to earth the pride of the Arabs, who in Hannibal's
train passed the Alpine cliffs, whence thou, Po, glidest
Under it in their youth triumphed Scipio and Pompey, and
to that hill beneath which thou wast born, it appeared
harsh. Afterwards, hard upon the time when the heaven
wholly willed to bring back the world to its tranquil
order, Caesar by the will of Rome bare it ; and what it
Negletto fu nomato, e Deci, e Fabi
Ebber la fama, che volentier mirro.
Esso atterrb 1' orgoglio degli Arabi,
Che diretro ad Annibale passaro 50
L' alpestre rocce, P6, di che tu labi.
Sott' esso giovanetti trionfaro
Scipione e Pompeo, ed a quel colle,
Sotto il qual tu^ nascesti, parve amaro.
Poi presso al tempo, che tutto il Ciel voile
Ridur lo mondo a suo modo sereno,
Cesare per voler di Roma il tolle :
53 colle, i.e. Fiesole, "quae civitas est prope florentiam ad quam
confugit Catilina pulsus ex urbe propter conjurationem quam fecerat per
invadendam rempublicam, qui in agro pistoriensi postea prostratus
est cum suis et civitas fesularum destructa. " Comm. Gg. The de-
struction of Faesulae is mentioned by Brunette, Tresor i. 37, and by
Villani i. 37; but Cicero and Sallust do not appear to know anything
of it.
55, 56 "Poiche esso cielo comincio a girare, in migliore disposizione
non fu, che allora quando discese Colui che 1' ha fatto e che '1 governa
. . . e pero pace universale era per tutto." Conv. I.e.
57 tolle must be formed directly from tulit (not, as Scart. suggests,
" da toilers per togliere") because a perfect is clearly wanted.
70 PARADISO. CANTO vi.
did from Var even unto Rhine, Isere saw and Saone, and
Seine saw, and every dale from which the Rhone is filled.
That which it did after he issued from Ravenna and
leapt the Rubicon, was of such a flight that neither
tongue nor pen would follow it. Toward Spain it turned
back its array, then to Dyrrhachium, and smote Pharsalia
so that to the hot Nile they were aware of the smart.
It saw again Antandros and Simois whence it started, and
the place where Hector lies ; and to the hurt of Ptolemy
E quel che fe da Varo insino al Reno,
Isara vide ed Era, e vide Senna,
Ed ogni valle onde il Rodano e pieno. 60
Quel che fe poi ch' egli usci di Ravenna,
E salto il Rubicon, fu di tal volo,
Che nol seguiteria lingua ne penna.
In ver la Spagna rivolse lo stuolo :
Poi ver Durazzo e Farsaglia percosse
Si ch' al Nil caldo sentissi del duolo. f
Antandro e Simoenta onde si mosse,
Rivide, e la dove Ettore si cuba,
E mal per Tolommeo poi si riscosse.
f che il Nil Gg.
59 Era, i.e. Araris. These three lines allude, of course, to Caesar's
campaigns in Gaul.
64 Cf. Purg. xviii. 102.
^ That is, the Troad, whence Dante has already said that the Roman
eagle took its origin. He is probably thinking of Lucan ix. 961 sqq.
" Sigeasque petit famae mirator arenas,
Et Simoentis aquas, et Graio nobile busto
Rhoetion, et multum debentes vatibus umbras.
Circuit exustae nomen venerabile Trojae.
Phryx incola manes
Hectoreos calcare vetat."
CANTO vi. PARADISO. 71
thereafter it aroused itself; whence it came in lightning
to Juba; then it turned back into your west, where it
heard the Pompeian trumpet. Of what it did in the
company of its next bearer, Brutus with Cassius howls
in Hell, and Modena and Perugia were brought to woe.
Still weeps for its cause the sad Cleopatra, who flying
before it received from the viper her death sudden and
dark. With this one it sped even to the Red shore ;
with this one it laid the earth in such a peace that Janus
Da onde venne folgorando a Giuba ; 70
Poi si rivolse nel vostro occidente,*
Dove sentia la Pompeiana tuba.
Di quel che fe col baiulo seguente,
Bruto con Cassio nello inferno latra,
E Modona e Perugia fu dolente.
Piangene ancor la trista Cleopatra,
Che, fuggendogli innanzi, dal colubro
La morte prese subitana ed atra.
Con costui corse insino al lito rubro ;
Con costui pose il mondo in tanta pace, 80
Che fu serrato a Giano il suo delubro.
s Onde si volse Gg. 124 ; peseta si v. W.
71 vostro. Because Justinian, an Eastern emperor, is speaking to
the Italian Dante. He alludes to the battle of Munda.
73 bajulo seguente. Augustus.
74 Inf. xxxiv. 64 sqq. Some object to this rendering of latra, that
Brutus is expressly stated "non far motto." The older commentators
do not appear to have noticed the difficulty, though P. di Dante says
"latrant, idest attestantur." But it seems simpler to suppose that here,
as in Purg. xxii. 113, Dant,e has forgotten an earlier detail.
79 lito rubro, i.e. the uttermost parts of Egypt. Probably sug-
gested, as Scartazzini notes, by Aeneid viii. 686 ; though the reference
there is to Antony.
72 PARADISO. CANTO vi.
had his shrine locked up. But that which the ensign
which makes me speak had done before and after was
about to do through the mortal realm which is subject
to it, becomes in appearance little and obscure, if it be
looked at in the third Caesar's hand with clear eye and
pure affection; for the living justice which inspires me
granted to it, in the hand of him whom I say, the glory
of working vengeance for his wrath. Here then wonder
Ma cib che il segno che parlar mi face,
Fatto avea prima, e poi era fatturo
Per lo regno mortal ch' a lui soggiace,
Diventa in apparenza poco e scuro,
Se in mano al terzo Cesare si mira,
Con occhio chiaro e con affetto puro :
Che la viva giustizia che mi spira,
Gli concedette, in mano a quel ch' io dico,
Gloria di far vendetta alia sua ira. 90
Or qui t' ammira in cio ch' io ti replico :
86 terzo Cesare. Tiberius, under whom Christ was crucified. The
argument is that of De Mon. ii. n : Si romanum imperium de jure
non fuit, peccatum Adae in Christo non fuit punitum. ... Si ergo sub
ordinario judice Christus passus non fuisset, ilia poena punitio non
fuisset ; et judex ordinarius esse non poterat, nisi supra totum humanum
genus jurisdictionem habens. . . . Et supra totum humanum genus
Tiberius Caesar, cujus vicarius erat Pilatus, jurisdictionem non habuisset,
nisi romanum imperium de jure fuisset.
9 1 replico. I have followed the usual rendering, which however is not
quite satisfactory, for Justinian is not repeating anything that he has said.
' ' Unfold " might do ; but I am inclined to think that there is a special
allusion, appropriate to the speaker, marked by the use of the word
here, and here only in the whole poem. In the terms of Roman law
the statement of the plaintiff's case as sent by the magistrate to the judge,
was intentio. If the defendant pleaded special circumstances which
made the general rule of law under which the case would naturally fall
CANTO vi. PARADISO. 73
thou in that which I repeat to thee : afterwards with Titus
it sped to work vengeance for the vengeance of the
ancient sin.
" And when the Lombard tooth bit the Holy Church,
under its wings great Charles conquering succoured her.
" Now then thou canst judge of the men of that sort
whom I accused above, and of their faults, which are the
Poscia con Tito a far vendetta corse
Delia vendetta del peccato antico.
E quando il dente Longobardo morse
La santa Chiesa, sotto alle sue ali
Carlo Magno, vincendo, la soccorse. h
Omai puoi giudicar di quei cotali,
Ch' io accusai di sopra, e dei lor falli,
h Karlo niano 2.
inapplicable, his plea was called exceptio. If the plaintiff answered,
this was replicatio^ "quia per earn replicatur et resolvitur jus excep-
tionis." (See Justinian Institutes, ed. Sandars, 1874, pp. Ixvii., 477.)
Here we have a pretty close parallel, which is set out more fully in the
next Canto, 11. 40-51. God has a controversy with the Jews for the
death of Christ. The plea in answer is that this was the appointed
atonement for man's fall. The replicatio, enforced by the punishment
of the Jews at the hands of Titus, would be that this in no way affected
their guilt in crucifying an innocent person.
9=. 93 The destruction of Jerusalem by Titus was the vengeance
upon the Jews for the crucifixion of Christ, whereby Adam's sin was
avenged.
' 4 " Morto Telofre, Desiderio suo figliuolo succedette a lui, il quale
maggiormente che il padre fu nemico e persecutore di Santa Chiesa. . . .
Per la qual cosa Adriano papa che allora governava Santa Chiesa,
mando in Francia per Carlo Magno figliuolo di Pipino che venisse in
Italia a difendere la Chiesa dal detto Desiderio e da' suoi segnaci."
Villani ii. 13. It is referred to in De Mon. iii. io.
9 s I have rendered Carlo Magno by " Charles the Great" in deference
to established usage. At the same time I have little doubt that originally
74 PARADISO. CANTO vi.
occasion of all your ills. The one to the public ensign
opposes the yellow lilies, and the other appropriates it to a
party, so that it is hard to see which errs the most. Let the
Ghibelines work, let them work their arts under another
ensign, for he ever follows that amiss, who separates justice
Che son cagion di tutti i vostri mali.
L' uno al pubblico segno i gigli gialli 100
Oppone, e 1' altro appropria quello a parte,
Si ch' e forte a veder chi piu si falli.'
Faccian gli Ghibellin, faccian lor arte
Sott' altro segno ; che mal segue quello
Sempre chi la giustizia e lui diparte :
* forte I veder Gg. ; f. av. chi piu f. W.
it was no more than an Italian corruption of " Carloman," probably
from a confusion with his brother of that name, if indeed the names
were " differentiated " thus early. It is to be observed that Villani calls
Carloman, son of Louis the Stammerer, equally Carlo Magno. At the
same time the notion of "magnus" must have come in very early, for
King Magnus the Good, from whom the name has become popular in
Scandinavia, was named after the emperor, and he was born in 1024.
(See St. Olafs Saga, ch. 131, where the king is puzzled by the name :
" that is no name in our family." Sighvat the priest says: " I called
him after King Karlamagnus ; him I knew for the best man in the
world.'')
100 i gigH gialli. I.e. the golden fleurs de lys of France, or as the
note in Gg. has it, "insignia regis francie et Karoli veteris, quae sunt
lilia citrina cum rastello desuper." "The elder Charles" of this note
is of course Charles of Anjou, who, after his coming into Italy, was
the mainstay of the Guelf party, so that they are said to oppose the
fleurs de lys to the eagle. Their regular ensign, however, as Villani
tells us (vii. 2), was ' ' il campo bianco con una aguglia vermiglia in su
uno serpente verde," being the arms of Clement IV. To this they
added " uno giglietto vermiglio sopra il capo dell' aquila."
101 I 1 altro, the Ghibelines, who turned the imperial eagle into the
standard of a party.
CANTO vi. PARADISO. 75
and it. Nor let this new Charles beat it down with his Guelfs,
but let him have a fear of the talons that have dragged the
hide from a more exalted lion. Many times ere now have
the sons wept for the father's sin, and let him not deem
that God is changing His arms for his lilies.
"This little star is furnished with the good spirits who
E non 1' abbatta esto Carlo novello
Coi Guelfi suoi, ma tema degli artigli,
Ch' a piu alto leon trasser lo vello.
Molte fiate gia pianser li figli
Per la colpa del padre : e non si creda, 1 10
Che Dio trasmuti 1' armi per suoi gigli-
Questa picciola Stella si correda
Dei buoni spirti, che son stati attivi,
106 esto Carlo. Charles II. of Apulia, son of Charles of Anjou,
who was reigning in 1300. See Purg. xx. 79, and Par. xix. 127. With
all deference to Herr Witte th^re can be no allusion to Charles of
Valois, who had not come at the time when Justinian is supposed to be
speaking. The word esto alone precludes this idea.
108 piu alto leon. Possibly the allusion is only to the various
exploits of the eagle mentioned above ; but Dante may have more
specially intended to refer to the defeats which Charles of Anjou
suffered in his later years, e.g. at the hands of Roger di Loria before
Messina in 1282. It is clear that Dante had a great respect for the
elder Charles personally.
110 si creda. Witte treats this as impersonal, "let it not be
thought"; but in that case "suoi" becomes intolerably harsh, lax
as are the modem languages in their use of the reflexive pronoun.
There is no difficulty in taking si as pleonastic. I have followed
Bianchi and Philalethes.
111 armi is the reading of nearly all MSS., and all the early edd.
Land, and Dan. read arme, and Witte and Giuliani follow them. The
meaning is obviously "armorial bearings," though Buti and Veil, seem
to take it as "weapons." Probably the two forms were not dis-
tinguished in Dante's time.
76 PARADISO. CANTO vi.
have been active in order that honour and fame might fall
to them. And when the desires rest here, thus going astray,
it is meet that the rays of the true love should rest there-
upon with less of life. But in the proportioning of our
wages with our desert, is a portion of our joy, because we
see them to be not too small nor too great. Hence the
living justice makes our affection sweet within us, so that it
can never be wrested to any unrighteousness. Divers voices
make sweet notes : thus divers tiers in our life render a
sweet harmony among these spheres.
"And within this present pearl shines the light of Romeo,
Perche onore e fama gli succeda :
E quando li desiri poggian quivi,
Si disviando, pur convien che i raggi
Del vero amore in su poggin men vivi.
Ma nel commensurar dei nostri gaggi
Col merto, e parte di nostra letizia,
Perche non li vedem minor ne maggi. 1 20
Quinci addolcisce la viva giustizia
In noi 1' affetto si, che non si puote
Torcer giammai ad alcuna nequizia.
Diverse voci fanno dolci note : k
Cosi diversi scanni in nostra vita
Rendon dolce armonia tra queste ruote. 1
E dentro alia presente margherita
Luce la luce di Romeo, di cui
k Jan diverse n. Gg. ' in queste Gg. 3.
"5 As elsewhere, the active life is regarded as inferior to the con-
templative. See for instance Conv. ii. 5.
I2 ? margherita. So ii. 34.
128 Romeo is not strictly a proper name, but merely signifies one
who has been on a pilgrimage to Rome, as explained in V. N. 41.
CANTO vi. PARADISO. 77
whose work, great and fair, was ill-received. But they of
Provence who wrought against him have no laughter ; and
so he goes an ill road who makes his own hurt from the
prospering of another. Four daughters, and each one a
queen, had Raymond Berenger; and this did Romeo for
him, a humble person and a stranger. And afterward
slanderous words moved him to demand an account from
this just man, who assigned to him seven and five for ten.
Thence he departed poor and old ; and if the world knew
Fu 1' opra grande e bella mal gradita.
Ma i Provenzali, che fer contra lui, 130
Non hanno riso : e perb mal cammina,
Qual si fa danno del ben far d' altrui.
Quattro figlie ebbe, e ciascuna reina
Ramondo Berlinghieri, e cib gli fece
Romeo persona umile e peregrina :
E poi il mosser le parole biece
A dimandar ragione a questo giusto, /
Che gli assegno sette e cinque per diece.
Indi partissi povero e vetusto :
Thence it seems to have acquired a wider signification, as Villani tells-
us (vi. 90) that this, particular Romeo fell in with Count Raymond on
his way from Galicia, i.e. Compostella. It seems very uncertain
whether his real name has been preserved, though one account speaks
of him as named Romee.
'33 The four daughters of Raymond Berenger IV., Count of
Provence, were married to Lewis IX., Henry III. of England, his
brother Richard, Earl of Cornwall and King of the Romans, and
Charles of Anjou, brother of Lewis, and afterwards King of Apulia.
See Purg. xx. 6l. Villani, I.e., tells the story of Romeo's share in
bringing about these marriages, and his subsequent disgrace through
the jealousy of the lords of Provence, in words very similar to Dante's.
78 PARADISO. CANTO VI.
the heart which he had as he begged his living morsel by
morsel much it praises him and it would praise him
more."
E se il mondo sapesse il cuor, ch'egli ebbe, 140
Mendicando sua vita a frusto a frusto,
Assai lo loda, e piii lo loderebbe.
CANTO VII.
ARGUMENT.
Dante, moved by certain words of Justinian, is in doubt concerning God's
justice, as displayed in the Redemption of mankind through the
Passion of our Lord Christ. Beatrice resolves this doubt ; and another
concerning the dissolution of the elements.
" Ho s ANN A, sanctus Deus Sabaoth, superillustrans claritate
tua felices ign&s horum malahoth ! " So, returning to its
song, this substance was seen' by me to chant, upon
OSANNA Sanctus Deus Sabaoth,
Superillustrans tlaritate tua
Felices ignes horum malahoth .- a
Cosi volgendosi alia nota sua
Fu yiso a me cantare essa sustanza,
a malaoth Cass. Gg. 14 ; makaoth 2 ; malachoth 3 ; -coth W.
1-3 ' ' Hosanna, holy God of hosts, beaming in Thy brightness over
the blessed fires of these realms." Hosanna and Sabaoth are familiar
words ; malahoth appears to have been taken by Dante from St.
Jerome's preface to the Vulgate, where he says that the "books of
Kings " are better called " Melachim, id est Regum, quam Malachoth
(al. Mamlachoth) id est Regnorum." See Witte, Dante- Forschungen,
vol. ii. p. 43. This makes other interpretations, such as that Dante
meant "works" or "hosts" (Philal.) or "angels," superfluous.
5 Literally "it was seen by me that this substance was chanting."
For this impersonal use of viso see Diez iii. 182. sustanza, i.e. the
soul of Justinian. See note to Purg. xviii. 49.
/
80 PARADISO. CANTO vn.
which a twofold glory is paired ; and it and the others
moved to their dance, and like swiftest sparks veiled them-
selves from me by sudden retreat. I was in doubt, and
began to say "Tell her, tell her," within myself: "Tell
her " I was saying namely to my Lady who slakes me
with her gentle dews ; but that reverence which has the
mastery of me wholly, even for B E and for ICE, was
swaying me like a man who is going to sleep. A short
while Beatrice endured me in that guise ; and began,
Sopra la qual doppio lume s' addua :
Ed essa e 1' altre mossero a sua danza, b
E quasi velocissime faville,
Mi si velar di subita distanza.
lo dubitava, e dicea : Dille dille, 10
Fra me, dille, diceva, alia mia donna,
Che mi disseta con le dolci stille :
Ma quella reverenza, che s' indonna
Di tutto me, pur per BE e per ICE,
Mi richinava come 1' uom ch' assonna.
Poco sofferse me cotal Beatrice,
b mesero Gg. c richiamava Gg. 134.
6 s' addua. Danielle takes this as merely a reference to v. 132 ; but
in that case an imperfect would seem to be required, and it is better to
understand it, with most commentators, as an allusion to Justinian's
twofold glory of emperor and lawgiver. Scartazzini quotes his own
words, from the preface to the Institutes, " imperatoriam majestatem
non solum armis decoratam, sed etiam legibus oportet esse armatam."
8 The allusion seems to be to Wisd. iii. 7, where the Vulgate has
"fulgebunt justi et tanquam scintillae in arundineto discurrent."
13 Is. xlv. 8: "Rorate caeli desuper, et nubes pluant justum . . . et
justitia oriatur simul."
' I.e. for every part of the name of Beatrice.
s assonnare intrans. Cf. Purg. xxxii. 64, 69.
16 Poco sofferse. Cf. Purg. xxxi. io.
CANTO vii. PARADISO. 81
beaming on me with such a smile that in the fire it would
make a man happy :
"According to my unerring judgment! how a just
vengeance should have been justly punished has set thee
on thought. But I will quickly set loose thy mind ; and
do thou listen, for my words shall make thee a gift of a
great doctrine. For not enduring to the faculty that wills
E comincio, raggiandomi d' un riso,
Tal che nel fuoco faria 1' uom felice :
Secondo mio infallibile avviso,
Come giusta vendetta giustamente 20
Punita fosse, t' ha in pensier miso ; d
Ma io ti solverb tosto la mente,
E tu ascolta, che le mie parole
Di gran sentenzia ti faran presente.
Per non soffrire alia virtu che vuole
d Vengiata W. (and some MSS.) ; /' hat Aid.
A
18 Cf. Purg. xxvii. 52.
20 s'w. Dante's doubt, arising from Justinian's words in vi. 92, 93, is
how both the crucifixion of Christ, and the punishment of the Jews
for their share in it, could be equally just. Beatrice replies that qu&
man, Christ suffered justly; quA God, unjustly. So Aquinas, S. T. iii.
Q. 47. A. 4. 2 : Passio Christi fuit sacrificii oblatio, inquantum Christus
propria voluntate mortem sustinuit ex charitate. Inquantum autem a per-
secutoribus est passus, non fuit sacrificium, sed peccatum gravissimum.
2S Cf. Purg. xxix. 27. Adam's sin arose from pride (S. T. ii. 2.
Q. 163. A. I : Prima inordinatio appetitus humani fuit ex hoc quod
aliquod bonum spirituale inordinate appetiit. Non autem inordinate
appetiisset, appetendo id secundum suam mensuram ex divina regula
praestitutam. Unde relinquitur quod primum peccatum hominis fuit in
hoc quod appetiit aliquod spirituale bonum supra suam ; id quod pertinet
ad superbiam); and it concerned the will, la virtu che vuole (S. T.
ii. I. Q. 83. A. 3 : peccatum originate per prius respicit voluntatem
. . . quia voluntas est propinquior essentiae animae tanquam superior
potentia, primo pervenit ad ipsam infectio originalis peccati).
G
82 PARADISO. CANTO vn.
any bridle, for its own advantage, that man who was
never born, in damning himself, damned all his progeny ;
wherefore the human kind lay sick below for many ages,
in great error, until it pleased the Word of God to descend
where He united to Himself, in person, the nature which
had drawn away from its Maker, with the sole act of His
eternal love. Now direct thy gaze to the subject of our
Freno a suo prode, quell' uom che non nacque
Dannando se, danno tutta sua prole :
Onde 1' umana spezie inferma giacque
Giii per secoli molti in grande errore,
Fin ch' al Verbo di Dio di scender piacque, 30
U' la natura, che dal suo Fattore 6
S' era allungata, unio a se in persona,
Con F atto sol del suo eterno amore.
Or drizza il viso a quel che si ragiona ;
e Ella n. Gg.
30-33 s. T. iii. Q. 2. AA. I & 2 contain the doctrine of the union of
the Word incarnate ; and whoever wishes thoroughly to understand the
doctrine, must be referred to those Articles. For the present purpose
it will be sufficient to quote from A. 2 (i): Quia natura humana sic
unitur Verbo, ut Verbum in ea subsistat, non autem ut aliquid addatur
ei ad rationem suae naturae, vel ut ejus natura in aliud transmutetur ;
ideo unio humanae naturae ad Verbum Dei facta est in persona, non in
natura. (It may not be out of place to notice here how "Verbum,"
" Word," is a very inadequate rendering of the Adyos of St. John.
The term is clearly derived from the Aristotelian metaphysic. Thus
we find the "formal cause" is 6 \6yosTrjs ovaias, which is practically
the same as the "final cause," TO ov evfKa a>s TeXoy, while the state-
ment dp^f) 6 Xdyos suggests the apx*] Ttjs Kivf)<rfa>s, or "efficient cause,"
the "Motor primo" of Purg. xxv. 70, and seems to explain the ovros
rjv (v dpxfj . iravra 6Y ai/rov ryei/ero in the opening passage of the
fourth Gospel.)
CANTO vii. PARADISO. 83
reasoning. This nature, united to its Maker, as it was at
its creation was untainted and good. But through itself
alone was it banished from Paradise, inasmuch as it turned
itself aside from the way of truth and from its life. The
penalty then which the cross offered, if it be measured
according to the nature assumed, none ever bit so justly ;
and likewise none was of so great injustice, looking to the
Person who suffered, in whom such nature was bound up.
Wherefore from one act divers things issued ; for to God
Questa natura al suo Fattore unita,
Qual fu creata, fu sincera e buona : f
Ma per se stessa pur fu ella sbandita g
Di Paradise, perocche si torse
Da via di verita e da sua vita. h
La pena dunque che la croce porse, 40
S' alia natura assunta si misura,
Nulla giammai si giustamente morse :
E cosl nulla fu di tanta ingiura,
Guardando alia persona, che sofferse,
In che era contratta tal natura.
Pero d' un atto uscir cose diverse ;
Ch' a Dio ed ai Giudei. piacque una morte ;
f perfetta e buona Gg. s stessa fu 3 W.; fu isbandita al.
h di via . . . di sua 145.
39 There is something to be said for the reading suggested by
Lombardi, da verita, or that found in some MSS. di di e di,
as pointing more directly to "the Way, the Truth, and the Life."
41 S. T. iii. Q. 47. A. I : Filius Dei humanam naturam integram
assumpsit. And see QQ. 5, 6, passim. Observe the distinction
between natura and (1. 44) persona. Boethius, de Pers. et Nat. iii. :
Persona est naturae rationalis individua substantia.
4 ? S. T. iii. Q. 47. A. 3 : Pater tradidit Christum ex charitate . . .
Judaei autem ex invidia.
G 2
84 PARADISO. CANTO vn.
and to the Jews one death was pleasing ; on its account
the earth shook and heaven was opened. Henceforward
it should no more seem a great thing to thee, when it is
said that a just vengeance was afterward avenged by a just
tribunal.
" But I see now thy mind restrained, by sequence of
thoughts, within a knot of which with great desire a solu-
tion is awaited. Thou sayest : I well perceive that which
I hear ; but why God willed for our redemption just this
Per lei tremb la terra, e il Ciel s' aperse.
Non ti dee oramai parer piu forte,
Quando si dice, che giusta vendetta 50
Poscia vengiata fu da giusta corte.
Ma io veggi' or la tua mente ristretta
Di pensier in pensier dentro ad un nodo,
Del qual con gran disio solver s' aspetta.
Tu dici, Ben discerno cib ch' io odo :
Ma perche Dio volesse, m' e occulto,
s 6 s<w- St. Thomas, S. T. iii. Q. 46. AA. i, 2, 3, discusses the ques-
tions, " Utrum fuit necessarium Christum pati pro liberatione humani
generis," " Utrum fuerit alius modus possibilis liberationis humanae
quam per passionem Christi," and " Utrum fuerit aliquis modus con-
venientior ad liberationem humani generis quam per passionem Christi. "
The gist of his decision on the third of these, which is the one more
directly handled here, is as follows : Tanto aliquis modus con-
venientior est ad assequendum finem quanto per ipsum plura concurrunt
quae sunt expedientia fini ; and he goes on to show that this condition
was satisfied by the passion of Christ, since from it man obtained a
knowledge of the extent of God's love, an example of obedience,
humility, constancy, justice, and other virtues, and deliverance from
sin, together with justifying grace and the desert of blessedness ; and
further, became the more bound to keep himself pure from sin, while
human nature gained in dignity. This is somewhat expanded by
Beatrice in the present passage. She begins as usual from God's
CANTO vii. PAR AD I SO. 85
method, is hidden from me. This decree, brother, remains
buried to the eyes of him whose wit is not full-grown in
the flame of love. Nevertheless since at this mark one
may gaze long and discern little, I will tell why such a
method was most worthy. The divine Goodness which
A nostra redenzion pur questo modo.
Questo decreto, frate, sta sepulto
Agli occhi di ciascuno, il cui ingegno
Nella fiamma d' amor non e adulto. 60
Veramente, pero ch' a questo segno
Molto si raira e poco si discerne,
Diro perche tal modo fu piu degno.
La divina bontk, che da se sperne
attribute of love, with which, as in Canto v., knowledge is bound
up (1. 66). Man's soul, as the immediate creation of God's love, has
the special gifts of immortality, liberty, and likeness to God (cf.
2 Cor. v. 5, and iii. 17, 18). Now sin destroys the two last ("Homo
peccando . . . decidit a dignitate humana . . . et incidit quodammodo
in servitutem bestiarum," S. T. ii. 2. Q. 64. A. 2; "Actus peccati
facit distantiam a Deo ; quam quidem distantiam sequitur defectus
nitons hoc modo, sicut motus localis facit localem distantiam," ii. I.
Q. 87. A. 2), and therefore also the first. Nor can this be regained,
save by a penalty equivalent to the offence. But man was not capable
of paying such a penalty ("quando natura est integra, per seipsam
potest reparari ad id quod est sibi conveniens et proportionatum ; sed
ad id quod excedit suam proportionem reparari non potest sine exteriori
auxilio. Sic igitur humana natura defluens per peccatum, quia non
manet integra, sed corrumpitur, non potest per seipsam reparari," S. T.
ii. I. Q. 109. A. 7), and free remission was not expedient, as being a
less evident manifestation of God's love (see passage quoted above).
Thus the incarnation and passion of Christ were necessary.
64 - 6s da se sperne ogni livore. Quoted from Boethius, Cons.
Phil. iii. Metr. 9, "insita summi forma boni, livore carens," which
again is from Plato, Timaeus 29 E^: dyadbs r\v [6 iworay], a
Se oioVis TTtpi ovbevos ovdeirore eyyiyvfrai fydovos.
86 PARADISO. CANTO vn.
spurns from Itself all envy, burning in Itself so sparkles
that It displays Its eternal beauties. That which from It
immediately distils has no end thereafter, because when It
seals, Its impress is unmoved. That which from It imme-
diately showers is wholly free, because it is not subject
to the power of new things. The more conformable it is to
It the more pleasing it is therefore ; for the holy heat which
irradiates everything, is most lively in that which has most
Ogni livore, ardendo in se sfavilla, 1
Si che dispiega le bellezze eterne.
Cib che da lei senza mezzo distilla,
Non ha poi fine, perche non si muove k
La sua imprenta, quand' ella sigilla.'
Cib che da essa senza mezzo piove, 70
Libero e tutto, perche non soggiace
Alia virtute delle cose nuove.
Piu 1' e conforme, e pero piu le piace :
Che 1' ardor santo, ch' ogni cosa raggia,
Nella piu simigliante e piu vivace.
' scintilla W, k piiifine Gg. ; puofine 2.
1 impronta Gg. 2.
*? Conv. iii. 14 (see note to xiii. 59).
<* ** Cf. Ps. iv. 7 : Signatum est super nos lumen vultus tui,
Domine.
7 2 cose nuove. We must understand cose here in its primary
sense of "causes." The cose nuove are "second causes," i.e. the
heavenly bodies and the elements. S. T. ii. I. Q. 19. A. 4 : in
omnibus causis ordinatis, effectus plus dependet a causa prima, quam a
causa secunda ; quia causa secunda non agit nisi in virtute primae
causae. These, as being created later, are nuove. Cf. S. T. i.
Q. 116. A. 4: Signa sunt quae immediate a Deo fiunt ; cum non
subdantur secundis causis, non subduntur fato.
73 e must, I think, be taken as in Purg. iv. 90. This, though not
usual in Italian, is common in the cognate languages. Diez iii. 365.
CANTO vii. PARADISO. 87
resemblance. Of all these things the human creature has
the advantage; and if one fails, needs must he fall from his
nobility. Sin alone is that which disfranchises him, and
makes him unlike to the highest Good, because from Its
light he is too little illumined ; and to his own dignity he
never comes back, if he does not replenish where sin
empties, with just pains against evil enjoyment. Your
nature, when it all sinned in its seed, was removed from
these dignities as from Paradise ; nor could it recover them,
Di tutte queste cose s' avvantaggia
L' umana creatura, e s' una manca,
Di sua nobilita convien che caggia.
Solo il peccato e quel che la disfranca,
E falla dissimile al Sommo Bene, 80
Perche del lume suo poco s' imbianca ;
Ed in sua dignita mai non riviene,
Se non riempie dove colpa vota,
Contra mal dilettar con giuste pene.
Vostra natura quando peccb tota
Nel seme suo, da queste dignitadi,
Come da Paradiso fu remota :
Ne ricovrar poteasi, se tu badi
85 sqq. cf_ Scotus Erigena, de Div. Nat. v. 36 : Excepto huma-
nitatis Redemptore omnes homines peccaverunt, quod etiam naturae
attribuitur, ejusque peccatum dicitur ; non quod ipsa natura ad
imaginem Dei facta illud commiserit, sed quod liberae voluntatis, quae
a Deo data est, rationabili bono irrationabilis abusio, et in amorem
sensibilium conversio ipsam naturae pulcritudinem . . . dissimulavit,
propriamque dignitatem abscondit.
86 seme, i.e. Adam. "Eori yap TO cnvep}i.a Si^ais, e ov re, *ai
ou- cat yap d<p' ou aTrrfkde, TOVTOV cnre'p/ia. Ar. Part. An. i. 6.
88 Or " be recovered." We might perhaps read poteansi.
PARADISO. CANTO vn.
if thou look right subtilly, by any way without passing
through some one of these roads; either that God alone
of His clemency should have put away, or that man
should have made satisfaction for his folly. Fix now thine
eye within the abyss of the eternal counsel, applied as
straitly to my speech as thou art able. Man could never
within his own limits make satisfaction, because he could
not descend in humility by subsequent obedience, so far as
by disobeying he aimed to rise ; and this is the reason why
man was shut off from the power of making satisfaction by
himself. Therefore it became God with His own paths to
Ben sottilmente, per alcuna via,
Senza passar per un di questi guadi : m 90
O che Dio solo per sua cortesia
Dimesso avesse, o che 1' uom per sk isso
Avesse satisfatto a sua follia.
Ficca mo 1' occhio perentro 1' abisso
Dell' eterno consiglio, quanto puoi
Al mio parlar distrettamente fisso."
Non potea 1' uomo nei termini suoi
Mai satisfar, per non potere ir giuso
Con umiltate, obbediendo poi,
Quando disubbidendo intese ir suso : 100
E questa e la ragion, perche 1' uom fue
Da poter satisfar per se dischiuso.
Dunque a Dio convenia con le vie sue
m gradi Gg. 1234. n discretamente Aid.
s 6 If we read discretamente, we must say " with discernment."
98-100 u Percioche 1'altezza di Dio einfinita; ma nessuna bassezza si
trova che non sia finita. " Land. The allusion is to Gen. iii. 5.
103 vie. I.e. mercy and justice. Ps. xxiv. 10 (Vulg.). See also
S. T. i. Q. 21. A. 4. Aquinas gives the verse, "Omnes (Vulg.
CANTO vii. PARADISO. 89
restore man to his perfect life ; I say with one, or indeed
with both. But whereas the worker's work is the more
acceptable in measure as it represents more of the goodness
of the heart whence it has issued, the Divine goodness,
which sets Its seal on the world, was well pleased to proceed
by all Its methods to raise you on high again ; nor between
the last night and the first day has there been or will there
Riparar 1' uomo a sua intera vita,
Dico con 1' una, o ver con ambedue.
Ma perche 1' ovra tanto e piu gradita
Dell' operante, quanto piu appresenta
Delia bonta del cuore ond' e uscita;
La divina bonta, che il mondo imprenta,
Di proceder per tutte le sue vie no
A rilevarvi suso fu contenta :
Ne tra 1' ultima notte, e il primo die
ondegle Qg. ; onde le 3.
universae) viae Domini misericordia et veritas." In a preceding
article he has shown that "veritas "is equivalent to "justitia." It
may be noted here that " misericordia " is coupled thirty or more times
with "veritas" or "justitia "in the Psalms. See Purg. xxix. 109, and
explanation in Appendix B.
104 S. T. iii. Q. 46. A. i (where the objector is supposed to have
quoted Ps. xxiv. 10 as against the necessity of Christ's passion) :
hominem liberari per passionem Christi conveniens fuit et miseri-
cordiae et justitiae ejus. Justitiae quidem ; quia per passionem suam
Christus satisfecit pro peccato humani generis. Misericordiae vero ;
quia cum homo per se satisfacere non posset pro peccato 'totius humanae
naturae (Q. I. A. i), Deus ei satisfactorem dedit, filium suum.
io6-jo8 EJ.JJ. j^j c- x< ^ . 2wauei -yap TTJV eVpyeuzi' 17 ouecta
T)8ovr)- fjia\\ov yap cKaora Kpivovcri KCU ei-aKpiftoixriv ol p.eff rj8ovr)s
evtpyovvTfs.
109 Cf. i. 69. The repetition of the phrase seems intended to knit
the whole argument together.
90 PARADISO. CANTO vn.
be a procedure so lofty and magnificent either by the one
way or by the other. For God was more bountiful to give
Himself in making man sufficient to raise himself, than if
He had of Himself alone remitted the sin. And all other
methods were short in respect of justice, save that the Son
of God should be humbled to become incarnate.
"Now, well to fulfil every desire for thee, I return to
a certain passage to expound, so that thou mayest see
Si alto e si magnifico processo, p
O per P una, o per P altra fue o fie. q
Che piu largo fu Dio a dar se stesso,
In far P uom sufficiente a rilevarsi,
Che s' egli avesse sol da sb dimesso.
E tutti gli altri modi erano scarsi
Alia giustizia, se il Figliuol di Dio
Non fosse umiliato ad incarnarsi. 120
Or, per empierti bene ogni disio,
Ritorno a dichiarare in alcun loco,
P alto o si Gg, Cass. 14 ; ne si 2, 1 luno . . . laltro Gg, Aid.
"3 processo ; probably with a suggestion of the word in its legal
sense.
114 There can hardly be any doubt that this is the correct reading,
una and altra are clearly the vie already referred to ; and the six
following lines have no appropriateness except on this view. The
work of redemption was the greatest possible manifestation of God's
mercy, because to enable man to rise, through the sacrifice of Himself,
was a greater boon than a free pardon ; of His justice, because nothing
but the incarnation of the Son of God could be a full recompense.
118 Comin. Gg. quotes St. Augustine, de Civ. D. xiii. : Sanandae
nostrae miseriae convenientior modus alius non fuit quam per Christi
passionem.
121 sqq. Beatrice's words in 11. 67-69 have given rise to another doubt.
If all that God immediately created is immortal, how is it that the
elements and all things compounded of them decay and perish ?
CANTO vii. PARADISO. 91
matters there as I do. Thou sayest : I see the air, and I
see the fire, the earth and the water and all their combina-
tions come to destruction and endure but a little : and yet
these things were creatures : wherefore, if what I have said
has been true, they ought to be secure from corruption.
The angels, brother, and the incorrupt country in which
Perche tu veggi li cosi com' io.
Tu dici : Io veggio 1' acre, io veggio il foco,
L' acqua, e la terra, e tutte lor misture
Venire a corruzione, e durar poco :
E queste cose pur fur creature :
Per che se cib ch' ho detto e stato vero, r
Esser dovrian da corruzion sicure.
Gli Angeli, frate, e il paese sincere 130
r do e vero e st. v. Gg.
124 Taken almost word for word from Arist. de Caelo iii. 6 : 'Ai'Sta
fuv ovv fivai [sc. ra crroi^eia] abwarov 6pS>p,fv yap TO Trvp, *cal TO
v8a>p, KOI fKCio-Tov TU>V cnr\a>v crco/xarcoi' diaXvo/j.evov.
130 sincere represents Aristotle's flXiKpivrjs. With him, however,
fire and earth were the etXi/cpti/eVrara of the elements. (De Gen. et
Corr. ii. 3.) Here the paese sincere is, of course, heaven. The
argument of this passage is : God created immediately form and matter
only. But matter ' ' is only intelligible as the correlate of form : it can
neither exist by itself nor be known by itself." (Grote, Aristotle,
p. 456. ) Consequently neither corruptibility nor incorruptibility can be
predicated of it. Thus the only things unsusceptible of corruption in
virtue of their immediate creation by God are the heavens, the angels,
and human, i.e. intellectual, souls; the first as having a special matter of
their own ("non est eadem materia corporis caelestis et elementorum,
nisi secundum analogiam," S. T. i. Q. 66. A, 2); the others as being
pure forms (Purg. xviii. 49). The soul in its lower aspects, nutritive,
vegetative, etc., and all things compounded of the elements consist of
matter combined with form (here again virtfr is very nearly = eWpyeia.
See note to Purg. iv. 1-12), under the influence of the heavenly bodies,
92 PARADISO. CANTO vii.
thou art, may be said to be created, just as they are, in
their entire being; but the elements which thou hast named
and those things which are made of them, are informed by
a created virtue. Created was the matter which they have ;
created was the informing virtue in these stars which go
round about them. The soul of every brute and of the
plants being endued by complexion with potency draws in
Nel qual tu sei, dir si posson creati,
Si come sono in loro essere intero :
Ma gli elementi che tu hai nomati,
E quelle cose, che di lor si fanno,
Da creata virtu sono informati.
Creata fu la materia ch' egli hanno : s
Creata fu la virtu informante
In queste stelle che intorno a lor vanno.
L } anima d' ogni brato e delle piante
Di complession potenziata tira 140
s la nalura Gg.
which they receive according to the "complexions" which they have in
posse. But that which is compounded can be destroyed.
140 I understand potenziata to agree, not as usually taken, with
complession, but with anima ; and di complession potenziata to
be a construction like "di sei ali pennuto " in Purg. xxix. 94. The
' ' complexions " (Brunette, Tresor ii. 32) are the four elementary
properties of matter, heat, cold, moisture, drought ; or rather their
combinations, <rvevt-eis, from which the "simple bodies," earth, air,
fire, and water, arise. (Ar. de Gen. et Corr. ii. 2, 3, 4.) According to
their ' ' complexions " all things have their own potentiality of being
affected by the movements of the heavenly bodies. " Actiones corporum
caelestium diversimode recipiuntur in inferioribus corporibus, secundum
diversam materiae dispositionem," S. T. i. Q. 105. A. 3. " Esse
complexionatum reperitur in naturalibus," De Mon. i. 4, and cf.
Conv. iii. 3 respecting plants. It is clear, I think, that lo raggio e il
moto must be taken as the object and not the subject of tira. Cf. v. 125.
CANTO VII. PARADISO. 93
the ray and the movement of the holy lights. But your life
the highest Goodness inspires immediately, and enamours
it of Itself, so that ever after it desires It. And hence thou
canst further deduce argument for your resurrection, if
thou think again how the flesh of man was made at the
time when the first parents were both made."
Lo raggio e il moto delle luci sante.
Ma vostra vita senza mezzo spira 1
La somma beninanza, e 1' innamora
Di se, si che poi sempre la disira.
E quinci puoi argomentare ancora
Vostra resurrezion, se tu ripensi
Come 1' umana carne fessi allora,
Che li primi parenti intrambo fensi.
1 nostra 3 Aid. Bi. Giul.
145.148 "c um in prima reruns* formatione nullum praecesserit
humanum corpus, cujus virtute per viam generationis aliud simile in
specie formaretur ; oportuit primum corpus hominis immediate a Deo
formari," S. T. i. Q. 91. A. 2. The deduction from this of the
resurrection of the body appears to be Dante's own ; at any rate it is
not formulated by Aquinas.
lO
CANTO VIII.
ARGUMENT.
They ascend to the third Heaven, of Venus, wherein are the souls of those
who on earth were lovers. Dante talks with the King Charles Martel,
who reproves his own house, and explains how if Nature be thwarted,
a good seed may bring forth evil fruit.
THE world to its own peril used to deem that the fair one
of Cyprus beamed forth the foolish love, turning in the third
epicycle ; wherefore not to her only did they pay honour of
sacrifices and of votive shouts, the ancient folk in their ancient
error, but they honoured Dione and Cupid, her for her
SOLEA creder lo mondo in suo periclo,
Che la bella Ciprigna il folle amore
Raggiasse, volta nel terzo epiciclo ;
Per die non pure a lei faceano onore
Di sacrifici e di votivo grido
Le genti antiche nell' antico errore :
Ma Dione onoravano e Cupido, a
a Majunone Gg.; dove 14.
' suo periclo. "I.e. animarum pernitiem," Comm. Gg.
2 Ciprigna = Cyprigenia, formed, no doubt, after KuTiywyeVeia.
il folle amore, as opposed to "honestus amor conjugalis," P. di
Dante.
3 The epicycle was a contrivance of the Ptolemaic astronomy to
account for the " retrograde " movements of the planets. Each was
CANTO vin. PARADISO. 95
mother, him for her son, and said that he sat in Dido's lap ;
and from her, from whom I am taking my opening, they
took the name of the star with which the Sun dallies, now to>
rearward, now in front. I was not conscious of my ascent to
it ; but of being in it my Lady gave me assurance enough,.
in that I saw her grown more fair.
And as a spark is seen in a flame, and as voice is dis-
Questa per madre sua, questo per figlio, b
E dicean ch' ei sedette in grembo a Dido :
E da costei, ond' io principio piglio, 10
Pigliavano il vocabol della Stella,
Che il sol vagheggia or da coppa or da ciglio.
Io non m' accorsi del salire in ella :
Ma d' esservi entro mi fece assai fede
La donna mia ch' io vidi far piu bella.
E come in fiamma favilla si vede
b Qttella W.
considered as revolving not immediately in a circle round the earth, but
in a smaller circle about a point in the former circle. " In sul dosso di
questo cerchio e una speretta che per se medesima in esto cielo si volge ;
Io cerchio (i.e. the great circle in the plane of the principal orbit) della
quale gli astrologi chiamano epiciclo." Conv. ii. 4.
9 Aeneid i. 657 sqq. and 715-719.
12 I have followed P. di Dante, Comm. Gg. and Landino (who, by
the way, reads da poppa), in taking il sol as the subject, and not the
object, of vagheggia. The word is usually, if not always, used by
Dante of the masculine toward the feminine. The allusion is of course
to the fact that Venus, whether preceding or following the sun, is
always near him. Da coppa, da ciglio, lit. "on the side of the ,
nape," " of the brow."
*3 They pass to the sphere of Venus.
*s far. "The infinitive of transitives can in certain cases express a
passive sense." Diez iii. 189. Strictly speaking, of course, the ap-
parent subject is really the object : " I saw the act of making her more /
fair take place." /
96 PARADISO. CANTO vin.
earned in voice, when one is steady and the other goes
and returns, saw I in that light other lamps moving around
with more and less speed, in the measure, I believe, of their
eternal vision. From a chill cloud never did winds descend,
whether visible or not, so swiftly that they would not appear
hindered and slow to whosoever had seen these lights divine
come towards us, leaving the circling which had been first
begun among the Seraphim on high. And within those
E come in voce voce si discerne,
Quando una e ferma e 1' altra va e riede,
Vid' io in essa luce altre lucerne
Muoversi in giro piu e men correnti, 20
Al modo, credo, di lor viste eterne.
Di fredda nube non disceser venti,
O visibili o no, tanto festini,
Che non paressero impediti e lenti,
A chi avesse quei lumi divini
Veduto a noi venir, lasciando il giro
Pria cominciato in gli alti Serafini : d
E dietro a quei che piu innanzi appariro,
c interne Gg. Cass. W. d gli altri Cass. 2 Aid,
18 " Canto fermo " is the name given by musicians to the form of
composition in which one voice sustains the theme, while the others are
singing a more or less florid accompaniment.
21 Cf. v. 4 sqq.
22 Cf. Purg. v. 37. The allusion here is to the envec^ias (hurricane)
of Ar. Meteor, iii. I.
2 ? Because the seraphim, as the highest order of angels, preside over
the movement of the primo mobile, upon which the movements of all
the other heavens depend. We learn from Convito ii. 6, that the order
especially charged with directing the movement of Venus are the
" Thrones ;" see ix. 61. (This arrangement, however, differs from
that finally adopted by Dante ; see note to xxviii. 130.)
CANTO viii. PARADISO. 97
which appeared most in front, Hosanna was sounding so
that never since have I been without desire of hearing it
again. Then one drew nearer to us, and alone began : " We
are all ready to thy pleasure that thou mayest have joy
of us. We revolve with those princes of heaven, in one
circle, with one circling, with one longing, to whom thou
saidest erewhile in the world, ' Ye whose intelligence the
third heaven moves;' and we are so full of love that, to
Sonava Osanna, si che unque poi e
Di riudir non fui senza disiro. 30
Indi si fece 1' un piu presso a noi,
E solo incomincio : Tutti sem presti
Al tuo piacer, perche di noi ti gioi.
Noi ci volgiam coi Principi celesti
D' un giro e d' un girare e d' una sete,
Ai quali tu nel mondo gik dicesti :
Voi, che intendendo il terzo del movete :
E sem si pien d' amor, che per piacerti
e che con quei poi Gg.
31 un. This is Carlo Martello (not to be confused with the original
Charles Martel), eldest son of Charles II. of Anjou and Naples. He /
was born about 1271, was crowned King of Hungary, on the death,
without male issue, of his maternal uncle, Ladislas IV., son of
Stephen V., in 1289 but never ruled there married Clemence,
daughter of Rudolf of Hapsburg, by whom he had a daughter of
the same name, married afterwards to Lewis X. of France, visited
Florence in 1295, and died apparently in that year. See Villani vii. 85,
135, viii. 13, and x. 1 06. These chapters contain all that is known of A
this prince, whose early promise so much impressed Dante.
37 This is the first line of the Canzone to which Conv. ii. is the
commentary. " Corpora caelestia moventur ab aliqua substantia appre-
hendente," S. T. i. Q. 70. A. 3. " In quibusdam libris de Arabico
translatis substantiae separatae quas nos angelos dicimus, Intelligentiae
vocantur," Q. 76. A. 10.
H
98 PARADISO. CANTO vin.
please thee, a little rest will not be Jess sweet." After that
my eyes had been lifted to my Lady in reverence, and she
had of her own self made them content and certain, they
turned back to the light which had given such promise of
itself, and " Say who ye are " was my utterance, stamped
with deep affection. O, in what measure and in what
wise did I see it grow more by reason of a new joy which
accrued, when I spoke, upon its joys. So fashioned, it
said to me : " The world held me below short time ; and if
Non fia men dolce un poco di quiete.
Poscia che gli occhi miei si furo offerti 40
Alia mia donna reverenti, ed essa
Fatti gli avea di se content! e certi,
Rivolsersi alia luce, che promessa
Tanto s' avea, e : Di' chi siete, fue f
La voce mia di grande affetto impressa.
O quanta e quale vid' io lei far piue
Per allegrezza nuova, che s' accrebbe,
Quand' io parlai, all' allegrezze sue.
Cosi fatta mi disse : il mondo m' ebbe
f dichi, alt. to dec hi Gg.; dir chi Land.; di, Chi s. Veil.; se' tu a.'.
44 Di' chi siete? is the reading which has the weight of authority.
There is supposed to be some difficulty about the change from the
singular to the plural, though a similar change is found in Purg. xix . 94 ;
and for this reason, apparently, some, including Benvenuto and Bianchi,
read Deh ! chi (with which we may compare Purg. xi. 37), and others,
e.g. Veil, and Dan. di " Chi siete?" a very awkward construction.
Gg. has dichi, altered into dechi. Others again adopt a reading
suggested by Daniello in his note, Di' chi se'' tu. But there seems
no reason why Dante should not ask, ' ' Tell me, who you in this
heaven are ? " Of course, siete must not be taken as the plural of
icverence.
CANTO vni. PARADISO. 99
it had been more much evil will be, that then had not been.
My happiness holds me hidden from thee, which beams
around me, and covers me like an animal swathed in its
own silk. Well didst thou love me, and hadst good reason
why : for if I had stayed below, I had shown thee of my
love more than the leaves. That left bank which is washed
of Rhone after it is mingled with Sorgue, awaited me in due
time for its lord ; and that horn of Italy which makes its
/ Giii poco tempo ; e se piu fosse stato, 50
Molto sara di mal, che non sarebbe.
La mia letizia mi ti tien celato,
Che mi raggia dintorno, e mi nasconde,
Quasi animal di sua seta fasciato.
Assai m' amasti, ed avesti bene onde :
Che s' io fossi giu stato, io ti mostrava
Di mio amor piu oltre che le fronde.
Quella sinistra riva, che si lava
Di Rodano, poich' e misto con Sorga,
Per suo signore a tempo m' aspettava ; 60
50, 5' For the somewhat condensed form of expression, cf. vi. 140,
142.
3* Cf. V. 136.
Cf. xxvi. 97, 135. Witte's view, that this is the last sphere in
which the spirits appear with their bodily lineaments, seems hardly
borne out by the text. It is rather the first in which they do not ;
showing themselves as lights only.
s ? I.e. I should have shown fruits as well. We cannot now tell
Dante's reasons for the opinion he formed of Carlo Martello. Their
acquaintance must have been made on the occasion of the prince's visit
to Florence.
58 sqq. j e < j shouio^ if I had lived, have been Count of Provence"
(through his grandmother, daughter of Raymond Berenger), " King of
Apulia, and of Hungary."
H 2
ioo PARADISO. CANTO vm.
suburbs of Bari, of Gaeta, and of Catona, from where
Tronto and Verde disgorge into the sea. Already was
gleaming on my brow the crown of that land which the
Danube waters after it leaves its German banks ; and fair
Trinacria which grows dark between Pachynum and
E quel corno d' Ausonia, che s' imborga
Di Bari, di Gaeta, e di Catena, 8
Da ove Tronto e Verde in mare sgorga : h
Fulgeami gia in fronte la corona
Di quella terra che il Danubio riga,
Poi che le ripe Tedesche abbandona :
E la bella Trinacria, che caliga
Crotona Aid. Land. Bi. Giul. etc.
h Da onde 14 ; La ove Cass.; dove Aid.
61 s' imborga. This is one of the curious reflexive compounds
with in (almost untranslatable) which abound in the Paradise, and
scarcely appear at all in the other Cantiche. Doubtless they will here-
after serve as arguments for the separate authorship of this portion of
the poem.
62 Catona is a small town a little N. of Reggio, and almost exactly
opposite Messina. It is appropriately taken here to denote the extreme
limit of the kingdom of Naples to the south, as the Tronto and Verde
(Garigliano) to the north, Bari and Gaeta marking the "upper" and
"lower" coasts. It maybe noted that these two towns are almost
exactly in the same latitude. All three being on the furthest bound ary
of the territory are, as it were, suburbs, borghi. The reading Crotona,
which most editors from Landino and Aldus have adopted, has no
authority from MSS. or early edd., and the very fact of the comparative
obscurity in later times of Catona, which Blanc regards as a reason for
preferring it (Diz. Dant. s. v. Crotona), is in truth a strong argument
against it.
6 s Landino, following Buti, has a curious variant : "La ove tronco
el verde mare sgorga," apparently suggested by Purg. xiv. 32. Verde.
See Purg. iii. 131. Here it must clearly denote some stream marking
the limit of the "kingdom" on the opposite coast to the Tronto, its
N.E. boundary ; and this can hardly beany other than the Garigliano.
CANTO vin. PARADISO. 10 1
Pelorum, above the gulf which receives from Eurus greatest
disturbance (not on account of Typhoeus, but of nascent
sulphur), had still awaited its kings sprung through me of
Charles and Rudolf; if ill-government which ever puts
Tra Pachino e Peloro sopra il golfo,
Che riceve da Euro maggior briga,
Non per Tifeo, ma per nascente solfo, 70
Attesi avrebbe li suoi regi ancora'
Nati per me di Carlo e di Ridolfo,
Se mala signoria, che sempre accora
1 Accesi . . . raggi Gg.
68 golfo. That of Catania, which is open to the east.
70 Explanatory of course of caliga. As a matter of fact, it was not
Typhoeus, but Enceladus whom the ancients fabled to have been buried
under Aetna. See Aeneid iii. 578.
71 "My descendants would have ruled in Sicily, if misgovernment
had not caused the massacre of the French." Alluding of course to the
" Sicilian Vespers," or rising of the Sicilians against the House of
Anjou, and expulsion of the French army and officials to the cry of
" Muoiano i Francesi ! " March 30, 1282. See Villani vii. 61.
Through this the crown of Sicily passed to the House of Aragon, who
represented (in the female line) that of Swabia. It may not be out of
place to quote Amari's estimate of this passage : " Que' tre versi," he
says (1st. Sic. p. 300), "resteranno per sempre come la piu forte, precisa
e fedele dipintura, che ingegno d' uomo far potesse del vespro
siciliano."
72 See note to line 31. Observe that in his descendants the con-
tending factions would have been united, Rudolf being as Emperor the
head of the Ghibelines, and Charles the great champion of the Guelfs.
Charles himself seems to have foreseen something of this kind. See
Villani vii. 55 " Lo re Carlo il (sc. Ridolfo) temette forte ; e per
essere bene di lui, diede a Carlo Martello figliuolo del figliuolo,
la figliuola del detto re Ridolfo per moglie." We may, perhaps, see
here the reason of Dante's great interest in him.
73 accora. Usually, as in Puig. v. 57, x. 84, "to touch the heart."
Here, however, Diet. Cruse, following Buti, seems right in rendering
"animos addere."
102 PARADISO. CANTO VIII.
heart in the subject-peoples had not moved Palermo to
cry, ' Die, die.' And if my brother had foreseen this he
would ere now be flying the greedy poverty of Catalonia,
that it harm him not ; for verily it needs that provision be
made either by him or by another, so that on his laden
bark more load be not put. His nature which of a lavish
Li popoli suggetti, non avesse
Mosso Palermo a gridar : Mora, mora.
E se mio frate questo antivedesse,
L' avara poverta di Catalogna
Gia fuggiria, perche non gli offendesse :
Che veramente provveder bisogna
Per lui o per altrui, si ch' a sua barca So
Carcata piu di carco non si pogna. k
La sua natura, che di larga parca
k CaricaAld.
7 6 mio frate. Robert, Duke of Calabria, third son of Charles II.,
with two of his brothers, was detained in exchange for his father (see
Purg. xx. 79) by the King of Aragon from 1288 till 1295. James of
Aragon (grandson of Manfred) and Charles were reconciled in that
year ; and in the following year James and his great Admiral Roger di
Loria made their submission to the Pope, Boniface VIII. Afterwards
James and Charles in alliance attacked Don Frederick, who had
retained Sicily (see note, Purg. vii. 119). We find Robert on more
than one occasion after this in command of Aragonese or Catalan
forces, whence, no doubt, the allusion in the next line.
79-81 j t ma y ] )e noticed that the war between Charles and James on
the one side and Frederick on the other was mainly carried on at sea,
and that Robert and Loria, being on their way to provision Catania
and other captured fortresses in Sicily, were wrecked off Cape
Pachinum in the summer of 1301. This may have suggested the
metaphor of these lines.
82 The " larghezza" of Charles II. is mentioned by Villani ; see
the passage quoted to Purg. vii. 119; it is indeed the one virtue which
CANTO vin. PARADISO. 103
one is the niggardly offspring, would have need of such
soldiery as should not care to put into coffer." " Because
I believe that the high joy which thy speech infuses into
me, my lord, in a place where all good has its end and
beginning, is seen by thee as I see it, it is the more grateful
to me ; and this too I hold dear, that thou discernest it in
gazing upon God. Thou hast made me joyful ; and so
make me clear, since in speaking thou hast moved me to
doubt how from sweet seed bitter can be." This I to
him ; and he to me : " If I am able to demonstrate to thee
Discese, avria mestier di tal milizia,
Che non curasse di mettere in area.
Perb ch' io credo che 1' alta letizia,
Che il tuo parlar m' infonde, signor mio,
La Ve ogni ben si termina e s' inizia, 1
Per te si veggia, come la vegg' io ;
Grata m' e piii, e anche questo ho caro,
Perche il discerni rimirando in Dio. 93
Fatto m' hai lieto : e cosi mi fa chiaro,
Poiche parlando a dubitar m' hai mosso,
Come esser pub di dolce seme amaro." 1
Questo io a lui : ed egli a me : S' io posso
1 Dove 3 ; Ove Aid. m uscir Aid. W. Bi. GiuL
Dante (xix. 128) allows him. The historian also, while approving, as
do other contemporaries, the general character of Roberf, says (xii. io) :
" poi che comincio a invecchiare, 1'avarizia il guastava." Some suggest
that he learnt this during his compulsory stay in Spain.
9 Perchfe, as in Purg. vi. 88. The transition from " because " to
" that" is easy. Cf. the late Latin use of quia.
92, 93 With reference to the remark in 1. 82. dubitar is used in its
technical sense = the Greek a
104 PAR AD I SO. CANTO vm.
one truth, towards that which thou askest thou wilt hold
thy face as thou dost hold thy back. The Good which sets
in revolution and contents all the realm which thou art
scaling, makes its foresight to be virtue in these great
bodies. And not only the natures are foreseen in the mind
which is of itself perfect, but they together with their pre-
servation. Wherefore whatsoever this bow discharges falls
disposed to a foreseen end, just as a thing aimed right upon
its mark. If this were not so, the heaven where thou
Mostrarti un vero, a quel che tu dimandi
Terrai il viso, come tieni il dosso.
Lo ben, che tutto il regno che tu scandi
Volge e contenta, fa esser virtute
Sua providenza in questi corpi grandi :
E non pur le nature provvedute 100
Son nella mente ch' e da se perfetta,
Ma esse insieme con la lor salute.
Per che quantunque questo arco saetta,
Disposto cade a provveduto fine,
Si come cosa in suo segno diretta.
95 un vero. I.e. the doctrine that God's providence, acting througli
the heavenly bodies (cf. Purg. xxx. 109 sqq. ), overrules all other causes,
disposes all things to their ends, and arranges the order of nature with
a view to its preservation.
9 s ' 99 S. T. ii. 2. Q. 96. A. 2 : " Virtutes naturales corporum natu-
ralium consequuntur eorum formas substantiales, quas sortiuntur ea
impressione caelestium corporum."
103-105 Therefore nothing happens by chance. For the metaphor cf.
i. 126 ; and see note at end of that Canto.
105 All authority seems in favour of the reading cosa ; though a
better sense is given by cocca. This denotes properly the notch of
the arrow (Inf. xii. 77) ; but it is used Inf. xvii. 136, for the arrow
itself.
CANTO viii. PARADISO. 105
journeyest would so produce its effects that they would not
be an artist's works, but ruins. And this cannot be, if the
intellects which move these stars are not maimed, and
maimed the First, in that He has not perfected them.
Wilt thou that this truth dawn more upon thee ? " And
I : " No longer, because I see it is impossible for Nature,
in that which is necessary, to fail." Wherefore he again :
" Say now, would it be the worse for a man on earth if he
were not a citizen ? " " Yes," answered I, " and here I seek
Se cio non fosse, il ciel che tu cammine
Producerebbe si li suoi effetti,
Che non sarebbero arti, ma ruine :
E cio esser non pub, se gli intelletti
Che muovon queste stelle non son manchi, 1 1 o
E manco il primo, che non gli ha perfetti.
Vuoi tu che questo ver piu ti s' imbianchi ?
Ed io : Non gia ; perche impossibil veggio
Che la Natura, in quel ch' e uopo, stanchi.
Ond' egli ancora : Or di', sarebbe il peggio
Per 1' uomo in terra, se non fosse cive ?
Si, rispos' io, e qui ragion non cheggio.
io6.ni if things did happen by chance, all would be in confusion,
which would argue imperfection both in the Mover of the heavens, and
in the Prime Mover. See also De Mon. i. 3, 4, where the line of argu-
ment is not unlike that followed here; and Conv. iii. 15: Avrebbe
anche la natura fatto indarno, perocche non sarebbe ad alcuno fine
ordinato.
us, 114 The argument from the law that Nature does nothing in vain,
is also used in De Mon. ii. 7 ; and there, as here, is obviously borrowed
from Ar. Pol. i. 2 : avdpamos (pixru TTO\ITIKOI> (aov . . . ovdtv
yap fj (^vcris (J.O.TTJV TroteZ, \oyov Se p.6vov avdpanos e%ei T>V ^<oo)i>.
115-117 NOW m an cannot fully attain his end unless he lives in society.
Ar. Eth. i. 7 : (pwei TroAmKoy av6pa>Tros. (ix. 9) : TroXiriKov 6 uvdpairos
Kiu o-vfiv iretpvKos. So Pol. I.e. and iii. 6.
106 PARADISO. CANTO vin.
no argument." " And can he be, if one lives not diversely
below, by means of divers functions ? No, if your master
well writes on that point." So he came in deduction thus
iar ; afterward he concluded : "Then it behoves that divers
must be the roots of the effects in you ; wherefore one is
born Solon and another Xerxes, another Melchisedec, and
another, he who flying through the air lost his son. The
E pub egli esser, se giu non si vive n
Diversamente per diversi ufici ?
No, se il maestro vostro ben vi scrive. 120
Si venne deducendo insino a quici ;
Poscia conchiuse : Dunque esser diverse
Convien dei vostri effetti le radici :
Per che un nasce Solone ed altro Serse,
Altro Melchisedech, ed altro quello
Che volando per 1' acre il figlio perse.
n segui 4 ; se qui Gg. assalone 145.
in that case there must be a diversity of functions. The
particular passage of Aristotle which Dante has in mind would seem to
be Pol. ii. 2 : Ou \LQVOV 6 fK n\fi6va>v av6pa>ira>v fcrrlv rj TroXts, dXXa
KOI e eiSet 8ia(pfp6vra>v ov yap ytWrai TrdXif e ojuouoi/ . . . Oi
fjiV yap apxovcriv, ol 8' apxovrai napa /nepoj, uxrirtp av aXXot
yevopfvot. Tbv aiirbv 8f) rpoirov ap^ovTatv erepoi ertpas apxovcriv
ap^ds. See also Conv. iv. 4.
122 If all things are disposed by providence, through the influence
of the heavenly bodies, to their proper ends, and if differences are seen
in the ends to which men's various dispositions fit them, it follows that
the different dispositions of men must be the result of different influences.
125 quello : Daedalus. One man is a law-giver, another a tyrant,
another a priest (or a good king), another a craftsman. In the last
there may be a suggestion of the difference between son and father.
Daedalus flew, Icarus fell.
CANTO vin. PARADISO. 107-
nature of the spheres, which is seal to the mortal wax, does-
well its art, but it does not distinguish the one from the
other habitation. Hence it happens that Esau is divided in
his begetting from Jacob, and Quirinus comes from so
mean a father that he is given to Mars. A nature begotten
would always make its course like its begetters if the divine
foresight were not stronger. Now that which was behind thee
is before ; but that thou mayest know that I have joy of thee,
I will that thou clothe thee with a corollary. Nature, if it
finds fortune at odds with it, like every other seed out of its-
La circular natura, ch' e suggello p
Alia cera mortal, fa ben su' arte,
Ma non distingue 1' un dall' altro ostello.
Quinci adivien, ch' Esau si diparte 130
Per seme da lacob ; e vien Quirino
Da si vil padre, che si rende a Marte.
Natura generata il suo cammino
Simil farebbe seinpre ai generanti,
Se non vincesse il provveder divino.
Or quel che t' era dietro t' e davanti.
Ma perche sappi che di te mi giova,
Un corollario voglio che t' ammanti.
Sempre natura se fortuna truova
Discorde a se, come ogni altra semente, q 140
P Larticular 124; Larticula 5. 1 conmognaltra 14; conognalira 5.
127, 128 suggello . . . cera. The favourite image; as in i. 41 and
elsewhere.
133-135 Cf. Purg. vii. 123.
136 See 1. 96.
138 corollario. Cf. Purg. xxviii. 136. ammanti : put on as a
cloak, the last garment. /
140, 141 yVe are again reminded of Purg. xxx. 118-120.
io8 PARADISO. CANTO vin.
own country, always makes ill sample. And if the world
below laid its mind to the foundation which nature lays,
following her, it would have its folk good. But ye wrest to
religion such an one as shall have been born to be girt with
the sword, and ye make him a king who is a man of
sermons ; wherefore your track is outside of the road."
Fuor di sua region, fa mala pruova.
E se il mondo laggiu ponesse mente
Al fondamento che natura pone,
Seguendo lui, avria buona la gente.
Ma voi torcete alia religione
Tal che fia nato a cingersi la spada, 1
E fate Re di tal ch' e da sermone :
Onde la traccia vostra e fuor di strada.
r chefu Aid.
142 If people were brought up in accordance with their innate-
dispositions.
147 " Et videtur hoc dicere pro rege roberto, qui bene sermocina-
batur. . . . Etiatn poeta caute fingit carolum dicere ista, quod
voluisset potius Robertum fieri fratrem minorem quam regem, ut regnum
pervenisset ad heredem suum." Comm. Gg. In the previous line
Scartazzini sees, perhaps rightly, an allusion to Charles's eldest
surviving brother, Lewis, who became a monk and Archbishop of
Toulouse, and was canonised in 1311 (Vill. ix. 23).
CANTO IX.
ARGUMENT.
Dante talks with Cunizza ; and with Folco the troubadour and bishop,
who shows him the soul of Rahab.
AFTER that thy Charles, Q fair Clemence, had enlightened
me, he recounted to me the treasons which his seed should
undergo ; but he said : " Keep silence, and let the years go
DAPOICHE Carlo tuo, bella Clemenza,
M' ebbe chiarito, mi narro gl' inganni
Che ricever dovea la sua semenza.
Ma disse : Taci, e lascia volger gli anni : a
a passar gli a. Gg.; muovcr 45.
1 Scartazzini devotes a long note to the question whether it is
Charles's wife or his daughter that is here apostrophised ; taking himself
the latter view. The objection to the former is that the elder Clemenza
died in 1301, that is long before the " Paradise " was written. On the
other hand Carlo tuo is an unusual way of speaking of a father to his
daughter : and so much so, that in spite of the consensus of the Italian
commentators, at all events from Landino downwards, we must, I
think, agree with Witte in understanding the elder Clemenza to be the
one indicated. For this view we have the support of P. di Dante
(which would be more weighty if he did not call her " filia Alberti regis,"
perhaps confusing her with the wife of Charles, son of Robert) and
Comm. Gg. that is, Benvenuto, whom Scartazzini, led astray by the
defective Iialian version of his commentary, deems to be on the other
side. His words are " fuit uxor Karuli ad quam dirigit sermonem."
no PARADISO. CANTO ix.
round," so that I may not tell, save that a just lamentation
will come behind your injuries.
And by this the life of that holy light had turned back
to the Sun which replenishes it, as being that Good, which
is to everything in due quantity. Ah, souls deceived and
creatures impious, who wrest your hearts from a Good so
fashioned, directing the thoughts of your heads unto vanity.
And lo, another of those splendours made towards me,
and began to signify in its outward brightening its will to
Si ch' io non posso dir, se non che pianto
Giusto verra diretro ai vostri danni.
E gik la vita di quel lume santo b
Rivolta s' era al Sol che la riempie,
Come quel ben, ch' a ogni cosa e tanto. c
Ahi anime ingannate, e fatture impie, d io
Che da si fatto ben torcete i cuori,
Drizzando in vanitk le vostre tempie !
Ed ecco un' altro di quegli splendori
Ver me si fece, e il suo voler piacermi
Significava nel chiarir di fuori.
b la vista Cass. 1234. c Come a quel Cass. Bi. GiuL
d fatue ed empie Bi. GiuL etc.
danni. I.e. the supersession of Charles's son Carlo Roberto in
the kingdom of Naples by his uncle Robert. It is hard to say whether
Dante had any actual events in view, or was only prophesying according
to his own wishes. Robert's misfortunes, to which some of the older
comm. somewhat naively refer, e.g. the death of his only son in 1328,
and two narrow escapes from assassination, did not befall him till
Dante had been many years dead. At this time he was prosperous
enough.
7 la vita. I.e. the soul which was within the light. The reading
vista is tempting, but lacks authority.
10 Cf. Purg. x. 121.
15 So v. 132, and elsewhere.
CANTO ix. PARADISO. in
please me. The eyes of Beatrice which were fixed upon
me as before, certified me of a dear assent to my desire.
" Put, I pray, quick recompense to my wish, blessed spirit,"
I said, " and give me a proof that there is power in thee to
reflect that which I think." Wherefore the light which yet
was new to me, from its depth, whence it before was sing-
ing, continued, as to one whom it is pleasing to benefit :
" In that part of the misguided land of Italy which lies
Gli occhi di Beatrice, ch' eran fermi
Sovra me come pria, di caro assenso
Al mio disio certificate fermi."
Deh metti al mio voler tosto compenso,
Beato spirto, dissi, e fammi pruova 20
Ch' e possa in te refletter quel ch' io penso/
Onde la luce che m' era ancor nuova,
Del suo profondo, ond' ella pria cantava,
Seguette, come a cui di ben far giova :
In quella parte della terra prava
e al mio disio Gg. Cass. 14.
f Chi possa Cass.; Ch' 'to possa 23 W. Bi. GiuL; CV i Aid.
17 pria. viii. 42.
21 With much diffidence I venture to modify the usually accepted
reading of this line, which appears to contain an error in grammar, and
not to give the required meaning. If possa be taken as a verb, there
is nothing to account for the subjunctive ; and further, it is not Dante
who reflects his own thought, but the spirit who reflects it back to him.
(There does not seem to be any question here of the reflexion of
thoughts in the Divine mind as in xv. 61 ; nor is 1. 6l, which some
comm. quote, at all to the point.) The reading che possa is found
in Gg. I and 4 ; while Philalethes' rendering, "gieb Beweis mir dass
sich in Dir abspiegle was ich denke," looks as if he had read che puossi,
for which however I find no authority. The infin. without a preposition
after e possa is justified by such phrases as " e uopo aprirmi," Inf. ii. 8l.
25 in quella parte. I.e. the district of Treviso, which is bounded,
112 PARADISO. CANTO IX.
between Rialto and the streams of Brenta and Piave, there
lifts itself a hill, and rises not very high, the whence
descended on a time a little spark which mightily assailed
the region round about. Of one root both I and it were
born ; Cunizza was I called, and here I shine, because the
Italica, che siede intra Rialto
E le fontane di Brenta e di Piava,
Si leva un colle, e non surge molt' alto,
La onde scese gia una facella,
Che fece alia contrada grande assalto ; 30
D' una radice nacqui ed io ed ella ;
Cunizza fui chiamata, e qui refulgo
roughly speaking, by the rivers Brenta and Piave, and extends to the
territory of Venice.
27 fontane seems here to mean the streams themselves, for the
sources of both rivers are far from Trevisan territory ; unless we are to
hold with Philalethes that Dante means to indicate the position of
Ezzelino's patrimony about the middle point of a triangle formed by the
sources of Piave and Brenta, and the town of Venice. There is how-
ever some uncertainty about the position of Romano. Lubin under-
stands Dante to refer to a point at or near the junction of the territories
of Padua, Treviso, and Venice. No trace of it seems now to exist ;
and the view of Philalethes, who with other commentators puts it near
Bassano, may arise from a confusion of it with the fortress founded by
Ezzelino which still stands in that town.
29 facella. Pietro di Dante, who not improbably died at Treviso,
mentions a legend that Ezzelino's mother, shortly before his birth,
dreamt that she was brought to bed of a lighted firebrand. His history
is too well known to need repetition. Dante places him among the
tyrants in hell, Inf. xii. no. He died in 1260. See Villani vi. 72.
& Cunizza was, as here appears, sister to Ezzelino. " Fuit soror
ezelini de romano recte filia veneris semper amorosa et vaga de qua vide
purg. c. vi. qualiter habebat rem cum sordello mantuano, erat tamen
pia benigna et misericors compatiens miseris quos frater affligebat."
So Comm. Gg., and this is about all that is known of her, except that
her brother seems to have given her in marriage more than once to suit
the political exigencies of the moment.
CANTO ix. PARADISO'. 113
light of this star had the mastery of me. But gladly I allow
to myself the occasion of my lot, and it gives me no annoy,
which haply would seem a great thing to your common
herd. Of this shining and precious jewel of our heaven
which is near to me, a great fame has remained, and before
it die, this hundredth year has yet to grow five-fold. See if
man has need to make himself excellent, so that the first
life may leave a second behind. And this the present
crowd considers not, which Tagliamento and Adige hem in ;
Perche mi vinse il lume d' esta Stella.
Ma lietamente a me medesma indulgo
La cagion di mia sorte, e non mi noia : g
Che forse parria forte al vostro vulgo.
Di questa luculenta e cara gioia
Del nostro cielo, che piu m' e propinqua,
Grande fama rimase, e pria che muoia
Questo centesim' anno ancor s' incinqua ; 40
Vedi se far si dee^l' uomo eccellente,
Si ch' altra vita la prima relinqua.
E cio non pensa la turba presente,
Che Tagliamento ed Adice richiude,
s Ch' 2 cagion Gg.
34 indulgo. "I.e. remitto," Comm. Gg. Landino's explanation
is perhaps better : " io sommamente mi contento haver havuto tal' in-
fluentia, percioche essendo beata non puo dolersi de' peccati commessi."
Cf. Purg. xxxiii. 91 sqq. So Aquinas, S. T. Suppl. Q. 87. A. I :
Sancti in patria erunt ita perfusi gaudio, quod dolor in eis locum
habere non poterit ; et ideo de peccatis non dolebunt, sed potius
gaudebunt de divina misericordia, qua eis peccata sunt relaxata.
4X1 ** Dante appears here to attach more importance to posthumous
fame than he allows to it in Purg. xi. 103 sqq.
43 cio non pensa : takes no thought for its reputation, pensa has
nearly its original sense " weighs."
44 The district enclosed by these rivers contains the greater part of
I
ii4 PARADISO. CANTO ix.
nor for being smitten, does it yet repent. But soon will it
come to pass that Padua will discolour at the marsh the water
which washes Vicenza, through its folk being unripe for
their duty. And where Sile and Cagnano join company,
Ne per esser battuta ancor si pente.
Ma tosto fia che Padova al palude
Cangera 1' acqua che Vincenza bagna,
Per essere al dover le genti crude.
E dove Sile e Cagnan s' accompagna,
the modern province of Venetia, and includes the towns of Verona,
Vicenza, Padua, Belluno, Treviso, and Venice. Philalethes is pro-
bably right in his view that it is indicated here merely as the scene
of Ezzelino's achievements, and the region in which the speaker's life
was chiefly spent. Cf. Purg. xvi. 115.
46-48 Vicenza, owing to its position between the two powerful cities
of Padua and Verona, which were Guelf and Ghibeline respectively,
was much tossed about in these times. After the death of Ezzelino the
Ghibeline cause was for a time under a cloud, and Vicenza became
subject to Padua. In 1297 however it returned for a while to its former
allegiance; but the Paduans seem to have got it back, for in 1311 we
find the Vicentines treating with the Emperor Henry VII. for their
independence. Henry was not on the best terms with the Paduans ;
indeed in the next year they turned out his vicar, and massacred the
Ghibelines ; see Villani ix. 36. To this allusion is made in 1. 48 ; with
which cf. Purg. vi. 91. Accordingly Can Grande was appointed imperial
vicar of Vicenza, and a war began, which ended in the defeat of the
Paduans in 1314. The fighting was chiefly near the Bacchiglione, the
river on which Vicenza and Padua stand, and which in those days
formed a marsh in the low ground between the Monti Berici and
Euganei. Philalethes with some probability identifies the fight here
referred to with one that took place in June, 1312.
^-s 1 Sile and Cagnano are two streams which meet at Treviso :
Conv. iv. 14. Richard of Cammino (son of the "good Gerard" of
Purg. xvi. 124), being lord of that city, was treacherously murdered
while playing chess, by an assassin acting under the orders of some mem-
bers of his own family. So Comm. Gg. Ottimo says that Can Grande
CANTO ix. PAR ADI SO, 115
such an one is lording it and going with his head high, that
already the web to catch him is in making. Feltro will yet
bewail the default of its unholy pastor, which shall be so
shameful that none ever entered into Malta for the like.
Right broad would be the vat which should receive the
Ferrarese blood, and weary he who should weigh it ounce
by ounce, which this courteous priest will give to prove him-
self of a party ; and such gifts will be conformable to the
Tal signoreggia e va con la testa alta, 50
Che gia per lui carpir si fa la ragna.
Piangera Feltro ancora la diffalta
Dell' empio suo pastor, che sara sconcia
Si che per simil non s' entro in Malta.
Troppo sarebbe larga la bigoncia,
Che ricevesse il sangue Ferrarese,
E stanco chi il pesasse ad oncia ad oncia,
Che donera questo prete cortese,
Per mostrarsi di parte ; e cotai doni
Conformi fieno al viver del paese. 60
was the instigator ; others that it was a nobleman whose wife Richard
had dishonoured. The date was 1312* Tal che. Cf. Purg. xviii. 121.
52 sqq. j n 1314. t he Bishop of Feltro surrendered to the Guelf podesta
of Ferrara certain Ghibelines of the house of Fontana, who having
failed in a conspiracy, had fled to his city for refuge. They and their
companions, to the number of thirty, were executed at Ferrara. After
this Feltro passed under the rule of the family of Cammino, and the
Bishop is said to have been beaten to death with sandbags.
54 Malta or Marta was a fortress near Montefiascone, on the lake of
Bolsena, used as a prison for clerical delinquents. So say all the early
commentators. Daniello, however, says "it is a tower of Cittadella, a
castle in the Paduan country, built by Azzolino, the speaker's brother ; "
but Ezzelino's victims were not as a rule criminals. Scartazzini finds
mention in an early chronicler of a tower called Malta, at Viterbo, and
assumes this to be referred to here ; but in a matter of this kind the
thirteenth century commentators are most likely to be right.
I 2
ii6 PARADISO. CANTO ix.
living of the country. On high are mirrors, ye call them
Thrones, whence God in His judgements so beams on us
that these words seem to us good." Here she was silent,
and made me the semblance as though she had turned to
another matter, by the wheeling in which she placed herself
as she was before.
The other joyful one, who already had been marked by
me, became a brilliant object in my view, like a fine ruby
whereon the Sun should strike. Through rejoicing is bright-
ness gained there on high, as laughter here ; but below the
shadow is dark outwardly even as the mind is sad.
Su sono specchi, voi dicete Troni, h
Onde rifulge a noi Dio giudicante,
Si che questi parlar ne paion buoni.
Qui si tacette, e fecemi sembiante
Che fosse ad altro volta, per la rota
In che si mise com' era davante.
L' altra letizia, che m' era gia nota,
Preclara cosa mi si fece in vista,'
Qual fin balascio in che lo Sol percuota.
Per letiziar lassu fulgor s ; acquista, 7 o
Si come riso qui ; ma giu s' abbuia
L' ombra di fuor, come la mente e trista.
h sp. e voi Gg. l Per cara Gg. Cass.; Per chiara 3.
61 See xxviii. 98 sqq. as to the angelic hierarchy. The Thrones are
the third order. "Throni dicuntur secundum Gregorium per quos
Deus sua judicia exercet," S. T. i. Q. 106. A. 6. All the angels are
"mirrors," reflecting the Divine mind to lower intelligences. Cf. xiii. 59.
63 Purg. xx. 94.
*? nota, as having been already pointed out by Cunizza, 1. 37.
71 gift. There is a question whether this means " in hell," or " on
earth." The symmetry of the passage seems to require the former :
but no mention is found of any such phenomenon as the darkening of
CANTO ix. PARADISO. 117
" God sees all, and thy vision is in Him," said I, " blessed
spirit, so that no wish can steal itself away from thee. Thy
voice then, which ever charms the heaven with the song of
those kindly fires which of six wings made their cowl, why
gives it not satisfaction to my desires ? No longer should I
wait for thy request, if I were in thee as thou art within
me." " The greatest vale in which the water spreads itself,"
Dio vede tutto, e tuo veder s' inluia,
Diss' io, beato spirto, si che nulla
Voglia di se a te puote esser fuia.
Dunque la voce tua, che il Ciel trastulla
Sempre col canto di quei fuochi pii,
Che di sei ale facean la cuculla, k
Perche non satisface ai miei disii ?
Gik non attenderei io tua dimanda, 80
S' io m' intuassi, come tu t' immii.
La maggior valle in che 1' acqua si spanda,
k fannosi cue. Aid. W. Bi. Giul. etc.
a shade to indicate an access of grief. Comm. Gg. has "i.e. in isto
mundo,"and explains further by saying that while human and heavenly
joy are alike in that they are displayed here by laughter, there by
increase of brightness, there is the difference that the faces of the blessed
are always joyful, but the faces of men are sometimes sad. But this
involves the necessity of taking ombra di fuor to mean " the outward
appearance" ("i.e. apparenter," says Comm. Gg. ), for which there
seems no authority. Perhaps there is an allusion to S. T. Suppl. Q.
97. A. 4 : in inferno hoc modo debet esse locus dispositus ad viden-
dum, secundum lucem et tenebras, ut nihil ibi perspicue videatur, sed
solummodo sub quadam umbrositate videantur ea quae afflictionem
cordi ingerere possunt. In this view the contrast would be between
the varying brightness of heaven, and the unchanging gloom of hell.
78 I.e. the Seraphim. Isaiah vi. 2. See viii. 27.
81 If I could read in thy mind, as thou canst in mine.
82 The Mediterranean Sea. The speaker is Folco or Folquet of
n8 PAR ADI SO.
began then his words, " apart from that sea which wreathes
the earth about, between discordant shores takes its way
against the sun so far that it makes meridian in that place
where the horizon is wont to be at first. On that valley's
shore I was a dweller, between Ebro and Macra, which in
a short course parts the Genoese from the Tuscan. With
one sunset almost and one sunrise Buggea lies and the land
Incominciaro allor le sue parole,
Fuor di quel mar che la terra inghirlanda,
Tra discordant! liti contra il Sole
Tanto sen va, che fa meridiano
Lk dove 1' orizzonte pria far suole.
Di quella valle fu' io littorano
Tra Ebro e Macra, che per cammin corto
Parte lo Genovese dal Toscano. 1 90
Ad un occaso quasi e ad un orto
1 Lo Gen. farte 3 Aid. W. Giul. etc.
Marseilles, a famous troubadour. Why he is placed here does not
clearly appear ; for he does not seem to have been so remarkable for
amorous adventures as many of his brethren, Arnald Daniel for example.
Possibly Dante (who quotes him, Vulg. El. ii. 6) knew more of his
history than has been preserved. He paid his court to Adelais, wife
of Barral, Viscount of Marseilles ; but after her death, and that of his
own wife, he became a Cistercian, and finally Bishop of Toulouse ; in
which capacity he was distinguished as a persecutor of the Albigenses.
He died 1231.
8 * The Ocean.
85 discordant!: "hinc enim sunt christiani hinc saraceni ; hie
frigus, ibi calor." Comm. Gg.
861 8 ? As we have seen, Purg. xxvii. I sqq. the geography of Dante's
time regarded the Mediterranean as occupying ninety degrees of
longitude.
89 Ebro e Macra. The longitude of Marseilles will be found to be
nearly midway between those of the two rivers mentioned ; the latter of
which flows into the sea near the Gulf of Spezia.
CANTO ix. PARADISO. 119
whereof I was, which erewhile made its port hot with its
blood. Folco that people called me to whom my name was
known, and this heaven is stamped with me, as was I with
it. For the daughter of Belus, who caused hurt both to
Sicheus and to Creusa, burned not more than I, so long as
it beseemed my hairs ; nor that maid of Rhodope, who was
deceived by Demophoon, nor Alcides when he had lole shut
Buggea siede, e la terra ond' io fui, m
Che fe del sangue suo gia caldo il porto.
Folco mi disse quella gente a cui
Fu noto il nome mio ; e questo cielo
Di me s' imprenta, com' io fei di lui :
Che piu non arse la figlia di Belo,
Noiando ed a Sicheo ed a Creusa,
Di me, infin che si convenne al pelo.
Ne quella Rodopea, che delusa 100
Fu da Demofoonte, ne Alcide,
m Bfigea Gg.
92 Buggea, called by the French Bougie, in Algiers, lies almost
exactly on the meridian of Marseilles, and consequently has its sunrise
and sunset at the same time, allowing for the difference of latitude.
93 The allusion is to the defeat inflicted by D. Brutus, in command
of Caesar's fleet, upon the Pompeians under L. Nasidius aided by the
Massilians, off Marseilles, B.C. 49. (See Bell. Civ. ii. 3-7.) Lucan
has described it at great length in the third book of the Pharsalia,
which Dante evidently had in mind.
9 6 imprenta. Cf. 1. 117 ; and see iv. 22 sqq. fei, sc. m' imprentai.
97 figlia di Belo : Dido. The instances, as Philalethes points out,
are all of persons who suffered for love ; and all, it may be added,
from the " Heroides " of Ovid.
99 I.e. until my hair grew grey.
100 quella Rodopea : Phyllis. See Ov. Her. Ep. ii.
101 Id. Ep. ix. 25, 26 :
Quern non mille ferae, quern non Stheneleius hostis,
Non potuit Juno vincere, vincit Amor.
PARADISO. CANTO ix.
in his heart. Here however one repents not, but smiles
not for the fault, which returns not to the mind, but for the
goodness which ordered and foresaw. Here one gazes into
the art which makes beautiful with so great affection, and
the good is discerned whereby the world on high turns that
below. But in order that thou mayest bear away thy wishes
all fulfilled which have been born in this sphere, it behoves
me to proceed yet further. Thou wouldst know who is in
this light, that next to me so sparkles as a ray of sunlight
on pure water. Know then that therein Rahab is at peace,
and being joined to our order has its seal set upon her in
Quando lole nel cuore ebbe richiusa.
Non pero qui si pente, ma si ride,
Non della colpa, ch' a mente non torna,
Ma del valore ch' ordino e provvide.
Qui si rimira nell' arte ch' adorna
Con tanto affetto, e discernesi il bene,"
Per che il mondo di su quel di giii torna.
Ma perche le tue voglie tutte piene
Ten porti, che son nate in questa spera, no
Procedere ancor oltre mi conviene.
Tu vuoi saper chi e in questa lumiera,
Che qui appresso me cosi scintilla
Come raggio di Sole in acqua mera.
Or sappi, che la entro si tranquilla
Raab, ed a nostr' ordine congiunta,
n Cotanto effetto Gg. Cass. W. Bi.; Con t. eff. 124 Land.; Cot. off. 3.
Perch.'' al m. Aid. Land.
\\
103 See note, 1. 34.
106-108 See note at end of th i s Canto.
CANTO ix. PARADISO. 12 r
the highest rank. By this heaven, in which the shadow
that your world makes comes to a point, she was taken up
before any other soul in Christ's triumph. Right fitting it
was to leave her in any heaven for a palm of the victory
which was gained with the one and the other hand, seeing
that she favoured the first glory of Joshua upon the Holy
Land, whereof the memory little touches the Pope. Thy
Di lui nel sommo grado si sigilla.
Da questo cielo, in cui P ombra s' appunta
Che il vostro mondo face, pria ch' altr' alma
Del trionfo di Cristo fu assunta. 120
Ben si convenne lei lasciar per palma
In alcun cielo dell' alta vittofiaT^
Che j^' acquisto con 1' una e P altra palma : p
Perch' ella favoro la prima gloria
Di Josue in su la terra santa,
Che poco tocca al Papa la memoria.
P Ch 'esso acq. Gg. 134 ; Che sa acquista 2.
117 si sigilla. I.e. "Ejus imago apparet in summo gradu istius
spherae cujus influentia ipsa impressa fuit." Comm. Gg. reading
di lui, which I have followed. This seems to give a simpler sense
than the usual lei, and to avoid the harsh "nominativus pendens" of
congiunta, which that reading involves. Cf. 1. 96 ; and, for Rahab,
Heb. xi. 31.
118 The shadow of the earth was believed to extend as far as the
sphere of Venus. The allegorical meaning, as Philalethes points out,
is that in the three lower divisions of Paradise are found souls who have
been prevented from attaining a higher degree of blessedness by the
earthly failings of inconstancy, ambition, and unregulated love.
123 1' una e 1' altra palma. I.e. the two hands of Christ nailed
to the Cross. This is the usual, and not unsatisfactory, explanation.
126 S qq. Compare this digression with that at Purg. vi. 76, and
observe that a similar reason, covetousness, is assigned for the neglect
of their duty by both Emperor and Pope. The capture of Acre, in
122 PARADISO. CANTO IX.
city, which is a plant of him who first turned his back upon
his Maker, and whose envy has been so greatly be-
wailed, brings forth and spreads abroad the accursed
flower which has led astray the sheep and the lambs, be-
cause it has made a wolf of the shepherd. For this the
Gospel and the great Doctors are deserted, and study is
given to the Decretals alone, as appears on their margins.
La tua citta, che di -colui e pianta,
Che pria volse le spalle al suo fattore,
E di cu e la invidia tan to pianta, q
Produce e spande il maladetto fiore, 130
Ch' ha disviate le pecore e gli agni,
Perb chb fatto ha lupo del pastore.
Per questo 1' Evangelic e i Dottor magni
Son derelitti, e solo ai Decretali
i inv. tzitta quanta 145.
1291, had driven the Christians from their last foothold in Palestine,
and though both Nicolas IV., who was then Pope, and afterwards
Boniface VIII., had used some slight efforts to stir up the princes of
Christendom to recover it, no serious attempt was ever again made.
By the end of the century, indeed, the Pope's attention was fully
occupied with the affair of Italy and Sicily.
127 It seems hardly necessary to suppose, with Scartazzini, that
Dante intends to identify Mars, as the patron of Florence, with the
devil. She is said to be his planting merely because she is given over
to envy and avarice. Compare with this whole passage, De Mon. iii. 3.
12 9 Cf. Inf. i. in, and observe that it is the "lupa" (see Note to
Purg. xx. 10) who is there associated with envy.
130 fiore. The lily of Florence, stamped on the florin.
132 lupo. See above.
'33 Dottor. Cf. the Epistle to the Italian Cardinals: Jacet
Gregorius in telis aranearum ; jacet Ambrosius in neglectis clericorum
latibulis ; jacet Augustinus ; abjectus Dionysius, Damascenus et Beda ;
et nescio quod Speculum, Innocentium et Ostiensem declamant.
The last two names are those of commentators on the Decretals, or
constitutions and traditions of the Papal See.
CANTO ix. PAR AD ISO. 123
To this the Pope and the Cardinals give attention ; their
thoughts go not to Nazareth, the place where Gabriel
opened his wings. But Vatican and the other chosen parts
of Rome, which have been a burying-place to the soldiery
that followed Peter, shall soon be free from the adultery."
Si studia si, che pare ai lor vivagnL
A questo intende il Papa e i Cardinal! :
Non vanno i lor pensieri a Nazzarette,
La dove Gabbriello aperse 1' ali.
Ma Vaticano e 1' altre parti elette
Di Roma, che son state cimitero 140
Alia milizia che Pietro seguette,
Tosto libere fien dell' adultero.
"35 ai lor vivagni : either by the thumbing of them, or the an-
notations.
147 Tosto : i.e. by the removal to Avignon in 1305. adultero for /
adulterio, as cimitero two lines above. The word recalls Purg. xxxii.
1 60. The last seven lines of this Canto were required by the Spanish
Inquisition to be struck out in all copies of the poem introduced
within its jurisdiction. A similar compliment was paid to Inf. xi. 8, 9,
and xix. 106-118.
NOTE TO LINES IO6-IO8.
There is a good deal of uncertainty about the reading, and con-
s:quently about the rendering of these lines. With regard to the
reading, opinions are nearly equally divided between cotanto effetto . . .
il mondo, and con tanto affetto . . . al mondo. Gg. Lomb., Witte,
Bianchi, Lubin, take the former; Aid., Land., Dan., Bieg., Phil. ,
Scart., the latter. Vellutello holds with the first group, reading modo.
Giuliani has con tanto aff. but il m. Of the four early edd., 124
have con tanto effetto, and 3 cotanto affetto, all with il mondo. The
objection to effetto, as Philalethes points out, is that " to adorn an
effect " is an expression not easy to understand ; and it may be added,
that it has little connection with the general drift of Folco's words,
124 PARADISO. CANTO ix.
which are clearly an amplification of what Cunizza has said in 11. 34, 35.
This some of the early comm. plainly understood. Thus Comm.
Gg. apparently taking " il valor " as the subject of adorna, explains
arte by " sc. generationis, " and to the next line has, "i.e. tantam
affectionem quanta est in amore decorat tarn mirabili affectu," while the
earlier Italian annotator interprets discernesi il bene, etc., by "cioe
quando lomo e namorato nel mondo di vano amore, poi che torna
[did he read poi che for perche ?] a dio tutto quel amor mundano si
converte a dio." The latter part, which implies the reading al mondo,
can hardly be right, for it is a well-known law of verse that the same
word must not rhyme to itself in the same sense ; so that we must seek
another meaning for torna. Here the Ottimo is better : "gaudesi del
valore, che virtu d' amore accese nel cuore degli amanti ; e gaudesi
quando rimiriamo nell' arte del Cielo, che adorno la nostra affezione ;
e gaudesi, perche discerniamo il bene, per lo quale il mondo di sopra
torna, gira, e governa il mondo di sotto." There is no need to take the
objection of Philalethes that tornare in an active sense is unusual. The
Ottimo appears to recognise it : "il m. di sopra torna, gira e governa
il m. di sotto ; " and even if there were no extant examples of it
in Italian, the derivation of the word, and its use in the cognate
languages are sufficient to show that it must be capable of possessing
all the senses of the English " turn. " Thus we are led to prefer the
reading of Giuliani, "con tanto affetto," with " il mondo." The only
fault that can be found with this is the absence of an expressed object
to adorna ; and this can easily be supplied by a slight rearrangement
of line 106, "qui si rimira 1' arte che n' adorna." With or without
this the thought of the passage becomes as clear as it is beautiful.
" We feel no repentance for our fault, which indeed we have forgotten:
but we contemplate with joy the wonderful order of God's providence,
which makes that love wherein we formerly erred an honour to us ;
and we discern this same love in its highest manifestation, namely, as
the power by means of which the whole course of the world is
governed." The " mondo di su " is clearly the Koa/xos of the Platonic
Timaeus ; and probably the use of torna is to be ascribed to the
influence of such passages as (e.g.) 47 B.C. of that dialogue. There
does not seem to be any reference to the rotation of the earth, of which
Dante knew nothing.
CANTO X.
ARGUMENT.
They enter the fourth Heaven, of the Sun. Here are the souls of Doctors
and others learned in theology, among them St. Thomas Aquinas,
who points out and names such as are at hand.
LOOKING upon His Son, with the Love that the one and
the other eternally breathe forth, the first and unspeakable
Goodness made all that revolves in mind or in place with
GUARDANDO nel suo Figlio, con 1' Amore ^
Che 1' uno e 1' ajtro eternalmente spira, J RltJ )
Lo pjirno ed ineffabile valore,
Quanto per mente o per loco si gira, a
a o per occhio Aid. Land. Giul. etc.
1-6 S. T. i. Q. 56. A. 6 : Deus pater operatus est creaturam per
suum Verbum, quod est filius ; et per suum Amorem, qui est spiritus
sanctus. Ib. Q. 37. A. 2 : Pater et Filius dicuntur diligentes
Spiritu sancto, vel amore procedente, et se et nos.
4 Most (or all) MSS. and the first 5 edd. read loco, "all that can
be conceived in the mind, or that has a local existence." I have there-
fore followed Witte and Scartazzini in adopting this reading ; though
Land., Aid., Dan., and nearly all subsequent editors have occhio, "all
things visible." One cannot help suspecting that the true reading is
" per tempo o per loco," mente having slipped in from some early gloss
of localmente or the like. Cf. xxvii. 109-120. Thus Augustine on
Genesis, quoted S. T. i. Q. 9. A. I : Spiritus Creator movet se, nee
per tempus, nee per locum.
II
126 FARAD ISO. CANTO x.
such order that he who observes this cannot be without
tasting of Him. Lift then, reader, thy view with me to the
wheels on high, straight to that region where the one motion
strikes upon the other, and there begin to look with love
upon the art of that Master who in Himself loves it so that
He never takes His eye away from it. See how thence
branches off the oblique circle which bears the planets, to
Con tanto ordine fe, ch' esser non puote b
Senza gustar di lui, chi cio rimira.
Leva dunque, Lettore, all' alte ruote
Meco la vista dritto a quella parte,
Dove 1' un moto all' altro si percuote : c
E li comincia a vagheggiar nell' arte 10
Di quel maestro, che dentro a se 1' ama
Tanto che mai da lei 1' occhio non parte.
Vedi come da indi si dirama
L' obbliquo cerchio che i pianeti porta,
b Cotanto Gg. c e /' altro Gg. 1235 W. ; /' altre 4.
5 ordine. Cf. i. 103.
7 alte ruote; so superne r. Purg. viii. 18 ; r. magne, xix. 63;
eterne r. Par. i. 64.
9 I.e. where the diurnal motion from east to west meets the motion
of the heavenly bodies in the Ecliptic from west to east, viz. where the
/ Ecliptic crosses the Equator ; that is the Equinox, near to which, as we
/ know, the Sun now was.
I4 ' 21 See Ar. de Gen. et Corr. ii. 9 : Ou^ 17 Trpam; (fropa ama eort
yfVfcrfais KOI (pBopas, aXX' 77 Kara TOV Xoov KVK\OV, and the whole
chapter. The ascription of great importance to the obliquity of the
ecliptic as a regulator of human affairs seems to have been based upon the
fact that the seasons depend upon it, and that growth and decay follow
/ 1 the seasons ; from which it naturally followed that all processes of
/ I change were influenced by the same cause. See note to i. 38.
CANTO x. PARADISO. 127
satisfy the world which calls upon them. And if their road
had not been bent, much virtue in the heaven had been
in vain, and well-nigh every potency here below dead.
And if from the right line the departure had been more or
less far, much of the order of the world had been lacking
both below and above. Now stay thee, reader, on thy
bench, setting thy thoughts after that whereof a foretaste
is given, if thou wilt be right glad before thou art weary..
Per satisfare al mondo, che gli chiama :
E se la strada lor non fosse torta, d
Molta virtu nel Ciel sarebbe invano,
E quasi ogni potenzia quaggiu morta.
E se dal dritto piu o men lontano e
Fosse il par tire, assai sarebbe manco 20-
E giu e su dell' ordine mondano.
Or ti riman, Letter, sovra il tuo banco,
7 j
Dietro pensando a cio che si preliba,
S' esser vuoi lieto* assai prima 'che~stanco.
d Che se la sir. di lor (non added) Gg.
e da dritto 3 W. ; da dietro 145 ; da drieto Cass.
13 chiama, as in 1. 43. " Qui indiget necessario," Comm. Gp.
171 l8 Conv. ii. 15 : Se la revoluzione di questo [il cielo cristallino]
non ordinasse cio, poco di loro virtu quaggiu verrebbe, o di loro vista.
. . . . Di vero non sarebbe quaggiu generazione ne vita d' animale e di
piante .... e '1 movimento degli astri sarebbe indarno. Virtii,
potenzia. Observe that heaven is the seat of form, fldos, and earth
of matter, v\r}. But, as we learn from De Anima ii. 2, etdos is
fvrfXe^fia, I/XT; is Suva/us- It is clear therefore that in this passage, as
elsewhere in Dante, virtu comes very near in meaning to Aristotle's
evfpyfia, and must not be confounded with the virtus = potentia of the
schoolmen. See note to Purg. iv. 1-6.
24 Cf. Conv. iii. 5 : A chi ha nobile ingegno e bello un poco di
fatica lasciare ; and Ar. Met. a. 2 (982 a) : etra
128 P'ARADISO. CANTO x.
I have set before thee : henceforth feed of thyself; since
that matter whereof I am made a scribe wrests to itself all
my care.
The greatest minister of nature, that stamps the world
with the goodness of heaven, and with his light measures
our time for us, in conjunction with that region which is
mentioned above was turning through the coils in which
he presents himself ever sooner ; and I was with him, but
of the ascent I was not aware otherwise than a man is
aware before his first thought, of its coming.
Beatrice is she who thus escorts from good to better so
Messo t' ho innanzi ; omai per te ti ciba :
Che a se ritorce tutta la mia cura
Quella materia ond' io son fatto scriba.
Lo ministro maggior della natura,
Che del valor del Cielo il mondo imprenta
E col suo lume il tempo ne misura, 30
Con quella parte che su si rammenta,
Congiunto si girava per le spire,
In che piu tosto ognora s' appresenta ;
Ed io era con lui ; ma del salire
Non m' accors' io, se non com' uom s' accorge, f
Anzi il primo pensier,jdel suo venire.
E Beatrice quella che si scorge K
f come s' ace. Cg. s Beatrice Cg. Cass. 12345.
Tov ra ^aXfTTct yva>i>ai 8vi>dp.evov KOL /x?) pa8ia dvdpunrcf yivuxrKfiv,
TOIITOV (ro(f)6v.
2 s Cf. Purg. xvii. 139.
28 The Sun, into whose sphere they now ascend.
31-33 That is, the Sun was at the equinox (1. 9), and the vernal
equinox, when he rises earlier every clay. Cf. Conv. iii. 5.
37. 39 I have followed all the modern editors in reading fe, and placing
a full stop at sporge ; but the older reading given by Aid., Land., etc.,
CANTO x. PAR AD ISO. 129
quickly that her action is not spread over time. How
bright must needs be of itself that which was within the
Sun, where I entered, being apparent not by colour but by
light, though I called upon my wit and my art and my
wont I could not say so that it could ever be imagined :
but one can believe it, and let him long to see it. And if
our fancies are low beside so great a height, it is no marvel,
for above the Sun never was eye that might go.
Such was there the fourth household of the Father on
high who ever satisfies them, showing how He breathes
Di bene in meglio si subitamente,
Che 1' atto suo per tempo non si sporge.
Quant' esser convenia da se lucente 40
Quel ch' era dentro al Sol dov' io entra' mi,
Non per color, ma per lume parvente.
Perch' io lo ingegno e 1' arte e 1' uso chiami,
Si nol direi, che mai s' immaginasse ;
Ma creder puossi, e* di veder si brami.
E se le fantasie nostre son basse
A tanta altezza, non e maraviglia ; h
Chb sovra il sol non fu occhio ch' andasse.
Tal era quivi la quarta famiglia
Dell' alto padre che sempre la sazia, 50
Mostrando come spira e come figlia.
h non c" t m. Gg.
e t . . . sporge, . . . lucente ! does not give an unsatisfactory sense, and
is perhaps more in Dante's manner.
41 Quel : i.e. the spirits who were bright enough to be apparent in
the Sun. They are the spirits of theologians.
43 perche, as in Purg. v. 58, etc.
51 The allusion is to the doctrine of the Trinity, which, as the
central subject of Christian theology, is here made plain to those who
K
130 PARADISO. CANTO x.
forth and how He begets. And Beatrice began: "Give
thanks, give thanks to the Sun of the angels, who has
through his grace raised thee to this which sense perceives."
Heart of man was never so prepared for devotion and for
giving itself to God with all its desire so ready as at those
words I became ; and all my love so set itself on Him that
it eclipsed Beatrice in oblivion. It displeased her not;
but she smiled thereat so that the splendour of her smiling
eyes divided my mind, which was at one, between many
E Beatrice comincio : Ringrazia,
Ringrazia il Sol degli Angeli, ch' a questo
Sensibil t' ha levato per sua grazia.
Cuor di mortal non fu mai si digesto
A divozione, ed a renders! a Dio'
Con tutto il suo gradir cotanto presto,
Com' a quelle parole mi fee' io :
E si tutto il mio amore in lui si raise,
Che Beatrice eclisso nell' obblio. 60
Non le dispiacque : ma si se ne rise,
Che lo splendor degli occhi suoi-ridenti
Mia mente unita in piii cose divise. ^-fcy
' di rend. Gg.
have most deeply studied. Observe the connection with the opening
lines of the Canto.
53- 54 cf. Conv. iii. 12 : Siccome nella litterale sposizione si parla
cominciando dal Sole corporale e sensibile ; cosi ora e da ragionare
per lo Sole spirituale e intelligibile, ch' e Iddio. Nullo sensibile in tutto
'1 mondo e piu degno di farsi esempio di Dio, che '1 Sole, etc.
This and the subsequent chapters will explain why the sphere of the
Sun is the appropriate abode for the theologians.
61 se ne rise. For the reflexive use cf. Purg. v. 135 ; ix. 36.
It is of course quite different from the passive impersonal si ride in
1. 103 of the last Canto.
CANTO x. PARADISO. 131
things. I saw many living and victorious splendours make
of us a centre and of themselves a ring, more sweet yet in
voice than brilliant in appearance. Thus girt we see at
times the daughter of Latona, when the air is so teeming
that it retains the thread which makes her zone. In the
court of heaven whence I return are found many jewels so
dear and fair that they cannot be taken out of the realm,
and the song of those lights was of them ; he that does not
plume himself so that he may fly there on high, from the
dumb let him look for news from thence. Then, singing
thus, those blazing Suns whirled round about us three
times, like stars close to motionless poles. They seemed
lo vidi piu fulgor vivi e vincenti
Far di noi centro, e di se far corona,
Piu dolci in voce, che in vista lucenti k
Cosi cinger la figlia di Latona
Vedem tal volta, quando 1' aere e pregno,
Si che ritenga il fil che fa la zona.
Nella corte del Ciel ond' io rivegno, 70
Si truovan molte gioie care e belle
Tanto che non si posson trar del regno.
E il canto di quei lumi era di quelle :
Chi non s' impenna si che lassu voli,
Dal muto aspetti quindi le novelle.
Poi si cantando quegli ardenti Soli
Si fur girati intorno a noi tre volte,
Come stelle vicine a fermi poli.
k a vista Gg.
64 It seems most simple to take vincenti as a mere epithet.
67-69 So Purg. xxv. 91, xxix. 78. The halo appears when the air is
full of vapour.
72 trar del regno : " cioe, non puo ingegno humano comprenderlo
se non e in cielo." Land.
K 2
132 PARADISO. CANTO x.
to me dames not loosed from the dance, but who should
halt silently, listening until they have caught the new notes ;
and within one I heard begin : " Since the ray of grace,
whereat true love is kindled, and which afterward grows by
loving, shines forth in thee so multiplied that it leads thee
up by that stair where none descends without mounting
again ; he who should deny thee the wine of his cup for thy
thirst would not be in a state of liberty otherwise than as
water which should not fall to the sea. Thou wouldst
know from what plants this garland is enflowered, which all
Donne mi parver non da ballo sciolte,
Ma che s' arrestin tacite, ascoltando 80
Fin che le nuove note hanno ricolte : '
E dentro all' un sentii cominciar : Quando
Lo raggio della grazia, onde s' accende" 1
Verace am ore, e che poi cresce amando,
Multiplicato in te tanto risplende,
Che ti conduce su per quella scala,
U' senza risalir nessun discende :
Qual ti negasse il vin della sua fiala
Per la tua sete, in liberta non fora,
Se non com' acqua, ch' al mar non si cala. 90
Tu vuoi saper di quai piante s' infiora
Questa ghirlanda, che intorno vagheggia
1 rote 145. m in che s' ace, Gg, ; ondel s 1 ace. 14 ; onde saprende 3.
81 The image is that of dancers who pause for a moment as the
measure changes, in order to " pick up," as we should say, the new
time.
82 un. St. Thomas Aquinas, see 1. 99. Quando, in a causal sense,
is not very common in Italian ; see Diez iii. 324. But cf. Purg. xxxi.
67. For the idea expressed in the following lines cf. Purg. xiv. 79, So ;
xvi. 40 sqq.
8 ? Cf. Purg. ii. 91. There may be an allusion to Eph. iv. 9, 10.
CANTO x. PARADISO. 133
around is looking with love on the fair Lady who strengthens
thee for heaven. I was of the lambs of the holy flock which
Dominic leads upon the way, where one fattens well if one
turns not to vanities. This who is my neighbour on the
right was brother and master to me, and he is Albert of
Cologne, and I Thomas of Aquino. If thou wouldst so be
La bella donna ch' al Ciel t' avvalora.
lo fui degli agni della santa greggia,
Che Domenico mena per cammino,
U' ben s' impingua, se non si vaneggia."
Questi che m' e a destra piu vicino,
Frate e maestro fummi ; ed esso Alberto
& di Cologna, ed io Thomas d' Aquino.
n Due ben Gg. ; Du ben 134.
9 2 . 93 Beatrice in her allegorical sense, is Philosophy, which, as
Dante understood it, was identical with Theology. Therefore the
circle of theologians (whom St. Thomas is about to name one by one)
are rightly described as looking wjth love upon her.
96 "I.e. in qua regula impinguat animae pinguedo non carnis,' 1
and "i.e. si non vacatur vanitati mundanae, sunt enim praedicatores
totaliter gloriosi, vacantes honori." Comm. Gg.
98 Albert the Great, the "Universal Doctor," was born 1193 at
Lauingen on the upper Danube. He joined the Dominican order,
studied at Padua, taught at Paris and Cologne, was for a short time
Bishop of Ratisbon, and died at Cologne 1280. He appears to have
been the first of the schoolmen who brought the Aristotelian and
Christian philosophy into harmony ; and it is to him originally that
Dante owes his doctrine of free-will as the basis of Ethics.
99 Thomas, the "Angelical Doctor," and the greatest of all scholastic
philosophers, was born 1225, the son of a Count of Aquino, and on his
mother's side of Norman blood. He studied first at Monte Cassino,
afterwards at Cologne under Albert, and at Paris. For his death, see
note to Purg. xx. 69. In all matters of ethical and metaphysical doctrine,
Dante is his disciple. His ' ' Summa Theologica " marks the highest
point attained by philosophy in the Middle Age. He was canonised in
1323, by Pope John XXII. (Villani ix. 218.)
134 PARADISO, CANTO x.
informed of all the others, come thy way with thy glance
after my speech, turning upward through the wreath of the
blessed. That other flaming issues from the smile of
Gratian, who so aided one and the other court, that he
gives pleasure in Paradise. The other who next adorns
our choir was that Peter who with the poor woman offered
his treasure to Holy Church. The fifth light, which is most
beautiful among us, breathes of such love that all the world
Se si di tutti gli altri esser vuoi certo, 100
Diretro al mio parlar ten vien col viso,
Girando su per lo beato serto.
Quell' altro fiammeggiare esce del riso
Di Grazian, che 1' uno e 1' altro foro
Aiutb si, che piace in Paradiso. p
L' altro ch' appresso adorna il nostro coro,
Quel Pietro fu, che con la poverella
Offerse a santa Chiesa il suo Tesoro.
La quinta luce, ch' e tra noi piu bella,
Spira di tale amor, che tutto il mondo no
Se tu Aid. Bi. Giul. P che pare in P. Gg.
104 Gratian of Bologna " published about the year 1 140 his Decretum,
or general collection of canons, Papal epistles, and sentences of fathers,
in imitation of the Pandects." Hallam, Middle Ages. His work
seems to have been the great mediaeval authority on canon law. " Com-
posuit decretum ad utrumque forum canonicum et civilem respiciens."
P. di Dante.
I0 7 Peter, born near Novara, and hence called "the Lombard," was
a pupil of Abelard. From the title of his chief work, he is known as
" the Master of the Sentences." He became Archbishop of Paris, and
died 1164. The allusion is to a phrase in his preface, "cupientes
aliquid de tenuitate nostra cum paupercula in gazophylacium Domini
mittere."
109 La quinta luce : Solomon ; as to whose ultimate salvation there
was in the Middle Age much controversy, the pictorial representation
CANTO x. PARADISO. 135
below is greedy to know news of it. Within is the lofty mind
where wisdom so profound was put, that if the truth is true,
to a like vision no second has arisen. Next behold the
light of that taper which, below in flesh, saw most inwardly
the nature of angels and their office. In the other little
light rejoices that Advocate of the Christian times, of whose
Laggiu ne gola di saper novella.
Entro v ; e 1' alta mente, u' si profondo q
Saver fu messo, che se il vero e vero,
A veder tanto non surse il secondo.
Appresso vedi il lume di quel cero,
Che giuso in carne piu addentro vide
L' angelica natura e il ministero.
7NelP altra piccioletta luce ride
Quel avvocato de' tempi cristiani/
i C alta luce Gg. Aid. Land.; nel alta mente un si prof . 3 ; nel altra
m. un 14. r templi 14 Aid.
of which will be familiar to every one who has visited the Campo Santo
of Pisa. According to Philalethes, Hugh of St. Victor found in the
three works ascribed to Solomon affinities with the three branches of
speculative science, as then understood ; Ethics in Proverbs, Physics in
Ecclesiastes, Theology in Canticles.
113 il vero: probably meaning God's word. See I Kings iii. 12.
115 Dionysius the Areopagite, to whom works on the Celestial
Hierarchy (see xxviii. I jo), on the Names of God, on Symbolical and on
Mystic Theology, all belonging probably to the latter half of the fifth
century (see Ueberweg), were ascribed.
119 There is some controversy as to the person intended here. The
most usual, and on the whole most satisfactory, view is that Paulus
Orosius, the historian, is meant. His " History against the Pagans "
appears to have been written at the suggestion of St. Augustine in order
to contradict the view that the introduction of Christianity had been
mischievous to mankind ; and thus to be subsidiary to Augustine's
'"De Civitate Dei." Dante praises his style, Vulg. El. ii. 6. His
136 PARADISO. CANTO x.
Latin Augustin furnished himself. Now if thou drawest the
eye of thy mind from light to light after my praises, thou art
by this time staying with a thirst for the eighth. There-
within rejoices for the vision of all good the holy soul
which makes clear the deceitful world to whoso hearkens
Del cui latino Agostin si provvide. 120
Or se tu 1' occhio della mente Irani
Di luce in luce dietro alle mie lode,
Gia delP ottava con sete rimani :
Per veder ogni ben dentro vi gode
L' anima santa, che il mondo fallace
Fa manifesto a chi di lei ben ode :
"light " is smaller than that of the great theologians. Other claimants
to the place are St. Ambrose (who is quite out of the question) and the
rhetorician Lactantius. No one seems to have suggested Victorinus, in
whose Latin translation St. Augustine tells us (Conf. viii. 2) that he
read Plato. The account there given of his conversion, and the manner
in which his objection to enter Christian churches was overcome, lends
some plausibility to the reading templi in 1. 119. Victorinus seems to
have been a man of some mark ; for Boethius commented on his trans-
lation of Porphyry's " Eisagoge." The fact, however, that Dante does
not mention him elsewhere, while he refers more than once to Orosius,
makes the claim of the latter more probable.
124 Anicius Manlius Severinus Boethius, statesman and philosopher,
was born A.D. 470. (This appears to have the best authority, though
some put his birth in 455. But the chronology of his life is somewhat
confused.) He studied at Athens, translated or commented on Euclid,
Plato, Aristotle, Porphyry, etc., and was consul in 520. Later he fell
under the displeasure of Theodoric, and was imprisoned at Pavia,
where he wrote his best-known work, " The Consolation of Philo-
sophy," a book which had a very high reputation in the Middle Age.
Aquinas and Dante constantly refer to it, and King Alfred translated
(or rather paraphrased) it into English. He was put to death, by
torture, in 524 ; and was buried in the church (now desecrated), called
St. Peter's of the Golden Ceiling. (See, for a full account of him,
Gibbon, chap, xxxix.)
CANTO x. PARADISO. 137
well to it. The body whence it was chased lies down in
Cieldauro, and it from torture and exile came to this peace.
Beyond see flaming the ardent spirit of Isidore, of Bede,
and of Richard who in contemplation was more than man.
This one, from whom thy gaze returns to me, is the light of
a spirit who in his weighty thoughts deemed that dying was
long-delayed. That is the eternal light of Sigier, who
Lo corpo ond' ella fu cacciata giace
Giuso in Cieldauro, ed essa da martiro
E da esiglio venne a questa pace.
Vedi oltre fiammeggiar 1' ardente spiro 130
D' Isidore, di Beda, e di Riccardo,
Che a considerar fu piu che viro.
Questi onde a me ritorna il tuo riguardo,
E il lume d' uno spirto, che in pensieri
Gravi a morire gli parve esser tardo.
Essa e la luce eterna di Sigieri,
131 Isidore, Bishop of Seville (died 636), followed Boethius in his
treatment of logic, as Bede ("the Venerable," 673-735) followed
Isidore. It is, of course, rather as eminent theologians that both
have their place here. Richard, Prior from 1164 to 1173 of the
Monastery of St. Victor, near Paris, from which several famous theo-
logians took their name (see Canto xii. 133), maintained the mystical,
as opposed to the dialectical, treatment of the science. Hence probably
the allusion in 1. 132. According to Bianchi, he was a Scotsman.
134,135 che gli = "cui" ; or "tale" may be understood before
che. a morire, like the a riguardar of Purg. iv. 54.
136 Sigier of Brabant was Dean of Courtray, and afterwards lectured
on logic at the Sorbonne, in Paris, towards the end of the thirteenth
century. He appears to have been tried for heresy in 1278, in conse-
quence of an offer to defend, among other "impossibilia," a thesis of
the non-existence of God. Unless, however, we may take veri to
mean merely "proofs," 1. 138 can hardly refer to this. Some think
that Dante may himself have heard Sigier lecture.
138 PARADISO. CANTO x.
lecturing in the street of straw deduced truths which brought
him envy."
Then, like a clock, which calls us at the hour when the
bride of God arises to sing mattins to her spouse, that he
may love her, where the one side and the other draws and
drives, sounding l ting ting'' with so sweet a note, that the
spirit well-disposed swells with love, so saw I the glorious
wheel move itself, and return voice to voice in harmony
and in sweetness that cannot be known save in that place
where joy is everlasting.
Che leggendo nel vico degli strami,
Sillogizzb invidiosi veri.
Indi come orologio, che ne chiami
Nell' ora che la sposa di Dio surge 140
A mattinar lo sposo, perche P ami ;
Che P una parte e P altra tira ed urge, 3
Tin tin sonando con si dolce nota,
Che il ben disposto spirto d' amor turge :
Cosi vid' io la gloriosa ruota
Muoversi e render voce a voce in teinpra
Ed in dolcezza, ch' esser non pub nota,
Se non cola dove il gioir s' insempra.
5 parte P allra Gg. 2 W. Giul.
/ J 37 degli strami. The Rue du Fouarre.
'39 orologio, doubtless with allusion to the twelve spirits who have
been pointed out.
I
CANTO XI.
ARGUMENT.
St. Thomas proceeds to narrate the h oly life of St. Francis ; and then
shows how his own successors in the Order of St. Dominic have
gone astray from the right path.
O SENSELESS care of mortals! how faulty syllogisms are
they which make thee beat thy wings in downward course !
One was going after law, and another after aphorisms, and
another following a priesthood, and one to reign by force
or sophisms, and another to fob, and another at business of
state, another wrapped up in the delight of the flesh was
O INSENSATA cura dei mortali,
Quanto son difettivi sillogismi
Quei che ti fanno in basso batter 1' ali !
Chi dietro a jura, e chi ad aforismi
Sen giva, e chi seguendo sacerdozio,
E chi regnar per forza e per sofismi,
E chi rubare, e chi civil negozio ;
Chi nel diletto della carne involto
4 aforismi. The " Aphorisms " of Hippocrates were among the
great medical authorities of the time. In this and the following line,
therefore, the three "learned professions," Law, Physic, Divinity /
alluded to.
PARADISO. CANTO XI.
growing weary, and another was giving himself to ease ;
when I, set loose from all these things, was with Beatrice
being welcomed with so great glory in heaven above.
After that each had returned to the point of the circle
in which he was before, he stayed, as in a candlestick a
candle. And I was aware that within that light which first
had spoken to me, smiling he began, as it grew more clear :
"Like as I am inflamed at its ray, so, gazing on the eternal
light, I learn whence thou takest occasion for thy thoughts.
Thou doubtest, and hast desire that my word be sifted
again for thee in language so open and so drawn out that
S' affaticava, e chi si dava all' ozio :
Quand' io da tutte queste cose sciolto, 10
Con Beatrice m' era suso in cielo
Cotanto gloriosamente accolto.
Poiche ciascuno fu tomato ne lo
Punto del cerchio in che avanti s' era,
Fermossi come a candelier candelo. 3
Ed io senti' dentro a quella lumiera,
Che pria m' avea parlato, sorridendo
Incominciar, facendosi piu mera :
Cosi com' io del suo raggio m' accendo,
Si riguardando nella luce eterna 20
Li tuoi pensieri, onde cagioni, apprendo ; b y\
Tu dubbi, ed hai voler che si ricerna . J/M
In si aperta e si distesa lingua
a Fermarsi Gg. b cagion Gg. Cass. ; cagione 1234; io cagione Land.
c discerna 124 W. ; dicerna 3.
i'. '4 Notice the reflexive forms m' era, s' era. The first may have
the sense of the middle voice, " was getting myself welcomed."
22 ricerna. "Cernere e ricernere diconsi del grano." Lomb. It is
obviously the right word here.
CANTO xi. PARADISO. 141
it may be levelled to thy understanding, where I said
before ' Where one fattens well ' and where I said ' The
second has not arisen ' ; and here it is needful that a clear
distinction be made. The foresight which guides the world
with that counsel in which every created sight is overcome
before it reach the depths, in order that to her beloved
might go the spouse of Him who to loud cries espoused
her with His blessed blood, secure in herself and in Him
Lo dicer mio, ch' al tuo sentir si sterna :
Ove dinanzi dissi : U' ben s' impingua?
E la, u' dissi : Non surse il secondo : e
E qui c' b uopo che ben si distingua.
La provvidenza che governa il mondo
Con quel consiglio, nel qual ogni aspetto
Creato b vinto, pria che vada al fondo ; 30
Pero che andasse ver lo suo diletto f
fcv&V* '" "^
La sposa di colui, ch' ad alte grida
Dispose lei col Sangue benedetto,
d o ben Gg. ; iin ben 124.
e non nacque 1234 Aid. Land, (and many MSS.). f Pero chi Gg.
2 s U' ben s' impingna. L. 96 of the last Canto. It is difficult
to see why these words should have given rise to any doubt in Dante's
mind. Their meaning is clear enough ; and probably St. Thomas is
made to refer to them only in order to give occasion for the magnificent
eulogy of St. Francis which follows. Observe that while he, a
Dominican, is made to recite the praises of St. Francis, a similar duty
in regard to St. Dominic is discharged in the next Canto by the
Franciscan Bonaventura.
26 Non surse il secondo. L. 1 14 of the last Canto. The solution
will be found in Canto xiii. The reading nacque, though it has much
MvSS. authority, can hardly be anything but an intruding gloss.
27 I have followed Gg. in reading c' e, to avoid an awkward conjunc-
tion of open vowels.
32 sposa : the Church, ad alte grida : on the Cross.
142 PARADISO. CANTO XI.
more confident, ordained two Princes in her favour to be on
one side and on the other a guide to her. The one was all
seraphic in ardour, the other for wisdom was upon earth a
splendour of cherubic light. I will speak of one, because
both are spoken of in praising one, whichever a man takes,
since to one end were their works.
" Between Tupino and the water that descends from the
In se sicura e anco a lui piu fida ;
Due principi ordinb in suo favore,
Che quinci e quindi le fosser per guida.
L' un fu tutto serafico in ardore,
L' altro per sapienza in terra fue
Di cherubica luce uno splendore.
Dell' un dirb, perb che d' ambedue 40
Si dice 1' un pregiando, qual ch' uom prende, K
Perche ad un fine fur 1' opere sue.
Intra Tupino e 1' acqua che discende
e Ihuom pregiando 2 ; qual horn pr. Gg. ; qual comprende Cass.
37-39 He indicates here the distinctive characters of each of the two
great Orders, which they have more or less maintained ever since. The
Franciscans have attended more to good works, the Dominicans to
doctrine. The parallel with the two orders of angels is based on the
interpretation which was then current. See S. T. i. Q. 63. A. 7 :
Cherubim interpretatur plenitudo scientiae ; Seraphim autem inter-
pretatur ardentes . . . ab ardore charitatis. And Q. 103. A. 5 :
Cherubim habent excellentiam scientiae, Seraphim vero excellentiam
ardoris. See too Villani v. 25 : La Chiesa di Dio cadea per molti
errori, e per molti dissoluti peccati, non temendo Iddio ; e '1 beato
Domenico per la sua santa scienza e predicazione li corresse . . . ;
e '1 beato Francesco per la sua umiliti e vita apostolica e di peni-
tenzia corresse la vita lascibile, etc.
43 sqq. The career of St. Francis is here described. For the history,
Sir James Stephen's essay and the note of Philalethes may be read with
advantage. Francis (so named, apparently, because his father was
CANTO xi. PARADISO. 143
hill chosen by the blessed Ubaldo, a fertile slope hangs
from a lofty mountain, whence Perugia feels cold and heat
on the side of Porta Sole, and behind it Nocera and GualdO'
bewail for a grievous yoke. Of that slope, at the point
Del colle eletto dal beato Ubaldo, h
Fertile costa d' alto monte pende,
Onde Perugia sente freddo e caldo
Da Porta Sole, e diretro le piange
Per greve giogo Nocera con Gualdo.
Di quella costa la dov' ella frange
h collo Gg.
absent in France when he was born ; at all events he seems to have
been the first person who bore the name as a Christian name) was born
in 1182 at Assisi in Umbria. His father, Peter Bemardone, was a
well-to-do merchant, and Francis was brought up as a young man of
fashion, and took part in deeds of arms. He was about twenty-five
when he devoted himself to religion. In 1209 he went to Rome ; and
Innocent III., who seems at first^to have treated him coldly, soon per-
ceived his value as a champion of the Church at a time when she was
hard pressed by the power of the Empire, and the growing tendency to
free-thought. Francis and his companions were recognised as preachers j
but it was left for Honorius III. in 1223 to establish the Order formally.
In 1226 St. Francis died. Assisi stands on the S.W. slope of Monte
Subasio, which lies between the streams Tupino and Chiassi ; the
latter coming down from the neighbourhood of Gubbio, of which
St. Ubaldo was Bishop.
46. 47 Porta Sole is the gate of Perugia on the side of Assisi. The
mountain makes it hot in summer and cold in winter.
48 Nocera (not to be confounded with N. in Apulia) and Gualdo
Tadino are in the upper valley of the Tupino, on the E. side of the
ridge of Monte Subasio. Some e.g. Comm. Gg. ("i.e. montem "),
Pietro di Dante, and Veil. take the greve giogo to be this ridge,
and understand the allusion as being to their inhospitable position.
But it is more likely that it refers to their political subjection to the
Guelfs of Perugia. (They could not have fallen into the power of.
Robert till later than this. )
144 PARADISO. CANTO xi.
where it most breaks its steepness, was born to the world
a Sun, as this one is at times of the Ganges. So that whoso
talks of that place, let him not say Ascesi, which would
tell a brief tale, but Orient, if he would say it aright. He
was not yet very far from his rising when he began to make
the earth feel some strengthening from his great virtue,
since for such lady's sake a youth he ran upon his father's
enmity, that to her, as to death, none unlocks the gate of
pleasure : and in presence of his spiritual court et coram
Piu sua rattezza, nacque al mondo un Sole, 50
Come fa questo tal volta di Gange.
Pero chi d' esso loco fa parole,
Non dica Ascesi, che direbbe corto,'
Ma Oriente, se proprio dir vuole.
Non era ancor molto lontan dall' orto,
Che comincib a far sentir la terra
Delia sua gran virtude alcun conforto ;
Che per tal donna giovinetto in guerra
Del padre corse, a cui, com' alia morte,
La porta del piacer nessun disserra : 60
E dinanzi alia sua spirital corte,
Et coram patre le si fece unito,
' torto Gg. (alt. from corto} Cass.
51 questo : that in whose sphere they now are.
5i Ascesi. The old pronunciation of Assisi ; of course with a play
on ascesi, " I rose."
58 donna : Poverty ; see 1. 74. St. Francis, in his first essays of
the ascetic life, had to face the strenuous opposition of his father,
who had formed ambitious plans for his career, and who seems to have
gone so far as to prosecute his son before the Bishop for squandering
his money in charity. Francis gave up all that he had, even to his
clothing, which the Bishop was compelled to replace from his own
robes. Hence the allusion in 1. 6l.
CANTO xi. PARADISO. 145
patre he became united to her ; afterward from day to day
he loved her more strongly. She, bereaved of her first
husband, eleven hundred years and more despised and
obscure, until his time remained without wooing ; nor did
it avail to hear that he who made all the world afraid found
her in safety with Amyclas at the sound of his voice ; nor
did it avail to have been constant and brave, so that where
Mary remained below, she with Christ wept upon the cross.
But that I may not proceed too darkly, from this time take
Poscia di di in di 1' amb piu forte.
Questa, privata del primo marito,
Mille e cent' anni e piu dispetta e scura
Fino a costui si stette senza invito :
Ne valse udir, che la trovb sicura
Con Amiclate, al suon della sua voce,
Colui ch' a tutto il mondo fe paura :
Ne valse esser costante, ne feroce, 70
Si che dove Maria rimase giuso,
Ella con Cristo pianse in su la croce. k
Ma perch' io non proceda troppo chiuso ;
k salse in su Aid. Land, Bi. Giul. etc.
6 * primo marito. Christ.
68 See the description in Lucan, Phars. v. 504 sqq., of Caesar's
visit to the hut of the fisherman Amyclas ; and especially 11. 526-531 :
Securus belli, praedam civilibus armis
Scit non esse casas. O vitae tuta facultas
Pauperis, angustique lares ! o munera nondum
Intellecta deum ! Quibus hoc contingere templis
Aut potuit muris, nullo trepidare tumultu,
Caesarea pulsante manu ?
It is interesting to observe how 11. 527, 528, evidently suggested the
form of 1. 82 of this Canto. See Conv. iv. 13, where the same passage
is quoted.
L
146 PARADISO. CANTO XL
in my diffuse speech Francis and Poverty for these lovers.
Their concord and their joyous visages made love and
wonder and sweet looks to be the occasion of holy thoughts :
so that the venerable Bernard first unshod himself, and
hastened after so great peace, and hastening thought it was
too slow. O unknown riches, O fertile good ! Egidius
unshoes himself, and Silvester, following the bridegroom ;
so pleasing is the bride. Then that father and master went
on his way, with his Lady, and with that family which
Francesco e Poverta per questi amanti '
Prendi oramai nel mio parlar diffuse.
La lor concordia e i lor lieti sembianti
Amore e maraviglia e dolce sguardo
Faceano esser cagion dei pensier santi :
Tanto che il venerabile Bernardo
Si scalzo prima, e dietro a tanta pace 80
Corse, e correndo gli parv' esser tardo.
O ignota ricchezza, o ben ferace ! m
Scalzasi Egidio e scalzasi Silvestro n
Dietro allo sposo, si la sposa piace.
Indi sen va quel padre e quel maestro
Con la sua donna, e con quella famiglia
1 di questi Gg. m verace 14 Aid. Land. Bi. Giul.
n Scalzossi scalzossi Cass. ; om. e Gg. Cass. W.
79 Bernard of Quintavalle was the first disciple of St Francis. He
was a wealthy man, who having at first distrusted the saint, when con-
vinced of his sincerity, put himself under his direction, sold his
possessions, and embraced the rule of poverty. After the founder's
death, he became the head of the Order.
83 Egidius, another wealthy man, and Sylvester, a priest, were also
among the earliest followers of the new brotherhood.
CANTO XI. PARADISO. 147
already the halter of humility tied ; nor did cowardice of
heart weigh down his brow, for being son of Peter Bernardone,
nor for seeming wondrously despised. But in royal wise he
disclosed his stern intention to Innocent, and from him had
a first seal to his Order. After that the poor humble folk
had increased, following him,- whose wondrous life was
better to be chanted to the glory of heaven, the holy desire
of this head shepherd of his flock was crowned with a
second diadem by the eternal spirit through Honorius.
Che gia legava 1' umile capestro :
Ne gli gravo vilta di cuor le ciglia,
Per esser fi' di Pietro Bernardone,
Ne per parer dispetto a maraviglia. 90
Ma regalmente sua dura intenzione
Ad Innocenzio aperse, e da lui ebbe
Primo sigillo a sua religione.
Poi che la gente poverella crebbe
Dietro a costul, la cui mirabil vita
Meglio in gloria del ciel si canterebbe ; p
Di seconda corona redimita
Fu per Onorio dalP eterno ispiro
La santa voglia d' esto arcnimandrita :
figlio a Gg. P om. maglio Gg.
8 ? The cord about the waist was, and is, the distinctive mark of the
Franciscans, whence they are also called Cordeliers. Cf. Inf. xxvii.
92, 93-
89 Not, I think, as most say, because he was the son of a man of
poor family ; since in the first place his father seems to have been
a well-to-do burgher, and further, questions of family pride would be out
of place here ; but rather, because he was the son of a father who had
cast him off.
93 religione, much as in Purg. xxi. 41.
L 2
148 PARADISO. CANTO XI.
And after that, in his thirst for martyrdom, he had preached
Christ and the rest who followed Him, in the proud
presence of the Sultan, and through rinding the folk too
unripe for conversion, and not to stand in vain, had returned
to the harvest of the Italian crop ; on the raw rock, between
Tiber and Arno, he received from Christ the last seal,
E poi che per la sete del martiro, 100
Nella presenza del Soldan superba
Predico Cristo, e gli altri che il seguiro ;
E per trovare a conversione acerba
Troppo la gente, e per non stare indarno,
Reddissi al frutto dell' Italica erba ; q
Nel crudo sasso intra Tevere ed Arno
Da Cristo prese 1' ultimo sigillo,
i Rendessi Gg. ; Rendesi Cass. ; Reddussi 4.
100 In 1219 St. Francis joined the crusading army before Damietta,
and after their defeat (which he foretold) succeeded in making his
way into the camp of the Saracens, where he was courteously received
by the Sultan, and sent back uninjured.
102 gli altri che il seguiro. The form of the sentence would seem
to require these words to be taken, as they usually have been, together
with Cristo, in the sense of "Christ and His followers," though it is
hard to believe that Dante would have spoken of preaching the followers
of Christ. If we take it as part of the subject to predico, there is the
difficulty that St. Francis seems to have had only one follower on this
occasion : but Dante may have confused the details with those of
his visit to Spain a few years previously, when he was certainly accom-
panied by several brethren.
103 acerba. Cf. crude in ix. 48.
106 S qq. fhe legend of St. Francis's reception of the stigmata is too
well known to need repetition. It is said to have occurred in 1224 on
Monte Alvernia in the Casentino, near the (still existing) monastery
which the saint himself had founded.
I0 ? ultimo : with reference to 11. 93, 97.
CANTO xr. PARADISO. 149
which his members carried for two years. When it pleased
Him who allotted him to so great good to draw him on
high to the reward which he earned in making himself of
small stature, to his brethren as to just heirs he com-
mended his dearest lady, and commanded that they should
love her faithfully ; and from her bosom he wished to send
forth his illustrious soul, returning to its own kingdom ;
and to his body he would no other bier. Think now of
what sort was he, who was a worthy colleague to hold the
bark of Peter on the high sea for a mark right ahead ; and
this our patriarch was, because whoso follows him as he
Che le sue membra du' anni portarno.
Quando a Colui ch' a tanto ben sortillo,
Piacque di trarlo suso alia mercede, 1 10
Che merito nel suo farsi pusillo ;
Ai frati suoi, si com' a giuste erede,
Raccomando la donna sua piu cara/
E comandb eke 1' amassero a fede :
E del suo grembo 1' anima preclara
Muover si voile, tornando al suo regno ;
Ed al suo corpo non voile altra bara.
Pensa oramai qual fu colui che degno 5
Collega fu a mantener la barca
Di Pietro in alto mar per dritto segno : 120
E questi fu il nostro Patriarca ;
Perche qual segue lui, com' ei comanda,
r sua donna Aid. W. Bi. Giul. s chifu Gg.
109 sqq. Visitors to Assisi will remember how this and other subjects
from the history of St. Francis have been treated by Giotto in his
famous series of frescoes, some of which are said to have been
suggested by Dante.
118 colui = St. Dominic, to whose order St. Thomas belonged.
150 PARADISO. CANTO xi.
commands, thou canst perceive that he ships good mer-
chandise. But his flock has grown so greedy of new food
that it cannot but be scattered over many walks ; and the
further his sheep go remote and astray from him, the
emptier of milk they return to the fold. There are indeed
of them some who fear the loss, and hold fast to the
shepherd ; but they are so few that a little cloth furnishes
their cowls. Now, if my words are not indistinct, if thy
hearing has been attentive, if thou recallest to thy mind
that which I have said, thy wish will be in part satisfied,
because thou wilt see the plant whence the piece is split,
Discerner puoi, che buona merce carca.'
Ma il suo peculio di nuova vivanda
E fatto ghiotto si ch' esser non puote,
Che per diversi salti non si spanda :
E quanto le sue pecore rimote
E vagabonde piu da esso vanno,
Piu tornano all' ovil di latte vote.
Ben son di quelle, che temono il danno, 130
E stringonsi al pastor : ma son si poche,
Che le cappe fornisce poco panno.
Or se le mie parole non son fioche,
Se la tua audienza e stata attenta,
Se cio ch' ho detto alia mente rivoche,"
In parte fia la tua voglia contenta :
Perche vedrai la pianta onde si scheggia,
1 Iniona Aid. Bi. Giul.
u cib ch' I Gg. 124.
125, 126 esser non puote che non : cf. Gr. OVK ta-d' OTTOS nv.
CANTO XT. PARADISO. 151
and thou wilt see how the wearer of the thong reasons,
' Where one fattens well, if one turns not to vanities.'"
E vedrai il correggier, che argomenta : v
U' ben s' impingua, se non si vaneggia. w
v Vederai il coregere che sargomenta Gg. ; correggiar charg. Cass.
w ben Gg.; Un ben 125.
138 There is much uncertainty about this line ; but the best in-
terpretation seems to be that which takes correggier as a substantive,
and sees an allusion to the leather thong worn by the Dominicans as a
girdle, in contradistinction to the cord of the Franciscans. Others taking
corregger= " corrigere " understand either "correction," with Comm.
Gg., "distinctionem, quia corrigit praecedens dictum," or as Daniello
appears to do, in the sense of "qualification"; or with Philalethes,
" censure."
CANTO XII.
ARGUMENT.
St. Thomas having ceased, St. Bonaventura relates the life of St.
Dominic ; and names another twelve who are present.
So soon as the blessed flame had taken up its parable to
speak for the last time, the holy mill began to revolve, and
in its wheeling it had not turned wholly round before a
second enclosed it with a circle, and took movement by
its movement, chant by its chant; chant which so far
surpasses our Muses, our Sirens, in those sweet pipes, as
does a primary light that which it gives by reflection. As
Si tosto come F ultima parola
La benedetta fiamma per dir tolse,
A rotar comincio la santa mola :
E nel suo giro tutta non si volse
Prima ch' un' altra di cerchio la chiuse, a
E moto a moto, e canto a canto colse ;
Canto, che tanto vince nostre Muse,
Nostre Sirene, in quelle dolci tube,
Quanto primo splendor quel ch' ei rifuse.
a <f un cerchio 3 Aid. Land. Bi.
^ Cf. Purg. xxxii. 61,62.
- 9 rifuse : aorist, asfrese, Purg. xxxii. 34.
CANTO xii. PARADISO, 153
through a soft cloud are turned two arches parallel and of
like hue, when Juno gives command to her handmaid, the
outer taking birth from the inner after the fashion of the
speech of that wandering one whom love consumed as the
Sun does vapours; and make folk here to be prophetic,
through the covenant which God laid down with Noah,
concerning the world, how it never more is flooded : thus of
those everlasting roses the two garlands were turning around
us, and thus did the outer correspond to the inner. After
Come si volgon per tenera nube i o
Due archi paralleli e concolori, 5
Quando Giunone a sua ancella iube,
Nascendo di quel d' entro quel di fuori,
A guisa del parlar di quella vaga,
Ch' amor consunse, come Sol vapori :
E fanno qui la gente esser presaga
Per lo patto, che Dio con Noe pose
Del mondo, che*giammai piii non s' allaga ;
Cosi di quelle sempiterne rose
Volgeansi circa noi le due ghirlande, 20
E si P estrema all' ultima rispose.
b par eve! li 14 ; pararelli Cass.
c intima Ald.(2) Bi. Ginl. etc.
12 ancella : Iris. P. di Dante refers to Aen. iv. 700, and Scar-
tazzini to ib. 694, and v. 606.
14 quella vaga : Echo ; Ov. Met. iii. 356-401. vaga may have its
more common meaning of " enamoured "; but it seems better here to
take it, with Landino, in its primary sense.
15 come Sol. Attention has been called to the three similes, one
within another, of which this is the third ; see 11. 10 and 14. The
arrangement is curious, but not ineffective.
'? l8 Genesis ix. 13-17.
154 PARADISO. CANTO XH.
that the dance and all the great pageant both of the singing
and of the blazing of light with light, joyous and gentle,
had become still, together in point of time and in volition,
just as the eyes whose property it is at the desire which
moves them to close and raise themselves together, from
the heart of one of the new lights came a voice which
made me seem, in turning to its position, the needle to
the star. And it began : " The love that makes me fair
draws me to discourse of the other leader, for whose sake
there is here so good speech concerning mine. Meet is it
Poiche il tripudio e 1' altra festa grande, d
Si del cantare, e si del fiammeggiarsi,
Luce con luce gaudiose e blande,
Insieme a punto e a voler quetarsi ;
Pur come gli occhi, ch' al piacer che i rouove
Conviene insieme chiudere e levarsi; 6
Del cuor dell' una delle luci nuove
Si mosse voce, che 1' ago alia Stella
Parer mi fece in volgermi al suo dove ; 30
E comincio : L' amor, che mi fa bella,
Mi tragge a ragionar dell' altro duca,
Per cui del mio si ben ci si favella.
d alta Gg. 14 W. e chiudersi Gg. 14.
29 1" ago. The knowledge of the magnetic needle seems to have
come into Europe from Arabia before the end of the twelfth century.
Humboldt quotes an allusion to it from the " Siete Partidas " of
Alfonso the Wise, King of Castile, 1252-1284. Fazio degli Uberti in
the " Dittamondo" (about 1360) has " Quel gran disio, che mi traeva
addietro, come ago a calamita " (iii. 2).
31 The speaker is St. Bonaventura. See note, 1. 127. He, as a
Franciscan, recounts the praises of St. Dominic.
CANTO xii. PARADISO. 155
that where the one is the other should be brought in, so
that as they served in one warfare, so their glory should
shine together. The army of Christ, which it cost so dear
to equip again, was moving slowly after the ensign, dubious
and in loose array, when the Emperor who reigns for ever
made provision for His soldiery which was in doubtful
plight, through His grace alone, and not through its
deserving; and as has been said, succoured His bride
with two champions, to whose deed, to whose word, the
people rallied which had gone astray. In that region where
Degno e, che dov' e 1' un, 1' altro s' induca ; f
Si che com' elli ad una militaro,
Cos! la gloria loro insieme luca.
L' esercito di Cristo, che si caro
Costo a riarmar, dietro alia insegna
Si movea tardo, sospeccioso e raro ;
Quando lo imperador, che sempre regna, 40
Provvide alia milizia, ch^erajnjorse,
Per sola grazia, non per esser degna :
E com' e detto, a sua sposa soccorse
Con duo campioni, al cui fare, al cui dire
Lo popol disviato si raccorse.
In quella parte, ove surge ad aprire
f che V un dove F altro Gg.
3* I have followed the ordinary rendering of s' induca ; but it seems
very likely, from the analogy of the other reflexive compounds with in,
that we ought to understand it as meaning " should hold a general's place."
45 raccorse. Usually taken as if from raccorgere, "bethought
itself again," " emendavit se," as Comm. Gg. puts it ; but it seems
better to take it from raccorrere, "ran up again," continuing the image
of tardo and raro in 1. 39. The reflexive form need give no difficulty.
Landino's view that it is for raccolse, "gathered together," is hardly
satisfactory.
156 PARADISO. CANTO xn.
sweet Zephyrus arises to open the new leaves, wherewith
Europe is seen to reclothe herself, not very far from the
beating of the waves behind which at times the Sun for his
long heat hides himself from all men, stands the fortunate
Callaroga, under the protection of the great shield whereon
the lion is subject and subjugates. Therein was born
the amorous fere of the Christian faith, the holy athlete,
Zeffiro dolce le novelle fronde,
Di che si vede Europa rivestire ;
Non molto lungi al percuoter dell' onde,
Dietro a le quali per la lunga foga 50
Lo Sol tal volta ad ogni uom si nasconde, 2
Siede la fortunata Callaroga,
Sotto la protezion del grande scudo,
In che soggiace il Leone e soggioga.
Dentro vi nacque 1' amoroso drudo
Delia fede Cristiana, il santo atleta,
ad ogni si n. Gg.
50 per la lunga foga : " cioe quando la sua corsa e piu lunga e
focosa, nel solstizio estivo." Bianchi. So too P. di Dante. This agrees
pretty well with the situation of Calahorra, a little north of the latitude
of Rome. There are three places of the name in Spain ; this one, the
ancient Calaguris, is on the border of Castile and Navarre.
51 tal volta: cf. xi. 51.
52 Callaroga : Calaguris. Observe the exchange of consonants,
characteristic of Spanish. In the modern Calahorra it has disappeared
again.
54 In the arms of Castile and Leon the lion is above the castle on
one side of the shield and below it on the other.
55 St. Dominic was born in 1170. After studying theology, and
joining the Chapter of the Cathedral of Osma, he accompanied his
Bishop to Rome. He never returned to Spain, but stayed for some
years in the neighbourhood of Toulouse, where he took part in the
conflicts with the Albigenses. In spite of the bad reputation in regard
CANTO xii. PARADISO. 157
benign to his friends and stern to his foes ; and from its
creation his mind was so fulfilled of living virtue that in
his mother it made her prophetic. After that the espousals
were completed at the holy font between him and the faith
where they dowered each other with mutual salvation, the
lady who gave the assent for him saw in her sleep the
Benigno ai suoi, ed ai nimici crudo :
E come fu creata, fu re pi eta
Si la sua mente di viva virtute, h
Che nella madre lei fece profeta. 60
Poiche le sponsalizie fur compiute
AI sacro fonte intra lui e la fede,
U' si dotar di mutua salute ;
La donna che per lui 1' assenso diede,
h divina 1345 J indivina 2.
to persecution which his Order has since obtained, there seems no
reason to believe that he was connected with the severer measures
which were employed against those unfortunate schismatics. His
preaching, however, appears to have been effective. In 1215 he accom-
panied Folco (see Canto IX.) to the Lateran Council. On his return
to Toulouse he founded the first monastery of his Order ; and obtained
its formal recognition as " Preaching Friars " from Honorius III. on a
third visit to Rome in 1217. From this time he remained chiefly at
Rome ; and in 1 22 1 died at Bologna. He is described as a well-built
man, of delicate complexion, with reddish hair and beard, a counte-
nance at once imposing and attractive, long and beautiful hands.
(Philalethes.)
58 come fu creata : see Purg. xxv. 68-75. come, like Gr. eVei =
" from the time when." So Purg. vi. 25, and elsewhere.
60 His mother is said to have dreamt, before his birth, that she had
borne a black-and-white dog, with a lighted torch in its mouth. The
play on Dominicani, Domini canes, will be familiar to all who have
seen the fresco of Simon Memmi in Santa Maria Novella at Florence.
62 Observe that Faijh- is said io be the bride of St. Dominic, as
Poverty taken as the symbol of good works was of St. Francis.
Il
J 58 PARADISO. CANTO xn.
wonderful fruit that was to issue from him and from his
heirs : and that he might be in interpretation what he was,
from hence a spirit set forth to name him with the possessive
of Him whose he was wholly. Dominic was he called ;
and I speak of him as of the husbandman whom Christ
chose to His garden, to aid Him. Right well did he
appear a messenger and a familiar of Christ, for the first
desire which was manifest in him was toward the first
counsel which Christ gave. Oftentimes was he found silent
Vide nel sonno il mirabile frutto,
Ch' uscir dovea di lui e delle rede :
E perche fosse quale era in costrutto,
Quinci si mosse spirito a nomarlo
Del possessivo di cui era tutto.
Domenico fu detto : ed io ne parlo, 70
Si come dell' agricola, che CRISTO
Elesse all' orto suo per aiutarlo.
Ben parve messi? e famigliar di CRISTO,
Che il primo amor, che in lui fu manifesto,
Fu al primo consiglio che die CRISTO.
Spesse fiate fu tacito e desto
6 s The legend, as given by P. di Dante, is that his godmother saw
him in a dream with a star on his forehead, which illumined the whole
world.
6 7 in costrutto : "i.e. loquela, nomine." Comm. Gg. Looking
to Purg. xxviii. 147, this seems the best explanation ; though some, e.g.
Daniello, take it as = in effetto. Land, "perche egli havea ad esser
tutto del suo signer Iddio."
68 Quinci : from heaven.
69 Aquinas, S.T. iii. Q. 1 6. A. 3, "dominicus dicitur denominative
a Domino " (where he is discussing whether Christ can be called
" dominicus").
75 primo consiglio : " sell all that thou hast and give to the poor."
Various stories are told of St. Dominic's obedience to this precept.
CANTO XII. PARADISO.
and awake on the earth by his nurse, as though he said :
'To this end am I come.' O Felix in very truth his
father ! O Joan in very truth his mother ! if being inter-
preted it means as they say. Not for the world, for whose
sake now men weary themselves, following him of Ostia
and Thaddaeus, but for love of the true manna, in a little
time he became a great doctor, such that he betook himself
to going round the vine which soon grows white if the vine-
Trovato in terra dalla sua nutrice,
Come dicesse : lo son venuto a questo.
O padre suo veramente Felice !
O madre sua veramente Giovanna 5 80
Se interpretata val come si dice !
Non per lo mondo, per cui mo s' afianna
Diretro ad Ostiense ed a Taddeo,
Ma per amor della verace manna,
In picciol tempo gran dottor si feo,
Tal che si raise acircuir la vigna,
Che tosto imbianca, se il vignaio e reo :
' E madre Gg.
81 Giovanna being the feminine of John, which means "the grace
of God" or "Jehovah has been gracious." Dante of course was
ignorant of Hebrew, and so had to trust to hearsay evidence.
82 sqq. jj e did not acquire learning for the sake of worldly fame, but
in order to know Christ. (St. John vi. 31, 32.)
83 Henry of Susa, Archbishop of Embrun and Cardinal of Ostia,
wrote a commentary on the Decretals. He died 1271. Taddeo : pro-
bably Taddeo Alderotti of Bologna, " il quale," says Villani (viii. 65),
"fu sommo fisiziano sopra tutti quegli de' cristiani." He made an
Italian version of the Ethics ; and is thought to be the person alluded
to in an uncomplimentary fashion in Conv. i. 10. Blanc appositely
compares with this line the '''jura ed aforismi " of xi. 4 ; and see note
to 1. 93 below. According to Villani, Taddeo died 1303.
160 PARADISO. CANTO xn.
dresser is in fault; and at the seat which was formerly
kinder to the righteous poor, not by reason of itself, but of
him who sits and goes astray, he craved, not to dispense
two or three for "six, not the fortune of a next vacancy,
non dedmas quae sunt pauper um Dei; but leave to fight
Ed alia sedia, che fu gia benigna
Piu ai poveri giusti, non per lei,
Ma per colui che siede, e che traligna, k 90
Non dispensare o due o tre per sei,
Non la fortuna di prima vacante,
Non dedmas \ quae sunt pauper um Dei,
k che siede che 3 Aid. W.
I ** sedia : the Papal See.
89 non per lei : as if he had said, " which is no longer kind."
90 colui : Boniface.
91 I.e. not the power of dispensing people from the chief part of
their duties. Cf. v. 35,60. Others understand "to distribute less
than the due amount."
03 "Not the tithes, which belong to God's poor." With this and
1. 83, cf. Conv. iv. 27 : Potrebbe dire alcuno medico o legista :
dunque porter6 io il mio consiglio e darollo eziandio che non mi sia
chiesto, e dalla mia arte non avr6 frutto ? Rispondo ; siccome dice
nostro Signore : A grado ricevete, a grado date. Dico adunque,
messer Io legista, che quelli consigli che non hanno rispetto alia tua
arte, e che procedono solo di quel buono senno che Iddio ti diede, tu
nol dei vendere a' figliuoli di Colui che te 1' ha dato ; quelli che hanno
rispetto all' arte, la quale hai comperata, vender puoi ; ma non si, che
non si convengano alcuna volta decimare e dare a Dio, cioe a quelli
miseri, a cui solo il grado divino e rimaso. S. T. ii. 2. Q. 87. A. 3 :
In nova lege decimae dantur clericis, non solum propter sui sustenta-
tionem, sed etiam ut ex eis subveniant pauperibus. With pauperum
Dei, cf. "pauperum Christi," De Mon. ii. io (ii). It may be noted
that one of Philip IV.'s conditions for promoting the election of Pope
Clement V. was that he should receive five years' tithes from the French
clergy.
CANTO xii. PARADISO. 161
against the erring world for the sake of the seed whereof
twenty-four plants are girding thee. Then with doctrine
and with good will together he set out with his apos-
tolical office, like a torrent which a deep vein presses
out; and his attack smote upon the heretical stocks in
more lively wise in those places where the resistance was
most stout. From him were made thereafter divers streams,
whence the catholic garden is watered so that its bushes
stand more alive.
" If of such sort was one wheel of the chariot whereon
the Holy Church defended herself, and won in the field her
Addimando, ma contra il mondo errante
Licenzia di combatter per lo seme,
Del qual ti fascian ventiquattro piante. 1
Poi con dottrina, e con volere insieme,
Con 1' uficio apostolico si mosse,
Quasi torrente, ch' alta venajggme :
E negli sterpi eret^ci percosse
L' impeto suo piu vivamente quiyL
,,. , . .,
Dove le resistenze eran piu grosse.
Di lui si fecer poi diversi rivi,
Onde 1' orto cattolico si riga,
Si che i suoi arbuscelli stan piu vivi.
Se tal fu 1' una ruota della biga,
In che la santa Chiesa si difese,
E vinse in campo la sua civil briga,
1 si fascia Gg. ; si fascian Aid.
JJ & Twenty-four spirits, in two circles, are now surrounding them.
101 quivi : i.e. where heresy was most rife. See note to 1. 55.
108 civil briga : the struggle with heresy being to the Church what
civil war is to a State. The corresponding efforts of St. Francis were
rather towards the conversion of those who were outside the Church.
1 62 PARADISO. CANTO xn.
civil strife, right clear ought to be to thee the excellence
of the other concerning whom Thomas was before my
coming so courteous. But the track which the highest
part of its circumference made, has been deserted ; so that
the mould is where the crust was. His household which
set out aright with its feet in his footsteps, has so turned
round that it casts him who is in front upon him who is
behind ; and soon from the ingathering will the bad culture
be perceived, when the tare shall lament that the store-chest
is taken from it. Doubtless I say whoso should search our
volume leaf by leaf would still find a page where he would
Ben ti dovrebbe assai esser palese
L' eccellenza dell' altra, di cui Tomma no
Dinanzi al mio venir fu si cortese.
Ma 1' orbita, che fe la parte somma
Di sua circonferenza, e derelitta,
Si ch' e la muffa dov' era la gromma.
La sua famiglia, che si mosse dritta7
Coi piedi alle su' orme, e tanto volta,
Che quel dinanzi a quel diretro gitta :
E tosto si vedra della ricolta" 1
Delia mala coltura, quando il loglio
Si lagnera che 1' area gli sia tolta. 120
Ben dico, chi cercasse foglio a foglio
Nostro volume, ancor troveria carta, n
m s' awedra Aid. Bi. " trovare Gg.
IK *qq. g t> Bonaventura, like St. Thomas in the last Canto, reproves
the degeneracy of his own Order. The metaphor in 11. 112-114 is
somewhat confused ; and the allusion to the founder of the Order as
the highest point of the wheel is awkward.
114 Good wine makes a crust, bad wine mould, in the cask.
119, 120 \vith allusion to the parable.
CANTO xii. PARADISO. 163
read ' I am what I am wont ' ; but it will not be from
Casale nor from Acquasparta; where they come to the
scripture in such sort that one flies from it and another
contracts it.
" I am the life of Bonaventura of Bagnoregio, who in my
U' leggerebbe : I' mi son quel, ch' io soglio.
Ma non fia da Casal, ne d' Acquasparta,
La onde vegnon tali alia scrittura,
Ch' uno la fugge, e 1' altro la coarta.
Io son la vita di Bonaventura
Da Bagnoregio, che nei grandi ufici
Che r un W. ; ed altro 2 Aid.
124.126 T ne allusion is to the sects, which soon after the death of St.
Francis arose within the Order. The one party, of whom Matthew of
Acquasparta, General in 1289, was the 1 leader, construed the founder's
rule (scrittura) in a somewhat liberal sense, while the others, with the
encouragement of successive Popes, adopted a narrower and more
literal interpretation. The most vigorous champion of this view was
Ubertino of Casale. Pope Clement V. did his best to reconcile the
factions ; and Philalethes notes Dante's implied approval of this course
as an instance of his freedom from party spirit, seeing that Clement
found, as we know, little favour with him on general grounds.
127 vita : i.e. the soul. Bonaventura is the name by which posterity
has known John da Fidanza of Bagnoreggio or Bagnorea near Orvieto.
He was born in 1221, and was brought as a child by his mother to
St. Francis, who performed a miraculous cure on him. He joined the
Order in 1243, studied under Alexander of Hales (himself a Francis-
can) at Paris, and afterwards lectured there. In 1256 he became
General of the Order, and afterwards Cardinal Bishop of Albano. He
died 1276. In his case, as also in that of St. Thomas, Dante has
anticipated the decision of the Church, for he was not canonised
till 1482. The philosophy of the "Seraphic Doctor," as he is called,
was strongly leavened with mysticism, and differs from that of Aquinas
(whose mind was altogether of a far more masculine stamp) in having
more affinity with Plato than with Aristotle.
M 2
1 64 PAR AD I SO. CANTO XIL
great offices ever set last the care of the left hand.
Illuminato and Augustin are here, who were of the first
unshod poor ones that in the rope-girdle became friends
to God. Hugh of Saint Victor is here with them, Peter
the Eater, and Peter of Spain, who on earth shines through
Sempre posposi la sinistra cura.
Illuminato ed Agostin son quici, 130
Che fur dei primi scalzi poverelli,
Che nel capestro a Dio si fero amici.
Ugo da Sanvittore e qui con elli,
E Pietro Mangiadore, e Pietro Ispano,
Lo qual giu luce in dodici libelli :
123 sinistra. The allusion seems to be to Prov. iii. 16 : " In her
left hand are riches and honour." See also S. T. i. 2. Q. 104.
A. 4. 6.
130 Illuminato of Rieti and Augustin were among the first followers
of St. Francis ; the former was his companion on his expedition to
Egypt.
*& capestro : cf. xi. 87.
133 Hugh of St. Victor, called " alter Augustinus," was born 1097.
He was a German by birth, and afterwards joined the famous
monastery of St. Victor. Peter Lombard and Richard (x. 107, 131)
were his pupils. He too was a mystic, but, according to Philalethes,
with a strong tendency to practical moral doctrine. He died 1141.
134 Petrus Comestor was Dean of Troyes, and afterwards Chancellor
of the University of Paris. His chief work was a History of the
Church, founded on the Old and New Testaments. He died at
St. Victor, 1179. Petrus Hispanus was a physician and theologian
at Lisbon. He took orders, and became in 1273 Cardinal Bishop of
Tusculum. In 1276 he was elected Pope, and reigned for eight
months as John XXI. In May, 1277, he was killed by the fall of
a roof at Viterbo (Villani vii. 50). His work, " Summulae Logi-
cales " (in which, says Philalethes, the famous " Barbara, celarent "
first appear), had a great reputation. Only seven treatises are men-
tioned in Ueberweg.
CANTO xii. PARADISO. 165
twelve treatises ; Nathan the prophet and the metropolitan
Chrysostom, and Anselm, and that Donatus who deigned to
put his hand to the prime art ; Raban is here, and beside
me shines the Calabrian Abbot Joachim, endowed with
Natan Profeta, e il Metropolitano
Crisostomo, ed Anselmo, e quel Donate,
Ch' alia prim' arte degno poner mano ;
Rabano e qui, e lucemi da lato
II Calavrese abate Giovacchino 140
137 St. John Chrysostom (347-407), the famous patriarch of Constan-
tinople, is probably, as Philalethes suggests, coupled with Nathan, on
account of their similar boldness in rebuking the sins of kings. It
may be noted also that both he and Pope John XXI. censured the idle
and vicious lives of many of the monks of their time, which perhaps
accounts partly for their appearance here. Anselm of Aosta was
born 1033. He entered the Abbey of Bee, in Normandy, became Prior
in 1063, and Abbot in 1078. In 1093 he was consecrated Archbishop
of Canterbury, and died 1 109. His chief title to fame as a theologian
rests on his " Proslogium," in which he seeks to prove God's existence
by a method not unlike that of Descartes ; and his " Cur Deus Homo,"
which treats of the Atonement. Aelius Donatus was a famous gram-
marian of the fourth century. St. Jerome is said to have been his
pupil. In the Middle Age his name became a synonym for Grammar
(much as " Euclid " for Geometry), and his treatise was printed probably
before any book except the Bible.
138 prim' arte. Grammar is the first of the seven liberal arts,
the others being Logic, Rhetoric, Music, Arithmetic, Geometry,
Astronomy.
13 9 Rabanus Maurus, born at Mainz, 766 (or 780) , was a monk at
Fulda ; became Abbot in 822, Archbishop of Mainz 847, died 856.
He was a voluminous writer. One of his works, ' ' De Laudibus
S. Crucis," contains curious figures in which rows of letters are cut
by outlines of stars, crosses, and the like, so as to mark out words and
sentences. Did Dante borrow from this his image in Canto xviii. ?
140 Joachim, born near Cosenza, 1130, was Abbot of the Cistercian
monastery at Curazzo. He wrote a Commentary on the Apocalypse,
and seems to have enjoyed in his own day a reputation for prophetic
I
1 66 PARADISO. CANTO xn.
prophetic spirit. To vie with so mighty a paladin has the
enkindled courtesy of Brother Thomas moved me, and
his discerning speech, and it has moved with me this
company."
Di spirito profetico dotato.
Ad inveggiar cotanto paladino
Mi mosse la infiammata cortesia
Di fra Tommaso, e il discrete latino, p
E mosse meco questa compagnia.
P Tommaso il d. Gg. 3 ; 71 d. 145.
power. "Joachim, the Abbot of Calabria, foretold all the Popes that
should ensue, together with their names and shapes." Montaigne,
Trans. Florio, Bk. i., Ch. 2. He is also said to have foretold that
Antichrist would sit in the chair of Peter ; and Philalethes suggests
that Dante may have seen the fulfilment of this in Boniface VIII.
142 It seems best to understand (with Blanc) paladino of St.
Thomas. If, following the usual interpretation, we take it of
St. Dominic, it is hard to extract any satisfactory meaning from
inveggiar.
144 latino : cf. iii. 63.
CANTO XIII.
ARGUMENT.
St. Thomas speaks again, and explains how it was rightly said by him of
Solomon, that no second had arisen like to him ; stating incidentally
certain truths concerning God's operation as Creator, and reprehending
false reasoners.
LET him imagine, who wishes duly to understand that
which I then saw and let him keep the image, while I
am telling, like a fixed rock fifteen stars which in divers
regions quicken the heaven^with such pure ray that it over-
comes every trammel of the air ; let him imagine that wain
to which the bosom of our sky suffices both night and day,
IMMAGINI chi bene intender cupe
Quel ch' io or vidi, e ritegna 1' image,
Mentre ch' io dico, come ferma rupe,
Quindici stelle, che in diverse plage
Lo cielo avvivan di tanto sereno,
Che soverchia dell' acre ogni compage ;
Immagini quel Carro, a cui il seno
Basta del nostro cielo e notte e giorno,
*- 18 The meaning of this elaborate figure is merely that the reader
is to imagine twenty-four bright stars revolving in two concentric
circles.
i68 PARADISO. CANTO xin.
so that it disappears not in the turning of its pole; let
him imagine the mouth of that horn that begins on the
point of the axle about which the prime rotation goes, to
have made of themselves two signs in heaven such as the
daughter of Minos made, what time she felt the chill of
death ; and the one to have its rays within the other and
both to whirl in such manner that the one went first and
the other after ; and he will have as it were the shadow of
the true constellation, and of the twofold dance which was
circling the point where I was ; since it is so much beyond
Si ch' al volger del temo non vien meno ;
Immagini la bocca di quel corno, 10
Che si comincia in punta dello stelo,
A cui la prima ruota va dintorno,
Aver fatti di se duo segni in cielo, a
Qual fece la figliuola di Minoi
Allora che send di morte il gielo :
E 1' un nell' altro aver gli raggi suoi, b
Ed ambedue girarsi per maniera,
Che 1' uno andasse al prima e 1' altro al poi :
Ed avra quasi 1' ombra della vera
Costellazione, e della doppia danza 20
Che circulava il punto, dov' io era :
Poich' e tanto di la da nostra usanza,
a fatto Gg, W, Bi. b r uno air altro Gg.; e F altro 2.
10 The Little Bear is conceived as a horn, the "mouth" being of
course formed by the two stars furthest from the pole.
14 The constellation of the Crown was the garland which Bacchus
took from the head of Ariadne, and placed among the stars. Ov.
Met. viii. 178. It is the "Gnosia corona" of Georg. i. 222.
18 al prima al poi : i.e. one followed the movement of the
other.
CANTO xni. PARADISO. 169
our wont as beyond the movement of the Chiana is moved
the heaven which outstrips all the rest. There was chanted
not Bacchus, not Paean, but three Persons in a divine
nature, and in one person that and the human.
The chanting and the turning fulfilled its measure, and
those holy lights gave their heed to us, from task to task
gladdening themselves. Thereafter among the concordant
powers that light broke the silence, in which a wondrous
life of God's poor man had been narrated to me, and it
said : " Since one straw has been threshed, since its seed
Quanto di la dal muover della Chiana
Si muove il ciel che tutti gli altri avanza.
Li si canto non Bacco, non Peana,
Ma tre Persone in divina natura,
Ed in una persona essa e 1' umana. c
Compie il cantare e il volger sua misura,
E attesersi a noi quei santi lumi,
Felicitando se di cura in cura. 30
Ruppe il silenzio ne' concordi numi
Poscia la luce, in che mirabil vita
Del poverel di Dio narrata fumi :
E disse : Quando 1' una paglia e trita,
c una sustanzia Cass. AM.
23 The Chiana is a sluggish and marshy river (now canalised),
which flows from Arezzo, past Chiusi to Orvieto (Inf. xxix. 47).
a6 '" 7 I.e. the mysteries of the Trinity and the Incarnation. essa,
sc. la divitia.
30 From the task of dancing to that of instructing.
31 sqq. g tt Thomas resumes, and proceeds to explain the other point
as to which Dante is perplexed, viz. how it could rightly be said that
no second to Solomon had arisen, whereas both in Adam when
created (11. 37-39), and in Christ (40-42), human nature had existed
in its most perfect form, and with perfect knowledge.
170 PARADISO. CANTO XTII.
has already been stored up, a kindly love summons me
to thresh the second. Thou deemest that in the breast
whence the rib was drawn to form the fair face whose
appetite is costly to the whole world, and in that which
pierced by the lance, both after and before made so great
satisfaction that it wins the balance over all sin, as much
soever as it is allowed to human nature to have of light had
been all infused by that Goodness which made both the
one and the other ; and therefore thou wonderest at what
I said above, when I related that the good which is enclosed
in the fifth light had no second. Now open thine eyes to
Quando la sua semenza e gia riposta,
A batter 1' altra dolce amor m' invita.
Tu credi, che nel petto onde la costa
Si trasse, per formar la bella guancia,
II cui palato a tutto il mondo costa,
Ed in quel, che forato dalla lancia 40
E poscia e prima tanto soddisfece,
Che d' ogni colpa vinse la bilancia,
Quantunque alia natura umana lece
Aver di lume, tutto fosse infuso
Da quel valor che 1' uno e 1' altro fece :
E pero ammiri cib ch' io dissi suso,
Quando narrai, che non ebbe secondo
Lo ben che nella quinta luce e chiuso.
Ora apri gli occhi a quel ch' io ti rispondo,
39 Cf. Purg. xxix. 24.
42 vinse la bilancia, like vince tutto, Purg. xvi. 78.
44 fosse. Credo in the present, when no negative is involved,
and the object of belief is past or present, usually takes the indicative,
as Inf. xiii. 25 ; but the subjunctive is also found, e.g. Inf. xxix. 20.
See Diez iii. 366.
CANTO xin. PARADISO. 171
that which I answer thee, and thou wilt see that thy belief
and my word are set in the truth as its centre in a circle.
That which dies not and that which can die are nought but
the brightness of that Idea which our Lord in His love
brings to birth; for that living Light which so goes forth
from its source that it is not disunited from Him, nor from
the Love which in them is made the third, of its bounty
unites its radiance, as though mirrored, in nine subsistences,
E vedrai il tuo credere e il mio dire 50
Nel vero farsi, come centro in tondo.
Cio che non muore, e cio che pub morire,
Non e se non splendor di quella idea,
Che partorisce, amando, il nostro Sire :
Che quella viva luce, che si mea d
Dal suo lucente, che non si disuna
Da lui, ne dall' amor che in lor s' intrea,
Per sua bontate il suo raggiare aduna,
Quasi specchiato in nove sussistenze,
d vera hice Gg.; simmea Gg. 134.
s , s * I.e. thy belief and my words coincide at the same point of
the truth. Bianchi suggests that the metaphor is taken from Boethius iii.
Pr. 1 1 : Ipsam mediae veritatis notam mente fixisti.
52 Embracing both the classes referred to in vii. 67 sqq.
53 splendor. Probably with allusion to Heb. i. 3 : splendor
gloriae et figura substantiae ejus. idea. S. T. i. Q. 15. A. I : Idea
Graece, Latine forma dicitur. Unde per ideas intelliguntur formae
aliquarum rerum praeter ipsas res existentes. A. 3 : Ideae sunt
rationes in mente divina existentes. Sed omnium quae cognoscit Deus,
habet proprias rationes. Ergo omnium, quae cognoscit, habet ideam.
ss-57 Here, as in x. 1-3, the three Persons of the Trinity are indi-
cated. luce : cf. St. John i. 7-9.
59 nove sussistenze, the nine heavenly spheres. See Ep. to Can
Grande ; and Conv. iii. 14 : E da sapere che '1 primo agente, cioe Dio,
pinge la sua virtu in cose per modo di diritto raggio (vii. 67), e in
172 PARADISO. CANTO XT 1 1.
eternally remaining itself one. Hence it descends to the
ultimate potentialities, from operation to operation, coming
down so far that it makes further only brief contingencies ;
and these contingencies I understand to be the things
generated, which the heaven in its motion produces with
seed and without seed. The wax of these and that which
Eternalmente rimanendosi una. 60
Quindi discende all' ultime potenze
Giu d' atto in atto tanto divenendo, 6
Che phi non fa che brevi contingenze :
E queste contingenze essere intendo
Le cose generate, che produce
Con seme e senza seme il ciel movendo.
e dividendo Gg. ; vene discendendo 2.
cose per modo di splendore riverberato ; onde nelle intelligenze raggia
la divina luce sanza mezzo, nell' altre si ripercuote da queste intelligenze
prima illuminato. S.T. i. Q. 56. A. 3 : ipsa natura angelica est quoddam
speculum divinam similitudinem repraesentans.
61 sqq The creative energy passes from one stage of being to another,
until it reaches the lowest point at which it is able to operate. Here
it produces merely accidental or fortuitous effects, personal peculiarities,
and the like, contingenze here represents not ra evBexopfva, but
TO Kara o-v/i/Se/S^Koy, of which Aristotle makes f) TV^T) KOI TO avrop-arov
to be the cause. (Phys. ii. 5, I97a.) Dante, however, makes these,
as well as all else, due to God's providence, working through the
heavenly movers. So St. Thomas, Summa contra Gentiles, iii. 72 :
Ex causis autem proximis aliqui effectus dicuntur necessarii vel con-
tingentes ; non autem ex remotis causis. Nam fructificatio plantae est
effectus contingens propter causam proximam, quae est vis germinativa
quae potest impediri ac deficere . . . non omnes effectus qui provi-
dentiae subduntur erunt necessarii seel plurimi sunt contingentes. (See
11. 70-72.)
65, Met. f 7 (lO32a): TOVTW fie (riavTroirjo-fov) rives yiyvovrai KOI
OTTO TavTOfjidrov KCU dirb TVXTJS irapaTr\r)cria>s axrTrep tv rots UTTO
(pvtreas yiyvop,evois f tvia yap KaKfl TOVTCL KOI in (nrtpparos yiyverat
CANTO xin. PARADISO. 173
moulds it stand not in one manner, and therefore under
the seal of the Idea more and less thereafter shines through ;
whence it comes to pass that a tree the same in respect of
species bears better and worse fruit, and you are born with
divers intellect. If the wax were moulded perfectly, and
the heaven supreme in its virtue, the whole light of the
seal would appear. But nature gives it always lacking,
La cera di costoro, e chi la duce,
Non sta d' un modo, e perb sotto il segno
Ideale poi piu e men traluce :
Ond' egli avvien, ch' un medesimo legno, 70
Secondo specie, meglio e peggio frutta,
E voi nascete con diverse ingegno.
Se fosse appunto la cera dedutta,
E fosse il cielo in sua virtu suprema,
La luce del suggel parrebbe tutta.
Ma la natura la da sempre scema,
Kal dvev (nreppaTOs. And Chap* IO (1034!)): oaa Se diro rauro/uarot;
(sc. yiyvfTai) Stcnrfp fK.fi (fv rrj TiX^jf) yiyvfTai, O<T<>V 17 Z\r) dvvarai
(potenze) Kal v(p' avrrjs Kivflo-dai Tavrrjv TTJV Kivrjcriv f/v TO cnrtpp-a Kivel.
See also e. 2 passim, and the reference to it in S. T. i. Q. 115. A. 6;
where St. Thomas adds : Corpora caelestia sunt causa inferiorum
effectuum mediantibus causis particularibus inferioribus, quae deficere
possunt in minor! parte . . . Virtus corporis caelestis non est infinita ;
unde requirit determinatam dispositionem in materia ad inducendum
suum efiectum.
^sqq- See i. 127-9; and viii. 127 sqq. with which all this passage
should be compared.
76 Ar. Probl. x. 44 : 6/iouBj Se KCU r) (ftvcris (pav\a p.ev irdvra Troi.fl,
cnrovdala Se cXctTTO). Phys. ii. 8 : a/napT/a Se yiyverai Iv rois Kara
njfv^v fypafa yap OVK opdas 6 ypap.p.aTivos, Kal fTrorurfv OVK opd&s
6 larpos TO (pappaKov axrrf 8rj\ov OTI eVSe^erat Kal Iv TOIS Kara (pvaiv.
tl 8r) f<TTiv fvia Kara Te.\vriv ev ois TO opdats fvtKO. TOV, ev Se TOIS
fvois evfKa p,fv TWOS eVt^etpeirai dXX'
av f l K VI e '*' roi/$ '
174 PARADISO. CANTO xin.
operating in like manner to the artist, who has the habit of
his art, and a hand which trembles. But if the burning
love disposes and stamps the clear view of the prime virtue,
all perfection is there acquired. Thus was the earth once
made worthy of all the perfection of living things : thus
was the Virgin made to be with child. So that I commend
thy opinion ; for human nature never has been nor will be
such as it was in those two persons. Now, if I went not
further forward, ' How then was this one without equal?'
would thy words begin. But that that which appears not
may duly appear, think who he was, and the occasion which
Similemente operando all' artista,
Ch' ha 1' abito dell' arte e man che trema.
Pero se il caldo Amor la chiara vista
Delia prima virtu dispone e segna, 80
Tutta la perfezion quivi s' acquista.
Cosi fu fatta gia la terra degna
Di tutta 1' animal perfezione :
Cosi fu fatta la Vergine pregna.
Si ch' io commendo tua opinione :
Che 1' umana natura mai non fue,
Ne fia, qual fu in quelle due persone.
Or s' io non procedessi avanti piue,
Dunque come costui fu senza pare ?
Comincerebber le parole tue. 90
Ma perche paia ben cib che non pare,
Pensa chi era, e la cagion che il mosse,
79-81 f yjj^ g^ S qq - The meaning is, where God acts directly, as
in the Creation, and in the Incarnation of Christ, a perfect result
follows. Amor, vista, virth, correspond with the amando, idea, sire,
of 11. 53, 54 ; and cf. again x. 1-3.
87 due persone : Adam and Christ.
CANTO xiii. PARADISO. 175
moved him, when it was said 'Ask,' to make his request.
I have not so spoken that thou canst not well see that he
was a king who asked wisdom, to the end that he might
be king sufficiently : not to know the number in which are
the movers here on high, or if necessary with contingent
ever made necessary; not si est dare primum motum esse, or
if in the semicircle a triangle can be made so as not to have
a right angle. Wherefore, if thou note what I said, and
Quando fu detto, Chiedi, a dimandare.
Non ho parlato si che tu non posse f
Ben veder, ch' ei fu Re, che chiese senno,
Acciocche Re sufficiente fosse ;
Non per saper lo numero in che enno
Li motor di quassu, o se necesse
Con contingente mai necesse fenno :
Non si est dare primum motum esse, 100
O se nel mezzo cerchio far si puote
Triangol, si ch' un retto non avesse.
Onde, se cio ch' io dissi e questo note,
f non 2 p. Gg.
93 I Kings iii. 5 sqq.
97 This question is discussed by Plato, Timaeus 40 ; by Aristotle,
Met. X. 8; and by Dante himself, Conv. ii. 5. enno : Purg. xvi. 121.
98,99 Ar. An. Pr. i. 16 : IlaXif TO \ilv a eVSe^eV^co TrairiraS /3, TO
Se ft Travrl TW y inrap)(fTa> e dvdyidjs' ecrrai 8rj o-uXAoyKj/ios, on TO a
Travrl rw y eVSe'^erui inrnpxtiv, aXX' ov\ Tl vnapxci.
99 fenno : two words coupled by con are not uncommonly followed
by a plural verb.
100 jf j t must b e granted that a First Moved exists," i.e. that
Motion had a beginning. Ar. Phys. viii. 1-3.
101 Euclid iii. 31. The ordinary reading, del m. c. must, I think, be
a slip of copyists. The meaning of the whole passage is that Solomon
asked not for speculative but for practical wisdom.
1 76 PAR AD ISO. CANTO xin.
this, royal prudence is that unmatched vision, whereon the
shaft of my intention strikes. And if thou direct thine
eyes clearly to the 'has arisen,' thou wilt see that it has
respect only to kings, who are many, and the good are few.
With this distinction take my saying ; and thus may stand
what thou believest concerning the first father and con-
cerning our Delight. And let this be always as lead to thy
feet, to make thee move slow as a weary man both to the
Regal prudenza e quel vedere impari/
In che lo stral di mia intenzion percuote.
E se al Surse drizzi gli occhi chiari,
Vedrai aver solamente rispetto
Ai regi, che son molti, e i buon son rari.
Con questa distinzion prendi il mio detto :
E cosi puote star con quel che credi . no
Del primo padre e del nostro diletto.
E questo ti fia sempre piombo ai piedi,
Per farti muover lento, com' uom lasso,
s et quel Cass. 124 Aid. W.
104 This line has given rise to some difficulty. Most, if not all of
the MSS. and early edd. read et quel ved., and those who follow this
take impari as = imparerai (for if it be apodosis, a future is clearly
required). But this will hardly do. Comm. Gg. has " si est verum
quod dixi, et si consideras regalem sensum qui fuit in isto (as if
he read se & ver ch' to dissi, e in questo note r. p.), et si appre-
hendis de quo videre ego loquor quando dixi supra cha veder
tanto," etc. This will give a good enough sense if we put a comma at
percuote, so as to read se note . . . e impari . . . e se drizzi . . .
vedrai "if what I have said is true, and thou notest his royal
prudence, and learnest the meaning of that vision of which I am
thinking, and lookest at the Surse, thou wilt see," etc. But. it seems
scarcely possible not to recognise in impari a reference to the senza
pare of 1. 89, and I have therefore preferred to follow Lombardi,
Philalethes, and Bianchi. For the form impari, cf. dispari, Furg. xiii.
120.
CANTO xiii. PARADISO. 177
yes and to the no that thou seest not ; for he is very low
down among the fools who affirms or denies without dis-
tinction, in the one no less than in the other pass : since
it occurs that oftentimes the current opinion swerves in a
false direction, and afterwards the desire binds the under-
standing. Far more than in vain does he cast loose from
the shore, because he returns not the same as he sets out,
who fishes for the truth and has not the art ; and of this
are to the world open proofs Parmenides, Melissus and
Ed al si ed al no, che tu non vedi :
Che quegli e tra gli stolti bene abbasso,
Che senza distinzion afferma e nega, h
Cosi nell' un, come nell' altro passo :
Perch' egl' incontra che piu volte piega
L' opinion corrente in falsa parte,
E poi 1' affetto lo intelletto lega. 120
Vie piu che indarno da riva si parte,'
Perche non torna tal qual' ei si muove,
Chi pesca per lo vero e non ha 1 ! arte :
E di cio sono al mondo aperte pruove
Parmenide Melisso e Brisso e molti,
h off. o n. 2 Aid. W. ' l Via Gg. Cass.
118 egli : see note, Purg. xxviii. 37.
120 Ar. Met. X. 7 (lO72a)-. 6pey6p.e6a Sidrt 8oKfl paXXov fj 8oKei
Sio'n opeyojjifOa ', the contrary to Dante's view, which however ex-
presses more accurately the usual conditions of human opinion.
121-123 l. e . the man who seeks for truth without having mastered the
art of reasoning does worse than return empty-handed, for his mind
becomes prejudiced.
125 Parmenides of Elea and Mdissus of Samos are constantly
coupled by Aristotle as examples of bad reasoners ; e.g. Phys. i. 3:
^fvftr) Xappdvovo-i, KOI acrtiXXoyioroi fieri, or, according to the render-
ing adopted by Dante, De Mon. iii. 4 : Qui falsa recipiunt et non
N
178 PARADISO. CANTO xin.
Bryson, and many who used to go, and knew not where.
So did Sabellius and Arius and those fools who were as
swords to the Scriptures in making crooked the faces that
were straight. Let not the folk be yet too secure at judging,
like him who values the corn in a field before it is ripe ; for
Li quali andavan, e non sapean dove.
Si fe Sabellio ed Arrio, e quegli stolti, k
Che furon come spade alle scritture,
In render torti li diritti volti.
Non sien le genti ancor troppo sicure 130
A giudicar, si come quei che stima
Le biade in campo pria che sien mature :
k Sabella Gg. Cass. 2 Aid.
syllogisantes sunt. See also Met. a. 5 5 and de Caelo iii. i, where he
says that 01 Trepl MfXicrtrov re KOI Happ.evi8r)v went astray 8ia TO firjdtv
aXXo Trapa TTJV ra>v alvQ^Twv ovviav inro\afieiv flvai. This is perhaps
the passage which Dante had in his mind. It is curious to note that
Parmenides expresses himself almost as strongly as Dante about the
worthlessness of human opinion, ftporoiv 8r>i-as rats OVK tvi TT'KTTLS
d\T)6f)f. But, of course, Dante only knew of him through Aristotle's
criticism. Bryson is mentioned, Soph. Elench. n, as not only a
circle-squarer, but a dishonest one, who tried to solve the problem by
non-geometrical methods. He may, therefore, be regarded as a
specially good instance of the state of mind indicated in 11. 120-123.
12 7 Sabellius, who confounded the first two Persons of the Trinity,
and Arius, who divided the substance, are. famous names in the history
of the early heresies.
128 spade. Landino seems to give the right interpretation of this
metaphor : perche come chi si specchia nella spada, vi vede il suo
volto torto, cosl chi guarda ne' libri de gli heretici, vi vede il senso
delle scritture torto. So Daniello : chi si mira nello specchio, vede
in quello il suo volto diritto, ma chi si mira nella spada, lo vede torto.
Blanc, however, s.v. spada, " rejects this absolutely," and prefers to
follow Lombardi, who takes it to mean that the heretics distort the
Scriptures, as a blow from a sword would a face.
CANTO xiii. PARADISO. 179
I have seen all winter long the plum-tree at first show itself
rigid and stern, and afterward bear blossoms on its top ;
and I saw on a time a craft trim and swift to sail the sea for
its whole course, perish at the last in the entering of the
sound. Let not Dame Bertha and Master Martin deem,
for seeing one steal, another make offerings, that they are
seeing them within the Divine counsel ; for that one may
be exalted and this may fall."
Ch' io ho veduto tutto il verno prima
II prun mostrarsi rigido e feroce,
Poscia portar la rosa in su la cima :
E legno vidi gia dritto e veloce
Correr lo mar per tutto suo cammino,
Perire al fine all' entrar della foce.
Non creda monna Berta, e ser Martino,
Per vedere un furare, altro offerere, 140
Vedergli dentro al consiglio divino :
Che quel puo surfer, e quel pub cadere.
139 Cf. Conv. i. 8 : onde suole dire Martino.
>'
1^
N 2
CANTO XIV.
ARGUMENT.
the prayer of Beatrice, Solomon speaks, resolving a doubt in Dante's
mind touching the glorified body. After this they pass to the fifth
Heaven, of Mars ; and see there a great Cross, and Christ thereon,
and souls passing to and fro upon it, of such as were in this life
Christian warriors.
FROM the centre to the circumference, and likewise from
the circumference to the centre moves the water in a round
vessel, according as it is struck within and without. Into
my mind fell suddenly this which I say, so soon as the
glorious life of Thomas was silent, through the similitude to
DAL centre al cerchio, e si dal cerchio al centro
Muovesi P acqua in un ritondo vaso,
Secondo ch' e percossa fuori o dentro.
Nella mia mente fe subito caso
Questo ch' io dico, si come si tacque
La gloriosa vita di Tommaso,
Per la similitudine che nacque
1 s< w- Dante and Beatrice are standing at the centre of the circle
formed by the spirits. When St. Thomas ceases, Beatrice takes up
the discourse ; and so the wave of sound first moves inward to the
centre, and then back to the circumference.
6 vita : cf. xii. 127.
CANTO xiv. PARADISO. 181
which his speech gave birth, and that of Beatrice, whom it
pleased thus to begin after him : " For this man it is
expedient, and he tells it you not with his voice, nor in
thought as yet, to go to the root of another truth. Tell
him if the light wherewith your substance is enflowered
will remain eternally with you as it is now; and if it
remains, tell him how, after that ye have been anew made
Del suo parlare e di quel di Beatrice,
A cui si cominciar, dopo lui, piacque : a
A costui fa mestieri, e nol vi dice, 10
Ne colla voce, ne pensando ancora,
D' un altro vero andare alia radice.
Diteli se la luce, onde s' infiora
Vostra sustanzia, rimarra con voi
Eternalmente, si com' ella e ora :
E se rimane, dite come poi,
Che sarete visibili rifatti,
a <&' com. Gg.
13 The questions concerning the glorified body are discussed in
S. T. Suppl. Q. 72-75. They are of course based on such passages as
Wisdom iii. 7, Matt. xiii. 43, i Cor. xv. 40-43. The first of the two
dnopiat, which Beatrice puts on Dante's behalf is settled in Q. 75. A. I:
" Utrum corporibus gloriosis conveniet claritas "; the conclusion being :
Ex scripturae verissimum auctoritate habetur, corpora sanctorum
post resurrectionem lucida fore ; quae claritas a gloria animae in
corpus redundabit. The other point (11. 16-18) does not seem to be
definitely propounded by Aquinas, but may have been suggested by
Q. 85. A. 2 : " Utrum claritas ilia videri poterit ab oculo non glorioso/'
and by some expressions in Q. 82. A. 4 : " Utrum in beatis post resur-
rectionem sint omnes sensus in actu." Compare, for the contrary state
of the damned, Inf. vi. 103 sqq., and xiii. 103 sqq.
17 visibili : because at present only the light which surrounds the
souls of the blessed can be seen. It will have been observed that in no
case has Dante represented himself as able to discern any form or
features, except possibly in that of Piccarda.
1 82 PARADISO. CANTO xiv.
visible, it shall be possible for the sight of it not to hurt
you."
As urged and drawn on by more delight all at once
those who are going in a circle lift their voice and re-
quicken their movements, so at her prayer ready and
devout the holy circles showed a new joy in their turning
and in their wondrous note. He who laments for that
here one dies to live there on high, sees not the refresh-
ment there of the eternal rain. That One and Two and
Three which ever lives and ever reigns in Three and Two
and One, not circumscribed, and circumscribes all things,
was chanted thrice over by each of those spirits with a
Esser potra ch' al veder non vi noL
Come da piu letizia pinti e tratti
Alia fiata quei, che vanno a ruota, b 20
Levan la voce, e rallegrano gli atti : c
Cos! all' orazion pronta e devota
Li santi cerchi mostrar nuova gioia,
Nel torneare, e nella mira nota.
Qual si lamenta, perche qui si muoia,
Per viver colassu, non vide quive
Lo refrigerio dell' eterna ploia. d
QuelP uno e due e tre, che sempre vive,
E regna sempre in tre e due ed uno,
Non circoscritto, e tutto circonscrive, 30
Tre volte era cantato da ciascuno
Di quelli spirti con tal melodia,
b Alcunaf. Bi. Giul. c Muovon la v. Aid. <l de la santa p. Gg.
18 al veder. Probably this should be written a '1 v., the con.
struction being exactly like a riguardar in Purg. iv. 54.
20 The reading alia fiata ( = Fr. h la fois) is obviously the correct
one ; fiata being a trisyllable.
30 Non circoscritto : cf. Purg. xi. 2.
CANTO xiv. PARADISO. 183
melody such that to every desert it would be a just reward.
And I heard in the bright light of the lesser circle a modest
voice, such as haply was the angel's to Mary, answer : " For
so long as shall be the festival of Paradise, will our love
Ch' ad ogni merto saria giusto muno.
Ed io udii nella luce piu dia e
Del minor cerchio una voce modesta/
Forse qual fu dell' Angelo a Maria,
Risponder : quanto fia lunga la festa
Di Paradise, tanto il nostro amore
e nella voce Gg. { una luce Gg.
34 Cf. x. 109, from which it appears that the speaker is Solomon.
He is probably selected as being the presumed writer of the Book of
Wisdom. Cf. also his function in Purg. xxx. io sqq. dia occurs in
xxiii. 107, and xxvi. io. In the former passage it must mean "bright,"
in the latter it has its more literal meaning of "divine." Either will
serve here, and practically the sense will be the same. Landino con-
siders that the speaker is Peter Lombard ; but only on the ground that
he discusses the same question.
37 sqq. Dante's questions are : (i) Will the glory which now surrounds
the souls of the blessed remain after the general resurrection, when they
have again received their bodies ; and (2) If so, how will the bodily
organs be able to tolerate the brightness? The answer given by
Solomon is to this effect. The glory will continue eternally, being
proportionate to the ardour of our love (cf. Purg. xv. 69 sqq. and
Par. xxviii. 109), which is proportionate to our sight of God, which
again is proportionate to His free grace. (Observe the connection" of
grazia, gratuito, and grato ; and cf. S. T. ii. I. Q. no. A. i:
Secundum communem modum loquendi, tripliciter gratia accipi
consuevit. Uno modo, pro dilectione alicujus, sicut consuevimus dicere,
quod iste miles habet gratiam regis, id est, rex habet eum gratum.
Secundo, sumitur pro aliquo dono gratis dato, sicut consuevimus dicere.
Hanc gratiam facio tibi. Tertio modo, sumitur pro recompensatione
beneficii gratis dati, secundum quod dicimur agere gratias beneficiorum.
So Q. in. A. i : Duplex est gratia. Una quidem, per quam ipse
homo Deo conjungitur, quae vocatur gratia gratum faciens. Alia vero,
per quam unus homo cooperatur alteri ad hoc quod ad Deum reducatur.
PAR ADI SO. CANTO xiv.
radiate around itself such a robe. Its brightness follows our
ardour, our ardour our sight, and that is great in proportion
as it has grace above its worth. When our flesh has been
put on again glorious and holy, our personality will be
Si raggera dintorno cotal vesta.
La sua chiarezza seguita 1' ardore, g 40
L' ardor la visione, e quella e tanta,
Quanta ha di grazia sopra suo valore.
Come la carne gloriosa e santa
Fia rivestita, la nostra persona
seguira Cass. W.
Hujusmodi autem donum vocatur gratia gratis data.) When we
have our bodies, we shall be more acceptable to God, as being more
perfect (S. T. ii. I. Q. 4. A. 6 : Cum naturale sit animae corpori
uniri, non potest esse quod perfectio animae naturalem ejus per-
fectionem excludat. Et ideo dicendum est, quod ad beatitudinem
omnibus modis perfectam requiritur perfecta dispositio corporis et
antecedenter et consequenter) ; and thus our sight of God will increase,
and therefore our ardour, and our glory in proportion. (It is to be
observed that ardour secondarily denotes love, and glory, joy.) But
the glorified body will be visible through the glory which surrounds it ;
and it will cause us no annoyance, because our organs will be adapted
to receive the highest pleasure. (S. T.Suppl. Q. 82. A. 4.) Dante's
language seems to be borrowed from Peter Lombard, Sentences iv.
45, 49 : Cum facta fuerit resurrectio, bonorum gaudium amplius erit.
. . . Majus erit gaudium sanctorum in resurrectione et post, quam fuerit
ante ; et quod diversa receptacula habebunt animae sanctorum. Sine
omni scrupulo credendum est sanctos habituros majorem gloriam post
judicium quam ante. (He adds a remark which is so characteristic of
the freedom with which the Schoolmen sometimes treated theological
points as to deserve quotation : Si quern movet quid opus sit spiritibus
defunctorum corpora sua in resurrectione recipere, si eis potest sine
corporibus summa beatitude praeberi, difficilis quaestio est, nee potest
a nobis perfecte definiri. )
40-42 cf_ p. Lombard again : Par gaudium omnes habebunt, etsi
disparem cognitionis claritatem, quia per charitatem quae in singulis
CANTO xiv. PARADISO. 185
more acceptable for being complete. Wherefore that which
the highest Good gives us of unearned light will be in-
creased ; light which qualifies us to see Him ; whence it is
meet that our sight should grow, that the ardour should grow
which of that is kindled, that the ray should grow which
comes from that. But like as a coal which gives out flame,
and through living glow surpasses that so that its appearance
is preserved ; so this brightness which already encircles us
will be overcome in apparency by the flesh which all this
Piu grata fia per esser tutta quanta :
Perche s' accrescera cib che ne dona
Di gratuito lume il sommo Bene ;
Lume, ch' a lui veder ne condiziona.
Onde la vision crescer conviene,
Crescer 1' ardor che di quella s' accende, h 50
Crescer lo raggio che da esso viene/ /
Ma si come carbon che fiamma rende,
E per vivo candor quella soverchia,
Si che la sua parvenza si difende,
Cosi questo fulgor, che gia ne cerchia,
Fia vinto in apparenza dalla carne,
h F ardore che di quella scende Gg. ; . . . s' accende Cass.
' da quella v, Gg. ; da essa 23.
erit perfecta tantum quisque gaudebit de bono alterius quantum
gauderet si in seipso haberet. See also S. T. i. Q. 12. A. 6 :
Intellectus plus participans de lumine gloriae perfectius Deum videbit.
Plus autem participabit de lumine gloriae, qui plus habet de charitate.
. . . Unde qui plus habebit de charitate perfectius Deum videbit, et
beatior erit.
46-48 The q ues tion whether the glory of the blessed would increase
after the judgement was finally settled, as we learn from Villani xi. 47,
and decided in the affirmative by Benedict XII. in Consistory at Avignon,
Jan. 29, 133!
1 86 PARADISO. CANTO xiv.
while the earth covers ; nor will so great light have power
to weary us, for the organs of the body shall be strong
towards all that which can give us delight." So quick and
attentive appeared to me both one and the other choir to
say "Amen," that they plainly showed a desire of their
dead bodies : haply not only for themselves, but for their
mothers, for their fathers, and for the others who were
dear to them, before they were flames everlasting. And
behold all around a lustre of like brightness arise, upon that
which was there, in fashion of an horizon that grows bright
again. And as at the rising of early evening new appear-
ances begin about the heaven, so that the sight seems and
seems not true ; meseemed I there began to see new sub-
Che tutto di la terra ricoperchia : k
Ne potrk tanta luce affaticarne,
Che gli organi del corpo saran forti
A tutto cib che potra dilettarne. 60
Tanto mi parver subiti ed accorti
E 1' uno e 1' altro coro a dicere Amme,
Che ben mostrar disio dei corpi morti :
Forse non pur per lor, ma per le mamme,
(I Per li padri, e per gli altri che fur cari,
I Anzi che fosser sempiterne fiamme.
Ed ecco intorno di chiarezza pari
Nascer un lustro sopra quel che v' era,
A guisa d' orizzonte che rischiari.
E si come al salir di prima sera 70
Comincian per lo ciel nuove parvenze,
Si che la vista pare e non par vera ; '
k la came ric. 145. ' la cosa p. AM. Land.
67 CCCO with infin. : cf. Inf. iii. 82. See Diez iii. 174.
AyS
CANTO xiv. PARADISO. 187
stances, and that they made a circle outside of the other
two circumferences. O true sparkling of the Holy Spirit,
how sudden and glowing did it become to my eyes, so that
overcome they endured it not. But Beatrice showed herself
to me so fair and smiling, that it must be left among the
other things seen which have not followed my mind.
Therefrom my eyes again took faculty of raising them-
selves, and I saw myself translated alone with my Lady to
a more lofty salvation. Well observed I that I had been
lifted higher, through the fiery smile of the star, which
appeared to me more ruddy than its wont. With all my
Parvemi li novelle sussistenze
Cominciare a vedere, e fare un giro
Di fuor dalP altre due circonferenze.
O vero sfavillar del santo spiro,
Come si fece subito e candente
Agli occhi miei, che vinti nol soffriro !
Ma Beatrice si bella'e si ridente m
Mi si mostro, che tra 1' altre vedute 80
Si vuol lasciar, che non seguir la mente.
Quindi ripreser gli occhi miei virtute
A rilevarsi, e vidimi translate
Sol con mia Donna a piii alta salute
Ben m' accors' io ch' i' era piu levato,
Per P affocato riso della Stella,
Che mi parea piu roggio che 1' usato.
m e ridente 3 Aid. W.
79 I have followed Gg. Cass. and three of the four edd. in repeating
si, which seems required to make the line scan ; Beatrice being almost
invariably a trisyllable.
81 Cf. i. 9-
84 They ascend to the sphere of Mars.
1 88 PAR ADI SO. CANTO xiv.
heart, and with that speech which is one in all men, I made
a whole burnt-offering to God, such as beseemed the new
favour; and not yet was exhausted from my breast the
heat of the sacrifice, when I knew that that offering was
accepted and propitious : for with so great a lustre and so
ruddy appeared to me splendours within two rays, that I
said : " O Elios, who dost so deck them ! "
As, stippled with greater and lesser lights, the Galaxy
Con tutto il cuore, e con quella favella
Ch' e una in tutti, a Dio feci olocausto,
Qual conveniasi alia grazia novella : 90
E non er' anco del mio petto esausto
L' ardor del sacrificio, ch' io conobbi
Esso litare state accetto e fausto :
Che con tanto lucore, e tanto robbi
M' apparvero splendor dentro a due raggi,
Ch' io dissi : O Elibs, che si gli addobbi.
/ Come distinta da minori e maggi n
n distinti Gg. 1234 ; min. a maggi Cass. ; i maggi 145 ; in m.
2 Aid. ; i magi 3.
88 favella. " Namlich mit der Stimme des Herzens." Philal.
89 olocausto. S. T. ii. 2. Q. 186. A. i : Religiosi dicuntur illi
qui se totaliter mancipant divino servitio, quasi holocaustum Deo
offerentes. A. 3 : Qui nihil sibi reservant, offerunt holocaustum,
quod est majus sacrificio. The appropriateness of the term here is
seen from the previous part of the same article ; e.g. voluntaria
paupertas est efficax exercitium perveniendi ad perfectam charitatem ;
ideo multum valet ad caelestem beatitudinem consequendam.
96 Elios ; probably 77X10? in the first instance. Though Dante did
not know Greek, we have evidence that he knew a few Greek words,
and such a word as 17X10? would be as likely as any to be familiar. At
the same time it is quite possible that he identified it with the Hebrew
" Eli," just as he did " Giove" with "Jehovah."
97 distinta, "pricked out."
CANTO XIV.
PAR AD I SO.
189
gleams white between the poles of the world, so that it
makes very sages to doubt ; thus constellated in the depths of
Mars those rays were making the venerable sign which the
junctures of quadrants in a circle form. Here my memory
outdoes my wit ; for so upon that Cross Christ was flashing,
that I can find no meet similitude. But whoso takes up
his cross and follows Christ, will still excuse me for that
which I leave unsaid, when in that dawn he sees Christ
lightening. From horn to horn, and between the summit
and the base, lights were moving, sparkling strongly at their
Lumi biancheggia tra i poli del mondo
Galassia si che fa dubbiar ben saggi,
Si costellati facean nel profondo
Marte quei raggi il venerabil segno,
Che fan giunture di quadranti in tondo.
Qui vince la memoria mia lo ingegno :
Che in quella Croce lampeggiava CRISTO,
Si ch' io non so trovare esempio degno. p
Ma chi prende sua croce e segue CRISTO,
Ancor mi scusera di quel ch' io lasso,
Vedendo in quell 1 albor balenar CRiSTO. q
Di corno in corno, e tra la cima e il basso,
Si movean lumi, scintillando forte
100
no
albero G.
virtute 145. P so veder Aid.
99 See Ar. Meteor, i. 8, for early theories about the Galaxy.
100 Perhaps suggested by the phenomenon, whatever it may hare
been, to which he refers, Conv. ii. 14 : In Fiorenza, nel principio di
sua distruzione, veduta fu nell' acre, in figura d' una Croce, grande
quantita di questi vapori seguaci della stella di Marte. Possibly this
was the comet mentioned by Villani viii. 48, as having appeared in
September, 1301.
104 Observe that in the four passages where Dante uses the word
Cristo at the end of a line, he never allows any other word to rhyme
to it.
PAR AD ISO. CANTO xiv.
meeting together and at their passing. Thus are seen here,
straight and twisted, swift and slow, changing appearance,
the particles of bodies, long and short, to move through
the ray wherewith at times the shade is bordered which folk
acquire with art and wit for their protection. And as viol
and harp in a tense tempering of many strings make a sweet
tinkling to one by whom the tune is not heard, so from the
lights which there appeared to me, there was gathering
through the Cross a melody which ravished me without
hearing the hymn. Well I perceived that it was of high
Nel congiungersi insieme e nel trapasso :
Cosi si veggion qui diritte e torte,
Veloci e tarde, rinnovando vista,
Le minuzie dei corpi lunghe e corte,
Muoversi per lo raggio, onde si lista
Tal volta 1' ombra, che per sua difesa
La gente con ingegno ed arte acquista.
E come giga ed arpa in tempra tesa
Di molte corde, fan dolce tintinno
A tal, da cui la nota non e intesa, 120
Cosi dai lumi che li m' apparinno,
S' accogliea per la Croce una melode,
Che mi rapiva senza intender 1' inno.
Ben m' accors' io ch' ella era d' alte lode,
msqq Evidently suggested by Lucr. ii. 115 sqq. Cf. especially
11. Il6, 117 :
" Multa minuta modis multis per inane videbis
Corpora misceri radiorum lumine in ipso."
"7 ingegno ed arte. See note to Purg. xxvii. 130.
120 nota : the melody or air ; as in x. 81 ; xix. 98. (In the last
passage it seems to include the words ; much as here. )
CANTO xiv. PARADISO. 191
praises, because to me came " Arise and conquer ", as to
him who understands not, and hears. So enamoured I
thereof became, that up to then there was nothing that had
bound me with withes so sweet. Perhaps my word appears
too bold, in placing after it the pleasure of the fair eyes,
gazing whereon my longing has repose. But he who con-
siders that the living seals of all beauty being more on high
Perocche a me venia : Risurgi, e vinci,
Com' a colui, che non intende, ed ode.
lo m' innamorava tanto quinci,
Che in fino a li non fu alcuna cosa,
Che mi legasse con si dolci vinci.
Forse la mia parola par tropp' osa, 130
Posponendo il piacer degli occhi belli,
Nei quai mirando mio disio ha posa. r
Ma chi s' avvede che i vivi suggelli s
D' ogni bellezza piu fanno piu suso,*
t
r Nel qual Gg. ; ne iqtial 3.
5 qui savede chen v. 145. * Ogni b. Gg.
" 5 Risurgi e vinci. These words are addressed by the blessed to-
Christ. It is possible that Witte is right in taking them as in the
indicative mood, "Thou dost arise and conquer"; but the im-
perative is more in the style of such passages as Dante may be supposed
to have had in his mind.
130 sqq. Daniello is probably right in interpreting these lines to mean
merely that as Dante had not looked at Beatrice since they entered the
heaven of Mars, he had not yet seen the latest development of the beauty
of her eyes, and so was free to say that the chant of the blessed gave
him the highest pleasure which he had yet received. For the effect
when he does perceive it, see 11. 34-36 of the next Canto. Some take
dischiuso as in vii. 102, in the sense of "excluded"; the idea
apparently being that while the pleasure arising from the sight of the
eyes of Beatrice is the highest joy in each ascending circle, it is sur-
passed in any given circle by the other joys of the next higher.
192 PARADISO. CANTO xiv.
have more effect, and that in that place I had not turned
me to those, can excuse me for that whereof I accuse myself
for my excuse, and can see that I say true : for the holy
pleasure has not been here disclosed, because as one
mounts up, it grows more pure.
E ch' io non m' era li rivolto a quelli ;
Escusar puommi di quel ch' io m' accuso
Per iscusarmi, e vedermi dir vero';
Chb il piacer santo non e qui dischiuso,
Perchb si fa, montando, piu sincere.
/>''*
CANTO XV.
ARGUMENT.
Dante is greeted by his forefather Cacciaguida, who tells him of the
simple and tranquil state of Florence in past time ; and of his
family.
A BENIGN will, into which is dissolved always the love
which inspires righteously, as evil concupiscence is into
the unjust will, laid a silence on that sweet lyre, and set
at rest the holy strings which the right hand of heaven
A
BENIGNA volontade, in che si liqua a
Sempre 1' amor che drittamente spira,
Come cupidita fa nell' iniqua,
Silenzio pose a quella dolce lira,
E fece quietar le sante corde,
Che la destra del cielo allenta e tira.
3 in cut Aid. W.
1 si liqua. There can be little doubt that this represents, as Blanc
says, the Latin liquatur and not, as most of the old commentators deem,
liquet. Not only is the form of the word against the latter view ; but it is
improbable that liquet could have got a transitive sense. Dante was
probably thinking of St. Thomas's phrase (S. T. ii. i. Q. 19. A. 8) : Quia
etiam ipsa intentio quodammodo pertinet ad actum voluntatis, inquantum
scilicet est ratio ejus ; propter hoc redundat quantitas bonae intentionis
in voluntatem. With this the reading in che agrees better than in ati.
O
II
194 PARADISO. CANTO xv.
loosens and draws up. How shall they be deaf to just
prayers, those substances who to give me will to pray them
were of one accord to hold their peace ? Meet is it that he
suffer without end who for the sake of a thing that endures
not, strips him eternally of that love.
As through the skies of night, tranquil and pure, a
sudden fire now and then speeds away, causing the eyes
to move which were still and careless, and seems a star
Come saranno ai giusti prieghi sorde
Quelle sustanze, che per darmi voglia
Ch' io le pregassi a tacer fur concorde ?
IBen e che senza termine si doglia io
Chi per amor di cosa che non duri,
Eternalmente quell' amor si spoglia.
Quale per li seren tranquilli e puri
Discorre ad ora ad or subito fuoco,
Movendo gli occhi che stavan sicuri,
E pare Stella che tramuti loco,
10-12 Eternal punishment is due to those who have preferred tem-
poral pleasure to eternal love. There is a difference of opinion as to
whether eternalmente qualifies duri or si spoglia. Either view involves
a certain pleonasm. I have followed Witte ; understanding eternal-
mente to be suggested by S. T. Suppl. Q. 99. A. i (where the eternity
of future punishment is discussed) : Alia ratio est quia homo in suo
aeterno peccavit. Unde Gregorius dicit, Ad magnam justitiam judicantis
pertinet, ut nunquam careant supplicio, qui in hac vita nunquam
voluerunt carere peccato. See also in a former part of the same
article : pro peccato mortal! quod est contrarium charitati, aliquis in
aeternum a societate sanctorum exclusus, aeternae poenae addicitur.
So Comm. Gg. : Quia quantum in se est peccat eternaliter.
13 Serena is constantly used of the sky at night, possibly by a false
derivation from sera. See note to Purg. vii. 73. Scartazzini quotes
appositely Ov. Met. ii. 321 : ut interdum de caelo stella sereno Etsi
non cecidit, potuit cecidisse videri. Cf. also Purg. v. 37, 38.
CANTO xv. PARADISO. 195
changing place, save that in the quarter whence it is
kindled no one is lost, and itself lasts but a little ; such,
from the horn that extends to the right, to the foot of that
cross, ran a star of the constellation which beams there ;
nor did the gem depart from its riband, but traversed the
band that was the radius, that it seemed fire behind ala-
baster. So kind the shade of Anchises showed himself,
if our greatest Muse deserves belief, when in Elysium he
was aware of his son.
" O sanguis meus, o super infusa gratia Dei; sicut tibi,
Se non che dalla parte, onde s' accende,
Nulla sen perde ed esso dura poco ;
Tale dal corno, che in destro si stende,
Al pie di quella Croce corse un astro
Delia costellazion che li risplende ;
Ne si parti la gemma dal suo nastro;
Ma per la lista radial trascorse,
Che parve fuoco dietro ad alabastro :
Si pia P ombra d' Anchise si porse,
(Se fede merta nostra maggior Musa)
Quando in Elisio del figliuol s' accorse.
O sanguis meus, o super infusa
Gratia Dei; sicut tibi\ cui
26 The allusion is to Aen. vi. 684 sqq.
28 " O my race, O grace of God shed over thee ! to whom was ever
the gate of heaven, as to thee, twice opened ? " The speaker is
Cacciaguida, Dante's great-great-grandfather, said to have been born
1106, died 1147. Nothing is known with any certainty of him except
what may be gathered from this and the following Cantos, even his
surname being doubtful, though often given as "degli Elisei." He
married one of the Aldighieri of Parma or Ferrara, who seems to have
given her name to the family (see line 138).
O 2
196 PARADISO. CANTO xv.
cui bis umquam caeli janua reclusa ? " Thus that light ;
wherefore I gave heed to it; then I turned back to my
Lady my gaze, and on this side and on that was astounded ;
for within her eyes was glowing a smile such that I thought
with mine to be touching the depth of the grace given to
me and of my Paradise. Then, joyful to hear and to see,
the spirit joined to his beginning things which I com-
prehended not, so deep was his speech. Nor through
choice did he make concealment from me, but through
necessity, because his conception was placed higher than
the mark of mortals. And when the bow of his ardent
affection was so slackened that his speech descended
towards the mark of our understanding, the first thing
Bis umquam caeli janua reclusa ? b 30
Cosi quel lume ; ond' io m' attesi a lui :
Poscia rivolsi alia mia Donna il viso,
E quinci e quindi stupefatto fui ;
Che dentro agli occhi suoi ardeva un riso
Tal, ch' io pensai coi miei toccar lo fondo
Delia mia grazia e del mio Paradise.
Indi ad udire ed a veder giocondo
Giunse lo spirito al suo principio cose,
Ch' io non intesi, si parlc- profondo :
Ne per elezion mi si nascose, 40
Ma per necessita ; che il suo concetto
Al segno del mortal si soprappose.
E quando 1' arco dell' ardente affetto
Fu si sfogato, che il parlar discese
Inver lo segno del nostro intelletto ;
La prima cosa che per me s' intese,
b nunquam Gg. Cass. 3.
CANTO xv. PARADISO. 197
that was by me understood was, " Blessed be Thou, three-
fold and one, who in my seed showest so great kindness."
And he pursued : " A grateful and long-lasting hunger,
contracted by reading in the great volume where white and
black are never changed, hast thou loosed, my son, within
this light in which I speak to thee, thanks to her who clad
thee with the feathers for thy lofty flight. Thou deemest
that thy thought travels to me from that which is first, just
as from one radiate, if one knows it, five and six. And
therefore who I am and wherefore I appear to thee more
Benedetto sie Tu, fu, trino ed uno,
Che nel mio seme sei tanto cortese.
E seguitb : Grato e lontan digiuno
Tratto leggendo nel magno volume, 50
U' non si muta mai bianco ne bruno,
Soluto hai, figlio, dentro a questo lume,
In ch' io ti parlo, merce di colei,
Ch' all' alto vole ti vest! le piume.
Tu credi, che a me tuo pensier mei
Da quel ch' e primo, cosi come raia
Dall' un, se si conosce, il cinque e il sei.
E perb ch' io mi sia, e perch' io paia d
c maggior v, Gg. Aid. d e chio mipaia Gg.; e pero cfiio mi 2,
so volume : i. e. the mind of God, which, as we have already seen,
is revealed immediately to the spirits of the blessed.
51 I.e. wherein that which is written is never effaced. Possibly
there is an allusion to Rev. xxii. 18, 19.
5* Observe the repetition of this metaphor in 11. 72, 8r. It seems
not unlikely to have been suggested by the resemblance of voler and
volar,
s 6 - 57 Cf. Met. /x. 6 (loSoa) : 6 padrjuariKos dpidfj-flrai p.fra TO tv 8vo>
TTpos T< ep.TTpo(rdfv fin oXXo ev, KOI ra rpia irp<>s rots 8vcri TOVTOIS
uXXo ev.
PARADISO. CANTO xv.
joyous than any other in this blithe crowd, thou enquires!
not. Thou deemest what is true, for less and great of this
life gaze upon the mirror, in which before that thou thinkest,
thou displayest thy thought. But in order that the holy
love, wherein I watch with perpetual vision, and which
makes me thirsty with a sweet desire, may be the better
fulfilled, let thy voice secure, bold, and joyful, sound forth
thy will, sound forth thy desire, to which my response is
already decreed."
I turned round to Beatrice, and she heard before I
spoke, and smiled on me a sign, which made the wings
Piu gaudioso a te, non mi dimandi,
Che alcun altro in questa turba gaia. 60
Tu credi il vero ; che minori e grandi
Di questa vita miran nello speglio,
In che, prima che pensi, il pensier pandi.
Ma perche il sacro amore, in che io veglio
Con perpetua vista, e che m' asseta
Di dolce disiar, s' adempia meglio ;
La voce tua sicura balda e lieta
Suoni la volonta, suoni il desio,
A che la mia risposta e gia decreta.
I' mi volsi a Beatrice : e quella udio 70
Pria ch' io parlassi, e arrisemi un cenno, 6
Che fece crescer 1' ali al voler mio :
e arrosemi 14 Aid. W.; arrossemi 3.
73 sqq. The general drift of this passage is clear enough, namely, that
as the blessed have immediate sight of God, in whom all attributes exist
in equality, their wish to know and their power of knowing are equal ;
whereas in mortals the one outstrips the other. It is however difficult
to believe that Dante had not in his mind the phraseology of certain
passages from the exposition of the doctrine of the Trinity in S. T. i.
CANTO xv. PARADISO. 199
to my will grow ; then I began thus : " The affection and
the thought, when as the first Equality appeared to you,
became of one weight for each of you : seeing that to the
Sun which illumined and warmed you with heat and with
His light, they are so equal that all resemblances fall short.
But will and expression in mortals, through the cause
E cominciai cosi : L' affetto e il senno _u
Come la prima eguajita v' apparse, H
D' un peso per ciascun di voi si fenno :
Perb che al Sol, che v' allumo ed arse f
Col caldo e con la luce, en si iguali, g
Che tutte simiglianze sono scarse.
Ma voglia ed argomento nei mortali,
{ il sol Gg. W.; chel sole Cass. 1234; nallumo 14.
s 2 si iguali Gg. W. 23 ; luce si Cass.: et si 14.
Take for instance Q. 28. Art. 4 : In his in quibus differt intellectus
et intellectum, volens et volitum, potest esse realis relatio, et scientiae
ad rem scitum, et volentis ad rem volitum : sed in Deo est idem omnino
intellectus et intellectum et eadem ratione voluntaset volitum.
Unde in Deo hujusmodi relationes non sunt reales .... sed tamen
relatio ad Verbum est realis ; quia verbum intelligitur ut procedens per
actionem intelligibilem, non autem ut res intellecta. And below :
Aequalitas et similitude in Deo non sunt relationes reales, sed rationis
tantum. And cf. Q. 42. Art. 4, where the equality of the Son with
the Father is discussed. This passage would thus seem to be one of
the many in this part of the poem, beginning with Canto X., in which
the doctrine of the Trinity is more or less directly stated or suggested.
? 4 Come, as in xii. 58 = " from the time that" ; Gr. eVet.
79 voglia ed argomento in mortals are the equivalents of affetto e
senno among the blessed. The latter words are never used by Dante in
a bad sense, whereas the former may be bad or good, argomento here
implies not merely the conception, as in Inf. xxxi. 55, but also the
power of expressing it ; language being the instrument (in which sense
we have argomento, e.g. Purg. ii. 31) of thought. So P. di Dante:
argumentum, i.e. possibilitas, non correspondet voluntati.
PARADISO. CANTO XV.
which to you is manifest, are diversely endued with feathers
on their wings. Whence I, who am mortal, feel myself in
this inequality, and therefore I give not thanks save with
the heart for the fatherly greeting. Truly I implore thee,
living topaz who dost ingem this precious jewel, that thou
wouldst make me satisfied with thy name."
" O leaf of mine, in whom, waiting only, I took delight,
I was thy root " ; such beginning in answer made he me.
Afterward he said to me : " He from whom thy family is
called, and who a hundred years and more has circled the
mountain, upon its first cornice, was my son and thy great-
grandfather : right meet is it that thou shorten for him
Per la cagion ch' a voi e manifesta, 80
Diversamente son pennuti in ali.
Ond' io, che son mortal, mi sento in questa
Disagguaglianza, e pero non ringrazio,
Se non col cuore, alia paterna festa.
Ben supplico io a te, vivo topazio,
Che questa gioia preziosa ingemmi,
Perche mi facci del tuo nome sazio.
O fronda mia, in che io compiacemmi^
Pure aspettando, io fui la tua radice :
Cotal principio, rispondendo, (emmi. 90
Poscia mi disse : Quel, da cui si dice
Tua cognazione, e che cent' anni e piue
Girato ha il monte in la prima cornice, 11
Mio figlio fu, e tuo bisavo fue :
Ben si convien, che la lunga fatica'
Tu gli raccorci con 1' opere tue.
h Girato al monte lap. Gg. la prima f. Gg.
91 quel : i.e. Alighiero.
CANTO xv. PARADISO. 201
his long weariness with thy works. Florence, within the
ancient circle whence still she takes both tierce and nones,
was standing at peace, sober and chaste. She had not
chain nor coronet, nor dames in rich attire, nor girdle such
as to be looked at more than the wearer. She made not yet
the daughter at her birth a fear to her father, for time and
the dowry fled not their due measure on this side and on
Fiorenza dentro dalla cerchia antica, k
Ond' ella toglie ancora e terza e nona,
Si stava in pace sobria e pudica.
Non avea catenella, non corona, 1 100
Non donne contigiate, non cintura, m
Che fosse a veder piu che la persona.
Non faceva nascendo ancor paura
La figlia al padre, che il tempo e la dote
Non fuggian quinci e quindi la misura."
k dalle mura Gg. ' e non Gg. m contessate e non Gg. " fu gia Gg.
9 7 cerchia antica, the old wall* which passed close to the Benedictine
monastery now called the Badia. This is opposite the Bargello, where
the famous portrait of Dante is preserved. Its chimes seem to have
been notable for the accuracy with which they kept time. With the
whole of this cf. Villani vi. 69 : Nota, che al tempo del detto popolo,
e in prima, i cittadini di Firenze viveano sobrii, e di grosse vivande, e
con piccole spese, etc. Scartazzini quotes the entire 'passage. Chaps,
i.-xiv. of Villani's fourth book should also be read in conjunction with
this and the following Canto.
99 in pace. Villani v. 9: Nel detto medesimo anno (1177) si
comincio in Firenze dissensione e guerra grande tra' cittadini, che mai
non era piii stata in Firenze. He adds what is significant, " e cio fu per
troppa grassezza e riposo"
10 3 It is necessary, in order to preserve the balance of the sentences
from 1. 100 to 1. 108, that we should take Fiorenza and not figlia as
the subject of faceva.
103 I.e. "lest the daughter should be too old, or the dowry too
small." The commentators note that when luxury and corruption had
PARADISO. CANTO xv.
that. She had no houses void of a household; Sarda-
napalus was not yet come there, to show what can be
done in chamber. Not yet was Montemalo surpassed by
your Uccellatoio, which as it has been surpassed in its rise
shall so be in its fall. I have seen Bellincione Berti go
girt in leather and in bone, and his dame come from the
Non avea case di famiglia vote ;
Non v' era giunto ancor Sardanapalo
A mostrar cio che in camera si puote.
Non era vinto ancora Montemalo
Dal vostro Uccellatoio, che com' e vinto 1 10
Nel montar su, cosi sara nel calo.
Bellincion Berti vid' io andar crnto
Di cuoio e d' osso, e venir dallo specchio
La donna sua, senza il viso dipinto :
senza avere il v. 2 ; volto W.
set in, it was usual for girls to marry very early. But I should prefer
to understand the words as meaning " lest she should have passed the
flower of her age, before he could offer a sufficient dowry. "
106 Small families then, as now, were characteristic of a profligate
and luxurious society. There may be, as Bianchi thinks, an allusion
to the vices hinted at in Ephesians v. n, 12.
I0 ? P. di Dante is doubtless right in understanding the allusion as
being to Juv. x. 362 : et Venere, et cenis, et pluma Sardanapali.
108 in camera : cf. Eng. ' ' chambering. "
109, no Montemalo, or Monte Mario, on the road from Viterbo, is the
point whence a traveller from the north first catches sight of Rome.
The hill called Uccellatoio, on the road from Bologna, stands similarly
with regard to Florence. The meaning thus is that Florence did not
then, as in the fourteenth century, surpass Rome in the splendour of
its buildings.
112 " Bellincione Berti de' Rovignani, onorevole cittadino di Firenze,"
is mentioned by Villani, iv. I. He was the father of Gualdrada
(Inf. xvi. 37), from whom sprang the famous house of the Conti Guidi
(Vill. v. 37).
CANTO xv. PARADISO. 203
mirror without her face painted ; and I have seen De' Nerli
and Del Vecchio be contented in their uncovered skin-coats,
and their dames at the spindle and the distaff. O fortunate
ones ! and each was certain of her sepulture, and as yet
none was deserted in her bed by reason of France. One
would watch in care of the cradle, and comforting would
use the dialect which first makes pastime for fathers and
mothers ; the other drawing the thread upon the distaff
E vidi quel dei Nerli, e quel del Vecchio p
Esser contenti alia pelle scoverta,
E le sue donne al fuso ed al pennecchio.
O fortunate ! e ciascuna era certa
Delia sua sepoltura, ed ancor nulla
Era per Francia nel letto deserta. 120
L' una vegghiava a studio della culla,
E consolando usava 1' idioma,
Che pria li padri e le madri trastulla-:
L' altra traendo alia rocca la chioma,
P da N. Gg. ; di N. Cass. 14.
" s The Nerli and Vecchietti were noble Guelf families. They
appear frequently in early Florentine history, and seem to have shared
the same fortunes. Both were banished in 1260, and both in 1300 were
divided between the Black and White parties.
"9 sepoltura. Looking to Purg. viii. 79, this would seem to mean
that a wife would know whose arms would be on her tomb, i. e. would / r
be sure of not marrying a second time.
120 Lubin quotes Villani vi. 85 : Si dice per molti antichi che;
1' uscita dei guelfi di Firenze fu cagione di loro ricchezza ; perciocche
molti Fiorentini usciti n' andarono oltremonti in Francia a guadagnare,
che prima non erano mai usati, onde poi molte ricchezze ne reddiro in
Firenze ; and with this the interpretation of the older commentators
agrees. But it would seem almost better to understand the allusion to
be to the banishment of the White party by Charles of Valois in 1302
(Villani viii. 49).
204- PARADISO. CANTO xv.
would tell tales with her household of the Trojans, and
of Fiesole, and of Rome. Then would have been held as
great a marvel a Cianghella or a Lapo Salterello as now
would be Cincinnatus or Cornelia. To so tranquil, to so
fair a life of citizens, to so trusty a citizenship, to so sweet
a sojourn, Mary gave me, summoned in loud cries : and
in your ancient Baptistery I became at once a Christian
and Cacciaguida. Moronto was my brother and Eliseo :
my wife came to me from Vale of Po, and thence thy sur-
name arose. Then I followed the Emperor Conrad, and
Favoleggiava con la sua famiglia
Dei Troiani e di Fiesole e di Roma.
Saria tenuta allor tal maraviglia
Una Cianghella, un Lapo Salterello,
Qual or saria Cincinnato e Corniglia.
A cosi riposato, a cosi bello 130
Viver di cittadini, a cosi fida
Cittadinanza, a cosi dolce ostello,
Maria mi die, chiamata in alte grida ;
E nelP antico vostro Batisteo
Insieme fui Cristiano e Cacciaguida.
Moronto fu mio frate ed Eliseo :
Mia donna venne a me di Val di Pado,
E quindi il soprannome tuo si feo.
126 I.e. of the cities whence Florence was descended.
128 Cianghella de ! Tosinghi was, according to Benvenuto (a country-
man of whom she married), a lady of Florence, notorious for her light
conduct. Of Lapo Salterello he (as copied by Comm. Gg. ) says : Iste
fuit jurista, vir religiosus [? litigiosus] et linguosus, multum infestus Danti
tempore sui exilii. At the same time Lapo is said to have belonged to
Dante's own party, the White Guelfs.
133 Maria: cf. Purg. xx. 15-21.
CANTO xv. PARADISO. 205
he belted me of his soldiery, so high in his favour did I
come through good work. After him I went against the
iniquity of that law whose people usurps, through the
Pastor's fault, your jurisdiction. There was I at the hands
of that foul folk unwrapped from the deceitful world, the
love of which defiles many souls; and I came from the
martyrdom to this peace."
Poi seguitai lo imperador Corrado,
Ed ei mi cinse della sua milizia, 140
Tanto per bene oprar gli venni in grado.
Dietro gli andai incontro alia nequizia
Di quella legge, il cui popolo usurpa,
Per colpa del Pastor, vostra giustizia. q
Quivi fu' io da quella gente turpa
Disviluppato dal mondo fallace,
II cui amor molte anime deturpa,
E venni dal martirio a questa pace.
4
i di pastor Gg. Cass. 14 ; de pas tori 2 ; de 3 ; del W.
139 Conrad III., the first of the Hohenstauffen, was emperor 1138-
1152. In 1147, moved by the preaching of St. Bernard, he undertook
the disastrous second Crusade, in company with Lewis VII. of France.
143 quella legge : Islam.
144 Cf. ix. 125, 126.
148 As having died for the faith, he passed at once to heaven.
CANTO XVI.
ARGUMENT.
Cacciaguida pursues his discourse of Florence ; showing what houses
were formerly great, and notes the troubles which have fallen on
the city.
SMALL nobility of blood that is ours, if thou makest
folk to boast of thee here below where our affection is
feeble, never will it be a wondrous thing to me ; for there,
where appetite goes not awry, I mean in heaven, I boasted
me thereof. Surely thou art a cloak which quickly grows
O POCA nostra nobilta di sangue,
Se gloriar di te la gente fai
Quaggiu, dove 1' affetto nostro langue,
Mirabil cosa non mi sara mai :
Che la, dove appetite non si torce,
Dico nel Cielo, io me ne gloriai.
Ben sei tu manto che tosto raccorce,
1 If even in Heaven, where no false object can attract the desires,
1 could be touched by family pride, what wonder if we feel it on
earth?
3 langue : cf. Purg. xvi. 91.
7-9 In order that he may not seem to have rated too highly the
credit of possessing a noble ancestry, he hastens to explain that unless
succeeding generations act so as to maintain their inherited honour, it
quickly perishes. See Conv. iv. 7 : E cosl quelli che dal padre o da
9
CANTO xvi. PARADISO. 207
too short, so that if one adds not from day to day, time
goes round about with his shears.
With the "You" that Rome was the first to endure,
wherein her family little perseveres, began again my words.
Wherefore Beatrice, who was a little apart, smiling, seemed
like her who coughed at the first fault that is written of
Guinivere.
Si che se non s' appon di die in die, <a^ c
Lo tempo va dintorno con le force.
Dal voi, che prima Roma sofferie, a 10
In che la sua famiglia men persevra,
Rincominciaron le parole mie :
Onde Beatrice, ch' era un poco scevra,
Ridendo, parve quella che tossio
Al primo fallo scritto di Ginevra.
r
a Dalhuom 145.
alcuno suo maggiore di schiatta e nobilitato, e non persevera in quella,.
non solamente e vile, ma vilissimo.
10 voi. See Diez iii. 50. He says that the use of the second
person plural to indicate respect came in originally as the converse of
the imperial "nos." Cf. Purg. xxx. 73,
11 The commentators state that at this time the Romans were
peculiar in the universal use of tit. See Landino ad loc.
13 un poco scevra : generally understood as symbolical of the
absence of theology from the present conversation. Comm. Gg. how-
ever has "i.e. separata ab auctore, quia modicum trahebatur a vento
gloriae et sic modicum recesserat a beatrice."
14, 15 There is some difficulty in ascertaining the point of this
allusion, owing to the fact that we appear to have lost the exact version,,
perhaps that of Arnald Daniel (Witte), of the Lancelot romance which
Dante used. Those that exist merely mention that a certain Dame
Malehault was a witness of the first kiss between Lancelot and
Guinivere. The older commentators mostly say that the cough was a
sign that she observed what was taking place. Thus Ottimo : tossio in.
segno che avveduta s'era del fallo della reina. Comm. Cass. : tuxivit
videndo reginam Gineveram obsculari a Lancialotto. Comm. Gg.
208 PARADISO. CANTO xvi.
I began : " You are my father, you give me all boldness
to speak, you lift me so that I am more than I. Through
so many streams is filled with gladness my mind, that it
takes of itself joy for that it can endure so that it breaks
not in pieces. Tell me therefore, dear my origin, who
were your ancestors, and what were the years that were
noted in your boyhood. Tell me of the sheepfold of
To cominciai : Voi siete il padre mio ;
Voi mi date a parlar tutta baldezza ; b
Voi mi levate si, ch' io son piu ch' io.
Per tanti rivi s' empie d' allegrezza
La mente mia, che di se fa letizia 20
Perche pub sostener che non si spezza.
Ditemi dunque, cara mia primizia,
Quai fur gli vostri antichi, e quai fur gli anni, c
Che si segnaro in vostra puerizia ?
Ditemi dell' ovil di san Giovanni,
b tanta b. Gg.
c Quai son Ald.(i) ; antichi vostri Gg.
with more detail : cum lancialottus pervenisset ad colloquium cum
regina genevra opera principis galeotti, nee audebat prae nimis pudore
pandere flammam amoris sui, princeps galeottus interposuit se et fecit
illos pervenire ad osculum tune quaedam domina nomine dannuna socia
reginae perpendens de actu tussivit et spuit q. d. te video. Ita in pro-
posito beatrix risit nunc q. dicens bene audio te, ut tu bene audires
cave quid dicas. This seems the best explanation (cf. Purg. xxviii. 146),
though Landino and others suggest that the cough, and so Beatrice's
smile, were meant for encouragement. It may be noted that Malory,
while he knows nothing of this story, mentions a somewhat similar
occurrence, in which the cougher is Guinivere herself. See King
Arthur, Part III., chap. viii.
25 ovil ; so Villani iv. io : la porta del Duomo che fu il primo
ovile e stazzo della rifatta Firenze.
CANTO xvi. PARAD1SO. 209
St. John, how large it then was, and who were the folk
within it worthy of the highest seats."
As a coal quickens at the breathing of the winds into
a flame, so saw I that light shine in answer to my per-
suasions. And as to my eyes it became more fair, so with
a voice more soft and sweet, but not with this modern
speech it said to me : " From that day that Ave was said,
to the birth in which my mother who now is a saint was
delivered of me, with whom she was great, five hundred
and fifty-three times came this fire to its Lion, to re-enflame
Quant' era allora, e chi eran le genti
Tra esso degne di piu alti scanni ?
Come s' avviva allo spirar dei venti
Carbone in fiamma, cosi vidi quella
Luce risplendere ai miei blandimenti : 30
E come agli occhi miei si fe piu bella,
Cosi con voce piu dolce e soave,
Ma non con questa moderna favella,
Dissemi : Da quel di, che fu detto AVE
Al parto, in che mia madre, ch' e or santa,
S' allevio di me ond' era grave,
Al suo Leon cinquecento cinquanta
E tre fiate venne questo fuoco d
d trenta Gg. 12345 Ald * W.
37-39 If we read tre fiate, and put the period of Mars at two years,
which from a comparison of Conv. ii. 15 may be taken to have been
Dante's estimate, we shall get 1 106 as the date of Cacciaguida's birth.
Those, and they are the majority, who read (rent a, suppose Dante to
have taken the correct period (of which he may have been aware, as it
is given by Ptolemy), viz. 687 days approximately, which will give
1091 as the year in question. The objections to this are (i) that fiate
is hardly ever a dissyllable, if indeed the few passages in w hich it
appears to be so used do not all need emendation; (2) that it makes
P
210 PARADISO. CANTO XVI.
itself beneath his feet. My ancestors and I were born in
the place where the last sextary is first attained by him
who runs in your yearly sport. Let it suffice to hear this
of my elders ; who they were, and whence they came
A rinfiammarsi sotto la sua pianta.
Gli antichi miei ed io nacqui nel loco, 40
Dove si truova pria 1' ultimo sesto
Da quel, che corre il vostro annual giuoco.
Basti dei miei maggiori udirne questo :
Chi ei si furo, ed onde venner quivi, e
' Chi sifossero e donde ei venner vivi (alt. to ivi) Cg.
Cacciaguida rather old to have gone on the Crusade ; (3) that if Dante
had meant to be strictly accurate, he would probably have also taken
into account the fact that the planet retrogrades during about one-
eleventh of its circuit through the signs, and consequently visits the
Lion (and every other sign) eleven times in ten circuits, so that both
553 and 580 would give much too early a date. I have therefore pre-
ferred to follow P. di Dante (who says : licet reperiatur scriptum
corrupte 30 vicibus, ubi debet dicere tribus vicibus) ; and the older of
the Cassinese commentators. Bianchi and Giuliani, it may be added,
take the same view. The weight of authority on the other side is
somewhat diminished by the fact that several of those who read irenta,
e.g. Land, and Dan. calmly take 1160 to be the date indicated, making
Cacciaguida to have been born nearly twenty years after his death.
suo Leon. According to Philalethes, the astrologers of the period
divided the signs into four triplets. One of these consisted of Aries,
Leo, and Sagittarius, and its " lords "were the Sun, Mars, and Jupiter.
In this sense the Lion is regarded as specially belonging to Mars. Mars
being also the old patron of Florence (Inf. xiii. 144), this eulogy of
the old times of the city is appropriately pronounced in the planet's
sphere. It may be further noted that Mars was in Leo at the time
when the action of the Commedia is represented as taking place.
Villani, viii. 48, mentions that Saturn and Mars were in conjunction in
that sign in January of this year, and again in May.
40.42 The h ouse O f t he Elisei stood just where the Mercato and the
Corso join ; and here was the boundary of the district known later (for
CANTO xvi. PARADISO.
thither, it is more seemly to be silent than to narrate.
All those who at that time were there, between Mars and
the Baptist, of strength for arms, were the fifth of those
who are alive. But the citizenship, which now is mixed
with Campi and with Certaldo and with Figghine, was seen
pure in the lowest artisan. O how much had it been better
that those people of whom I speak should be neighbours,
Piii e il tacer, che il ragionare, onesto.
Tutti color ch' a quel tempo eran ivi
Da portar arme tra Marte e il Batista,
Erano il quinto di quei che son vivi :
Ma la cittadinanza, ch' e or mista
Di Campi, e di Certaldo, e di Figghine, 50
Pura vedeasi nell' ultimo artista.
O quanto fora meglio esser vicine
in Cacciaguida's day there were but four divisions, "quartieri,"') as
" sestiere di Porta San Piero " (see Villani iv. n). This appears to
have been the last of the "sestreri" to be traversed by the competitors
in the annual horse-race which took place on St. John's Day, and as
they entered it at this point, they must have come through the Mercato,
having started probably at the Porta S. Pancrazio, near where the
Strozzi Palace now stands, and presumably finished in the Corso.
The word " sextary " is found in Howell's " Venice " (1651).
*s Again a warning against the pride of lineage.
4 ? I.e. between the Ponte Vecchio, where the statue of Mars used
to stand (Vill. iii. l), and the Baptistery: that is approximately the
north and south limits of the city in those days. For all this Canto the
notes of Philalethes and Longfellow should be consulted.
50 Campi, Certaldo (the birthplace or home of Boccaccio), and
Figghine, are all in the neighbourhood of Florence, the first quite close,
the others a little further. Figghine is the modern Figline, on the
way to Arezzo (see Vill. iv. 8). It was captured and destroyed by the
Florentines in 1252 (Vill. vi. 4, 61). Persons from each of these
places seem to have been discreditably conspicuous in Dante's time
at Florence.
P 2
212 PARADISO. CANTO XVI.
and to have your frontier at Galluzzo and at Trespiano,
than to have them within it, and to endure the stink of the
peasant of Aguglione, of him of Signa, who already has
his eye sharp for barratry. If the folk that in the world
goes most awry had not been to Caesar a stepmother, but
as a mother to her son, benign, such an one is become a
Florentine, and barters and trades, that would have turned
Quelle genti ch' io dico, ed al Galluzzo
E a Trespiano aver vostro confine,
Che averle dentro, e sostener lo puzzo
Del villan d' Aguglion, di quel da Signa,
Che gia per barattare ha 1' occhio aguzzo !
Se la gente, ch' al mondo piii traligna,
Non fosse stata a Cesare noverca,
Ma come madre a suo figliuol benigna, 60
Tal fatto e Fiorentino, e cambia, e merca,
53. 54 Galluzzo is about two miles from Porta Romana, to the south
of Florence ; Trespiano about three from P. San Gallo, to the north.
56 Aguglione and Signa, a castle, now destroyed (Scart.), and village
near Florence. The villan is probably Baldo d' Aguglione ; see Purg.
xii. 105. There is more doubt as to quel da Signa ; but most take him
to have been one Bonifazio of that place, a lawyer. According to
Witte, he belonged to the Black faction, and held several high offices
about this time.
58 gente : the clergy, as in Purg. vi. 91 ; traligna, cf. xii. 90. The
point seems to be that it was the hostile attitude of the Church to the
Empire which had brought about the universal state of feud, and so led
to the extension of their boundaries, in self-defence, by the various
cities, and the consequent introduction, as citizens, of persons not
belonging to the old burgher families. There seems to be no satis-
factory evidence to show who is specially alluded to here ; but the
words cambia e merca indicate that he belonged to the class of mer-
chants. Cf. note to Purg. xx. io.
61 Tal ; so ix. 50, and Purg. xviii. 121. Of course the construction
in these lines is inverted ; 61-63 in sense precede 58-60.
CANTO xvi. PARADISO. 213
him back to Simifonti, the place where his grandfather used
to go a-quest ; Montemurlo would still be the Counts', the
Cerchi would be in the parish of Acone, and haply the
Buondelmonti in Val di Grieve. Ever was the confusion
of persons the origin of the city's ill, as of the body's is food
which is added. And a blind bull falls more headlong than
a blind lamb, and oftentimes one cuts sharper and better
Che si sarebbe volto a Simifonti/
La dove andava 1' avolo alia cerca.
Sariesi Montemurlo ancor dei Conti :
Sarieno i Cerchi nel pivier d' Acone, g
E forse in Valdigrieve i Buondelmonti.
Sempre la confusion delle persone
Principio fu del mal della cittade,
Come del corpo il cibo che s' appone.
E cieco toro piu avaccio cade, 70
Che cieco agnello ; e molte volte taglia
Piu e meglio vma che le cinque spade.
f starebbe Gg.
s i cerchi del piovier de Cone Gg.; Sariansi Aid. W.
h del cibo vostro chel s 1 ap. Gg.; del vostro il c. Cass. 2 ; del vostro c.
145 ; so f pone 12345.
61 Simifonti and the other places here named are all near Florence.
63 alia cerca seems best understood as " begging for his livelihood."
64 Conti : the Guidi. They sold their castle of Montemurlo in
1 209 to the Florentines in order to keep it out of the hands of the men
of Pistoia (Vill. v. 31).
66 The destruction in 1135 by the Florentines of Montebuono, the
castle of the Buondelmonti, is noted by Villani (iv. 36) as one of the
first steps in the expansion of Florence.
69 che s' appone : sc. to food already in course of digestion.
T le cinque : cf. 1. 48. Bianchi notes the use of the definite article
as a Florentine idiom.
214 PARADISO. CANTO xvi.
than five swords. If thou regardest how Luni and Urbi-
saglia are gone, and how Chiusi and Sinigaglia are going
their way after them, to hear how the families are undone
will not appear to thee a new thing nor a hard, since the
cities have an ending. All your affairs have their death,
just as you do ; but it is concealed in any which endures
long; and lives are short. And as the revolution of the
Se tu riguardi Luni ed Urbisaglia,
Come son ite, e come se ne vanno
Diretro ad esse Chiusi e Sinigaglia :
Udir come le schiatte si disfanno,
Non ti parra nuova cosa ne forte,
Poscia che le cittadi termine hanno.
Le vostre cose tutte hanno lor morte,
Si come voi ; ma celasi in alcuna 80-
Che dura molto, e le vite son corte.
E come il volger del ciel della luna'
1 del cielo e della Gg.
73-75 Luni (Luna) and Chiusi (Clusium) were once powerful Tuscan
cities ; Urbisaglia and Sinigaglia are in the March of Ancona.
7 6 -? 8 Cf. the well-known letter of Servius Sulpicius to Cicero (Ad Fam.
iv. 3) : nos homunculi indignamur, si quis nostrum interiit aut occisus
est, quorum vita brevior esse debet, quum uno loco tot oppidum
cadavcra projecta jacent.
82 This allusion to the tides is curious in a dweller by the Medi-
terranean ; but, of course, the phenomenon had been well-known to
scientific men ever since the first Greek mariners sailed through ihe
straits of Gibraltar, and it is perceptible enough even at Venice ; nor
could its connexion in point of time with the apparent motion of the
moon have escaped notice. In De Aq. et Ter. 7, Dante himself
refers to it : Aqua videtur maxime sequi motum Lunae, ut patet in
accessu et recessu maris. It must not be supposed that he had any
idea of the real action of the moon in producing the tides (though he
is evidently nearer the mark than Brunette, who supposes t\i& phases of
the moon to affect the sea) ; his view doubtless was that of Aquinas,
CANTO xvi. PARADISO. 215
moon's heaven covers and uncovers the shores without
rest, so does Fortune with Florence. Wherefore it ought
not to seem a marvellous thing, what I shall say about the
exalted Florentines, of whom the fame is hidden in past
time. I saw the Ughi, and I saw the Catellini, Filippi,
Greci, Ormanni, and Alberichi, already in their decline,
Cuopre ed iscuopre i liti senza posa,
Cos! fa di Fiorenza la fortuna ;
Perch e non dee parer mirabil cosa
Cio ch' io diro degli alti Fiorentini, k
Dei quai la fama nel tempo e nascosa.
Io vidi gli Ughi, e vidi i Catellini,
Filippi, Greci, Ormanni, e Alberichi,
k altri F. 2 ; atti Aid.
who says, S. T.i. Q. 105. A. 6 a passage which incidentally illustrates
what has been said in the note to i. 103 sqq. Cum aliquid contingit in
rebus naturalibus praeter naturam inditam, hoc potest . . . contingere
. . . per actionem illius agentis a quo dependet actio naturalis . . .
ut patet in fluxu et refluxu maris. . . . Est enim ex impressione caelestis
corporis, a quo dependet naturalis inclinatio inferiorum corporum. He
again alludes to it, Q. no. A. 3 : fluxus et refluxus maris non con-
sequitur formam substantialem aquae, sed virtutem lunae.
86 alti ; evidently with reference to 1. 27, the question in which he
is now going to answer.
58 The names mentioned in this and the following lines are all found
in the list of the old families given by Villani iv. 10-13. A translation
of these chapters is given by Longfellow, and the passages more
immediately illustrating Dante are referred to in the following notes.
It may be observed that of the houses named or alluded to by Dante,
the majority belonged to the Guelf party. The following are in
Macchiavelli's list as Ghibelines : Barucci, Guidi, Galigari, Giuochi,
Caponsacchi, Pigli (in part), Lamberti, Soldanieri, Fifanti, Galli,
Infangati, Uberti, and Amidei. Of the rest, the Alberighi, Rovignani,
Ughi, dell' Area, Catellini, Greci, della Pera, Filippi, were extinct in
Villani's, that is in Dante's day ; the remainder were Guelfs.
89 The Ormanni " chiamansi oggi Foraboschi," says Villani.
216 PARADISO. CANTO xvi.
illustrious citizens ; and I saw, as great as they were ancient,
him of Area, with him of Sannella, and Soldanieri and
Ardinghi and Bostichi. Over the gate which at the pre-
sent is laden with new felony of such a weight that soon
there will be a lightening of the ship, were the Ravignani,
whence is descended the Count Guido, and whoever has
since shared in the name of high Bellincione. He of
Pressa already knew how government should be, and
Galigaio had the hilt and the pommel gilt in his house.
Gik nel calare, illustri cittadini : 90
E vidi cosi grandi come antichi,
Con quel della Sannella quel dell' Area,
E Soldanieri, ed Ardinghi, e Bostichi.
Sopra la porta, che al presente e carca '
Di nuova fellonia di tanto peso,
Che tosto fia jattura della barca,
Erano i Ravignani, ond' e disceso
II Conte Guido, e qualunque del nome
Dell' alto Bellincione ha poscia preso. m
Quel de la Pressa sapeva gik come" 100
Regger si vuole, ed avea Galigaio
Dorata in casa sua gik 1' elsa e il pome.
1 la poppa Aid. m poscia Gg.
" della per a Gg. Dorato . . . /' elzo Gg.
94 sqq. < j Rovignani furono molto gr.andi, e abitavano in sulla porta
San Piero, che furono poi le case de' conti Guidi, e poi de' Cerchi, e di
loro per donna nacquero tutti i conti Guidi, come addietro e fatta
mcnzione (see note to xv. 112), della figliuola del buono messere
Bellincione Berti." It is probably to the Cerchi, who as the leaders of
the White party were largely responsible for the intestine disorders of
Dante's time, and who with their chief followers, including Dante
himself, were turned out in 1302, that allusion is made in 11. 95, 96.
" tt i.e. had the symbols of knightly rank.
CANTO xvi. PARADISO. 217
Great was already the column of minever, Sacchetti, Giuochi,
Fifanti, and Barucci and Galli, and they who blush for the
bushel. The stock from which the Calfucci were born was
already great, and already were Sizi and Arrigucci drawn to
the chairs of state. O, in what state saw I those who have
been undone through their pride ! and the balls of gold
were as flowers to Florence in all her great deeds. Thus
did the fathers of those men who all the while that your
Grande era gia la colonna del vaio,
Sacchetti, Giuochi, Fifanti, e Barucci,
E Galli, e quei ch' arrossan per lo staio.
Lo ceppo di che nacquero i Calfucci,
Era gia grande, e gia erano tratti
Alle curule Sizi ed Arrigucci.
O quali vidi quei che son disfatti
Per lor superbia ! e le palle dell' oro no
Fiorian Fiorenza in tutti suoi gran fatti.
Cosi facien i padrl di coloro,
103 The Pigli bore on their shield a column bordered with ermine.
105 quei : the Chiaramontesi. See note to Purg. xii. 105.
106 ' I Donati ovvero Calfucci, che tutto furono uno legnaggio; ma
i Calfucci vennono meno." Vill. iv. II.
108 "Allora (in 1197) era consolo in Firenze Compagno degli
Arrigucci." Vill. v. 22. We learn from other sources that two of
the Sizii held the same office about the same time (Philal.), but no con-
temporary record of any members of these families having held it in
Cacciaguida's day appears to exist.
109.111 Tjj e O i^ commen tators mostly agree in supposing the families
indicated in these lines to be the Uberti and Lamberti. Both these
seem to have been originally, as their names suggest, of German
descent, and to have come to Florence with the Emperor Otto I. ;
though Villani (iv. i) has his doubts on this point.
112.114 The Tosinghi and Bisdomini, two allied families, were patrons
of the Bishopric of Florence, and while the see was vacant enjoyed its
2i8 PARADISO. CANTO xvi.
church is vacant make themselves fat, standing in con-
sistory. The overweening brood, which plays the dragon
behind him who flies, and to whoso shows his teeth, ay, or
his purse, is placable as a lamb, was already coming up,
but of small folk, so that it pleased not Ubertin Donate
that his father-in-law should make him their relation.
Che, sempre che la vostra chiesa vaca,
Si fanno grassi, stando a consistoro.
L' oltracotata schiatta, che s' indraca p
Dietro a chi fugge ed a chi mostra il dente,
O ver la borsa, com' agnel si placa,
Gia venia su, ma di piccola gente,
Si che non piacque ad Ubertin Donato,
Che poi il suocero il fe loro parente. q 120
P Laltra scontiata Gg. ; oltre contanta 2 ; stracutata 3.
i c/ie il s. ilfacesse lor Bi.
revenues. One of the Tosinghi, Messer Lottieri, was Bishop in 1303,
and took a prominent part in the tumults of the time.
115-120 pjere again there seems to be a general agreement as to the
family intended. The Adimari were Dante's near neighbours in
Florence, and were notoriously hostile to him. This was especially
the case with the branch known as the Cavicciuli. Several anecdotes
related by Sacchetti and Boccaccio, show that the family had a reputa-
tion for overbearing manners. The savage-tempered braggart, Filippo
Argenti, of Inf. viii. 61, belonged to the house ; and one Boccaccio de'
Cavicciuli, who appears to have been prominent among the swash-
bucklers of the day (see e.g. Vill. viii. 74, 96), is said by Landino to
have been in possession of Dante's goods when the owner was in exile.
118 Vill. iv. II : II legnaggio degli Adimari . . . bene che sieno
oggi il maggiore legnaggio di quello sesto e di Firenze, non furono pero
in quelli tempi de' piu antichi.
"9, i*> Ubertino Donati is said to have married a daughter of Bellin-
cione Berti, and to have objected to the marriage of another daughter
with one of the Adimari. In later times a branch of the Adimari bore
the name of Bellincione (whence perhaps the allusion in 1. 99) ; and we
find the Adimari and Donati at feud (Vill. vii. 56).
CANTO xvi. PARADISO.
Already had the Caponsacco come down into the Market
from Fiesole, and already was Giuda a good burgher, and
Infangato. I will tell a thing incredible and true : into the
little circuit one used to enter by a gate which had its
name from them of the house of Pera. Each one that
bears a share of the fair ensign of the great Baron, whose
name and whose honour the feast of Thomas confirms
Gia era il Caponsacco nel mercato
Disceso giu da Fiesole, e gia era
Buon cittadino Giuda ed Infangato.
lo diro cosa incredibile e vera :
Nel picciol cerchio s' entrava per porta/
Che si nomava da quei della Pera.
Ciascun, che della bella insegna porta
Del gran Bar one, il cui nome e il cui pregio
La festa di Tommaso riconforta,
r In picciol Gg.
121 "In quello luogo (Mercato Vecchio) abitavano i Caponsacchi,
che furono grand! Fiesolani." Vill. iv. n.
114.126 it pjietro a San Piero Scheraggio, ove sono oggi le casa de'
figliuoli Petri, furono quelli della Pera ovvero Peruzza, e per loro nome
la postieria che ivi era si chiamava porta Peruzza." Vill. iv. 13. Some
think that the incredible point was the small size of the city when this
was an external gate ; but the better view seems to be that it was the
absence of jealousy, which allowed a gate to be named after a private
family.
I2 7 sqq. Marquis Hugh of Brandenburg ("the only marquisate in
Germany") came to Florence with Otto III., and settled there: "Mori
nella citta di Firenze il di di Santo Tommaso gli anni di Cristo 1006, e
a grande onore fu soppellito alia badia di Firenze. E vivendo il detto
marchese Ugo, fece in Firenze molti cavalieri della schiatta de'
Giandonati, de' Pulci, de' Nerli, de conti da Gangalandi, e di quelli
della Bella, i quali tutti per suo amore ritennero e portarono 1' arme sua
addogata rossa e bianca con diverse intrassegne." Vill. iv. 2.
"7 della : so del nome, 1. 98.
220 PARADISO. CANTO XVI.
anew, had from him knighthood and privilege ; albeit
with the commons is united to-day he who binds it with
the fringe. Already were there Gualterotti and Importuni ;
and yet would Borgo be more tranquil if they had lacked
new neighbours. The house from which your sorrow arose,
Da esso ebbe milizia e privilegio; 130
Avvegna che col popol si rauni
Oggi colui che la fascia col fregio.
Gia eran Gualterotti ed Importuni :
Ed ancor saria Borgo piu quieto,
Se di nuovi vicin fosser digiuni.
La casa di che nacque il vostro fleto,
132 colui : Giano della Bella, the great law-maker and champion
of the commons against the nobles. He was banished in 1295. See
Vill. viii. 8, and Machiavelli, 1st. Fior. Bk. ii. The arms of della
Bella were the same as those of Marquis Hugh, but with a border of
gold.
133 sqq. "i n borgo Santo Apostolo erano grandi Gualterotti, e Im-
portuni, che oggi sono popolani ; i Bondehnonti erano nobili e antichi
cittadini in contado, e Montebuoni fu loro castello, e piii altri in
Valdigreve (1. 66) ; prima si puosono Oltrarno, e poi tornarono in
Borgo." Vill. iv. 13. The Buondelmonti came into Florence in
1135 ; and it was from the wrong done in 1215 by one of that family to
a lady of the Amidei, whom he had promised to marry, and deserted
for one of the Donati, that the feuds which prevailed in Florence for
a century afterwards were held by contemporaries to have arisen. On
the Easter Day following, says Villani (v. 38), "vegnendo d' Oltrarno
il detto messere Bondelmonte vestito nobilmente di nuovo di roba tutta
bianca, e in su uno palafreno bianco, giugnendo appie del ponte
Vecchio dal lato di qua, appunto lappie del pilastro ov' era la 'nsegna
di Marti (1. 145), il detto messere Bondelmonte fu atterrato del cavallo
per lo Schiatta degli Uberti, e per lo Mosca Lamberti (the chief
instigator of the murder ; see Inf. xxviii. 106) e Lambertuccio degli
Amidei assalito e fedito, e per Oderigo Fifanti gli furono segate levene
e tratto a fine ; eebbevi con loro uno de' conti da Gangalandi." There
were already political parties in Florence, as elsewhere, perhaps even
CANTO xvi. PARADISO. 221
through the righteous wrath which has slain you and put an
end to your joyous living, was honoured, it and its consorts.
O Buondelmonte, how ill didst thou flee its nuptials
through the abetting of another ! Many would be blithe
that are sad if God had yielded thee to Ema the first time
that thou earnest to town. But it was meet that Florence in
the end of her peace should give a victim to that clipped
stone that guards the bridge.
Per lo giusto disdegno che v' ha morti,
E pose fine al vostro viver lieto, 5
Era onorata ed essa e suoi consorti.'
O Buondelmonte, quanto mal fuggisti 140
Le nozze sue per gli altrui conforti !
Molti sarebber lieti che son trisfi,
Se Dio t' avesse conceduto ad Ema
La prima volta ch' a citta venisti.
Ma conveniasi a quella pietra scema
Che guarda il pante, che Fiorenza fesse
Vittima nella sua pace postrema.
s posto Aid. W. Bi. ' /urn. e se e i suoi Gg.; hon. essa e Cass. 1234 Aid.
more bitter than elsewhere, a fact which Villani attributes to the
mixture in one city of the Roman stock with the families from Fiesole ;
but this family quarrel imported the peculiar savagery which dis-
tinguished them and made good government impossible. The Buon-
delmonti from this time headed the Guelf party, and the Ubeni the
Ghibelines.
I3 7 " Si presono (sc. gli Amidei) il maladetto isdegno, onde la citta
di Firenze fu guasta e partita." Vill. 1. c.
143 Ema : a small stream which flows into the Greve, and is crossed
near Galluzzo by the road from Valdigreve to Florence, along which
the Buondelmonti would have come on their original migration.
*s " Bene mostra che '1 nemico dell' umana generazione per le
peccata de' Fiorentini avesse podere nell' idolo di Marti, ch' e'
Fiorentini pagani anticamente adoravano, che appie di sua figura
222 PARADISO. CANTO XVI.
"With these houses, and others with them, I saw Florence
in a repose of such sort that she had no occasion whereof
to weep. With these houses saw I her commons so glorious
and righteous, that the lily had never at the spear's point
been put to retreat, nor through divisions grown vermilion."
Con queste genti, e con altre con esse,
Vid' io Fiorenza in si fatto riposo,
Che non avea cagione onde piangesse. 150
Con queste genti vid' io glorioso,
E giusto il popol suo tanto, che il giglio
Non era ad asta mai posto a ritroso,
Ne per division fatto vermiglio.
si commise si fatto micidio, onde tanto male e seguito alia citta di
Firenze." Vill. 1. c.
'52-154 i n July, 1251, " cacciati i caporali de' ghibellini di Firenze, il
popolo e gli guelfi che dimoraro alia signoria di Firenze, si mutaro
1' arme del comune di Firenze ; e dove anticamente si portava il campo
rosso e '1 giglio bianco, si feciono per contrario il campo bianco e '1
giglio rosso, e' ghibellini si ritennero la prima insegna." Vill. vi. 43.
CANTO XVII.
ARGUMENT.
Cacciaguida prophesies to Dante concerning that which shall befall him in
each ; and exhorts him to be of good courage, and bold in reproof of
wickedness in high places.
As in coming to Clymene, to assure himself concerning
that which he had heard against himself, was he who still
makes fathers niggardly to their sons, such was I, and such
was perceived both by Beatrice and by the holy Lamp which
before had for my sake changed its place. Wherefore my
QUAL venne a Climenb per accertarsi
Di cib ch' aveva incontro a s udito,
Quel ch' ancor fa li padri ai figli scarsi,
Tale era io, e tale era sentito
E da Beatrice, e dalla santa lampa,
Che pria per me avea mutato sito.
1 See Ov. Met. i. fin. where Phaethon goes to his mother Clymene,
to learn if he is really the son of Phoebus, Epaphus having insinuated
that he is not. The result is that he induces his father to let him drive
his chariot, with the consequences that are known. The fable, as
I have noted to Purg. iv. 72, seems to be one of those that had
an attraction for Dante. Here he probably compares himself with
Phaethon in respect of his uncertainty as to what he should hear about
his own fate; though some, e.g. Comm. Cass. understand it as merely
"cum filiali audacia et fiducia."
224 PARAD1SO. CANTO xvii.
Lady said to me : " Send forth the flame of thy desire so
that it may issue well sealed with the inward stamp ; not in
order that our knowledge may increase through thy speak-
ing, but that thou mayest use thyself to tell thy thirst, so
thatojie may mingle for thee."
- O deaf plant of me (who art so set on high that, as
earthly minds see that there is not room in a triangle for
two obtuse angles, so thou seest contingent things, before
they exist in themselves, gazing on the point to which all
Per che mia Donna : Manda fuor la vampa
Del tuo disio, mi disse, si ch' ell' esca
Segnata bene dell' interna stampa : a
Non perche nostra conoscenza cresca b 10
Per tuo parlare, ma perche t' ausi
A dir la sete, si che 1' uom ti mesca.
O cara pianta mia, che si t' insusi c
Che, come veggion le terrene menti
Non capere in triangol due ottusi,
Cosi vedi le cose contingenti
Anzi che sieno in se, mirando il punto,
A cui tutti li tempi son presenti.
a segn. lieve Cass. 12 ; da la in'erna 2 ; della eterna 145.
b conscientia Gg. c piota Cass. 2 W. ; pieta 1345 ; om. mia Gg.
10 sqq. Cf. XV. 55-69.
'3 There seems to be some authority for the reading piota ; but the
objection is that piota is only found = pianta in the sense of " the sole
of the foot," as Inf. xix. 1 20. It should however be said that P. di
Dante explains "o piota mea, idest pianta pedis." But it is hard to
see in what sense Cacciaguida can have been "pianta pedis "to Dante.
J4 -' 6 Seest contingent things as plainly as men apprehend the truths
of geometry ; than which there can be no higher degree of certainty.
" La geometria," he says in Conv. ii. 14, " e sanza macula d' errore,
e certissima per se. "
CANTO xvii. PARADISO. 225
times are present), whiles that I was joined with Virgil up
over the mountain which cures the souls, and when descend-
ing in the dead world, there were said to me concerning
my future life heavy words, albeit I feel myself right four-
square to all the blows of chance. Wherefore my will
would be satisfied to learn what sort of fortune is drawing
near me ; for an arrow foreseen comes more slowly." So
said I to that selfsame light which before had spoken to
me, and as Beatrice would was my wish confessed. Nor
through riddles, in which the foolish folk used once to be
Mentre ch' io era a Virgilio congiunto
Su per lo monte che 1' anime cura, 20
E discendendo nel mondo defunto,
Dette mi fur di mia vita futura
Parole gravi ; avvegna ch' io mi senta
Ben tetragono ai colpi di ventura.
Per che la voglia mia saria contenta
D' intender qual fortuna mi s' appressa ;
Che saetta previsa vien piu lenta.
Cosi diss' io a quella luce stessa
Che pria m' avea parlato, e come voile
Beatrice, fu la mia voglia confessa. 30
Ne per ambage, in che la gente folle d
d Non per C-.
22 See especially Inf. x. 79, xv. 61 ; Purg. viii. 133, xi. 140.
24 The idea is of course borrowed from Eth. Nic. i. io : ray TV^Q;,-
ourei KaXXiara KOI nairn) Traircoy fp,p.f\>s o y' a>s aXrjdoas dyados KOI
rerpdyavos dvev tyayov. Comm. Cass., it may be noted, considers
the metaphor to be from the tetrahedron, which stands firmly however
it is thrown.
*7 Daniello quotes a line which he ascribes to Ovid, but which is
not to be found in Ovid's works : " Nam praevisa minus laedere tela
solent." It is probably medieval.
31-33 Dante follows the old legend, that the oracles ceased at the
Q
226 PARADISO. CANTO xvn.
limed before was slain the Lamb of God that takes away
sins, but through clear words and with precise speech,
answered that fatherly love, enclosed and made manifest by
his own smile :
"Contingency, which extends not beyond the quire
of your matter, is all depicted in the eternal view. It
Gia s' invescava pria che fosse anciso
L' Agnel di Dio che le peccata tolle :
Ma per chiare parole, e con precise
Latin rispose quell' amor paterno,
Chiuso e parvente del suo proprio riso :
La contingenza, che fuor del quaderno
Delia vostra materia non si stende,
Tutta e dipinta nel cospetto eterno.
moment of Christ's crucifixion. Milton, in referring it to the Nativity,
slightly modifies the tradition.
33 Latin : possibly only as in xii. 144, but it may be meant to imply
that Cacciaguida used throughout the same language as in his opening
words.
37 sqq. Contingency (here = TO fv8fxop.fvov) belongs to matter only
("est unumquodque contingens ex parte materiae, quia contingens est
quod potest esse et non esse." S. T. i. Q. 86. A. 3), and involves the
idea of succession in time ; and thus has no place in the eternal world.
(Ar. Phys. iii. 4 : fvde^ecrdai yap tj eivai ovdev diafpepei rois aiSt'ow.
Metaph. Q 10(1051 b): (frdixpov 8e Kal on Trepl T>V cuuvrfrtov OVK tcrriv
dirdTTj KO.TCI TO Trore. See also An. Pr. i. 13.) Thus God sees all
things that will happen, not as we do, in order of time, but in eternity
(S. T. i. Q. 14. A. 13) ; and the blessed see them reflected from
Him. Then comes in parenthetically the question familiar to theo-
logians, how the foreknowledge of God is consistent with freewill ; or
as Boethius (v. Pr. 3) puts it, "nimium adversari ac repugnare videtur,
praenoscere universa Deum, et esse ullum libertatis arbitrium." The
beautiful image by which Dante endeavours to suggest a solution of the
problem appears to be entirely his own ; but the germ of the notion in-
volved in it may be found in Ar. Metaph. viii. 10 (shortly before the
passage quoted above) : ou yap 8ia TO fjp.ds olecrdai d\rjdu>s rre
CANTO xvn. PARADISO. 227
takes not however necessity from thence, otherwise than
from the sight in which it is mirrored does a vessel which is
going downwards with a current. From thence, as comes
to the ear a sweet harmony from an organ, comes to my
view the time which is being prepared for thee. As
Hippolytus departed from Athens through his unkind and
treacherous stepmother, such from Florence it behoves
that thou depart. This is desired, and this already is being
Necessitk pero quindi non prende 40
Se non come dal viso, in che si specchia
Nave che per corrente giu discende. 6
Da indi, si come viene ad orecchia
Dolce armonia da organo, mi viene
A vista il tempo, che ti s' apparecchia.
Qual si parti Ipolito d' Atene
Per la spietata e perfida noverca,
Tal di Fiorenza partir ti conviene.
Questo si vuole, e*questo gik si cerca,
e torrente Gg. Cass. Aid.
fivat et crti Aewcor, dXXa Sta TO ere eivai \evKov rj^fls oi (frdvres TOVTO
a\r)devop,ev. quaderno. Properly a sheet of paper folded four times
(see for example the end of any small Aldirie edition) ; hence a little
book, as in Purg. xii. 105. The metaphor, a bold one, is much like
those in ii. 78 and xii. 122. The word appears to be the origin of
our quire, Fr. cahier.
46.48 i t se ems unnecessary to suppose that Dante means to press the
parallel between himself and Hippolytus any further than the point of
both having been driven from their homes by calumnious accusations.
49-51 Just before this time Vieri de : Cerchi went to Rome, sum-
moned by Boniface VIII., who wished to consult him as to the establish-
ment of peace between the two contending factions, the Blacks and
the Whites, in Florence ; he being the head of the latter party. Vieri
unwisely, as Villani thinks professed that he had no quarrel with
any one, and, so to speak, snubbed the Pope, who "rimase molto
Q 2
228 PARADISO. CANTO xvii.
sought, and soon will come to fulfilment at the hands of him
who is meditating this in the place where Christ all day long
is made merchandise. The blame shall follow the fallen
party, in outcry, as it is wont ; but the vengeance shall be a
testimony to the True who dispenses it. Thou shalt leave
E tosto verra fatto, a chi cio pensa 50
La dove Cristo tutto di si merca.
La colpa seguira la parte offensa
In grido, come suol ; ma la vendetta
Fia testimonio al ver che la dispensa.
Tu lascerai ogni cosa diletta
sdegnato contro a lui e contro a sua parte " (Vill. viii. 39). He pro-
bably had good reasons for distrusting the White party. At all
events, a few months later he sent Cardinal Matteo d'Acquasparta to
Florence with no better success ; for the Whites " per tema d' essere
ingannato dal papa e dal legato . . . non vollono ubbidire ; " so the
Cardinal laid the city under an interdict and departed. The Donati
and others of the Black party then began to intrigue with the Pope
with a view to introducing Charles of Valois into Florence. This
being discovered, they were, by order of the Signoria, among whom
Dante then was, and, as Machiavelli says, by his advice, fined and
banished ; and at once betook themselves to Rome. On All Saints'
Day, 1301, Charles entered Florence, and the Blacks returned imme-
diately. After some fighting, and another futile attempt on the part of
Cardinal d'Acquasparta to readjust matters, the White party, including
Dante, were banished, in April, 1302. From this time the bulk of the
party made common cause with the Ghibelines.
s 2 . 53 E.g. Villani viii. 49 : E per questo modo fu abbattuta e
cacciata di Firenze 1' ingrata e superba parte de' bianchi. Cf. Conv. i. 3 :
La piaga della fortuna, che suole ingiustamente al piagato molte volte
essere imputato. And Boethius i. Pr. 4 : Hoc tantum dixerim ; ulti-
mam esse adversae fortunae sarcinam, quod dum miseris aliquod
crimen affingitur, quae perferunt meruisse creduntur.
54 It seems better to understand il ver of God, rather than, as most
do, take it to mean " the truth " ; for it is hard to see how the truth
can be said to dispense or allot vengeance.
CANTO xvn.
PARADISO.
229
every thing beloved most dearly ; and this is that shaft which
the bow of exile first shoots forth. Thou shalt prove how
tastes of salt another's bread, and how it is a hard path to
go down and up over another's stairs. And that which
shall most burthen thy shoulders shall be the evil and
foolish company with whom thou shalt fall into this vale ;
for all ungrateful, all mad and impious they shall take thy
contrary part ; but a little later they and not thou shall have
their foreheads red. Of their beastliness their procedure
shall make the proof : so that to thee it shall be honourable
to have made thee a party for thyself. Thy first refuge and
Piu caramente ; e questo e quello strale/
Che 1' arco dell' esilio pria saetta.
Tu proverai si come sa di sale
Lo pane altrui, e com' e duro calle
Lo scendere e il salir per 1' altrui scale. 60
E quel che piu ti gravera le spalle,
(Sara la compagma malvagia e scempia,
Con la qual tu cadrai in questa valle :
Che tutta ingrata, tutta matta ed empia
Si fara contra te ; ma poco appresso
Ella, non tu, n' avra rossa la tempia.
Di sua bestialitate il suo processo
Fara la pruova, si ch' a te fia bello
Averti fatta parte per te stesso.
f picnamente 1245.
61 sqq. it i s impossible now to discover the full meaning of this
allusion. All that is certain is that Dante appears to have kept very
much aloof from his fellow-exiles in their subsequent unsuccessful
attempts to return ; and that among them were many persons, e.g. Lapo
Salterello (xv. 128), with whom he could have had little sympathy.
From many passages also it is clear that the union with the Ghibelines
was distasteful to him.
230 PARADISO. CANTO xvn.
first sojourn shall be the courtesy of the great Lombard,
who bears the holy bird over the ladder. For he shall
have toward thee so kindly observance that of the action
and the request, between you two, that one shall be first
which among others is last. In his company shalt thou
see him who at his birth was so stamped by this mighty
Lo primo tuo rifugio e il primo ostello, 70
Sara la cortesia del gran Lombardo,
Che in su la Scala porta il santo uccello :"
Che in te avra si benigno riguardo,
Che del fare e del chieder tra voi due,
Fia primo quel che tra gli altri e piu tardo. h
Con lui vedrai colui che impresso me, 1
. Nascendo, si da questa Stella forte,
s el grande uccello Gg. h prima 2 Aid. W.
1 impregio Gg.; chen preso 3.
71 There is some little difficulty as to this line, arising chiefly from
the doubt whether Bartolommeo della Scala, whom all the old com-
mentators (including P. di Dante, who ought to have known) take to
be the person referred to, ever was entitled to bear the eagle of the
Empire above the ladder which was the badge of the family. His
brother and successor, Alboin, was the first to be created Imperial Vicar,
by Henry VII., in 1311 ; but he is excluded by the fact that Dante's
opinion of him, as appears from Conv. iv. 16, was very low. There
seems no reason why Bartolommeo should not have taken the eagle as
a sign of devotion to the Imperial cause ; and Dante's first visit to
Verona was almost certainly during his rule. He died March, 130*.
76 colui : Can Francesco della Scala, called Can Grande. He was
born 1291. " Fu Principe bello di faccia, grande di persona, prudente,
bellicose, e di principal valore tra tutti i Principi d' Italia di suo
tempo." Tinto, Nobilta di Verona. He succeeded on the death of
Alboin, 1311, and died in 1328. His position both in regard to the
general history of the time, and in connection with Dante, is too well
known to need further notice. It will be sufficient to recall the facts
that he is usually considered to be the Veltro of Inf. i. 101 ; and that the
Paradise was dedicated to him.
CANTO xvn. PARADISO.
star, that his works shall be notable. Of him have the
people as yet not taken heed, through his young age, for
only nine years have these wheels been turned round about
him. But ere that the Gascon cheats high Henry shall
sparks appear of his prowess, in caring not for silver nor
for toils. His magnificences shall yet be so known that
his foes shall not be able thereof to hold their tongues
silent. Wait upon him and upon his benefits : through
him shall much people be transmuted, rich and poor ex-
Che notabili fien 1' opere sue. k
Non se ne sono ancor le genti accorte
Per la novella eta, che pur nove anni 80
Son queste ruote intorno di lui torte.
Ma pria che il Guasco 1' alto Arrigo inganni,
Parran faville della sua virtute,
In non curar d' argento ne d' affanni.
Le sue magnificence conosciute
Saranno ancora si, che i suoi nimici
Non ne potran tener le lingue mute.
A lui t' aspetta e ed ai suoi benefici :
Per lui fia trasmutata molta gente,
k mirabili Gg.
82 The Emperor Henry VII. was ostensibly supported by Pope
Clement V. (Bertrand de Goth) ; but nevertheless he encountered a
strong opposition from King Robert of Naples (who even prevented
his coronation in St. Peter's) and the Guelf party generally. He was
crowned in St. John Lateran, in June, 1312, and died at Bonconvento,
near Siena, not without suspicion of poison, in August of the following
year. Dante means to imply that the Pope, while professipg to be on
his side, really favoured the opposition. Henry received much help
from Can Grande while passing through Lombardy, and suppressing the
Guelfs of that part on his way to Rome (see Villani ix. 14, 32).
232 PARADISO. CANTO xvn.
changing their condition. And 'thou shalt bear away a
writing in thy mind concerning him, but thou shalt not tell
it," and he said things incredible to those who shall be
present at them. Then he added : " My son, these are the
interpretations of what was said to thee; lo, here the
treacheries which are hidden behind a few revolving years.
I will not, however, that thou be envious against thy neigh-
bours, because thy life is set in the future far beyond the
punishment of their perfidies."
After that by its silence the holy soul showed itself to
be released from putting the woof into that web which I
had presented to it set in frame, I began, as he that craves
in his doubt counsel from a person who sees and wills
Catnbiando condizion ricchi e mendici. 90
E porteraine scritto nella mente
Di lui, e nol dirai : e disse cose '
Incredibili a quei che fien presente. 1 "
Poi giunse : Figlio, queste son le chiose
Di quel che ti fu detto ; ecco 1' insidie,
Che dietro a pochi giri son nascose.
Non vo' perb, ch' ai tuoi vicini invidie,
Poscia che s' infutura la tua vita,
Via piu la, che il punir di lor perfidie.
Poiche tacendo si mostrb spedita 100
L' anima santa di metter la trama
In quella tela, ch' io le porsi ordita,
lo cominciai, come colui che brama,
Dubitando, consiglio da persona
ma nol W. Bi. m che son fr. 1245;^ Ald.(\) Bi.; fan Ald.(2).
98, 99 That is, thou wilt long outlive the punishment.
102 Cf. iii. 95, and Purg. xxxiii. 140.
CANTO xvii. PARADISO. 233
uprightly, and loves : " I see well, father mine, how time is
spurring towards me, to give me a blow of such sort as is
heaviest on whoso most yields himself; wherefore it is good
that I arm myself with foresight so that if a place that is
most dear is taken from me, I lose not the others through
my songs. Down through the world that is bitter without
end, and over the mountain from whose fair summit the
eyes of my Lady lifted me ; and afterward through the
heaven from light to light have I learnt that which if I
repeat it will be to many a savour of strong harshness ; and
if I am a timid friend to the truth, I fear to lose life among
Che vede, e vuol dirittamente, ed ama :
Ben veggio, padre mio, si come sprona
Lo tempo verso me per colpo darmi
Tal ch' e piu grave a chi piu s' abbandona : n
Per che di provedenza e buon ch' io m' armi,
Si che se luogo m' e tolto piu caro, no
Io non perdessi git altri per miei carmi.
Giu per Io mondo senza fine amaro,
E per Io monte, del cui bel cacume
Gli occhi della mia Donna mi levaro,
E poscia per Io ciel di lume in lume,
Ho io appreso quel, che s' io ridico,
A molti fia savor di forte agrume :
E s' io al vero son timido amico,
n grave che Gg. ; grave et che Cass. 1234.
105 Understanding, good will, love, are the necessary preliminaries
to good action.
106 sqq. Dante is in doubt whether to incur the enmity of living men
by revealing all that he has heard, or to lose his fame with posterity by
concealing it. Cacciaguida, in language which recalls some parts of
the prophecies of Ezekiel and Daniel, bids him tell everything.
234 PARADISO. CANTO xvn.
those who will call this time ancient." The light wherein
was smiling my treasure, whom I found there, first became
sparkling like a mirror of gold in the sun's ray ; then he
answered : "A conscience dark either from its own or from
another's shame, alone will feel thy word rough. But
nevertheless, all falsehood laid aside, make all thy vision
manifest, and just let the scratching be where the itch is :
for if thy voice shall be irksome in the first tasting, it shall
leave behind when it shall be digested, nourishment to life.
This thy cry shall do as the wind, which strikes most the
Temo di perder viver tra coloro,
Che questo tempo chiameranno antico. 120
La luce in che rideva il mio tesoro,
Ch' io trovai li, si fe prima corrusca, p
Quale a raggio di Sole specchio d' oro :
Indi rispose : Coscienza fusca,
O della propria, o dell' altrui vergogna,
Pur sentira la tua parola brusca.
Ma nondimen, rimossa ogni menzogna,
Tutta tua vision fa manifesta,
E lascia pur grattar dov' e la rogna :
Che se la voce tua sara molesta 130
Nel primo gusto, vital nutrimento
Lascera poi quando sara digesta.
Questo tuo grido fara come il vento,
vita tra Aid. IV. Bi. P si fece pria Gg.
I2 9 This is perhaps the most remarkable instance of a characteristic
feature of the Paradise ; namely, the introduction of vulgar and even
coarse images in the midst of the most elevated passages. Cf. xii. 1 14 ;
xiii. 139; and xxxii. 140 (where St. Bernard, in the very highest
Heaven, talks of cutting the coat according to the cloth). It is as if
the writer's mind, overwrought by the fervour of his own imagination,
sought a certain relief in these trivialities.
CANTO xvii. PARAD1SO. 235
loftiest tops; and this makes no small proof of honour.
Wherefore there have been shown to thee in these spheres,
on the mount, and in the dolorous vale only the souls
which are known of fame ; for the mind of him who hears,
rests not nor confirms belief by reason of an example which
has its root unknown and hidden, nor for any other proof
that is not apparent."
Che le piu alte cime piu percuote :
E cib non fa d' onor poco argomento. q
Pero ti son mostrate in queste ruote,
Nel monte e nella valle dolorosa
Pur 1' anime che son di fama note : r
Che 1' animo di quel ch' ode, non posa,
Ne ferma fede per esempio, ch' haia 140
La sua radice incognita e nascosa,
Ne per altro argomento che non paia.
i nonfia Aid. W. r per fama W.
A -
'34 Cf. Hor. Od. ii. 10:
Saepius ventis agitatur ingens
Pinus, et celsae graviore casu
Decidunt turres, feriuntque summos
Fulgura montes.
CANTO XVIII.
ARGUMENT.
Cacciaguida having pointed out the souls of other warriors , returns to his
place. Dante and Beatrice ascend to the sixth Heaven, of Jupiter,
where the souls of just men form certain words, and lastly the
figure of the Imperial Eagle.
ALREADY was that blessed mirror joying by himself in
his own word, and I was tasting mine, tempering the sweet
with the bitter; and that Lady who was bringing me to
GIA si godeva solo del suo verbo
Quello~specchio beato, ed io gustava
Lo mio, temprando il dolce con 1' acerbo; a
E quella Donna, ch' a Dio mi menava,
a cold. /' ac. 124 W.
1 Witte understands " was joying only "; sc. " while I was feeling
both joy and pain " : but this seems rather far-fetched. He is, how-
ever, probably right in understanding verbo to mean merely the words
just spoken. Comm. Gg. takes the same \iew. It seems unnecessary
to hold, with some of the moderns, that the scholastic sense of " mental
concept " (S. T. i. Q. 28. A. 4 and Q. 34. A. i), and hence " thought,"
is intended. Scartazzini thinks that this rendering involves a difficulty
in Lo mio (1. 3) ; but surely it is clear enough that that, as Danielle
says, means ' ' such part of his speech as referred to me. " It may be
noticed that verbo does not often occur in Dante ; probably only once
elsewhere, Inf. xxv. 16, in its literal sense.
2 Specchio seems the only reading which has any authority. The
variant spirto is evidently a gloss, first imported into the text in the
CANTO xviii. PARADISO. 237
God, said : " Change thy thoughts, think that I am near
to Him who undoes the burthen of every wrong."
I turned round at the loving sound of my comfort ; and
what love I then saw in her holy eyes, I here pass over; not
because I mistrust my speech only, but because the mind
cannot return upon itself so far, if another guide it not.
So much only can I tell again of that moment, that as
I gazed at her, my affection was free from all other
desire.
While the eternal pleasure, which beamed directly
upon Beatrice, was satisfying me with its second aspect
Disse : Muta pensier, pensa ch' io sono
Presso a colui ch' ogni torto disgrava.
Io mi rivolsi all' amoroso suono
Del mio conforto ; e quale io allor vidi
Negli occhi santi amor, qui 1' abbandono :
Non perch' io pur del mio parlar diffidi, io
Ma per la mente che non pub reddire
Sopra se tanto, s' altri non la guidi.
Tanto poss' io di quel punto ridire,
Che, rimirando lei, Io mio affetto
Libero fu da ogni altro disire.
Fin che il piacere eterno, che diretto
Raggiava in Beatrice, dal bel viso
Mi contentava col secondo aspetto,
Nidobeatine, then into the Aldine, which subsequent edd. have mostly
followed. There is probably a reference to 1. 123 of the last Canto ;
but the notion of the saints and angels as mirrors of the Divine thought
is common enough : e.g. ix. 61, and 11. 16-18 below.
II Cf. i. 7 sqq. For the " tmesis" Q{ ferche cf. Purg. xxv. 16.
16 Fin che : as Inf. xix. in, Purg. xii. 69. See Diez iii., p. 321.
18 secondo aspetto : i.e. the sight of it as reflected in her.
238 PARADISO. CANTO xvin.
from the fair face, overcoming me with the light of a
smile, she said to me: "Turn thee and listen, for not
only in my eyes is Paradise." As here is seen sometimes
the emotion in the countenance, if it is so great that all
the mind is taken up by it, so in the flaming of the holy
blaze to which I turned, I recognised the desire in him to
Vincendo me col lume d' un sorrisq,_
Ella mi r 3Tsse~P^oTgiti ed ascolta, 20
Che non pur nei miei occhi e Paradiso.
Come si vede qui alcuna volta
L' affetto nella vista, s' ello e tanto,
Che da lui sia tutta 1' anima tolta ;
Cosi nel fiammeggiar del fulgor santo
A cui mi volsi, conobbi la voglia
21 Comm. Gg. no doubt gives correctly the symbolical meaning :
quia felicitas non solum consistit in contemplatione sacrae scripturae,
sed saepe etiam consistit in exemplo virorum illustrium, qui licet secu-
lariter vixerunt in mundo tamen fecerunt opera praeclara accendentia
animam viri Xtiani ad amorem fidei, etc. Similarly Post. Caet. quoted
by Bianchi and others : Quia non solum in contemplatione Theologiae
est felicitas et beatitude, sed etiam in exemplis valentium virorum.
Perhaps it would be even nearer the mark to say, " perfection cannot
be attained by contemplation alone without action." There is, however,
an obvious allusion to a passage in the Canzone which precedes
Conv. iii. : Cose appariscon nello suo aspetto, Che mostran de'
piacer di Paradiso ; Dico negli occhi e nel suo dolce riso, Che le vi reca
Amor com' a suo loco ; and to the commentary in ch. 8 : dico che nel
suo aspetto appariscono cose le quali dimostrano de' piaceri e intra
gli altri di que' di Paradiso. Lo piu nobile, e quello ch' e scritto e fine
di tutti gli altri, si e contentarsi . . . e questo piacere e veramente
. . . nell' aspetto di costei, chk guardando costei la gente si contenta
. . . ma per altro modo che per lo contentare che in Paradiso e
perpetuo, non puo ad alcuno essere questo. If the reading of the last
sentence is correct, as to which there are doubts, the present passage
would seem to be another instance of a partial recantation of opinions
expressed in the Convito. Cf. ii. 60.
CANTO xviii. . PARADISO. 239
speak with me yet somewhat. And he began : "In this
fifth stage of the tree which has life from its top, and bears
fruit ever, and never sheds leaves, there are blessed spirits
who on earth, before they came to heaven, were of great
renown, so that every muse would be rich thereof. There-
fore look upon the arms of the Cross; he whom I now
shall name will there perform the action which its swift
fire does in a cloud." I saw over the Cross a light drawn
at the naming of Joshua, when he did so ; nor was the
speech perceived by me before the act. And at the name
of the high Maccabee I saw another move, rotating ; and
In lui di ragionarmi ancora alquanto.
E comincib : In questa quinta soglia
Dell' albero che vive della cima,
E frutta sempre e mai non perde foglia, 30
Spiriti son beati, che giu prima
Che venissero al Ciel, fur di gran voce,
Si ch' ogni Musti ne sarebbe opima.
Perb mira nei corni della Croce :
Quel ch' io or nomerb li fara 1' atto, b
Che fa in nube il suo fuoco veloce.
Io vidi per la Croce un lume tratto,
Dal nomar Josue, com' ei si feo,
Ne mi fu noto il dir prima che il fatto. c
Ed al nome dell' alto Maccabeo 40
Vidi muoversi un altro roteando :
b cK io nom. Gg. Cass. 4 IV. ; io ti n. 125. c pria il dir che Gg.
28 sqq. The "tree " is of course Heaven, in which Mars is the fifth
sphere.
30 frutta : cf. Purg. xxxii. 74. There is probably an allusion to
Rev. xxii. 2.
240 PARADISO. CANTO xvm.
gladness was whip to the top. So for Charles the Great
and for Roland my intent look followed two of them, as
an eye follows its falcon in his flight. Afterward William,
and Rinoard, and the duke Godfrey drew my sight over that
Cross, and Robert Guiscard. Then moved and mingled
among the other lights the soul which had talked to me
showed me what a craftsman he was among the singers of
the heaven.
I turned round on my right side to see in Beatrice
E letizia era ferza del paleo. */
Cosi per Carlo Magnoeper Orlando
Due ne segui lo mio attento sguardo,
Com' occhio segue suo falcon volando.
Poscia trasse Guiglielmo, e Rinoardo,
E il duca Gottifredi la mia vista
Per quella Croce, e Roberto Guiscardo.
Indi tra 1' altre luci mota e mista
Mostrommi 1' alma, che m' avea parlato, 50
Qual' era tra i cantor del Cielo artista.
lo mi rivolsi dal mio destro lato,
Per vedere in Beatrice il mio dovere,
46 Guiglielmo : All the commentators seem agreed that this is an
early Count of Orange. Philalethes refers to an early epic poem,
recounting his prowess against the Saracens in Africa and the South of
France ; and considers that he is confused with William called Courtnez,
who was.appointed by Charlemagne to be tutor to his son Lewis (after-
wards "the Pious") in the government of Aquitaine. Renouard is
another personage in the same poem, who though a Saracen by birth
was afterwards William's friend and ally. One is rather tempted to
read "a Guiglielmo ed a Ricciardo," and to suppose that some of the
many Norman Williams and Richards are alluded to. It may be
noticed that Landino in his note reads Riccardo.
w Gottifredi : Godfrey of Bouillon. The other heroes mentioned
are well known. It may be observed that all these are named as having
been champions of the true faith against the infidel.
CANTO xviii. PARADISO. 241
my duty signified either by words or by gesture, and I
saw her eyes so clear, so joyous, that her semblance sur-
passed her other, and her last wont. And as through
feeling more delight in working well a man from day to
day is aware that his excellence is advancing, so was I
aware that my circling round together with the heaven was
having its arc increased, when I saw that Wonder more
adorned. And as is the transformation in a little passage
of time, in a pale lady when her countenance is discharging
its freight of shamefastness, such was there in my eyes, when
I had turned, through the whiteness of the temperate sixth
O per parlare, o per atto segnato ; d
E vidi le sue luci tanto mere,
Tanto gioconde, che la sua sembianza
Vinceva gli altri e 1' ultimo solere.
E come per sentir piii dilettanza,
Bene operando 1' uom, di giorno in giorno
S' accorge che la sua virtute avanza ; 60
Si m' accors' io che il mio girare intorno
Col cielo insieme, avea cresciuto 1' arco,
Veggendo quel miracol piu adorno.
E quale e il trasmutare in picciol varco
Di tempo in bianca donna, quando il volto
Suo si discarchi di vergogna il carco ;
Tal fu negli occhi miei, quando fu volto
Per lo candor della temprata Stella
d parole Aid.
59.6 Ar. Eth. ii. I : Tas 8' operas Xapfidvofjifv fvepyrja-avrts irporeoov.
Ib. 6 : TJ TOV dvdpanrov apenj e"[rj av fis d(p' rjs dya66s avGpwros
yiyverai. KOI d(p' fjs ev TO eavrov epyov aTTofiaxrei.
62 They ascend into the sphere of Jupiter.
63 miracolo : cf. V. N. xxi. : " SI e nuovo miracolo gentile."
R
242 PARADISO. CANTO xvm.
star, which had received me within itself. I beheld in
that torch of Jove the sparkling of the love which was
there signify to my eyes our speech. And as the birds
risen from a river-bank, as though rejoicing together at
their feeding, make of themselves a troop, now round, now
otherwise, so within the lights holy beings were singing as
they flitted, and were making now a D, now an I, now
an L, in their own shapes. At first as they sang they kept
moving to their note ; afterwards, as they became one of
these characters, they halted a little and were silent.
O goddess of the fountain, who makest men's wits
Sesta, che dentro a se m' avea ricolto.
lo vidi in quella giovial facella 70
Lo sfavillar dell' amor che li era,
Segnare agli occhi miei nostra favella.
E come augelli surti di riviera,
Quasi congratulando a lor pasture,
Fanno di se or tonda, or altra schiera,"
SI dentro ai lumi sante creature
Volitando cantavano, e faciensi
Or D, or I, or L in sue figure.
Prima cantando a sua nota moviensi :
Poi, diventando 1' un di questi segni, 80
Un poco s' arrestavano e taciensi.
O diva Pegasea, che gl' ingegni
e or t. or lunga Gg. W. Bi.
'f i 3 By grouping themselves so as to form words.
75 altra is the reading which has the vast preponderance of MS.
authority and of the early edd. ; and hmga is far more likely to have
been a gloss on it than vice versd.
82 diva Pegasea : the Muse in general, probably. Dante invokes
more than one by name, e.g. Calliope in Purg. i. 9, and Urania,
ib. xxix. 41 ; but there is no reason for trying to identify any one in
CANTO xvin. PARAD1SO. 243
glorious, and renderest them long-lived, as they with thy
aid do cities and realms, illustrate me with thyself so that I
may carve out the forms of them as I have conceived
them : let thy power appear in these short verses. They
showed themselves then in five times seven vowels and
consonants ; and I noted the parts as they appeared
spoken to me. Diligite jiislitiam were first verb and noun
of the whole picture ; Qui judicatis terrain were last. Then
they remained arranged in the M of the fifth word, so that
Fai gloriosi, e rendigli longevi,
Ed essi.teco le cittadi e i regni,
Illustrami di te, si ch' io rilevi
Le lor figure, com' io 1' ho concette :
Paia tua possa in questi versi brevi.
Mostrarsi dunque in cinque volte sette
Vocali e consonanti ; ed io notai f
Le parti si come mi parver dette. 90
Diligite juslitiam, primal
Fur verbo e nome di tutto il dipinto :
Qui judicatis terrain, fur sezzai.
Poscia nell' M del vocabol quinto
f and' io Gg.
particular here. He was probably thinking of Persius, Prol. 1. 14.
The fountain is of course Hippocrene, made by the hoof of Pegasus.
9'-93 Diligite justitiam qui judicatis terram are the opening words of
the Book of Wisdom. They are appropriate to this sphere, which con-
tains the spirits of kings and chieftains renowned for justice ; and serve
to introduce what may be called an apotheosis of the personified empire :
cf. de Mon. i. 13. It is clear that the letters of the sentence are to be
conceived as being formed one by one, by the whole number of spirits ;
not all at once. When the final M is reached, they pause for a short
time, and then the letter, by an easy metamorphosis, passes first into
the lily of Florence with an eagle's head and neck, and lastly into the
full shape of the imperial eagle.
R 2
244 PARADISO. CANTO xvm.
Jupiter appeared silver studded there with gold. And I
saw other lights descend where the head of the M was,
and rest there, singing I think the Good which moves
them to itself. Afterwards, as in the striking of burnt logs
innumerable sparks rise up, whence the simple are wont to
take auguries, there appeared to arise again from thence
more than a thousand lights, and mount up one much and
another little, according as the Sun which kindles them,
allotted them ; and, each resting in its place, I saw that
studded fire represent the head and neck of an eagle. He
Rimaser ordinate, si che Giove
Pareva argento li d' oro distinto.
E vidi scendere altre luci, dove
Era il colmo dell' M, e li quetarsi
Cantando, credo, il ben ch' a se le muove.
Poi come nel percuoter det ciocchi arsi 100
Surgono innumerabili faville,
Onde gli stolti spgliono agurarsi,
Risurger parver quindi piu di mille
Luci, e salir qual assai e qual poco,
Si come il Sol, che 1' accende, sortille : g
E quietata ciascuna in suo loco,
La testa e il collo d' un' aquila vidi
E accende e sort. Gg. Cass. 1234 W.
96 Conv. ii. 14 : intra tutte le stelle bianca si mostra [sc. la stella
cli Giove], quasi argentata. (Whence he goes on to show that Jupiter
corresponds to the science of geometry, which can have no blemish of
error.)
102 The commentators tell us that the country-folk were wont to
strike two lighted sticks together, and divine from the resulting shower
of sparks the number of gold pieces, years of life, and the like, which
might be in store for them.
107. 108 yjdj rappresentare a . . . : Construction as Purg. viii. 106,
etc., where see note. It is curious how even Italian commentators
CANTO xvin. PARADISO. 245
who depicts there has none to guide Him, but Himself is
guide, and from Him is had in mind that virtue which is
the formative power for the nests. The other blessedness,
which appeared at first content to be enlilied on the M,
with a little movement followed out the imprint. O sweet
star, what manner and what number of what gems showed
me that our justice is an effect of the heaven wherein thou
art set ! Wherefore I pray the Mind wherein thy motion
Rappresentare a quel distinto foco.
Quei che dipinge li, non ha chi il guidi ;
Ma esso guida, e da lui si rammenta 1 1 o
Quella virtu ch' e forma per li nidi.
L' altra beatitude, che contenta
Pareva in prima d' ingigliarsi all' emme,
Con poco moto, seguito la imprenta.
O dolce Stella, quali e quante gemme
Mi dimostraronj che nostra giustizia
ErTetto sia del cielo che tu ingemme !
Per ch' io prego la mente, in che s' inizia
seem to have puzzled themselves over this common idiom. Observe
that as yet we have only the head and neck of the eagle ; the whole
bird with open wings is not complete. At present the M has taken the
form of a fleur-de-lys (1. 113) surmounted by the eagle's head. See the
late Duke of Sermoneta's explanation with diagrams, given at length
by Scartazzini.
111 Philalethes is no doubt right in explaining this to mean that the
same formative power which shapes the young bird in the egg, is here
displayed in the formation of the eagle's shape.
112 L' altra beatitude : the rest of the blessed spirits, other than
those forming the head and neck.
114 Those who are familiar with the mediaeval shape of the imperial
eagle will see that it can be formed by a slight modification from the
lily.
117 Effetto : as in viii. 107.
246 PARADISO. CANTO xviii.
and thy virtue have their origin, that He look whence
issues the smoke that spoils thy ray, so that another time
hereafter He may be wroth at the buying and selling within
the temple, whose walls were built with signs and martyr-
doms. O soldiery of the heaven on whom I gaze, pray for
them who are on earth all gone astray after the bad ex-
ample. Once were they wont to make war with their
swords ; but now it is waged by taking away now here now
there the bread which the good Father locks up from no
man. But thou who writest only to cancel, bethink thee
that Peter and Paul who died for the vine that thou art
\ ~ Tuo moto e tua virtute, che rimiri
Ond' esce il fummo, che il tuo raggio vizia : 120
Si ch' un' altra fiata omai s' adiri
Del comperare e vender dentro al templo,
Che si murb di segni e di martiri. h
O milizia del Ciel, cu' io conternplo,
Adora per color, che sono in terra
Tutti sviati dietro al malo esemplo.
Gia si solea con le spade far guerra ;
Ma or si fa togliendo or qui or quivi
Lo pan, che il pio padre a nessun serra.
Ma tu, che sol per cancellare scrivi, 130
Pensa che Pietro e Paolo, che moriro'
h di sangue Gg. 3 Aid. ' Polo W. ; Paulo Gg. Cass. 2.
124 So caelestis militia, of the angels at the Nativity, De Mon. i. 5
(quoted from Luke ii. 13).
126 Cf. Purg. xvi. 100 sqq.
'3 The allusion is to ihe notorious vacillations of Clement V. See
note to xvii. 82. P. di Dante seems to understand the meaning to be
that he excommunicated in order to profit by cancelling the excom-
munication.
CANTO xvni. PARADISO. 247
laying waste, are yet alive. Well canst thou say : " I have
my desire so fixed on him who willed to live solitary, and
who was brought by means of dancing to martyrdom, that
I know not the Fisherman nor Paul."
Per la vigna che guasti, ancor son vivi.
Ben puoi tu dire : lo ho fermo il disiro
Si a colui che voile viver solo,
E che per salti fu tratto a mar tiro,
Ch' io non conosco il Pescator, ne Polo.
134 colui : St. John Baptist, whose image was stamped upon the
florin, and who thus is regarded as the special object of Clement's
devotion.
136 il Pescator. So Purg. xxii. 63. Scartazzini thinks that the
term is meant to be contemptuous here, and that the use of the vulgar
form Polo indicates the same.
II
'
CANTO XIX.
ARGUMENT.
The Eagle speaks, and shows that God's justice is not as man's justice ;
and reprehends the evil deeds of certain kings.
BEFORE me appeared with its wings outspread the beauteous
Image, which in the sweet fruition was making joyous the en-
twined souls. Each one seemed a little ruby whereon a ray
of the sun's light should burn with such a flame as to reflect
him into my eyes. And that which it behoves me this time
PAREA dinanzi a me con F ali aperte,
La bella image, che nel dolce frui
Liete faceva 1' anime conserte.
Parea ciascuna rubinetto, in cui
Raggio di Sole ardesse s\ acceso,
Che nei miei occhi rifrangesse lui.
E quel che mi convien ritrar testeso,
3 It would be perhaps better to readfacevan : " the image which the
entwined souls in their joy were making." There is practically no
difference in many MSS. between the singular and the plural, except
what a line over the a gives. Dr. Moore tells me that of the MSS.
examined by him 79 have faceva, 55 facevan, and 39 facendo. The
last involves a comma instead of a stop at the end of the line.
s Cf. ii. 33.
6 rifrangesse : see note to Purg. xv. 20.
CANTO xix. PARADISO. 249
to portray, voice has never borne nor ink written, nor has it
been by fancy ever comprehended ; for I saw, and eke I
heard the beak talk, and / and My sound in the voice,
when in the conception it was We and Our. And it began :
" Through being righteous and good am I here exalted to
this glory, which allows not desire to surpass it; and on
earth I left my memory of such sort, that the evil folk there
commend it, but follow not its story." Thus does of many
coals one single heat make itself felt, as of many loves
issued singly one sound from that image. Wherefore I
thereafter: "O perpetual flowers of the everlasting joy,
Non portb voce mai, ne scrisse inchiostro, a
Ne fu per fantasia giammai compreso ;
Ch' io vidi, ed anche udii parlar lo rostro, 10
E sonar nella voce ed Io e Mio,
Quand' era nel concetto Noi e Nostro.
E comincio : Per esser giusto e pio
Son io qui esaltato a quella gloria,
Che non si lascia vincer a disio :
Ed in terra lasciai la mia memoria
Si fatta, che le genti li malvage
Commendan lei, ma non seguon la storia.
Cos! un sol calor di molte brage
Si fa sentir, come di molti amori 20
Usciva solo un suon di quella image.
Ond' io appresso : O perpetui fiori
a oncostro Gg. Cass.
'5 Another rendering is that preferred by Philalethes : " Which
suffers not itself to be won by wishing. " But this appears somewhat
frigid, and also less idiomatic. See Diaz iii. 123. The only question
is whether we ought not, with the Berlin and Caetani MSS. , to read
al desio.
250 PARADISO. CANTO xix.
which as one only make all your odours manifest to me,
loose for me by your breath the great fast which has kept
me a long time in hunger, not finding for it on earth any
food. Well know I that if in heaven the divine justice
makes any realm its mirror, yours apprehends it not with a
veil. Ye know how intent I make me ready to listen ; ye
know what is that doubt, which is to me a fast of so old
standing."
As a falcon which issues from the hood moves its head
Dell' eterna letizia, che per uno
Parer mi fate tutti i vostri odori, b
Solvetemi, spirando, il gran digiuno,
Che lungamente m' ha tenuto in fame,
Non trovandoli in terra cibo alcuno.
/ Ben so io, che se in cielo altro reame
/ La divina giustizia fa suo specchio,
Che il vostro non 1' apprende con velame. 30
Sapete, come attento io m' apparecchio
Ad ascoltar : sapete quale e quello
Dubbio, che m' e digiun cotanto vecchio.
Quasi falcone ch' esce di cappello, c
Muove la testa e con 1' all si plaude,
b Sentir Aid. Bi.; p. mi. fee e Cass.
c Qual' ilf. uscendo W.; Quasi f. che uscendo Bi.
2 3, =4 Cf. Purg. vii. 80, 8 1.
28 se altro. Cf. Lat. si quis alius. Here, if anywhere, is the
justice of Heaven mirrored.
33 The nature of the doubt is sufficiently explained in the reply. It
is one which has perplexed many pious souls before and since Dante's
time ; nor has theology gone, on its own premises, any nearer to giving
a. satisfactory answer.
34 For the metaphor, cf. Purg. xix. 64. As has often been remarked,
Dante is extremely fond of images taken from the falcon.
CANTO XIX. PARADISO. 2 51
and claps with its wings, showing its wish, and making
itself fair, saw I that sign behave, which was woven out of
praise of the divine grace, with chants such as he knows
who rejoices on high. Then it began : " He who turned the
compasses about the end of the world, and within it set
out so much occult and manifest, could not make His
Voglia mostrando e facendosi bello,
Vid' io farsi quel segno, che di laude
Delia divina grazia era contesto, t^r"*"*'
Con canti, quai si sa chi Tassu gaude.
Poi comincib : Colui, che volse il sesto 40
Allo stremo del mondo, e dentro ad esso
Distinse tanto occulto e manifesto,
Non poteo suo valor si fare impresso
40 Scart. quotes appositely Milton P. L. vii. 224 :
In his hand
He took the goldeg compasses, prepared
In God's eternal store, to circumscribe
This universe, and all created things.
There is probably an allusion to Prov. viii. 27. It may be noticed that
Diet. Cruse, s.v. Sesto considers the word to be used not exactly as
equivalent to " compasses," but as an architectural term, denoting "the
curvature of an arch or vault."
- 4 s Cf. S. T. i. Q. 25. A. 2 : Potentia activa invenitur in Deo
secundum quod ipse actu est. Esse autem ejus est infinitum, inquanturn
non est limitatum per aliquid recipiens .... Unde necesse est quod
activa potentia Dei sit infiniia. In omnibus enim agentibus hoc
invenitur, quod quanto aliquid agens perfectius habet formam qua agit,
tanto est major ejus potentia in agendo. Sicut quanto aliquid est magis
calidum tanto habet majorem potentiam ad calefaciendum : et haberet
utique potentiam infinUum ad calefaciendum si ejus calor esset infinitus.
Unde, cum ipsa essentia divina sit infinita, sequitur quod ejus potentia
est infinita. ("Potentia" here is of course simply "power," not
"potentiality.") verbo is not so much the conception, or wisdom, of
God, (Bianchi, Scartazzini) as the creative power ; St. John i. 3. It
252 PARADISO, CANTO xix.
goodness so imprinted on all the universe that His word
should not remain in infinite superabundance. And it
proves this, that the first proud one, who was the crown
of every creature, through not awaiting light, dropped un-
ripe. Hence it appears that every lesser nature is too
scant a receptacle for that good which has no end, and
measures itself with itself. Our sight then, which must
In tutto 1' universe, che il suo verbo
Non rimanesse in infinito eccesso.
E cib fa certo, che il primo superbo,
Che fu la somma d' ogni creatura,
Per non aspettar lume cadde acerbo.
E quinci appar, ch' ogni minor natura
E corto recettacolo a quel bene, 50
Ch' e senza fine, e se con se misura. d
Dunque nostra veduta, che conviene
d si in si Aid. Bi.
may however have been suggested by St. Luke i. 37 : " quia non erit
impossibile apud Deum omne verbum."
46 il primo superbo : iLucifer. Cf. Purg. xii. 25. "The desire of
power in excess caused the angels to fall" (Bacon). S. T. I. Q. 63. A. 3 :
Angelus absque omni clubio peccavit appetendo esse ut Deus . . . . Et
hoc modo diabolus appetiit esse ut Deus, non ut ei assimilaretur
quantum ad hoc quod est nulli subesse simpliciter .... sed in hoc
appetiit indebite esse similis Deo, quia appetiit ut finem ultimam beati-
tudinis id ad quod virtute suae naturae poterat pervenire, avertens
suum appetitum a beatitudine supernatural!, quae est ex gratia Dei.
A similar fault, he implies, is committed by those who try to measure
the Divine justice by their own reason.
52-37 "Our knowledge, which is itself but a portion of God's know-
ledge, cannot fail to perceive that its source lies far beyond aught of
which it is cognisant by the senses." The last three lines are very
involved, and seem as if the writer had confused two expressions :
" our knowledge has not power to discern its origin," and " the origin
of our knowledge lies far beyond the intimations of sense." Bianchi's
CANTO xix. PARADISO. 253
needs be one of the rays of the mind whereof all things are
full, cannot of its nature be so potent as not to discern that
its origin is far beyond that which is apparent to it. Where-
fore into the everlasting justice the view which your world
receives enters within as eyesight through the sea, which,
albeit it sees the bottom from the shore, on the high sea
sees it not ; and nevertheless it exists ; but its being deep
conceals it. Light is there none, unless it comes from the
serene which is never troubled, rather is it darkness, or the
shadow of the flesh, or its venom. Now is laid open enough
Essere alcun dei raggi della mente,
Di che tutte le cose son ripiene,
Non puo di sua natura esser possente
Tanto, che suo principio non discerna 6
Molto di la, da quel ch' egli e, parvente. s^
Perb nella giustizia sempiterna
La vista che riceve il vostro mondo,
Com' occhio per*lo mar, entro s' interna : 60
Che benche dalla proda veggia il fondo/
In pelago non vede ; e nondimeno
Egli e, ma cela lui 1' esser profondo.
Lume non e, se non vien dal sereno,
Che non si turba mai, anzi e tenebra,*
Od ombra della carne, o suo veleno.
e si discerna 145. f della proda Gg. Cass. 124. K si muta 145.
interpretation of di Ik as lontano will hardly do ; and Giuliani's sug-
gestion of di qua, though ingenious, and simplifying, wholly lacks
authority. There is a curious anticipation of Spinoza in the lines 52-54.
61-63 \Vith the metaphor cf. Purg. viii. 69 : Non gli e guado.
64 sereno : evidently with allusion to its common meaning, "the
clear sky."
66 "ombra riguarda 1'intelletto, veleno la volonta." Scart.
254 PARADISO. CANTO xix.
to thee the hiding-place which hid from thee the living
justice whereof thou wast wont to make so frequent ques-
tion : for thou saidest : A man is born on the bank of the
Indus, and none is there to talk of Christ, nor to read, nor
to write ; and all his volitions and acts are good, so far as
human reason sees, without sin in life or in'converse. He
dies unbaptized and without faith ; where is this justice
which condemns him ? where is his fault, if he believes not ?
Now who art thou, who wilt sit in chancery to judge at a
thousand miles away with thy sight shortened to a span ?
Assai t' e mo aperta la latebra,
Che t' ascondeva la-giustizia viva,
Di che facei quistion cotanto crebra ;
Che tu dicevi : Un uom nasce alia riva 70
Dell' Indo, e quivi non e chi ragioni
Di Christo, ne chi legga, ne chi scriva :
E tutti suoi voleri ed atti buoni
Sono, quanto ragione umana vede,
Senza peccato in vita od in sermoni :
Muore non battezzato e senza fede ;
Ov' e questa giustizia, che il condanna ?
Ov' e la colpa sua, s' egli non crede ? h
Or tu chi sei, che vuoi sedere a scranna'
Per giudicar da lungi mille miglia, So
Con la veduta corta d' una spanna?
h QuaF 2 Aid. ' a scanna Cg. Cass. 124.
70 sqq. cf, D e Mon. ii. 8 : Quaedam autem stint Dei judicia, ad
quae humana ratio, etsi ex propriis pertingere nequit, elevatur tamen ad
ilia cum adjutorio fidei et eorum quae in sacris literis nobis dicta sunt ;
sicut ad hoc : quod nemo, quantumcunque moralibus et intellectualibus
virtutibus, et secundum habitum et secundum operationem perfectus,
absque fide salvari potest ; dato quod nunquam de Christo audiverit.
77 Cf. iv. 67.
CANTO XIX.
PARADISO.
255
Of a surety he who sets himself to be subtle with me, if
the Scripture were not above you, would to a marvel have
whereof to doubt. O earthly animals, O gross minds !
The primary Will which is of itself good, never has moved
from itself, that is the highest Good. In such measure is It
just, as with It is consonant ; no created good draws It to
itself, but Itself, radiating, occasions it."
As right above her nest wheels round the stork after she
has fed her young, and as the one who has been fed looks
back at her, so became, while I so raised my eyes, the
blessed image, which was moving its wings, impelled by so
high counsels. Rotating it began to sing and said : " As
are my notes to thee who understandest them not, such is
the eternal judgement to you mortals."
Certo a colui che meco s' assottiglia,
Se la scrittura sovra voi non fosse,
Da dubitar sarebbe a maraviglia.
O terreni animali, o menti grosse,
La prima Volonta ch' e per se buona,
Da se, ch' e sommo ben, mai non si mosse.
Cotanto e giusto, quanto a lei consuona :
Nullo create bene a se la lira,
Ma essa, radiando, lui cagiona. 90
Quale sovresso il nido si rigira,
Poi ch' ha pasciuti la cicogna i figli,
E come quel ch' e pasto la rimira,
Cotal si fece, e si levai li cigli,
La benedetta immagine, che 1' ali
Movea sospinta da tanti consigli.
Roteando cantava, e dicea : Quali
Son le mie note a te, che non le intendi,
Tal e il giudicio eterno a. voi mortali.
256 PARADISO. CANTO xix.
After those bright beacons of the Holy Spirit were
at rest, still in the sign which made the Romans to be
revered by the world, it began again : " To this realm never
has ascended one who believed not in Christ, either before
or after He was nailed to the tree. But behold, many
cry, Christ, Christ, who in the judgement shall be far less
near to Him than such an one that knew not Christ and
such Christians shall the Ethiop condemn, when the two
companies shall be sundered, the one rich to everlasting,
the other poor. What will the men of Persia be able to
say to your kings, when they shall see that volume opened
Poi si quetaron quei lucenti incendi k 100
Dello Spirito Santo ancor nel segno,
Che fe i Romani al mondo reverendi,
Esso ricomincib : A questo regno
Non sali mai chi non credette in CRISTO,
Ne pria ne poi che il si chiavasse al legno.
Ma vedi, mold gridan CRISTO CRISTO, m
Che saranno in giudicio assai men/nyte
A lui, che tal che non conobbe CRISTO :
E tai Cristian dannera 1' Etiope,
Quando si partiranno i due collegi, no
L' uno in eterno ricco, e 1' altro inope.
Che potran dir li Persi ai vostri regi,
Com' ei vedranno quel volume aperto,
k Poi seguitando Cass. ; seguitaro 124.
1 et pria et poi Cass. ; el . . el . . I (et el) 45 ; Vel . . vel Aid.
111 gridar alt. to gridan Gg.
102 Cf. Canto vi. passim.
I0 5 Cf. XX. IO5.
io6 S qq. cf, g t> Matt. viii. II, and xii. 41.
CANTO xix. PARADISO. 257
in which are written all the dispraises of them? There
shall be seen among the deeds of Albert that which soon
will set the pen in movement, through which the kingdom
of Prague shall become desert. There shall be seen the
woe which upon Seine is bringing, through debasing the
money, he who shall die by stroke of boar. There shall be
Nel qual si scrivon tutti suoi dispregi ? n
LI si vedra tra 1' opere d' Alberto
Quella che tosto movera la penna,
Perche il regno di Praga fia deserto.
LI si vedra il duol, che sopra Senna
Induce, falseggiando la moneta,
Quei che morra di colpo di cotenna. 120
Li si vedra la superbia ch' asseta,
n servion 15.
"S Observe the structure of this and the following tercets ; and cf.
Purg. xii. 25 sqq. From this point*to the end of the Canto the notes
of Philalethes will be found of great service. I have taken so much as
is required to make the allusions intelligible. Alberto. Albert of
Hapsburg (Purg. vi. 97) in 1304 invaded and devastated Bohemia,
with the object of forcing Wenceslaus IV. to consent to the substi-
tution of Carlo Ruberto, son of Carlo Martello (viii. 31), for his own
son, Wenceslaus, on the throne of Hungary.
116 penna : that wherewith events are written in the book of God.
118-120 The debasement of the coinage by Philip the Fair was
notorious among the misdeeds of his reign. He died in 1314 from the
effects of a fall from his horse, caused by the charge of a wild boar. '
" Essendo a sua caccia, uno porco salvatico gli s' attraverso tra le gambe
del cavallo in su che era, e fecelne cadere, e poco appresso mori."
Vill. ix. 66. cotenna : lit. "a boar's hide."
121.123 The a iiu s ion is to the contests of Edward I. with the Scotch
which had raged till just before this time. The raids of either side
across the border seem to have especially struck the Italian imagination.
See Vill. viii. 67.
S
258 PARADISO. CANTO xix.
seen the pride that causes thirst, which is making the Scot
and the Englishman so mad that each cannot endure
within his own boundaries. Seen shall be the luxury and
the delicate living of him of Spain and of him of Bohemia,
that never knew goodness nor willed it. Seen shall be the
lame man of Jerusalem to have his good quality marked
with an I, while an M shall mark the contrary. Seen
shall be the avarice and the baseness of him who keeps
the Island of the fire, where Anchises ended his long life.
And, to give to understand how paltry he is, the writing of
Che fa lo Scotto e 1' Inghilese folle
Si che non pub soffrir dentro a sua meta.
Vedrassi la lussuria, e il viver molle
Di quel di Spagna, e di quel di Buemme,
Che mai valor non conobbe ne voile.
Vedrassi al Ciotto di Gerusalemme
Segnata con un I la sua bontate,
Quando il contrario segnera un' emme.
Vedrassi 1' avarizia e la viltate 130
Di quel che guarda 1' isola del fuoco,
Dove Anchise finl la lunga etate :
E a dare ad intender quanto e poco,
"5 quel di Spagna is Ferdinand IV. of Castile (1295-1312);
obviously not Alfonso X., for Dante is speaking only of princes actually
reigning at the time. quel di Buemme: Wenceslaus IV., the prince
commemorated in Purg. vii. 101.
127 il Ciotto di Gerusalemme : Charles II. of Apulia and Naples,
a crown which carried the title of King of Jerusalem. " Fu sciancato
alquanto," Vill. vii. I. See note to Purg. vii. 126. The words of
Villani there quoted sufficiently explain the two next lines.
'3 1 Frederick of Aragon, king of Sicily ; Purg. vii. 119.
133-135 These lines are somewhat obscure, and the notes in Gg.
hardly less so. The writer says: "per contrarium quod multa mala
possunt dici de eo in paucis verbis" ; and to mozze he has : "i.e.
CANTO xix. PARADISO. 259
him shall be maimed letters, which shall note much in
small space. And to all men shall appear the filthy works
of his uncle and of his brother, who have made so famous
a nation and two crowns dishonoured. And those of
Portugal and of Norway shall there be known, and he of
La sua scrittura fien lettere mozze,
Che noteranno molto in parvo loco.
E parranno a ciascun 1' opere sozze
Del barba, e del fratel, che tanto egregia
Nazione e due corone han fatte bozze.
E quei di Portogallo e di Norvegia
Che non terranno Cass. 3.
singulis proprietatibus." Perhaps the best explanation is that which
understands the lettere mozze to be abbreviations, such as were
common in the writing of the time, in order to save space. The
meaning then must be, not that Frederick's crimes were so many that
there would be lack of space to record them (which would make the
use of such a word as poco very awkward), but that he was too con-
temptible to be worth more than a*rapid and abbreviated record. The
Aldine reads quanta & poco la sua scrittura ; fien /. m. It is not im-
possible thatyfe 'n may be better.
I3 ? il barba : James of Aragon, brother of Peter, and king of
Majorca. il fratel : James, son of Peter, king of Aragon : Purg. vii. 119.
139 Denis, king of Portugal, 1279-1325. He seems to have had a
good report among his contemporaries, and to have governed well,
extending especially the commerce of his country. Philalethes suggests,
upon a hint given by the Ottimo, that this may have been his fault in
Dante's eyes. It is however remarkable that all the sovereigns of the
Spanish peninsula come in for a share in this invective, that about this
time there was a pause in the process of expelling the Mussulmans from
that country, and that nearly all the others named are rulers of terri-
tories on the outskirts of Christendom. It looks almost as if Dante
intended this list as a kind of counterpart to the roll of champions of
the faith given in the last Canto. Observe that in xv. 144 it is
" vostra giustizia " which the infidel usurps. There is probably a
further charge implied, that the modern kings were too much occupied
in fighting among themselves, to be able to attend to internal good
S 2
260 PARADISO. CANTO xix.
Rascia who to his own hurt saw the coin of Venice. O
happy Hungary, if none is allowed any more to maltreat it !
and happy Navarre, if it should fortify itself with the
mountain that wraps it round ! And each man must be-
lieve that already, for earnest of this, Nicosia and Famagosta
are lamenting themselves and clamouring by reason of their
beast, which separates not itself from the side of the others.
Li si conosceranno, e quel di Rascia, 140
Che male ha visto il conio di Vinegia. p
O beata Ungaria, se non si lascia
Piu malmenare ! e beata Navarra,
Se s' armasse del monte che la fascia !
E creder dee ciascun, che gia per arra
Di questo, Nicosia e Famagosta
Per la lor bestia si lamenti e garra,
Che dal fianco dell' altre non si scosta.
P adiusto Aid.; aggiustb Bi. Giul.
government. Norvegia : Hakon the Longlegged (1299-1319) passed
his reign in wars with Denmark.
140, HI Stephen Ouros, king of Rascia (the modern Illyria and
Dalmatia), seems to have struck coins of debased metal more or less in
imitation of the Venetian ducat. "Iste falsificavit ducatum Veneto-
rum," says Comm. Gg. These were excluded by decree from the
Venetian territory. mal, as in Purg. iv. 72. He appears also to have
first defrauded and then gone to war with the Republic of Ragusa. See
Sir G. Wilkinson, Dalmatia, vol. i. p. 310.
142 The kingdom of Hungary had just passed into the hands of
Charles Robert of Anjou, son of Charles Martel (Canto viii.). Dante's
words may be ironical ; but possibly he hoped for good things from the
son of the only member of the house of Anjou whom he admired.
14 3 Joan of Navarre married Philip the Fair, but continued to rule
the kingdom herself. At her death in 1304 the crowns of Navarre and
France were for a while united in Louis Hutin and his brothers.
146 Cyprus was being misgoverned at this time by Henry II. of the
house of Lusignan and his brother Almeric, prince of Tyre.
n/
CANTO XX.
ARGUMENT.
The Eagle speaks further, showing who are the souls whereof his eye is
composed, and how it comes to pass that certain pagans are among
them.
WHEN he who illumines all the world is so descending from
our hemisphere, that the day is melting away on every
hand, the heaven which before is kindled with him only
suddenly becomes again apparent by reason of many
lights, on which a single one beams. And this fashion of
QUANDO colui che tutto il mondo alluma,
Dell' emisperio nostro si discende,
Che il giorno d' ogni parte si consuma, 3
Lo ciel che sol di lui prima s' accende, b
Subitamente si rifa parvente
Per molte luci, in che una risplende.
a E 'I giorno Aid. Bi. b semprende Gg.
4 I have followed the usual reading and rendering, which however
is not satisfactory, on account of the awkwardness of the present
accende, where a past tense is obviously required. May we not read
with at least one MS. frimo, " the heaven which is the first to be
kindled with his sole light," i.e. the eastern heaven? It is here of
course that the light of the rising sun first puts out all others, and here
that the stars begin to reappear at sunset.
6 una : because in Dante's time it was held that all the stars shone
by the sun's reflected light. See Conv. ii. 14 : del suo lume tutte le
262 PARADISO. CANTO xx.
the heaven came to my mind, when the ensign of the world
and of its leaders was silent in its sacred beak ; seeing that
all those living lights shining far more, began songs which
from my memory have slipped and fallen.
O sweet love, who cloakest thyself with a smile, how
ardent didst thou appear amid those pipes which have
their breath only of holy thoughts.
After that the costly and lucid stones wherewith I saw
the sixth light ingemmed had imposed silence on their
E quest' atto del ciel mi venne a mente,
Come il segno del mondo, e dei suoi duci,
Nel benedetto rostro fu tacente :
Perb che tutte quelle vive luci, 10
Vie piu lucendo. cominciaron canti c
Da mia memoria labili e caduci.
O dolce Amor, che di riso t' ammanti, d
Quanto parevi ardente in quei flailli, 6
Ch' aveano spirto sol di pensier santi !
Poscia che i cari e lucidi lapilli,
Ond' io vidi ingemmato il sesto lume,
c lucenti Gg. V/. d di luce f am. Gg.
e flavilli Gg.; favilli Aid.
altre stelle s' informano ; and iii. 12 : il sole, lo quale di sensibile luce
s& prima e poi tutti i corpi celestiali e elementali allumina.
7 sqq. AS when the sun is gone, the stars come out, so when the
eagle ceased speaking, the various voices were heard in their song.
14 flailli seems to be the reading with most authority. The word
does not occur elsewhere, but it may well be formed from the old
Fr. flajol, mod. flageolet. The next line is hardly intelligible unless
some kind of musical instrument is intended. Scartazzini suggests
failli = old Fr. faille, fromfacuta. But this is already represented by
fiaccola, and the change of gender would alone be an almost insur-
mountable objection.
CANTO xx. PARADISO. 263
angelic chime, methought I heard a murmuring of a stream
which descends clear, down from rock to rock, showing
the abundance of its head. And as a sound takes its form
at the neck of the lute, and as at the orifice of the shawm
the wind which passes through, so, delay of expectation
removed, that murmuring of the eagle rose up through his
neck, as it had been hollow. There it became voice, and
thence it issued through his beak in form of words, such as
was awaiting the heart wherein I wrote them down.
" The part in me which sees and endures the sun in
mortal eagles," it began to me, " now would be gazed on
Poser silenzio agli angel ici squilli,
Udir mi parve un mormorar di fiume,'
Che scende chiaro giu di pietra in pietra, 20
Mostrando 1' uberta del suo cacume. , ^..
E come suono al collo della cetra_
Prende sua forma, e si come al pertugio
Della sampogna*vento che penetra ;
Cosi rimosso d' aspettare indugio
Quel mormorar dell' aquila salissi,^
Su per lo collo, come fosse bugio.
Fecesi voce quivi, e quindi uscissi
Per lo suo becco in forma di parole,
Quali aspettava il cuore, ov' io le scrissi. 30
La parte in me, che vede, e pate il sole
NelP aguglie mortali, incominciommi,
Or fisamente riguardar si vuole :
f Adir 145. s per V aquila Gg.; per laguglia 3.
20 We should rather expect scenda ; but cf. xxi. 26, and see Purg.
xxii. 67.
23 The note is the form, the sound is the material.
264 PARADISO. CANTO xx.
fixedly ; because, of the fires whereof I make my shape
those wherewith the eye in my head sparkles, they are
highest of all in their grades. He who shines in the midst
for pupil was the singer of the Holy Spirit, who transferred
the ark from town to town. Now knows he the merit of
his chant in so far as it was the effect of his counsel,
through the recompense which is equally great. Of the
five, who make me a circle for eyelid, he who is closest
beside my beak, consoled the poor widow for her son.
Perche dei fuochi, ond' io figura fommi,
Quelli, onde 1' occhio in testa mi scintilla,
Di tutti in loro gradi son li sommi :
Colui che luce in mezzo per pupilla,
Fu il cantor dello Spirito Santo,
Che P area traslato di villa in villa : h
Ora conosce il merto del suo canto, 40
In quanto effetto fu del suo consiglio, 1
Per lo remunerar, ch' e altrettanto.
Dei cinque che mi fan cerchio per ciglio,
Colui che piu al becco mi s' accosta,
La vedovella consolo del figlio :
h trasmttti Gg. ' affetto Aid.
36 It seems most simple to read in loro gradi ; and with this the
note in Cass. agrees : "illi spiritus qui construunt oculos istius aquilae
omnium aliorum construentium dictam Aquilam sunt summiores (sic) et
venerabiliores," gradi may easily have been attracted into the plural.
Observe that only one eye of the eagle is seen, showing that it is
imagined in profile, as on the imperial shield,
38 David ; with allusion to 2 Sam. vi.
40 Ora conosce : note again the structure of the passage to 1. 72.
41 This does not appear to mean more than " in so far as it was due
to his own design, and not to direct inspiration." Consilium, says
Aquinas (S. T. ii. I. Q. 14), relates to means, not ends.
44 Trajan. See Purg. x. 75.
CANTO xx. PARADISO. 265
Now knows he how dear it costs not to follow Christ, by
the experience of this sweet life and of the opposite. And
he who follows in the circumference of which I speak,
along the ascending arc, delayed death by true penitence.
Now knows he that the eternal decree is not shifted, when
a worthy prayer makes to-morrow's on earth of to-day's.
The second who follows, with the laws and with me, under
a good intention which bore ill fruit, to give way to the
Pastor, made himself a Greek. Now knows he how the
ill, deduced from his good work, is not harmful to him,
albeit that the world be thereby destroyed. And he whom
Ora conosce quanto caro costa
Non seguir Cristo, per 1' esperienza
Di questa dolce vita e dell' opposta.
E quel che segue in la circonferenza,
Di che ragiono, per 1' arco superno, 50
Morte indugio per vera penitenza.
Ora conosce che ifc giudicio eterno
Non si trasmuta, quando degno preco k
Fa crastino laggiu dell' odierno.
L' altro, che segue, con le leggi e meco,
Sotto buona intenzion, che fe mal frutto,
Per cedere al pastor si fece Greco.
Ora conosce come il mal dedutto
Dal suo bene operar non gli e nocivo,
Awegna che sia il mondo indi distrutto. 60
k fere he degno Aid. Bi.
SI Hezekiah. 2 Kings xx., etc.
s* sqq. Cf. Purg. vi. 37 sqq. So S. T. ii. 2. Q. 83. A. 2 : Oratio
nostra non ordinatur ad immutationem divinae dispositionis, sed ut
obtineatur nostris precibus quod Deus disposuit.
ss Constantine the Great. meco : cf. vi. I.
56 Purg. xxxii. 138. ^ Inf. xix. 115.
266 PARADISO. CANTO xx.
thou seest on the downward arc was William, whom that
land mourns which laments living Charles and Frederick.
Now knows he how the heaven is enamoured of the just
king, and in the semblance of his brightness he still makes
it seen. Who would believe down in the erring world that
Rhipeus of Troy should be in this round the fifth of the
holy lights? Now knows he enough of that which the
world cannot see of the divine grace, albeit his view
E quel che vedi nelP arco declivo,
Guiglielmo fu, cui quella terra plora,
Che piange Carlo e Federigo vivo.
Ora conosce come s' innamora
Lo Ciel del giusto rege, ed al sembiante
Del suo fulgore il fa vedere ancora.
Chi crederebbe giu nel mondo errante,
Che Rifeo Troiano in questo tondo
Fosse la quinta delle luci sante ?
Ora conosce assai di quel che il mondo 70
Veder non pub della divina grazia ;
62 William II. " the Good," king of Sicily and Apulia, 1166-1189.
He was third and last in direct descent from Roger de Hauteville, ' ' the
Great Count." He married the daughter of Henry II. of England,
and on his death, without children, the crown passed, not uncontested,
to his aunt Constance (iii. 118). "The Sicilians in later times looked
back to the rule of this admirable prince, just as our oppressed fore-
fathers talked of the good laws of Edward the Confessor." (Kington-
Oliphant, Hist, of Frederick II., vol. i., p. 22.) It maybe observed
that Villani (iv. 20) makes terrible confusion of the history of the
Norman kings of Sicily.
63 Carlo e Federigo : xix. 127 sqq.
68 Aen. ii. 426 :
Cadit et Rhipeus, justissimus unus
Qui fuit in Teucris, et servantissimus aequi :
Dis aliter visum.
Did the last three words give the hint for 11. 70-72 ?
CANTO xx. PARADISO. 267
discerns not the depth." Like a lark which goes abroad
in air, singing first, and then holds her peace content with
the last sweetness which sates her ; such seemed to me the
image of the imprint of the eternal pleasure, according to
its desire for which each thing becomes of what sort it is.
And albeit in that place I was in regard to my doubting as
Benche sua vista non discerna il fondo.
Quale allodetta, che in aere si spazia 1
Prima cantando, e poi tace contenta
Dell' ultima dolcezza che la sazia,
Tal mi sembio 1' imago della imprenta
DelP eterno piacere, al cui disio
Ciascuna cosa, quale ell' e, diventa.
E awegna ch' io fossi al dubbiar mio
1 adoletta Gg.; lodoletta Bi,
? 6 The symmetry of the passage, Scartazzini . holds, requires that
contenta be understood before della imprenta. We must not take it
as a genitive after imago. On this interpretation the "imprint of the
eternal pleasure " must correspond with the ultima dolcezza, and
must thus refer to the last words which the eagle has spoken, and the
"pleasure " must therefore be the contemplation of the "depth of the
riches of the wisdom of God." This would be satisfactory, were there
not an obvious parallelism with ;xviii. 109-114. Quale ell' e must
mean " in its form " ; and the repetition of imprenta points the
allusion. The eagle, as the symbol of the empire, is the image of the
eternal pleasure, the desire for which is the formal cause of all things :
i. 102 sqq. See also De Mon. i. io. We must not, with some com-
mentators, understand disio of God's will ; for St. Thomas distinctly
states (S. T. i. Q. 20. Art. i) that "desiderium est boni non habiti,"
and denotes imperfection ; and consequently cannot be predicated of
God.
" eterno piacere : cf. xviii. 16.
79 dubbiar : how the presence of Rhipeus and Trajan is to be
reconciled with what was said at 1. 103 of the last Canto.
268 PARADISO. CANTO xx.
glass to the colour which covers it, it did not suffer me to
wait a while in silence, but with the force of its weight it
urged from my mouth, " What things are these ? " Where-
fore of sparkling I beheld great festival. Thereafter with
its eye more kindled, the blessed ensign responded to me,
not to keep me suspense in wondering : " I see that thou
believest these things because I say them, butseest not how;
so that if they are believed, they are concealed. Thou
dost as he who well apprehends the thing by name, but its
quiddity he cannot see, if another sets it not forth. Regnum
/ Li, quasi vetro allo color, che il veste ; 80
Tempo aspettar tacendo non patio :
Ma della bocca : Che cose son queste ?
Mi pinse con la forza del suo peso ;
Per ch' io di corruscar vidi gran feste.A/
Poi appresso con 1' occhio piu acceso
Lo benedetto segno mi rispose,
Per non tenermi in ammirar sospeso :
Io veggio che tu credi queste cose,
Perch' io le dico, ma non vedi come :
Si che se son credute, sono ascose. 90
Fai come quei che la cosa per nome
Apprende ben ; ma la sua quiditate
Veder non puote, s' altri non la prome.
Regnum caelorum violenzia pate
80 It may here be noted that until the fifteenth century only "ruby "
glass was "coated," i.e. made with a film of colour on one side, the
rest being clear, whence the force of the metaphor. All other glass
was " pot metal ; " that is, coloured throughout.
84 It will be remembered that an increase of brightness in the \/
blessed spirits is the equivalent of a smile. See v. 126.
94 Matt. xi. 12, where the Greek has /Staff rat, not exactly rendered
either by the " vim patitur " of the Vulgate, and still less by our
CANTO XX. PARADISO. 269
caelorum suffereth violence of warm love and of lively hope,
which overcomes the divine will, not in such wise as man
has the mastery over man, but overcomes it, because it
wills to be overcome, and being overcome, overcomes with
its own goodness. The first life in the eyelid and the fifth
make thee marvel because with them thou seest the angels'
domain adorned. They issued not from their bodies as
thou deemest Gentiles, but Christians, in firm faith, he of
the Feet that should suffer, he of them having suffered.
For the one from Hell, whence never has any come back
Da caldo amore e da viva speranza,
Che vince la divina volontate,
Non a guisa che 1' uomo all' uom sobranza,
Ma vince lei perche vuole esser vinta,
E vinta vince con sua beninanza.
La prima vita del ciglio e la quinta 100
Ti fa maravigliar, perche ne vedi
La region degli Angeli dipinta.
Dei corpi suoi non uscir, come credi,
Gentili, ma Cristiani, in ferma fede,
<J j Quel dei passuri, e quel dei passi piedi :
Che 1' una dello inferno, u' non si riede
Giammai a buon voler, tornb all' ossa,
" suffereth violence. " Dante evidently however understood the meaning
correctly.
95 Observe how the three virtues of faith, hope, and love are
worked in throughout this exposition. We have them (i) in this line
and 104; (2) in 109, 114, 116; (3) 121, 123, 124; and all together
in 127.
Io s Because one died before Christ, the other after.
106 In Hell there is no repentance.
10 ? torno all' ossa : the case of Trajan (who was recalled to life,
according to the legend, by the prayers of St. Gregory the Great, in
order that he might have room for repentance) is cited by Aquinas,
270 PARADISO. CANTO XX.
to a good will, returned to his bones, and this was a reward
of a lively hope ; of a lively hope, which put its power into
the prayers made to God to raise him up, in such wise that
His will could be moved. The glorious soul, whereof my
speech is, it is told having returned to the flesh, in which it
was a short time, believed in Him who had the power to
aid. it ; and believing was kindled into such a fire of true
love, that at its second death, it was worthy to come to
this mirth. The other, through grace which trickles from
a fountain so deep that never creature has urged its sight
E cib di viva speme fu mercede ; m
Di viva speme, che raise la possa m
Nei prieghi fatti a Dio per suscitarla, no
Si che potesse sua voglia esser mossa.
L' anima gloriosa onde si parla,
Tornata nella carne, in che fu poco,
Credette in lui che poteva aiutarla.
E credendo s' accese in tanto fuoco
Di vero amor, ch' alia morte seconda"
Fu degna di venire a questo giuoco.
L' altra, per grazia, che da si profonda
Fontana stilla, che mai creatura
m divina spene Gg. 2, 14 (divine in second line).
n che la morta Gg.; - e 1245. loco Gg.
Suppl. Q. 75. A. 5. He has evidently some difficulty in reconciling it
with the orthodox doctrine that prayer is of no avail for those in Hell.
108 speme : that of St. Gregory.
"7 The idea of placing Rhipeus among the saved seems to
be Dante's own. He would probably justify it by the doctrine of
Aquinas, S. T. iii. Q. 66. A. II : Aliquis per virtutem Spiritus sancti
consequitur efiectum baptismi ; non solum sine baptismo aquae sed
etiam sine baptismo sanguinis ; inquantum scilicet alicujus cor per
Spiritum sanctum movetur ad credendum et diligendum Deum, et
poenitendum de peccatis ; unde etiam dicitur baptismus poenitentiae.
CANTO xx. PARADISO. 271
to the first wave, placed all his love below on righteousness,
wherefore from grace to grace God opened his eye to our
future redemption ; whence he believed in that and endured
not thenceforth any more the stink of paganism, and re-
proved thereof the perverse folk. Those three dames were
to him for baptism whom thou sawest by the right wheel,
more than a thousand years before the baptizing. O pre-
destination, how remote is thy root from those sights which
see not the first cause in its wholeness ! And you, mortals,
hold yourselves strictly in judging ; for we who see God,
know not yet all the elect. And a stint of such sort is dear
Non pinse 1' occhio insino alia prim' onda, 120
Tutto suo amor laggiii pose a drittura : ff
Perche di grazia in grazia Iddio gli aperse
L' occhio alia nostra redenzion futura :
Onde credette in quella, e non sofferse
Da indi il puzzo piu del paganesmo,
E riprendeane le genti perverse.
Quelle tre donne gli fur per battesmo,
Che tu vedesti dalla destra ruota,
Dinanzi al battezzar piu d' un millesmo,
O predestinazion, quanto rimota 130
la radice tua da quegli aspetti,
Che la prima cagion non veggion tota !
E voi mortali tenetevi stretti
A giudicar ; che noi, che Dio vedemo,
Non conosciamo ancor tutti gli eletti :
// 128 Purg. xxix. 121.
I3 s S. T. i. Q. 23. A. 7 : Soli Deo est cognitus numerus electorum
in superna felicitate locandus ; and Suppl. Q. 92. A. 3 : Sancti in
paradiso videntes Deum nca omnia videbunt quae Deus videt.
272 PARAD1SO. CANTO xx.
to us, because our good is refined in this good, that what
God wills we will also."
In such wise by that divine image, to make clear my
short sight in me, was a sweet medicine given me. And as
with a good singer a good harpist makes the thrill of the
string go along, whereby the song acquires more pleasant-
ness, so, while it spoke, it remembers me that I saw the
two blessed lights, just as a closing of eyes is made in
concord, move their flamelets together with the words.
Ed enne dolce cosi fatto scemo :
Perche il ben nostro in questo ben s' affina,
Che quel che vuole Iddio, e noi volemo.
Cosi da quella immagine divina,
Per farmi chiara la mia corta vista, 140
Data mi fu soave medicina.
E come a buon cantor buon citarista
Fa seguitar lo guizzo della corda,
In che piu di piacer lo canto acquista,
SI mentre che parlossi, mi ricorda p
Ch' io vidi le due luci benedette,
// Pur come batter d' occhi si concorda,
Con le parole muover le fiammette.
P parlb, si mi Cass. W. 1245 ; parlb, mi si Aid.
145 I have followed the reading of Gg. and the Mantuan edition ;
which last, it may here be remarked, is much the most carefully edited
of the four which Lord Vernon reproduced.
'47 Cf. xii. 26.
CANTO XXI.
ARGUMENT.
Beatrice smiles no longer, as they ascend to the seventh Heaven, of Saturn,
wherein is Jacob's ladder, reaching upwards out of sight. The soul
of St. Peter Damian explains the reason why the song of the blessed
is not heard there, and shows that God's counsels are hidden. Then
he speaks of his own life, and the backsliding of the clergy.
ALREADY were my eyes fixed again upon the countenance
of my Lady, and my mind with them, and from every other
attention it had withdrawn itself; and she was not smiling ;
but, " If I smiled," she began to me, " thou wouldst become
what Semele was, when she became of ashes; for my
beauty, which through the stairs of the eternal palace is
more kindled, as thou hast observed, in proportion as one
GiA eran gli occhi miei rifissi al volto
Delia mia Donna, e 1' animo con essi,
E da ogni altro intento s' era tolto ;
E quella non ridea, ma, S' io ridessi,
Mi comincib, tu ti faresti quale
Fu Semele, quando di cener fessi :
Che la bellezza mia, che per le scale
Dell' eterno palazzo piu s' accende,
Com' hai veduto, quanto piu si sale,
x - 3 There is a certain similarity of structure between these lines and
the opening of Purg. xxxii.
T
274 PARADISO. CANTO xxi.
more ascends, if it were not tempered, is of such splendour
that thy mortal power would at its effulgence be as a leaf
which a thunderbolt rends apart. We have been raised to
the seventh splendour, which beneath the breast of the
burning Lion is now beaming down, mingled with his
might. Fix thy mind after thine eyes, and make of those
mirrors to the figure, which in that mirror shall be apparent
to thee."
He who should know what was the feasting of my eyes
on the blessed countenance, when I transferred myself to
Se non si temperasse, tanto splende, 10
Che il tuo mortal podere al suo fulgbre
Sarebbe fronda, che tuono scoscende. a
Noi sem levati al settimo splendore,
Che sotto il petto del Leone ardente
Raggia mo misto giu del suo valore.
Ficca dirietro agli occhi tuoi la mente,
E fa di quelli specchi alia figura, b
Che in questo specchio ti sara parvente.
Qual sapesse qual era la pastura
Del viso mio nell' aspetto beato, 20
Quand' io mi trasmutai ad altra cura,
a Parrebbe Gg. Aid.; trono Gg. Cass. 124. b specchio Aid. Bi.
*3 The sphere of Saturn.
14 In the spring of 1300 Saturn was in the constellation Leo. See
note xvi. 37.
x s The force of misto will be understood when we remember that
Saturn was regarded as a cold planet, while the Lion has a hot influence.
Others, e.g. P. di Dante, read inesto (which that commentator explains
by saying that Saturn would be unhappy in a sign of such opposite
qualities to his own !).
18 specchio : primarily the planet, as shining by reflected light (see
note, Purg. iv. 62). But it is also applied to the celestial intelligences
by whom the influence of the planet is directed, as in ix. 61).
CANTO XXL PARADISO. 275
other care, would recognise how much it was for my
pleasure to obey my heavenly escort, counterpoising the
one side with the other. Within the crystal which bears
the name, as it circles the world, pf the world's illustrious
chief, under whom all iniquity lay dead, of the colour of
gold wherein a ray shines through, I saw a ladder raised
on high so far that my eye followed it not. I saw more-
over descend downwards by its steps so many splendours
that I thought every light which appears in the heaven
Conoscerebbe quanto m' era a grato
Ubbidire alia mia celeste scorta.
Contrappesando 1' un con 1' altro lato. c
Dentro al cristallo, che il vocabol porta,
Cerchiando il mondo, del suo chiaro duce, d
Sotto cui giacque ogni malizia morta,
Di color d' oro in che raggio traluce,
Vid' io uno scaleo eretto in suso,
Tanto che noi seguiva la mia luce. 30
Vidi anche per li gradi scender giuso e
Tanti splendor, ch' io pensai ch' ogni lume
Che par nel ciel quindi fosse diffuse.
c contrapensando Gg. 24. d Cercando Gg.; caro Aid. Bi.
e ancho 3 A Id.; anco W.
'? That under the sway of Saturn peace and justice flourished in the
world is of course a commonplace of the classical poets. It will
suffice to recall for instance Virg. Eel. iv. 6, and Georg. ii. 538.
a8 traluce : see note to xx. 20. He seems to imagine transparent
gold.
*9 " Quae scala figurat excelsitudinem graduum sanctae religionis,
per quam ad Deum ascendimus." P. di Dante. So too, substantially,
Comm. Cass. It is hard to believe however that there was not a
secondary intention of paying a magnificent compliment to Can Grande,
whose ladder is made to play a similar part in Saturn to the imperial
eagle in Jupiter.
T 2
276
PARADISO.
CANTO XXL
thence had been diffused. And as by their natural custom
the daws altogether, at the beginning of the day, bestir
themselves to warm their chilly plumes; then some go
away without return; others turn them back to whence
they started, and others wheeling make a stay; such
fashion seemed to me to be there in that sparkling which
came together, so soon as it smote upon a certain step ;
and that one which halted nearest to us became so bright
that I said in my thoughts, " I see well the love that thou
dost signal to me." But she from whom I await the how
and the when of speech and silence, stands still ; wherefore
I do well, against my wish, in that I ask not. Wherefore
she who saw my silence in the sight of Him who sees all,
said to me : " Set free thy burning desire."
/ E come per lo natural costume
Le pole insieme al cominciar del giorno
Si muovono a scaldar le fredde piume ;
Poi altre vanno via senza ritorno ;
Altre rivolgon se onde son mosse,
Ed altre roteando fan soggiorno ;
Tal modo parve a me, che quivi fosse
In quello sfavillar, che insieme venne,
SI come in certo grado si percosse :
E quel che presso piu ci si ritenne,
Si fe si chiaro, ch' io dicea pensando :
Io veggio ben 1' amor che tu m' accenne.
Ma quella, ond' io aspetto il come e il quando
Del dire e del tacer, si sta ; ond' io f
Contra il disio fo ben ch' io non dimando.
Per ch' ella che vedeva il tacer mio
Nel veder di colui che tutto vede,
Mi disse : Solvi il tuo caldo disio.
1 si fa G#.
40
CANTO XXL PARADISO. 277
And I began : " My service makes not me worthy of thy
response, but through her who grants me leave to ask. O
blessed life, who standest hidden within thy own joy, make
known to me the occasion which has placed thee so near
me ; and tell me wherefore in this circle is silent the sweet
symphony of Paradise, which below through the others
sounds so devout." "Thou hast thy hearing mortal, as
thy sight," he answered me ; " wherefore here is no chant,
for the same cause that Beatrice has no smile. Down
through the steps of the holy stair have I descended thus
far, only to give thee greeting with my speech and with the
light which enwraps me ; nor has more love made me to be
Ed io incominciai : La mia mercede
Non mi fa degno della tua risposta,
Ma per colei che il chieder mi concede,
Vita beata, che ti stai nascosta
Dentro alia tua letizia, fammi nota
La cagion crfe si presso mi t' ha posta : g
E di' perche si tace in questa ruota
La dolce sinfonia di Paradise,
Che giu per 1' altre suona si devota. 60
Tu hai 1' udir mortal si come il viso,
Rispose a me : onde qui non si canta h
Per quel che Beatrice non ha riso.
Giu per li gradi della scala santa
Discesi tanto sol per farti festa
Col dire e con la luce che mi ammanta :
Ne piu amor mi fece esser piu presta :
mi f accosta Aid, Bi. h perb qui Aid. Bi.
55 Cf. v. 136.
*7 The feminine presta, though a man is speaking, is probably due
to Dante's having used vita in addressing the spirit.
67-7* The spirit, in answer to the question in 1. 57, explains that it
278 PARADISO. CANTO xxi.
more alert, for as much 'love and more is fervent from
hence on high, even as the flaming makes manifest to thee.
But the high charity which makes us ready servants to the
counsel which guides the world casts the lot here, as thou
dost observe." " I see well," said I, " O holy lamp, how
free love in this court suffices to execute the eternal provi-
dence ; but this is that which seems to me hard to discern,
why thou alone wast predestined to this office among thy
consorts." I had not come to the last word before the
light made of its middle a centre, whirling itself like a
swift millstone. Then the love that was therewithin an-
Che piu e tanto amor quinci su ferve,
Si come il fiammeggiar ti manifesta.
Ma P alta carita, che ci fa serve 70
Pronte al consiglio, che il mondo governa,
Sorteggia qui, si come tu osserve.
lo veggio ben, diss' io, sacra lucerna,'
Come libero amore in questa Corte
Basta a seguir la providenza eterna.
Ma questo e quel ch } a cerner mi par forte,
Perche predestinata fosti sola
A questo ufficio tra le tue consorte.
Non venni prima all' ultima parola,
Che del suo mezzo fece il lume centre, 80
Girando se come veloce mola.
Poi rispose P amor che v' era dentro :
' sane t a I. Gg.; car a Cass.
was not any superiority to the others in point of charity that caused
him to approach Dante, but solely the fact that this duty had been
allotted to him, in fulfilment of the eternal counsel, which is itself
moved by love.
' 4 libero amor = free-zw'//; the will of the blessed being directed
by love only.
CANTO xxi. PARADISO. 279
swered : " A divine light is concentrated upon me, pene-
trating through this, whereof I am in the womb, the
virtue of which, in conjunction with my vision, lifts me
above myself so far that I see the Supreme Essence, from
which it is expressed. Hence comes the gladness where-
with I am aflame, because to my view, in proportion as it is
clear, I match the clearness of my flame. But that soul in
heaven which is most purified, that seraph who most has his
eye fixed on God, will not satisfy thy demand, seeing that
what thou seekest is so far removed in the abyss of the
Luce divina sovra me s' appunta,
Penetrando per questa, ond' io m' inventro ;
La cui virtu col mio veder congiunta
Mi leva sovra me tanto, ch' io veggio
La somma essenzia della quale e munta.
Quinci vien 1' allegrezza ond' io fiammeggio,
Perche alia vistajnia, quant' ella e chiara, k
La chiarita della fiamma pareggio. 1 90
Ma quell' alma nel ciel che piu si schiara,
Quel Serafin, che in Dio piu 1' occhio ha fisso,
Alia dimanda tua non soddisfara :
Perocche si s' innoltra nelF abisso
k Perchi la Gg. Cass. 1234 W. ' carita 3 Aid. Bi.
84 questa : sc. luce.
*>' 9* Cf. xiv. 40 sqq. alia seems an almost indispensable emendation
for the la of MSS. Perhaps, however, we might better read in la. In
line 90 the reading carita has much to be said for it. We shall see
hereafter, xxviii. in, that love is proportioned to vision.
* Cf. iv. 28.
93 soddisfara for -faria, say Bianchi and Scartazzini ; but neither
Diez nor Corticelli recognises the form, while Lombardi understands
it as the future. The future is just as intelligible here as the
conditional.
28o PARADISO. CANTO xxi.
eternal law that it is cut off from all created sight. And to
the mortal world, when thou returnest, report this, so that
it presume not to move its feet toward so high a goal. The
mind which here is bright, on earth is smoky ; wherefore
consider how it can do there below that which it cannot
albeit the heaven takes it up."
So did his words give me injunction that I left the
question and drew back to ask him humbly who he was.
" Between the two shores of Italy rise rocks, and that not
Dell' eterno statuto quel che chiedi,
Che da ogni creata vista e scisso.
Ed al mondo mortal quando tu riedi,
Questo rapporta, si che non presumma
A tanto segno piu muover li piedi.
La mente che qui luce, in terra fumma : 100
Onde riguarda, come pub laggiue
Quel che non puote, perche il ciel 1' assumma.
SI mi prescrisser le parole sue,
Ch' io lasciai la quistione, e mi ritrassi
A dimandarla umilmente chi fue. m
Tra due liti d' Italia surgon sassi,
m dimandar Gg. Aid.
*> Cf. Purg. vi. 123.
ioo, ioi Even here it is not possible to see into the counsels of God ;
how much less then on earth.
Ioa perche, as in Purg. v. 58.
106 The speaker is St. Peter Damian. He was born at Ravenna
towards the end of the tenth century, apparently of a poor family ; and
being brought up by the kindness of his brother (from whom he called
himself " Petrus Damiani ") he joined the monastery of Fonte Avellana,
on the side of Monte Catria, one of the highest peaks of the Apennines,
near Gubbio. Pope Stephen IX. made him, much against his own
wish, Bishop of Ostia and Cardinal in 1057. He seems to have been
a zealous supporter of Gregory VII. in his efforts to reform Church
CANTO XXI. PARADISO. 28l
very distant from thy country, so high that the thunders
sound full far below; and make a boss which is called
Catria, beneath which has been consecrated a hermitage,
which is wont to be set apart for worship only." Thus
he recommenced his discourse to me for the third time ;
and then continuing said : " There to the service of God
I became so constant, that only with meats of the olives'
juice I lightly used to pass both heats and frosts, content
in my contemplative thoughts. That cloister was wont to
E non molto distanti alia tua patria,
Tanto che i tuoni assai suonan piu bassi :
E fanno un gibbo, che si chiama Catria,
Disotto al quale e consecrate un ermo, no
Che suol' esser disposto a sola latria.
Cosi ricominciommi il terzo sermo :
E poi continuando disse : Quivi
Al servigio di Dio mi fei s: fermo,
Che pur con cibi di liquor d' ulivi
Lievemente passava e caldi e geli,
Contento nei pensier contemplativi.
Render solea quel chiostro a questi cieli
discipline, and to have made journeys with that object into France and
Germany. He died at Faenza, 1072.
l 7 Note this touch. Some have seen in it a suggestion that this
part of the poem was written at the time when an offer was made to
Dante and other exiles of readmission to Florence on the performance
of certain acts of submission. There is also a tradition, not of very
good authority, that he himself passed some time at the monastery of
Avellana, after his departure from Verona in 1318. See Balbo, Vita di
D., bk. ii., ch. 14; Symonds, "Study of Dante," p. 79.
111 latria. Aarpei'a is a technical word for the service of God,
even as early as Plato. Observe that the quantity does not here follow
the Greek accent ; probably because the word had got quite naturalised
in Latin.
282 PARADISO. CANTO xxi.
contribute abundantly to these heavens, and now it is grown
so useless as needs must soon be revealed. In that place
was I, Peter Damian (but Peter the Sinner was in the
house of our Lady upon the Adriatic shore). Little re-
mained to me of mortal life when I was sought and drawn
to that hat which is being handed down only from bad
to worse. Cephas came, and the great vessel of the Holy
Spirit came lean and unshod, taking the food of any
Fertilemente : ed ora e fatto vano,
Si che tosto convien che si riveli. 120
In quel loco fu' io Pier Damiano :
E Pietro peccator fu nella casa"
Di Nostra Donna in sul lito Adriano.
Poca vita mortal m' era rimasa,
V <J
Quando fui chiesto e tratto a quel cappello,
i . ^_. t L C. . . in
Che pur di male in peggio si travasa.
Venne Cephas, e venne il gran vasello
Dello Spirito Santo, magri e scalzi
n piscator 145 ; pescator Aid. al gran cappello Gg.; et quel c. Aid.
120 Balbo observes that two centuries and a half later Pius V. turned
out the then monks from Avellana, and gave the monastery to the
Camaldolese.
111-123 There is some controversy about these lines. That the read-
ings of the MSS. in the second of them vary between fui and fu does
not go for much, because whichever is right, the other was almost certain
to be written as often as not. But if we read fui, we are met by the
difficulty that the monastery of Sta. Maria di Porto fuori at Ravenna to
which the allusion must be, did not exist, so far as is known, till 1096,
when it was founded by Bishop Peter clegli Onesti, known as Petrus
Peccator. Some think that Dante confused the two. On the other
hand, tho.^e who read fu, think that it is intended, by a parenthetical
statement, to correct the popular confusion. This is no doubt a little
awkward, but in the face of the objection that Peter Damian probably
was never at Sta. Maria, it seems the best view to adopt. E has not
uncommonly a disjunctive force.
CANTO XXI.
PARADISO,
283
hostelry. Now will the modern pastors one to prop them
on this hand and on that, and one to lead them, so weighty
are they, and one to support them behind. They cover
their palfreys with their mantles, so that two beasts go
under one skin. O patience, that sufferest so much ! "
At this word I beheld more flamelets descend from
step to step and whirl around, and every whirl made
them more beautiful. They came around this one, and
halted, and gave a cry of so high sound that it would not
be possible here to find its like : nor did I understand it,
so overcame me the thunder.
Prendendo il cibo di qualunque ostello.
Or voglion quinci e quindi chi rincalzi 130
Gli moderni pastori, e chi gli meni,
Tanto son gravi, e chi dirietro gli alzi.
Cuopron dei manti loro i palafreni,
Si che due besti* van sott' una pelle,
O pazienza, che tanto sostieni !
A questa voce vid' io piu fiammelle
Di grado in grado scendere e girarsi,
Ed ogni giro le facea piu belle. p
Dintorno a questa vennero, e fermarsi
E fero un grido di si alto suono, 140
Che non potrebbe qui assomigliarsi :
Ne io Io intesi, si mi vinse il tuono.
i
P si facea Gg.
'=9 Luke x. 7, 8.
130 rincalzi : as Purg. ix. 72 ; but there is clearly a play on the
scalzi of two lines above.
132 gravi : heavy with luxurious living ; but again, with a bitter
irony, he chooses a word capable of a double meaning.
134 due bestie : the palfrey and its rider.
n^<7
CANTO XXII.
ARGUMENT.
St. Benedict shows how in the seventh Heaven are the souls of those who
lived in contemplation of sacred things, and further laments the falling
away of his brethren through covetousness. Dante and Beatrice
mount by the ladder into the eighth, or starry Heaven, and enter it in
the sign of the Twins. Thence he looks back upon the universe.
OVERWHELMED with astonishment I turned me to my
guide, as a child who runs back ever thither where he has
most confidence ; and she like a mother who succours at
once her pale and panting boy with her voice, which is
wont to dispose him aright, said to me : " Knowest thou
not that thou art in heaven ? and knowest thou not that
heaven is all holy, and that which comes to pass with us
OPPRESSO di stupore alia mia guida
Mi volsi, come parvol che ricorre
Sempre cola, dove piu si confida.
E quella come madre, che soccorre
Subito al figlio pallido ed anelo,
Con la sua voce, che il suol ben disporre,
Mi disse : non sai tu cheTtu sei in Cielo,
E non sai tu che il Cielo e tutto santo,
2 s< w- Cf. Purg. xxx. 43.
hssr"
CANTO xxii. PARADISO. 285
comes of a good zeal ? How the chant would have trans-
formed thee, and I by smiling, thou canst now judge, since
the shout has moved thee so much ; in the which, if thou
hadst understood its prayers, by now would the vengeance
be known to thee, which thou shalt see before thou diest.
The sword of this high place cuts not in hurry, nor slow,
save to the seeming of him who is awaiting it either in
desire or fear. But turn thee back now toward another,
for thou shalt see illustrious spirits enough, if as I say thou
guidest back thy view." As was her pleasure I directed
E cio che ci si fa, vien da buon zelo? a
Come t' avrebbe trasmutato il canto, io
Ed io ridendo, mo pensar Io puoi,
Poscia che il grido t' ha mosso cotanto ;
Nel qual se inteso avessi i prieghi suoi,
Gia ti sarebbe nota la vendetta,
Che tu vedrai innanzi che tu muoi. b
La spada di quassu non taglia in fretta,
Ne tardo, ma che aljparer di colui, c
Che desiando o temendo 1' aspetta.
Ma rivolgiti omai inverse altrui :
Ch' assai illustri spiriti vedrai, 20
Se com' io dico la vista ridui.
a Che db Gg. b La qual v. Aid. Bi.
c Ne tardo mai, chal placer di c. Gg.; mai al p. Cass. 1345 ; colpiacerz.
9 I.e. that nothing is done here in order to hurt another.
17 ma che : i.e. magis quam. So Purg. xviii. 53 5 an d see
Diez iii. 379.
18 The order is inverted. Of course to him who desires it, it seems
slow; to him who fears it, quick. The whole passage, from 1. 14,
recalls Purg. xx. 94-96.
21 " ridui e dell' antiq. riduire o riduere." Bianchi.
286 PARADISO. CANTO xxu.
my eyes, and saw a hundred little spheres, which at once
were growing more fair with mutual rays. I stood like
him who represses in himself the prick of his desire, and
attempts not asking, in such fear is he of excess. And
the largest and brightest of those pearls set itself in front,
to make of itself my wish content. Then within it I heard :
" If thou sawest as I do the charity which burns among us,
thy conceptions would be expressed : but in order that
thou by waiting mayest not delay thy lofty end, I will make
thee an answer only to the thought concerning which thou
art so circumspect. That hill which has Cassino on its
Com' a lei piacque, gli occhi dirizzai, d
E vidi cento sperule, che insieme
Piu s' abbellivan con mutui rai.
lo stava come quei che in se ripreme
La punta del disio, e non s' attenta
Del dimandar, si del troppo si teme : e
E la maggiore, e la piu luculenta
Di quelle margherite innanzi fessi,
Per far di se la mia voglia contenta. 30
Poi dentro a lei udi' : se tu vedessi,
Com' io, la carita che tra noi arde,
Li tuoi concetti sarebbero espressi ;
Ma perche tu aspettando non tarde
All' alto fine, io ti faro risposta >5>*
Pure al pensier, di che si ti riguarde. C6
Quel monte a cui Cassino e nella costa,
d gli occhi ritornai Gg. e Di dim. Gg. 1234.
3 1 The speaker is St. Benedict (480-543), by whom the famous
monastery of Monte Cassino, near Naples, was founded.
36 riguardarsi has almost the meaning of "hesitate." See Diet.
Cruse,
CANTO xxn. PARADISO. 287
side was already frequented on its top by the folk who
were deceived and ill-disposed, and I am he who first
carried up there the name of Him who brought upon earth
the truth that raises us so high ; and so great grace shone
upon me that I withdrew the villages round about from the
impious worship that seduced the world. These other
fires were all men of contemplation, kindled with that heat
which brings to birth the holy flowers and fruits. Here is
Macarius, here is Romuald; here are my brothers who
Fu frequentato gik in su la cima
Dalla gente ingannata e mal disposta.
Ed quel son io che su vi portai prima 40
Lo nome di colui, che in terra addusse
La veritk che tanto ci sublirna :
E tanta grazia sovra me rilusse,
Ch' io ritrassi le ville circostanti
Ball' empio colto, che il mondo sedusse.
Questi altri fuochi tutti contemplanti
Uomini furo, accesi di quel caldo,
Che fa nascere i fiori e i frutti santi.
Qui e Maccario, qui e Romoaldo,
49 Macarius was the name of at least three of the Egyptian hermits
of the fourth century. One was a disciple of St. Anthony, and the other
two, known as M. of Egypt and of Alexandria respectively, were the
heroes of sundry legends. Dante has very probably combined them
into one person (Philalethes). The hermit in Orcagna's fresco at
Pisa, who calls the attention of the hunting-party to the corpses, is said
to be St. Macarius. Romoaldo. St. Romuald was born at Ravenna
about 960. In 1009 he founded the famous monastery of Camaldoli, in
the Casentino, the "Ermo" of Purg. v. 96. He is said to have seen
in a vision a ladder reaching to heaven, on which his brethren were
ascending ; and this possibly suggested the image of the ladder to
Dante.
288 PARADISO. CANTO xxn.
within their cloisters stayed their feet and kept the heart
sound." And I to him: "The love which thou showest
in talking with me, and the good semblance which I see
and note in all your fires have spread wide my trust in like
manner as the Sun does the rose, when she becomes as
widely opened as she has the power to be. Wherefore I
pray thee, and do thou, father, assure me, if I have power
to receive such grace that I may see thee with uncovered
form." Wherefore he : " Brother, thy high desire shall be
fulfilled up in the last sphere, where are fulfilled all others,
and mine. There each longing is perfect, ripe, and whole ;
in that only is every part there where it always was ; because
Qui son li frati miei, che dentro ai chiostri 50
Fermar li piedi, e tennero il cuor sal do.
Ed io a lui : 1' affetto che dimostri
Meco parlando, e la buona sembianza
Ch' io veggio e noto in tutti gli ardor vostri,
Cosi m' ha dilatata mia fidanza,
Come il sol fa la rosa, quando aperta
Tanto divien, quant' ell' ha di possanza.
Perb ti prego, e tu, padre, m' accerta,
S' io posso prender tanta grazia, ch' io
Ti veggia con immagine scoverta. 60
Ond' egli : Frate, il tuo alto disio
S' adempiera in su 1' ultima spera,
Ove s' adempion tutti gli altri e il mio.
Ivi e perfetta matura ed intera
""" Ciascuna disianza ; in quella sola
62 In the highest heaven the spirits are seen in bodily form, no
longer surrounded with light. " Caelum empyreum habet claritatem
gloriae, quae non est conformis cum claritate naturali." S. T. i.
Q. 66. A. 3. Cf. xxx. 44, 45.
CANTO xxn. PARADISO, 289
it is not in place, nor is it set on poles, and our ladder goes
even to it, wherefore it is so stolen from thy sight. Up to
that place on high did the patriarch Jacob see it extend its
topmost part, when it appeared to him so charged with
angels. But to ascend it no one now parts his feet from
earth, and my rule has remained below for the spoiling of
paper. The walls that used to be an abbey are become
dens of thieves, and the cowls are sacks full of flour of sin.
But heavy usury is not levied so much against Ifie pleasure
E ogni parte la, dove sempr' era : f
Perche non e in luogo, e non s' impola :
E nostra scala infino ad essa varca ;
Onde cosi dal viso ti s' invola.
Infin lassu la vide il Patriarca 70
Jacobbe sporger la superna parte, g
Quando gli apparve d' Angeli si carca.
Ma per salirla mo nessun diparte
Da terra i piedi ; e la regola mia
Rimasa e giu per danno delle carte. . U* Cx
Le mura che soleano esser badla,
Fatte sono spelonche, e le cocolle
Sacca son piene di farina ria. *""
Ma grave usura tanto non si tolle
f Che ogni Gg.; Etogni Cass. 124.
s Jacob isporger Aid. Bi.; porgere Gg. W.; forger 1234.
67 non s' impola : because it does not revolve. Cf. Conv. ii. 6 :
\ *
E da sapere che ciascuno cielo, di sotto al cristallino, ha due poli fermi
quanto a se ; e lo nono gli ha fermi e fissi e non mutabili, , secondo
alcuno rispetto. Of the motionless Empyrean, or tenth heaven, he says
just before : esso non e in luogo, ma formato fu solo nella prima Mente.
78 Sacca : plural formed like mura, etc.
79 si tolle: not, I think, "exalts itself," as most comm. seem to
take it. Togliere is quite a recognised word for the levying of tribute
U
290 PARADISO. CANTO xxn.
of God, as that fruit which makes the heart of the monks
so foolish. For whatsoever the Church guards belongs all
to the folk who ask in God's name, not to a parent, nor to
another more foul. The flesh of mortals is so soft, that on
earth a good beginning suffices not from the birth of the
oak till the making of the acorn. Peter began without
gold and without silver, and I with prayer and with fasting,
and Francis began his convent in humility. And if thou
lookest at the beginning of each one, then lookest again
where it has migrated, thou shalt see brown made from
Contra il piacer di Dio quanto quel frutto, 80
Che fa il cuor dei monaci si folle.
Che quantunque la Chiesa guarda, tutto
E della gente, che per Dio dimanda,
Non di parente ne d' altro piu brutto.
La carne dei mortali e tanto blanda,
Che giu non basta buon cominciamento,
Dal nascer della quercia al far la ghianda.
Pier comincio sanz' oro e sanza argento,
Ed io con orazione e con digiuno,
E Francesco umilmente il suo convento. 90
E se guardi il principio di ciascuno,
Poscia riguardi la dov' e trascorso, h
Tu vederai del bianco fatto bruno.
h rig. ilfin dove Gg.
or interest. For the sin of usury, see Inf. xi. ; where (in 1. 36) toilette
would seem to be the right reading.
80 frutto : the revenues of Church property, which after payment of
r tbe necessary expenses of the Church and its ministers, ought to go to
the poor ; see xii. 93.
82 guarda : " holds in trust," not owns.
84 pifo brutto : concubines and the like.
87 I.e. cannot ripen its fruit.
88 Acts iii. 6.
CANTO xxii. PARADISO. 291
the white. But in truth Jordan turned back and the sea in
flight when God willed, was more wondrous to see, than
succour here."
Thus he said to me, and then drew back to his com-
pany, and his company closed up ; then like a whirlwind,
all gathered itself on high.
The sweet Lady urged me after them with only a sign,
up over that ladder, so did the virtue in her overcome my
nature. Nor ever here below where one mounts and falls
was motion naturally so rapid that it could be equalled to
my flight. As I hope to return once more, reader, to that
devout triumph, for the sake whereof I often bewail my
sins and smite my breast, thou hadst not put thy finger
Veramente Giordan volto retrorso 1
Piu fu, e il mar fuggir, quando Dio volse, k
Mirabile a veder, che qui il soccorso.
Cos! mi disse : ed*indi si ricolse
Al suo collegio, e il collegio si strinse ;
Poi come turbo in su tutto s' accolse. 1
La dolce Donna dietro a lor mi pinse 100
Con un sol cenno su per quella scala,
Si sua virtu la mia natura vinse :
Ne mai quaggiu, dove si monta e cala,
Naturalmente fu si ratto moto,
Ch' agguagliar si potesse alia mia ala.
S' io torni mai, lettore, a quel devoto
Trionfo, per lo quale io piango spesso
Le mie peccata, e il petto mi percuoto,
volto 2 retrorso 3 Aid. W. k fu il mar 23 Aid. W.
1 s 1 avvolse Cg.
94.96 There is some variety of readings, but the sense is clearly, " God
has in time past wrought even greater miracles than the reformation of
the monastic orders would be." The allusion to Psalm cxiv. is obvious.
U 2
292 .PARADISO. CANTO xxn.
into the fire and withdrawn it in such time as I saw the
sign which follows the Bull and was within it. O glorious
stars, O light impregnate with great virtue, from which I
acknowledge all my wit, whatever it be ; with you was
springing up and with you was hiding himself he who is
the father of all mortal life, when I felt for the first time
the Tuscan air ; and afterward, when grace was bestowed
on me to enter the circle on high which whirls you round,
Tu non avresti in tanto tratto e messo
Nel fuoco il ditp, in quanto io vidi il segno no
Che segue il Tauro, e fui dentro da esso.
O gloriose stelle, o lume pregno
Di gran virtu, dal quale io riconosco
Tutto qual che si sia il mio ingegno :
Con voi nasceva, e s' ascondeva vosco
Quegli ch' e padre d' ogni mortal vita,
Quand' io senti' da prima 1' aer Tosco :
E poi quando mi fu grazia largita
D' entrar nelT alta ruota che vi gira, '
109 tratto e messo : Zfrrepov Trporepov, as in ii. 23, 24. Possibly
in both passages the inversion may be intended to give a notion of
extreme rapidity ; the actions taking place so quickly that they are, so
to speak, ended before they are begun.
111 They ascend to the sphere of the fixed stars, striking it in the
sign, or constellation (for Dante probably does not here take account
of precession) of the Twins. The sun enters this sign towards May 20,
so that Dante's birthday must have been in the month following that
date. Philalethes says that learned men, poets, and prophets were
under the influence of the Twins.
116 Quegli : the Sun. Ar. Metaph. X. 5 : avdpanov alnov TO. re
oroi^eia . . Kal TO tSiov ei8oy, KOI ei TI aXXo ea> . . . Kal irapa
ravra 6 rj\ios Kal 6 \obs KVK\OS (the ecliptic, as De Gen. et Corr. ii. 9,
quoted above, note to x. 14). Phys. ii. 2 (ad fin.) : avdpamos yap
uvdpaTrov yevva Kal tfXios.
CANTO xxii. PARADISO. 293
your region was allotted to me. To you now devoutly
sighs my soul, that she may acquire strength for the difficult
pass which is drawing her towards itself.
'' Thou art so near to the last salvation," began Beatrice,
" that thou needest to have thine eyes clear and sharp.
And therefore before thou enterest further into it, look back
downwards and see how great a world I have put already
under thy feet ; so that thy heart, as far as it is able,
may present itself joyous before the triumphant band who
come blithe through this round aether." With my sight I
turned back through all the seven spheres, and saw this
La vostra region mi fu sortita. 120
A voi divotamente ora sospira
L' anima mia, per acquistar virtute
Al passo forte che a se la tira.
Tu sei si presso air ultima salute,
Comincio Beatrice, che tu dei
Aver le luci tue chiare ed acute.
E pero prima che tu piu t' inlei,
Rimira in giu, e vedi quanto mondo
Sotto li piedi gia esser ti fei ;
Si che il tuo cuor, quantunque pub, giocondo 130
S' appresenti alia turba trionfante,
Che lieta vien per questo etera tondo. m
Col viso ritornai per tutte quante n
Le sette spere, e vidi questo globo
m questo chera Gg. n a tutte Gg.
123 passo forte : most commentators take this to mean the con-
cluding part of the poem ; but this is rather pedestrian, and Vellutello
is probably right in saying, " Intendendo del passo, per loqual ella
(sc. 1' anima) si debba divider dal corpo." Blanc takes the same view.
Cf. Purg. xxxiii. 54.
131 See Canto xxiii.
294 PARADISO. CANTO xxn.
globe such that I smiled at its mean semblance; and I
approve that counsel for best which holds it for least, and
whoso thinks on other matters may be called truly righteous.
I saw the daughter of Latona illumined without that shadow
which was the cause why I once deemed her rare and
dense. The aspect of thy son, Hyperion, I there endured,
and saw how he moves around, and Maia and Dione near to
Tal, ch' io sorrisi del suo vil sembiante :
E quel consiglio per migliore approbo,
Che 1' ha per meno ; e chi ad altro pensa,
Chiamar si puote veramente probo.
Vidi la figlia di Latona incensa
Senza quell' ombra, che mi fu cagione, 140
Perchb gia la credetti rara e densa.
L' aspetto del tuo nato, Iperione,
Quivi sostenni, e vidi com' si muove
Circa, e vicino a lui Maia e Dione. p
pub veracemente W.; improbo Gg. P vigilia a lui 145.
137 altro : other than things of the earth. There is another reading
in the next line, improbo. This would require us to understand altro to-
mean ".any other theory."
141 See ii. 60. It is not clear why he should have seen the moon on
the further side free from its shadowy markings. Probably the simplest
explanation, as Philalethes says, is the right one ; viz. that Dante was
aware that the same face of the moon was always turned to the earth,
and that therefore the markings that we see would not be seen on the
other side.
142 nato : the Sun.
144 Circa must not be taken as governing lui, for Dante had no
notion that Mercury and Venus went round the sun. It may mean
"thereabouts." But I am inclined to suspect corruption in this and
the preceding line. com' for come is very questionable ; and though
Venus is not uncommonly called Dione (really her mother's name) by
Ovid, it is certain that Mercury could not be called Maia. Both in
CANTO xxn. PARADISO. 295
him. Then appeared to me the tempering of Jove between
his father and his son, and then was clear to me the
variation which they make of their place ; and all seven
showed me themselves, of what size they are, and of what
speed, and how they are in separate dwelling-places. The
little floor which makes us so fierce, as I revolved with
the eternal Twins, appeared wholly to me from its hills
to its riverjnouths ; then I turned my eyes back to the
beauteous eyes.
Quindi m' apparve il temperar di Giove
Tra il padre e il figlio ; e quindi mi fu chiaro q
II variar che fanno di lor dove ;
E tutti e sette mi si dimostraro
Quanto son grandi e quanto son veloci,
E come sono in distante riparp. 150
L' aiuola che ci fa tanto feroci,
Volgendom' io coh gli eterni Gemelli,
Tutta m' apparve dai colli alle foci :
Poscia rivolsi gli occhi agli occhi belli.
q quivi W.; caro Ald.(i).
this triplet, and in those which precede and follow, the planets are
indicated by the relationships of the deities whose names they bear.
us " Nam Jupiter temperat frigiditatem Saturni sui patris et calidi-
tatem Martis ejus filii." Comm, Cass. (Note that sui and ejus are
equivalent. )
151 aiuola (areola) : the inhabited hemisphere, of which Jerusalem
is the centre. He is therefore exactly above, or in the meridian of
Jerusalem. But the sun is in Aries, two signs (=4 hours) in front. It must
therefore be 4 p.m. at Jerusalem; and as we know from Purg. xxxiii. 104
that he entered Paradise at noon of Purgatory = midnight of Jerusalem,
it follows that he has taken 16 hours to reach this point.
.8
CANTO XXIII.
ARGUMENT.
As they gaze upwards, Christ appears in glory, surrounded by saints. He
presently returns whence He came, and His Mother follows. The
saints remain.
As the bird among her beloved leaves, perched at the nest
of her sweet offspring through the night which hides things
from us, who to behold the forms for which she yearns,
and to find the food wherewith to feed them (wherein heavy
toils are acceptable to her) prevents the hour upon the open
bough, and with ardent love awaits the Sun, gazing
fixedly, so only that the dawn arise ; thus my Lady was
standing erect and intent turned back towards that region
COME 1' augello intra 1' amate fronde,
Posato al nido dei suoi dolci nati,
La notte che le cose ci nasconde,
Che per veder gli aspetti desiati,
E per trovar lo cibo onde gli pasca,
In che i gravi labor gli sono aggrati,
Previene il tempo in su 1' aperta frasca,
E con ardente affetto il sole aspetta,
Fiso guardando, pur che 1' alba nasca ; a
Cosl la Donna mia si stava eretta, 10
a che laere n. 145.
CANTO xxiii. PARADISO. ' 297
beneath which the Sun shows least haste, so that seeing
her in suspense and longing, I became such as is he who
desiring would wish somewhat more, and appeases himself
in hoping. But little was there betwixt the one "when"
and the other of my waiting, I mean, and of seeing the
heaven grow more and more in brightening. And Beatrice
said : " Lo the squadrons of Christ's triumph, and all the
fruit garnered from the revolution of these spheres." It
Ed attenta rivolta inver la plaga,
Sotto la quale il sol mostra men fretta :
Si che veggendola io sospesa e vaga,
Fecemi quale e quei, che disiando
Altro vorria, e sperando s' appaga.
Ma poco fu tra uno ed altro L quando,
Del mio attender dico, e del vedere
Lo ciel venir pi\j e piu rischiarando,
E Beatrice dtsse : Ecco le schiere
Del trionfo di Cristo, e tutto il frutto 20
Ricolto del girar di queste spere.
", " Beatrice having gazed down towards the earth, has now turned
round, and is looking in the opposite direction, i.e. towards that part
of the heavens which, as seen from Jerusalem, would be in the
meridian, or, rather, in the zenith. There can be little doubt, from a
comparison with Purg. xxxiii. 102, 103, that this is meant by the region
where the sun moves most slowly (though P. di Dante understands the
east) ; but it is a little curious that Dante should have overlooked the
fact that as they were outside of the sun there could, strictly speaking,
be no meridian. It is to be noticed however that in the theology of
the time it was held that Christ's second coming would be upon the
place whence He had ascended, viz. the Mount of Olives (S. T. Suppl.
Q. 88. A. 4), and this is sufficient to fix the meaning.
16 quando ; so percht, dove, qttia, etc. , used as substantives.
21 Because by the motions of the spheres the course of the world is
governed. See Purg. xx. 12; xxxiii. 41, etc. The "fruit" is of
course the saints.
298 PARADISO. CANTO xxin.
seemed to me that her face was all on fire ; and she had
her eyes so full of gladness, that needs must I pass by
without interpretation. As in the clear skies at the full
moon Trivia smiles among the eternal nymphs who illustrate
the heaven through all its gulfs, I saw above thousands
of lights a Sun which was kindling them every one, as ours
does our up-turned countenances ; and through the living
light appeared the shining Substance so clear that my gaze
Pareami che il suo viso ardesse tutto :
E gli occhi avea di letizia si pieni,
Che passar mi convien senza costrutto. b
Quale nei plenilunii sereni c
Trivia ride tra le Ninfe eterne,
Che dipingono il ciel per tutti i seni,
Vid' io sopra migliaia di lucerne,
Un Sol che tutte quante F accendea,
Come fa il nostro le viste superne : 30
E per la viva luce trasparea
La lucente sustanzia tanto chiara,
b mel convien IV. c pleni luni et s. 14 ; e ne s. 23.
25 It is hardly possible here to doubt that Dante knew, and was
imitating, the famous passage, Iliad 0, 555 sqq.
w? S' or" ev ovpavco ucrrpa <fra(iVT]V dp.(pl
dpnrpeTTfa, ore T' eTrXero vrjvefios
. . . ovpavodev ' dp y inrtppdyij aarTtfros aldf/p,
n-dvra 8e r* eiSerai aorpa.
26 Longfellow compares Purg. xxxi. 106.
30 viste superne : usually taken as " the things seen on high,"
sc. the stars, which, in the astronomy of the time, were all supposed
to shine by reflected light. I understand viste as in xxxii. 99, and
Purg. xviii. 3 ; and superne as "raised on high," perhaps confused with
supine. This seems to give a better image.
32 sustanzia : the glorified body of Christ. Cf. xiv. 52.
CANTO xxin. PARADISO. 299*
endured it not. O Beatrice, gentle guide and dear ! She
said to me: "That which overcomes thee is virtue from
which nought shelters itself. Here is the wisdom and the
power which opened the roads between heaven and earth,
whereof there was so long desire." As fire is unlocked
from a cloud, through being spread out so that there is not
space for it, and out of its nature falls down to earth, so my
mind amid that banquet grown too large issued from itself,
and what it became, skills not to remember.
" Open thine eyes, and see of what sort I am : thou
hast beheld things such that thou art grown able to endure
Nel viso mio che non la sostenea. L-
O Beatrice dolce guida e cara ! d
Ella mi disse : Quel che ti sobranza / ,
E virtu, da cui nulla si ripara. J "TU^v
Quivi e la sapienza e la possanza,
Ch' apri le strade tra il cielo e la terra,
Onde fu gia si lunga disianza.
Come fuoco di nube si disserra 40
Per dilatarsi, si che non vi cape, VL - *-*-
E fuor di sua natura in giu s' atterra, 6
Cosi la mente mia tra quelle dape
Fatta piu grande, di s& stessa uscio,
E che si fesse, rimembrar non sape.
Apri gli occhi, e riguarda qual son io ;
Tu hai vedute cose, che possente
Sei fatto a sostener lo riso mio.
d guida mia c. Gg. e sua matera 1245.
42 fuor di sua natura : because the nature of fire is to ascend.
Kara (frixjiv 8e ocra TOVTOIS VTrap^et peff avra, oiov ra> jrvpl (f)epecr6at
ava>. Ar. Phys. ii. I.
44 di se stessa uscio : cf. Purg. viii. 15.
48 See xxi. 4.
300 PARADISO. CANTO xxm.
my smile." I was like him who bethinks him again of a
forgotten dream, and uses his wit in vain to bring it back
to his mind, when I heard this offer, worthy of such
acceptance as never may be wiped from the book that notes
up the past. If now should sound all those tongues which
Polyhymnia with her sisters have made most fat on their
sweetest milk, in aid of me, the thousandth part of the
truth would not be reached in singing of the holy smile,
and how it made the holy countenance clear. And thus
in figuring Paradise, needs must the sacred poem leap like
him who finds his path cut away. But whoso should weigh
the ponderous theme, and the mortal shoulder that is
lo era come quei che si risente
Di visione obblita, e che s' ingegna 50
Indarno di ridurlasi alia mente,
Quando io udi' questa profferta, degna
Di tanto grado, che mai non si stingue
Del libro che il preterite rassegna.
Se mo sonasser tutte quelle lingue,
Che Polinnia con le sue suore fero f
Del latte lor dolcissimo piu pingue,
Per aiutarmi, al millesmo del vero
Non si verria, cantando il santo riso,
E quanto il santo aspetto facea mero. 60
E cosi figurando il Paradise
Convien saltar il sagrato poema,
Come chi trova suo cammin reciso. R
Ma chi pensasse il ponderoso tema, h
E 1' omero mortal che se ne carca,
f om. sue Cass. 1234 W. Bi.; Le qual Polimnia 2.
s Com' uom chi tr. 3. h poderoso W.
54 Scartazzini quotes the opening words of V.N. : In quella parte
del libro della mia memoria.
CANTO xxin. PARADISO. 301
charged therewith, would not blame it, if beneath that it
trembles. No roadstead for a little bark is this that my
daring prow goes cleaving, nor for a helmsman who spares
himself.
" Wherefore does my face so enamour thee, that thou
turnest not round to the fair garden, which under Christ's
beams is flowering ? Here is the Rose, wherein the Word
of God was made flesh ; here are the lilies, to whose odour
the good road was taken." Thus Beatrice ; and I who to
her counsels was all prompt, gave myself up again to the
Nol biasmerebbe, se sott' esso trema.
'.(_ ,, ) Non e pareggio da picciola barca 1
Quel che fendendo va 1' ardita prora, k
Ne da nocchier ch' a se medesmo parca.
Perch e la faccia mia si t' innamora, 70
Che tu non ti rivolgi al bel giardino,
Che sotto i raggi di Cristo s' infiora ?
Quivi e la rosa, in che il Verbo divino
Carne si fece ; quivi son li gigli,
Al cui odor si prese il buon cammino.
Cosi Beatrice ; ed io, ch' ai suoi consigli
Tutto era pronto, ancora mi rendei
' pileggio 1245 W.; peleggio Aid. k che quelf. Gg.
67 Of the two readings which have any weight of authority,
pareggio and pileggio (or peleggio), the former seems to be preferable,
if only on the ground that pileggio, according to its use by Boccaccio
and Fazio degli Uberti, appears to mean only "a journey:" e.g.
Dittamondo i. Canto x. 87 : Le qual vedrai se farem quel peleggio.
It might here be used for pelago, but there seems to be no authority for
this. It is more likely that the reading arose from a gloss pelago.
Pareggio, Fr. parage, is the reading, among others, of Gg. (which has
the gloss, i.e. mare) and Cass. and is adopted by Bianchi and Giuliani.
With this passage compare the opening of Canto ii.
\ \ 73. 74 r osa : the Virgin, gigli : the Apostles.
302
PARADISO.
CANTO xxni.
strife with my feeble eyelids. As in a ray of sunlight,
coming pure through a broken cloud, ere now my eyes
covered with shade have beheld a field of flowers, so saw I
many bands of splendours flashed upon from above by
burning rays, without seeing a source of flashing. O kindly
power that so impressest them, thou didst raise thyself on
high, to grant me space there for my eyes, for that they
were powerless ! The name of the fair flower which I ever
call upon both morn and even, bound all my mind to give
heed to the greater flame. And as the fashion and great-
ness of that star, which excels there on high, as it excelled
Alia battaglia dei debili cigli.
Come a raggio di sol, che puro mei
Per fratta nube, gia prato di fiori So
Vider coperti d' ombra gli occhi miei,
Vid' io cosi piu turbe di splendor!
Fulgurati di su di raggi ardenti,
Sanza veder principio di fulgori.
O benigna virtu che si gl' imprenti,
Su t' esaltasti per largirmi loco
Agli occhi li, che non eran possenti. 1
II nome del bel fior ch' io sempre invoco
E mane e sera, tutto mi ristrinse
L' animo ad avvisar Io maggior foco. 90
E, come ambo le luci mi dipinse
II quale e il quanto della viva Stella,
1 non f eran Gg. Cass. 1245.
8 s The idea seems to be that at first the splendour of Christ among
the saints prevents him from seeing them ; afterwards Christ rises on
high, and he is able to see them, illumined by the divine splendour.
88 Is there a suggestion here of Sta. Maria del Fiorel Dante
would be likely to invoke the patroness of his own cathedral with a
remembrance of its name.
CANTO xxm. PARADISO. 303
here below, made a picture in both my eyes, through the
midst of heaven descended a little flame, formed in circle
in fashion of a crown, and girt her, and revolved around
her. Whatever melody sounds sweetest here below, and
most draws the soul to itself would appear as a cloud which
being rent thunders, compared to the sound of that lyre,
by which was being crowned the fair sapphire, wherewith
the brightest heaven is jewelled. " I am angelic love, who
revolve about the high gladness that breathes from the
womb, which was the shelter of our Desire ; and I shall re-
volve, Lady of heaven, while thou shalt follow thy Son, and
make more divine the highest sphere, because thou enterest
Che lassu vince, come quaggiu vinse,
Perentro il cielo scese una facella,
Formata in cerchio a guisa di corona,
E cinsela, e giros*si intorno ad ella.
Qualunque melodia piu dolce suona
Quaggiu, ed a se piu 1' anima tira
Parrebbe nube, che squarciata tuona,
Comparata al sonar di quella lira, 100
Onde si coronava il bel zaffiro,
Del quale il ciel piu chiaro s' inzaffira.
lo sono amore angelico, che giro
L' alta letizia, che spira del ventre
Che fu albergo del nostro disiro :
E girerommi, Donna del ciel, mentre n
Che seguirai tuo figlip^ e farai dia
Piu la spera suprema, perche gli entre.
94 facella : the archangel Gabriel.
101 zaffiro : cf. topazio, xv. 85 ; margherita, xxii. 29. There may be,
as Philalethes thinks, a special propriety in the application of the term
to the Virgin, who is pictorially represented in a blue robe.
304 PARADISO, CANTO xxm.
into it." Thus the circling melody sealed itself, and all
the other lights made resound the name of Mary.
The royal mantle of all the rolls of the world, which is
most fervent and most quickened in the breath of God and
in His ways, had its inner shore above us so distant that its
similitude in the place where I was appeared not yet to
me. Wherefore my eyes had not potency to follow the
crowned flame, which mounted up following her offspring.
Cosl la circulata melodia
Si sigillava, e tutti gli altri lumi no
Facean sonar il nome di MARIA.
Lo real manto di tutti i volumi
Del mondo, che phi ferve e piu s' avviva 1 "
Nell' alito di Dio e nei costumi, n
Avea sovra di noi 1' interna riva
Tanto distante, che la sua parvenza,
La dov' io era, ancor non m' appariva :
Pero non ebber gli occhi miei potenza
Di seguitar la coronata fiamma,
Che si levb appresso a sua semenza. 120
m saliva 3. n NelF abito Gg. Aid.; Via neW atto 3.
110 Si sigillava : i.e. concluded its words.
" 3 That is, thefrimum mobile, ninth or outermost of the revolving
spheres, volumi has probably its original meaning of ' ' things rolled, "
but with a play on the derived meaning, "volumes." So Conv. ii. 4 :
Questo e il sovrano edificio del Mondo, nel quale tutto il mondo s r
inchiude.
"3 pill ferve. So ferventissimo, Conv. I.e.
"s Bianchi can hardly be right in taking interna to mean the
farther side of the ninth heaven. Dante surely wishes only to say that
the distance between the eighth heaven, in which he is, and the ninth,
to which Mary also now ascends, was too great to be traversed by
human sight.
CANTO xxni. PARADISO. 305
And as a child which reaches its arms towards its mother
after it has taken her milk, through the mind which is
inflamed even outwardly, each of those lustres ex-
tended itself upward so that the deep love which they had
to Mary was made evident to me. Then they remained
there within my view, chanting Regina caeli so sweetly that
the delight has never departed from me. O how great is
the abundance which is sustained in those richest arks, who
here on earth were good tilth for sowing ! Here is life,
and joy of the treasure which was earned by weeping in
E come fantolin, che inver la mamma
Tende le braccia, poi che il latte prese,
q ^ Per 1' animo che in fin. di fuor s' infiamma,
' Ciascun di quei candori in su si stese
Con la sua cima, si che 1' alto affetto
Ch' egli avieno a Maria, mi fu pale?e.
Indi rimaser li nel mio cospetto,
Regina caeli cantando si dolce,
Che mai da me non si parti il diletto.
Oh quanta e 1' uberta, che si soffolce 130
In quell' arche ricchissime, che fbro
A seminar quaggiu buone bobolce !
Quivi si vive, e gode del tesoro,
Che s' acquistb piangendo nelP esilio
Con /a sua fiamma 1234 IV.
'" Cf. Purg. xxx. 44.
1-8 Regina caeli : the Easter Antiphon in the Compline service.
132 bobolce. This is usually taken as = Lat. bubulci, drivers of
oxen, hence ploughmen ; as bifolco in ii. 18. The chief objections are
the feminine termination, and the fact that bifolco seems rather to be
the form known to Dante. Also the mixture of metaphors, in any I ( I
case awkward, is rendered almost intolerable by the change from
X
306 PARADISO. CANTO xxm.
the exile of Babylon, where the gold was left behind. Here
triumphs, under the high Son of God, and of Mary, for his
victory, together with the ancient and with the new council,
he who holds the keys of such glory.
Di Babilbn, ove si lascib 1' oro ; p
Quivi trionfa sotto 1' alto Filio
Di Dio e di Maria, di sua vittoria,
E con F antico e col nuovo concilio
Colui che tien le chiavi di tal gloria.
P ov" egli Gg* Cass. 3 ; lascia 4 ; ove li /. 125.
storehouses to sowers. There appears to be a word bubuka, contracted
from bubulcata = the ploughing of an ox, our " acre " (see Diet. Cruse.);
and this on the whole gives the better sense, so I have ventured to
adopt it, therein following Scartazzini.
'35 Babylon as usual denotes the world. The treasure of Paradise is
gained by the rejection of earthly wealth. Those who read ov* egli
lascib understand these three lines as well as the next four, of St.
Peter ; and, looking to xxii. 88, there is something to be said for this
interpretation.
CANTO XXIV.
ARGUMENT.
St. Peter comes forth from the throng of saints, and proceeds to examine
Dante concerning the nature and matter of faith ; commending him
for his answer.
" O COMPANY elect to the great supper of the blessed Lamb,
who feeds you so that your wish is ever fulfilled, if through
the grace of God this man* has a foretaste of that which
falls from your table, before that death appoints a time to
him, give heed to his boundless desire, and shower upon
O SODALIZIO eletto alia gran cena
Del benedetto Agnello, il qual vi ciba
Si che la vostra voglia e sempre piena ;
Se per grazia di Dio questi preliba
Di quel, che cade della vostra mensa,
Anzi che morte tempo gli prescriba,
Ponete mente all' affezione immensa, a
a alia sua voglia Aid. Bi.
1 Sodalizio : " quasi simul sedentes ad mensam cum Christo ; et sic :
In bello socii, comites in calle femntur ;
Officium collega facit, discusque sodalem." P. di Dante.
Here again there seems to be an allusion to an Easter hymn, viz. " Ad
cenam Agni providi. "
X 2
308 PARADISO. CANTO xxiv.
him somewhat ; ye drink ever of the fount whence comes
that which he is meditating." Thus Beatrice; and those
joyful souls made themselves spheres upon fixed poles,
flaming mightily in fashion of comets. And as circles in
the fitting of clocks revolve so that the first, to whoso gives
heed, seems at rest, and the last to fly, so those choirs,
dancing variously, swift and slow, made me judge them in
respect of their riches.
From that one which I marked of most beauty, I saw
issue a fire so blissful that none there outstripped it for
E roratelo alquanto : voi bevete
Sempre del fonte, onde vien quel ch' ei pensa.
Cosi Beatrice ; e quelle anime liete i o
Si fero spere sopra fissi poli,
Fiammando forte, a guisa di comete.
E come cerchi in tempra d' oriuoli
Si giran, si che il primo, a chi pon mente,
Quieto pare, e 1' ultimo che voli,
Cosi quelle carole differente-
mente danzando, della sua ricchezza
Mi si facean stimar veloci e lente. b
Di quella, ch' io notai di piu bellezza, c
Vid' io uscire un fuoco si felice, 20
Che nullo vi lascib di piu chiarezza; d
b mifaceano Gg. Cass. 1234. c piu chiarezza Gg. d carezza Gg.
13 oriuoli : cf. x. 139. Clocks appear to have been still somewhat
o a novelty at this time. The Sultan sent one in the form of a globe,
worked by weights and wheels, to Frederick II. in 1232. A clock was
put up at Westminster in 1288. (Encycl. Brit. s.v. "Clock.")
J ? ricchezza : i.e. the degree of glory to which they had attained.
The saints who are here present are gathered from all the spheres. See
iv. 34-39-
* un fuoco : St. Peter.
CANTO xxiv. PARADJSO. 309
greater brightness ; and three times around Beatrice did it
turn with a chant so divine that my fancy repeats it not to
me; wherefore my pen skips, and I write it not, for our
imagination, far more our speech, is too lively a pigment
for such draperies.
"O holy sister mine, who prayest us so devoutly,
through thy burning affection thou settest me loose from
that fair sphere;" halted thereafter, the blessed fire directed
toward my Lady its breath, which shaped its words in such
wise as I have said. And she : " O eternal light of the
E tre fiate intorno di Beatrice
Si volse con un canto tanto divo,
Che la mia fantasia nol mi ridice ;
Perb salta la penna, e non lo scrivo,
Che 1' immagine^ nostro a cotai pieghe, 6
Non che il parlare, e troppo color vivo.
O santa suora mia, che si ne preghe,
Devota, per lo tuo ardente affetto,
Da quella bella spera mi disleghe : 30
Poscia fermato il fuoco benedetto,
Alia mia Donna dirizzb lo spiro,
Che favello cosi com' io ho detto.
Ed ella : O luce eterna del gran viro,
e immaginar Aid. W. Bi.
-5 salta : cf. xxiii. 62.
*> 2 7 A somewhat obscure metaphor. The meaning seems to be
that human language is too coarse a medium for the adequate repre-
sentation of the divine melody. Post. Cass. has, however, to pieghe,
"i.e. rotationes."
3 spera appears to mean the band of blessed spirits who would be
clustered like (e.g.) a swarm of bees. Giuliani proposes to read schiera,
which is tempting, but wholly lacks authority.
PARADISO. CANTO xxiv.
great man to whom our Lord left the keys, which He bore
below, of this wondrous joy, try this man concerning points
easy and hard, as pleases thee, about the Faith, by which
thou didst go upon the sea. If he loves aright, and hopes
aright, and believes, it is not hidden from thee, seeing that
thou hast thy view there where everything is seen depicted.
But because this realm has made citizens by the true faith,
to its glory, it is good that thou approach him to speak
about it."
Even as the bachelor equips him, and speaks not
A cui nostro Signer lascio le chiavi,
Ch' ei portb giu, di questo gaudio miro,
Tenta costui dei punti lievi e gravi,
Come ti piace, intorno della Fede,
Per la qual tu su per lo mare andavi.
S' egli am a bene, e bene spera, e crede, 40
Non t' e occulto, perche il viso hai quivi,
Ov' ogni cosa dipinta si vede.
Ma perche questo regno ha fatto civi
Per la verace fede, a gloriarla,
Di lei parlare e buon ch' a lui arrivi.
Si come il baccellier s' arma, e non parla
39 See De Mon. iii. 9, where this is given as an example among
others of St. Peter's faith.
43 Cf. xv. 62 ; xvii. 39, 43-45.
45 I have followed Daniello in taking arrivi as the second person.
Many, however, understand it as impersonal, "that it occur to him : "
but though Fr. arriver has this meaning commonly at all events since
the seventeenth century I cannot find any authority for it in early
] talian.
46 s;[q. T ne allusion is to the practice, surviving in some faculties
even to our time, by which the Bachelor, before proceeding to the
Doctorate, had to "keep an Act, "i.e. maintain a thesis, in the presence
of a Master. In the case conceived by Dante, which was probably the
CANTO XXIV. PARADISO. 311
until the master propounds the question, for proof thereof
not for determination, so was I arming myself with every
argument while she was speaking, to be ready for such a
questioner and for such a profession. " Say, good Christian ;
make thyself manifest ; what is Faith ? " Wherefore I
raised my face toward that light whence this breathed.
Then I turned to Beatrice, and she gave me quick looks,
that I should spread forth the water of my inward fount.
" May the .grace which grants me to make my avowal," I
began, "to the high captain, cause my conceptions to be
Fin che il maestro la quistion propone,
Per approvarla non per terminarla,
Cosl m' armava io d' ogni ragione,
Mentre ch' ella dicea, per esser presto 50
A tal querente, e.a tal professione.
Di', buon Cristiano ; fatti manifesto ;
Fede che e ? ond' io levai la fronte
In quella luce, onde spirava questo.
Poi mi volsi a Beatrice, ed essa pronte
Sembianze femmi, perche io spandessi
L' acqua di fuor del mio interne fonte.
La grazia, che mi da ch' io mi confessi,
Comincia' io, dalF alto primipilo/
Faccia li miei concetti essere espressi : e 60
f dalt altro Cass. 1245 Aid. s cone, bene espr. Gg. 1245.
usual one, the Master propounds the subject. This of course would
usually be some well-known proposition, already decided ; so that the
candidate would only have to show that he was acquainted with the
established proof.
57 "Confessio est actus fidei." S. T. ii. 2. Q. 3. A. I.
59 primipilo : strictly the "centurio primi pili," or centurion of the
front rank of the Triarii or Pilani, the senior centurion in the Legion
\
312 PAR ADI SO. CANTO xxiv.
expressed." And I pursued: "As the true pen, father, of
thy dear brother has written thereof, who with thee set
Rome in the good line, faith is substance of things hoped
for and evidence of those which do not appear ; and this
appears to me its quiddity." Then I heard : " Thou hast
a right opinion, if thou well understandest wherefore he
placed it among the substances, and then among the
E seguitai : come il verace stilo,
Ne scrisse, padre, del tuo caro frate,
Che raise Roma teco nel buon filo,
Fede e sustanzia di cose sperate,
I Ed argomento delle non parventi ;
E questa pare a me sua quiditate. h
Allora udii : Direttamente senti,
Se bene intendi perche la ripose'
Tra le sustanze, e poi tra gli argomenti.
h questo Cass. W. ' rispose Gg. 1234 ; respuose Cass.
64 Hebrews xi. i.
681 ** This question embodies one of the objections to St. Paul's
definition of faith, stated in the article on the subject in S. T. ii. 2.
Q. 4. St. Thomas solves the difficulty by saying : Substantia solet
dici prima inchoatio cujuscunque rei ; et maxime quando res sequens
continetar virtute in primo principio. . . . Per htmc ergo modum
dicitur fides esse substantia rerum sperandarum : quia scilicet prima
inchoatio rerum sperandarum in nobis est per assensum fidei, quae
virtute continet omnes res sperandas. Dante's answer is perhaps
more neatly expressed, and appears to follow Peter Lombard rather
than Aquinas. The words of the former are : Fides dicitur substantia
rerum sperandarum quia sperandis substat. He also quotes Augustin :
Credere quod est actus fidei naturaliter praecedit sperare, quod est
actus spei. As to " argumentum," St. Thomas continues : Sumitur
argumentum pro argument! effectu. Per argumentum enim inducitur
intellectus ad inhaerendum alicui vero ; unde ipsa firma adhaesio in-
tellectus ad veritatem fidei non apparentem, vocatur hie argumentum.
CANTO xxiv. PARADISO. 313
proofs." And I thereupon : " The deep things which
bestow on me here their apparency, to the eyes of the world
below are so hidden, that their essence is there in belief
only, upon which is founded the high hope, and therefore
it takes the purport of a substance ; and from this belief it
behoves us to syllogise without having other sight, and
therefore it has the purport of an argument." Then I
heard: "If whatever is acquired below for doctrine was in
this wise understood, the sophist's wit would there have no
place." So came the breath from that enflamed love ; then
he subjoined: "Full well has already the alloy and the
weight of this money been gone through ; but tell me if
Ed io appresso : Le profonde cose, 70
Che mi largiscon qui la lor parvenza,
Agli occhi di laggiu son si nascose,
Che P esser loro v' e in sola credenza,
Sovra la qual si fonda 1' alta spene; k
E perb di sustanzia prende intenza :
E da questa credenza ci conviene
Sillogizzar senza avere altra vista ;
E perb intenza d' argomento tiene.
Allora udii : Se quantunque s' acquista
Giu per dottrina, fosse cosi inteso, 80
Non gli avria luogo ingegno di sofista :
Cosi spirb da quell' amore acceso ;
Indi soggiunse : Assai bene e trascorsa
D' esta moneta gia la lega e il peso :
k siferma Gg,
With reference to this it may be noted that the gifts of the Spirit which
correspond to the virtue of faith are scientia and intellcctus.
lega e peso : the form and the matter. (Philal.)
314 PARADISO. CANTO xxiv.
thou hast it in thy purse." And I: "Yes, I have it so
bright and so round, that of its coinage nought makes
doubt in me." Thereupon issued from the depth of the
light that there was shining: "This precious jewel whereon
every virtue is founded, whence came it to thee ? " And I :
"The plenteous rain of the Holy Spirit, which is shed
abroad upon the old and the new scrolls, is a syllogism
which has concluded it for me so sharply that in respect of
Ma dimmi se tu 1' hai nella tua borsa.
Ed io : Si, ho si lucida e si tonda, 1
Che nel suo conio nulla mi s' inforsa.
N -
Appresso usci della luce profonda,
Che li splendeva : Questa cara gioia,
Sovra la quale ogni virtu si fonda, 90
Onde ti venne ? ed io : La larga ploia
Dello Spirito Santo, ch' e diffusa
In su le vecchie e in su le nuove cuoia,
E sillogismo, che la mi ha conchiusa
Acutamente, si che in verso d' ella
1 onde uscio z; si T ho Bi.
90 S. T. ii. 2. Q. 4. A. 7 : Per se quidem inter omnes virtutes
prima est fides. Cum enim in agibilibus, finis sit principium (this is
after Ar. Phys. ii. 7 : TO p.ev yap ri tori /cat TO ov eW*a cart, TO 8'
odev fj KtVrjo-i? 7rp>Tov T&> ei'Sei TCIVTO TOVTOIS) necesse est virtutes
theologicas quarum objectum est ultimus finis esse priores ceteris vir-
tutibus. Ipse autem ultimus finis oportet quod prius sit in intellectu
quam in voluntate . . . Unde cum ultimus finis sit quidem in voluntate
per spem et charitatem, in intellectu autem per fidem, necesse est quod
fides sit prima inter omnes virtutes.
93 cuoia: lit. "skins," "parchments."
94 sillogismo. The fact that a certain doctrine is contained in
Scripture forms the minor premiss of a syllogism to which faith stands
as the major ; and from this we conclude to the truth of the doctrine.
(Philal.) See 1. 77. The argument here seems to run somewhat in
a circle.
CANTO xxiv. PARADISO. 315
that every demonstration seems to me obtuse." I heard
then : " The old and the new proposition which has this
conclusion for thee, wherefore holdest thou it for the word
of God ? " And I : " The proof that discloses the truth to
me are the works which followed, for which nature never
heated iron nor beat anvil." It was answered to me :
"Say, what assures thee that these works were? That
same one that would prove itself, and none other, swears it
to thee." " If the world turned to Christianity," said I,
" without miracles, this only is such, that the others are not
the hundredth part ; for thou didst enter poor and fasting
into the field to sow the good plant, which was once a vine,
and now is grown a bramble."
Ogni dimostrazion mi pare ottusa.
lo udii poi : L' antica e la novella
Proposizione, che. si ti conchiude,
Perche 1' hai tu per divina favella ?
Ed io : La pruova che il ver mi dischiude, i co-
Son 1' opere seguite, a che natura
Non scaldo ferro mai, ne batte ancude.
Risposto fummi: Di', chi t' assicura
Che quell' opere fosser ? quel medesmo
Che vuol provarsi, non altri, il ti giura. m
Se il mondo si rivolse al Cristianesmo,
Diss' io, senza miracoli, quest' uno
fi tal, che gli altri non sono il centesmo :
Che tu entrasti povero e digiuno
In campo a seminar la buona pianta, i io
Che fu gia vite, ed ora e fatta pruno.
m <? altri Gg.
ioi, 102 j e t h e m i r acles; of which the conversion of the world to
Christianity (106-108) was the greatest. This argument is as old as
St. Augustine : hoc nobis unum grande miraculum sufficit, quod eis
terrarum orbis sine miraculis credidit.
316 PARADISO. CANTO xxiv.
This ended, the holy Court on high resounded through
the spheres a " Praise we God," in the melody which up there
is chanted. And that lord who so from branch to branch
had already drawn me in examination that we were drawing
near to the last leaves, recommenced : " The grace which is
mistress with thy mind has opened thy mouth thus far as it
ought to open; so that I approve that which has come
forth. But now it is meet to express what thou believest,
and whence it has been offered to thy belief." " O holy
father, O spirit who seest that which thou so believedst, that
thou didst outdo younger feet toward the sepulchre," I
Finite questo, 1' alta Corte santa
Risono per le spere un Dio laudamo,
Nella melode che lassu si canta.
E quel baron, che si di ramo in ramo
Esaminando gia tratto m' avea,
Che all' ultime fronde appressavamo,
Ricomincib : La grazia, che dpnnea
Con la tua mente, la boccaT~aperse
Insino a qui, com' aprir si dovea ; 1 20
Si ch' io approve cio che fuori emerse :
Ma or conviene esprimer quel che credi,
Ed onde alia credenza tua s' offerse.
O santo padre, o spirito, che vedi
Cio che credesti, si che tu vincesti
Ver lo sepolcro piu giovani piedi,
125, 126 j^ ot s t r i c tiy correct, for " the other disciple did outrun Peter,
and came first to the sepulchre." But probably Dante refers to the
fact of St. Peter having been the first actually to enter. See again
De Mon. iii. 9 : Dicit etiam Johannes, ipsum (sc. Petrum) introivisse
subito, cum venit in monumentum, videns alium Discipulum cunctantem
ad ostium.
CANTO xxiv. PARADISO. 317
began, "thou wilt that I declare here the form of my
ready believing, and also the cause of it hast thou
inquired. And I reply : I believe in one God sole and
eternal, who unmoved moves all the heaven, with love and
with desire; and for such creed I have not only proofs
physical and metaphysical, but the truth gives it also to me,,
which showers from hence through Moses, through prophets
and through psalms, through the Gospel, and through you
who wrote since the fire of the Spirit made you fertile
thereto ; and I believe in three eternal Persons, and these
I believe an essence so one and so threefold that in con-
junction it admits of sunt and est. With the profound
Comincia' io : tu vuoi ch' io manifest!
La forma qui del pronto creder mio,
Ed anche la cagion di lui chiedesti.
.Ed io rispondo : Io* credo in uno Dio 130
Solo ed eterno, che tutto il ciel muove
Non moto, con amore e con disio :
Ed a tal creder non ho io pur pruove
Fisice e metafisice, ma dalmi
Anche la verita che quinci piove,
Per Moise, per profeti, e per salmi,
Per P evangelic, e per voi che scriveste,
Poiche 1' ardente spirto vi fece almi.
I E credo in tre persone eterne, e queste
Credo una essenza si una e si trina, 140
Che soffera congiunto sunt et este*
n soffero a c. Gg.; soffrara congiuntc 2; congiunta Cass.; sono Gg.
Cass. 1234 W.
3, 133 Cf. again Metaph. X. 7 : eon rt 6 ov Ktvov/icvov Kivtl, K.r.X.
J 3* Fisice e metafisice : no doubt with allusion to the works of
Aristotle so called.
141 este : mctri gratia for est. In spite of the great MS. authority
PARADISO.
CANTO XXIV.
condition of Deity which I now touch, the teaching of the
Gospel oftentimes stamps my mind. This is the beginning,
this is the spark which broadens into a flame afterward
lively, and as a star in heaven, sparkles in me."
As the master who listens to that which pleases him,
thereafter embraces his servant, rejoicing for the news, as
-soon as he is silent, thus blessing me in his chant, thrice
girt me, as I held my peace, the apostolic light at whose
command I had spoken ; so in my speaking pleased I him.
Delia profonda condizion divina,
Ch' io tocco mo, la mente mi sigilla
Piu volte 1' evangelica dottrina.
Quest' e il principle ; quest' e la favilla,
Che si dilata in fiamma poi vivace, p
E come Stella in cielo in me scintilla.
Come il signer, ch' ascolta quel che piace,
Da indi abbraccia il servo, gratulando
Per la novella, tosto ch' ei si tace ; 150
Cosi benedicendomi cantando,
Tre volte cinse me, si com' io tacqui,
L' apostolico lume, al cui comando
Io avea detto ; si nel dir gli piacqui.
\
tocco t netta mente 13 Aid. W.
P piu viv. Gg. 124.
for sono, sunt must, I think, be right. The Athanasian Creed, it may
be noticed, avoids the use of sunt.
144 pju volte : i.e. " in sundry places."
a-
CANTO XXV.
ARGUMENT.
St. James puts certain questions concerning hope. Afterwards St. John
joins them, in a light so shining that Dante is thereby deprived for a
while of sight.
IF ever it befall that the sacred poem to which both heaven
and earth have set a hand, so that it has made me lean for
many years, overcome the caruelty which locks me out of
the fair fold where as a lamb I slumbered, an enemy to the
wolves who give it war; with other fame thenceforth, with
SE mai continga che il poema sacro,
Al quale ha posto mano e cielo e terra,
Si che m' ha fatto per piu anni macro, 2
Vinca la crudelta, che fuor mi serra
Del bello ovile, ov' io dormii agnello
Nimico ai lupi che gli danno guerra ;
Con altra voce omai, con altro vello
a per molti a, Gg. 124.
2 cielo e terra. The force of this expression may be understood
from a comparison with De Mon. ii. I : Veritas autem quaestionis
patere potest non solum lumine rationis humanae, sed et radio divinae
authoritatis. Quae duo cum simul ad unum concurrunt, coelum et
terram simul assentire necesse est.
6 lupi : cf. Purg. xiv. 50.
? It seems best to take voce as in xviii. 32. Cf. Purg. xi. 103
(v. 1.), and xxvi. 121. It may however mean " with a voice other than
320 PARADISO. CANTO xxv.
other fleece I shall return a poet, and over the font of my
baptism shall take the chaplet ; since into the Faith which
trains the souls to God, I there entered, and afterward
Peter for its sake so circled my brow.
Then a light set out towards us from that troop when
issued the first-fruit which Christ left of His vicars. And
my Lady full of gladness said to me : " Look, look ! lo the
chief for whose sake on earth they visit Gallicia." As when
the pigeon settles near its companion, the one, turning and
Ritornerb poeta, ed in sul fonte
Del mio battesmo prendero il cappello : ' i
Per 6 che nella fede, che fa conte 10
" L' anime a Dio, quiv' entra' io, e poi
Pietro per lei si mi giro la fronte.
Indi si mosse unlurjoe verso noi
Di quella schiera, ond' usci la primizia b
Che lascio Cristo dei vicari suoi.
E la mia Donna piena di letizia
Mi disse : Mira, mira ; ecco il barone,
Per cui laggiu si visita Galizia.
Si come quando il Colombo si pone
Presso al compagno, 1' uno all' altro pande, c 20
b spera Gg. 124 W.
c e r uno IV.; f uno e f altro Gg. 1234 Aid.; e P uno e C altro Cass.
that with which I sang in my younger days : " i.e. as the poet of faith,
no longer of earthly love.
9 cappello : probably the poet's crown of laurel.
13 lume : St. James.
J ? barone : cf. xxiv. 115.
18 Galizia : the Spanish province in which is the shrine of Compos-
tella, where St. James is said to have been buried. See V.N. 41.
20 No one who has watched the ways of pigeons can doubt the
reading here. It is only the male bird who " gira e mormora." The
masculine altro follows the gender of compagno.
CANTO xxv. PARADISO. 321
cooing, displays to the other its affection ; so saw I the one
great prince of glory received by the other, praising the food
whereon they feast on high. But after that their greeting
was discharged, silent coram me each one fixed himself, so
on fire that it overcame my countenance. Smiling then
Beatrice said : " Renowned life, through whom the largess
of our palace was written, make Hope to resound on this
height; thou knowest that thou dost figure it so many
Girando e mormorando, 1' affezione ;
Cos! vid' io 1' un dall' altro grande
Principe glorioso essere accolto,
Laudando il cibo, che lassu si prande.
Ma poi che il gratular si fu assolto,
Tacito, coram me, ciascun s' affisse,
Ignito si, che vinceva il mio volto.
Ridendo allora Beatrice disse :
Inclita vita, per cui la larghezza d
Delia nostra basilica si scrisse, 30
Fa risonar la speme in questa altezza ;
Tu sai che tante volte la figuri, 6
d t allegrezza 12345 W. e tante fiate Gg. Cass. 134.
*9 The allusion seems to be to St. James i. 5. Others (e.g. Witte)
reading allegrezza, understand it as referring to i. 2. It may be noticed
that Dante appears to confuse the two Apostles of the name : for the
Epistle is ascribed to St. James "the Less;" while the patron of
Spain, and the one who appears on special occasions joined with St.
Peter and St. John, is St. Jamei "the Greater."
30 basilica : heaven ; so aula in 1. 42.
3* There appears to be no reason for connecting St. James specially
with the virtue of Hope ; beyond the fact that Faith has already
been assigned to St. Peter, while Love must of course be reserved
for St. John. The association seems to be found in early mystical
theology.
Y
322 PARADISO. CANTO xxv.
times as Jesus granted more clearness to the three." " Lift
thy head, and see that thou assure thyself ; for that which
comes up hither from your world, must needs be ripened
at our rays." This comfort came to me from the second
flame ; wherefore I lifted my eyes to the hills, which before
bowed them down with excess of weight. " Since through
grace our Emperor wills that thou show thy face before thy
death, in His most secret hall, with His Counts, so that the
truth of this Court having been seen, the Hope that on earth
causes to love aright, thou mayest confirm in thyself and in
Quante Gesu ai tre fe piu chiarezza/
Leva la testa, e fa che t' assicuri ;
Che cib, che vien quassu dal mortal mondo,
Convien ch' ai nostri raggi si maturi.
Questo conforto del fuoco secondo*
Mi venne, ond' io levai gli occhi ai monti,
Che gl' incurvaron pria col troppo pondo.
Poiche per grazia vuol che tu t' affronti 40
Lo nostro Imperadore, anzi la morte,
NelP aula piu segreta, coi suoi conti, h
Si che veduto il ver di questa corte,
La speme, che laggiii bene innamora,
In te ed in altrui di cib conforte :
f Quanta Gg. Cass. 23 Aid, W.; carezza Gg. 124.
8 nelf. Gg. ; dal W. h da suoi 1245.
s 8 Psalm cxxi. I. " Montes " is interpreted as denoting the Apostles,
by comparison with Psalm Ixxxvii. I.
4I> ** Christ being the Emperor, the Apostles are fitly spoken of as
Counts and Barons.
4S . & The questions correspond with those in 11. 53, 85, 91, of the
last Canto. Beatrice answers the second for him, leaving him to reply
to the first and third.
CANTO xxv. PARADISO, 323
others; say what it is, and how thy mind blossoms therewith,
and say whence it came to thee :" thus further pursued the
second light. And that kindly one, who guided the feathers
of my wings to so lofty a flight, thus prevented me in the
reply : " The Church militant has not any son with more
hope, as is written in the Sun who beams on all our host ;
wherefore to him it is permitted that from Egypt to Jeru-
salem he come to behold, before his term of service be
prescribed for him. The other two points, which are not
demanded for the sake of knowledge, but that he may
report how much thou hast this virtue in delight, I leave to
him, for they will not be hard to him, nor ground of boast-
Di' quel che ell' e, e come se ne infiora
La mente tua, e di' onde a te venne :
Cosi segui il secondo lume ancora.
E quella pia, che guidb le penne
Delle mie ali a cosi alto volo, 50
Alia risposta cosi mi prevenne :
La Chiesa militante alcun figliuolo
Non ha con piu speranza, com' e scritto
Nel Sol che raggia tutto nostro stuolo :
Perb gli e conceduto, che d' Egitto
Vegna in Gerusalemme per vedere,
Anzi che il militar gli sia prescritto.
Gli altri due punti, che non per sapere
Son dimandati, ma perch' ei rapporti
Quanto questa virtu t' e in piacere, 60
A lui lasc' io ; che non gli saran forti,'
1 A lid li lascio Gg.; il lascio Cass.; la !. 1245.
5 Cf. Plato Phaedrus 246 D : H.e(j)VKfv r) impov StW/zis TO f
"tyfiv ava> fj.fTfa>piovcra, TJ TO TU>V deo>v yevos oiKfl.
58 non per sapere : cf. "non per terminarla," xxiv. 48.
Y 2
324 PARADISO. CANTO xxv.
ing ; and let him answer to this ; and may the grace of God
bear with him in this."
As a learner, who follows a teacher readily and willingly
in that wherein he is expert, so that his excellence may be
discovered, " Hope," said I, "is a sure expectation of the
glory that shall be, which grace divine produces and fore-
going merit. From many stars comes this light to me ; but
he first distilled it into my heart, who was the supreme
singer of the supreme Leader. ' Let them hope in Thee,'
he says in his Theody, ' who know Thy name ; ' and who
Ne di jattanzia ; ed elli a cio risponda,
E la grazia di Dio cio gli comporti.
Come discente, ch' a dottor seconda
Pronto e libente in quel ch' egli e esperto,
Perche la sua bonta si disasconda ;
Speme, diss' io, e uno attender certo
Delia gloria futura, che produce
Grazia divina e precedente merto.
Da molte stelle mi vien questa luce; 70
Ma quei la distillo nel mio cor pria,
Che fu sommo cantor del sommo duce.
Sperino in te, nella sua Teodia k
k Sperent W.; nella tua 1234 Aid.; nelf alta Bi. GiuL
63 di jattanzia ; as his possession of the virtue might be.
67-69 Here again Dante follows Peter Lombard. His words are : " Est
enim spes certa expectatio futurae beatitudinis veniens ex Dei gratia et
meritis praecedentibus." Sent. iii. 26. See also note to xxix. 63.
" Psalm ix. 1 1, where the Vulgate has : " Sperent in te qui noverunt
nomen tuum." The word Teodia seems to have puzzled the early
commentators. Thus P. di Dante has : " Et tu, Jacobe, in tuis Epistolis
et Theodia, ita dicta a theos quod est Deus, et dia quod est duo, quasi
verba formata a Deo et prolata ab homine " { !) From some blunder of
this kind no doubt sprang the reading nella tua, and this was corrected
into nelF alta, which modern editors have adopted without authority.
CANTO XXV. PARADISO. 3 2 5
knows it not, if he has my faith ? Thou didst instil it into
me with his instilling in the Epistle thereafter, so that I am
full of it, and shed in turn your rain upon other." While I
was speaking, within the living bosom of that blaze quivered
a flash sudden and close, in fashion of lightning. Then
came the breath : " The love wherewith I glow yet towards
the virtue which followed me even to the palm, and to my
issue from the field, wills that I breathe again to thee who
makest thy delight of it ; and it is for my pleasure that thou
tell that which thy hope promises thee." And I: "The
Dice, color che sanno il nome tuo :
E chi nol sa, s' egli ha la fede mia ?
Tu mi stillasti con lo stillar suo,
Nella pistola poi, si ch' io son pieno,
Ed in altrui vostra pioggia ripluo.
Mentr' io diceva, dentro al vivo seno
Di quello incendio tremolava un lampo 80
Subito e spesso, a guisa di baleno :
Indi spirb : L' amore, ond' io avvampo
Ancor ver la virtu, che mi seguette
Infin la palma, ed all' uscir del campo,
Vuol ch' io respiri a te, che ti dilette
Di lei ; ed emmi a grato, che tu diche
Quello che la speranza ti promette.
75 Thus faith is the ground of hope ; xxiv. 90. S. T. ii. 2. Q. 17.
A. 7 : Fides absolute praecedit spem ... In diffinitione fidei
(Heb. xi. i) proponitur res speranda, quia proprium objectum fidei non
est apparens secundum seipsum. Unde fuit necessarium ut quadam
circumlocutione designaretur per id quod sequitur ad fidem.
77 The passage in St. James's Epistle specially alluded to (if any)
would seem to be v. 7.
81 spesso seems to mean "dense," "compact ;" not as some take
it, "frequent, "a meaning in which, except adverbially, Dante does
not use the word.
326 PARADISO. CANTO xxv.
new and the old Scriptures set the mark, and this points it
out to me, of the souls which God has made friends to
Him. Isaiah says that each one shall be clad in its own
land with a twofold raiment; and its own land is this
sweet life. And thy brother with far more of ripeness, in
that place where he treats of the white robes, makes mani-
fest this revelation to us."
And first, hard upon the end of these words Sperent in
Ed io : Le nuove e le scritture antiche
Pongono il segno, ed esso lo m' addita, f *
Dell' anime, che Dio s' ha fatte amiche. 90
Dice Isaia, che ciascuna vestita
Nella sua terra fia di doppia vesta,
E la sua terra e questa dolce vita.
E il tuo fratello assai vie piu digesta,
La dove tratta delle bianche stole,
Questa rivelazion ci manifesta.
E prima, presso il fin d' este parole,
88 So xxiv. 93.
89 Others, taking segno as = "aim," read ed esso: Lo m' addita ;
understanding the words as a parenthesis, indicating a remark interjected
by St. James. But this makes the structure of the passage unnecessarily
disjointed, besides that it is not in Dante's manner. The meaning
would seem to be : " Scripture tells me the mark by which the souls
pleasing to God will be known, and the promises of Hope point it out
to me" : esso referring to quello, and lo to segno. He then goes on
to state in the words of the Old and the New Testament what the
object of his hope is, viz. everlasting blessedness. Another reading,
which Bianchi adopts, puts a full stop at addita, and a comma at
amiche ; " Isaiah says of the souls," etc.
9 l The allusion is to Isaiah Ixi. 7 : propter hoc in sua terra duplicia
possidebunt ; the idea of raiment being taken from v. io : quia induit
me vestimentis salutis.
94 fratello : St. John, in Rev. vii. 9.
97 Cf. xxiv. 112.
CANTO xxv. PARADISO. 327
te was heard above us, to which all the choirs responded ;
then among them a light brightened, so that if the Crab
possessed such a gem the winter would have one month of
a single day. And as a joyous maiden rises and goes and
enters a dance only to do honour to the new bride and not
for any fault, so saw I the glory that had shone forth come
to the two who were turning in such a wheel as beseemed
their burning love. It put itself there into the chant and
into the music, and my Lady held her gaze on them, just
like a bride silent and unmoved. "This is he who lay
Sperent in te, disopra noi s' udi, 1
A che risposer tutte le carole :
Poscia tra esse un lume si schiari, 100
Si che, se il Cancro avesse un tal cristallo,
L' inverno avrebbe un mese d' un sol di.
E come surge, e va* ed entra in ballo
Vergine lieta, sol per fare onore
Alia novizia, e non per alcun fallo,
Cosi vid' io lo schiarato splendore
Venire ai due, che si volgeano a rota,
Qual conveniasi al loro ardente amore.
Misesi 11 nel canto e nella nota ;
E la mia Donna in lor tenea 1' aspetto, no
Pur come sposa tacita ed immota.
Questi e colui, che giacque sopra il petto
1 in te Domine sopra Gg. m tenne Cass. 1234 Aid. W. Bi.
9 s See note to xxvi. 69.
100 lume : that of St. John the Divine.
101 During the middle month of the winter, when the sun is in
Capricorn, Cancer, being exactly opposite to it, is up throughout the
night. The meaning of course is that the spirit of St. John shone with
a brightness equal to the sun.
105 per alcun fallo : i.e. from vanity or wantonness.
328 PARADISO. CANTO xxv.
upon the breast of our Pelican, and this one was from upon
the cross chosen to the great office." Thus my Lady; nor
for all that did her words move her sight from staying
intent afterwards more than before. As he is who looks
and prepares himself to see the sun eclipsed a little, that
through seeing he becomes sightless, so I grew at this latest
fire, until it was said to me : " Why dost thou dazzle thyself
to behold a thing which here has no place? On earth,
earth is my body, and it will be there with the others so
long as our number is being made equal with the eternal
Del nostro Pellica.no ; e questi fue
D' in su la croce al grande uficio eletto.
La Donna mia cosi, ne perb piue
Mosser la vista sua di stare attenta,
Poscia che prima le parole sue.
Quale e colui, che adocchia e s' argomenta
Di veder eclissar lo Sole un poco,
Che per veder non vedente diventa, 120
Tal mi fee' io a quell' ultimo fuoco,
Mentreche detto fu : Perche t' abbagli
Per veder cosa, che qui non ha loco ?
In terra e terra il mio corpo, e saragli
Tanto con gli altri, che il numero nostro
Con 1' eterno proposito s' agguagli.
"3 Pellicano. The pelican, fabled to feed its young with its own
blood, was a favourite emblem of Christ. Thus in the well-known
Eucharistic hymn of St. Thomas, "Adoro te devote," we find the
expression, "Pie Pelicane, Jesu Domine."
114 al grande uficio : the care of the Mother of the Lord.
"* Dante gazes at St. John in the expectation of seeing his earthly
body, misled, like the early Christians, by the words of John xxi. 22.
Aquinas, S. T. Suppl. Q. 77. A. I, does not wholly reject this "pious
belief."
CANTO xxv. PARAD1SO. 329
purpose. With the two garments in the blessed cloister are
the two lights only who went up : and this thou shalt report
to your world." At this voice the flaming circle was still,
together with the sweet blending which was made of the
sound of the threefold breath ; just as through the ceasing
of toil or risk the oars, till then beaten again and again in
the water, all pause at the sound of a whistle. Ah ! how
was I moved in my mind, when I turned to see Beatrice,
through being unable to see her, albeit I was near to
her, and in the world of bliss !
Con le due stole nel beato chiostro
Son le due luci sole, che saliro :
E questo apporterai nel mondo vostro.
A questa voce 1' infiammato giro 130
Si quietb, con esso il dolce mischio,
Che si facea del suon nel trino spiro ;
Si come per cessar fatica o rischio,
Gli remi pria nell' acqua ripercossi,
Tutti si posano al sonar d' un fischio.
Ahi quanto nella mente mi commossi,
Quando mi volsi per veder Beatrice,
Per non poter vedere, ben ch' io fossi n
Presso di lei, e nel mondo felice !
n vederla Aid. Bi.; ben veder ch? io Cass. 3.
If "i due stole : the earthly and the heavenly bodies.
128 luci : Christ and the Virgin. It is somewhat curious, as Scartaz-
zini notes, that Dante should have ignored Enoch and Elijah.
133 Imitated from Stat. Theb. vi. 799 sqq. :
Sic ubi longa vagos lassarunt aequora nautas,
Et signo de puppe dato posuere parumper
Bracchia.
CANTO XXVI.
ARGUMENT.
St. John examines Dante concerning love, and especially love towards
God. Afterwards Adam comes, and resolves certain doubts respecting
the first state of man.
WHILE I was doubting by reasoh of my quenched vision,
from the effulgent flame that quenched it issued a breath
which made me attentive, saying : " Whiles thou art regain-
ing sense of the sight which thou hast consumed upon me,
it is well that thou make up for it in converse. Begin then,
and say where thy soul is centred, and reckon that the sight
in thee is bewildered and not defunct ; because the Lady,
MENTR' io dubbiava per lo viso spento,
Delia fulgida fiamma che lo sperise,
Usci un spiro che mi fece attento,*
Dicendo : In tanto che tu ti risense
Delia vista, che hai in me consunta,
Ben' b che ragionando la compense.
Comincia dunque, e di' ove s' appunta
L' anima tua, e fa ragion che sia
La vista in te smarrita e non defunta ;
* Giunse un spirilo Gg.
5 hai consunta : like avea conquiso in Purg. xxiii. 45.
7 s' appunta : cf. Purg. xv. 49.
CANTO xxvi. PARADISO. 331
who is guiding thee through this bright region, has in her
glance the virtue which the hand of Ananias had." I said :
" At her pleasure, either soon or late, let healing come to
the eyes which were doors when she entered with the fire
wherewith I ever burn. The Good which makes content
this Court is Alpha and Omega of whatever scripture reads
Love to me either gently or in strength." That same voice
which had taken away from me fear of the sudden dazzling,
set me yet further in desire of talking, and said : " Surely
with a closer sieve behoves it thee to make clear; it
behoves thee to say who directed thy bow to such a mark."
Perche la Donna, che per questa dia 10
Regione ti conduce, ha nello sguardo
La virtu ch' ebbe la man d' Anania.
lo dissi : Al suo piacere e tosto e tardo
Vegna remedio agli occhi che fur porte,
Quand' ella entro col fuoco ond' io sempr' ardo.
Lo ben che fa contenta questa Corte,
Alfa ed Omega e di quanta scrittura
Mi legge amore o lievemente o forte.
Quella medesma voce, che paura b
Tolta m' avea del subito abbarbaglio, 20-
Di ragionare ancor mi miseTrTcura : .
E disse : Certo a piu angusto vagjip
Ti conviene schiarar ; dicer convienti,
Chi drizzb 1' arco tuo a tal berzaglio.
b medesma luce onde Gg. c /' occhio parzaglio Gg.
" Acts ix.
18 lievemente o forte: "light or loud," says Philalethes, inter-
preting " through reason or revelation ; " see 11. 25, 26. I have followed
Daniello in understanding amore as the object of legge, which here
must have almost the meaning of " teaches."
332 PARADISO. CANTO xxvi.
And I : " Through arguments of philosophy, and through
authority which descends hence, must such love on me
needs be stamped ; for the good, in so far as it is good, as
it is understood, so kindles love, and so much greater in
proportion as it comprehends in itself more of goodness.
Therefore to the Being, wherein is so great pre-eminence
that every good which is found outside of It is nought else
Ed io : Per filosofici argomenti,
E per autorita, che quinci scende,
Cotale amor convien che in me s' imprenti :
Che il bene, in quanto ben, come s' intende,
Cosi accende amore, e tanto maggio
Quanto piu di bontade in se comprende. 30
Dunque all' essenza, ov' e tanto avvantaggio,
Che ciascun ben che fuor di lei si truova
3 s sqq. it w jn b e observed that the form of the questions is different
in the present case from what it has been in regard to the two first
Tirtues. With each of these the catechism took this form : What is it ?
Do you possess it ? Whence did you obtain it ? But since Love is, on
Dante's theory of morals, the basis of all conduct, it is clear that the form
of interrogation must be modified. Love is self-evident, and so incapable
of definition ; universal, so that there can be no question of his posses-
sing it. The questions which St. John asks are therefore : What is the
. ultimate object of Love? How did you ascertain what it was ? (I put
I the points, for clearness' sake, in the baldest form.) Dante replies:
God is the beginning and end of whatsoever teaches me to love ; and
/ I have learnt this both from revelation (1. 26) and from philosophy. For
good, gud good, causes desire as soon as it is apprehended (S.T. ii.
I. Q. 27. A. 2 : bonum cum non nisi apprehensum sit objectum et
causa appetitivi motus, necesse est apprehensionem et cognitionem
causam amoris in unoquoque esse), and in proportion to its goodness.
But all goodness is derived from God (S. T. i. Q. 6. A. 3 : Cum Deus
solus absolutum perfectionem habeat, cujus esse est sua essentia ....
ipse solus per essentiam bonus est ; and A. 4 : unumquodque dicitur
bonum bonitate divina, sicut primo principio exemplari) ; and therefore
God is the prime object of love as before, rayadbv ov jrdvr'
CANTO xxvi. PARADISO. 333
than a light from Its beam, more than towards any other,
must needs be proved in loving the mind of each one who
discerns the truth whereon this proof is founded. Such
truth to my intellect he lays down who demonstrates to me
the first love of all the eternal substances. The voice of
the true Author lays it down, who says to Moses, speaking
of Himself : I will make thee to see all goodness. Thou
layest it down to me further, beginning the high heralding,
Altro non e ch' un lume di suo raggio, d
Piu che in altra conviene, che si muova
La mente, amando, di ciascun che cerne
Lo vero, in che si fonda questa pruova.
Tal vero allo intelletto mio sterne
Colui, che mi dimostra il primo amore
Di tutte le sustanze sempiterne.
Sternel la voce del verace autore, 40
Che dice a Moise, di se parlando :
lo ti faro vedere ogni valore.
Sternilmi tu ancora, incominciando
d che luce Gg.; che di suo lume un raggi Aid. Bi.
38 Colui. There is some difference of opinion as to who is meant ;
but we can hardly doubt that the allusion is to Aristotle. See Metaph.
X. 8 : eVel Se TO Kivovpevov dvdyKT] VTTO TWOS Kivelcrdai, KOI TO 7rpa>Tov
KIVOVV aKivr/Tov flvai Kaff avTo, [_Kivel Se cos ip&fiAVQV, Chap, vii.]
Kal TTJV diftiov KivTjcriv imo atSi'ou Kivelcrdai Kal T>]V p,iav vcp' evos,
opa^iev 8e irapa TTJV TOV TTCLVTOS TTJV aTr\TJv (fropdv, TJV Kivelv (j)afj.fv TTJV
Trpu>TT)v ovcriav KCU aKiVTjTov, a'XXas (popas ovcras raj T>V Tr^avr/Tuiv
di&iovs, dvdyKT] KCU TOVTGW eKdcrrrjv TO>V fpoptov VTT aKivrjTov re
Kivficrdai nad' CLVTO /cat at'St'ou ovcrias' rj re yap T>V thrrpvat fpvcrts
didios ovcria TIS ovcra, KCU TO KIVOVV dibiov Kal TrpjjTfpov TOV Kivovpevov
Kal TO TrpoTfpov overlay ovcriav avdyKij dvai. See xxiv. 131.
42 Exodus xxxiii. 18.
43-45 \Ve can hardly be wrong in understanding the reference to be
to I John iv. ; though some suppose the opening of the Gospel to be
334 PARADISO. CANTO xxvi.
which cries on earth the secret of this place above all other
proclamation."
And I heard : " By reason of human intellect, and of
authority concordant to it, of thy loves keep the sovereign
towards God. But say farther if thou feel other cords draw
thee towards Him, so that thou utter with how many teeth
this love bites thee." The holy intention of Christ's eagle
was not in concealment, rather I was aware whither he
would lead my profession. Wherefore I recommenced :
"All those bites, which can make the heart turn to God,
have concurred in my charity; for the existence of the
L' alto preconio, che grida 1' arcano
Di qui laggiu, sovra ad ogni altro bando.
Ed io udii : Per intelletto umano,
E per autoritade a lui concorde,
Dei tuoi amori a Dio guarda il sovrano.
Ma di' ancor se tu senti altre corde
Tirarti verso lui, si che tu suone 50
Con quanti denti questo amor ti morde.
Non fu latente la santa intenzione
Dell' aguglia di Cristo, anzi m' accorsi,
Ove menar volea mia professione ;
Perb ricominciai : Tutti quei morsi,
Che posson far lo cor volgere a Dio,
Alia mia caritate son concorsi :
Che P essere del mondo, e P esser mio,
indicated, others (misled probably by 1. 17) the Apocalypse. But in
neither of these is anything said about love, the subject at present
under consideration.
s 8 - 60 i.e. creation, redenipjion, sanctification. The passage of
Aquinas which Philalethes and Scartazzini quote (S. T. ii. 2. Q. 27.
A. 3 : Utrum Deus sit propter se ipsum ex charitate diligcndus) hardly
seems to the point.
CANTO xxvi. PARADISO. 335
world and my own existence, the death which He endured
that I may live, and that which every faithful man hopes,
as I do, together with the aforesaid lively knowledge, have
drawn me from the sea of the wrong love, and have set me
on the shore of the right. The leaves wherewith is leafy all
the garden of the eternal Gardener I love in proportion to
the amount of good which from Him is borne to them."
So soon as I held my peace, a chant most sweet re-
sounded through heaven, and my Lady was saying with the
others : " Holy, Holy, Holy." And as at a keen light
sleep departs through the spirit of sight which speeds back
La morte ch' ^i sostenne, perch' io viva,
E quel che spera ogni fedel, com' io, 60
Con la predetta conoscenza viva,
Tratto m' hanno del mar dell' amor torto,
E del diritto m* han posto alia riva.
Le frondi, onde s' infronda tutto 1' orto
DelF ortolano eterno, am' io cotanto,
Quanto da lui a lor di bene e porto.
SI com' io tacqui, un dolcissimo canto
Risono per Io Cielo, e la mia Donna 6
Dicea con gli altri, Santo, Santo, Santo.
E come a lume acuto si disonna . 70
Per Io spirto visivo, che ricorre
e per lor cielo Gg.
62 amor torto : cf. Purg. xvii. 100 sqq.
69 Cf. xxiv. 113, xxv. 98. (Ought we not, in the second of these,
to read speravi in te ? This would refer the chant of the saints in each
case to the "Te Deum.")
71 spirto visivo. The physiology of the time held that sensation
and motion were caused by the movements of what were called the
" spirits." See for example V.N. 3 and 14. (In the latter of these
the "spirits of sight" desert their organs, leaving their place to be
336 PARAD1SO. CANTO xxvi.
at the brightness which goes from coat to coat [of the eye],
and the awakened man shrinks from that which he sees, so
ignorant is his sudden awaking as long as the judging
faculty comes not to his aid ; thus from my eyes Beatrice
chased every mote with the ray of hers which flashed to
more than a thousand miles; wherefore I saw thereafter
better than before, and as though stupefied I inquired con-
Allo splendor, che va di gonna in gonna,
E lo svegliato cio che vede abborre,
Si nescia e la sua subita vigilia,
Fin che la stimativa nol soccorre ;
Cosi degli occhi miei ogni quisquilia o-x.<f&
Fugo Beatrice col raggio dei suoi,
Che rifulgean da piu di mille milia ;
Onde, me' che dinanzi, vidi poi,
E quasi stupefatto dimandai 80
taken by Love.) The theory, whatever it may exactly have been,
seems to have been developed from Aristotle's notion of a Trvev^a
(TvfKpVTOV, or f'p<f)vTov, which entered into the composition of all animal
bodies, giving them their vital heat, and connected them with the
universe (Gen. An. ii. 3, and cf. Virg. Aen. vi. 724 sqq. ), its seat being
the heart. Aristotle himself does not seem to have referred any sensa-
tions to it directly but those of smell and hearing (Gen. An. ii. 6 :
fj S' ovfppijcns KOI TI O.KOT], rropoi (TwduTovrts TTpov TOV depa TOV dvpadfv,
Tr\T]pfis a-vfji(f)vTov TrvevpuTos) ; but as he makes " every faculty of the
soul " partake of it, the rest naturally follow. See also De Part. An.
Dr. Ogle's translation, p. 183. It may be noted that our common
expression "animal spirits" is nothing but a survival, like so many
others, from Aristotle's terminology.
72 gonna seems meant to render the scientific tunica,
73 stimativa is the faculty by which the mind interprets the evidence
given by the senses ; e.g. perceives, in the words of Aristotle, De An.
ii. 6, that " the white object is the son of Diares." "Ad apprehendum
intentiones quae per sensum non accipiuntur, ordinatur vis aestimativa.
. . . Alia animalia percipiunt hujusmodi intentiones solum natural!
CANTO xxvi. PARADISO. 337
cerning a fourth light which I beheld with us. And my
Lady : " Within those rays looks with love upon its Maker
the first soul which the prime Virtue ever created." As
the leaf which bends its top in the passing of the wind and
then lifts itself through its proper virtue which draws it on
high, did I in measure as she was speaking, in astonish-
ment ; and then a desire of speaking wherewith I was on
fire made me secure again, and I began : " O apple that
wast alone produced ripe, O ancient father to whom every
bride is daughter and daughter-in-law, with all the devotion
in my power I supplicate thee that thou talk to me ; thou
seest my wish, and in order to hear thee quickly, I say it not. " \
D' un quarto lume, ch' io vidi con noi. ^ /} a A
E la mia Donna : Dentro da quei rai
Vagheggia il suo fattor 1' anima prima,
Che la prima virtu creasse mai.
Come la fronda, che flette la cima
Nel transito del vento, e poi si leva
Per la propria virtu che la sublima,
Fee' io in tanto quanto ella diceva,
Stupendo, e poi mi rifece sicuro
Un disio di parlare ond' io ardeva : 90
E cominciai : O pomo, che maturo
Solo prodotto fosti, o padre antico,
A cui ciascuna sposa e figlia e nuro,
Devoto, quanto posso, a te supplico,
Perche mi parli ; tu vedi mia voglia ;
E, per udirti tosto, non la dico.
quodam instinctu ; homo autem per quandam collationem. Et ideo
quae in aliis animalibus dicitur aestimativa naturalis, in homine dicitur
cogitativa." S. T. i. Q. 78. A. 4. Aristotle does not appear to name
it as a distinct "potentia" of the soul ; this was first done byAvicenna.
81 quarto lume : Adam, who has now joined the three Apostles.
Z
338 PARADISO. CANTO xxvi.
At times an animal, being covered up, so wriggles that
its desire must needs appear by reason of the movement
after it which its wrapper makes ; and in like manner the first-
created soul caused to appear to me through its covering
how joyously it came to do me pleasure. Then it breathed
forth : " Without its being set forth to me by thee, I better
discern thy will than thou whatever thing is to thee most
certain ; because I see it in the truthful mirror which makes
Tal volta un animal coverto broglia,
Si che F affetto convien, che si paia,
Per lo seguir che face a lui la invoglia :
E similmente F anima primaia 100
Mi facea trasparer per la coverta,
Quant' ella a compiacermi venia gaia.
Indi spirb : Senz' essermi profferta
Da te, la voglia tua discerno meglio/
Che tu qualunque cosa t' e piu certa :
Perch' io la veggio nel verace speglio,
Che fa di se pareglio F altre cose, g
f Dante Gg. (al. da te) Cass. 1235 W.; Dance 4.
6 pareglio atf altre 1245 W. Giul. ; pareglie t altre 3 Aid. Bi.
97.99 This simile, in which the soul of Adam within its encircling
glory is likened to an animal struggling under a cloth, has much
scandalised some of the commentators ; but see note to xvii. 129.
104 Da te. It is impossible to believe that Dante can be the right
reading, though it is found in many respectable MSS., endorsed by
P. di Dante ("vocando Adam ipsum auctorem per nomen proprium,
ad ostendendum quod a Deo in perfecta scientia fuit ipse Adam creatus,
quod omnia nomina talia sunt ei nota "), and adopted by Landino
among ancient, and Witte among modern editors. The introduction
of the name would be a violation of the rule implied in Purg. xxx. 63
(see note ante, 1. 55) ; and the absence of da te would quite destroy
the balance of the sentence.
107 pareglio. The meaning of this is doubtful, and the readings-
CANTO xxvi. PARADISO. 339
other things a copy of Itself, and nought makes It of itself
a copy. Thou wouldst hear how long it is since God placed
me in the high garden where this lady set thee in order for
so long a climb ; and how long delight my eyes had, and
the proper cause of the great displeasure, and the idiom
which I used and which I made. Now, my son, not the
tasting of the tree was of itself the cause of so great banish-
ment, but only the passing beyond the mark. From that
E nulla face lui di se pareglio.
Tu vuoi udir quant' e che Dio mi pose h
Nell' eccelso giardino, ove costei no
A cosi lunga scala ti dispose :
E quanto fu diletto agli occhi miei,
E la propria cagion del gran disdegno,
/) El' idioma ch'Jo usai e fei.
Or, figliuol mio, non il gustar del legno
Fu per se la cagion di tanto esilio,
Ma solamente il trapassar del segno.
h Tu vuoi safer W.
vary, chiefly between /' altre and alf altre. The chief objection to the
latter is that we do not find a lui in the following line, as symmetry
would require (besides that Dante would surely have written " nulla
fa di se a lui ") ; so that we must take di se as depending on pareglio
and not on fa. It is further to be observed that the lines are meant to
be explanatory of the term speglio as applied to God. Now God is
called "a mirror," in the sense that all events are reflected in His
mind ; but while the reflection in a mirror is the secondary appearance,
God's knowledge precedes the event. Thus pareglio must mean
something like " copy" or " likeness." It will thus be probably the
same word as pariglio, which originally denotes " a pair " in the dice.
The interpretation of it as "parhelion " may be dismissed as far-fetched.
115.117 g_ -p. n. 2. Q. 163. A. I : Primum primi hominis peccatum
fuit superbia, in quam primus parens, similitudinem divinam arroganter,
et supra suae naturae modulum expetendo prolapsus esU
Z 2
340 PARADISO. CANTO xxvi.
place whence thy Lady moved Virgil, for four thousand
three hundred and two revolutions of the sun did I long for
this assembly, and I saw him return to all the stars of his
road nine hundred and thirty times whiles that I was upon
earth. The language which I spoke was all extinct before
that the folk of Nimrod gave heed to the work that was not
to be consummated; since never yet was any result of
reason for the sake of human pleasure, which renews in
pursuance of the stars, everlasting. That man speaks is
Quindi onde mosse tua Donna Virgilio,
Quattromila trecento e due volumi
Di Sol desiderai questo concilio : 120
E vidi lui tornare a tutti i lumi
Delia sua strada novecento trenta
Fiate, mentre ch' io in Terra fumi.
La lingua ch' io parlai fu tutta spenta,
Innanzi che all' ovra inconsumabile '
Fosse la gente di Nembrotte attenta :
Che nullo effetto mai razionabile,
Per Io piacere uman, che rinnovella
Seguendo il cielo, sempre fu durabile.
Opera naturale b ch' uom favella : 130
' Innanzi assai che W.
" 8 See Inf. iv. 55.
"9 This follows the calculation which reckons 5232 years from the
Creation to the Crucifixion. volumi has here its literal meaning.
Elsewhere Dante uses it simply as = "volume" (xv. 50); and some-
times, as xxiii. 112, xxviii. 14, with a kind of play on both meanings.
124 This statement contradicts what Dante says in Vulg. El. j. 6,
where he holds that Adam spoke Hebrew. It is useless to try, as
Giuliani has done, to reconcile the two statements ; and it is better to
suppose that Dante here, as elsewhere (e.g. with regard to the markings
on the moon, in Canto II.), has taken an opportunity of retracting an
opinion which, for whatever reason, he had come to think erroneous.
130 It will be seen that Dante's view of the origin of language
I
CANTO xxvi. PARADISO. 341
work of nature ; but thus or thus, nature leaves then to you
to do according as it pleases you. Before that I descended to
the weariness of hell the highest Good was on earth called
/, from whom comes the joy which swathes me. Afterwards
He was called El; and this is meet; for the usage of
mortals is as leaf on branch, which goes away, and another
Ma cosi o cosi, natura lascia
Poi fare a voi, secondo che v' abbella.
f &
Pria ch' io scendessi alia infernale ambascia,
I s' appellava in Terra il sommo Bene, k
Onde vien la letizia che mi fascia :
EL si chiamb da poi ; e cio conviene ;'
"-"Che 1' uso dei mortali e come fronda
In ramo, che sen va, ed altra viene.
k Uns'app. Gg. 12345 Aid.: JZs'app. W.
1 LSI chiamb poi Cass.; El si chiamo poi Gg. 1245; El el 3 ; Eli Aid. Bi,
corresponds to that which he expresses in Purg. xviii. 55 sqq. as to the
origin of morals. Man was made with the potentiality of speech, as
with the capacity of feeling desire ; but the subsequent direction of these
powers is a matter for his choice, subject more or less to the influence
of the heavenly bodies.
'33 i' infernale ambascia : cf. Purg. xvi. 39.
134 The MSS. seem to vary only between / and Un ; the latter
arising no doubt from a misunderstanding of the former. The reading
L, which Witte oddly adopts from Cod. Caet., can hardly be more than
a writer's slip. Danielle, followed by many modern editors, gives El,
which may be thought to have some support from Vulg. El. i. 4. But
it is reasonable to suppose that here again he is correcting an earlier
opinion. (It is curious to notice, by the way, how in this passage he
repeats phrases from the earlier chapters of Vulg. El. Thus we have
Speculum, of God, in chap, ii., rationabile in chap. iv. etc.). There
can be little doubt that Dante was thinking of Exod. vi. 3, and meant
by / (if indeed we should not read la) to indicate the name Jehovah,
which, he would imply, was older than Elohim.
137- 138 Obviously with allusion to Horace, A. P. 60 and 71.
342 PARADISO. CANTO xxvi.
comes. On the mount which rises highest from the wave
was I, with pure life and dishonoured, from the first hour to
that which as the sun changes quadrants, is next after the
sixth hour."
Nel monte, che si leva piu dall' onda,
Fu' io con vita pura e disonesta 140
Dalla prim' ora, a quella ch' e seconda,
Come il Sol muta quadra, all' ora sesta.
141 The duration of Adam's stay in Paradise was a favourite subject
of discussion with the early theologians. Dante, it will be seen, con-
siders it to have extended over little more than six hours.
141 The sun passes into a fresh quadrant at every sixth hour.
CANTO XXVII.
ARGUMENT.
St. Peter vehemently rebukes the wickedness of the Bishops of Rome ; and
the saints ascend again on high. Dante and Beatrice mount to the
ninth Heaven, of the First Movement, beyond which is neither time
nor place.
" To the Father, to the Son, to the Holy Ghost, glory," the
whole of Paradise began, so that the sweet chant inebriated
me. That which I was beholding seemed to me one smile
of the universe, wherefore my intoxication entered through
the hearing and through the sight. O joy ! O ineffable
blitheness ! O life complete of love and of peace ! O
riches without craving secure ! Before my eyes the four
AL Padre, al Figlio, allo Spirito Santo
Comincib gloria tutto il Paradiso,
Si che m' inebbriava il dolce canto.
Cib ch' io vedeva, mi sembrava un riso
Dell' universe : perchb mia ebbrezza
Entrava per 1' udire e per lo viso.
O gioia ! o ineffabile allegrezza !
O vita intera d' amore e di pace !
O senza brama sicura ricchezza !
Dinanzi agli occhi miei le quattro face 10
344 PARADISO. CANTO xxvn.
torches were standing kindled, and that which came first
began to grow more lively, and became such in its sem-
blance as Jove would become if he and Mars were birds
and exchanged plumage. The providence which here
apportions turn and office had made silence in the blessed
choir on every hand, when I heard : " If I change my hue,
marvel thou not; for as I speak thou wilt see all these
change hue. He that usurps on earth my place, my place,
my place which is vacant in the sight of the Son of .God,
has of my burying-place made a draught of the blood and
of the filth, wherewith the perverse one who fell from this
place on high, down there is appeased."
Stavano accese, e quella che pria venne,
Incomincio a farsi piu vivace ;
E tal nella sembianza sua divenne,
Qual diverrebbe Giove, s' egli e Marte
Fossero augelli, e cambiassersi penne.
La provedenza, che quivi comparte
Vice ed ufficio nel beato coro,
Sflenzio posto avea da ogni parte,
Quand' io udi' : Se io mi trascoloro,
Non ti maravigliar; che, dicend' io, 20
Vedrai trascolorar tutti costoro.
Quegli, ch' usurpa in terra il luogo mio,
II luogo mio, il luogo mio, che vaca
Nella presenza del figliuol di Dio,
Fatto ha del cimiterio mio cloaca
Del sangue e della puzza, onde il perverse,
Che cadde di quassu, laggiu si placa.
11 quella : St. Peter.
x >'s A rather cumbrous way of saying that St. Peter's light grew red.
23 vaca. Daniello takes the meaning to be that while Celestine
lived, Boniface could not be lawfully Pope.
CANTO xxvn. PARADISO. 345
With that colour which by reason of the sun over against
it paints a cloud at even or at morn, I beheld then the
whole heaven overspread ; and as an honourable dame who
remains of herself secure, but for the fault of another, only
hearing, grows affrighted ; so Beatrice changed favour ; and
such eclipse I believe that there was in heaven when the
highest Power suffered. Then his words proceeded with a
voice so much altered that not more was his countenance
changed : " The Bride of Christ was not nurtured on my
blood, on that of Linus, on that of Cletus, to be used for
gain of gold : but for gain of this joyful life Sixtus and Pius
and Calixtus and Urban shed their blood after much
Di quel color, che, per lo Sole avverso,
Nube dipinge da sera e da mane,
Vid' io allora tutto il ciel cosperso. 30
E come donna ortesta che permane
Di se sicura, e per 1' altrui fallanza,
Pure ascoltando timida si fane,
Cosi Beatrice trasmuto sembianza :
E tale eclissi credo, che in ciel fue,
Quando pati la suprema Possanza.
Poi procedetter le parole sue,
Con voce tanto da se trasmutata
Che la sembianza non si muto piue :
Non fu la Sposa di Cristo allevata 40
Del sangue mio, di Lin, di quel di Cleto,
Per essere ad acquisto d' oro usata :
Ma per acquisto d' esto viver lieto .
E Sisto e Pio Calisto ed Urbano
4l , ** Linus (A.D. 67) is commonly held to have been St. Peter's
immediate successor ; Cletus, or Anacletus, was the next, or next but
one. Sixtus I. and Pius I. were Bishops of Rome in the second
century ; Calixtus I. and Urban I. in the third.
346 PARADISO. CANTO xxvn.
weeping. It was not our intention that on the right hand
of our successors should sit part, on the other hand part, of
the Christian folk ; nor that the keys which were granted to
me should become a device on a banner to fight against
men baptized ; nor that I should be a figure on a seal set
to trafficked and lying privileges, whereof I often blush and
glow. In shepherd's clothing ravening wolves are seen
from here above throughout the pastures ; O defence of
God, why slumberest thou ever ! Of our blood men from
Cahors and Gascony are making ready to drink : O good
Sparser lo sangue dopo molto fleto.
Non fu nostra intenzion, ch' a destra mano
Dei nostri successor parte sedesse,
Parte dall' altra del popol cristiano :
Ne che le chiavi, che mi fur concesse,
Divenisser segnacolo in vessillo, 50
Che contra i battezzati combattesse :
Ne ch' io fossi figura di sigillo
Ai privilegi venduti e mendaci,
Ond' io sovente arrpsso e disfavillo.
In veste di pastor lupi rapaci
Si veggion di quassu per tutti i paschi.
O difesa di Dio, perche pur giaci !
Del sangue nostro Caorsini e Guaschi
S' apparecchian di bere : o buon principio,
47. 48 xh e allusion is of course to Guelfs and Ghibelines.
5 Cf. Inf. xxvii. 85.
55 lupi, as usual with allusion to the Guelfs ; though here there is no
doubt a suggestion of Matt. vii. 15.
s 8 Clement V. (seexvii. 82), and his successor, John XXII. (1316),
"nato di Caorsa di basso affare " (Villani ix. 81). This allusion fixes
the date of this part of the poem.
CANTO XXVII.
PARAD1SO.
347
beginning, to what vile end must thou needs fall ! But the
providence on high, which with Scipio guarded for Rome
the glory of the world, will soon come to aid, as I deem.
"And thou my son, who for thy mortal load wilt yet
return below, open thy mouth, and hide not that which I
do not hide from thee."
As our air flakes frozen vapours downwards, when the
horn of the heavenly goat is touched by the sun, upwards
saw I thus the aether grow adorned, and flake vapours
triumphing, which had made sojourn there with us. My
sight began to follow their lineaments, and followed, until
A che vil fine convien che tu caschi ! 60
Ma 1' alta providenza, che con Scipio
Difese a Roma la gloria del mondo,
Soccorra tosto, si com' io concipio.
E tu figliuol, che per lo mortal pondo
Ancor giu tornerai, apri la bocca,
E non asconder quel ch' io non ascondo.
Si come di vapor gelati fiocca
In giuso 1' aer nostro, quando il corno
Delia Capra del ciel col Sol si tocca ;
In su vidi io cosi 1' etera adorno 70
Farsi, e fioccar di vapor trionfanti,
Che fatto avean con noi quivi soggiorno.
Lo viso mio seguiva i suoi sembianti,
E segui fin che il mezzo, per lo molto,
61 Conv. iv. 5 Non pose Iddio le mani quando per la guerra
d' Annibale . . . li Roman! vollero abbandonare la terra, se quello
benedetto Scipione giovane non avesse impresa 1' andata in Africa per
la sua franchezza ?
681 ^ The sun enters Capricorn at the winter solstice.
71 vapor : i.e. spirits. Cf. Purg. xi. 6.
74 mezzo, as in Purg. xxix. 45.
348 PARADISO. CANTO xxvn.
the interval, by its greatness, took from it the penetration
into what was further. Wherefore my Lady who saw me
released from gazing upwards, said to me : " Lower thy
view, and look how thou hast revolved."
Since the hour when I had first looked I saw that I
had moved through the whole arc which the first clime
Gli tolse il trapassar del piii avanti :
Onde la Donna, che mi vide assolto
Dell' attendere in su, mi disse : Adima
II viso, e guarda come tu sei volto.
Dall' ora, ch' io avea guardato prima,
lo vidi mosso me per tutto 1' arco, 80
Che fa dal mezzo al fine il primo clima,
81 Although no variant of this line appears to exist, I can hardly
doubt that the usual reading, or at least the usual interpretation, is not
quite correct. In the following lines Dante says that he could see
nearly as far as the coast of Phoenicia, and that he could have seen
further, but that the sun was more than a whole sign in advance of him ;
implying that all east of that point was in darkness. The sun must
therefore have been, as the "illustrious astronomer" quoted by
Bianchi perceives, about 40 degrees to the westward, i.e. according to
the geography of the time, just beyond the meridian of Gibraltar.
(The common interpretation, that Dante himself was in this position,
having gone six hours to the westward since he last looked down
xxii. 133 will not do, because in that case he would not, under any
circumstances, have been able to see beyond the Phoenician coast,
which would have then been his horizon.) But the sun was at this time
somewhere near the middle of Aries ; i.e. about 45 degrees in front of
Dante's position. Dante must therefore have been a little past the
meridian of Rome, which we know the geography of his time placed
midway between Jerusalem, the centre, and the western limit of the
inhabited world. See, for example, the Mappa Mundi, made by a
contemporary of Dante, which is preserved in Hereford Cathedral.
Incidentally it may be noted that St. Peter's invective gains much in
force if we can suppose it to be delivered from a point in the heavens
corresponding with the position of Rome on earth. But how then are
CANTO xxvii. PARADISO* 349
makes from the middle to the end ; so that I saw beyond
Gades the mad track of Ulysses, and on this side hard by
the shore on which Europa became a sweet burthen. And
further had the site of this little floor been disclosed to
me ; but the sun was preceding beneath my feet a sign
and more away. My enamoured soul which takes its
pleasure ever with my Lady, was burning more than ever
to guide my eyes back to her. And if nature or art has
Si ch' io vedea di la da Gade il varco
Folle d' Ulisse, e di qua presso il lito,
Nel qual si fece Europa dolce carco.
E piu mi fora discoverto il sito
Di questa aiuola ; ma il sol procedea,
Sotto i miei piedi un segno e piu partito.
La mente innamorata, che donnea
Con la mia Dortna sempre, di ridure
Ad essa gli occhi piu che mai ardea. 90
we to understand 1. 8 1 ? On any hypothesis, the primo clima, or first
zone, cannot extend beyond the tropic of Cancer, or according to
Dante's reckoning, about 23 degrees, so that from its middle to its end
would only be about ll% degrees. (I put aside the interpretations
which take mezzo and fine to be the middle and end of the arc
described in the course of a day, both for the reason given above, and
also because there would be no special appropriateness in the fast clime,
since this would be the same for all.) In Conv. iii. 5, Dante speaks of
la mezzo, terra, or as some MSS. read, il mezzo della terra, in the sense
of the middle part of the inhabited earth ; and of the equator as
running " quasi per tutta F estremitb del primo Climate" The distance
between these is of course 45 degrees, or just what we want here.
Ought we not then to read, Che va dal mezzo al Jin del primo climat
This would make all clear.
82> 83 See Inf. xxvi. 100 sqq. and ct. the folk volo of line 125 with
varco folle.
84 Europa. Ov. Met. ii. 833 to end.
86 aiuola : the same word as he uses in xxii. 151.
88 donnea seems here to have a converse sense to that in xxiv. 118.
x
350 PARADISO. CANTO xxvn.
made food to catch the eyes, so as to take the mind, in
flesh of man, or in her paintings, all united would appear
nought to the divine pleasure which beamed again on me
when I turned me to her smiling countenance. And the
virtue which the look bestowed on me, rent me away from
the fair nest of Leda, and impelled me into the swiftest
heaven.
Its parts, most living and lofty, are so of one form that
I have not lore to tell what Beatrice selected for a place
E se natura o arte fe pasture
Da pigliare occhi per aver la mente,
In carne umana o nelle sue pinture,
Tutte adunate parrebber niente,
Ver lo piacer divin che mi rifulse,
Quando mi volsi al suo viso ridente.
E la virtu, che lo sguardo m' indulse,
Del bel nido di Leda mi divelse,
E nel ciel velocissimo m' impulse.
Le parti sue vivissime ed eccelse 3 100
Si uniformi son, ch' io non so dire
Qual Beatrice per luogo mi scelse.
a vicissime Cass. 234 W.; dicissime 15.
91 natura o arte : cf. Purg. xxxi. 49, 50.
98 nido di Leda : i.e. the Twins, Castor and Pollux.
99 They rise to the ninth heaven, or primo mobile, which, as being
nearest to God, moves the fastest. See Conv. ii. 4, quoted in note, i. 76.
100 Many MSS. and most of the earliest edd. read vicissime, a vox
nikili, which Scartazzini defends, alone among modern editors ; for
Witte, though he puts it in his text, translates " lebensvoll. " It is said
to stand for vicinissime, which hardly seems possible ; nor would this
be a natural counterpart (as it must be taken) to eccelse. The usual
rule, to prefer the less obvious of two readings, is modified here by the
probability that the -cissime has slipt in from velocissime just above.
CANTO xxvii. PARADISO. 351
for me. But she, who saw my desire, began smiling, in
such joy that God seemed to rejoice in her face: "The
nature of the world, that holds the centre quiet, and moves
all else around, begins hence as from its starting-point.
And this heaven has no other Where than the mind of God,
Ma ella che vedeva il mio disire,
Incomincio, ridendo, tanto lieta
Che Dio parea nel suo volto gioire :
La natura del mondo, che quieta b
II mezzo, e tutto 1' altro intorno muove,
Quinci comincia come da sua meta.
E questo cielo non ha altro dove
b moto Aid. Bi.
106.120 when the last sphere of visible bodies is passed, place and
time cannot be said to have any existence. See De Caelo i. 9 :
"Ei/a fj.ev ovv rporrov ovpavbv Xryo/MP, TTJV ovariav TTJV TTJS to^an;? rov
Travros irfpKpopds' fj o~5>/J,a (pvo~iKov TO ev rfj ea")(a.Tr] irepifpopa TOV
TravTos' flatdafjifv yap TO fO"xarov KO\ <iva> /idXicrra Ka\f1v ovpavov ev
q> TO dflov irdv I8pvo-dai (pa/j.ev .... $avepov TO'IVVV IK TCOV elpTj/jLevav,
OTI ovre <TT\V ^a), ovr' e'y^wpfi yeveadai ora>p,a.Tos oyKov ovdfvos . . .
"Afia Se 8fj\ov OTI ov8e TOTTOS, ov8e Kfvov ovSe xp v s fO~T\v ea> TOV
ovpavov, fv aTravTi yap TOTTCO dvvarov V7rdpai o-a>fj.a . . . Xpovoy S'
fo~T\i> apidfjios Kivr)(Tfo>s (see Phys. iv. IO, II) . . . (fravepov apa, OTI
ovre TOTTOS oure Ktvov OVTC %povos (crrlv e^cadev Sionep ovr' tv TOTTK>
TOKft irefpvKev, oure xpovo? aura Troiflyrjpao'Kfiv. It will be observed
however that the idea of a sphere intermediate between the outside of
the heaven properly so called, and the eternal abode of Deity, does
not seem to have occurred to Aristotle, or at least to have been directly
formulated by him. It was probably developed from such passages as
Phys. iv. 14 : eVei 5' e'o-ri TrpaiTrj (sc. TOJJ/ Kivrjcri>v) fj (popa Kai Tav
T) KVK\a>, dpidfjiflTai 8' fKucrrov evi TIVL vvyyevfl, povddes fiovdSi, i
8' iTTTTft), ovTO) Kal 6 ^poi/oy XP V< ? Ttvt ' o>pt-<T}iV(a, fjifTpelToi 8' 2)cnr(p
('mop.ev 6 Tf xpovos Kivrjcrei Kal f/ KIVIJO-IS ^povw, rouYo 8' etrriv, OTI VTTO
TTJS (apio-p.evT)s Kivfjo-ftos XP VC P pfTpflTat Ttjs re Kivf]o-eas TO TTOQ-OV Kal
TOV xpoVov el ovv TO npatTOV p.fTpov Travrcov TO>V crvyyevcav, 17 KVK\o(popia
352 PARADISO. CANTO xxvu.
in which is kindled the love that turns it and the virtue that
it showers down. Light and love comprehend it with one
circle, as it does the rest ; and of that girth He only who
girt it is the intelligence. Its movement is not marked out
by any other, but the others are measured by it, as ten by
a half and a fifth. And how time has in such vessel its
roots and in the others its leaves, can now be clear to thee.
Che la mente divina, in che s' accende no
L' amor che il volge, e la virtu ch' ei piove.
Luce ed amor d' un cerchio lui comprende
Si come questo gli altri, e quel precinto
Colui che il cinge, solamente intende.
Non e suo moto per altro distinto ;
Ma gli altri son misurati da questo,
Si come diece da mezzo e da quinto.
E come il tempo tenga in cotal testo
Le sue radici, e negli altri le fronde,
Omai a te puot' esser manifesto. 120
fj 6/ioX^? (unifonne) perpov /xaXiora, OTI 6 dpi6p.os o ravrrjf
yvapifjuaraTor aXAoi'axny fj.ev ovv ovS' av^rjcris ovSe yevtcris OVK d<r\v
6/iaXeIs, (popa d' earriv 810 Kal SoKft 6 \povos etVai 17 rijs cr(paipas
KivrjGis, on TavTTj perpovvrai al aXXai Kivrja-fis (cf. I. 116) KOI 6 ^povos
TavTy rrj Kivr)<rti.
110 la mente divina. Here again we can hardly trace an immediate
Aristotelian origin for the idea. It is perhaps more like the Timaeus ;
but we find somewhat the same notion in Met. a. 3 (9840) : vovv 877
TIS etTrwj' flvai, Kaddnep ev rots 0)019, Kal et> rrj (pvo-ei rbv alriov rov
KOO-/XOV Kai rrjs rd^tfos ird<rr)s, olov VT]<pa>v t(pdvr) Trap' ciKy \eyovras
TOVS Trporepov. Cf. Boethius, Cons. Phil. iii. Metr. 9 : pulcrum pul-
cerrimus ipse Mundum mente gerens. See also Conv. iii. 2 ad fin.
" Luce ed amor : i.e. the highest or empyrean heaven : of which
God Himself is the " intelligence " as the angelic orders are of the
lower spheres.
114 intende : as in viii. 37.
CANTO xxvii. PARADISO. 353
O covetousness, which dost so whelm mortals under thee
that none has power to draw his eyes forth of thy waves !
Well flowers in men their will ; but the rain when unbroken
turns to sloes the true plums. Faith and innocence are
found only in children : then each takes flight, before the
cheeks are covered. One, while he yet lisps, fasts, who
afterward devours, with his tongue set free, any food in any
O cupidigia, che i mortali affonde
Si sotto te, che nessuno ha podere
Di trarre gli occhi fuor delle tue onde !
Ben fiorisce negli uomini '1 volere :
Ma la pioggia continua converte J
In bozzacchioni le susine vere. ,
Fede ed innocenzia sono reperte
Solo nei pargoletti : poi ciascuna
Pria fugge, che fe guancie sien coperte.
Tale, balbuziendo ancor, digiuna, 130
Che poi divora con la lingua sciolta
121 sqq. The connection of this with what has gone before will be
seen if we consider that in Dante's view cupidity (in which he appears
to include all ill-regulated desire) was the origin of all the ills, political
and social, from which the world was suffering. There is a very
similar train of thought in De Mon. i. n, 12, 13: and the close re-
semblance between the two passages extends even to details. The
well-known dictum of Aristotle (Phys. ii. 2), avBpuynos avdpairov yevva.
Kai ijXioy, which is here alluded to (11. 137, 138), is there quoted. This
again carries us to Metaph. X. 5 (io7la): avGpairov ainov ... 6 rj\ios
KOI 6 Xogos KVK\OS, and we observe that De Mon. i. 12 ends with a
quotation of the closing words of that book : ra ovra ov jSovXerui
TroXiTfvea-dai KaKwy OVK ayadov TroXvicoipavir)- fis Koipavos. Now
the movements of the heavens govern the order of the world; and
thus, as in Purg. xx. 10-15, any reflection on the one naturally suggests
the other.
124 volere. Metaph. X. 7 (iO72a): fni6vp.r]Tov pev TO (paivo/jifvov
KaXav, POV\T)TOV 8e Trp>TOV TO ov KoXoi'.
2 A
354 PARADISO. CANTO xxvn.
month. And one while he lisps, loves and listens to his
mother, who with speech perfect thereafter longs to see her
buried. So grows dark at the first glance the fair skin of
the beauteous daughter of him who brings morning and
leaves evening. Thou, that thou make not marvel to thy-
self, deem that on earth there is none to govern : wherefore
the human family is gone astray. But before that January
is wholly out of winter, by reason of the hundredth part
that on earth is neglected, these circles on high shall so
roar that the tempest which is awaited thus long shall turn
Qualunque cibo, per qualunque luna.
E tal balbuziendo ama ed ascolta
La madre sua, che con loquela intera
Disia poi di vederla sepolta.
Cosi si fa la pelle bianca nera,
Nel primo aspetto, della bella figlia
Di quel che apporta mane e lascia sera.
Tu, perche non ti facci maraviglia,
Sappi che in terra non e chi govern! : 140
Onde si svia 1' umana famiglia.
Ma prima che Gennaio tutto si sverni,
Per la centesma ch' e laggiu negletta,
Ruggeran si questi cerchi superni,
Che la fortuna, che tanto s' aspetta,
137 figlia : human nature. See above, note to 1. 121.
140. 141 cf; Purg. xvi. 103.
142, 143 The Julian Calendar put the length of the year at 365^
days, and made every fourth year a leap-year. This was however too
long by somewhat less than the hundredth part of a day, so that in
Dante's time the error was nearly ten days, and January had been
pushed by this amount nearer to the end of winter. As is well known,
in 1582 Gregory XIII. corrected the error, and ordered that three out
of every four hundredth years should be ordinary years. The Greek
Church testifies its independence of Rome by keeping the old style.
CANTO xxvii. PARADISO. 355
the poops where the prows are, so that the fleet shall speed
aright : and true fruit shall come after the flower."
Le poppe volgera u' son le prore, c
Si che la classe correra diretta :
E vero frutto verra dopo il fiore.
c in sulk prore Cass. 134 W.; u su Gg.
148 A recurrence to the metaphor of 1. 126.
,
1
2 A 2
CANTO XXVIII.
ARGUMENT.
Dante sees a point of exceeding brightness, and revolving around it nine
circles, which are the nine Orders of Angels. Beatrice enlightens him
concerning these Orders.
AFTER that, counter to the present life of wretched mortals
she had disclosed the truth who makes paradise about my
mind, as in a mirror he sees the flame of a candle who is
lighted therewith in rear, before having it in sight or in
thought, and turns him about to see if the glass tells him
the truth, and sees that that agrees with this as note with its
measure : so my memory recalls that I did, gazing into the
POSCIA che incontro alia vita presente
Dei miseri mortali aperse il vero
Quella, che imparadisa la mia mente :
Come in ispecchio fiamma di doppiero
Vede colui che se n' alluma dietro,
Prima che 1' abbia in vista od in pensiero,
E se rivolve, per veder se il vetro
Li dice il vero, e vede ch' el s' accorda
Con esso, come nota con suo metro,*
Cosi la mia memoria si ricorda, 10
a come corda Gg.
9 I.e. as the tune with the words, or rather, their rhythm.
CANTO xxvin. PARADISO. 357
fair eyes, whence Love made the cord to take me. And as
I turned me about, and my own were touched by what
appears in that roll, whenever the eye is rightly bent upon
its whirl, I saw a point which radiated light so keen, that
the sight which it fires must needs close itself, for the great
keenness ; and whatever star here appears smallest would
seem a moon when placed with it as star is placed in con-
junction with star. Perhaps, as near as a halo appears to
Ch' io feci, riguardando nei begli occhi,
Onde a pigliarmi fece Amor la corda.
E com' io mi rivolsi, e furon tocchi
Li miei da cio che pare in quel volume,
Quandunque nel suo giro ben s' adocchi,
Un punto vidi che raggiava lume
Acuto si, che il viso, ch' egli affoca,
Chiuder conviensi per Io forte acume.
E quale Stella par quinci piu poca,
Parrebbe Luna locata con esso 20
Come Stella con Stella si collbca.
Forse cotanto, quanto pare appresso
Alo cinger la luce che il dipigne, b
b Halo al cinger la I. Cass.; al cinger de la I. 134; alo cinger
della 1. 2 ; allo c. L I. 5.
" He sees Beatrice's eyes brighten, and turning round, perceives
that the highest, or empyrean, Heaven is coming into view.
" Cf. Purg. xxxi. 117.
14 volume. See note, xxvi. 119.
is qq. The point symbolises the unity and indivisibility of the God-
head ; " peyfdos ov8ev ei/Se^erai fX flv TavTTji/ TTJV overlay, dXX' d/jifpris
Ktu dSiaipfTos f<rriv." Met. X. 7 (10733). About it revolve nine
circles, representing the orders of angels, so that the smallest corre-
sponds to the " Intelligence " which moves the outermost of the heavenly
spheres.
2 3. 24 Alo. Aristotle, Meteor, iii. 2-5, discusses the causes of haloes
358 PARADISO. CANTO xxvm.
surround the light which gives it colour when the vapour
which bears it is most dense, at so great distance around
the point a circle of fire was whirling so swift that it would
have surpassed that motion which most quickly girdles the
world ; and this was wrapped round by a second, and that
by the third, and the third then by the fourth, the fourth
by the fifth, and then the fifth by the sixth. Beyond
followed the seventh, spread now so far in breadth, that
Juno's messenger complete would be too narrow to contain
it. So the eighth and the ninth : and each moved more
slowly according as its number was farther removed from
unity. And that one had its flame most unsullied which
Quando il vapor che il porta piu e spesso, c
Distante intorno al punto un cerchio d' igne
Si girava si ratto, ch' avria vinto
Quel moto che piu tosto il mondo cigne :
E questo era d' un altro circuncinto,
E quel dal terzo, e il terzo poi dal quarto,
Dal quinto il quarto, e poi dal sesto il quinto. 30
Sovra seguiva il settimo si sparto
Gia di larghezza, che il messo di Juno
Intero a contenerlo sarebbe arto :
Cosi 1' ottavo, e il nono : e ciascheduno
Piu tardo si movea, secondo ch' era
In numero distante piu dall' uno :
c Quanta 12345 Aid.
and rainbows. In ch. 3 he says : Tlyvtrai fj dvaKh.a.<ris TT}? ctyeo>?,
(rvvi<rrap.fvov TOV atpos Ka\ rrjs aTfildos els ve(pos, eav 6/xaX6s KOI
(jLiKpofjifpris <rvvi(TTap.fvr) ruxfl-
33 Intero. Aristotle observes that the entire rainbow is never
seen : rrjs Ipidos ovStnoTf yiyvtrai KvxAoy, ovSe fJitl&v Tjfjn.KVK\iov
CANTO xxvin. PARADISO. 359
was least distant from the pure spark ; I think because it
has most truth of it.
My Lady, who beheld me in my care mightily in sus-
pense, said : " From this point depends the heaven and all
nature. Look at that circle which is most in conjunction
with it, and know that its movement is so fast through the
enflamed love whereby it is goaded." And I to her :
" If the world were placed with the order which I
see in these wheels, that which is set before me would
have sated me. But in the world of sense one can
see the revolutions so much the more godlike, as they are
more remote from the centre. Wherefore, if my desire is
E quello avea la fiamma piu sincera,
Cui men distava la favilla pura,
Credo perb che piu di lei s' invera.
La Donna mia, che mi vedeva in cura 40
Forte sospeso, disse : Da quel punto
Depende il cielo e tutta la natura.
Mira quel cerchio che piu gli e congiunto,
E sappi, che il suo muovere e si tosto,
Per 1' affocato amore ond egli e punto.
Ed io a lei : Se il mondo fosse posto
Con 1' ordine ch' io veggio in quelle ruote,
Sazio m' avrebbe cio che m' e proposto.
Ma nel mondo sensibile si puote
Veder le volte tanto piu divine, d 50
Quant' elle son dal centre piu remote."
d le cose Cass. 1234. e dal cerchio 14.
40 in cura : because of the reversed order in which the circles
appear ; that which is nearest to the centre moving most rapidly.
41 Ar. Met. X. 7 (10720) : 'ETret $ eon TI KLVOVV avrb dKivrjTov ov,
rovro OVK. fvdf'xfrai. aXXwy *x fiv ov8ap.a>s- . . . eVc Toiaunjf apa dpxfjs
6 ovpavbs /cat f] (pvcris.
360 PARADISO. CANTO xxvin.
to have an end in this wondrous and angelic temple, which
has only love and light for boundaries, it is meet that I
hear further how the copy and the pattern go not after one
fashion ; since I by myself meditate on that in vain." " If
thy fingers are not sufficient to so great a knot, it is no
marvel ; so hard has it grown for want of trying." Thus
my Lady; then she said : " Take that which I shall say to
thee, if thou wouldest be satisfied, and about it sharpen thy
wits. The circles of the bodies are wide and narrow,
Onde se il mio disio dee aver fine
In questo miro ed angelico templo,
Che solo amore e luce ha per confine ;
Udir conviemmi ancor come 1' esemplo f
E 1' esemplare non vanno d' un modo :
Che io per me indarno a cio contemplo.
Se li tuoi diti non sono a tal nodo
Sufficienti, non e maraviglia, \J
Tanto per non tentare e fatto sodo : 60
Cosi la Donna mia, poi disse : Piglia
Quel ch' io ti dicerb, se vuoi saziarti,
Ed intorno da esso t' assottiglia.
Li cerchi corporai sono ampi ed arti,
f percte I 1 es. W,
54 Cf. xxvii. 112.
55, 56 g. T. i. Q. 18. A. 4 : Exemplata oportet conformari exemplari
secundum rationem formae, non autem secundum modum essendi ; nam
alterius modi esse habet forma quandoque in exemplari, et in exem-
plato. Sicut forma domus in mente artificis habet esse immateriale
et intelligibile ; in domo autem habet esse materiale et sensibile. Unde
et rationes rerum quae in seipsis non vivunt, in mente divina sunt vita ;
quia in mente divina habent esse divinum. It is clear, from the
phraseology of these lines and of 49, 50, that Dante had this passage
in his mind.
64-69 The spheres in which the heavenly bodies revolve are greater in
proportion to the degree of virtue (apenj) possessed by those who
CANTO XXYIII. PARADISO. 361
according to the more and the less of the virtue which is
spread through all their parts. A greater excellence requires
a greater salvation : a greater salvation takes a greater body,
if that has its parts uniformly filled. So this which sweeps
all the rest of the universe along with it, corresponds to the
circle which has most love and most wisdom. Wherefore
if thou lay thy measure about the virtue, not the seeming of
the substances which appear to thee rounded, thou wilt see
Secondo il piu e il men della virtute,
Che si distende per tutte lor parti.
Maggior bontate vuol maggior salute; 2
Maggior salute maggior corpo cape,
S' egli ha le parti ugualmente compiute.
Dunque costui, che tutto quanto rape 70
L' altro universe seco, corrisponde 11
Al cerchio che piu ama e che piu sape.
Per che se tu alia virtu circonde
La tua misura, non alia parvenza
Delle sustanze che t' appaion tonde,
g bonta vuol far Cass. 1234 Aid. W. Bi. Giul. h V alto Aid. Bi.
occupy them. I understand virtute and bontate to mean very nearly
the same thing here ; and salute to have the sense which it has in
xiv. 84 and xxii. 124. (The use of it may have been suggested by that of
<ra>TT)pia in Met. v. 4 (logib), and the connection with bontate got from
Eth. vii. 8, 17 apf-n] .... o-<af). It will be seen that I have taken
a reading of 1. 67 which has the authority of a few MSS. only; but I
cannot help thinking that the ordinary version is founded on a mis-
understanding. So too I have departed from the usual rendering in
taking salute in 1. 68 as the subject, corpo as the object of cape. But
the symmetry of the passage seems to demand this ; and there is no
difficulty in understanding cafe in a sense in which we use "to take ;"
very nearly equivalent to the more common form, "capere in."
70 I.e., the outermost sphere, or Primum Mobile, corresponds with
the order of Seraphim, denoted by the innermost ring, which is most
perfect in love and knowledge.
362 PARADISO. CANTO xxviii.
a marvellous agreement, of greater to more and of smaller
to less, in each heaven to its own Intelligence."
As splendid and serene remains the hemisphere of the
air, when Boreas blows from that cheek, whence he is most
gentle, whereby the fog which before troubled it is purged
and broken up, so that the heaven smiles therefore with the
beauties of its every region ; so did I, after that my Lady
furnished me with her clear response, and as a star in
Tu vederai mirabil conseguenza'
Di maggio a piu, e di minore a meno,
In ciascun cielo, a sua intelligenza.
Come rimane splendido e sereno
L' emisperio dell' acre, quando soffia 80
Borea dalla guancia ond' e piu leno ;
Perche si purga e risolve la roffia
Che pria turbava, si che il ciel ne ride,
Con le bellezze d' ogni sua paroffia ;
Cosi fee' io, poi che mi provvide
La Donna mia del suo risponder chiaro, k
E come Stella in cielo il ver si vide.
' convenenza Aid. Bi. k nel suo Gg.
81 leno = "lenis" (as tristo=" tristis"). It is clearly the N.E.
wind that is meant (see Brunetto, Tresor ii. 37), the "veris comites,
animae Thraciae " of Horace. Cf. Boethius i. Metr. 3 :
Tune me discussa liquerunt nocte tenebrae,
Luminibusque prior rediit vigor ;
Ut cum praecipiti glomerantur sidera Coro,
Nimbosisque polus stetit imbribus ;
Sol latet, ac nondum caelo venientibus astris,
Desuper in terram nox funditur,
Hanc si Threicio Boreas emissus ab amtro
Verberet, et clausum reseret diem,
Emicat et subito vibratus lumine Phoebus
Mirantes oculos radiis ferit.
CANTO xxvin. PARADISO. 363
heaven, the truth was seen. And after that her speech had
stayed, not otherwise does iron sparkle which is seething,
than the circles sparkled. Every spark followed their
burning ; and they were so many that the number of them
is more in thousands than the doubling of the chess. I
heard Hosanna sung from choir to choir, even to the fixed
point which holds them and will hold them ever to the
ubi in which they have ever been ; and she who saw the
doubtful thoughts in my mind, said : " The first circles
E poi che le parole sue ristaro,
Non altrimenti ferro disfavilla
Che bolle, come i cerchi sfavillaro. 90
Lo incendio lor seguiva ogni scintilla :
Ed eran tante, che il numero loro,
Piu che il doppiar degli scacchi s' immilla.
lo sentiva osannar di coro in coro
Al punto fisso che gli tiene all' ubi, 1
E terra sempre, nel qual sempre foro. m
E quella, che vedeva i pensier dubi
Nella mia mente, disse : I cerchi primi
1 alii ubi Gg.; aliubi Cass. 134. m net quai Gg. Cass. 12345.
89 Cf. i. 60.
93 An allusion to the story of the reward asked by the inventor of
the game of chess : one grain of com for the first square, two for the
second, four for the third, and so on in geometrical progression. The
total runs into trillions. The Aldine rather absurdly reads sciocchi,
which Daniello adopts, quoting Petrarch, Trionfo del Tempo, 84 :
infinita e la schiera degli sciocchi ; and Eccles. i. 15 : stultorum infinitus
est numerus, which is hardly to the point here.
98 Beatrice explains the arrangement of the angelic hierarchies.
The medieval doctrine on this subject was based mainly on the work
ascribed to Dionysius the Areopagite, but really belonging in all
probability to the end of the fifth century, and on a sermon of St.
Gregory the Great ; but its original source is no doubt to be sought in
364 PARADISO. CANTO xxviu.
have shown to thee Seraphim and Cherubim. So swift do
they follow their bonds, to liken themselves to the centre
all they can ; and they can in proportion as in beholding
they are exalted. Those other loves, who go around them,
are called Thrones of the aspect of God, wherefore they are
the boundary of the first triplet. And thou must know that
all have delight in proportion as their view fathoms the
T' hanno mostrato Serafi e Cherubi.
V f jjb
Cosi veloci seguono i suoi vimi, uv^* 100
Per somigliarsi al punto quanto ponno,
E posson quanto a veder son sublimi.
Quegli altri amor, che dintorno gli vonno,
Si chiaman Troni del divino aspetto,
Perche il primo ternaro terminonno.
E dei saper che tutti hanno diletto,
Quanto la sua veduta si profonda
four passages of St. Paul's Epistles. These are Rom. viii. 38 (angeli,
principatus, virtutes, ayyeXot, ap^at, 8vvdp.is) ; Eph. i. 21 (princi-
patum, et potestatem, et virtutem, et dominationem, apxrj, e^ovcria,
Svfa/iiy, Kvpiorrjs) ', Col. I. 16 (throni, dominationes, principatus,
potestates) ; ib. ii. 15 (principatus et potestates). I have quoted the
last, because a reference to it will show that the terms as used by
St. Paul had not the meaning which was afterwards read into them.
For our present purpose it is enough to observe that, with the addition
of Seraphim, Cherubim, and Archangels, they were subsequently used
to denote three groups of Angelic beings, each containing three orders.
Dionysius takes them thus : Seraphim, Cherubim, Thrones Domina-
tions, Virtues, Powers Principalities, Archangels, Angels. St. Thomas
(S. T. i. Q. 108) has a good deal to say on the subject ; and Philalethes
has a long note on this passage, which may be consulted by any who
wish for more information.
10 * Troni; see ix. 61.
106.114 An expansion of the theory stated in xiv. 40 sqq. The
following passages from S. T. will serve to illustrate it : ii. I. Q. 3. A. 4 :
CANTO xxviii. PARADISO. 365
True, in whom all understanding is set at rest. Hence it
may be seen how the essence of blessedness is founded on
the act which sees, not on that which loves, which follows
after : and of the seeing desert is the measure, which grace
and good will bring forth ; in this wise is the advance from
grade to grade.
" The next triplet, which thus burgeons in this eternal
Nel vero in che si queta ogni intelletto.
Quinci si pub veder come si fonda
L' esser beato nell' atto che vede, no
Non in quel ch' ama, che poscia seconda :
E del vedere e misura mercede,
Che grazia partorisce e buona voglia ;
Cosi di grado in grado si procede.
L' altro ternaro, che cosi germoglia
In questa primavera sempiterna,
Essentia beatitudinis in actu intellectus consistit. Sed ad voluntatem
pertinet delectatio beatitudinem consequens, secundum quod Augustinus
dicit (Conf. x. 23) quod beatitude est gaudium de veritate. A. 8 :
Ultima et perfecta beatitude non potest esse nisi in visione divinae
essentiae. Q. 4. A. I : Ex hoc ipso quod merces alicui redditur,
voluntas merentis quiescit, quod est delectari ; unde in ipsa ratione
mercedis redditae delectatio includitur. A. 2 : Charitas non quaerit
bonum dilectum propter delectationem ; sed hoc est ei consequens, ut
delectetur in bono adepto quod amat : et sic delectatio non respondet ei
ut finis, sed magis visio per quam primo finis fit ei praesens. A. 3 : Sed
delectatio ir. praesentia consequitur dilectionem : et ideo necesse est ista
tria concurrere, scilicet visionem, quae est cognitio perfecta intelligibilis
finis, comprehensionem, quae importat praesentiam finis, delectationem
vel fruitionem, quae importat quietationem rei amantis in amato.
110 "\Yord for word from Ar. Eth. x. 8 : 'H reXeuz evdatfjiovia
6ecopr]TiKr] TIS fcrrlv fvepyeia.
113 S. T. ii. 2. Q. 8. A. 4 : In omnibus habentibus gratiam necesse
est esse rectitudinem voluntatis ; quia per gratiam praeparatur voluntas
hominis ad bonum.
366 PARADISO. CANTO xxvin.
spring, which no Ram seen by night despoils, keeps its
Hosanna perpetually free from winter, with three melodies,
which resound in three orders of joy wherein it is made
threefold. In this hierarchy are the three Divinities, first
Dominations and next Virtues ; the third order is of Powers.
Lastly, in the two dances before the end, whirl Princedoms
and Archangels ; the last is wholly of Angelic sports. These
orders gaze all on high, and beneath have such mastery
that towards God all are drawn and all draw. And
Dionysius with so great desire set himself to contemplate
Che notturno Ariete non dispoglia,
Perpetualemente Osanna sverna,"
Con tre melode, che suonano in tree
Ordini di letizia onde s' interna. 3 I2
In essa gerarchia son le tre Dee,
Prima Dominazioni, e poi Virtudi ;
L' ordine terzo di Podestadi ee.
Poscia nei duo penultimi tripudi
Principati ed Arcangeli si girano ;
L' ultimo e tutto d' Angelici ludi.
Questi ordini di su tutti rimirano, p
E di giii vincon si che verso Iddio
Tutti tirati sono e tutti tirano.
E Dionisio con tanto disio, 130
A contemplar questi ordini si mise,
n esterna Gg. ; sberna Cass. ; isberna 14.
sono tre Gg. ; son F altre Cass. 23 Aid.
P tutti s] ammirano Gg. Cass. 145.
"7 The Ram is visible throughout the night when the Sun is in the
Scales ; i.e. after the autumnal equinox, when the leaves fall.
121 Dee : because the names are all feminine.
"7 Cf. ii. 123 : di su and di giu strictly mean "on the upper side"
and "on the lower side."
CANTO xxvin. PARADISO. 367
these orders, that he named and distinguished them as I
do. But Gregory afterward separated from him ; wherefore,
so soon as he opened his eyes on this heaven, he laughed
at himself. And if a mortal set forth so great a secret on
earth, I will not that thou marvel; for he who beheld it
here on high discovered it to him, with much else of the
truth of these circles."
Che li nomb e distinse com' io.
Ma Gregorio da lui poi si divise :
Onde si tosto come gli occhi aperse q
In questo ciel, di se medesmo rise.
E se tanto segreto ver profferse r
Mortale in terra, non voglio ch' ammiri ;
Che chi il vide quassu gliel discoverse,
Con altro assai del ver di questi giri.
A
i /' occhio Cass. 134 W. r tanto di se vero 1245.
133 St. Gregory transposed the Principalities and the Virtues in his
arrangement. Dante himself, in Conv. ii. 6 (q. v.), adopts yet a third,
putting Powers in the highest Order, Principalities in the second, and
Thrones in the lowest. Here, as elsewhere, he seems to recant an
earlier opinion.
138 Because Dionysius was regarded as the pupil of St. Paul, who
had himself been "caught up into heaven."
CANTO XXIX.
ARGUMENT.
Beatrice expounds certain matters regarding the nature of angels ; and
reproves the foolishness of preachers.
WHEN both the children of Latona, brooded over by the
Ram and the Scales, together make of the horizon a
belt, as much as there is from the moment which holds
them balanced, until the one and the other lose their
balance from that circuit, by changing hemispheres, so long,
with her face tinted by a smile, was Beatrice silent, gazing
QUANDO ambedue li figli di Latona
Coperti del Montone e della Libra,
Fanno dell' orizzonte insieme zona,
Quant' e dal punto che li tiene in libra, 4
Infin che 1' uno e 1' altro da quel cinto
Cambiando 1' emisperio si dilibra ;
Tanto, col volto di riso dipinto,
Si tacque Beatrice, riguardando
a Quanta del primo 3 ; punto che il zenit inlibra Gg* W. ; z. i
libra Bi.
x - 6 This means merely, for so long a time as the sun and moon, being
opposite to each other at the equinox, and on the horizon, take, the
one to rise wholly, the other to set.
4 See note at end of the Canto.
CANTO xxix. PARADISO. 369
fixedly on the point which had overcome me. Then she
began : " I say, and inquire not, that which thou wouldest
hear, because I have seen it where all ubi and all quando
are concentrated. Not to have acquisition of good to Him-
self, which cannot be, but in order that His brightness might
in shining again say, I subsist ; in His own eternity, out-
Fiso nel punto, che m' aveva vinto :
Poi comincib : lo dico, e non dimando 10
Quel che tu vuoi udir, perch' io 1' ho visto,
Ove s' appunta ogni ubi ed ogni quando.
I Non per avere a se di bene acquisto b
Ch' esser non pub, ma perche suo splendore
Potesse risplendendo dir : Sussisto ;
In sua eternita, di tempo fuore,
*
b di ben a sc Gg.
II The chief points on which Dante wishes for enlightenment are,
as appears from Beatrice's explanation, the following : Why, when^.
where, and how were the angels created ? How soon and why did
orne"of theriTfail? In what sense can they be~saicrto" possess intelli-
gence, memory, and will ? Is their number (a) great, (l>) finite ? 'The
answers lire very clearly given, and will need little elucidation ; but
references to the passages in Aquinas, Augustin, and Peter Lombard,
which Dante follows, may be interesting. Naturally, Aristotle will
not be found of much help.
I3 -' s S. T. i. Q. 26. A. 4 : Divina beatitude complectitur omnem
beatitudinem. S. c. G. ii. 46 (quoted by Scartazzini) : Ad productionem
creaturarum nihil aliud movit Deum nisi sua bonitas, quam rebus aliis
communicare voluit. splendore sussisto : cf. xiii. 53, 59.
16 In sua eternita : not from eternity, but in eternity, i.e. before
time, which had no existence previous to the creation of sensible
things. The creation of angels, according to Aquinas, S. T. i. Q. 60.
A. 3, was " probabilius" a part of the general creation of the universe,
but the first part. Opinions on this point seem, however, to have
differed. See below, 11. 37-39.
2 B
370 PARADISO. CANTO xxix.
side of time, outside of all other comprehension, as pleased
Him, the eternal Love revealed Himself in new loves. Nor
before did He lie as if in torpor ; for neither before nor
after preceded the moving abroad of God over these waters.
Form and matter in conjunction and in purity came forth
to an existence which had no erring, as from a three-stringed
Fuor d' ogni altro comprender, come i piacque,
S' aperse in nuovi amor 1' eterno amore.
Nb prima quasi torpente si giacque :
Che ne prima ne poscia precedette d 20
Lo discorrer di Dio sopra quest' acque.
Forma e materia congiunte e purette
Usciro ad esser che non avea fallo, 6
6 in nove amort Cass.; in nuovo Amor 3.
d procedette Gg. Cass. 1234 Aid. W. e ad otto Aid. Bi.
*? comprender : i.e. local, not mental ; as "incomprehensible " in
the Athanasian Creed.
18 The reading nove, which has some authority, is rather prosaic.
No doubt it came in from xiii. 59.
20 S. T. i. Q. 10. A. 5 : Aeternitas non habet prius et posterius.
This seems almost conclusive in favour of the reading precedette, which
nevertheless has little MS. authority. But the difference between pro
and pre in MS. is so slight that authority is here of less weight than
usual.
Gen. i. 2.
33 The angels are pure form ; form conjoined with matter appears
in the visible creation ; pure matter is not perceivable by the senses,
but must be held to exist, and to have been created (S. T. i. Q. 46.
A. 2).
J 3 esser is clearly the right reading, though most modern edd.
prefer atto. The use of this, however, in any but its strict meta-
physical sense would be out of place here, and in that sense it must be
reserved for 1. 32 sqq. I feel less confident about ad, from which, how-
ever, there seems to be no variant. To say that in the existence of
CANTO xxix. PARADISO. 371
bow three arrows ; and as in glass in amber or in crystal a
ray so shines that from its coming to its being complete
there is no interval, so the threefold effect from its Lord
flashed all at once into its being, without distinction in its
beginning. Order and structure were concreate in the sub-
Come d' arco tricorde tre saette :
E come in vetro in ambra od in cristallo
Raggio risplende, si che dal venire
All' esser tutto non e intervallo,
.1*1- ^ OS1 ^ triforme effetto dal suo sire
Nell' esser suo raggib insieme tutto,
Senza distinzion nell' esordire/ 30
Concreato fu ordine e costrutto
f distensione 4 ; in esord. Gg. 145.
created things there was no fault appears to conflict with Dante's view
as to the imperfection of nature, expressed in xiii. 76 and elsewhere.
Ought we not to read Uscir da esser, i.e. from the perfect existence
of God? (The form of expression would resemble the da esser verace of
Purg. xviii. 22.)
25-30 The act of creation was instantaneous. Dante follows P. Lom-
bard, who supports his view by the words of Ecclus. xviii. I : Qui
vivit in aeternum, creavit omnia simul. The contradiction with the
account given in Genesis i. is of course only apparent. "Creation"
means merely the creation of form and matter, not the arrangement of
their combinations in the sensible world. " Creata materia corporalis
creaturae, omnia quodammodo sunt creata." S. T. i. Q. 6l. A. 3.
31 costrutto must, I think, be a substantive here, as almost always
in the D. C. Concreato e costrutto a, for con, would be a rather
awkward turn of phrase, nor does it appear that the prefix has retained
its meaning in costruire, any more than in the English construct.
Moreover, it is hard to find any meaning for costrutto, if it is a parti-
ciple, which would not form a tautology with concreato. The idea
seems to be, " The substances were not only simultaneously created,
but also simultaneously put in their places."
2 B 2
372 PARADISO. CANTO xxix.
stances ; and those were the pinnacle of the world, in which
pure act was brought forth. Pure potency held the lowest
place ; in the midst clasped potency with act such bond
as never is unbound. Jerome has described for you a long
tract of ages, of the angels created before the rest of the world
was made : but this truth has been written in many quarters
Alle sustanzie, e quelle furon cima
Del mondo, in che puro atto fu produtto. 2
Pura potenzia tenne la parte ima ;
Nel mezzo strinse potenzia con atto
Tal vime, che giammai non si divima.
Jeronimo vi scrisse lungo tratto
Dei secoli degli Angeli creati
Anzi che 1' altro mondo fosse fatto.
Ma questo vero e scritto in molti lati 40
e Nelm. Gg. Cass. 123 Aid.
32 quelle : the angels. According to Aquinas, S. T. i. Q. 50. A. 2,
"Deus solus est purus actus," while " in angelo est actus et potentia."
Dante seems to keep more closely to the Aristotelian doctrine, as expressed
in De An. ii. 2 : rpt^wy yap \yofj,evrjs TTJS oixrias . . . )i> TO pev
fidos, TO 8e v\rj f TO 8e e dfi(j)o1v TOVTO>V 8' 17 pev v\t] 8vvap,is TO 8e
fi8os evT\)(fia K. T. A. The angels, as we know, axeformae separatae,
and thus are purely eWeXe^eia or eWpyeia.
34 Pura potenzia, by parity of reasoning, is matter pure and simple.
Cf. the ultime potenze of xiii. 6l.
35 potenzia con atto the visible creation.
37 St. Jerome, commenting on Titus i. 2, incidentally remarks :
Ante haec mundi tempora aeternitatem quandam saeculorum fuisse
credendum est, quibus semper cum Filio et Spiritu Sancto fuerit Pater,
et ut ita dicam unum tempus Dei est omnis aeternitas, imo innumera-
bilia tempora sunt cum infinitus sit ipse qui ante tempora omne tempus
excedit. Sex millia necdum nostri orbis implentur anni, et quantas
prius aeternitates quanta tempora quantas saeculorum origines fuisse
arbitrandum est ; in quibus Angeli Throni Dominationes ceteraeque
virtutes servierint Deo et absque temporum vicibus absque mensuris
Deo jubente substiterint. Referring to this passage St. Thomas says
CANTO xxix. PARADTSO.
by the writers of the Holy Spirit ; and thou wilt see it if
thou look aright for it ; and also the reason sees it in some
measure, for it would not allow that the movers could be so
long without their perfect work. Now thou knowest where
and when these loves were created, and how ; so that
already three flames in thy desire are extinguished.
Dagli scrittor dello Spirito Santo ;
E tu Ip vederai, se bene agguati :
Ed anche la ragion il vede alquanto,
Che non concederebbe che i motori
Sanza sua perfezion fosser cotanto. h
Or sai tu dove e quando questi amori
Furon creati, e come ; si che spend 1
Nel tuo disio gia sono tre ardori.
h fesser Cass. Aid. l Furon eletti Cass. 1234 W.
(S. T. i. Q. 61. A. 3) : Circa hoc invenitur duplex sanctorum doc-
torum sententia ; ilia tamen probabilior videtur, quod angeli simul
cum creatura corporea sunt creati. Angeli enim sunt quaedam pars
universi; non enim constituunt per se unum universum, sed tarn ipsi
quam creatura corporea in constitutionem unius universi conveniunt.
Quod apparet ex ordine unius creaturae ad aliam. Ordo enim rerum
adinvicem est bonum universi ; nulla autem pars perfecta est a suo toto
separata. Hugh of St. Victor took the same view, relying on Ecclus.
xviii. I, quoted above. (Lubin.)
** 4S If the angels had been created before the heavens they could
not have performed their function of moving these, which is necessary
to their perfection. (A similar argument used to prove that the angels
were few in number is referred to, but set aside in Conv. ii. 5.) Per-
fezion seems to represent eWeAe'^eia here. Dante may have borrowed
the term from the passage quoted above ; but this development of the
argument seems to be his own.
46 dove. As a matter of fact she has said nothing about the place
in which the angels were created, except what may be implied in 1. 32.
Aquinas, S. T. i. Q. 61. A. 4, holds that it must have been "in
supremo corpore . . . sive id dicatur caelum empyreum, sive quali-
tercunque nominetur. "
374 PARADISO. CANTO xxix.
" Nor would one come, in counting, to twenty, so quickly
as did one part of the angels trouble the nethermost of
your elements. The other remained, and began this art
that thou discernest, with such delight, that never from its
circling does it depart. The beginning of the fall was the
accursed pride of him whom thou sawest straitened by all
the weights of the world. Those whom thou seest here were
modest to call to mind the goodness which had made them
ready for so great intelligence ; wherefore their vision was
Ne giugneriesi numerando al venti
Si tosto, come degli Angeli parte 50
Turbo il suggetto dei vostri elementi. k
L' altra rimase, e comincio quest' arte
Che tu discerni, con tanto diletto,
Che mai dal circuir non si diparte.
Principio del cader fu il maladetto
Superbir di colui, che tu vedesti
Da tutti i pesi del mondo costretto.
Quelli che vedi qui furon modesti
A riconoscer se della bontate,
Che gli avea fatti a tanto intender presti : 60
Per che le viste lor furo esaltate
k alimenti Gg.
49-51 S. T. i. Q. 63. A. 6 : Probabilior opinio, et sanctorum dictis
magis consonans, est quod statim post primum instans suae creationis
diabolus peccaverit. suggetto: the earth. Cf. Inf. xxxiv. 122 sqq.
ss, s<s Cf. Purg. xii. 25. S. T. i. Q. 63. A. 2 : Peccatum primum
angeli non potest esse aliud quam superbia.
s 6 . s? Inf. xxxiv. in.
59 Philalethes and Witte seem to understand this as meaning " to-
recognise that they had their origin in the goodness" ; but it is difficult
to see how this is to be got out of the words.
60 intender ; with its special meaning, as in viii. 37, xxvii. 1 14.
CANTO xxix. PARADISO. 375
exalted with illuminant grace and with their merit so that
they have a complete and steadfast will. And I will that
thou doubt not, but be certain, that to receive grace is
meritorious, in proportion as the desire is laid open to it.
Henceforth thou canst contemplate thy fill concerning this
Con grazia illuminante e con lor merto,
SI ch' hanno piena e ferma volontate.
E non voglio die dubbi, ma sie certo,
Che ricever la grazia e meritorio,
Secondo che 1' affetto gli e aperto.
Omai dintorno a questo consistorio
Puoi contemplare assai, se le parole
63 S. T. i. Q. 64. A. 2 : Voluntas angeli adhaeret fixe et immo-
biliter. The phraseology of these lines seems to be suggested by a
passage of St. Augustine, De Correptione et Gratia, 32 : Angeli
sancti, cadentibus aliis per liberiftn arbitrium, per^idem steterunt ipsi,
et hujus permansionis mercedem recipere meruerunt, tantam scilicet
beatitudinis plenitudinem qua eis certissimum sit semper se in ilia esse
mansuros. Cf. also Peter Lombard, Sent. ii. 5 : Illi quidem conversi
sunt et illuminati a Deo gratia apposita.
64-66 in these lines an answer is given to a question which seems to
have occurred to more than one of the early theologians what had the
angels done to deserve their blessedness ? Thus Peter Lombard,
Sent. loc. cit. : Quaeri solet utrum in ipsa confirmatione beati fuerint
Angeli an ipsam beatitudinem aliquo modo meruerint. He inclines to
the view that so far as the reward was on account of " obsequia nobis
exhibita ex Dei obedientia et reverentia " it preceded the service which
earned it. Aquinas merely says (S. T. i. Q. 62. A. 4) : dicendum est
quod gratiam habuit angelus antequam esset beatus, per quam beati-
tudinem meruit . . . angelus meruit beatitudinem conversione chari-
tatis, quae est per gratiam. Dante seems to have taken this view, and
somewhat expanded it. His affetto of course represents the charitas of
Aquinas. The difficulty has clearly been to avoid any expression
which might seem to countenance the Pelagian doctrine, " gratiam Dei
secundum merita dari," and yet not to fall into a vicious circle. The
general question of freewill, merit, and grace, will be found discussed in
S. T. ii. i. Q. 114.
376 PARADISO. CANTO xxix.
assembly, if my words have been gathered up, without other
aid. But whereas on earth through your schools it is
v taught that the angelic nature is such as understands and
remembers and wills, I will say further, in order that thou
mayest see in its purity the truth that is there below con-
fused, by an equivocation in teaching of such fashion. These
Mie son ricolte, senz' altro aiutorio. 1
Ma perche in terra per le vostre scuole 70
Si legge, che 1' angelica natura
E tal che intende e si ricorda e vuole ;
Ancor dirb, perche tu veggi pura
La verita che laggiii si confonde,
Equivocando in s\ fatta lettura.
1 altro lavoro Aid.
70-81 The q ues tion in what -manner angels can be said to possess
memory, understanding, and will is considered in S. T. i. QQ. 54-59.
The following extracts will serve to show the view taken by Aquinas,
and to illustrate Dante's statement of it. I have given them at some
length, as they throw light on sundry points of the scholastic philosophy.
Q. 54. A. 4 (where the opponent maintains the thesis " quod sit in
angelo intellectus agens et possibilis ") : Respondeo dicendum quod
necessitas ponendi intellectual possibilem in nobis fuit propter hoc quod
nos invenimur quandoque intelligentes in potentia et non in actu.
Unde oportet esse quandam virtutem quae sit in potentia ad intelligi-
bilia ante ipsum intelligere ; sed educitur in actum eorum cum sit sciens,
et ulterius cum sit considerans. Et haec virtus vocatur intellectus
possibilis. Necessitas autem ponendi intellectum agentem fuit quia
naturae rerum materialium quae nos intelligimus .... sunt solum
intelligibiles in potentia, extra animam existentes. Et ideo oportuit
esse aliquam virtutem quae faceret illas naturas intelligibiles actu. Et
haec virtus dicitur intellectus agens in nobis. Utraque autem neces-
sitas deest in angelis, quia neque sunt quandoque intelligentes in
potentia tantum .... sed in actu ; intelligunt enim primo et princi-
paliter res immateriales. Et ideo non potest in eis esse intellectus
agens et possibilis nisi aequivoce. Q. 55. A. 2 : Substantiae superiores,
idest angeli, sunt a corporibus totaliter absolutae, immaterialiter et in
CANTO xxix. PARADISO. 377
substances, since they have had joy of God's countenance,
have not turned their sight from it, wherefrom nought is
hidden : therefore they have not a vision interrupted by a .
new object, and therefore no need to remember by means of
an abstract concept. So that below there people are dream-
ing awake, believing and not believing that they say true ;
Queste sustanze, poiche fur gioconde
Delia faccia di Dio, non volser viso
Da essa da cui nulla si nasconde :
Pero non hanno vedere interciso m
Da nuovo obbietto, e perb non bisogna 80
Rimemorar per concetto diviso.
SI che laggiu non dormendo si sogna,
Credendo e non credendo dicer vero :
m volere interciso Gg.
esse intelligibili subsistentes ; et ideo suam perfectionem intelligibilem
consequuntur per intelligibilem effluxum, quo a Deo species rerum
cognitarum acceperunt simul cum intellectuali natura ; and below :
Intellectus angelicus, dato quod posset abstrahere species intelligibiles a
rebus materialibus, non tamen abstraheret, quia non indigeret eis, cum
habeat species intelligibiles. Q. 57. A. 2 : Angeli per species a Deo
inditas res cognoscunt non solum quantum ad naturam universalem, sed
etiam secundum earum singularitatem. In Q. 58. AA. 4, 5, he shows
that "angeli quaecunque cognoscunt, sine discursu" (see note to
Purg. xxix. 49) " apprehendunt," and that "angeli non cognoscunt
componendo et dividendo." He only touches the question of memory
incidentally, allowing that it may be ascribed to them in so far as it
resides in the mind ; but not as a part of the sensitive soul (Q. 54.
A. 5). Albert appears to have treated it more fully.
8 s, 84 T^ i-j est interpretation of these rather obscure lines seems to be
that of the teachers of false doctrine some were less to blame, as being
really persuaded by their own arguments. Others, e.g. Witte, think
that the distinction is drawn between those who overrate the faculties
of the angels, and those who deny to them powers which men have ;
the pifc colpa being with the latter. But this is rather weak ; and it
3?8 PARADISO. CANTO xxix.
but in the one there is more sin and more shame. You go
not on earth by one path in your philosophising ; so much
does the love of the appearance and the thought of it
transport you. And yet this is borne here on high with less
indignation than when the divine Scripture is put aside, or
when it is wrested. None thinks there how much blood it
costs to sow it in the world, and how much he pleases who
humbly sets himself by its side. For appearance each one
uses his wit and makes his inventions, and those are hastened
over by the preachers, and the Gospel is silent. One says that
the Moon turned itself back in the Passion of Christ, and put
Ma nell' uno e piu colpa e piu vergogna.
Voi non andate giu per un sentiero,
Filosofando ; tanto vi trasporta
L' amor dell' apparenza e il suo pensiero.
Ed ancor questo quassu si comporta
Con men disdegno, che quando e posposta
La divina Scrittura, o quando e torta. 90
Non vi si pensa quanto sangue costa
Seminarla nel mondo, e quanto piace
Chi umilmente con essa s' accosta.
Per apparer ciascun s' ingegna, e face
Sue invenzioni, e quelle son trascorse
Dai predicanti, e il Vangelio si tace.
Un dice che la Luna si ritorse
Nella passion di Cristo, e s' interpose,
can hardly be doubted that Dante was thinking of Aristotle's distinc-
tion, in Soph. Elench. n, between honest and dishonest false reasoners.
He is, in fact, about to repeat, with a slight variation, the warning
already given in the latter part of Canto xiii. The allusion in I. 90 to
11. 128, 129 of that Canto is obvious.
97 sqq. See for a discussion of the various theories as to the cause of
the "darkness over all the earth" at the Crucifixion, S. T. iii. Q. 44.
CANTO xxix. PARADISO. 379
itself in the way, whereby the light of the Sun extended not
down; and another, that the light hid itself of itself : wherefore
to the Spaniards and the Indians, as to the Jews, such eclipse
corresponded. Florence has not so many Lapos and
Bindos as there are fables of this sort cried hither and
thither in pulpit; so that the sheep who have no know-
ledge return from the pasture fed on wind, and it does not
Per che il lume del Sol giu non si porse :
Ed altri che la luce si nascose* 100
Da se ; perb agl' Ispani e agl' Indi,
Com' ai Giudei, tale eclissi rispose.
Non ha Firenze tanti Lapi e Bindi,
Quante si fatte favole per anno
In pergamo si gridan quinci e quindi ;
Si che le pecorelle, che non sanno,
Tornan dal pasco pasciute di vento,
n Entente Gg.; mentre Cass. 1234.
A. 2. St. Thomas himself inclines to the view that it was a miraculous
eclipse at the time of full moon, following herein the so-called
" Dionysius," who in a letter to Polycarp avers that he himself
observed it in Egypt. This, as Scartazzini points out, makes the
reading E mente in 1. 100 impossible, for though the word appears to
be used by Petrus Comestor in reference to this theory, Dante would
surely never have applied such a term to any opinion maintained by the
Angelic Doctor, even though he might think that the question was not
one of sufficient importance to be a matter of controversy, or a theme
for sermons.
100 altri : St. Jerome. See S. T. loc. cit. It is curious that
Aquinas should have thought that the objection indicated in the next
two lines, viz. the absence of universal observation, applied rather to
the theory of an eclipse, or to Origen's notion, that the darkness was
due to clouds, than, as Dante rightly sees it did, to the supposition
that the sun withdrew its light.
103 Lapo and Bindo were popular abbreviations of Jacopo and
Aldobrando.
380 PARADISO. CANTO xxix.
excuse them that they see not their loss. Christ said not to
His first company, Go and preach to the world idle tales ;
but gave them a foundation of truth ; and that sounded
so mightily in their mouths that to fight for kindling of the
Faith, they made of the Gospel shields and lances. Now
men go with jests and with railleries to preach, and so long
as there is a good laugh, the cowl puffs out, and no more
is asked. But a bird is nesting in the hood, such that if the
crowd saw it, they would see the pardoning wherein they
trust; through which, so great folly has increased upon
E non le scusa non veder lo danno.
Non disse Cristo al suo primo convento,
Andate e predicate al mondo ciance, no
Ma diede lor verace fondamento :
E quel tanto sonb nelle sue guance
Si che a pugnar, per accender la fede,
DelP Evangelic fero scudi e lance.
Ora si va con mojtti e con iscede
A predicare, e pur che ben si rida,
Gonfia il cappuccio, e piu non si richiede.
Ma tale uccel nel becchetto s' annida,
Che se il volgo il vedesse, vederebbe
La perdonanza, di che si confida : p 1 20
Per cui tanta stoltezza in terra crebbe,
il non -veder Gg.; lor danno Aid.
P di che 7 si conf. Gg. Cass. 12345.
118 uccel : the devil. becchetto : the tail of the hood, which was
thrown over the shoulder. It is a familiar feature in the early Florentine
costume.
121 sqq. Compare the story of Frate Cipolla in the Decameron,
Day vi. Nov. 10. The somewhat ribald stories of Boccaccio and
Sacchetti offer many interesting parallels to Dante's graver denuncia-
tions. It may be noted that Cipolla is a " frate di santo Antonio."
CANTO xxix. PAR AD ISO. 381
earth, that without proof of any testimony they would flock
to every promise. By this grows fat the pig of St. Anthony,
and others in plenty who are still more of pigs, paying in
money without a stamp.
" But seeing that we have digressed enough, turn back
thine eyes now towards the direct road, so that the way may
be shortened with the time. This nature is so graded in
Che sanza pruova d' alcun testimonio
Ad ogni promession si converrebbe.
Di questo ingrassa il porco Sant' Antonio,
Ed altri assai che son ancor piu porci, q
Pagando di moneta sanza conio.
Ma perche siam digressi assai, ritorci
Gli occhi oramai verso la dritta strada,
Si che la via col tempo si raccorci.
Questa natura si oltre s' ingrada 130
i ancor che son assai Cass. 3 W. Aid.; assai che son peggio che p.
124 i.
124 It seems better to take ingrassa as intransitive (like imbruna,
Purg. iv. 21), rather than with some comm. to render "St. Anthony
fattens his pig," which, as Blanc points out, would be hardly respectful
to the saint. The omission of the mark of the genitive before a proper
name is less common in Italian than in French ; but it is not un-
exampled (see Diez iii. 129). P. di Dante has " Unde porcus sancti
Antonii, etc." This St. Anthony is of course not he of Padua, but the
famous hermit of Egypt. The reason of the pig as his attribute is
somewhat obscure, but it may be from the power ascribed to him of
warding off diseases from cattle. (Philalethes.)
126 I.e. promising unauthorised indulgences.
130 sqq. Speculations as to the number of the angels seem to have
been common, as may be inferred from the allusion in xiii. 98. Aquinas
discusses the question, S. T. i. Q. 50. A. 3, concluding that " Angeli
cum longe perfectiores sint corporalibus creaturis, in quadam maxima
multitudine sunt omnem materialem multitudinem excedentes." The
germ of the whole doctrine of angels is to be found in Met. X. 8, where
382 PARADISO. CANTO xxix.
number onward that never was speech nor mortal concep-
tion which should go so far. And if thou regard that which
is revealed through Daniel, thou wilt see that in his thou-
sands a determinate number is hidden. The primal light
which irradiates it all is received into it in modes as mani-
fold as the splendours to which it is mated. Wherefore,
since the affection follows on the act which conceives, the
sweetness of love has warmth and fervour diversely in it.
Thou seest henceforth the height and the breadth of the
In numero, che mai non fu loquela,
Ne concetto mortal, che tanto vada.
E se tu guardi quel che si rivela
Per Daniel, vedrai che in sue migliaia
Determinato numero si cela.
La prima luce, che tutta la raia,
Per tanti modi in essa si ricepe,
Quanti son gli splendori a che s' appaia.
Onde, pero che all' atto che concepe
Segue 1' affetto, d' amor la dolcezza' 140
Diversamente in essa ferve e tepe. s
Vedi 1' eccelso omai, e la larghezza
1 <? amar Gg. 1234. * in esse si concepe Ald.(l).
Aristotle discusses the question, what is the number of the movers of the
heavenly bodies ? These were in course of time identified with the
Divine messengers of Holy Scripture.
134 See Dan. vii. 10 : Millia millium ministrabant ei, et decies millies
centena millia assistebant ei.
135 si cela : i.e. is not revealed.
136 la : sc. natura.
138 As Philalethes points out, Aquinas has proved (S. T. i. Q. 50.
A. 4) that angels, not being compounded of form and matter, must
differ from each other in species ; it being as impossible to have
two angels of the same species as to have two whitenesses or two
humanities.
CANTO xxix. PARAD1SO, 383
eternal Goodness, since it has made for itself so many
mirrors wherein it is broken up, remaining in itself one as
heretofore."
DelP eterno valor, poscia che tanti
Speculi fatti s' ha in che si spezza,
Uno manendo in se come davanti.
*** S. T. i. Q. 56. A. 3 : Ipsa angelica natura est quoddam speculum
divinam similitudinem repraesentans : (quoted above, xiii. 59).
T
NOTE TO LINE 4.
A little explanation seems to be called for of my reasons for differing
from most modern editors in preferring " che li tiene in libra " to " che
il zenit inlibra." The MSS., a,s Dr. Moore informs me, are (most
appropriately) exactly balanced between the two readings ; so that we
have only to consider on which side is the greater probability of altera-
tion. Now it seems very possible that if Dante wrote " Quant' e dal
punto che li tiene in libra," some annotators, not seeing that punto
referred to time, not to place, and perhaps wishing to display their
knowledge of astronomical terms, should have noted, "i.e. zenit"
as, indeed, the Cassinese postillator has done. Or, again, some one
writing his notes in Latin, may have got tenet over tiene ; and looking
to the similarity in form of t and c on one hand, and and c on the
other, the alteration may have crept in so. But if "che il zenit in-
libra " be the right reading, there is first the difficulty of inlibra being
intransitive, verbs of this form, when compounded with substantives,
being always, so far as I know, transitive ; secondly, if it be transitive,
that of finding its object ; for che is excluded, since the zenith could not
be said to keep the point, whether of place or of time, balanced ;
and thirdly that of supposing that any one could have failed to see
this, and so noted to inlibra, "i.e. tenet inlibratum," or the like,
from which tiene could have been introduced. Bianchi's i libra has
little authority.
CANTO XXX.
ARGUMENT.
They rise to the highest or Empyrean heaven, where a great brightness sur-
rounds them. Paradise appears, first as a river of light ; then, as
Dante sees more clearly, in the form of a rose, whose leaves are the
seats of the blessed.
PERHAPS six thousand miles away from us the sixth hour is
seething, and this world is already inclining its shadow
almost to the level plane, when to us the midst of heaven
in its depth begins to grow such that some star loses its ap-
pearance at the distance of this base ; and as the brightest
FORSE semilia miglia di lontano
Ci ferve 1' ora sesta, e questo mondo
China gia 1' ombra, quasi al -letto piano, a
Quando il mezzo del cielo a noi profondo
Comincia a farsi tal, che alcuna Stella
Perde il parere infino a questo fondo :
E come vien la chiarissima ancella
a Chinava Gg.
1-6 As we learn from Conv. iii. 5 and Hi. 8, Dante took the circum-
ference of the earth to be 20,400 miles. Therefore when it is noon (!' ora
sesta) 6,000 miles away, it is just before sunrise where we are, and the
shadow of the earth lies almost along the plane passing through the sun
and our point of view, while the stars begin to vanish in the dawn.
7 ancella : the dawn.
CANTO xxx. PARADISO. 385
handmaid of the sun advances, so the heaven closes from
view to view, even unto the fairest. Not otherwise the
triumph which ever plays around the point which overcame
me, seeming enclosed by that which it encloses, little by
little was extinguished to my sight ; so that to return with
my eyes to Beatrice lack of seeing and love constrained me.
If whatsoever up to this point is said of her should all be
concluded in one praise, it would be too little to furnish
forth this occasion. The beauty which I beheld is beyond
measure ; not beyond us only, but I think of a truth that
its Maker alone enjoys it in its fulness. By this passage I
Del Sol piu oltre, cosi il ciel si chiude
Di vista in vista in fino alia piu bella ;
Non altrimenti '1 trionfo che lude 10
Sempre dintorno al punto che mi vinse,
Parendo inchiuso da quel ch' egl' inchiude,
A poco a poco al mio veder si stinse : b
Per che tornar con gli occhi a Beatrice
Nulla.vedere ed amor mi costrinse.
Se quanto infino a qui di lei si dice,
Fosse conchiuso tutto in una loda,
Poco sarebbe a fornir questa vice.
La bellezza ch' io vidi, si trasmoda.
Non pur di la da noi, ma certo io credo 20
Che solo il suo fattor tutta la goda.
b il mio v. Cass. 1 234.
9 vista : of the stars. Sovedute, ii. 115. (See note, xxiii. 30.)
11 punto : xxviii. 16.
" Because, as we have seen, the point represents God, in whom all
things are contained.
16 sqq- Here, on the threshold of the highest heaven, the human
mind must abandon the attempt to keep pace any longer with the study
of Divine things. Cf. i. 7-9.
" Conv. ii. 4 : Questo quieto e pacifico cielo e Io luogo di quella
somma Deita che si sola compiutamente vede.
2 C
386 PARADISO. CANTO xxx.
own myself conquered, more than ever comedian or tra-
gedian was overcome by a point of his subject. For as
does the sun to the sight that trembles most, so the re-
membrance of the sweet smile cuts my mind from itself.
From the first day that I saw her countenance in this life,
until this view, my song has not had its pursuit cut short ;
but now my pursuit must needs leave off from further fol-
lowing her beauty in verse, as in regard to his end must
every craftsman.
Da questo passo vinto mi concede
Piu che giammai da punto di suo tema
Soprato fosse comico, o tragedo.
Che, come Sole in viso che piu trema, c
Cosi lo rimembrar del dolce riso
La mente mia da se medesma scema. d
Dal primo giorno, ch' io vidi '1 suo viso
In questa vita, insino a questa vista,
Non e il seguire al mio cantar preciso : 30
Ma or convien, che il mio seguir desista
Piu dietro a sua bellezza poetando, 6
Come all' ultimo suo ciascuno artista.
c come in S. il v. Cass.; come S. il v. Aid. Bi.
d da me medesma Gg. Cass. e Piu dentro Gg.
32 vinto : so Inf. v. 132.
28-30 AS Philalethes points out, he seems here to overlook the various
occasions (xiv. 79-81 ; xviii. 9-12; xxiii. 24, and 49-60) on which he
has professed himself unable to describe the increasing beauty of Beatrice
and her smile. However, in each case he has hitherto found some
means of indicating his meaning, and has passed on to yet higher
developments ; now, he would say, the highest point is reached, and his
powers of expression must finally stop short of the thing to be expressed.
Piu must, I think, certainly be taken with poetando, not, as the arrange-
ment of the words seems at first to suggest, with dietro.
33 A friend draws my attention to a very similar thought in Cicero,
CANTO xxx. PARADISO. 387
Such as I leave her to a mightier proclaiming than that
of my trumpet, which is drawing out to a limit its arduous
matter, with gesture and voice of a leader freed from his
task she began again : " We are issued forth from the
greatest body to the heaven which is pure light ; light of
understanding full of love, love of true good full of joy,
joy that surpasses every sweetness. Here thou shalt see
the one and the other soldiery of Paradise, and the one
Cotal, qual' io la lascio a maggior bando
Che quel della mia tuba, che deduce
L' ardua sua materia terminando,
Con atto e voce di spedito duce
Ricomincio : Noi semo usciti fuore f
Del maggior corpo al ciel ch' e pura luce: g
Luce intellettual piena d' amore, 40
Amor di vero ben pien di letizia,
Letizia che trascende ogni dolzore.
Qui vederai 1' una e 1' altra milizia
Di Paradise, e 1' una in quegli aspetti,
1 noi stiamo Gg. vera luce Gg. 1 24.
Orator 8 : Sed ego sic statuo, nihil esse in ullo genere tarn pulcrum,
quo non pulcrius id sit, unde illud ut ex ore aliquo quasi imago ex-
primatur, quod neque oculis neque auribus neque ullo sensu percipi
potest, cogitatione tantum et mente complectimur. He goes on, as
Dante does, to illustrate by the case of the artist.
37 spedito : as in xvii. 100.
39 I.e. from the Primum Mobile the largest of the heavenly bodies
to the Empyrean heaven. S. T. i. Q. 66. A. 3 : Potest dici quod habet
lucem caelum empyreum non condensatam ut radios emittat, sicut corpus
solis, sed magis subtilem ; vel habet claritatem gloriae, quae non tst
conformis cum claritate naturali.
*' ** Light, love, joy, are the complements of faith, love, hope.
43 Tuna e 1' altra milizia: "the spirits of just men made perfect,"
and "the innumerable company of angels."
2 C 2
388 PARADISO. CANTO xxx.
in those aspects which thou wilt behold at the last judge-
ment."
As a sudden flash which breaks up the visual spirits so
that it deprives the eye of operation in regard to objects of
much strength, so did a living light shine around me, and
left me swathed in such a veil of its brightness, that naught
was apparent to me. "Ever the Love which keeps the
heaven in peace, receives into itself with a salutation in
such sort, to make the torch disposed for its flame." No
sooner had these brief words entered within me, than I
Che tu vedrai all' ultima giustizia.
Come subito lampo, che discetti
Gli spiriti visivi, si che priva
DelP atto 1' occhio di piu forti obbietti ; h
Cos! mi circonfulse luce viva,
E lasciommi fasciato di tal velo 50
Del suo fulgor, che nulla m' appariva.
Sempre 1' amore che quieta il cielo, 1
Accoglie in se con si fatta salute, k
Per far disposto a sua fiamma il candelo.
Non fur piu tosto dentro a me venute
Queste parole brevi, ch' io compresi
h dei piu Gg. 3. f amor chi queta questo c. 124 Bi,
k cost/. 3 Aid. W. (In MSS. indistinguishable.)
** 4S I.e. the blessed are seen no longer as lights, but in bodily
shape. Cf. xiv. 37 sqq. ; xxii. 60 sqq.
v spirit! visivi : see xxvi. 71.
48 piil as in Inf. v. 130 and elsewhere ; without comparative force.
5* quieta ; see note, 1. 21. The reading queta questo is certainly, AS
Scartazzini says, much the more satisfactory ; but authority is against it.
We must understand Dante to be using il cielo in the first of the three
meanings which Aristotle, de Caelo i. 9, ascribes to ovpavos, viz.
TO tcrxaTOV KOI avut fjidXtcrra fvwro 6(iov irav idpvcrdai <pufj.ei>.
S3 salute: as in V. N. 11.
CANTO xxx. PARADISO. 389
understood that I was rising above my own virtue ; and I
was rekindled with fresh vision, such that no light is so
pure but my eyes would have resisted it. And I beheld
a light in form of a river, resplendent with splendours,
between two banks painted with a wondrous spring. From
such stream were issuing living sparks, and on all sides
were settling on the flowers like rubies which gold encircles.
Then, as though inebriate with the odours they would plunge
again in the wondrous torrent ; and if one was entering
another would issue forth. "The high desire which now
enflames thee and urges thee to have knowledge of that
Me sormontar di sopra a mia virtute ;
E di novella vista mi raccesi
Tale, che nulla luce e tanto mera, 1
Che gli occhi miei non si fosser difesi ; 60
E vidi lume in forma di riviera
Fulgido di fulgori, intra due rive, m
Dipinte di mirabil primavera.
Di tal fiumana uscian faville vive,
E d' ogni parte si mettean nei fiori,
Quasi rubini che oro circonscrive.
Poi, come inebriate dagli odori,
Riprofondavan se nel miro gurge,
E s' una entrava, un' altra n' uscia fuori.
L' alto disio, che mo t' infiamma ed urge 7
D' aver notizia di cib che tu vei,
1 Tanto che Gg. m Fluido Bi. ; Fulvido Cass. 3 Aid.; Fluvido 124.
62 If we take the tezdmgfitlvido, we must understand " tawny, "i.e.
"golden." But though we have "fulvum aurum" more than once in
Virgil, there is no such word in Latin as " fulvidus," nor is it, I think,
a possible form ; the termination -idus always implying a verb.
63 Cf. xxviii. 1 1 6.
39 PARADISO. CANTO xxx.
which thou seest, pleases me the more as it more swells.
Out of this water it behoves that thou drink before so
great a thirst is sated in thee ;" thus said to me the Sun of
my eyes. She added moreover : " The river, and the topazes
which enter and come out, and the smiling of the herbs, are
preludes bearing a shadow of their truth ; not that these
things are of themselves unripe, but it is a defect on thy
part, that thou hast not powers of sight yet so exalted."
There is no babe that flies so quickly with his countenance
toward the milk, if he awake belated much beyond his
wont, as did I, to make yet better mirrors of my eyes, bow-
Tanto mi piace piu, quanto piu turge.
Ma di quest' acqua convien, che tu bei
Prima che tanta sete in te si sazii :
Cosi mi disse il Sol degli occhi miei.
Anche soggiunse : II fiume, e li topazii,
Ch' entran ed escon, e il rider dell' erbe
Son di lor vero ombriferi prefazii : "
Non che da se sien queste cose acerbe ;
Ma e difetto dalla parte tua, 80
Che non hai viste ancor tanto superbe.
Non e fantin che si subito rua
Col volto verso il latte, se si svegli
Molto tardato dall' usanza sua,
Come fee' io, per far migliori spegli
Ancor degli occhi, chinandomi all' onda,
n ubriferi Gg. 1234 ; ubenferi Cass.
i 8 Because, as presently appears, what he takes for a river is a lake
of light, the jewel-like sparks are angels, and the flowers are blessed
spirits.
81 Cf. Purg. xxx. 44. All this passage is evidently intended to recall,
and contrast with, the description of the terrestrial Paradise.
CANTO xxx. PARADISO. 391
ing me to the wave which flows down that one may enter
into better things thereat. And whenas the eaves of my
eyelashes drank of it, right so it appeared to me from its
length to have become round. Then as folk who have
been beneath masks, that appear other than before, if they
strip off the likeness not their own wherein they disap-
peared; in such wise were changed for me into greater
rejoicings the flowers and the sparks, so that I beheld both
the cohorts of heaven manifest.
O splendour of God, through whom I beheld the high
triumph of the realm of truth, grant me virtue to tell how I
beheld it. Light is there on high, which makes visible the
Creator to that creation which only in seeing Him has its
Che si deriva perche vi s' immegli.
E si come di lei bevve la gronda
Delle palpebre mie, cosi mi parve
Di sua lunghezza divenuta tonda. 90
Poi come gente stata sotto larve,
Che pare altro che prima, se si sveste
La sembianza non sua in che disparve ;
Cosi mi si cambiaro in maggior feste
Li fiori e le faville, si ch' io vidi
Ambo le corti del ciel manifeste.
O isplendor di Dio, per cu' io vidi
L' alto trionfo del regno verace,
Dammi virtu a dir com' io Io vidi.
Lume e lassii, che visibile face 100
Lo Creatore a quella creatura,
Che solo in lui vedere ha la sua pace :
bffver Gg.
9' Cf. again Purg. xxxi. 139. Observe the repetition of vidi, n>
though to emphasize the beatific vision upon which he is now entering.
392 PARADISO. CANTO xxx.
peace ; and is spread forth in a circular figure so far that its
circumference would be too wide a girdle for the sun. All
that appears of it is made of a ray reflected upon the
summit of the First Moved, which takes thence life and
potency. And as a hill in water at its base mirrors itself
as though to see itself in its adornment, how rich it is in
greenery and in flowers ; so standing over the light around
and about I saw mirrored more than a thousand thrones,
all of us that have returned on high. And if the lowest
degree embraces within itself so great a light, what is the
breadth of this rose in its outermost leaves ? In the breadth
and in the height my view was not lost, but took in wholly
E si distende in circular figura
In tanto, che la sua circonferenza
Sarebbe al sol troppo larga cintura.
Fassi di raggio tutta sua parvenza,
Reflesso al sommo del mobile primo,
Che prende quindi vivere e potenza.
E come clivo in acqua di suo imo
Si specchia quasi per vedersi adorno, no
Quanto e nel verde e nei fioretti opimo,
Si soprastando al lume intorno intorno
Vidi specchiarsi in piu di mille soglie,
Quanto da noi lassu fatto ha ritorno.
E se 1' infimo grado in se raccoglie
Si grande lume, quant' e la larghezza
Di questa rosa nell' estreme foglie ?
La vista mia nell' ampio e nell' altezza
Non si smarriva, ma tutto prendeva
I0 * How there can be a highest point where place does not exist, is
a difficulty which does not seem to have occurred to Dante.
CANTO xxx. PARADISO. 393
the degree and the kind of that blitheness. Near and far
there neither adds nor takes away ; seeing that where God
governs without means, the natural law has no relevancy.
Into the yellow of the everlasting rose, which spreads
itself, rises in steps, and sends forth a sweet odour of praise
to the Sun who is ever in spring, did Beatrice draw me, like
one who is silent and would speak ; and said : " Look how
great is the assembly of the white garments. Behold our city,
how great is its circuit : behold there our stalls so full, that
few folk hereafter are awaited. In that great seat on which
thou hast thine eyes, by reason of the crown which already
is placed over it, ere thou shalt sup at this wedding-feast,
will sit the soul, which on earth shall be imperial, of the
II quanto e il quale di quella allegrezza. 120
Presso e lontano li ne pon ne leva ;
Che dove Dio senza mezzo governa,
La legge natural nulla rilieva.
Nel giallo della rosa sempiterna,
Che si dilata, digrada e ridole
Odor di lode al Sol che sempre verna,
Qual' e colui che tace e dicer vuole,
Mi trasse Beatrice, e disse : Mira
Quanto e il convento delle bianche stole,
Vedi nostra citta, quanto ella gira ! 130
Vedi li nostri scanni si ripieni,
Che poca gente omai ci si disira. p
In quel gran seggio, a che tu gli occhi tieni, q
Per la corona che gia v' e su posta,
Prima che tu a queste nozze ceni,
Sedera 1' alma, che fia giu agosta,
P gente piu cisi Gg.
i E (or ef) quel Gg. Cass. 12345 ; segno Gg.
394 PARADISO. CANTO xxx.
high Henry who will come to set Italy straight before that
she shall be ready. The blind covetousness which be-
witches you has made you like the child who is dying of
hunger and drives away his nurse. And there shall be as
president in God's court at that time such an one that
openly or in secret shall not go with him on one road. But
short while thereafter shall he be suffered by God in his
holy office : for he shall be thrust down to that place where
Simon Magus is for his deserts, and he shall make him of
Alagna go down lower."
Dell' alto Arrigo, ch' a drizzare Italia
Verra in prima ch' ella sia disposta.
La cieca cupidigia, che v' ammalia,
Simili fatti v' ha al fantolino, 140
Che muor di fame e caccia via la balia ;
E fia Prefetto nel foro divino
Allora tal, che palese e coverto
Non andera con lui per un cammino.
Ma poco poi sara da Dio sofferto
Nel santo uficio ; ch' ei sara detruso
La dove Simon mago e per suo merto,
E fara quel d' Alagna andar piu giuso. r
T esserp. g. Gg. Cass. Aid. W. ; intrar 1245.
137 See note, xvii. 82, which also explains the allusion in 11. 143, 144.
139 As usual, e.g. xxvii. 121, he makes covetousness, especially in the
rulers of the Church, the root of all evils.
't 8 See Inf. xix. 84, and throughout. Alagna : Purg. xx. 86. With
this bitter denunciation of Boniface and Clement, Beatrice resigns her
charge of Dante. As will be seen in the next Canto, she now resumes
her place among the blessed.
CANTO XXXI.
ARGUMENT.
The company of saints appears in the figure of a white rose, about which
the angels fly. Beatrice returns to her own place among them ; and
St. Bernard takes up the office of guide, first drawing Dante's attention
to the point where sits the Blessed Virgin Mary.
IN form then of a white rose was displayed to me the
soldiery of saints, which in His own blood Christ espoused.
But the other which in flying*beholds and sings the glory
of Him who fills it with love, and the goodness which made
it of so great number, like a swarm of bees which one
IN forma dunque di Candida rosa
Mi si mostrava la milizia santa,
Che nel suo sangue Cristo fece sposa.
Ma 1' altra, che volando vede e canta
La gloria di colui che 1' innamora,
E la bonta che la fece cotanta;
Si come schiera d' api, che s' infiora
i P. di Dante quotes Aen. i. 430 sqq., but a better parallel is vi.
707 sqq. , of the souls on the bank of Lethe :
Ac velut in pratis ubi apes aestate serena
Floribus insidunt variis, et Candida circum
Lilia funduntur, strepit omnis murmure campus.
Horrescit visu subito, causasque requirit
Inscius Aeneas, quae sint ea flumina porro,
Quive viri tanto complerint agmine ripas.
396 PARADISO. CANTO xxxi.
while is within the flowers, and one while returns to the
place where its work grows savourous, was descending into
the great flower which is adorned with such leaves, and
thence was risjng again there where its love ever sojourns.
All had their faces of living flame and their wings of gold,
and the rest so white that no snow reaches that limit. When
they lit on the flower, from bench to bench they dispensed
of the peace and of the ardour, which they had gained as
they fanned their flanks. Nor did the interposition between
the summit and the flower of so great a plenitude in flight
Una fiata, ed una si ritorna a
La dove suo lavoro s' insapora,
Nel gran nor discendeva, che s' adorna 10
Di tante foglie, e quindi risaliva
Lk dove il suo amor sempre soggiorna.
Le facce tutte avean di fiamma viva,
E 1' ali d' oro, e 1' altro tanto bianco,
Che nulla neve a quel termine arriva :
Quando scendean nel fior di banco in banco,
Porgevan della pace e dell' ardore,
Ch' elli acquistavan ventilando il fiance.
Ne 1' interporsi tra il disopra e il fiore
Di tanta plenitudine volante b 20
a altra si r. Gg. Cass, b moltitudine Gg. Cass.
10 - ia Philalethes sees in this an allusion to the " illumination " of the
lower orders of angels by the higher (S. T. i. Q. 106), which he would
extend to the spirits of the blessed. But it hardly seems necessary to
go beyond Dante's own thought, expressed in 1. 17, that the function
of the angels is to communicate the peace and love of God.
13.15 " Rubedo in facie figurat ardorem charitatis : deauratio in alis
figurat sapientiam : dorsum album, potentiam : etsicadTrinitatem."-
P. di D. Compare the colours of the mystical Grifon in Purg. xxix.
30 The use of plenitudine, not common in this sense, is perhaps
intended to recall " pleni sunt caeli et terra."
CANTO xxxi. PARADISO. 397
hinder the view and the splendour, for the light of God is
penetrant through the universe according as it is worthy, so
that naught can be a hindrance to it.
This secure and joyous realm, thick-peopled with folk
of old time and new, held sight and love all towards one
mark. O threefold light, which in a single star sparkling on
their view dost so give them peace, look hither down upon
our tempest ! If the Barbarians coming from such region as
every day is covered by the Bear, revolving with her son of
Impediva la vista e lo splendore :
Che la luce divina e penetrante
Per 1' universe, secondo ch' e degno,
Si che nulla le puote essere ostante.
Questo sicuro e gaudioso regno
Frequente in gente antica ed in novella,
Viso ed amore avea tutto ad un segno.
O trina luce, che in unica Stella .
Scintillando a lor vista si gli appaga,
Guarda quaggiuso alia nostra procella. 30
Se i Barbari, venendo da tal plaga,
Che ciascun giorno d' Elice si cuopra,
Rotante col suo figlio, ond' ella e vaga,
. 23 Cf. i. 1-3.
29 appaga. This seems to be a solitary example of what must
have been the original form of the second person.
$>, 33 Helice is the Great Bear (Ov. Fast. iii. 108), and so is identified
both here and in Purg. xxv. 131, with Callisto, the nymph who became
the mother of Areas by Jupiter. She was metamorphosed into a bear
by Juno, and then into the constellation by Jupiter ; her son becoming
Arctophylax, the bearward called Bootes when the Bear is regarded
as a plough or wain. North of lat. 70" or thereabouts both these con-
stellations are always above the horizon. Dante, however, probably
does not intend to indicate quite so high a latitude ; but merely northern
regions generally.
39 8 PARADISO. CANTO xxxi.
whom she is fain, when they saw Rome and its high works
were astounded, what time Lateran took precedence of mortal
affairs, I, who to the divine from the human, to the eternal
from time was come, and from Florence to a people righteous
and sane, with what astonishment must I needs have been
filled ! Surely this and my joy together made it well-pleasing
to me to hear not and to stand mute. And like a pilgrim
who is refreshed gazing around in the temple of his vow, and
Veggendo Roma e 1' ardua sua opra
Stupefacensi, quando Laterano
Alle cose mortali ando di sopra ;
lo, che al divino dall' umano,
All' eterno dal tempo era venuto,
E di Fiorenza in popol giusto e sano,
Di che stupor dovea esser compiuto ! 40
Certo tra esso e il gaudio mi facea
Libito non udire e starmi muto.
E quasi peregrin, che si ricrea
Nel tempio del suo voto riguardando,
c tempo Gg. (alt. fr. tempio) 14.
3 s '. 36 I.e. at the Jubilee in 1300 ; when, as Villani (viii. 36) tells us,
"avea in Roma, oltre al popolo romano, duecentomila pellegrini."
This at least seems the more probable explanation, for if, with Buti,
Landino, Philalethes, and others, we understand the meaning to be
" when Rome was at the head of the world," it is hard to see why the
Lateran should be introduced. In the other case, it has a special pro-
priety here, as being at that time the papal residence. Lubin under-
stands the meaning to be " in the days when the Popes cared nothing
for worldly affairs," and the allusion to be to the original barbarian
invaders.
37 Bianchi remarks on the effect of deliberation produced by the
dissyllable io and the unelided che. Cf. 1. 47.
39 This one bitter line, the last allusion to Florence in the poem,
carries the reader back to the sarcasms of Purg. vi. 127 sqq.
43 Observe how the allusion to the pilgrims is kept up ; and see
note to 1. 103.
CANTO xxxi. PARADISO. 399
hopes yet to report how that stands, so as I took my way
through the living light, I passed my eyes over the rows,
now up, now down, and now circling again. I beheld
countenances persuading to charity, adorned with another's
light and with their own smile, and gestures ornate with
every dignity.
The general form of Paradise my gaze had already
comprehended in its whole, as yet stayed fixedly on no part,
and I was turning with rekindled will to ask my Lady of
things whereof my mind was in suspense. One thing
was my intention, and another replied to me ; I thought
to see Beatrice, and I saw an Elder clad like the folk in
E spera gia ridir com' egli stea,
Si per la viva luce passeggiando,
Menava io gli occhi per li gradi
Mo su, mo giu, e mo ricirculando. d
Vedeva a carita visi suadi
D' altrui lume fregiati e del suo riso, 50
E d' atti ornati di tutte onestadi.
La forma general di Paradise
Gia tutta mio sguardo avea compresa,
In nulla parte ancor fermato fiso ; e
E volgeami con voglia riaccesa
Per dimandar la mia Donna di cose
Di che la mente mia era sospesa.
Uno intendeva, ed altro mi rispose ;
Credea veder Beatrice, e vidi un sene
d Or or or 3 Bi.
e al fiso parte gia Cass.; E in nulla 2 W.; visa Cass. 1234 Aid.;
il visa W.
s' Cf. Purg. iii. n.
ss sene. This is St. Bernard, Abbot of Clairvaux. He was born
at Fontaines in Burgundy, 1091. At the age of twenty- two he joined
400 PARADISO. CANTO xxxi.
glory. He was overspread in the eyes and in the cheeks
with a benign joy, in gesture kind as befits a tender
father. And "Where is she?" quickly said I. Where-
fore he : " To put an end to thy desire did Beatrice move
Vestito con le genti gloriose. 60
Diffuso era per gli occhi e per le gene
Di benigna letizia, in atto pio,
Quale a tenero padre si conviene.
Ed, Ov' e ella ? di subito diss' io : f
Ond' egli : A terminar lo tuo disiro,
Mosse Beatrice me del luogo mio :
f Ed: Ella ov 1 t? Aid. W. Bi.
the then newly-founded community of Citeaux, and two years later was
selected by the Abbot, St. Stephen Harding, to be the head of the
branch which it was proposed to establish at Clairvaux. From this
time till his death in 1153 he is one of the most prominent figures in
the history of his time. The counsellor, and, on occasion, the fearless
upbraider of Popes ; the defender of the see of Peter against schismatic
intruders ; the preacher of a great crusade ; the champion of what was
then held to be the orthodox philosophy against such able innovators as
Gilbert de la Porree and Abelard ; "probably," says Archbishop
Trench, "no man during his lifetime exercised a personal influence in
Christendom equal to his. . . . He seems to have exercised a well-nigh
magical influence upon all those with whom he was brought into con-
tact." For the details of his career, see Mr. Morison's "Life and
Times of St. Bernard."
60 Vestito con : so (according to the common reading) Purg.
xxix. 145.
61, 62 The following description of St. Bernard is given by Alan,
Bishop of Auxerre : Apparebat in carne ejus gratia quaedam, spiritualis
tamen potius quam carnalis ; in vultu claritas praefulgebat, non terrena
utique, sed caelestis ; in oculis angelica quaedam puritas et columbina
simplicitas radiabat. Ipsa etiam subtilissima cutis in genis modice
rubens, etc. So in the case of Matilda, who performs in Purgatory a
similar office to that of St. Bernard here, we have, in the ridea of
Purg. xxviii. 67, an allusion to a personal characteristic ; for the smile
of the great Countess is specially mentioned by her biographer.
CANTO XXXI. PARADISO. *' 401
me from my place ; and if thou lookest up to the third
circle from the highest step, thou wilt see her again in the
throne which her deserts have gained for her by lot."
Without answering I raised my eyes, and I beheld how
she made for herself a crown, reflecting from herself the
eternal rays. From that region where the thunder is
highest, no mortal eye is so far distant, into whatsoever
sea it is let go deepest, as was Beatrice there from my
view ; but it mattered naught to me, for her likeness came
not down to me diluted by intervening space. " O Lady,
in whom my hope is strong, and who didst endure for
my salvation to leave thy footprints in Hell, for all the
things that I have seen I own the grace and the virtue
E se riguardi su nel terzo giro
Dal sommo grade, tu la rivedrai
Nel trono che i suoi merti le sortiro.
Senza risponder gli occhi su levai, 70
E vidi lei che si facea corona,
Riflettendo da se gli eterni rai.
Da quella region che piu su tuona,
Occhio mortale alcun tanto non dista,
Qualunque in mare piu giu s' abbandona,
Quanto li da Beatrice la mia vista :
Ma nulla mi facea ; che sua effige
Non discendeva a me per mezzo mista.
O Donna, in cui la mia speranza vige,
E che soffristi per la mia salute, 80
In Inferno lasciar le tue vestige ;
Di tante cose, quante io ho vedute,
Dal tuo podere e dalla tua bontate
78 mezzo : as in Purg. xxix. 45. 8l See Inf. ii. 52 sqq.
2 D
402 PARADISO. CANTO xxxi.
by thy power and by thy goodness. Thou hast from a
slave drawn me to liberty through all those ways, through
all the modes which had the power to do that. Preserve
the great work that thou hast wrought in me, so that my
soul which thou hast healed may be unloosed from the
body well-pleasing to thee." Thus I prayed ; and she,
so far away as it appeared, smiled and looked upon me ;
then she turned back to the eternal fountain. And the
holy Elder said : " To the end that thou mayest accom-
plish perfectly thy journey, whereto prayer and holy love
commissioned me, flit with thine eyes over this garden ;
for to behold it will set thy gaze in more order to mount
Riconosco la grazia e la virtute.
Tu m' hai di servo tratto a libertate
Per tutte quelle vie, per tutt' i modi,
Che di cio fare avean la potestate.s
La tua magnificenza in me custodi,
Si che 1' anima mia, che fatta hai sana,
Piacente a te dal corpo si disnodi. 90
Cosi orai ; e quella si lontana,
Come parea, sorrise, e riguardommi ;
Poi si tornb all' eterna fontana.
E il santo Sene : Acciocche tu assommi
Perfettamente, disse, il tuo cammino,
A che priego ed amor santo mandommi,
Vola con gli occhi per questo giardino :
Che veder lui t' acconciera lo sguardo h
e avei Cass. 1234 W.
h t' accovera Aid.; t' accuera Dan.; f accendera Bi. Giul.
8 5 Cf. Purg. i. 71.
93 Cf. the concluding worJs of the Vita Nuova.
CANTO XXXI. PARADISO. 403
up through the divine ray. And the Queen of Heaven
for whom I am wholly on fire with love, will do us every
favour, because I am her faithful Bernard."
As is he, who haply from Croatia comes to see our True
Image, that for its ancient fame he is not sated, but says in
his thought, until it is shown : " My Lord Jesu Christ, very
God, was then your likeness so fashioned?" such was I
when looking on the lively charity of him who in this world
Piu al montar per lo raggio divino. 1
E la Regina del cielo, ond' io ardo 100
Tutto d' amor, ne fara ogni grazia,
Perb ch' io sono il suo fedel Bernardo.
Quale e colui, che forse di Croazia
Viene a veder la Veronica nostra,
Che per 1' antica fama non si sazia, k
Ma dice nel pensier, fin che si mostra,
Signer mio Gesu Cristo, Dio verace,
Or fu si fatta la sembianza vostra ?
Tale era io mirando la vivace
Carita di colui, che in questo mondo no
1 ver lo raggio Cass. k sett sazia Gg.
101 St. Bernard's special devotion to the Virgin appears in his early
Homilies on the Annunciation, and in his work " De Laudibus Mariae,"
composed some years later. William of St. Thierry relates a story of
his having been cured by her in a vision of one of his many sicknesses.
A picture by Filippino Lippi in the Baclia at Florence represents her
appearance to him.
103-108 j n t hj s beautiful simile there is again another obvious allusion
to the Jubilee ; when, as Villani (loc. cit.) tells us, " per consolazione de'
cristiani pellegrini, si mostrava in San Piero la Veronica del sudario di
Cristo. " The legend of Veronica is too well known to need repetition.
It appears to have sprung from a curious fancy that the name, which is
merely another form of Berenice, was in some way derived from vsra
icon, "a true image."
2 D 2
404 PARADISO. CANTO xxxi.
by contemplation tasted of that peace. " Son of grace, this
joyous existence," he began, "will not be known to thee by
holding thine eyes downward only to the ground ; but regard
the circles even to the most remote, until thou see the
Queen sitting, to whom this realm is subject and devoted."
I raised my eyes ; and as at morning the eastern quarter of
the horizon surpasses that where the sun sets, so, going as
it were from vale to mountain with my eyes, I saw a part in
the farthest distance outdo in light all the rest in front of
Contemplando gusto di quella pace.
Figliuol di grazia, questo esser giocondo,
Comincib egli, non ti sark noto
Tenendo gli occhi pur quaggiuso al fondo ;
Ma guarda i cerchi fino al pill rimoto,
Tanto che veggi seder la Regina,
Cui questo regno e suddito e divoto.
lo levai gli occhi ; e come da mattina
La parte oriental dell' orizzonte
Soverchia quella, dove il sol declina, 120
Cosi quasi di valle andando a monte
Con gli occhi, vidi parte nello stremo
Vincer di lume tutta 1' altra fronte.
111 The peculiar fitness of St. Bernard for the task here assigned to
him, of leading the author through the highest heaven, to the point
where he obtains an intuition of the central mystery of the Catholic
faith, appears well from a passage of his writings (which P. di Dante
quotes in a somewhat garbled form) : Patrem namque et Filium cognos-
cere, vita est aeterna, beatitudo perfecta, summa voluptas. . . . Ita in
mente mea quandam imaginem illius summae Trinitatis invenio : ad
quam summam Trinitatem recolendam inspiciendam et diligendam, ut
ejus recorder, ea delecter, et earn complectar et contempler, totum id
quod vivo, debeo referre. (I quote from the note in Lord Vernon's-
edition of P. di D.)
CANTO xxxi. PARADISO. 405
me. And as in that place where is awaited the pole of the
car which Phaethon guided ill, the flame is greater, and on
this side and that the light dwindles, so that peaceful ori-
flamme was quickened in the middle, and equally on every
hand slackened its flame. And at that middle with their
wings outspread I saw more than a thousand Angels making
festival, each distinct both in lustre and in office. I beheld
there upon their sports and upon their chants a beauty smile,
which was joy in the eyes of all the other saints. And if I
E come quivi, ove s' aspetta il temo
Che mal guido Fetonte, piu s' infiamma,
E quinci e quindi il lume si fa scemo; 1
Cosi quella pacifica oriafiamma
Nel mezzo s' avvivava ; e d' ogni parte
Per igual modo allentava la fiamma.
Ed a quel mezzo con le penne sparte 130
Vidi piu di mille Angeli festanti,
Ciascun distinto e di fulgore e d' arte.
/ Vidi quivi ai lor giuochi ed ai lor canti
Ridere una bellezza, che letizia
Era negli occhi a tutti gli altri santi.
1 tfatto scemo 3 Aid, W.
124 quivi : i.e. where the sun is about to rise. \\
125 Cf. Purg. iv. 72.
I2 7 It is clear that we must not, with Philalethes, Bianchi, and
others, take oriafiamma as applied to the Virgin. She is at the point
about which whatever is denoted by the word is seen to be brightest,
and this is obviously the whole body of flying angels. The oriflamme,
originally the standard of the Vexin (the district about the Seine, from
near Paris to below Rouen) was a red banner on a gold spear. After
the acquisition of the Vexin by Philip Augustus, it became the battle-
ensign of the French kings ; whence the special force of the epithet
pacifica here. The word is no doubt used to recall 11. 13, 14.
406 -PARADISO. CANTO xxxi.
had in telling so great wealth as in imagining, I should not
dare to attempt the least of her sweetness. Bernard when
he saw my eyes fixed and intent on her warm glow, turned
his with such affection towards her that he made mine burn
more to gaze anew.
E s' io avessi in dir tanta divizia
Quanto ad immaginar, non ardirei
Lo minimo tentar di sua delizia.
Bernardo, come vide gli occhi miei
Nel caldo suo calor fissi ed attenti, m 140
Gli suoi con tanto affetto volse a lei,
Che i miei di rimirar fe piii ardenti.
m caler Gg.
>
>
CANTO XXXII.
ARGUMENT.
St. Bernard points out the stations of various saints, and explains generally
the manner of their ordering. He also solves a doubt respecting the
salvation of infants.
WITH affection set on his Delight that contemplant took on
him freely the office of teacher, and began these holy
words : " The wound which Mary closed again and
anointed, she who at her feet is so fair is the one that
opened it and that pierced it. In the rank which
the third seats make sits Rachel beneath her with
AFFETTO al suo piacer quel contemplante,*
Libero officio di dottore assunse,
E comincib queste parole sante :
La piaga, che Maria richiuse ed unse,
Quella ch' e tanto bella da suoi piedi,
E colei che 1' aperse e che la punse.
Nell' ordine che fanno i terzi sedi,
Siede Rachel, di sotto da costei
a V effetto Gg. Cass. 124 ; Z' affetto 3.
1 There is another reading, Refetto, which would be satisfactory, but
has hardly enough authority.
5 Quella : Eve. The commentators quote St. Augustine : Ilia per-
cussit, ista sanavit.
8> ' Inf. ii. 102. For the symbolical identity of Beatrice and Rachel
see Purg. Appendix A.
408 PARADISO. CANTO xxxn.
Beatrice, as thou seest. Sarah, Rebekah, Judith, and her
who was great-grandmother to the singer, that through
sorrow for his fault said Miserere met, mayest thou see in
this wise from throne to throne go in steps downward, as
I do who at the fitting name descend over the rose from
petal to petal. And from the seventh step downwards, as
down to it, succeed Hebrew women, dividing all the leaves
of the flower ; because according to the direction in which
faith gazed at Christ, these are the wall whereof the sacred
ladder is partitioned. On this side where the flower is
mature in all its petals, are seated those who believed in
Con Beatrice, si come tu vedi.
Sarra, Rebecca, Judit, e colei 10
Che fu bisava al Cantor che per doglia
Del fallo disse, Miserere mei,
Puoi tu veder cosi di soglia in soglia
Giu^digradar, com' io ch' a proprio nome
Vo per la rosa giu di foglia in foglia.
E dal settimo grado in giu, si come
Insino ad esso, succedono Ebree, b
Dirimendo del fior tutte le chiome ;
Perche, secondo lo sguardo che fee
La fede in Cristo, queste sono il muro, 20
A che si parton le sacre scalee.
Da questa parte, onde il fiore e maturo
Di tutte le sue foglie, sono assisi
Quei che credettero in Cristo venture.
b succedendo Gg. 14.
10 colei : Ruth. She is probably introduced as the representative
of the Gentiles, being only a Hebrew by marriage ; while Judith is the
type here of the active life.
CANTO xxxn. PARADISO. 409
Christ to come. On the other side, where the semicircles
are intersected by void spaces, have their station those who
held their faces towards Christ come. And as on this
hand the glorious bench of the Lady of heaven and the
other benches beneath it make so important a partition;
thus opposite does that of the great John, who ever holy
endured the desert and the martyrdom, and then hell by the
space of two years ; and beneath him in this wise have Francis,
Benedict, and Augustin drawn the lot to separate, and
others down to this point from circle to circle. Now look
Dall' altra parte, onde sono intercisi
Di voti i semicircoli, si stanno c
Quei ch' a Cristo venuto ebber li visi.
E come quinci il glorioso scanno
Delia Donna del Cielo, e gli altri scanni
Di sotto lui cotanta cerna fanno, 30
Cosi di contra quel del gran Giovanni,
Che sempre santo il diserto e il martiro
Sofferse, e poi 1' inferno da due anni :
E sotto lui cosi cerner sortiro
Francesco, Benedetto, e Agostino,
Ed altri sin quaggiu di giro in giro.
c Devoti Cass. (but post. i.e. de vacua) 124; Divoti~$; voto Bi ;
in semic. Gg. Cass. 1234 W.
26 The reading in semicircoli has most authority ; but i and in are
practically indistinguishable in MSS., so that it seems best to take the
reading which gives the best sense. As Scartazzini points out, if we
read in it is not easy to see what is the subject to sono intercisi.
31 St. John the Baptist has this place of course in agreement wit
Matt. xi. ii.
33 1* inferno : i. e. the limbus patrum ; from his death until that of
Christ.
410 PARADISO. CANTO xxxn.
on the high foresight of God; for the one and the other
aspect of the faith shall fill up this garden equally. And
know that downward from that rank which strikes the two
divisions in mid space, they sit for no merit of their own,
but for another's, upon sure conditions : for all these are
spirits set free before that they had true power of choice.
Well mayest thou be aware thereof through their faces,
and also through their childish voices, if thou look aright,
and if thou listen to them. Now thou doubtest, and in
Or mira 1' alto provveder divino :
Che !' uno e 1' altro aspetto della fede
Igualmente empiera questo giardino.
E sappi, che dal grado in giu, che fiede 40
A mezzo il tratto le due discrezioni, d
Per nullo proprio merito si siede,
Ma per 1' altrui, con certe condizioni :
Che tutti questi sono spirti assolti
Prima ch* avesser vere elezioni.
Ben te ne puoi accorger per li volti,
Ed anche per le voci puerili,
Se tu gli guardi bene e se gli ascolti.
d distinzioni Cass.
38, 39 No trace of this doctrine, that the number of the elect will be
divided equally between the old and the new dispensation, is to be
found in S. T., and Philalethes says that he is unable to discover it in
the schoolmen elsewhere. Dante's delight in symmetry may have led
him to invent it. (I had written this before observing that Scartazzini
has come to the same conclusion, and expressed it in almost identical
words.)
43 S. T. iii. Q. 34. A. 3 : Est autem duplex sanctificatio ; una
quidem adultorum, qui secundum proprium actum sanctificantur. Alia
autem puerorum, qui non sanctificantur secundum proprium actum fidei,
sed secundum fidem parentum vel Ecclesiae. Prima autem sanctificatio
est perfectior quam secunda, sicut actus est perfectior quam habitus, et
quod est per se eo quod est per aliucl. condizioni : see 1. 76 sqq.
CANTO xxxii. PARADISO. 411*
thy doubt art silent ; but I will loosen for thee the strong
band wherein thy subtile thoughts constrain thee. Within
the amplitude of this realm, a point of chance cannot have
position any other wise than sorrow, or thirst, or hunger ;
for by eternal law is so established whatever thou seest,
that justly is there correspondence here from the ring to the
finger. And therefore this folk, hastened to true life, is not
sine causa more and less excellent here among itself. The
King through whom this realm rests in so great love and in
so great delight that no will dares aught beyond, creating ,
Or dubbi tu, e dubitando sili ;
Ma io ti solverb il forte legame, e 5P>
In che ti stringon li pensier sottili.
Dentro all' ampiezza di questo reame
Casual punto noa puote aver sito/
Se non come tristizia o sete o fame :
r]/ I f fci~^T\L j~** T" "- ' "*"" , \ *
Che per eterna legge e stabilito
Quantunque vedi, si che giustamente
Ci si risponde dal' anello al dito.
E pero questa festinata gente
A vera vita non e sine causa
Intra se qui piu e meno eccellente.* 60
Lo Rege per cui questo regno pausa
In tanto amore ed in tanto diletto,
Che nulla volonta e di piu ausa,
e io dissolverd Gg.; om. il Cass. Aid. f Causal Cass, 1234.
Entrasi Gg. Cass. 3 Aid. W.; intrasi 124.
49 The doubt is, how among these children there could be different
degrees of merit to justify a difference of ranks. St. Bernard's answer
is of course based on Romans ix. n.
SB Cf. xvii. 37, 38.
60 Those who read Entrasi put a colon at causa ; but it seems hard
to get any satisfactory sense out of this reading.
412 PARADISO. CANTO xxxn.
all the minds in the joy of His countenance, at His own
pleasure endows with grace diversely ; and here let the
-effect suffice. And this expressly and clearly is noted for
you in the Holy Scripture in the matter of those twins, who
within their mother had their wrath aroused. Therefore,
according to the colour of the hair of such grace, the
chaplet of the highest light must needs be worthily put on.
Not, therefore, with recompense of their conditions have
they been placed in different grades, differing only in their
primary keenness of sight. Sufficient to them in the new
Le menti tutte nel suo lieto aspetto,
Creando, a suo piacer, di grazia dota
Diversamente ; e qui basti 1' effetto.
E cio espresso e chiaro vi si nota
Nella Scrittura santa in quei gemelli,
Che nella madre ebber 1' ira commota.
Perb, secondo il color dei capelli 70
Di cotal grazia, 1' altissimo lume
Degnamente convien che s' incappelli.
Dunque, sanza merce di lor costume
Locati son per gradi differenti,
Sol differendo nel primiero acume.
66 1' effetto pretty nearly = "the fact" ; as in Purg. vi. 138. (Cf.
the Fr. "en effet.") Bianchi compares "state content! al quia" in
Purg. iii. 37.
68 gemelli : Jacob and Esau ; Gen. xxv. 22.
7 il color dei capelli : with allusion to the feature which specially
d istinguished Jacob and Esau.
73 costume is probably intended to represent the habitus of the
passage of S. T. quoted above. Infants, he would say, cannot have
f^fis, but may have Siadfcrfis. See Ar. Categ. viii. and Bonitz ad
Met. 8. 20.
75 I.e. in their original capacity for seeing God.
CANTO xxxn. PARADISO. 413
ages, together with their innocence, in order to have
salvation, was the faith of their parents alone. After the
first ages were accomplished, it behoved the males to gain
through circumcision virtue for their innocent wings. But
after that the time of grace was come, without Christ's
perfect baptism such innocence was kept below. Look now
upon the face that most resembles Christ, for its brightness
alone can dispose thee to behold Christ."
I saw upon her such gladness shower, borne in the holy
minds create to fly across over that height, that whatever I
Bastavali nei secoli recenti h
Con 1' innocenza, per aver salute,
Solamente la fede dei parenti.
Poiche le prime etadi fur compiute,
Convenne ai maschi all' innocenti penne,' 80
Per circoncidere* acquistar virtute.
Ma poichk il tempo della grazia venne,
Senza battesmo perfetto di CRISTO
Tale innocenza laggiu si ritenne.
Riguarda omai nella faccia, ch' a CRISTO
Piu s' assomiglia, chb la sua chiarezza
Sola ti pub disporre a veder CRISTO.
lo vidi sovra lei tanta allegrezza
Piover, portata nelle menti sante
Create a trasvolar per quella altezza, k 90
h Bastavasi 3 Aid,; Bast, st W. Bi. ' F innocenti Cass. 3.
k Creati Cass. ; Creata 124 W.
84 Cf. Purg. vii. 31-33. It is curious that St. Bernard, in an extant
treatise, appears to have taken a less severe view regarding the future
state of infants dying unbaptized. See the notes of Philalethes and
Scartazzini.
89 menti : the angels, who, as we have seen above, bear the peace
and love of God to the blessed spirits.
-414 PARADISO. CANTO xxxn.
had seen heretofore held me not suspended with so great
wonder, nor showed me such likeness of God. And that
love which first descended thereon singing A ve Maria, gratia
plena, in front of her spread out his wings. To the divine
song responded on all sides the blessed court, so that every
countenance grew thereby more serene.
"O holy father, who for me endurest the being here
below, leaving the sweet place wherein thou sittest by
eternal lot, who is that angel who with mirth so great is look-
ing our Queen in the eyes, enamoured so that he appears of
fire ? " Thus I recurred again to the teaching of him, who
was taking in beauty from Mary, as from the sun does the
Che quantunque io avea visto davante,
Di tanta ammirazion non mi sospese,
Ne mi mostrb di Dio tanto sembiante.
E quell' amor, che primo li discese,
Cantando Ave Maria, gratia plena,
Dinanzi a lei le sue ali distese.
Rispose alia divina cantilena,
Da tutte parti, la beata Corte,
Si ch' ogni vista sen fe piu serena.
O santo Padre, che per me comporte i oo
L' esser quaggiu, lasciando il dolce loco
Nel qual tu siedi per eterna sorte :
Qual' e quell' Angel, che con tanto giuoco
Quarda negli occhi la nostra Regina,
/Innamorato si, che par di fuoco ?
Cosi ricorsi ancora alia dottrina
Di colui, ch' abbelliva di Maria,
Come del Sol la stella mattutina.
**> Note abbellire intransitive.
CANTO xxxii. PARADISO. 415
morning. And he to me : " Hardihood and comeliness, as
great as can exist in an angel and in a soul, is all in him,
and so would we have it be ; for he it is who bore the palm
down to Mary, when the Son of God willed to charge
Himself with our burden. But come now with thine eyes,
as I shall go in my speaking, and mark the great patricians
of this empire most righteous and pious. Those two who
sit on high there in most bliss, through being nearest to
the Empress, are of this rose as it were two roots. He
who on the left is placed near her is the Father through
whose daring taste humankind tastes so much bitterness.
On the right behold that ancient Father of Holy Church,
Ed egli a me : Baldezza e leggiadria,
Quanta esser puote in Angelo ed in alma, no
Tutta b in lui, e si volem che sia :
Perch' egli & quegli, che porto la palma
Giuso a Maria, quando il Figliuol di Dio
Carcar si volse della nostra salma. 1
Ma vieni omai con gli occhi, si com' io
Andrb parlando, e nota i gran patrici
Di questo imperio giustissimo e pio.
Quei due che seggon lassu piu felici,
Per esser propinquissimi ad Augusta,
Son d' esta rosa quasi due radici. . 120
Colui che da sinistra le s' aggiusta,
E il Padre, per lo cui ardito gusto,
L' umana specie tanto amaro gusta. m
Dal destro vedi quel Padre vetusto
Di santa Chiesa, a cui Cristo le chiavi
1 Cantor Gg. m La nostra sp. Gg.
122 Adam. ardito gusto: cf. "!' ardimento d' Eva," Purg.
xxix. 24. I24 St. Peter.
416 PARADISO. CANTO xxxn.
to whom Christ entrusted the keys of this lovely flower.
And he who saw all the grievous times before he died of
the fair bride that was won with the spear and with the nails
sits alongside of him ; and alongside the other rests that
leader under whom lived on manna the thankless folk,
fickle and backsliding. Over against Peter see Anna sit,
so content with looking on her daughter that she moves
not an eye for the chanting Hosanna. And over against
the eldest Father of a household sits Lucy, who moved
thy Lady, when thou wast bending thine eyelids to rush
down. But whereas the time that holds thee in slumber is
Raccomandb di questo fior venusto.
E quei che vide tutt' i tempi gravi,
Pria che morisse, della bella sposa
Che s' acquistb con la lancia e coi chiavi,
Siede lungh' esso : e lungo 1' altro posa 130
Quel Duca, sotto cui visse di manna
La gente ingrata mobile e ritrosa.
Di contro a Pietro vedi sedere Anna,
Tanto contenta di mirar sua figlia,"
Che non muove occhio, per cantare Osanna.
E contro al maggior Padre di famiglia
Siede Lucia, che mosse la tua Donna,
/, Quando chinavi a ruinar le ciglia.
Ma perche il tempo fugge, che t' assonna,
n di veder Gg.
"7 St. John the Evangelist.
"*' 12 9 Cf. xxxi. 3.
'3 1 Moses.
'3 8 Inf. i. 61.
'39 assonna. This is so far as I am aware the only instance in
which Dante uses any phrase which would imply that what he has seen
is of the nature of a dream.
CANTO xxxii. PARADISO. 417
flying, here will we make a stop, like a good tailor who
makes the gown as he has cloth ; and we will direct our
eyes to the first Love, so that looking toward Him thou
mayest penetrate as far as is possible into His splendour.
But, lest haply thou fall back in moving thy wings, while
deeming that thou goest forward, it is meet that grace be
sought in prayer, grace from her who is able to help thee ;
and do thou follow me with thy affection, so that from my
saying thy heart depart not." And he began this holy
orison.
Qui farem pun to, corngjatfon sartore 140
Che, com' eglihxlel panno, fa la gonna :
E drizzeremo gn occhi al primo Amore,
Si che guardando verso lui, penetri
Quant' e possibil per lo suo fulgore.
Veramente, ne forse* tu t' arretri,
Movendo 1' ali tue, credendo oltrarti,
Orando grazia convien che s' impetri,
Grazia da quella che puote aiutarti :
E tu mi seguirai con 1' affezione,
Si che dal dicer mio lo cuor non parti. p 150
E comincio questa santa orazione.
segui con f aff. Cass. 1234 Aid. ft.
P liocchio non p. 145 ; lochio 2.
2 E
-
CANTO XXXIII.
ARGUMENT.
After St. Bernard has prayed for the aid of the Virgin, Dante gazes fixedly
at the Divine light, and beholds therein certain great mysteries.
Lastly he attains the end of his vision in the conversion of his will to
the will and the love of God.
"VIRGIN MOTHER, daughter of thy Son, humble and exalted
more than any creature, end determined of eternal counsel,
thou art she who didst so ennoble human nature that He
VERGING Madre, figlia del tuo Figlio,
Umile ed alta piu che creatura,
Termine fisso d' eterno consiglio,
Tu sei colei, che I' umana natura
i sqq. This address to the Virgin should be compared with Petrarch's
beautiful ode, " Vergine bella, che di Sol vestita," by all who wish to
understand the difference between the methods of the two poets ; and
it may perhaps be added, the vast superiority of the elder one in
sincerity and dignity ; in everything, indeed, save perhaps elegance of
versification. Chaucer's rendering of this passage (Second Nun's Tale)
is too worthy of the original to be omitted here. After apostrophising
the Virgin as
" . . . . Thou that art the flower of virgins all
Of whom that Bernard list so well to write,"
the speaker continues :
" Thou maid and mother, daughter of thy Son,
Thou well of mercy, sinful soules cure,
CANTO xxxin. PARADISO. 419
who made it disdained not to be of its making. In thy
womb was rekindled the Love, through whose warmth in
the eternal peace this flower has thus sprung. Here art
thou to us a noonday light of charity, and below among
mortals art thou a living fountain of hope. Lady, thou art
so great, and of such avail, that whoso wishes for grace and
Nobilitasti si, che il suo Fattore 3
Non disdegno di farsi sua fattura. b
Nel ventre tuo si raccese 1' amore,
Per lo cui caldo, nell' eterna pace,
Cos! e germinate questo fiore.
Qui sei a noi meridiana face TO
Di caritade, e giuso intra mortali
Sei di speranza fontana vivace.
Donna, sei tanto gjrande, e tanto vali,
Che qual vuol grazia, e a te non ricorre,
a tuo Cass. b tua Gg*
In whom that God of bounty chose to won ;
Thou humble and high over every creature,
Thou nobledest so far forth our nature,
That no disdain the Maker had of kind
His Son in blood and flesh to clothe and wind.
Within the cloister blissful of thy sides
Took mannes shape the eternal love and peace.
*****
Assembled is in thee magnificence
With mercy, goodness, and with such pity,
That thou, that art the sun of excellence,
Not only helpest them that prayen thee,
But oftentime of thy benignity
Full freely, or that men thine help beseech,
Thou goest before, and art their lives leech. "
(I have modernised the spelling wherever the metre allows.)
2 E 2
420 PARADISO. CANTO xxxin.
has not recourse to thee, his desire would fain fly without
wings. Thy loving-kindness not only succours whoso asks,
but oftentimes freely prevents the asking. In thee mercy,
in thee pity, in thee mighty deeds, in thee is united all of
goodness that is in a creature. Now then this man, who
from the deepest hollow of the universe up to this point has
seen the lives of spirits one by one, supplicates thee for a
gift of virtue so far that he may with his eyes raise himself
higher towards the final salvation. And I who never for
my own vision burned more than I do for his, offer to
thee all my prayers, and pray that they fall not short, that
thou wouldest unloose every cloud from his mortality with
Sua disianza vuol volar senz' ali.
La tua benignita non pur soccorre
v A chi dimanda, ma molte fiate
Liberamente al dimandar precorre.
In te misericordia, in te pietate,
In te magnificenza, in te s' aduna 20
Quantunque in creatura e di bontate.
Or questi, che dall' infima lacuna
Dell' universo insin qui ha vedute
Le vite spiritali ad una ad una,
Supplica a te, per grazia di virtute,
Tanto che possa con gli occhi levarsi
Piii alto, verso 1' ultima salute.
Ed io, che mai per mio veder non arsi c
Piu ch' io fo per lo suo, tutti i miei prieghi
Ti porgo, e prego che non sieno scarsi : 30
Perche tu ogni nube gli disleghi
c voler (alt. to voder) Gg.
27 1' ultima salute : cf. xxii. 124.
29 fo : see note to Purg. xxvi. 70.
CANTO xxxin. PARADISO. 421
thy prayers, so that the highest bliss may be unfolded to
him. Further I pray thee, Queen, for thou canst what thou
wilt, that thou wouldst preserve blameless his affections,
after so great a sight. Let thy protection quell human
stirrings. Behold Beatrice, and all the saints with whom
she folds her hands to thee for my prayers."
The eyes beloved and reverenced of God fixed on him
who prayed, showed us how pleasing to her are devout
prayers. Then to the eternal light were they directed, into
the which one may not deem that by a creature the eye is
made to penetrate so clear. And I who to the end of
my desires was drawing nigh, as I was bound ended in
Di sua mortalita, coi prieghi tuoi,
Si che il sommo piacer gli si dispieghi.
Ancor ti prego, Regina, che puoi
Cio che tu vuoli, che conservi sani,
Dopo tanto veder, gli afield suoi.
Vinca tua guardia i muovimenti umani ;
Vedi Beatrice con quanti beati
Per li miei prieghi ti chiudon le mani.
Gli occhi da Dio diletti e venerati, 40
Fissi nell' orator ne dimostraro,
Quanto i devoti prieghi le son grati. t**
Indi all' eterno lume si drizzaro,
Nel qual non si pub creder che s' invii
Per creatura 1' occhio tanto chiaro.
Ed io ch' al fine di tutti i disii
M' appropinquava, si com' io dovea, d
d deceva Gg,
* 6 -4 8 Cf. i. 7. Here, and again in 1. 57, he would seem to be pur-
posely using expressions intended to recall the opening passage of this
part of the poem.
422 PARADISO. CANTO XXXIIL
myself the ardour of my longing. Bernard made a sign to
me, and smiled, so that I should gaze upward ; but I was
already of myself such as he wished. For my view,
becoming undimmed, more and more was entering through
the beam of the light on high, which of itself is true.
From henceforward my sight was greater than my speech,
which at such a view gives way, and my memory gives way
at so great excess. As is he who sees in a dream, in that
after the dream the feeling impressed remains, and the rest
does not return to the mind, such am I, for my vision
departs as it were wholly ; and still trickles into my heart
L' ardor del desiderio in me finii.
Bernardo m' accennava, e sorridea,
Perch' io guardassi in suso : ma io era 50
Gia per me stesso tal qual ei volea :
Che la mia vista venendo sincera, 6
E piu e piu entrava per Io raggio
Dell' alta luce, che da se e vera.
Da quinci innanzi il mio veder fu maggio
Che il parlar nostro, ch' a tal vista cede,
E cede la memoria a tanto oltraggio.
Quale e colui, che sonniando vede,
Che dopo il sogno la passione impressa*
Rimane, e 1' altro alia mente non riede, 60
Cotal son io, che quasi tutta cessa
Mia visione, ed ancor mi distilla
e si intera Gg. { E dopo Gg. Bi.
57 oltraggio here of course has its original meaning.
59 la passione impressa. Perhaps suggested by a phrase in Ar.
de Somniis, 2 : pfTafapovrw yap TTJV aitrBrja-iv aKoXovdel TO irddos.
I cannot however find in that treatise any notice of the well-known
phenomenon here alluded to.
CANTO xxxiii. PARADISO. 423
the sweetness that was born of it. Thus the snow loses in
the sun its stamp, thus in the wind on the light leaves was
lost the sentence of the Sibyl. O highest light, that raisest
thyself so far from mortal conceptions, lend again to my
mind a little of what thou didst appear; and make my
tongue so potent, that it may leave one spark only of thy
glory to the folk to come; for by returning somewhat to
my memory, and by sounding a little in these verses, more
will men conceive of thy victory. I believe that through
the keenness of the living ray which I supported, I should
have been bewildered if my eyes had been turned away
Nel cuor il dolce che nacque da essa. g
Cosi la neve al sol si disigilla ;
Cosi al vento nelle foglie lievi
Si perdea la sentenza di Sibilla.
O somma luce, che tanto ti lievi
Dai concetti mortali, alia mia mente
Ripresta un poco di quel che parevi :
E fa la lingua mia tanto possente, 70
Ch' una favilla sol della tua gloria
Possa lasciare alia futura gente :
Che per tornare alquanto a mia memoria,
E per sonare un poco in questi versi,
PiU si concepera di tua vittoria.
lo credo, per 1' acume ch' io soffersi
Del vivo raggio, ch' io sarei smarrito,
Se gli occhi miei da lui fossero aversi.
8 che venne da essa Gg.
6 s. 66 Aen. iii. 444 sqq.
76-78 Cf. Ar. de Somn. immediately after the words quoted to 1. 59 :
0*01* f< TOV rjXiov els TO (TKOTOS' (rv/x/ScuWt yap fjLT)8fv opav 8ia rr)V en
inrovcrav KivrjO'tv ev rots o^atriv vird TOV <pa>Tos.
424 PARADISO. CANTO xxxin.
from it. And it comes to my mind that I was the bolder
for this reason to endure, so much that I mingled my looks
with the Goodness that has no end. O abounding grace,
whereby I took upon me to fix my gaze amid the eternal
light, so far that there I consumed my vision ! Into its
depth ,1 beheld how there enters, bound with love into one
volume, that which is distributed through the universe ;
substance and accident and their fashion, as though fused
together in such wise that that which I tell of is one single
light. The universal form of this knot I believe that I saw,
E mi ricorda ch' io fui piii ardito
Per questo a sostener tanto, ch' io giunsi 80
L' aspetto mio col valore infinito. h
O abbondante grazia, ond' io presunsi
Ficcar Io viso per la luce eterna,
Tanto che la veduta vi consunsi !
Nel suo profondo vidi che s' interna,
Legato con amore in un volume,
Cib che per 1' universe si squaderna ;
Sustanza ed accidente, e lor costume,
Quasi conflati insieme per tal modo,-
Che cib ch' io dico e un semplice lume. 90
La forma universal di questo nodo
Credo ch' io vidi, perche piu di largo,
h col voler Gg, ! Ttttti Aid. Bi.
8s sqq He first has an intuition of metaphysical, then (116 sqq.) of
theological truths.
8 7 si squaderna: lit. "is in loose sheets." See note to xvii. 37.
v*-* 6 He means to say that in one moment he forgot the mysteries
that he had seen ; and his only evidence of having seen them is the joy
that he feels in recording that he did so. La forma universal : cf. i.
99, 100. nodo : the composition of the created universe. /I
CANTO xxxin. PARADISO. 425
because in saying this I feel that I rejoice more at large.
One moment only is to me greater oblivion than five-and-
twenty centuries to the enterprise which made Neptune
marvel at the shadow of Argo.
Thus my mind all in suspense was gazing fixedly
immovable and intent, and ever with gazing grew in-
flamed. Before that light one becomes such that to turn
from it for other spectacle it is impossible that one should
ever consent ; because the good which of the will is object,
is all assembled in it, and outside of it that is defective
which there is perfect. Henceforth my word shall be
Dicendo questo, mi sento ch' io godo.
Un punto solo m' e maggior letargo,
Che venticinque secoli alia impresa,
Che fe Nettuno ammirar 1' ombra d' Argo.
Cosi la mente mia tutta sospesa,
Mirava fissa immobile ed attenta,
E sempre di mirar faceasi accesa. k
A quella luce cotal si^diventa, 100
Che volgersi da lei per altro aspetto
E impossibil che mai si consenta :
Pero che il ben, ch' e del volere obbietto,
Tutto s' accoglie in lei ; e fuor di quella
E difettivo cib ch' e li perfetto.
Omai sara phi corta mia favella,
k Sempre dtrimirar Cass.; E tutta net m. Aid.; E sempre del m. W. ;
tie! /. Bi.
loo.! g_ -p. ii. i. Q. 5. A. 4 : est impossibile quod aliquis videns
divinam essentiam, velit earn non videre.
105 S. T. ib. infra : beatitudo est perfectio consummata, quae omnem
defectum excludit a beato.
106.108 The s i m ii e i s probably suggested by I Pet. ii. 2, 3.
426 PARADISO. CANTO xxxin.
shorter, even in regard to that which I call to mind, than
of a babe who yet steeps his tongue at the breast. Not as
though more than a single semblance had been in the
living light whereon I was gazing, for such is it ever as it
was before ; but by reason of my sight which was gaining
strength in me as I looked, one sole appearance, as I
changed, was winnowed out to me in the profound and
bright substance of the light on high, and appeared to me
three circles of three colours and one capacity ; and the
Pure a quel ch' io ricordo, che d' un fante,
Che bagni ancor la lingua alia mammella ;
Non perche phi ch' un semplice sembiante l
Fosse nel vivo lume ch' io mirava, no
Che tal' e sempre qual era davante ;
Ma per la vista che s' avvalorava
In me, guardando, una sola parvenza,
Mutandom' io, a me si travaglia,va m
Nella profonda e chiara sussistenza
Dell' alto lume, e parvemi tre giri
Di tre colori e d' una contenenza :
1 pib un s. Gg.; piu con s. 3.
m Inmirando Gg.; Imitando 145 ; Mutandomi ante 2.
109-120 j n these lines is indicated the mystery of the Trinity ; and in
11. 127-132 that of the Incarnation.
n4-u6 i have ventured to alter the usual punctuation of the first of
these lines, by omitting the colon after travagliava, and to introduce
e after lume in the last. Without this it is not easy to get a good sense
from 11. 109-1 17. The first two tercets explain why what was really one
appeared to him threefold in the manner described in the third, so that
the sense must run Non percht .... ma per la vista, etc. . . . una
parvenza . . , parvemi. This will enable us to take travagliava in
the only satisfactory sense that has been suggested. See Glossary.
Mutandom' io : cf. Purg. xxxi. 121 sqq.
CANTO xxxin. PARADISO. 427
one seemed reflected by the second, as rainbow by rainbow,
and the third seemed fire, which from the one and the
other is breathed forth in equal measure. Oh, how short is-
speech, and how indistinct beside my conception ! And
this beside what I saw is such that to call it little is not
enough. O Light eternal, that sole in Thyself residest, sole
comprehendest Thyself, and by Thyself understood and com-
prehending, lovest and smilest on Thyself ! That circle
which appeared so conceived in Thee as a reflected light,
when somewhat contemplated by my eyes, within itself, of
its own very hue, seemed to me pictured with our image,
wherefore my sight was wholly set on it. As is the
geometer who applies himself wholly in order to measure
E P un dall' altro, come Iri da Iri,
Parea reflesso, e il terzo parea fuoco,
Che quinci e quindi igualmente si spiri. 120
O quanto e corto il dire, e come fioco
Al mio concetto ! e questo a quel ch' io vidi
E tanto, che non basta a dicer poco.
O luce eterna, che sola in te sidi,
Sola t' intendi, e da te intelletta
Ed intendente te ami ed arridi :
Quella circulazion, che si concetta
Pareva in te, come lume riflesso,"
Dagli occhi miei alquanto circonspetta,
Dentro da se del suo colore stesso 130
Mi parve pinta della nostra effige :
Perche il mio viso in lei tutto era messo.
Qual' e il geometra, che tutto s' affige
u Pareva in ire Gg. W.
i " 9 fuoco : the symbol of love, carrying us back to x. 1,2.
131 nostra effige : i.e. human form.
428 PARADISO. CANTO xxxin.
the circle, and finds not by thinking that principle whereof
he is in want, such was I before this new vision. I would
see how the image was fitted to the circle, and how it has
place therein ; but my own wings were not for this ; only
that my mind was smitten through with a flash, wherein
its wish came. To my lofty fantasy here power failed ; but
already was swaying my desire and my will, as a wheel
which is evenly moved, the Love which moves the sun and
all the stars.
Per misurar la cerchio, e non ritrova,
Pensando, quel principio ond' egli indige,
Tale era ioe quella vista nuova :
Veder voleva come si convenne
L' imago al cerchio, e come vi s' indova :
Ma non eran da cib le proprie penne ;
Se non che la mia mente fu percossa 140
Da un fulgore, in che sua voglia venne.
All' alta fantasia qui manco possa :
Ma gik volgeva il mio disiro, e il velle,
Si come ruota che igualmente e mossa,
L' amor che muove il Sole e 1' altre stelle.
143 The final blessedness is reached with the entire surrender of the
will to the love of God. Cf. iii. 79-81.
1$
\
GLOSSARY.
Acconciare, xxxi. 98, and racconciare, Purg. vi. 88, "to fit up, '
"trim." Sp. aconchar. From ad-comptiare; this from comptus, part, of
f0mere,"to comb." See Gloss. Purg. conto. [It is very doubtful whether
Eng. comb, G. kamm, has anything to do with Lat. comere, which seems
originally to mean "to put together."]
Addobbare, xiv. 96, "to fit out," "adorn." Sp. adobar, Fr.
adouber (now almost obsolete, save as (l) "to touch a piece," at chess ;
(2) a marine term, "to refit "). Thfe word is said to be the same as dub,
which again is akin to dab and tap, all in the sense of " to touch quickly
and lightly." According to this view, the original meaning would be
that of making a knight, and thence of equipping or fitting out. An
objection is that in the earliest examples given by Littre, from the
eleventh century, the meaning is clearly "to make ready," the " dubbing "
of a knight not appearing till the next century; while in Italian this
sense does not seem to occur at all. Skeat (s. v. dapper] mentions a
Goth, gaiiobs, "fitting," akin to Germ. tapferyaA. Slav, dobru, "good,'*
which seems to offer a better derivation.
Agrume, xvii. 117, "a harsh taste." From agro, Lat. acer, with
suffix -unn, corresponding to Lat. -umen, but applied to many roots
with which it is not found in Latin.
Assettare, i. 121, "to order." (Inf. xvii. 91, and Conv. i. i, asset-
tarsi = "to seat oneself.") Probably from Fr. assiette', this from an
old siet = Lat. situs. No doubt the sense has been modified by Goth.
satjan, Germ, setzen, "to set"
Awantaggio, xxvi. 31, "advantage," "pre-eminence"; and vb.
awantaggiarsi, vii. 76. Fr. avantage, Sp. ventaja. From avanti,
" in front " : this from ab ante. The forms vantaggio, vantage (Fr. and
Eng.) are also found ; I suspect modified by -vantare, vanter, vaunt t
from vanitare ; this from vanus.
430 GLOSSARY.
Baccelliere, xxiv. 46, "a bachelor." From Fr. bachelier, Sp.
bachiller. The origin of the word is obscure. Its primary sense seems
to have been ' ' a yeoman " ; bcucalaria being an estate which gave its
holder a rank below that of a vassal. Thence it became a term of
chivalry, importing one who, though higher in rank than a squire, was
not yet a knight ; and subsequently it passed into the universities and
denoted, as at the present day, the student who had taken his first
degree, but was not yet qualified to become a Master in Arts, or a
Doctor in one of the three learned faculties. Littre is inclined to connect
the word with vassus, -vassal (from Celtic gwaz), on the analogy of
bachelette, also written baisselette, which is almost certainly from this
root. He also suggests the Gael, bachall, "a staff" (cognate with
baculus) ; but, as Diez says, it is hard to see the connexion. Skeat
prefers bacca, a low Lat. form of vacca ; the original baccalarius then
being one who kept a baccale, or herd of cows. This is satisfactory, if
historically verifiable. Of course the form baccalaureus with its fanciful
derivation from bacca lauri must be quite rejected, as also any con-
nexion with Celt, bach, " small." The word undoubtedly comes in the
first instance from France, and is not indigenous in Italy either in this,
or the other form bacalare,
Balascio, ix. 69, "a fine ruby." Fr. balais, Sp. balax. From low
Lat. balascius. Said to be from the Ar. balchash, and this from the
khanate of Balakshan or Badakshan in Central Asia, whence these
stones were brought. But is not the order of derivation reversed here ?
One is much tempted to think that the original root is the same as that
of the Gr. /SaXavariov, "a pomegranate flower." The fruit, as we
know, has given its name to another precious stone.
Barba, xix. 137, "an uncle." Originally merely "an elder,"
"one with a beard." Barbas and barbanus are found in low Latin,
while in the Vaudois dialect barbe signifies "an elder of the church."
Bieco, v. 65, vi. 136, " dim-sighted," "malicious." From Lat.
obliquus, as ' ' piego " from plico, says Diez ; but does long i ever become ?
Littre takes it to be the same as Fr. bigle from bis-oculus (see Gloss.
Purg. s. v. abbagliare). But he gives no instance of this earlier than the
sixteenth century, so that the Italian word can hardly be formed from it.
There is an I eel. blekkja, "to defraud, delude," which appears to be
cognate with blench, the causal of blink ; so that its original meaning
must be to blind or dazzle the eyes. This idea in blench is well seen in
Shakespeare, Sonnet ex. : " Most true it is that I have looked on
truth Askance and strangely ; but, by all above, These blenches gave
my heart another youth." It also has the meaning "to shrink away."
Hence may come the idea of crooked dealing.
GLOSSARY. 43i
Bifolco, ii. 18, "a ploughman." Almost certainly from bubulcus
(u unaccented into z, as juniperus, ginepro ; b into f, as scarabaeus,
scarafaggio} ; and so strictly "an oxherd." [It is a little curious that
in the passage of Ovid which is here alluded to, Met. vii. there occurs
the line " Pulvereumque solum pede pulsavere bisulco " (1. 1 13). Can
Dante have read " bifulco," understanding "they stamped at their
driver " ?]
Bigoncia, ix. 55, "a vat," "bucket." Properly a vessel holding
two congiiy or rather over two gallons. It was used for carrying the
grapes when pressed, hence the word is appropriately used here.
Bozzacchione, xxvii. 126, "a degenerated plum." Strictly, a plum
that has swelled up in consequence of the attack of an insect. From
bozza, "a tumour." Fr. fosse, Sp. bochin, "a wart," Eng. botch and
boss, O. H. G. bdzo, "a bunch"; bdten, "to beat," " bump," "butt."
The first idea seems that of beating, and the swelling is the result.
Bozzo, xix. 138, "dishonoured," lit. "cuckold." The derivation
is uncertain ; but becco, " a he-goat," is used in the same sense, so that
very probably bozzo also means originally "a goat," and is cognate
with butt. See the last word.
Brogliare, xxvi. 97, " to struggle," "move quickly." Fr. brouiller,
"to stir up"; Eng. broil; Pr. bruelhar, "to spring up" (as a plant
or a fountain). Germ, brodeln, " to bubble," has been suggested
(cf. Fr. bouger from bulicare) ; but the best opinion seems to be that it
is cognate with brolo, q. v. in Gloss. Purg. " The notion seems to be
that, from a substantive meaning a park or grove, also a thicket, or
overgrowth of bushes, was formed a verb signifying to be confused or
entangled." Skeat. It may be added that from the idea of entangle-
ment, that'of struggling to get free easily follows.
Brusco, xvii. 126, "harsh," "rough." lei. brusqzte ; Sp. brusco.
Diet. Cruse, gives the word as primarily applied to wine ; in which
case the suggested derivation from labrusca, "the wild vine," would
seem very probable. There is however a Spanish brusco, O. Fr. brusc,
from Lat. mscus, " butcher's broom," with " prosthetic " b\ which, if we
are to be content with a botanical derivation, appears yet more satis-
factory. May not ruscus itself, however, be an adjective originally,
containing the same base as rudisl In that case we have only to
suppose a form perruscus.
Bugio, xx. 27, "hollow." Probably from the same root as bugta,
" a lie," and Germ, base, which in this case will mean primarily "empty."
Carola, xxiv. 16, xxv. 99, "a choir." See Gloss. Purg. s. v.
caribo. Diez however prefers to derive it from choraula. Whatever
432 GLOSSARY.
may have been the real origin, it seems highly probable that Dante
thought he was using an equivalent of chorale.
Coppa, viii. 12, "the back of the head." Properly "cup." Fr.
coupe, Sp. copa, from Lat. cupa. Hence, from its shape "the skull."
Diez compares " tete " from testa. Germ, kopf is probably from the
same.
Corredare, vi. 112, "to fit out." From a Teutonic root, found in
Icel. rei%i, "tackle," "implements," refer, "ready"; Goth, raidjan,
"to order," Germ, bertit. The French form is corroyer, Eng. curry,
" to prepare leather." From the same root we have Fr. arroi, Eng.
array. (The Germ, gerdth, from which it has been derived, is more
likely derived from it ; cf. gemein from communis ; ttngestiim, from
incostumato. )
Cotenna, xix. 120, "a boar." Properly " a boar's hide," Fr.
couenne. From cutanea, and this from cutis.
Dio, xiv. 34, xxiii. 107, xxvi. 10, "bright," "clear." From Lat.
dins, found only in the expression sub dio, sc. caelo. Root the same as
in Deus, dies, etc.
Donneare, xxiv. 118, xxvii. 88. "ItstisDonneare quasi Donneggiare,
cortegiar e servire donne ; cum Domnis seu Domicellis versari. Gram-
matica provincialis : Doiieiare t cum dominabus loqui de amore. " Du
Cange, s. v. Domneare.
Doppiero, xxviii. 4, "a candle." From Lat. duplerius', this from
duplus, on account of the two strands in the wick. [So twist, twine,
originally from two; and Germ, zwirn, "thread." The converse is
found in Germ, wickeln, " to fold," from wickel, " a bundle of flax, :>
this being cognate with our " wick."]
Elsa, xvi. 102, " the hilt of a sword." From O. G. helza, Icel.
hjalt (" the' pommel," also " the guard "). Not connected with hold.
Ferza, xviii. 42, "a whip." Commonly taken from feritiare,
freq. of ferire, " to strike." Diez however says this is impossible,
"because the fourth conjugation gives no participial verbs," and suggests
that it is forfelza, from O. G.fillazan, freq. of/?//, "to scourge."
Fioco, xi. 133, xxxiii. 121, " indistinct " (of the voice). In Inf.
iii. 75 it is used of light, which disposes of the suggestion that its
primary meaning is " hoarse," and that it is in any way connected with
raucus. I am inclined to think that it is cognate with fr.flou, " soft,"
" weak." (Cf. fuoco and feu, anciently fou.) This is said to be from
GLOSSARY. 433
Low Dutch flauw, in the same sense. That w in this word represents
an original guttural is shown by the kindred Goth, thlagvus, Lat.
jlacc-idus.
Gronda, xxx. 88, "the eaves of a house." From Lat. grunda,
found in comp. subgrunda, Fr. sivtronde (not given by Littre). Goth.
grundus Eng. ground, and is found in comp. grundu-waddjus, "a
foundation. " (Skeat. )
Latino, iii. 63, "intelligible, "clear." From the original meaning
of " Latin," the word seems to have been transferred to any language
natural to the speaker (as in xii. 144), even Arabic, says Diez, and the
song of birds (as in a ballad of doubtful authenticity, Fraticelli, Can-
zoniere di D. p. 223 : E cantinne gli augelli Ciascun in suo latino).
For examples of a similar use in O. Fr. see Littre. Finally lalinier,
Eng. latiner, corrupted to latimer, came to mean one who could speak
to every man " in the tongue wherein he was born," and so an inter-
preter. From this the meaning of " intelligible " is easily deduced. Cf.
deutsch and deuten.
Lega, ii. 139, xxiv. 84, *' "alloy" Fr. aloi, Sp. ley. From
ad legem; the proportion of baser metal allowed by law in the
coinage.
Mancia, v. 66, "an offering." Originally a present to a servant,
Germ. " trinkgeld " ; also " smart-money." Diez derives it from manus
through manicia, low Lat. for manicae, "gloves "or " sleeves," such
things being often given for those purposes. [It. paraguanto, Sp.
guantes, Pg. luvas, are all used in the same sense.]
Noce, ii. 24, " the part of the cross-bow which holds the string
when it is drawn back." Generally taken as the same with nact, "a
nut," Lat. nucem. I cannot however help supposing that it is cognate
with Eng. notch, O. Dutch nock; possibly confused with low Lat.
nouchia, "a buckle," O. Fr. nouche, Eng. nouch or ouch.
Paleo, xviii. 42, " a whipping-top." Probably for baleo (as palla
for balla), and connected with Fr. balayer. This appears to have had
anciently (baloier) the meaning of " to float about," as a banner in the
wind ; a notion which might perhaps be transferred to the movements
of atop. In this sense Diez suggests a connexion with ballare, "to
dance" (Sp. bailar, originally balear). There is, however, a Prov.
2 F
434 GLOSSARY.
balaiar, "to flap," "whip," which seems more to the purpose. Fr.
balai, "a broom," means also provincially the plant "broom," and is
derived from a Celtic word balan (the plant), whence balaen, the
implement. This, again, is from bala, " a shoot " (Lat. " flagellum "),
from which all the meanings, "to whip," "to flap," " to sweep," come
easily.
Pareggio, xxiii. 67, "a roadstead." Strictly "a coast," Fr.
parage. A low Lat. paregium is found, apparently formed from Fr.
paroi, from paries ; hence the wall of the land. From the coast to the
sea off the coast is not a very violent transition.
Pareglio, xxvi. 106, "a/azV," "match." Fr. pareil, Sp. parejo*
From pariculum; and so a doublet oiparecchio, as " veglio " of vecchio,
"speglio" of specchio.
Paroffia, xxviji. 84. We must apparently, in spite of the very
unusual change of consonant, accept the statement of the old commen-
tators, e.g. Buti and Landino, that this curious word stands for
parrocchia, "a parish." In what sense Dante used it remains un-
certain. Boccaccio evidently took it as = "retinue," "company";
for in the Teseide he speaks of a person entering " con tutta paroffia."
Against this is the objection that ogni can seldom be rendered " whole,"
and it will be observed that B. has used tutta, which of course is the
proper word. If we take ogni in its usual sense of " every," paroffia will
mean " region," "district" ; and this is perhaps best. Dante may be
comparing the heaven to a city composed, like Florence, of many
parishes. Parrocchia is from Gr. napoiKia, "a neighbourhood," through
the Latin paroecia (cf. dioecesis) ; but it has no doubt been modified by
the sense of parockus, "a purveyor" ("parochi in ecclesia dicuntur
qui . . . fidelibus necessaria ad salutem suppeditant." Forcell.), and
parochia is found in Latin as early as paroecia. It is not impossible
that Dante intended to convey some meaning like the dispense of
Purg. xxvii. 72.
Postilla, iii. 13, "a short note," used for the outline of a face as
seen by reflection. Fr. apostille, Sp. postila. From post ilia, sc.
verta ; because in a running comment the notes would follow the
words. Another possible explanation is that the notes reflect the sense,
and so the word may be used in the sense merely of " reflected
image."
Quadrello, ii. 23, "a quarrel" "bolt for a cross-bow." Fr.
carreau, Sp. qvadrillo. From quadra, this from quadium, "a square,"
from its square head.
GLOSSARY. 435
Riparo, xxii. 150, "a habitation." Fr. repaire, Eng. (vb.) repair.
From repatriare ; lit. "a place to which one goes home." If this be
correct, the Italian word must have come from the French. (It is quite
a distinct word from the riparo of Purg. viii. 97 ; Fr. rempart, Eng.
rampart. This is from Lat. parare, " to make ready," hence " guard " ;
Fr. parer, "to adorn," "to parry.")
Roffia, xxviii. 82, "cloud," "mist." Diez connects it with G.
rufe,Icel. hrufa, "a scab," "scurf" ; and more remotely with arruffare,
G. raufen, " to pull " (of the hair). But is it not rather O. G. rouh,
mod. rauch, "smoke"? The change would be similar to that which
the gh in our rough, cough, has undergone.
Rogna, xvii. 129, " an itch." Fr. rogne, Sp. roiia. From Lat.
robiginem, "rust." The contraction, as Diez remarks, is rather violent ;
but there seems some reason to suppose that robigo had early acquired
a somewhat similar sense.
Salma, xxxii. 114, "a burden." See Gloss. Purg. s. v. soma.
Sampogna, xx. 24, "a pipe," "shawm." Sp. zampoHa. From
symphonic,, Gr. <rvp.<f)<dvia. The word seems to have been applied to
a musical instrument very early.* It occurs in the list of instruments,
Daniel iii. 7, both in the Septuagint and in the Vulgate, where our
translators render it by "dulcimer," but, as this line shows, it was a
wind instrument. Prudentius uses the word for a trumpet.
Sceda, xxix. 115, "raillery," "mockery." From Lat. scida, which
is for sckeda, " a slip of paper " (whence our schedule), from Gr. 07(187;,
"a slip of wood." Hence it seems to have got the meaning of "a
parody," "caricature" (Buti). [This does not appear very satisfactory,
for want of any historical evidence ; but we may compare the history
of "libel."]
Scranna, xix. 8l, "a judgement-seat." From Germ, schranne,
" a grating," Eng. screen. No doubt on account of the railing which
fenced the judgement-seat ; so " chancery " from cancelli.
Susina, xxvii. 126, "a plum." From Susa, as our " damson "
(for "damascene") from Damascus.
Tranare, x. 121, "to draw." For trainare, Fr. trainer. From
low Lat. trahinare, formed from trahere.
Travagliare, xxxiii. 114. I feel very little doubt that in this place
we must derive the word from vaglio, "a sieve," Lat. vannulus, dim.
fr. vannus. [For its ordinary meaning see Gloss. Purg. where the last
paragraph is almost certainly wrong.]
436 GLOSSARY.
Troppo, passim, "much," "too much." Fr. trap. From low
Lat. truppus, "a troop," "herd." This seems to have been a German
corruption of turba, (Observe that the original gender reappears in
truppa, troupe, tropa.) [For the change of meaning cf. Germ, hatifig,
" frequent," from haufe, " heap."]
CHARLES DICKENS AND EVANS, CRYSTAL PALACE PRESS.
436
GLOSSARY
Troppo, passim, "much,''
Lat. truppus, "a troop,'' ">
corruption r>f turba. (Obsc
f>a.) [