ILLINOIS UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Brittle Books Project, 2014.COPYRIGHT NOTIFICATION In Public Domain. Published prior to 1923. This digital copy was made from the printed version held by the University of Illinois at Urbana-Champaign. It was made in compliance with copyright law. Prepared for the Brittle Books Project, Main Library, University of Illinois at Urbana-Champaign by Northern Micrographics Brookhaven Bindery La Crosse, Wisconsin 2014 Pi? ' ■' Wy»,4'.rr: THE UNIVERSITY OF ILLINOIS LIBRARY rv£ 2 ;5 „ - - ^ r^€ ' '-y*i ' VTHE PURGATORIOs'DANTE'S DIVINE COMEDY: THE PURGATORIO. & $fOse ^Translation BY THE LATE WILLIAM STRATFORD DUGDALE, WITS THE TEXT AS EDITED BY BRUNONE BIANCHI, AND WITH EXPLANATORY NOTES. LONDON: GEORGE BELL & SONS, YORK STREET, COYENT GARDEN. 1883.CHISWICK PRESS*. C. WHITTINGHAM AND CO., TOOKS COURT, CHANCERY LANE.sri 1>Z3 Od Id PREfFACE. This new prose translation of the Purgatorio of Dante was the work of the late Mr. Dugdale, of Merevale, and was undertaken by him in the hope that it might serve as a companion volume to the translation of the Inferno by Dr. John Carlyle. The manuscript of a translation by Signor G. B. Nicolini was placed in his hands, but he only availed himself of it to a very small extent in the earlier cantos, preferring to give his own rendering of the original. As the translation was only completed within three ej days of the accident that ended Mr. Dugdale's life, he never saw it in print. The revision of the proofs has therefore been superintended by his widow, and she is anxious to acknowledge the valuable assistance, i in reading the text and revising the notes, which she £lhas received in her difficult task from Mr. G. H. ^Bianchi, M.A., St. Peter's College, Cambridge. 4" -NJ y June, 1883. 3 3AKGUMENT TO CANTO I. Dante, issuing in company with Virgil out of the murky air of Hell, rejoices at the sight of a sky of marvellous beauty. He is on the mountain of Purgatory. Cato, its guardian, grants him the permis- sion he prays to yisifc its seven circles. By Cato's order, Virgil washes Dante's face with dew, and girds him with a rush, so soon as they arrive at the sea-shore.2 PURGATORLO. canto i. CANTO I. At length, leaving behind it so pitiless a sea, the bark of my genius hoists its sails to float over calmer waters. I now shall sing of that second realm, where the human soul is purged, and becomes worthy to ascend to heaven. But here let my dead poesy awake to life again, O holy Muses, since I am your child, and let Calliope 1 exalt my style, accompanying my song with those strains which erst struck down the unhappy Magpies, so that they despaired of pardon.2 The sweet hue of the oriental Per correr miglior acqua alza le vele Omai la navicella del mio ingegno, Che lascia dietro a se mar si crudele : E cantero di quel secondo regno, Ove r umano spirito si purga, 5 E di salire al Ciel diventa degno. Ma qui la morta poesia risurga, 0 sante Muse, poiche vostro sono, E qui Calliope alquanto surga, Seguitando il mio canto con quel suono, 10 Di cui le Piche misere sentiro Lo colpo tal, che disperar perdono. 1 Calliope, the Muse of heroic verse. See Yirg. Mn. ix. 525 :— " Yos, o Calliope, precor aspirate canenti." * Alluding to the nine daugh- ters of Pierius of Pella, a town in Macedonia, who challenged the Muses to sing, and being van- quished were turned by them into Magpies.CANTO I. PURGATORIO. 3 sapphire, which was deepened in the serene aspect of the pure air as far as the extreme horizon, brought pleasure back to my sight, when once I had escaped from the death- like atmosphere, which had saddened my eyes and my heart. The fair planet that invites to love1 made all the Orient smile, veiling the Fishes her escort.2 I turned to the right, and scanned the opposite pole; and descried four stars 3 not seen before, save by our first parents. The sky seemed to revel in their rays—0 widowed northern clime, debarred from such a sight! When I withdrew my eyes Dolce color d' oriental zaffiro, Che s' accoglieya nel sereno aspetto Dell' aer puro infino al primo giro, 15 Agli occhi miei ricomincio diletto, Tosto ch' io usci' fuor dell' aura morta, Che m' avea contristato gli occhi e il petto. Lo bel pianeta che ad amar conforta, Faceva tutto rider 1' oriente, 20 Yelando i pesci ch' erano in sua scorta. Io mi volsi a man destra, e posi mente All' altro polo, e vidi quattro stelle Non viste mai fuor ch' alia prima gente. Goder pareva il ciel di lor fiammelle. 25 0 settentrional vedovo sito, Poiche privato se' di mirar quelle! 1 Venus. 2 The Sun being in Aries, the Constellation Pisces at dawn pre- cedes the star of Venus, and is afterwards veiled by her brighter rays. 3 Most probably, the Southern Cross, of which Dante may have heard from his friend Marco Polo— but certainly in an allegorical sense the four cardinal virtues. Our first parents living, according to Dante, in the other hemisphere, alone could have seen them.4 PURGATORIO. CANTO f. from them, turning myself somewhat towards the other pole, whence the Wain1 had already disappeared, I saw near me a solitary old man,2 with an aspect worthy of no less reverence than is due from a son to a father. He wore a long beard, streaked with grey, like his hair, a double lock of which fell down on his breast. The rays of the four holy lights shone so brightly on his face that I saw him as if the sun were reflected there. " Who are ye that, stemming the dark river, have escaped the eternal prison?" said he, waving those venerable locks. " Who guided you ? Or who lighted you on your way as Com' io dal loro sguardo fui partito, Un poco me volgendo all' altro polo, L& onde il Oarro gia era sparito; 30 Yidi presso di me un veglio solo, Degno di tanta revereiaza in vista, Che piu non dee a padre alcun figliuolo. Lunga la barba e di pel bianco mista Portava, a' suoi capegli simigliante, 35 De' quai cadeva al petto doppia lista. Li raggi delle quattro luci sante Fregiavan si la sua faccia di lume, Ch' io '1 vedea come '1 Sol fosse davante. Chi siete voi, che contra '1 cieco fiume 40 Fuggito avete la prigione eterna ? Diss' ei, movendo quell' oneste piume: Chi v' ha guidati ? o chi vi fu lucerna, 1 The Great Bear, also called Charles's Wain. 2 Cato, of Utica, who killed himself rather than survive the conquest of the Roman Republic by Caesar, and the consequent de- struction of its liberties. He is made by Dante the guardian of Purgatory.CANTO I. PURGATORIO. 5 ye issued from the deep night, that renders the infernal valley black for ever ? Are the laws of the abyss thus infringed ? Or has Heaven's decree been reversed, that ye condemned ones can come to my caverns ? " My guide then took firm hold of me, and with words and gestures and signs, composed in reverent attitude my knees and my countenance. Then he replied : " I did not come of myself: a lady1 came down from heaven, and to obey her behest I aided this man with my company. But since it is thy will that I should explain more fully the truth of our present condition, it cannot be my will to refuse thee. " This man has not yet seen his last evening2; but, by his own folly, he came so near it,3 that very little time re- Uscendo fuor della profonda notte Che sempre nera fa la valle inferna ? 45 Son le leggi d' abisso cosi rotte ? 0 e mutato in Ciel nuovo consiglio, Che dannati venite alle mie grotte ? Lo Duca mio allor mi die di piglio, E con parole e con mani e con cenni 50 Eeverenti mi fe le gambe e il ciglio. Poscia rispose lui: Da me non venni: Donna scese dal Ciel, per li cui preghi Della mia compagnia costui sovvenni. Ma da ch' e tuo voler che piu si spieghi 55 Di nostra condizion com' ella e vera, Esser non puo che '1 mio a te si nieghi. Questi non vide mai T ultima sera, Ma per la sua follia le fu si presso, 1 Beatrice} see Inf. ii. 70. 2 i.e. death. 3 Alluding to the wanderings of Dante in the dark forest, see6 PURGATORIO. CANTO I. mained for him to retrace his steps. So, as I said, I was sent to him to preserve him, and there was no other way save that which I have taken. I have shown him all the wicked crew, and now I purpose to show him those spirits who purge themselves from sin -under thy do- minion. How I have brought him would be long to tell thee. From above the virtue descends that assists me to conduct him hither, to see and hear thee. Now may it please thee to approve his coming; he is in search of liberty that is so precious, as well know those who give up life for it. Thou knowest this thyself; for death in its behalf was not too bitter for thee in Utica, where thou didst leave thy mortal garb, that in the great day will shine so Che molto poco tempo a volger era. 60 Si come i' dissi, fui mandato ad esso Per lui campare, e non c' era altra via Che questa per la quale io mi son messo. Mostrata ho lui tutta la gente ria; E ora intendo mostrar quegli spirti Che purgan se sotto la tua balia. 65 Com' io 1' ho tratto, saria lungo a dirti: Dell' alto scende virtu che m' aiuta Conducerlo a vederti, e a udirti. Or ti piaccia gradir la sua venuta: Liberta va cercando, ch' e si cara, Come sa chi per lei vita rifiuta. 70 Tu '1 sai, che non ti fu per lei amara. In Utica la morte, ove lasciasti La veste ch' al gran di sark si chiara. 75 Inf. i. 1. Allegorically it refers to the wanderings of the soul in the ways of sin.CANTO I. PURGATQRIO. 1 brightly. The eternal laws are not infringed by ns. This one yet lives, and Minos binds me not, for I abide in that circle/ where are the chaste eyes of thy Marcia, who still in her looks implores thee, O hallowed bosom, to keep her as thine own.2 For her love's sake, then, be favourable to .us. Suffer us to traverse thy seven kingdoms,3 and I shall return her thanks for thy favours, if thou deignest to be mentioned there below." The other then replied: " Whilst I was in the upper world, Marcia found such grace in my eyes that I granted her whatever favour she might ask. Now that she dwells beyond the accursed stream, no longer can she move me by Non son gli editti eterni per noi guasti, Che questi vive, e Minos me non lega; Ma son del cerchio ove son gli occhi casti Di Marzia tua, che in vista ancor ti prega, 0 santo petto, che per tua la tegni: 80 Per lo suo amore adunque a noi ti piega. Lasciane andar per li tuoi sette regni: Grazie riportero di te a lei, Se d' esser mentovato laggiu degni. Marzia piacque tanto agli occhi miei, 85 Mentre ch' i' fui di lk, diss' egli allora, Che quante grazie voile da me, fei. Or che di la dal mal fiume dimora, Piu mover non mi puo per quella legge 1 The first Circle or Limbo, described Inf. iv. Dante saw Marcia there with other famous women of Rome. 2 Cato had given up his wife to his friend Hort«nsius in order that the latter might have issue; but after his death Marcia implored Cato to take her back again. 3 That is, through the seven Circles or gradations of souls in purgatory.8 PURGATORIO. CANTO I. reason of that law, which was imposed on me when I left that region.1 But if a Heavenly Lady moyes and guides thee, as thou sayest, there is no need of flattery: it is enough that thou askest me in her name. Go, then, and mind thou gird this man with a smooth rush, and wash his face, so that all filthiness be cleansed away.2 For it is not meet to go with eyes obscured by mist before the first minister3 of those who are the denizens of Paradise. This islet on all sides, and to its lowest parts, down there where the waves lash its shores brings forth rushes in an oozy bed. No other plant which shoots out leaves or hardens into wood can live there, because it does not yield Che fatta fu quand' io me n' usci' fuora. 90 Ma se Donna del Ciel ti muove e regge, Come tu di', non c' e mestier lusinga: Bastiti ben, che per lei mi richegge. Ya dunque, e fa che tu costui ricinga D' un giunco schietto, e che gli lavi 1 yiso, 95 Si che ogni sucidume quindi stinga: Che non si converria 1' occhio sorpriso D' alcuna nebbia andar davanti al primo Ministro, ch' e di quei di Paradiso. Questa isoletta intorno ad imo ad imo, 100 Laggiu, colk dove la batte 1' onda, Porta de' giunchi sovra '1 molle limo. 1 When Cato was released from limbo, he was freed from every worldly affection towards those who were beyond Acheron. 8 This alludes to the dense mist and filth that had collected on Dante's face during his visit to the Inferno. 3 i.e, the angel, who kept the gate of Purgatory proper; he is described in the ninth Canto.CANTO I. PURGATORIO. 9 to the beating of the surge. Then your return must not be by this way ; the sun which is now rising will show you how to climb the mountain 1 at its easiest slope." On this he disappeared. But I rose up without a word, and drew near to my guide, and turned my gaze on him. He then began: " Son, follow my steps. Let us turn back, for the plain slopes down this way to its lowest ieyel.,, The dawn was already subduing the morning twilight,2 which fled before it, so that from -afar I discerned the shimmering of the sea. We plodded through the solitary plain, like a man who, in returning to a road he has Null' altra pianta che facesse fronda, 0 indurasse, vi puote aver vita, Pero ch' alle percosse non seconda. 105 Poscia non sia di qua vostra reddita; Lo Sol vi mostrera, che surge omai, Prender il monte a piu lieve salita. Cosi span; ed io su mi levai Senza parlare, e tutto mi ritrassi 110 A1 Duca mio, e gli occhi a lui drizzai. Ei comincio : Figliuol, segui i miei passi: Yolgianoi indietro, che di qua dichina Questa pianura a' suoi termini bassi. L' alba vinceva 1' ora mattutina, 115 Che fuggia innanzi, si che di lontano Conobbi il tremolar della marina. 1 i.e. of Purgatory. 2 Dante divides the dawn into two parts, viz., that which is nearest the night, and that which immediately precedes the sun- rise.PURGAT0R10. CANIO I. missed, thinks every step profitless till he reaches it.1 When we came to where the dew fights with the Sun, and from being in a shady place, evaporates very slowly, my master gently placed both his hands wide open upon the grass. Wherefore I who understood his mean- ing, presented to him my tearful cheeks. Then he unveiled on my face that colour which the infernal mist had con- cealed.2 Then we came to the deserted shore, which never saw its waters traversed by any man able to retrace his Noi andavam per lo solingo piano Com' uom che torna alia smarrita strada, Che infino ad essa gli par ire invano. 120 Quando noi fummo dove la rugiada Pugna col Sole, e per essere in parte Ove adorezza, poco si dirada; Ambo le mani in su 1' erbetta sparte Soavemente il mio Maestro pose; 125 Ond' io che fui accorto di su' arte, Porsi ver lui le guance lagrimose : Quivi mi fece tutto discoperto Quel color che 1' Inferno mi nascose. Yenimmo poi in sul lito diserto, 130 Che mai non vide navicar sue acque Uom, che di ritornar sia poscia esperto. Quivi mi cinse, si come altrui piacque: 1 The idea is, that a person who has lost his way and is trying to regain it, looks on every step he takes in order to do so, as only so much lost labour in regard to his real route. 2 ie. washed from my face the grime which concealed its natural colour: some think this is an alle- gorical description of restored inno- cence once defaced by vice.CANTO I. PURGA TO RIO. 11 steps. There, obedient to another's behests,1 he girded me; when, wondrous to relate, another rush, similar to the humble plant he had chosen, sprung suddenly up on the spot where he had plucked the first.2 0 maraviglia! che qual egli scelse L' umile pianta, cotal si rinacque 135 Subitamente la onde la svelse. 1 i.e. those of Cato. alluding to the golden branch 2 So Virgil. Primo avulso non plucked by ./Eneas in the wood. deficit alter (Virg. Mn. vi. 143),ARGUMENT TO CANTO II. The two Poets at sunrise see a small ship approach the shore full of souls • being guided by an angel to Purgatory ; among whom is one Casella, a celebrated musician, and a great friend of Dante. On landing, Casella slackens his pace in order to sing, and Dante and the rest do the same in order to hear him, when Cato comes up and upbraids them for their slackness.14 PURGATORIO. canto ii. CANTO II. The Sun had already reached the horizon, whose meri- dian circle svitli its highest point covers Jerusalem,1 and Night which goes round opposite to him, issued forth from Ganges with the Scales,2 which she drops when she be- comes longer than the day. So that the white and ver- milion cheeks of the fair Aurora, there where I was, had become orange-coloured through advanced age. We were as yet by the sea-shore, like people who are pondering on their way, that travel with their minds, though their bodies are standing still; and lo, as at the approach of the morn- ing through its thick vapours Mars grows red down in the Gik era il Sole all' orizzonte giunto, Lo cui meridian cerchio coverchia Ierusalem col suo piu alto punto : E la notte che opposita a lui cerchia, Uscia di Gange fuor colle bilance, 5 Che le caggion di man quando sovercliia; Si che le bianche e le vermiglie guance, Lk dove io era, della bella Aurora, Per troppa etate divenivan ranee. Noi eravam lunghesso '1 mare ancora, ' 10 Corpe gente che pensa suo cammino, Che va col core, e col corpo dimora: Ed ecco qual, su '1 presso del mattino, Per li grossi vapor Marte rosseggia % 1 Dante being in Purgatory, 2 The sign of Libra, which dis- which he imagines to be antipodean appears when the nights increase to Jerusalem, it follows that while after the summer solstice. the sun rose there night began in the latter place.CANTO IT. PURGATORIO. 15 West, above the surface of the sea. So there appeared to me (and may I see it again1) a light coming so swiftly over the sea that no flight of birds can be compared to its course. From which having for an instant withdrawn my eyes to interrogate my guide, on looking again I perceived it had become larger and brighter. Then, from either side of it, there appeared to me an unknown white object, and by degrees from underneath came forth another one to join it. My master spoke not a word, till the first white visions were seen to be wings. Then, when he clearly recognized the pilot, he cried aloud, "Bend, bend thy knees. Behold the Angel of God ; fold thy hands. Henceforth thou shalt see similar ministers. Behold how he disdains all human Giu nel ponente sopra '1 suol marino ; 15 Cotal m' apparve, s' io ancor lo veggia, Un lume per lo mar venir si ratto, Che '1 mover suo nessun volar pareggia; Dal qual com' io un poco ebbi ritratto L' occhio per dimandar lo Duca mio, 20 Rividil piu lucente e maggior fatto. Poi d' ogni lato ad esso m' appario Un non sapea che bianco, e di sotto A poco a poco un altro a lui n' uscio. Lo mio Maestro ancor non fece motto 25 Mentre che i primi bianchi apparser ali. Allor che ben conobbe il galeotto, Grido: Fa, fa che le ginocchia cali; Ecco r AngeLdi Dio: piega le mani: Omai vedrai di si fatti uficiali. 30 Yedi che sdegna gli argomenti umani, 1 i. e. after death.16 PURGATOItlO. CANTO II. means, so that he needs no oar, nor other sail than his wings, between such distant shores. Behold, how he keeps them uplifted towards Heaven, cleaving the air with his eternal plumes, that change not like mortal hair." Then, as by degrees he came towards us, the divine winged one appeared more clearly, so that the eye looked towards the ground, not bearing to gaze at him too closely. But he drew near to the strand in a swift bark, so light withal that it scarce displaced the water. On the poop was standing the heavenly pilot; blessedness appeared written on his brow; and more than a hundred spirits sat within the boat, and sang all together with one voice, " In exitu Israel de iEgypto," with all the remainder of that psalm. Si che remo non vuol, ne altro velo Che 1' ale sue, tra liti si lontani. Vedi come 1' ha dritte verso '1 cielo, Trattando 1' aere con 1' eterne penne, 85 Che non si mutan come mortal pelo. Poi come piu e piu verso noi venne L' uccel divino, piu chiaro appariva; Perche 1' occhio da presso nol sostenne, Ma chinail giuso : e quei sen venne a riva 40 Con un vasello snelletto e leggiero, Tanto che 1' acqua nulla ne inghiottiva. Da poppa stava il celestial nocchiero, Tal, che parea beato per iscripto; • E piu di cento spirti entro sediero. 45 In exitu Israel de JEgypto Cantavan tutti insieme ad una voce, Con quanto di quel salmo e poscia scripto.CANTO II. PURGATORIO. 17 Then he blessed them with the sign of the holy cross; whereupon they at once leaped out on the shore, and he de- parted as swiftly as he had come. The multitude that re- mained there seemed strange to the place, gazing about, as those who contemplate things new and marvellous. From every side the Sun darted his beams, having just before, with his ever-ready arrows, driven Capricorn out of the midst of Heaven ; when the new-comers raised their heads towards us, saying, " Show us, if ye know it, the way to go to the Mountain." 1 And Yirgil replied, " Perhaps ye think that we are acquainted with this place, but we are- strangers like yourselves. We only came here a little while before you, by another way, that was so hard and rough Poi fece il segno lor di santa croce; Ond' ei si gittar tutti in sulla piaggia, 50 Ed ei sen gl, come venne, veloce. La turba che rimase li, selvaggia Parea del loco, rimirando intorno, Come colui.che nuove cose assaggia, x Da'tutte parti saettava il giorno 55 Lo Sol, ch' avea colle saette conte Di mezzo '1 ciel cacciato il capricorno; Quando la nova gente alzd la fronte Ver noi, dicendo a noi: Se voi sapete, Mostratene la via di gire al monte. 60 E Virgilio rispose: Yoi credete Forse che siamo sperti d' esto loco ; Ma noi sem peregrin, come voi sete. Dianzi venimmo, innanzi a voi un poco, 1 i. e. of Purgatory. C18 PURGATORIO. CANTO II. that to ascend the mountain will appear to us but sport." The spirits, who perceived by my breathing that I was yet a living person, became jiale through wonder. And as the multitude gathers round a herald, who bears the olive- branch, to hear the news, every one careless of treading upon his neighbour, even so all these fortunate spirits fixed their gaze on my face, almost forgetting to go and cleanse themselves from sin. I saw one of them come forward to embrace me with so great ardour that he moved me to do the like. 0, shadows vain, save in apparent form ! Three times I threw my arms around it, and thrice my arms re- turned empty to my breast.1 Wonder, I suppose, was Per altra via, che fu si aspra e forte, Che lo salire omai n.e parrk gioco. L' anime che si fur dime accorte, Per lo spirar, che io era ancor vivo, Maravigliando diventaro smorte; E come a messaggier, che porta olivo, Tragge la gente per udir novelle, E di calcar nessun si mostra schivo; Cosi al viso mio s'& affisar quelle Anime fortunate tutte quante, Quasi obbliando d' ire a farsi belle. Io vidi una di lor trarresi avante Per abbracciarmi con si grande affetto, Che mosse me a far lo somigliante. 0 ombre vane, fuor che nell' aspetto ! Tre volte dietro a lei le mani avvinsi, E tante mi tornai con esse al petto. 65 70 75 80 1 Compare Virg. Mn. yi. 700:— " Ter conatus ibi collo dare brachia circum, Ter frustra compressa manus effugit imago."CANTO II. PURGATORIO. 19 painted in my face, for the shade smiled and retreated, and I, following it, went forward. Sweetly it prayed me to de- sist. Then I knew who it was, and begged it to stay a while to speak to me. It answered, " I loved thee when in my mortal body, so I love thee still, when released from it. Therefore I pause. But why dost thou go P " " My Casella," said I, "to return again to the world where I still live, I am making this journey. But why hast thou been defrauded of so much time ? " 1 And he to me: "No out- rage has been done to me; if he who takes when and whom he pleases, has many times refused me this passage, he does Di maraviglia, credo, mi dipinsi; Perche 1' ombra sorrise e si ritrasse, Ed io, seguendo lei, oltre mi pinsi. Soavemente disse, ch' io posasse: 85 Allor conol^bi chi era, e pregai Che per parlarmi un poco s' arrestasse. Bisposemi: Cos! com' io t' amai Nel mortal corpo, cosi t' amo seiolta; Pero m' arresto : ma tu perche vai ? 90 Casella mio, per tornare altra volta Laddove io son, fo io questo viaggio, Diss' io ; ma a te come tant' ora e tolta ? Ed egli a me : Nessun m' e fatto oltraggio, Se quei, che leva e quando e cui gli piace, 95 1 Casella was a celebrated Flo- rentine singer, and an intimate friend of the Poet. It would seem that he had been dead some time, and Dante asks him what has pre- vented him from coming to Purga- tory before. Casella answers, that the angel who transported the spirits to the Holy Mountain, ac- complishing the will of God, takes first one and then another, as he pleases, but that during the three months of the jubilee, he has re- ceived indiscriminately every one.20 PURGA TORIO, CANTO IX. it of his own most just will. Truly, however, in these last three months, he has taken in whosoever wished to enter his bark in peace. Wherefore I, who had now directed my steps towards the shore, where Tiber's waters grow salt, was kindly received by him. To that river's mouth he is now pointing his wings ; for there are ever collecting all those who do not descend towards Acheron." And I rejoined, "If a new law does not deprive thee of the recol- lection or use of thy loving strains, which once were wont to soothe all my desires, be pleased with them to console my soul to some degree, which, coming here with its body, is so wearied." He then began so sweetly the canzonet, " Amor che nella mente mi ragiona,"1 Piu volte m' ha negato esto passaggio; Che di giusto voler lo suo si face. Yeramente da tre mesi egli ha tolto Chi ha voluto entrar con tutta pace. Ond' io, che er' ora alia marina.volto, 100 Dove 1' acqua di Tevere s' insala, Benignamente fui da lui ricolto. A quella foce ha egli or dritta 1' ala; Perocche sempre quivi si raccoglie, Qual verso d' Acheronte non si cala. 105 Ed io: Se nuova legge non ti toglie Memoria o uso all' amoroso canto, Che mi solea quetar tutte mie voglie, Di cio ti piaccia consolare alquanto L' anima mia, che, con la sua persona 110 Yenendo qui, e affannata tanto. Amor che nella mente mi ragiona, 1 The first verse of a canzone of Dante:— "Love which holds converse in my mind.'7CANTO II. PURGATORIO. 21 that its melody still resounds in my ears. My guide and I and the people around Casella seemed as enraptured as if our minds were bent on nought beside. We were stand- ing transfixed in rapt attention to his melody, when lo! the august old man1 came crying out, " What is this, ye sluggish spirits ? What means this negligence and loiter- ing ? Hasten to the mountain, to cast off the tegument that conceals from your sight the presence of God." As when doves, collected at their feeding ground, quiet, with- out displaying their wonted petulance, are picking up corn or tares, if aught appears to scare them, they suddenly desert their food, because they are assailed by a greater anxiety; so I beheld that newly-arrived company forsake Comincio egli allor si dolcemente, Che la. dolcezza ancor dentro mi suona. Lo mio Maestro, ed io, e quella gente Oh* eran con lui, pare van si contenti, Com' a nessun toccasse altro la mente. 115 Noi eravam tutti fissi ed attenti Alle sue note, ed ecoo il veglio onesto, Gridando: Che e cio, spiriti lenti ? 120 Qual negligenza, quale stare e questo ? Correte al monte a spogliarvi lo scoglio, Ch* esser non lascia a voi Dio manifesto. Come quando, cogliendo biada o loglio, Gli colombi adunati alia pastura, Queti, senza mostrar 1' usato orgoglio, 125 Se cosa appare ond' elli abbian paura, Subitamente lasciano star 1' esca, Perche assaliti son da maggior cura; Cosl vid' io quella masnada fresca 180 1 i.e. Cato.22 PURGATORIO. CANTO II. the song, and fly towards the mount, as one who goes not knowing whither he tends. No less precipitate was our departure. Lasciar il canto, e fuggir ver la costa, Com' uom che va, ne sa dove riesca: Ne la nostra partita fu men tosta.ARGUMENT TO CANTO III. Tlie two Poets now start to ascend the mountain of Purgatory, but find the road too steep and impracticable. While doubting how to pro- ceed, they catch sight of a troop of spirits who point out to them the proper path to Follow in the ascent, and while journeying with them, one of the spirits, Manfredi, late King of Sicily and Apulia, recounts to Dante his death, his contrition, and dilates upon the boundless nature of the Divine mercy.24 PURGATORIO. canto iii. CANTO III. When this suddeja flight dispersed those spirits through the plain, with faces turned towards the mountain whither reason urges them, I drew near to my faithful guide, and how could I have held my course without him ? Who else could have led me up the mountain ? He seemed to me to be self-reproached. O pure and worthy conscience, how bitter a pang is a slight fault to thee ! When his feet ceased from that haste, which mars the decency of every act, my mind, which was at first distraught, en- larged its scope as if eager to proceed; and I turned my face towards the hill, which stretches aloft towards Avvegnache la subitana fuga Dispergesse color per la campagna, Rivolti al monte, ove ragion ne fruga; Io mi ristrinsi alia fida compagna: E come sare' io senza lui corso ? 5 Chi m' avria tratto su per la montagna ? Ei mi parea da se stesso rimorso. 0 dignitosa coscienza e netta, Come t' e picciol fallo amaro morso ! Quando li piedi suoi lasci&r la fretta, 10 Che 1' onestade ad ogni atto dismaga, La mente mia, che prima era ristretta, Lo intento rallargb, si come vaga, E died! il viso mio incontro al poggio, Che inverso il ciel piu alto si dislaga. 15CANTO III. PURGATORIO. 25 Heaven. The Sun, which flared out red behind us, was broken up before me in the shape of the obstacle that his rajs found in my person. I turned aside, for fear of being deserted, at seeing the ground all dark before myself alone.1 But my comforter turned towards me and thus began : " Why dost thou distrust me ? Believest thou not that I am with thee and guide thy steps ? It is now eventide in the place where the body is buried, en- closed in which I once cast a shadow. Naples possesses it, and from Brundusium it was taken. Now, even if no shadow falls before me, this should astonish thee no more than do the heavens, which do not intercept each other's Lo Sol, che dietro fiammeggiava roggio, Botto m' era dinanzi, alia figura Ch' aveva in me de' suoi raggi 1' appoggio. Io mi volsi da lato con paura D' essere abbandonato, quando i' vidi 20 Solo dinanzi a me la terra oscura: E'l mio Conforto: Perche pur diffidi, A dir mi comincio tutto rivolto; Non credi tu me teco, e ch' io ti guidi ? Vespero e gik colk, dov' e sepolto 25 Lo corpo, dentro al quale io facev' ombra: Napoli I' ha, e da Brandizio e tolto. Ora, se innanzi a me nulla s' adombra, Non ti maravigliar piu che de' cieli, 1 The apparent meaning is, that Dante only seeing his own shadow, thought at the moment that Virgil, his guide, had abandoned him, whereas Virgil's phantom could not intercept the sun's rays so as to produce a shadow.26 PURGATORIO. CANTO III. rays.1 The supreme virtue ordains bodies like mine to endure torments, and heat and cold,2 nor does it suffer its mode of action to be revealed to us. Insane is he whoever hopes that our reason can explore the infinite ways in which one Substance in three Persons acts. Be then content, 0 human race, with the/ac£. For had ye been able to discern all things, it had been needless for Mary to become a mother. And ye have seen persons desire in vain, whose desire in that case would have been appeased ; which now is left them an eternal grief. I speak of Aristotle, Plato, Che I' uno all' altro raggio non ingombra. 30 A sofferir tormenti e caldi e gieli Simili corpi la Virtu dispone, Che come fa non vuol ch' a noi si sveli. Matto e chi spera che nostra ragione Possa trascorrer la infinita via, 35 Che tiene una sustanzia in tre persone. State contenti, umana gente, al quia; Che se potuto aveste veder tutto, Mestier non era partorir Maria; E disiar vedeste senza frutto 40 Tai, che sarebbe lor disio quetato, Ch' eternalmente § dato lor per lutto. Io dico d' Aristotile e di Plato, 1 Dante here speaks in accor- dance with the philosophy of his day, which regarded the heavens as so many transparent hollow spheres, one inside the other. 2 The idea is, that though the bodies assigned to spirits in the other world do not intercept' the rays of light, yet they are made as capable of suffering torments, heat, cold, &c., as are our natural bodies.CANTO III. PURGATORIO. 27 and many others."1 And here he bent his head, and said no more, and remained disturbed in mind. Meanwhile we came to the foot of the mountain, but found the rock so steep that in Vain would legs be ready to climb. Compared with this the broken and deserted precipices between Lerici and Turbia2 were an open and easy staircase. " Now who can say in which direction the mountain-side slopes down," said my master, as he stopped, " so that a man may get up without wings ? " And whilst he kept his head down, pondering in his mind about the way, and I was looking upwards round the rock, on my left hand E di molti altri. E qui chino la fronte; E piu non disse, e rimase turbato. 45 Noi divenimmo intanto appie del monte : Quivi trovammo la roccia si erta, Che indarno vi sarien le gam.be pronte. Tra Lerici e Turbia, la piu diserta, La piu rotta ruina e una seala, 50 Verso di quella, agevole ed aperta. Or chi sa da qual man la costa cala, t)isse '1 Maestro mio fermando il passo, SI che possa salir chi va senz' ala ? E mentre che, tenendo il viso basso, 55 Esaminava del cammin la mente, Ed io mirava suso intorno al sasso, 1 Because Virgil was of the number of those whose desires in this respect remained unsatisfied, see Inferno, canto iv. 39. 2 Alluding to the precipitous cliffs along which has since been* made the Cornice road between Lerici on the east near Sarzana. and Genoa, and Turbia on the west, near Monaco.28 PURGATORIO. CANTO III. appeared a crowd of souls, whose feet as they advanced towards us, scarcely seemed to move, so slowly did they come. " Master," said I, " raise thine eyes, here comes one who will give us counsel, if thou canst find none thyself." Then he looked and with kindly face replied, " Let us go thither, for they come but slowly; and do thou strengthen thy hope, sweet son." I believe that after we had walked a thousand paces, that crowd was still distant from us as far as a good thrower could hurl a stone, when they all drew near to the massive crags of the lofty rock, and stood compact and motionless like one who doubts his way, and stops to look. Then Virgil began : " 0 ye that died in the grace of God, spirits elect, by that Da,man sinistra m' appari una gente D' anime, che movieno i pie ver noi, E non pareva, si venivan lente. 60 Leva, dissi al Maestro, gli occhi tuoi: Ecco di qua chi ne dark consiglio, Se tu da te medesmo aver nol puoi. Guardb allora, e con libero piglio Eispose: Andiamo in lk, ch' ei vengon piano; 65 E tu ferma la speme, dolce figlio. Ancora era quel popol di lontano, I' dico dopo i nostri mille passi, Quanto un buon gittator trarria con mano; Quando si strinser tutti a' duri massi 70 Dell' alt a ripa, e stetter fermi e stretti, Come a guardar, chi va dubbiando, stassi. 0 ben finiti, o gik spiriti eletti, Virgilio incomincio, per quella pace Ch' io credo che per voi tutti s' aspetti, 75CANTO III. PURGATORIO. 29 peace, which I believe may be looked for by you all, tell me where the mountain is less steep, so that it may be possible to ascend it. For to lose time is more displeas- ing, the more one knows its value." As sheep issue from their fold, one, two, or three at a time, while the rest stand, timidly casting down their face and eyes, and what the foremost does the others do, crowding behind her, if she stops, and simple and quiet, they know not why; so did I see moving on the foremost of that fortunate band, bashful yet dignified in gait. As soon as those in front saw the rays of light broken on the ground to my right, so that the shadow was flung from me upon the mountain-side, they stopped and drew back a little, and all the rest who followed, not knowing why, did the same* Ditene dove la montagna giace, SI che possibil sia 1' andare in suso ; Che '1 perder tempo a chi piu sa piu spiaee. Come le pecorelle escon del chiuso Ad una, a due, a tre, e 1' altre stanno, 80s Timidette atterrando 1' occhio e 1 muso, E cio che fa la prima, e 1' altre fanno, Addossandosi a lei s' ella s' arresta, Semplici e quete, e lo 'mperche non sanno: SI vid' io mover, a venir, la testa 85 Di quella mandria fortunata allotta, Pudiea in faccia, e nelT andare onesta. Come color dinanzi vider rotta La luce in terra dal mio destro canto, Si che l'ombra era da me alia grotta, 90 Ristaro, e trasser se indietro alquanto; E tutti gli altri che venieno appresso, Non sappiendo il perche, fero altrettanto.30 PURGATORIO. CANTO III. " Without your asking me I confess to you that this is a human body which you see, and therefore the sun's rays are broken on the ground. Marvel not, but believe that not without the virtue that descends from heaven, it tries to surmount that wall of rock." So spoke my Master; and these worthy folk replied: " Return then, and we pray you go on before us," at the same time motioning to us with the backs of their hands. And one of them began: u Whoever thou art, thus journeying, turn hither thy face; bethink thee if thou ever sawest me in the other world." I turned towards him, and gazed fixedly at him. Pair and* handsome was he, and of gentle mien, but a blow had severed one of his eyebrows. When I humbly dis- claimed ever having seen him, he said: " See here," and Senza vostra dimanda io vi confesso, Che questi e corpo uman che voi vedete, 95 Per che il lume del sole in terra e fesso. Non vi maravigliate; ma credete, Che, non senza virtu che dal ciel vegna, Cerca di soverchiar questa parete. Cosi '1 Maestro. E quella gente degna, Tornate, disse, intrate innanzi dunque, Co' dossi delle man facendo insegna. E un di loro incomincio: Chiunque Tu se', cosi andando volgi il viso. Pon mente, se di la mi vedesti unque. Io mi volsi ver lui, e guardail fiso: Biondo era e bello, e di gentile aspetto; Ma I' un de' cigli tin colpo avea diviso. p. 49. 2 Son of Guido of Montefeltro, who appears in Hell (Inferno, canto xxvii.). He was killed in 1289, at the battle of Campaldino, fighting for the Ghibellines, while Dante fought for the Guelphs. 3 His wife.52 PURGAT0R10. CANTO V. from Campaldino, that no one ever knew thy burial-place ? " "Oh!" answered he, "at Casentino's foot runs a stream, by name Archiano, which springs in Apennine, above the Hermitage.1 There, where it loses its early name,2 I arrived, wounded in the throat, hurrying on foot, and staining the ground with my blood. . Here I lost my sight, and my voice failed at the name of Mary;3 and then I fell, and my corpse alone remained. I will tell the truth, and thou must repeat it to the living. The angel of God took- me, and that of Hell cried out: < 0 thou from Heaven, why robbest thou me ? Thou art carrying off the eternal portion of him, for one poor tear that redeems him Che non si seppe mai tua sepoltura ? Oh, rispos' egli, appie del Oasentino Traversa un' acqua c' ha nome 1' Archiano, 95 Che sopra 1' Ermo nasce in Apennino. Lk've 1 vocabol suo diventa vano Arriva' io forato nella gola, Fuggendo a piede, e sanguinando il piano. Quivi perdei la vista, e la parola 100 Nel nome di Maria fini, e quivi Caddi, e rimase la mia carne sola. I' diro 1 vero, e tu '1 ridi' tra i vivi: L' Angel di Dio mi prese, e quel d' Inferno . Gridava : 0 tu dal Ciel, perche mi privi ? 105 Tu te ne porti di costui 1' eterno Per una lagrimetta che '1 mi toglie ; Ma io faro dell' altro altro governo. 1 The Hermitage of Camaldoli. 3 Alluding to the invocation of 2 i.e. where it joins the Arno Jesus and Mary at the last moment and merges its old appellation in of life, that of the larger stream.CANTO V. PURGATORIO. 53 from me; but the other portion shall receive from me another treatment.' Thou knowest well how there collects in the air that humid vapour which turns into water the moment it reaches a height, where the cold condenses it. He. coupled with intellect that bad will which is ever intent on evil, and evoked the mist and wind, by virtue of the power conferred on him by his nature. Then, when the day was spent, he hid in fog the. valley from Prato Magno1 to the great mountain ridge, and so congealed the upper sky that the impregnate air changed itself to water. Then fell the rain, and that which the earth could not contain flowed into the rivulets; and when the flood joined the larger streams, it rushed so vehemently towards the Royal River2 3?en sai come nell' aer si raccoglie Quell' umido vapor che in acqua riede, Tosto che sale dove 1 freddo il coglie. Giunse quel mal voler, che pur mal chiede, Con r intelletto, e mosse il fumo e il vento Per la virtu, che sua natura diede. Indi la valle, come il di fu spento, Da Pratomagno al gran giogo coperse Di nebbia, e il ciel di sopra fece intento Si, che '1 pregno aere in acqua si converse : La pioggia cadde, ed a' fossati venne Di lei cio che la terra non sofferse: E come a? rivi grandi si convenne, Ver lo flume real tanto veloce Si ruino, che nulla la ritenne. Lo corpo mio gelato in su la foce 1 Prato Magno (now called Prato Vecchio) is a place that divides the Yal d' Arno from the Casentino. 2 The Arno. 110 115 12054 FURGAT0R10. CANTO y. that nought could stay its course. The foaming Archiano found my stiffened body at its mouth, and thrust it into Arno, loosening from my breast the cross which I made with my arms when the death pangs overcame me. It hurled me along its banks, and through its deep currents, and then concealed me with its muddy spoil." " Ah ! when thou shalt have returned to the world, and rested after thy long journeyings," said a third spirit, fol- lowing the second, "remember me, for I am La Pia.1 Siena made me; Maremma undid me. Well he knows this, who, ringed as I was before, had placed his own gem on my finger in a second marriage." TrovbT Archian rubesto ; e quel sospinse 125 Nell' Arno, e sciolse al mio petto la croce, Ch' io fei di me quando il dolor mi vinse: Yoltommi per le ripe e per lo fondo; Poi di sua preda mi coperse e cinse. Deh, quando tu sarai tornato al mondo, 180 E riposato della lunga via, Seguito ilterzo spirito al secondo, picorditi di me, che son la Pia: Siena mi fe, disfecemi Maremma: . Salsi colui che innanellata pria, 135 Disposato m' avea con la sua gemma. 1 La Pia was a Sienese lady, widow of one of the Tolomei. She was murdered in Maremma by order of her second husband, Nello della Pietra, who suspected her of infidelity.ARGUMENT TO CANTO VI. Other spirits who, like those in the preceding Canto, had delayed repen- tance till the moment of their violent death, beseech Dante to speak for them to their friends. The Poets meet afterwards the Mantuan Sordello. Then follow fiery invectives against Italy, and especially against Florence, torn by civil dissensions.56 PURGATORIO. canto vi. CANTO VI. When the game of dice is over, and the gamesters sepa- rate, he who loses remains doleful, repeating his throws, and learns by sad experience. With the winner all the company go off, one goes before him, another pulls at him behind, while a third at his side asks to be borne in mind. He does not stop, but listens now to one, now to another. Those to whom he opens his handpress on him no more ; and so he defends himself from the crowd. Such was I in that dense multitude, turning my face here and there towards them, and shook them off by promises.2 Here was he of Arezzo,3 who met his fate beneath the Quando si parte il giuoco della zara, Colui che perde si riman dolente Ripetendo le volte, e tristo impara: Con I' altro se ne va tutta la gente: Qual va dinanzi, e qual diretro il prende, 5 E qual da lato gli si reca a mente. Ei non s'arresta, e questo e quello intende; A cui' porge la man, piu non fa pressa; E cosi dalla calca si difende. , Tal era io in quella turba spessa, 10 Yolgendo a loro e qua e 1& la faccia, E promettendo mi sciogliea da essa. Quivi era 1' Aretin, che dalle braccia 1 Gives his hand, i.e. some of 3 Benincasa of Arezzo being de- the money he won. Pu*y the Podesta in Siena, con- 2 i.e. by promising to ask their demned to death a brother and a friends to pray for them. nephew of Ghino di Tacco for high-CANTO VI. PURGATORIO. 57 fierce arms of Ghino di Tacco,and the other who was drowned while chasing his foes.1 Here, too, was praying with out- stretched hands, Federigo Novello,2 and he of Pisa, who evoked so strongly the fortitude of the good Marzucco.3 Count Orso,4 too, I saw, and that soul separated from its body through spite and envy, as he said, and not for any crime5—I mean Pier dalla Broccia ; and let that lady of Fiere di Ghin di Tacco ebbe la morte; E r altro che annego correndo in caccia. 15 Quivi pregava con le mani sporte Federigo Novello, e quel da Pisa, Che fe parer lo buon Marzucco forte. Yidi Cqpt' Orso, e 1' anima divisa Dal corpo suo per astio e pier inveggia, 20 Come dicea, non per colpa commisa; way robbery, and for having in union with Ghino seized Eadico- fani, a castle of the Pope's in Sienese territory. Ghino to revenge himself went to Rome, where Benincasa was then acting as judge, and finding him on his bench in the public hall, ran upon him, cut off his head, and with it in his hand, departed in safety. Boccaccio says that he was afterwards forgiven by the Pope and provided with some ecclesias- tical benefice. 1 This was Cione di Tarlati of Arezzo, who while pursuing some of the Bostoli, his enemies, was carried by his horse into the Arno and drowned. 2 Federigo Novello was son of the Count Guido di Battifolle, and was murdered by one of the Bostoli called Fornajuolo. 3 This was Farinata degliScvrni- giani of Pisa, killed by Beccio of Caprona. His father Marzucco, who had entered the order of the Frati Minori, bore patiently the injury inflicted on him, kissed the hands of the murderer, and at his son's funeral exhorted his kins- men to forgive him. 4 Count Orso, son of Count Na- poleone da Cerbaja, murdered by his uncle Albert of Mangona. 5 This was Pierre de la Brosse, secretary and counsellor to Philijp III. (the Hardy) of France. Accord- ing to Michelet, he seems to have58 PURGATORIO. CANTO VI. Brabant take care, whilst yet alive, that she is not hereafter among worse company. When at last I got free from all those spirits, who im- plored me for the prayers of others, in order that they might the sooner become saints, I thus began: " It seems, 0 my guiding star, that thou in some "passage expressly deniest that prayer can alter Heaven's decree;1 and yet these people's, prayers are for that purpose. Do they then hope in vain ? Or do I not correctly grasp thy meaning ? " Pier dalla Broccia dico: e qui provveggia, Mentr' e di qua, la donnal di Brabante, Si che pero non sia di peggior greggia. Come libero fui da tutte quante ♦ 25 Quelle ombre che pregar pur ch' altri preghi, Si che s' avacci il lor divenir sante, Io cominciai: E' par che tu mi nieghi, 0 Luce mia, espresso in alcun testo, Che decreto del Cielo orazion pieghi; 30 E queste genti pregan pur di questo. Sarebbe dunque loro speme vana ? 0 non m' e il detto tuo ben manifesto ? accused Mary of Brabant, the king's second wife, of having poi- soned a prince, son of the first wife, while the courtiers, jealous of Pierre's influence with the king, supported the queen, and accused him of having betrayed his master's secrets, for which crime he was exe- cuted in 1276. The early com- mentators of Dante say that he was falsely accused by the queen of having attempted her honour. 1 Alluding to Mn. vi. .376, where Virgil makes the Sibyl reply to Palinurus, who prayed JEneas to take him beyond the river Styx:— " Desine fata Deum flecti sperare precando." " Cease to hope that the decrees of the gods can be averted by prayer."CANTO VI. PURGATORIO. 59 He then replied: " What I have written is plain; and those spirits are not buoyed up by vain hopes if the matter is well pondered with a sound mind. For the strictness of divine justice is not lowered, even though the flame of love should complete in an instant all the satisfaction that he that dwelleth here should make. And there in Hell, where I laid down that maxim, no sin could be done away by prayer, because such prayer had no access to God.1 How- ever, rest not satisfied in this so deep suspicion, unless thou art told so by her, who shall be thy light, to guide thy intellect to the truth. I know not if thou understandest, but I speak of Beatrice.2 Thou wilt see her above upon the heights of this mountain, smiling and happy." Ed egli a me : La mia scrittura e piana, E la speranza di costor nan falla, " 85 Se ben si guarda con la mente sana; Che cima di giudicio non s' avvalla, Perche fuoco d' amor compia in un punto Cid che dee soddisfar chi qui s' astalla: E lk dov' io fermai cotesto punto, ' 40 Non si ammendava, per pregar, difetto, Perche il prego da Dio era disgiunto. Yeramente a cosi alto sospetto Non ti fermar, se quella nol ti dice, Che lume fia tra 1 vero e 1' intelletto. 45 Non so se intendi: io dico di Beatrice : Tu la vedrai di sopra, in su la vetta Di questo monte, ridente e felice. 1 Because he who offered it was I 2 Beatrice is a symbolical name finally cast out of the divine favour. | for the doctrines of true religion.60 PURGATORIO. CANTO YI. And I rejoined: " Good leader, let us make more haste, for no longer do I weary as before; and see that now the hill is throwing its shadow forward.1" " We shall advance to-day," he replied, "as far as we can. But matters are different from what thou thinkest. Before thou arrivest up there, thou shalt see appearing again the face of him who is now so hidden by the mountain side that thou canst not interpose thy body amid his rays. But see that solitary spirit who fixes his gaze upon us. He will show us the speediest way." So we advanced towards it. 0 Lombard spirit, how haughty and disdainful didst thou appear, and, in the movements of thine eyes, how grave and dignified! It Ed io : Buon Duca, andiamo a maggior fretta; Che gia non m' affatico come dianzi; 50 E vedi omai che il poggio 1' ombra getta. Noi anderem con questo giorno innanzi, Rispose, quanto piii potremo omai; Ma il fatto e d' altra forma che non stanzi. Prima che sii lassu, tornar vedrai 55 Colui che gi& si copre della costa, Si che i suoi raggi tu romper non fai. Ma vedi lh un' anima, che a posta Sola soletta verso noi riguarda: Quella ne insegnerk la via piu tosta. 60 . Venimmo a lei: 0 anima lombarda, Come ti stavi altera e disdegnosa, E nel mover degli occhi onesta e tarda ! Ella non ci diceva alcuna cosa; Ma lasciavane gir, solo guardando 65 1 i.e. it is nearly sunset.CANTO YI. PURGATORIO. 61 uttered not a word to us, but let us pass on, gazing on us like a couching lion. Then Yirgil drew near to it, beseech- ing it to point out to us the easiest ascent; but no reply did it vouchsafe to his request, but asked us of our country and mode of life. Then my gentle guide began : "Mantua." On this the hermit-likQ spirit rose up towards him from the place where it was, saying, " 0 Mantuan, I am Sor- dello,1 thy fellow-townsman;" and each embraced the other. Ah! slavish Italy, hostelry of woe, ship without a pilot, tempest tost, no more a queen of nations, but a place of evil fame! That gentle spirit was thus prompt, at the mere name of his dear native land, to proffer here a welcome to his fellow A guisa di leon quando si posa. Pur Yirgilio si trasse a lei, pregando Che ne mostrasse la miglior salita; E quella non rispose al suo dimando ; Ma* di nostro paese e della vita 70 C' inchiese. E il dolce Duca incominciava : Mantova ...El' ombra, tutta in se romita, Surse ver lui del luogo ove pria stava, Dicendo: 0 Mantovano, i' son Sordello Della tua terra. E 1' un 1' altro abbracciava. 75 Ahi serva Italia, di dolore ostello, Nave senza nocchiero in gran tempesta, Non donna di provincie, ma bordello! Quell' anima gentil fu cosi presta, Sol per lo dolce suon della sua terra, 80 1 Sordello de' Visconti of Man- tua, a celebrated troubadour of the thirteenth century. He was a man , of great learning and authority in the State. There are still extant about thirty of his poems written in Provencal. He loved Cunizza, the sister of Ezzelino da Romano; for the former see Par. xii., for the latter Inf. ix.62 PUBGATORIO. CANTO VI. citizen. Yet, now, they who live within thy borders wage ceaseless war, and one devours the other, even when en- circled by the same walls and moat. Go, search, then, wretched one, around the shores of thy seas; and then turn thine eyes into thine own bosom, to see if any part of thee enjoys the blessings of peace. Whajfc boots it that Justinian renewed thy reins,1 if the saddle is empty ? Had that not been done, thy shame would be less. Ah! people that oughtest to have given God his due, and yet let Caesar sit in the saddle in peace, if thou hadst properly understood thy God's commands.2 Behold how fierce this wild beast3 Di fare al cittadin suo quivi festa; Ed ora in te non stanno senza guerra Li vivi tuoi, e 1' un 1' altro si rode Di quei che un muro ed una fossa serra. Cerca, misera, intorno dalle prode 85 Le tue marine, e poi ti guarda in seno S' alcuna parte in te di pace gode. Che val perche ti racconciasse il freno Giustiniano, se la sella e vota ? Senz' esso for a la vergogna meno. 90 Ahi gente, che dovresti esser divota, E lasciar seder Cesar nella sella, Se bene intendi cio che Dio ti nota! Guarda com' esta fiera e fatta fella, 1 Justinian, in his Pandects and Institutes, re-arranged and codified the Roman laws, which are here called the reins which restrained the people from crime. 2 Dante seems to allude to the profligate court of Rome, and to the clerical party in general, who had usurped the temporal power of the Emperor, which, as a Ghibel- line, he wished to see restored. He alludes to the command, " Render to Caesar the things that are Caesar's, and to God the things that are God's." 3 i.e. Italy.CANTO VI. PURGATORIO. 63 became, from not having been corrected with the spur, •when1 thou didst first set thine hand to the bridle! 0, German Albert,2 who abandonest her that has become nntameable and savage, when thou oughtest to have firmly bestridden her saddle-bow, may Heaven's just judgment fall upon thy race ; and may thy fate be something strange and Per non esser corretta dagli sproni, 95 Poi che ponesti mano alia predella. G Alberto Tedesco, che abbandoni . Costei ch' e fatta indomita e selvaggia, E dovresti inforcar li suoi arcioni, Giusto giudicio dalle stelle caggia 100 1 This verse has given much trouble to the commentators. One question is as to the true meaning of the word predella. Buti, who is followed by Landino, Vellu tello, and the Academicians in the Voca- bolario della Crusca, says that it means here the part of the bridle used in guiding the horse. Some other early commentators think it is derived from the 'Latin prmdium, a possession, and then that the meaning of the sentence will be, When thou becamest possessed of thy inheritance." But all agree that the verse is addressed to the Ger- man Emperor Albert apostrophized in the next verse. Lombardi, how- ever, in his edition (Rome, 1791), thinks it means " throne" or " royal seat," and translates thus, supposing the " people" to be addressed, and not the Emperor : "When thou stretchest out thy hand in rebellion against the Im- perial throne." Almost all modern commentators have adopted Lom- bardi's punctuation,but the greater part take predella to mean bridle, thus carrying on the metaphor. 2 This " German Albert" was Albert of Austria, son of the Em- peror Rudolph I. He was elected Emperor of Germany in 1298 or 1299, in succession to Adolphus. He was murdered in 1308 by his nephew John. Dante pretends to have undertaken his voyage to the infernal regions in 1300, but the passage before us cannot have been written before 1308, the date of the murder.64 PURGATORIO. CANTO VI. patent to all, and strike terror into thy successor!1 For thou and thy father,2 through greed of territory on the other side of the Alps, have suffered the garden of the Empire 3 to run •to waste. Come, see the Montagues and Capulets,4 the Monaldi and the Filippeschi,5 thou careless one: the one already borne down with calamity, the other with appre- hensions of it. Come, cruel one, and behold the oppression thy grandees endure, and attend to their sufferings; then shalt thou see how secure Santafiore is.6 Come and behold Sovra '1 tuo sangue, e sia nuovo ed aperto, Tal che il tuo successor temenza n' aggia : Ch& avete tu e il tuo padre sof¥erto, . Per cupidigia di costk distretti, Che il giardin dell' imperio sia diserto. 105 Yieni a veder Montecchi e Cappelletti, Monaldi e Filippeschi, uom senza cura, Color gih tristi, e costor con sospetti. Yien, crudel, vieni, e vedi la pressura De' tuoi gentili, e cura lor magagne, 110 E vedrai Santafior com' e sicura. 1 Albert's successor was Henry . VII. of Luxemburg. 2 Neither Albert nor his father Kudolph ever entered Italy. The care of their possessions in Ger- many fully occupied them. 3 i.e. Italy, the fairest portion of the Holy Eoman Empire. * The Montagues and Capulets were two leading Ghibelline fami- lies at Verona. Dante makes no allusion to the family feud im- mortalized by Shakespeare. 5 Two equally famous Ghibel- line houses at Orvieto. In Dante's time the Guelph faction was get- ting the upper hand, and oppress- ing the Ghibellines, of which Dante was a conspicuous partisan. 6 Santafiore was an Imperial fief in the territory of Siena. The Poet ironically asks the Emperor to come and see for himself what a desperately insecure state it was in, being full of robbers and assassins, and in fact in a state of anarchy.CANTO VI. PURGATORIO. 65 thy Rome, weeping, widowed, solitary, and crying out night and day, "My Caesar, why art not thou by my side ? " Gome and see how dearly our people love one another; and if no pity moves thee for our state, feel shame at least for thine own repute. And, if I may dare so far, 0 Almighty God, who wast crucified for us on earth, are thy just eyes turned elsewhere ? Or art thou preparing for us, in the depth of thy inscrutable counsels, some good far beyond our present comprehension ? For the fair lands of Italy are swarming with tyrants, and every low-born churl that takes a side becomes a very Marcellus.1 Vieni a veder la tua Eoma ehe piagne, Yedova, sola, e d 1 e notte chiama: Cesare mio, perch& non m' accompagne ? Yieni a veder la gente quanto s' ama ; 115 E se nulla di noi pietk ti muove, A vergognar ti vien della tua fama. E se licito m' b, o sommo Giove, Che fosti in terra per noi crucifisso, Son li giusti occhi tuoi rivolti altrove ? 120 0 e preparazion, che nell' abisso Del tuo consiglio fai per alcun bene, In tutto dall' accorger nostro scisso ? Che le terre d' Italia tutte piene Son di tiranni, ed un MarceJ diventa 125 Ogni villan che parteggiando viene. 1 The allusion is probably to M. Marcellus, a leader of the aristo- cratic party in their opposition to Julius Caesar. Dante therefore says that every yokel who dubs himself a Guelph as against the. German Caesar, thinks himself equal to Marcellus.66 PURGATORIO. CANTO YI. 0 my Florence, well mayest thou be pleased with this digression, which affects thee not, thanks to thy people, that reason so well. Many other people love justice in their hearts, but delay to discharge its arrows, for fear of using the bow without due precaution.1 But thy people have the name of justice ever on their lips. Many, too, refuse to undertake any public charge; but thy citizens readily respond, even without being asked, and cry out at once, " I submit." 2 Rejoice, then, for thou hast indeed good reason so to do, blessed as thou art with wealth, Fiorenza mia, ben puoi esser contenta Di questa digression che non ti tocca, Merce del popol tuo che si argomenta. Molti han giustizia in cor, ma tardi scocca, 130 Per non venir senza consiglio all' arco: Ma il popol tuo r ha in sommo della bocca. Molti rifiutan lo comune incarco; Ma il popol tuo sollecito risponde Senza chiamare, e grida: I' mi sobbarco. 185 Or ti fa lieta, che tu liai ben onde: Tu ricca, tu con pace, tu con senno: 1 These lines are by no means easy to understand. Dante appears to be praising his native city, Flo- rence, ironically, by contrasting it with the other Italian cities. The general sense seems to bej " What I have said before as to Italy in general does not apply to thee, Florence, thanks to the rhetorical ability of thy citizens. Other Ita- lians love justice, but they are slow in executing it, perhaps for fear of acting too precipitately, but thy people, at any rate, always have it on the tip of their tongue (but no- where else "—aside), 2 He covertly reproves his fellow citizens for their greed of public office. " Other people," he Says, " are so unpatriotic that they refuse to serve the common interest—but thine are ever willing to take office under the guise of submission to the behests of their fellows."CANTO VI. PURGATORIO. 67 peace, and wisdom.1 Results will show whether I speak the truth. Athens and LacedaBmon, that framed the laws of old, and were so civilized, gave but the hint of a well-ordered State, compared with thee, who enactest such subtle pro- visions that what thou weavest in October will scarcely hold to the middle of November. How many times within thy memory hast thou changed thy laws, coinage, offices, and customs, and renewed thy members !2 And if thou canst duly take it to heart, and understand, thou wilt see how closely thou resemblest. the sufferer who, unable to find repose on her couch of down, vainly seeks to assuage her pain by turning from side to side. S' io dico ver, 1' effetto nol nasconde. Atene e Lacedemona, che fenno L' antiche leggi, e furon si civili, 140 Fecero al viver bene un picciol cenno Yerso di te, che fai tanto sottili Provvedimenti, ch' a mezzo novembre Non giugne quel che tu d' ottobre fili. Quante volte del tempo che rimembre, 145 Legge, moneta, e ufici, e costume Hai tu mutato, e rinnovato membre ! E se ben ti ricorda, e vedi lume, Yedrai te somigliante a quella inferma, Che non pub trovar posa in su le plume, 150 Ma con dar volta suo dolore scherma, 1 Ironical again; it being noto- rious that the then condition of Florence was exactly the reverse. 2 Alluding'to the practice of ba- nishing or recalling the adherents of the different factions, according to the ups and downs of local po- litics.ARGUMENT TO CANTO VII. Sordell'o having learnt Virgil's name, undertakes to guide the two Poets, but the day being now spent, and the ascent impossible at night, he conducts them to a valley excavated in the mountain. There in a green and beautiful meadow Dante finds the souls of those princes and lords, who, being occupied with the aggrandizement of their respective territories, delayed the thought of God to the last. Many of them are named.70 PIJRGATORIO. canto vii. CANTO VII. When these friendly and joyful greetings had been three or four times renewed,1 Sordello drew back and said : " Who are ye?" "Before the spirits worthy to ascend to God were directed towards this mountain, my bones were buried by Augustus' orders.2 I am Yirgil; and for no other sin but want of faith I lost the right to Heaven."3 Thus replied my leader. As one who on a sudden beholds a thing that fills him with such wonder that he scarcely Posciache le accoglienze oneste e liete Furo iterate tre e quattro volte, Sordel si trasse, e disse : Yoi chi siete ? Prima ch' a questo monte fosser volte L' anime degne di salire a Dio, 5 Fur T ossa mie per Ottavian sepolte. I' son Virgilio ; e per null' altro rio Lo ciel perdei, che per non aver fe: Cosi rispose allora il Duca mio. Qual e colui che cosa innanzi a s& 10 Subita vede, ond' ei si maraviglia, 1 We now resume the narrative from verse 75 of the last Canto de- scribing the meeting between Yir- gil and Sordello, which had been broken off by the digression on the state of Italy. 2 At Naples. 3 Dante supposes the ascent of the Mount of Purgatory to be the only road to heaven, and as Yirgil died before the accomplishment of Christ's redemption, he imagines that before that event even the holiest men's souls could not ascend to Heaven, but were obliged to pass into the Limbo, the outer circle of Hell. Hence Virgil says he lost Heaven solely through want of faith. But how could he believe on Him of whom he had not heard ?CANTO VII. PURGATORIO. 71 knows whether he believes it or not, now saying, It is ; now, It is not, such did he appear,1 and then bent down his eyes, and humbly turned towards my leader embracing him where an inferior takes hold.2 "0 glory of the Latin race," he cried, " through whom our language 3 put forth all its powers ; O never-dying boast of the spot whence I sprung, what merit of mine, or what divine grace shows thee to me ? If I am worthy to listen to thy words, tell me if thou comest from Hell, and from what ward thereof ? " " Through all the circles of the doleful realm," he replied, " am I come hither. Divine virtue moved me, and I journey by its aid.4 Not for my doing, but for my not doing, have I missed seeing the glorious Sun5 that thou Che crede e no, dicendo : ell' e, non e; Tal parve quegli, e poi chino le ciglia, E umilmente ritorno ver lui, E abbracciollo ove '1 minor s' appiglia. 15 0 gloria de' Latin, disse, per cui Mostro cio che potea la lingua nostra : 0 pregio eterno del loco ond' io fui: Qual merito o qual grazia mi ti mostra ? S' io son d' udir le tue parole degno, 20 Dimmi se vien d' Inferno, e di qual chiostra. Per tutti i cerchi del dolente regno, Rispose luij son io di qua venuto: Virtu del Ciel mi mosse, e con lei vegno. Non per far, ma per non fare, ho perduto 25 Di veder 1' alto Sol che tu disiri, 1 Sordello. 2 i.e. round the feet, or the knees. 3 i.e. Latin, the ancient language of Italy. 4 See Purg. i. 68 sqq. 5 God, the sun and light of Paradise,72 PURGATORIO. CANTO VII. longest to behold, and "which, was known by me but too late. " There is a place down beneath, not rendered sad by torments,1 but only by darkness, where the lamentations do not sound like screams of pain, but merely sighs. There I abide with the innocent babes bitten by the fangs of death, ere yet cleansed from original sin. There I live amongst those, who, though not clothed with the three holy virtues, yet free from actual sin, knew and practised all the others.2 But if thou knowest and canst give us some instruction, that we may the sooner arrive there where Purgatory in fact begins—" He replied, "We are not confined to any fixed place. I E che fu tardi da me conosciuto. Luogo e laggiu non tristo da martiri, Ma di tenebre solo, ove i lamenti Non suonan come guai, ma son sospiri. 80 Quivi sto io co' parvoli innocenti, Da' denti morsi della morte, avante Che fosser dall' umana colpa esenti. Quivi sto io con quei che le tre sante Virtu non si vestiro, e senza vizio 35 Conobber 1' altre, e seguir tutte quante. Ma se tu sai e puoi, alcuno indizio Da' noi, perche venir possiam piu tosto L& dove il Purgatorio ha dritto inizio. Rispose: Luogo certo non c' e posto : 40 1 i.e. Limbo, see Inf. iv. 24 sqq. 2 The three holy virtues were Faith, Hope, and Charity. The "others" were Prudence, Justice, Temperance, and Fortitude. The three first were called " holy " as having special reference to God Himself.CANTO VII. PURGATORIO. 73 am allowed to mount and make the circle. I will, there- fore, do my best to bear you company. But see how fast the day is declining, and by night it is impossible to ascend ; so .we had better bethink ourselves of a pleasant resting- place. There, on our right hand, some spirits live apart, to whom, if thou wilt, I will conduct thee, nor shalt thou be displeased to know them." u How is this ? " it was answered. " If one would ascend by night, would he be impeded by others ? or by his own want of power ? " Then the good Sordello drew his finger along the ground, saying, " Thou couldest not cross even this thin line after sunset. Yet would not thine upward course be hindered by aught but nocturnal darkness ; this, by taking Licito m' e andar suso ed intorno : Per quanto ir posso, a guida mi t' accosto. Ma vedi gik come dichina il giorno, E andar su di notte non si puote ; Pero e buon pensar di bel soggiorno. 45 Anime sono a destra qua remote : Se '1 mi consenti, menerotti ad esse E non senza diletto ti fien note. Com'ecio? fu risposto : chi volesse Salir di notte, fora egli impedito 50 D' altrui ? ovver saria che non potesse ? E il buon Sordello in terra frego '1 dito Dicendo: Vedi, sola questa riga Non varcheresti dopo il Sol partito : Non pero che altra cosa desse briga, 55 Che la notturna tenebra, ad ir suso : Quella col non poter la voglia intriga.74 PURGATORIO. CANTO VII. away the power, checks the wish. One might, no doubt, return below in the darkness, and wander round about the mountain side, while the horizon yet shuts in the day." Then my master, as if wonder-struck, exclaimed, " Take us whither thou sayest, so as to have some solace while we wait." We had gone on but a short distance from thence, when I perceived, that the mountain was hollowed out even as are our valleys on earth. " Thither," said the spirit, " will we go where the mountain side forms a cavity within its bosom, and there we shall await the nascent day." Between the declivity and the plain was a winding path which led us to the side of the vale where the edge was but half as high as elsewhere. The finest gold and Ben si poria con lei tornare in giuso, E passeggiar la costa intorno errando, Mentre che 1' orizzonte il di tien chiuso. 60 Allora il mio Signor, quasi ammirando : Menane, disse, dunque Ik've dici Ch' aver si puo diletto dimorando. Poco allungati c' eravam di lici, Quand' io r^' accorsi che '1 monte era scemo, 65 A guisa che i valloni sceman quici. Colk, disse quell' ombra, n' anderemo Dove la costa face di se grembo, E quivi 1 nuovo giorno attenderemo. Tra erto e piano era un sentiero sghembo, 70 Che ne condusse in fianco della lacca, L& dove piu ch' a mezzo muore il lembo. Oro ed argento fino e cocco e biacca, Indico legno lucido e sereno,CANTO VII. PURGATORIO. 75 silver and cochineal, and ceruse, pure and lucid Indian1 inlaid wood, and an emerald with freshly-broken edges would one and all be surpassed in brightness by the herbs and flowers scattered within this recess, as the less is vanquished by the greater. Nature had not been content with lavishing her multifarious hues, but with the sweet- ness of a thousand perfumes had produced there an inde- scribably delicious fragrance. Then I saw sitting on the grass and flowers spirits sing- ing " Salve Regina," whose forms because of the valley's depth did not appear without. The Mantuan who had directed our steps thither, now began to say," Do not desire me to take you down amidst those spirits before the now declining Sun hath sunk to rest. From that eminence ye Fresco smeraldo in 1' ora che si fiacca, 75 Dall' erba e dalli fior dentro a quel seno Posti, ciascun saria di color vinto, Come dal suo maggiore e vinto il meno. Non avea pur natura ivi dipinto, Ma di soavita di mille odori 80 Yi faceva un incognito indistinto. Salve Begina in sul verde e in su' fiori Quindi seder cantando anime vidi, Che per la valle non parean di fuori. Prima che '1 poco sole omai s' annidi, 85 Comincio '1 Mantovan che ci avea volti, Tra color non vogliate ch' io vi guidi. Da questa balzo meglio gli atti e i volti 1 Some translate Indico legno by I words separately, " indigo, phos- " ebony" 5 others again take the | phorescent wood, &c."76 PURGATORIO. CANTO VII. will better discern the faces and gestures of them all than if ye were welcomed down in the plain amongst them." "He who sits above the rest and appears to have neglected what he ought to have done, and does not open his mouth to sing with his fellows, was once the Emperor Rudolph,1 who might have healed the wounds that have done Italy to death, now too late to be cured by any other. He, that seems to be consoling him, once ruled the land 2 whence springs the water that Moldau rolls into Elbe and Elbe into the sea. Ottocar3 was his name ; and even in swaddling clothes he far surpassed his son the bearded Wenceslaus, who wallows in sloth and luxury. Conoscerete voi di tutti quanti, Che nella lama giu tra essi accolti. 90 Colui che piu sied' alto, ed ha sembianti D' aver negletto cio che far dovea, E che non muove bocca agli altrui canti, Ridolfo imperador fu, che potea Sanar le piaghe c' hanno Italia morta, 95 Si che tardi per altri si ricrea. L' altro, che nella vista lui conforta, Besse la terra dove 1' acqua nasce, Che Molta in Albia, ed Albia in mar ne porta: Ottachero ebbe nome, e nelle fasce 100 Fu meglio assai che Yincislao suo figlio Barbuto, cui lussuria ed ozio pasce. 1 Rudolph of Hapsburg, father of the Emperor Albert. See vv. 97 and 103 sqq. of the preceding Canto. 2 Bohemia, whose capital, Prague, is situated on the river Moldau, which runs into the Elbe. 3 Ottocar, King of Bohemia, was killed fighting against Rudolph at the battle of Marchfeld in 1278*CANTO VII. PURGATORIO. 77 " That one with the small nose,1 who seems in close conference with him of the benignant aspect,2 died flying from his foes, and shaming the lilies of France. Look how he beats his breast! Now observe that other one, who, as he sighs, rests his cheek "upon his hand. They are the father and father-in-law of the Scourge of France. They know his vicious and polluted life, and thence comes the anguish that pierces their hearts. " That one, who appears so strongly built,3 and who keeps measure in singing with him of the high curved.nose, was E quel Nasetto, che stretto aconsiglio Par con colui c' ha si benigno aspetto, Mori fuggendo e disfiorando il giglio: 105 Guardate lk, come si batte il petto. L' altro vedete c' ha fatto alia guancia Delia sua palma, sospirando, letto. Padre e suocero son del mal di Francia: Sanno la vita sua viziata e lorda, 110 E quindi viene il duol clie si li lancia. Quel che par si membruto, e che s' accorda Cantando con colui dal maschio naso, 1 This was Philip III. of France. He was defeated in a sea-fight by Roger de Loria, admiral of the King of Arragon. He abandoned the army which he had in Cata- lonia and retreated to Perpignan, where he died of grief. 2 This was Henry III. of Na- varre, father of Jane, wife of Philip IV, of France, called the Fair, and here the Scourge of France. See line 109 infra. 3 Peter III. of Arragon had four sons, Alonzo, James, Frede- ric, and Peter. The young man (line 126) is probably the first, who died in 1291. The .first two suc- ceeded their father in the kingdom of Arragon, Frederic in that of Sicily.78 PURGATORIO. CANTO VII. girt with the cord of all virtues ;1 and if the young man who sits behind him, had remained king in his stead, the virtue would have been transferred from one vessel to the other. But so much cannot be said of the other heirs. James and Frederick possess the kingdoms, but none has inherited the better part.2 Rarely does human worth ascend the branches of the ancestral tree; and it is so ordained by Him who bestows it, that it may be specially prayed for from Him. " My words, too, are directed to him with the long nose,3 no less than to the other^ Peter, who is singing with him, for whom Apulia and Provence have good cause to grieve.4 D' ogni valor porto cinta la corda. E se re dopo lui fosse rimaso 115 Lo giovinetto che retro a lui siede, Bene andava il valor di vaso in vaso; Che non si puote dir dell' altre rede. Iacomo e Federigo hanno i reami: Del retaggio miglior nessun possiede. 120 Bade volte risurge per li rami L' umana probitate : e questo vuole Quei che la da, perche da lui si chiami. Anco al Nasuto vanno mie parole (Non men ch' all' altro, Pier, che con lui canta), 125 Onde Puglia e Proenza gik si duole. 1 This expression seems to be derived from the words of Isaiah : " Justice shall be the girdle of his loins, and righteousness the girdle of his reins." 2 i.e. their father's virtues. 3 Charles I. of Sicily. 4 i.e. Apulia and Provence are already distressed by the bad go- vernment of Charles II., son of Charles I.CANTO VII. PURGATORIO. 79 The plant is as much inferior to its seed as Costanza has more right even now to boast-of her husband than Beatrice and Margaret have.1 "Behold the king of simple life, Harry of England,2 sitting alone. He is more fortunate in his descendant. He who sits on the ground below those spirits, looking upwards, is William the Marquis,3 on whose account Ales- sandria and its war cause Montferrat and the Canavese to mourn." Tant' e del seme suo minor la pianta, Quanto, piu che Beatrice e Margherita, Gostanza di marito ancor si vanta. Yedete il re della semplice vita 130 Seder la solo, Arrigo d' Inghilterra : Questi ha ne' rami suoi migliore uscita. Quel che piu basso tra costor s' atterra, Guardando in suso, e Guglielmo marchese, Per cui e Alessandria e la sua guerra 135 Fa pianger Monferrato e il Canavese. 1 Beatrix, daughter of the Count of Provence, was the first wife of Charles I. of Sicily; Margaret, daughter of the Duke of Burgundy, his second ; Costanza, daughter of Manfredi,was the wife of Peter III., so that the sense of the passage is, Charles II. is as much worse than Charles I. as Charles I. was worse than Peter III, 2 This was Henry III. of Eng- land, succeeded by his worthy son, Edward I. 3 William, Marquis of Mont- ferrat, was seized by his own sub- jects, the citizens of Alessandria, and shut up in a cage, where he died of grief, a.d. 1292. His sons carried on a long war against the people of Alessandria to avenge his death, which caused much suffering to the people of Montferrat and its district, the Canavese.ARGUMENT TO CANTO VIII. At nightfall two angels descend to guard the valley. In the valley Dante meets Nino de' Visconti of Pisa, with whom he remains to talk. A large serpent then appears, and is driven away by the angels.. Conversation of Dante with Conrad Malaspina.82 PURGATORIO. canto viii. CANTO VIII. It was bow the hour 1 winch awakens the longing desire and melts the heart of seafarers on the day that they have bidden their sweet friends farewell; and which thrills with love the heart of the pilgrim novice, if he hear the distant bell, that seems to toll for the dying day; when I began no more to hear those sounds,2 and to observe, that one of the spirits had risen up, and was beckoning as though it craved a listener. It clasped its hands and raised them up, setting its eyes towards the East, as if saying to God, " I care for nought but thee*" " Te lucis ante," 3 issued from its lips with such devotion Era gik 1' ora che volge il disio Ai naviganti e intenerisce il core, Lo di c' han detto a' dolci amici addio; E che lo novo peregrin d' amore Punge, se ode squilla di lontano, 5 Che paia il giorno pianger che si muore : Quand' io incominciai a render vano L' udire, ed a mirare una dell' alme Surta, che 1' ascoltar chiedea con mano. Ella giunse e levo ambo le palme, 10 Ficcando gli occhi verso 1' oriente, Come dicesse a Dio : D' altro non calme. Te lucis ante si divotamente 1 i.e. of evening. 2 Because the spirits had ceased to sing " Salve regina," and Sor- dello had relapsed into silence. 3 The first line of the hymn sung in Catholic churches just before the close of evening prayer.CANTO VIII. PURGATORIO. 83 and to such seraphic strains, that I lost all consciousness of myself. And then the other spirits solemnly and sweetly accompanied him through the remainder of the hymn, with eyes upraised to the celestial spheres. Here, reader, sharpen thine eyes to perceive the truth; for the veil is now so thin, that truly it is easy for the sight to pene- trate it. I saw that gentle troop gaze upwards in silence, pale and lowly, as if in expectation; when I beheld two angels issuing from on high, and descend with two flaming swords, cut short and deprived of their points. Green1 were their garments, like tender leaves new born, and floating behind them, spread out in the air Le usci di bocca, e con si dolci note, Che fece me a me uscir di mente. 15 E r altre poi dolcemente e divote Seguit&r lei per tutto 1' inno intero, Avendo gli occhi alle superne ruote. Aguzza qui, lettor, ben gli occhi al vero, Che il velo e ora ben tanto sottile, 20 Certo, che '1 trapassar dentro e leggiero. I' vidi quello esercito gentile Tacito poscia riguardare in sue, Quasi aspettando pallido ed umile: E vidi uscir dell' alto, e scender giue Due Angeli con duo spade affocate, Tronche e private delle punte sue. 25 Yerdi, come fogliette pur mo nate, Erano in veste, che da verdi penne 1 Green was the colour of hope, see Purg. iii. 135, supra. "Mentre che la speranza ha fior del verde."84 PURGATORIO. CANTO VIII. through the beating of their green wings. One placed himself a little above us, and the other descended to the opposite ridge, so that those in the valley were enclosed between them. I could well discern their flaxen heads, but my eyes were dazzled by the brightness of their faces, like a faculty too much overwrought.1 " Both these come from Mary's bosom,"2 said Sordello, " to protect the valley, on account of the serpent, which will soon appear." Wherefore I, who did not know by which way he would come, turned round and drew nearer to my faithful guide, shivering with terror. Percosse traen dietro e ventilate. 80 L' un poco sovr' a noi a star si venne, E r altro scese nell' opposta sponda, Si che la gente in mezzo si contenne. Ben discerneva in lor la testa bionda; Ma nelle facce 1' occhio si smarria, 35 Come virtu ch' a troppo si confonda. Ambo vegnon del grembo di Maria, Disse Sordello, a guardia della valle, Per lo serpente che verr& via via. Ond' io che non sapeva per qual calle, 40 Mi volsi intorno, e stretto m' accostai Tutto gelato alle fidate spalle. E Sordello anche : Ora avvalliamo omai 1 The sense appears to be " As the faculties of the human mind are sometimes overwhelmed and rendered useless by the exube- rance of sensations, so my eyes were so dazzled that they lost their powers of sight." 2 Either from the starry heaven, Par. xxiii., where Mary first ap- pears to Dante, or from the em- pyrean, Par. xxxi., where her throne is.CANTO VIII. PURGATORIO. 85 Then spake Sordello: " Let us now descend into the vale among those mighty shades, and talk with them, for right glad will they be to see you." I think I had only descended three steps before I arrived at the bottom, and saw one of them earnestly beholding me, as if trying to recognize me. By this time the air was growing dim, not so, however, but that between his eyes and mine it did not prevent my seeing what it concealed before.1 He then drew near to me, as did I to him. O Nino,2 courteous judge, how pleased I was to see that thou wast not amongst the wicked ! No fair salutation was omitted between us. Then he enquired : " How long Tra le grandi ombre, e parleremo ad esse : Grazioso fia lor vedervi assai. 45 Solo tre passi credo ch' io scendesse, E fui di sotto, e vidi un che mirava Pur me, come conoscer mi volesse. Tempo era gik che 1' aer s' annerava, Ma non si, che tra gli occhi suoi e' miei 50 Non dichiarasse cio che pria serrava, Ver me si fece, ed io ver lui mi fei: Giudice Nin gentil, quanto mi piacque, Quando ti vidi non esser tra' rei! Nullo bel salutar tra noi si tacque: 55 Poi dimando : Quant' e che tu venisti 1 The sense is that though the darkening air had prevented them seeing each other at a distance, yet as Dante got down into the valley and drew nearer to Nino they mu- tually recognized each other. 2 Nino was one of the Pisa Vis- conti, judge of the district of Gal- lura in Sardinia, a Guelph leader and nephew of Count Ugolino of Gherardesca whose story is told Inf. xxxiii.86 PUtlGATORIO. CANTO VIII. is it since thou earnest to the foot of the mountain over those distant waters ? " " Oh! " I replied, " I came this morning through the regions of woe, and am still in my first life, though by this voyage I may gain the other." On hearing my reply, Sordello and he both drew back, like people suddenly astonished. One turned to Yirgil, the other to one who was sitting there, crying out, " Rise up, Conrad, come and see what God by His grace has permitted." Then, turning to me, " By that special gratitude that thou owest to Him Who conceals His first reason, so that it is unfathomable, when thou shalt have traversed that vast sea,1 tell my Giovanna2 to pray for Appie del monte per le lontane acque ? Oh ! dissi lui, per entro i luoghi tristi Yenni stamane, e sono in prima vita, Ancor che 1' altra si andando acquisti. 60 E come fu la mia risposta udita, Sordello ed egli indietro si raccolse, Come gente di subito smarrita. L' uno a Virgilio, e 1' altro ad un si volse Che sedea 11, gridando : Su, Currado, 65 Yieni a veder che Dio per grazia volse. Poi volto a me: Per quel singular grado, Che tu dei a colui, che si nasconde Lo suo primo perche, che non gli e guado, Quando sarai di lk dalle larghe onde, 70 Di' a Giovanna mia, che per me chiami L& dove agl' innocenti si risponde. 1 Purgatory was supposed to be in the midst of a vast sea covering the southern hemisphere. 2 Nino's daughter, and wife of Richard of Cammino Trivigiano.CANTO VIII. PURGATORIO. 87 me to Him by Whom innocent snppliants are answered. I do not think her mother1 loves me any more, since she put away the white wimple,2 which in her misery she must now long to resume. By her conduct it may be easily seen how long the flame of love lasts in a woman's breast, if it is not often rekindled by the eye or the touch. The viper in the escutcheon of the lord of Milan will not ornament her tomb so well as would have done the cock of Galium.'*3 Thus he spoke with a countenance stamped with that righteous zeal, which burns with moderation in the heart. Non credo che la sua madre piu m' ami, Poscia che trasmuto le bianche bende, Le quai convien che misera ancor brami. 75 Per lei assai di lieve si comprende, Quanto in femmina fuoco d' amor dura, Se r occhio o il tatto spesso nol raccende. Non le fara si bella sepoltura La vipera che il Melanese accampa, 80 Com' avria fatto il gallo di Gallura. Cosi dicea, segnato della stampa Nel suo aspetto di quel dritto zelo, Che misuratamente in core avvampa. 1 Giovanna's mother was Bea- trice, of Este, who after Nino's death married Galeazzo, son of Matteo Yisconti, lord of Milan. 2 The white wimple was part of a widow's dress. It covered the eyes and the face. 3 The Viper was the device of the Yisconti, lords of Milan, and formed the standard of the Mila- nese army in war. The Cock was that of Nino, as judge of Gallura. The allusion is to the first and second husbands of Beatrice d'Este. See line 73 supra and note.88 PURGATORIO. CANTO VIII. My eager eyes were continually turned to the sky, where the stars revolve with slower motion, as the part of the wheel does that is nearest to the axle. Then my leader said : " Son, what art thou gazing at on high ? " And I replied: "At those three burning stars 1 with which the pole in this direction seems all on fire." And he to me : " The four clear stars, which thou sawest this morning, are low down, and these have gone up to where they were." While he was talking with us, Sordello drew him towards himself, saying," See, there is our adversary." And he stretched out his finger to show him where to look. On that side where the little valley has no protect- Gli occhi miei ghiotti andavan pure al cielo, 85 Pur la dove le stelle son piu tarde, SI come ruota piu presso alio stelo. E il Duca mio : Figliuol, che lassii guarde ? Ed io a lui: A quelle tre facelle, Di che il polo di qua tutto quanto arde. 90 Ed egli a me : Le quattro chiare stelle Che vedevi staman, son di lk basse, E queste son salite ov' eran quelle. Com' ei parlava, e Sordello a se '1 trasse Dicendo: Vedi lk '1 nostro avversaro; 95 E drizzo '1 dito, perche in lk guatasse. Da quella parte, onde non ha riparo La picciola vallea, era una biscia, 1 By these three stars are sup- posed to be meant the three theolo- gical virtues, Faith, Hope and Charity, and by the four stars inline 91, the four cardinal virtues, Canto i. 23. The former were supposed to be more contemplative, and so bet- ter fitted for the night, and the latter being of an active character were practised best by day.CANTO VIII. PURGATORIO. 89 ing ridge, was a large snake, perhaps the very one who gave Eve the bitter food. Through the grass and flowers stole the baleful reptile, turning his head now and again, and licking his back, like a beast smoothing his skin.1 I did not see, and therefore cannot say when the heavenly eagles commenced their flight, but I clearly saw them both in motion. On hearing their green wings cleave the air the serpent fled, and the angels took their way to their former stations with equal flight. The spirit2 which had drawn near the judge when he called it, kept its eyes fixed on me throughout that en- counter.3 " So may the divine lantern that is leading thee Forse qual diede ad Eva il cibo amaro. Tra r erba e i fior venia la mala striscia, 100 Yolgendo ad or ad or la testa, e il dosso Leccando come bestia che si liscia. Io nol vidi, e pero dicer nol posso, Come mosser gli astor celestiali, Ma vidi bene e 1' uno e 1' altro mosso. 105 Sentendo fender V aere alle verdi ali, Fuggio '1 serpente, e gli Angeli dier volta Suso alle poste rivolando iguali. L' ombra che s' era al giudice raccolta, Quando chiamb, per tutto quell' assalto 110 Punto non fu da me guardar disciolta. Se la lucerna che ti mena in alto 1 By the serpent licking and smoothing its skin is indicated the craft of the Tempter in always con- triving to throw a gloss oyer the dreadful nature of sin. 2 i.e. of Conrad Malaspina. 3 i.e. between the angels and the serpent.90 PURGATORIO. CANTO VIII. oil high find in thy will so much wax 1 as is necessary to reach the enamelled mountain top,"g2 it began, " If thou knowest any certain tidings of Valdimagra,3 or of the neighbouring country, tell it me, for once was I great there. I was called Conrad Malaspina; I am not the elder one, but descended from him. I bore to my people the love which is here purified." 44 Oh ! " said I to him, " I never was in your land; but where is the inhabited part of Europe where it is not known ? The fame which adorns your house is loudly Trovi nel tuo arbitrio tanta cera, Quant' e mestiero infino al sommo smalto, Comincio ella, se novella vera 115 Di Valdimagra, o di parte vicina Sai, dilla a me, che gi& grande la era. Chiamato fui Currado Malaspina: Non son 1' antico, ma di lui discesi: A' miei portai 1' amor che qui raffina. 120 0! dissi lui, per li vostri paesi Giammai non fui; ma dove si dimora Per tutta Europa, ch' ei non sien palesi ? La fama che la vostra casa onora, 1 The lantern is the divine illu- minating grace. The meaning is, as the material lantern requires to be fed by wax, oil, or the like, so God's grace requires our co-opera- tion, and therefore when Dante calls the former the lantern, he calls the latter the wax that feeds it. 2 i.e. the flower-enamelled top of the mountain, or " the blue enamel," i.e, the highest heaven. 3 Valdimagra was a district of Lunigiano, the territory of the Malaspina family. It took its name from the river Magra, which falls into the sea near the Gulf of Spezzia.CANTO VIII. PURGATORIO. 91 proclaimed by the nobles and the country, so that it is known to those who were never there. And I swear to yon, by my hopes of ascending on high, that your honoured lineage is still adorned with the fame of the purse and the sword.1 Custom and nature so distinguish your race, that though the wicked chief2 leads the world astray, it alone walks straight on, and scorns the evil road." And he: "Now go, for the Sun will not lay himself down seven times in the bed which Aries covers and bestrides with its four feet,3 before this courteous opinion will be fast nailed into thy brain with stronger nails than those of Grida i signori, e grida la contrada, 125 Si che ne sa chi non vi fu ancora. Ed io vi giuro, s' io di sopra vada, Che vostra gente onrata non si sfregia Del pregio della borsa e della spada. Uso e natura si la privilegia, 130 Che, perche il Capo reo lo mondo torca, Sola va dritta, e il mal cammin dispregia. Ed egli: Or va, che il Sol non si ricorca Sette volte nel letto che il Montone Con tutti e quattro i pie copre ed inforca, 135 Che cotesta cortese opinione Ti fia chiavata in mezzo della testa 1 i.e. is celebrated for its open- handedness and valour. 2 The wicked chief is generally supposed to mean Pope Boniface VIII. 3 i.e. seven Spring equinoxes (when the Sun is in Aries) will not pass.92 PUBGATORIO. CANTO VIII. another's speech,1 if the course of God's providence be not stopped." Con maggior chiovi che d' altrui sermone, Se corso di giudicio non s' arresta. 1 Dante makes Conrad predict the kind welcome he received in his exile from Moroello Malaspina, Conrad's kinsman.ARGUMENT TO CANTO IX. Dante falls asleep, overcome by fatigue, and is transported by Lucia in front of the Gate of Purgatory. The angel who guards it, at Dante's humble request, allows him and Virgil to enter, haying pre- viously engraved with the point of his sword seven P's on his fore- head.94 PURGATORIO. canto ix. CANTO IX. The concubine of ancient Tithonus, fresh from her sweet- heart's embrace, was lifting her pale face above the Eastern horizon. Her brow glistened with gems, set in the form of the frigid animal which smites the nations with its tail.1 And Night, in the place where we were standing, had made two steps2 of its upward course, and at the third was already in- clining its wings downwards, when I, who retained some- what of Adam's nature, conquered by sleep, laid me down on the grass, where we all five3 were sitting. La concubina di Titone antico Gik s' imbiancava al balzo d' oriente, Fuor delle braccia del suo dolce amico: Di gemme la sua fronte era lucente, Poste in figura del freddo animale, 5 Che con la coda percuote la gente: E la notte de' passi, con che sale, Fatti avea duo nel loco ov' eravamo, E il terzo gik chinava in giuso 1' ale; Quand io che meco avea di quel d' Adamo, 10 Yinto dal sonno, in su 1' erba inchinai Lk've gik tutti e cinque sedevamo. 1 The constellation Scorpion. 2 Nearly three hours of the night were past; it was almost 9 o'clock, and the moon was about to rise. 3 These were Virgil, Dante, Conrad, Sordello, and Nino. See preceding canto.CANTO IX. PURGATORIO. 95 At the hour close upon the dawn, when the swallow begins her plaintive strains, mindful perhaps of her former woes ;1 and when our mind, more freed from the flesh and less occupied by thoughts, is, as it were, prophetic in its visions, in my dream methought I saw an eagle soaring in the sky on golden pinions, with outspread wings, medi- tating a downward swoop; and that I myself was there where Ganymede abandoned his companions when he was carried off to the council of the gods on high. I thought within myself, perhaps this bird strikes his prey here from custom, and disdains to bear it aloft in his talons from elsewhere. Then it seemed to me as if, after a few more circlings in the air, it came terribly down like a flash of lightning, and Nell' ora che comincia i tristi lai La rondinella presso alia mattina, Forse a memoria de' suoi primi guai, 15 E che la mente nostra pellegrina Piii dalla carne, e men da' pensier presa, Alle sue vision guasi e divina; In sogno mi parea veder sospesa Un' aquila nel ciel con penne d' oro, 20 Gon r ale aperte, ed a calare intesa: Ed esser mi parea lk dove foro Abbandonati i suoi da Ganimede, Quando fu ratto al sommo concistoro. Fra me pensava: forse questa fiede 25 Pur qui per uso, e forse d' altro loco Disdegna di portarne suso in piede. Poi mi parea che, piu rotata un poco, Terribil come folgor discendesse, 1 Because Progne was turned from a woman into a swallow.96 PURGATORIO. canto ix. bore me aloft to the fire.1 There niethought that I and it were burning; and so scorching was the imaginary con- flagration, that I could not but awake. In like manner as Achilles shook himself, rolling his awakened eyes, and not knowing the place where he was, when his mother from Chiron bore him off in her arms while yet asleep to Scyros, whence the Greeks afterwards carried him away,2 so I shook myself, when from my face sleep fled, and I became deadly pale, like one whose features are congealed by terror. My comforter3 alone stood by my side. The snn was E me rapisse suso infino al foco. 30 Ivi pareva ch' ella ed io ardesse, E si r incendio immaginato cosse, Che convenne che il sonno si rompesse. Non altrimente Achille si riscosse, Gli occhi svegliati rivolgendo in giro, 35 E non sappiendo la dove si fosse, Quando la madre da Chirone a Schiro Tramgo lui do^mendo in ie sue braccia, La onde poi gli Greci il dipartiro ; Che mi scobs' io, si come dalla faccia 40 Mi fuggi '1 sonno, e diventai smorto, Come fa 1' uom che spaventato agghiaccia. Da lato m' era solo il mio Conforto, 1 The old philosophers supposed there was a sphere of fire imme- diately above the earth's atmo- sphere and immediately below that of the moon. It was called the Empyrean. 2 Achilles was taken away by his mother Thetis from the Centaur Chiron, his tutor, and carried off by her while asleep to the Isle of Scyros, where he remained in Ly- comedes' house in woman's clothes, but was discovered by the cunning of Ulysses, and made to come to Troy. 3 i.e, Virgil.CANTO IX. PUMGATORIO. 97 already risen more than two hours, and my face was turned towards the sea. " Be not afraid," said my lord; M re- assure thyself, for so far all is well; do not relax, but exert thy utmost power. Thou art now arrived at Purga- tory. See, there is the rampart that surrounds it; see, there is the entrance, where there appears a break.1 Ere this, in the dawn that precedes the day, when thy soul slept within thee upon the flowers that adorn the valley, a Lady came, and said : 'I am Lucia.2 Let me take yon sleeper, so I shall be able to speed him on his way.' Sordello re- mained, and the other gentle spirits. She bare thee up, and as the day grew clear, ascended here, and I followed in her E il Sole er' alto gik piu di due ore, E il viso m' era alia marina torto. 45 Non aver tema, disse il mio Sign ore : Fatti sicur, ch& noi siamo a buon punto : Non stringer, ma rallarga ogni vigore. Tu se' omai al Purgatorio giunto : Yedi Ik '1 balzo che il chiude d' intorno; 50 Vedi 1' entrata lk Ve par disgiunto. Dianzi, nelT alba che precede al giorno, Quando 1' anima tua dentro dormia Sopra li fiori, onde laggiu e adorno, Yenne una donna, e disse : I' son Lucia ; 55 Lasciatemi pigliar costui che dorme, Si 1' agevolero per la sua via. Sordel rimase, e 1' altre gentil forme: Ella ti tolse, e come il di fu chiaro, Sen venrie suso, ed io per le sue orme. 60 1 i.e. in the rampart. 2 By Lucia is meant the illuminating grace of God. Cf. Inf. ii. 97-118. H98 FURGATORIO. CANTO IX. footsteps. Here she laid thee down; and first her beauteous eyes showed me that open entrance. Then she and thy sleep vanished together." As a man who has been in doubt re- assures himself, and turns his fear into comfort as soon as he finds out the truth, such change I underwent; and when my leader saw me without anxiety, he moved up the cliff, and I behind him, towards the height. Reader, thou seest well how I exalt my matter, and, therefore, do not wonder if I prop it up with more elaborate art. We now drew near and came to a spot, where what at first had seemed to me a breach, even like a crack that separates a wall, I saw to be a portal, and under it three steps of divers hues, whereby one must ascend; and a porter, who Qui ti poso: e pria mi dimostraro Gli occhi suoi belli quell' entrata aperta; Poi ella e il sonno ad una se n' andaro. A guisa d' uom che in dubbit) si raccerta, E che muta in conforto sua paura, 65 Poi che la veritk gli e discoverta, Mi cambia' io: e come senza cura Videmi il Duca mio, su per lo balzo Si mosse, ed io diretro in ver 1' altura. Lettor, tu vedi ben com' io innalzo 70 La mia materia, e pero con piu arte Non ti maravigliar s' io la rincalzo. Noi ci appressammo, ed eravamo in parte, Che la, dove pareami in prima un rotto,* Pur com' un fesso che muro diparte, 75 Yidi una porta, e tre gradi di sotto, Per gire ad essa, di color diversi,CANTO IX. PURGATORIO. 99 as yet uttered no word. And as I looked yet more closely I saw him sitting on the topmost step, of such an aspect as I could not bear to behold. He held in his hand a drawn sword, that reflected its rays so strongly upon us that I often raised my eyes in vain. " Stand where ye are, and tell me what ye want ? " he began to say; " where is your escort?1 Take heed lest the ascent should weary you." "A Lady from heaven," answered him my master, "well acquainted with these things, but this moment said to us : ' Go on now, there is the gate.' " " May she then speed you on your way ! " replied the courteous porter. " Advance ye then forward to our steps." Thither we went, and the Ed un portier che ancor non facea motto. E come 1' occhio piu e piix v' apersi, Yidil seder sopra 1 grado soprano, 80 Tal nella faccia, ch' io non lo soffersi: Ed una spada nuda aveva in mano, Che rifletteva i raggi si ver noi, Ch' io dirizzava spesso il viso invano. Ditel costinci: che volete voi ? 85 Comincio egli a dire: ov' e la scorta ? Guardate che '1 venir su non vi n6i. Donna del Ciel, di queste cose accorta, Rispose il mio Maestro a lui, pur dianzi Ne disse: Andate lk, quivi e la porta. 90 Ed ella i passi vostri in bene avanzi, Ricomincio il cortese portinaio : Yenite dunque a' nostri gradi innanzi. La ne venimmo ; e lo scaglion primaio 1 The angel, whose duty it, is to escort the spirits to Purgatory.100 PURGATORIO. CANTO IX. first stair1 was of white marble, so polished and smooth, that I saw my image in it, just as I really appear. The second was darker than perse,2 and was made of a rough and burnt-up stone, split along and across. The third that lay massively above, appeared to me to be of porphyry of such deep colour as is the blood that spirts up from a vein. Upon this the Angel of God rested both his feet, sitting on the threshold, which looked to me like adamant. Up the three steps my leader conducted me with my willing consent, saying: "Pray humbly that he Bianco marmo era si pulito e terso, 95 Ch' io mi specchiava in esso quale i' paio. Era il secondo, tinto piu che perso, D' una petrina ruvida ed arsiccia, Crepata per lo lungo e per traverso. Lo terzo che di sopra s' ammassiccia, 100 Porfido mi parea si fiammeggiante, Come sangue che fuor di vena spiccia. Sopra questo teneva ambo le piante L' Angel di Dio, sedendo in su la soglia, Che mi sembiava pietra di diamante. 105 Per li tre gradi su, di buona voglia, Mi trasse il Duca mio, dicendo: Chiedi 1 The Gate of Purgatory is symbolical of the Sacrament of Penance, as the three divers colours of the stairs of the dispositions necessary for the sinner in order to obtain absolution. The white colour indicates the sincerity with which the sins must be told to the confessor. The red colour of the rough stone, is the contrition which breaks the former hardness of the heart; and the colour of porphyry signifies the love of God, with which the soul must burn, on re- penting of its sins and asking for absolution. 2 The Perse, according to Dante, was a mixture of purple and black.CANTO IX. PURGATORIO. 101 will undo the lock." I cast myself devoutly at his holy feet, craving his mercy and that he would open to me, but first I struck my breast three times. Seven P's1 did he describe on my forehead with his sword's point, saying, 44 Mind thou wash away these scars, when thou art in- side." Ashes, or dry earth just dug out of the ground, would be of the same colour as his dress, from the folds of which he drew two keys.2 One was of gold, the other of silver. First with the white one, then with the yellow one, unlocked he the gate, so that I was content. "When- ever one of these keys fails to turn promptly in its wards," Umilemente che '1 serrame scioglia. Divoto mi gittai a' santi piedi: Misericordia chiesi, e ch' ei m' aprisse ; 110 Ma pria nel petto tre fiate mi diedi. Sette P nella fronte mi descrisse Col punton della spada, e: Fa che lavi, Quando se' dentro, queste piaghe, disse. Cenere o terra che secca si cavi, 115 D' un color fora col suo vestimento, E di sotto da quel trasse duo chiavi. L' una era d' oro, e 1' altra era d' argento: Pria con la bianca, e poscia con la gialla Fece alia porta si, ch' io fui contento. 120 Quandunque 1' una d' este chiavi falla, Che non si volga dritta per la toppa, 1 These seven P's symbolize the seven deadly sins (Peccata). 8 The two keys denote the au- thority of the Church. The golden one is emblematical of the autho- rity of the confessor; the silver one, of the knowledge and judg- ment requisite for that important office.102 PURGATORIO. CANTO IX. said he to us, " this entrance does not open. More precious is the one,1 but the other requires very much art and skill before it unlocks the door, because it is the one that unravels the knot.2 I have them from Peter,3 who told me to err rather in opening the gate than in keeping it locked, provided those people who come fall penitent at my feet." Then he pushed open the entrance to the holy place, saying, " Enter; but I warn you, that whoso looks back returns outside again."4 And when the pins of that holy portal were turned in their sockets, which are of strong and Diss' egli a noi, non s' apre questa calla. Piu cara e 1' una; ma 1' altra vuol troppa D' arte e d' ingegno avanti che disserri, 125 Perch' ell5 e quella che il nodo disgroppa. Da Pier le tengo; e dissemi, ch' io erri Anzi ad aprir, ch' a tenerla serrata, Pur che la gente a' piedi mi s' atterri. Poi pinse 1' uscio alia porta sacrata, 180 Dicendo : Intrate ; ma facciovi accorti, Che di fuor torna chi indietro si guata. E quando fur ne' cardini distorti Gli spigoli di quella regge sacra, 1 i.e., the golden key, because gold is more precious than silver, and allegorically because it is the fruit of the passion and death of the Redeemer. 2 By the white or silver key is meant the skill of the confessor, in clearing up and reorganizing the confused conscience of the penitent, and in prescribing the proper means of avoiding the sins con- fessed for the future. 3 Alluding to the words of our Lord, conferring on St. Peter the power of the keys. 4 "No man, having put his hand to the plough, and looking back, is fit for the kingdom of God."CANTO IX. PURGATORIO. 103 sonorous metal, Tarpeia roared not so loud, nor made so so shrill a cry, when the good Metellus was dragged away from her; whereby thenceforth she was left despoiled. I turned, attentive to the first sound, and " Te Deum lauda- mus " methought I heard in accents blended with the sweet sound. What I heard made on me the same impression as that received by one who listens to singing accompanied by the organ, when the words are often indistinctly heard. Che di metallo son sonanti e forti, 135 Non ruggio si, ne si mostro si acra Tarpeia, come tolto le fu il buono Metello, per che poi rimase macra. Io mi rivolsi attento al primo tuono, E, Te Deum laudamus, mi parea 140 Udir in voce mista al dolce suono. Tale imagine appunto mi rendea Cio ch' i' udiva, qual prender si suole Quando a cantar con organi si stea: Ch' or si or no s' intendon le parole. 145 1 The allusion is to the well- who describes the noise made by known fact of the forcible entry by the opening thus: Julius Csesar into the treasury on « Tunc rupes Tarpeia sonat>magno the Tarpeian rock, which he rifled rec]usas of its contents in spite of the op- Testatur stridore fores „ position of the Tribune Metellus. See Lucan, Phars., iii., 155, sqq.}THE ARGUMENT TO CANTO X. By a winding and very difficult path in the rock, the Poets ascend to the first terrace. On its side, of polished and very white marble, are sculptured by a Divine hand various examples of humility. While the poets are examining them, a multitude of spirits arrive, who expiate the sin of pride by having their heads bent down beneath massive and heavy stones.106 PURGATORIO. canto x. CANTO X. When we had passed the threshold of the gate, which the souls' ill-placed affections render little used, because they make the wrong way seem the right, by the noise that it made I perceived it was closed, and had I turned my eyes back towards it, what excuse would have been equal to the fault ? We struggled up through a riven crag of rock, the walls of which advanced and retreated like the ebb and flow of the waves. " Here we must needs use a little skill," said my leader, " by following, now this way, now that, the side as it turns." And this made our steps so slow, that before we got free from Poi fummo dentro al soglio della porta Che il malo amor dell' anime disusa, Perche fa parer dritta la via torta, Sonando la senti' esser richiusa: E s' io avessi gli occhi volti ad essa, 5 Qual fora stata al fallo degna scusa ? Noi salivam per una pietra fessa, Che si moveva d' una e d' altra parte, Si come T onda che fugge e s* appressa. Qui si conviene usare un poco d' arte, 10 Comincio '1 Duca mio, in accostarsi Or quinci or quindi al lato che si -parte. E cio fece li nostri passi scarsi Tanto, che pria lo scemo della lunaCANTO X. PURGATORIO. 107 that narrow gorge, the waning moon had gone down to its conch to rest. But when we were free, and in an open space where the mountain trends away back, I being weary, and both uncer- tain of our way, we stopped upon a plain more solitary than a desert track. From its rim, where the void bounds it, to the foot of the high cliff that still rises, would measure thrice the stature of a man ; and as far as my eyes could reach, either to the right or left, the terrace appeared to me of the same dimensions. Hardly had our feet reached that summit, when I perceived that the bank whose steepness forbade ascent, was all of white marble, and so adorned with sculpture as to put to shame not only the works of Rigiunse al letto suo per ricorcarsi, 15 Che noi fossimo fuor di quella cruna. Ma quando fummo liberi ed aperti Su dove '1 monte indietro si rauna, Io stancato, ed ambedue incerti Di nostra via, ristemmo su in un piano 20 Solingo piu che strade per diserti. Dalla sua sponda, ove confina il vano, A' pie' dell' alta ripa, che pur sale, Misurrebbe in tre volte un corpo umano: E quanto 1' occhio mio potea trar d' ale 25 Or dal sinistro, e or dal destro fianco, Questa cornice mi parea cotale. Lassu non eran mossi i pie nostri anco, Quand' io conobbi quella ripa intorno, Che dritto di salita aveva manco, 80 Esser di marmo candido, e adorno D' intagli si, che non pur Policleto,108 PURGATORIO. CANTO X. Polycletus, but even those of Nature herself. The angel1 who came down on Earth with the decree of the so long wept for peace, that opened Heaven from its long interdict, appeared sculptured before us so lifelike and in such sweet attitude, that he looked not like a silent image. One could have sworn that he said " Ave," because there was portrayed the Lady who turned the key to open the stores of Divine Love. She had in her attitude impressed these words " Ecce Ancilla Dei" as perfectly distinct, as a device stamped on wax by a seal. "Fix not thy mind on one place alone," said my sweet Master, who had me on that side where man's heart is placed.2 Therefore Ma la natura gli averebbe scorno. L' Angel che venne in terra col decreto Delia molt' anni lagrimata pace, 85 Ch' aperse il Ciel dal suo lungo divieto, Dinanzi a noi pareva si verace ^ Quivi intagliato in un atto soave, Che non sembiava imagine che tace. Giurato si saria ch' ei dicess' Ave; 40 Perche quivi era immaginata Quella, Ch* ad aprir 1' alto Amor volse la chiave. Ed avea in atto impressa esta favella, Ecce Ancilla Dei, si propriamente, Come figura in cera si suggella. 45 Non tener pure ad un luogo la mente, Disse il dolce Maestro, che m' avea Da quella parte, onfle il core ha la gente: Per ch' io mi volsi col viso, e vedea J Gabriel. 2 i.e. on his left side, he being on my right.CANTO X. PURGATORIO. 109 I turned my face and saw behind Mary, on that side where stood my guide, another story sculptured on the rock. Wherefore I passed by Virgil, and got close to it, so that my eyes might fully examine it. There on the self-same marble were engraved the car and oxen dragging the Holy Ark ; warning us to beware of an office not committed to our charge.1 Before it appeared a great multitude, divided into seven choirs, making one of my senses say, "Yes, they sing ; " and another, " No, they do not sing." So likewise with the incense fumes, that were imaged thereon, the sight and the smell did not agree as to yes and no. The lowly Psalmist was Diretro da Maria, per quella costa, 50 Onde m' era colui che mi movea, Un' altra istoria nella roccia imposta : Per ch' io varcai Yirgilio, e fe' mi presso, Acciocche fosse agli occhi miei disposta. Era intagliato 11 nel marmo stesso 55 Lo carro e i buoi traendo 1' area santa, Per che si teme ufficio non commesso. Dinanzi parea gente; e tutta quanta, Partita in sette cori, a duo miei sensi Facea dicer 1' un No, 1' altro Si canta. 60 Similemente al fumo degl' incensi, Che v' era immaginato, e gli occhi e il naso Ed al si ed al no discordi fensi. Li precedeva al benedetto vaso, Trescando alzato, 1' umile Salmista, 65 E piu e men che re era in quel caso. 1 Alluding to the death of Uzzah, 2 Sam. vi.110 PURGATORIO. CANTO X. seen there, dancing with, high girt garments,1 before the Hoij Vessel; and was on this occasion more and less than king. On the opposite side was represented Michal viewing the scene from the window of a grand palace, like a dis- dainful and angry woman. I moved a little from where I was standing, to examine more nearly another his- tory gleaming white behind Michal. Here was related the high renown of the Roman prince whose great worth moved Gregory to his great victory—I mean the Em- peror Trajan—and a poor widow stood by his bridle in an attitude of tears and grief. The space around him seemed trampled down and full of horsemen, and the golden eagles floated over his head in the air. The Di contra effigiata, ad una vista D' un gran palazzo, Micol ammirava, Si come donna dispettosa e trista. Io mossi i pie del loco dov' io stava, 70 Per avvisar da presso un' altra storia Che diretro a Micol mi biancheggiava. Quivi era storiata 1' alta gloria Del roman prince, lo cui gran valore Mosse Gregorio alia sua gran vittoria: 75 Io dico di Traiano imperadore: Ed una vedovella gli era al freno, Di lagrime atteggiata e di dolore. Dintorno a lui parea calcato e pieno Di cavalieri, e 1' aquile dell' oro 80 Sovresso in vista al vento si movieno. 1 Some commentators render " alzato " as if it were " rising in the air," but it more probably is the same as the " accinctus" of the Vulgate.CANTO X. PURGATORIO. Ill wretched woman amidst all these seemed to say: " My Lord, avenge me for my son's death, that breaks my heart." And he seemed to reply: " Wait now, till I returfu" And she, as one whom grief renders impatient: " 0, my liege, what and if thou never dost return ? " And he: " Whoever fills my place, will fulfil thy desire ; " and she : " What is it to thee, if another does his duty, and thou neglectest thine own ? " Wherefore he : " Take courage, then; I must perform my duty ere I go. Justice requires it, and pity for thee holds me back." 1 He, to whose eyes nothing is new,2 produced that visible parley new to us, because the like is not found here below. La miserella infra tutti costoro Parea dicer: Signor, fammi vendetta Del mio figliuol ch' e morto, ond' io m' accoro. Ed egli a lei rispondere: Ora aspetta 85 Tanto ch' io torni. Ed ella: Signor mio, Gome persona in cui dolor s' affretta, Se tu non torni ? Ed ei: Chi fia dov' io, La ti fark. Ed ella: L' altrui bene A te che fia, se '1 tuo metti in obblio ? 90 Ond' egli: Or ti conforta, che conviene Ch* io solva il mio dovere, anzi ch' io muova : Giustizia vuole, e pietk mi ritiene. Colui, che mai non vide cosa nuova, Produsse esto visibile parlare, 95 Novello a noi, perche qui non si truova. 1 The soul of Trajan is said to have been freed from Hell for this good deed by the prayers of Saint Gregory. See Paradiso, xv., 40. 2 As God knows everything,112 PURGATORIO. CANTO X. Whilst I revelled in the contemplation of so many images of humility, still dearer to behold through remem- brance of the Artist,1 " Lo on this side," whispered the Poet, "a great multitude are advancing, though but slowly. They will direct us to the higher steps." 2 My eyes, which were eager to see novelties, in which they delight, were not slow in turning towards him.3 I would not, however, good reader, that thou shouldest be deterred from thy good resolve by hearing how God wills that man should discharge his debt.4 Do not regard the form of Mentr' io mi dilettava di guardare Le immagini di tante umilitadi, E per lo Fabro loro a veder care; Ecco di qua, ma fanno i passi radi, 100 Mormorava il poeta, molte genti: Questi ne invieranno agli alti gradi. Gli occhi miei ch' a mirare erano intenti, Per veder novitadi, onde son vaghi, Yolgendosi ver lui non furon lenti. 105 Non vo' pero, lettor, che tu ti smaghi Di buon proponimento, per udire Come Dio vuol che il debito si paghi. past, present, and future, nothing can be said to be new in his sight. 1 Because I knew they were fashioned by the hand of God. 2 i. e. to the higher circles of Purgatory. 3 i.e. to the left, where Virgil was. 4 Dante supposes that any one reading of the pains of Hell, will resolve to act rightly in order to avoid them and deserve Paradise; but yet he fears that, in view of the grave penalties exacted in Pur- gatory from the souls destined for Paradise, such an one may lose heart, and abandon his good reso- lutions; so he encourages him by pointing out the bliss that is to follow the pains of Purgatory.CANTO X. PURGATORIO. 113 the punishment; but reflect on what will follow—remember that at worst it cannot last beyond the Great Assize. I then began: " Master, those I see moving towards us do not seem like human beings, nor know I what they be ; so distracted is my vision." And he to me : " The heavy form of their torment so bends them down to earth that even my eyes at first were strained to make them but. But keep thy looks fixed that way, and disentangle with thine eye what comes beneath those stones. Already canst thou perceive how each one is tormented." O ye haughty Christians, miserable and heavy laden, who, weak in mental vision, trust in your backward steps, perceive ye not that we are worms created to form the angelic Non attender la forma del martire : Pensa la succession; pensa che, a peggio, 110 Oltre la gran sentenzia non puo ire. I' cominciai: Maestro, quel eh' io veggio Muovere a noi, non mi sembran persone, E non so che: si nel veder vaneggio. Ed egli a me : La grave condizione 115 Di lor tormento a terra gli rannicchia Si, che i miei occhi pria n' ebber tenzione. Ma guarda fiso lk, e disviticchia Col viso quel che vien sotto a quei sassi: Gia scorger puoi come ciascun si picchia. 120 0 superbi Cristian miseri lassi, Che, della vista della mente infermi, Fidanza avete ne' ritrosi passi; Non v' accorgete voi, che noi siam vermi Nati a formar 1' angelica farfalla, 125 I114 PURGATORIO. CANTO X. butterfly,1 that soars unveiled to judgment? Why are your minds so puffed up with pride ? Ye are like abortive insects and worms, whose formation is defective. As one sometimes sees as a corbel a figure to support a floor or roof with its knees forced into its breast, which excites real compassion for that which is unreal in the mind of the beholder, so appeared to me those spirits, when I well observed them. They were in truth more or less bent down, according as they had more or less weight upon their backs, and he who showed the most patience in his gestures, seemed to say with tears, " More I cannot bear." Che vola alia giustizia senza schermi ? Di che I' animo vostro in alto galla ? Yoi siete quasi entomata in difetto, Si come verme, in cui formazion falla. Come, per sostentar solaio o tetto, 130 Per mensola talvolta una figura Si vede giunger le ginocchia al petto, La qual fa del non ver vera rancura Nascere a chi la vede; cosl fatti Vid' io color, quando posi ben cura. 135 Yero b che piu e meno eran contratti, Secondo ch' avean piu e meno addosso; E qual piu pazienza avea negli atti, Piangendo parea dicer: Piu non posso. 1 The butterfly was an a-ncient and well-known emblem of the human soul.ARGUMENT TO CANTO XI. The Spirits offer up prayer to God, a paraphrase of the Lord's Prayer. Omberto, son of the Count of Santafiore, shows the Poets the easiest ascent. Dante is recognised by Oderisi of Agobbio, who discourses on the yanity of worldly fame.116 PURGATORIO. canto xi. CANTO XI. " Our Father, which art in Heaven, not that Thou art limited thereto, but by the greater love thou bearest to the primal works of Thy hand.1 Hallowed be Thy name and Thy power by every creature, for meet,and right it is to give thanks to Thy divine effluence.2 May the peace of Thy kingdom come into our hearts, since with all our efforts, we cannot attain to it of ourselves, if it vouchsafe not to come. As Thy angels sacrifice their wills to Thine, ever singing 'Hosanna,' so may men do likewise. Give us this'day our daily manna, without which in this rugged wilder- 0 Padre nostro, che ne' cieli stai, Non circonscritto, ma per piu amore Ch' a' primi effetti di lassu tu hai, Laudato sia il tuo nome e il tuo talore Da ogni creatura, com' e degno § Di render grazie al tuo'dolce vapore. Vegna ver noi la pace del tuo regno, Che noi ad essa non potem da noi, S' ella non vien, con tutto nostro ingegno. Come del suo voler gli angeli tuoi 10 Fan sacrificio a te, cantando Osanna, Cosi facciano gli uomini de' suoi. Da oggi a noi la cotidiana manna, 1 i.e. the first created things, Heaven and the angels. 2 Vapore here means the wis- dom of God as being the highest emanation of the Divine Nature.CANTO XI. PURGATORIO. 117 ness, lie must go back that fain would most advance. And as we forgive all others the ills we have sjiffered from them, so do Thou pardon us, gracious Father, with- out regard to our deserts. Our virtue, that so quickly yields itself, prove not in conflict with our ancient foe, but rescue it from him, who so sorely tempts it. This last peti- tion, dear Lord, we urge not for ourselves; there is no need;1 but for those who have remained behind." Thus praying for a good pilgrimage2 for themselves and us, those spirits bending beneath their burden, like that which now and then is felt in dreams, in various degrees of pain and Senza la qual per questo aspro diserto A retro va chi piii di gir s' affanna. 15 E come noi lo mal ch' avem sofferto Perdoniamo a ciascuno, e tu perdona Benigno, e non guardare al nostro merto. Nostra virtu che di leggier s' adona, Non spermentar con 1' antico avversaro, 20 Ma libera da lui, che si la sprona. Quest' ultima preghiera, Signor caro, Gill non si fa per noi, che non bisogna, Ma per color che dietro a noi restaro. Cosi aseea noi buona ramogna 25 Quell' ombre orando, andavan sotto il pondo, Simile a quel che talvolta si sogna, Disparmente angosciate tutte a tondo, 1 i. e. for those who have ceased their earthly pilgrimage are no longer subject to temptations, nor to actual sin. 2 Buona ramogna. This diffi- cult word, here translated " pilgri- mage," is said to be derived from ramo, a branch, and to signify the wanderings from branch to branch of a young bird fresh from the nest and just learning to fly.118 PURGATORIO. CANTO XI. weariness passed on round the first circle, purging away the mists of worldly pride. If there in Purgatory they always pray for us, what ought not to be done and said for them here by those whose will springs from a good root. Well were it to aid them to wash off the stains contracted here below, so that, cleansed and lightened, they may mount up into the starry spheres. " Ah! that justice and piety1 may rid you of your burdens speedily, and let you expand those wings, that will waft you to heaven after your hearts' de- sire, show us on which hand lies the shortest way to the stair, and if there is more than one path, show us the least steep. For this my fellow-pilgrim, on ac- count of the burden of Adam's flesh, with which he is E lasse su per la prima cornice, Purgando le caligini del mondo. 80 Se di Yk sempre ben per noi si dice, Di qua che dire e far per lor si puote Da quei, c' hanno al voler buona radice ? Ben si dee loro aitar lavar le note, Che portar quinci, si che mondi e lievi 35 Possano uscire alle stellate rote. Deh! se giustizia e pietk vi disgrevi Tosto, si che possiate mover 1' ala, Che secondo il disio vostro vi levi, Mostrate da qual mano in ver la scala 40 Si va piu corto; e se c' e piu d' un varco, Quel ne insegnate che men erto cala; Che questi che vien meco, per 1' incarco Delia carne d' Adamo, onde si veste, 1 i.e. the prayers of pious Christians.CANTO XT. PURGATORIO. 119 clothed, ascends but slowly, sore against his will." 1 It was not clear whence came the words uttered in reply to those of him whom I followed. But it was said : " Come to the right with us along the border, and you will find the path that a living man can easily ascend. And if I were not hampered by the stone that presses down my haughty neck, and forces me to turn my eyes down- wards, fain would I look at him who still lives and hides his name, to see whether I know him, and wake his pity for my heavy load. I was of Italy, son of a noble Tuscan* —William Aldobrandeschi was my father; I know not if ye ever heard his name. My ancient lineage, and the gallant A1 montar su, contra sua voglia, e parco. 45 Le lor parole, che rendero a queste, Che dette avea colui cu' io seguiva, Non fur da cui venisser manifeste; Ma fu detto: A man destra per la riva Con noi venite, e troverete il passo 50 Possibile a salir persona viva. E s' io non fossi impedito dal sasso, Che la cervice mia superba doma, Onde portar conviemmi il viso basso, Cotesti che ancor vive, e non si noma, 55 Guardere' io, per veder s' io '1 conosco, E per farlo pietoso a questa soma. I' fui Latino, e nato d' un gran Tosco: Guglielmo Aldobrandeschi fu mio padre: Non so se '1 nome suo giammai fu vosco. 60 L' antico sangue e 1' opere leggiadre 1 i.e. " The spirit truly is willing, but the flesh is weak."120 PURGATORIO. CANTO XI. deeds of my ancestors, made me so proud that, not think- ing of our common mother,1 I held every man in such despite, that I lost my life for it, as the Sienese know, and so knows every one in Campagnatico. I am Hum- bert ;2 and pride has injured not myself alone, but has brought misery too on all my kinsfolk. I now must needs bear for it this burden until I make atonement to God here among the dead, since I did not do it when among the living." As I inclined my head to listen, one of those spirits (not he who was speaking) twisted himself under the burden that weighed him down, and saw me, and knew me and De' miei maggior mi fer si arrogante, Che non pensando alia comune madre, Ogni uomo ebbi in dispetto tanto avante, Ch' io ne mori', come i Senesi sanno, 65 E sallo in Campagnatico ogni fante. Io sono Omberto : e non pure a me danno Superbia fe, che tutti i miei consorti Ha ella tratti seco nel malanno. E qui convien che questo peso porti 70 Per lei, tanto ch' a Dio si soddisfaccia, Poi ch' io nol fei tra' vivi, qui tra' morti. Ascoltando, chinai in giu la faccia; Ed un di lor (non questi che parlava) Si torse sotto '1 peso che lo impaccia: 75 E videmi e conobbemi, e chiamava, 1 i.e. the earth, from whence we all sprung, and to which we must all return. 2 Humbert, son of William Aldo- brandeschi, was murdered at the instigation of the people of Siena in his castle of Campagnatico.CANTO XI. PTJRGATORIO. 121 called me by name, keeping his eyes with difficulty fixed on me, who went along with them in stooping posture. " Oh!" said I to him, " art not thou Oderisi, the glory of Agubbio,1 and the glory of that art which is called 6 illuminating' in Paris ? " " Brother," said he, " the parchments which Franco of Bologna2 paints afford more delight. The glory is now all his, though partly mine. Truly I should not have been so courteous, while I lived, through that ardent thirst for pre-eminence on which my heart was set. Here for such pride the penalty is paid. And yet I should not be even here, had I not turned to God whilst yet able to sin. O vain glory of human powers, how short a time Tenendo gli occhi con fatica fisi A me che tutto chin con loro andava. 0, dissi lui, non se' tu Oderisi, L' onor d' Agubbio, e 1' onor di quell' arte 80 Che alluminare e chiamata in Parisi ? Frate, diss' egli, piu ridon le carte Che pennelleggia Franco Bolognese: L' onore e tutto or suo, e mio in parte. Ben non sare' io stato si cortese 85 Mentre ch' io vissi, per lo gran disio Dell' eccellenza, ove mio core intese. Di tal superbia qui si paga il fio: E ancor non sarei qui, se non fosse Che, possendo peccar, mi volsi a Dio. 90 O vanagloria delle umane posse, 1 Oderisi of Gubbio was a famous illuminator, and a great friend of Dante. "Alluminare " is usually in Italian " miniare." 2 Francis of Bologna was a pupil of Oderisi, and a better painter.122 PURGATORIO. CANTO XI. does the highest eminence remain green unless followed by ages of ignorance.1 Cimabue2 thought to remain master of the field in painting; but now the cry is for Giotto,3 so that the other's fame is obscured. So, too, one Guido 4 has taken from the other literary glory ; and yet, maybe, he is already in the world,5 who will some day drive both from their nest. The world's renown is but a puff of wind, that blows now here, now there, and changes names because it changes sides. What greater fame wilt thou enjoy, if old age should shrivel up thy flesh, than if thou hadst died Com' poco verde in sulla cima dura, Se non e giunta dall' etati grosse! Credette Cimabue nella pintura Tener lo campo, ed ora ha Giotto il grido, 95 Si che la fama di colui oscura. Cosi ha tolto r uno all' altro Guido La gloria della lingua; e forse e nato Chi 1' uno e l'altro caccerk di nido. Non e il mondan rumore altro che un fiato 100 Di vento, ch' or vien quinci ed or vien quindi, E muta nome, perche muta lato. Che fama avrai tu piu, se vecchia scindi Da te la carne, che se fossi morto 1 i. e. unless dull times supervene, which produce no one able to rival those who have gone before. 2 Cimabue was a Florentine, the restorer of painting in Italy. He is said to have died in 1300. 3 Giotto was a pupil of Cimabue, the leader of what is known as the early Italian or pre-Raphaelite school, and a great friend of Dante at Florence. He died in 1336. 4 Guido Cavalcanti, rival, and superior to Guido Guinicelli of Bologna as " a poet" and philoso- pher. 6 This probably is intended for Dante himself, not for Petrarch, who was as yet but a child.CANTO XI. PUEGATOEIO. 123 before thou hadst ceased thy childish prattle,1 or ere a thousand years are past ? and yet that, compared to eter- nity, is a shorter space than is the twinkling of an eye compared to the revolution of the slowest circle in heaven.2 He who now walks so tardily before me, was celebrated throughout all Tuscany; and now scarce whispered is his name in Siena, whereof he was lord what time the pride of Florence was laid low, then as exalted as now it is vile and venal. Your renown is like the hues of the grass, which come and go; and that Sun discolours it through whose power it issues tender from the earth's bosom."3 Innanzi che lasciassi il pappo e il dindi, 105 Pria che passinmill' anni? ch' e piu corto Spazio all* eterno, che un mover di ciglia A1 cerchio che piu tardi in cielo e torto. Colui, che del cammin Si poco piglia Dinanzi a me, Toscana sonb tutta, 110 E ora appena in Siena sen pispiglia, Ond' era sire, quando fu distrutta La rabbia fiorentina, che superba Fu a quel tempo, si com' ora e putta. La vostra nominanza e color d' erba, 115 Che viene e va, e quei la discolora, Per cui ell' esce della terra acerba. 1 Literally, c< before thou hadst left off saying 4 pappo5 and ' dindi,'" i.e. " pane " and " de- nari," as a child would pronounce them. 2 This " slowest circle " was the eighth, or circle of the fixed stars. This motion, known as the preces- sion of the equinoxes, takes 26,000 years to complete. The astrono- mers in Dante's time computed it at 36,000, reckoning it to move a degree in 100 years. 3 i.e. the sun's heat makes the grass to grow up green in the spring, and burns it yellow in the summer.124 PURGATORIO. CANTO XI. Then I said: " Thy true words inspire my heart with salutary humility, and abate my swelling pride. But who is he of whom thou hast just spoken P " " That,'* he replied, " is Provenzano Salvani;1 and he is here, because he presumed to reduce Siena entirely under his power. Thus has he gone, and still goes on without repose, ever since he died. In such coin must he pay his debts, who in that world isa too presumptuous." And I rejoined: "If that spirit that puts off repentance Ed io a lui: Lo tuo ver dir m' incuora Buona umiltk, e gran tumor m' appiani: Ma chi e quei di cui tu parlavi ora ? 120 Quegli e, rispose, Provenzan Salvani; Ed e qui, perche fu presuntuoso A recar Siena tutta alle sue mani. Ito e cosi, e va senza riposo, Poi che mori: cotal moneta rende 125 A soddisfar, chi e di Yk tropp' oso. Ed io : Se quello spirito ch' attende, Pria che si penta, 1' orlo della vita, 1 This Provenzano Salvani was a Sienese noble, and a Ghibelline. He defeated the Guelfs at Monte- aperto in 1260, but was himself defeated on June 11, 1269, at Colle in Yaldelsa, by Giamber- toldo, Viceroy of Charles I. of Sicily, at the head of a mixed army of Florentines and French, and was taken and beheaded, and his head, fixed on a stake, was shown to all the army. He was a very proud man, but did not dis- dain, while at the height of his glory, to sit as a suppliant in the public square of Siena, to col- lect alms for the ransom of his friend Vigna, who had been cap- tured at Tagliacozzo by Charles I. of Sicily, and held to ransom for 10,000 florins. This act of humility opened to him the gates of Purga- tory sooner than would otherwise have happened.CANTO XI. PURGATORIO. 125 to the extreme limit of life, remains below, and cannot monnt up here above, unless pious prayers befriend him, till as much time as he has lived be past, how was an entrance here vouchsafed to him ? " " When he was at the height of his glory," said the spirit, "laying aside false pride, he took his place in Siena's public square, and there, to deliver his friend from the sufferings he was enduring in Charles's dungeons, he humbled himself so as to throb in every vein. More I will not say, and I know I speak darkly ; but ere long thy neighbours will teach thee how to expound my words.1 This good work freed him from those boundaries." 2 Laggiu dimora, e quassu non ascende, Se buona orazion lui non ait a, 130 Prima che passi tempo quanto visse, Come fu la venuta a lui largita ? Quando vivea piu glorioso, disse, Liberamente nel campo di Siena, Ogni vergogna deposta, s' affisse: 135 E 11, per trar 1' amico suo di pena, Che sostenea nella prigion di Carlo, Si condusse a tremar per ogni vena. Piu non diro, e scuro so che parlo, Ma poco tempo andrk, che i tuoi vicini 140 Faranno si, che tu potrai chiosarlo. Quest' opera gli tolse quei confini. 1 i.e.a thou wilt know in thy exile, now near at hand, how hard it is to implore public charity." Dante here alludes to his own exile from Florence, which he was under- going when these lines were written. 8 Quei confini, meaning the parts of the Mountain of Purgatory out- side the gates.ARGUMENT TO CANTO XII. The Poets, after leaving Oderisi, pursue their way along the terrace, where Dante sees sculptured on the pavement a great variety of figures representing punished Pride. They are afterwards admitted to the stair leading to the next terrace by an Angel, who by the beat- ing of his wings effaces one of the seven P's from Dante's forehead.128 PURGATORIO. canto XII. CANTO XII. With equal steps, as oxen in the yoke, I and that laden soul beside me went on,1 as long as my kind tutor would permit. But when he said, " Leave him and speed thy way; for here 'tis meet to urge one's bark along with sails and oars, as much as each one can/' I raised myself upright, as one is wont to walk, though my thoughts still remained depressed and lowly. I then moved on and followed cheerfully in my master's footsteps, and we both were already showing how lightly we could go, when he said to me: " Cast thine eyes downwards ; thou wilt Di pari, come buoi clie vanno a giogo, M' andava io con quell' anima carca, Fin che '1 sofferse il dolce pedagogo. Ma quando disse: Lascia lui, e varca, Che qui e buon con la vela e co' remi, 5 Quantunque pub ciascun, pinger sua barca ; Dritto si, com' andar vuolsi, rife' mi Con la persona, avvegnache i pensieri Mi rimanessero e chinati e scemi. Io m' era mosso, e seguia volentieri 10 Del mio Maestro i passi, ed ambedue Gia mostravam com' eravam leggieri; Quando mi disse: Yolgi gli occhi in giue: 1 The meaning is that, asOderisi was compelled on account of the weight on his neck to walk in a stooping attitude, so Dante was obliged to do the same in order to see and converse with him.CANTO XII. PURGATORIO. 129 find it good to ease thy way, to see the bed of thy feet." Just as, in order that their memory may live, above the dead the earthly tombstones bear engraved the form of what they were in life, so that oftentimes new tears are shed, in consequence of the prick of remembrance, of which . the tender hearted only feel the spur; so I saw there, but of more beauteous form, as owing to more skilful workmanship, all the space that stretched forth from the mountain ornamented with designs.1 I saw2 on one side him who was created nobler than any other creature3 falling like lightning from heaven. Buon ti sark, per alleggiar la via, Veder lo letto delle piante tue. 15 Come, perche di lor memoria sia, Sovr' a' sepolti le tombe terragne Portan segnato quel ch' elli eran pria; Onde li molte volte si ripiagne Per la puntura della rimerpbranza, 20 Che solo a' pii dk delle calcagne ; Si vid' io 11, ma di miglior sembianza, Secondo 1' artificio, figurato, Quanto per via di fuor dal monte avanza. Vedea colui che fu nobil creato 25 Piu d' altra creatura, giu dal cielo Folgoreggiando scendere, da un lato. of the kind in St. John's Cathedral at Malta. 1 This sculptured pavement recalls the famous one in the Cathedral of Siena, though this is not supposed to have been made till after Dante's death. There is also a very fine specimen 2 The arrangement of the next thirteen triplets is peculiarly arti- ficial. 3 i.e. Lucifer. Is. xiv. 12, Luke x. 18.130 PURGATORIO. CANTO XII. I saw on another Briareus," pierced by the heaven-sent dart, lie heavy on the earth in deadly chill. I saw Thym- braeus,1 I saw Pallas and Mars still in arms around their father, gazing at the scattered limbs of the giants. I saw Nimrod, at the foot of his mighty work, looking as if distracted at the crowd that in Shinar shared his pre- sumption. 0 Niobe,2 with what a mournful look did I see thee depicted on the way, with seven of thy dead children on either side! 0 Saul, thou didst appear here, as when lying dead on thine own sword in Mount Gilboa, which since then has felt not rain nor dew. 0 foolish Yedeva Briareo, fitto dal telo Celestial, giacer dall' altra parte, Grave alia terra per lo mortal gelo. 30 Yedea Timbreo, vedea Pallade e Marte, Armati ancora, intorno al padre loro, Mirar le membra de' Giganti sparte. Yedea Nembrotte appie del gran lavoro, Quasi smarrito, e riguardar le genti 35 Che in Sennaar con lui superbi foro. 0 Niobe, con che occhi dolenti Yedeva io te segnata in su la strada Tra sette e sette tuoi figliuoli spenti! 0 Saul, come in su la propria spada 40 Quivi parevi morto in Gelboe, Che poi non senti pioggia ne rugiada! 1 i.e. Apollo. 2 Niobe, wife of Amphion, King of Thebes, who, being proud of her fourteen children, dared to in- sult Latona, who had but two. Wherefore Apollo and Diana, La- tona's two children, killed her whole offspring.CANTO XII. PURGATORIO. 131 Arachne,1 I saw thee too, already half spider, sorrowing oyer the tattered web which to thy hurt was woven. O Rehoboam,2 no longer thy image here appears to threaten ; but fear-struck is borne away in a chariot, before any pursue. The hard pavement showed, moreover, how Alcmseon3 made that ill-starred ornament seem a costly present to his mother. It showed too how Sennacherib's sons4 fell on him in the temple and left him there a lifeless corpse. It showed also the desolation and the bloody slaughter committed by Thamyris,5 when 0 folle Aragne, si vedea io te, Gi& mezza aragna, trista in su gli stracci Dell' opera che mal per te si fe! 45 0 Boboam, gik non par che minacci Quivi il tuo segno; ma pien di spavento Nel porta un carro prima ch' altri il cacci. Mostrava ancor lo duro pavimento Come Almeone a sua madre fe caro 50 Parer lo sventurato adornamento. Mostrava come i figli si gittaro Sovra Sennacherib dentro dal tempio, E come morto lui quivi lasciaro. Mostrava la ruina e il crudo scempio 55 Che fe Tamiri, quando disse a Ciro : 1 Arachne challenged Minerva to compete with her in skill in em- broidery, and being vanquished, was changed into a spider. 2 Rehoboam, see 1 Kings xii. 1—18. 3 Alcmseon killed his own mo- ther, who had betrayed the hiding place of his father Amphiaraus, from a vain desire to obtain an ornament offered her by Polynices, so that Amphiaraus went to Thebes, and was killed.—Horn. Od. xi. 327. 4 Referring to the murder of Sennacherib in the Temple of Nis- roch by his sons Adrammelech and Sharezer.—2 Kings xix. 37. 5 Tomyris, Queen of the Scy-132 PURGATORIO. CANTO XII. she said to Cyrus, " Thou didst thirst for blood ; tod I will fill thee with it." It showed how the Assyrians fled in disorder, when Holofernes was dead,1 and also the remnants of the slaughter. I saw Troy there ruined and in ashes. O Ilion, how well does the image there set forth show thy abject and fallen state ! What master, how- ever skilled in the use of the pencil and graving-tool, could have portrayed those shadows and features, that there must excite the admiration of exalted genius ! The dead seemed dead, the living seemed alive. He that saw the reality did not see better than I the forms which I bending towards the ground trod on. Now be haughty and pass Sangue sitisti, ed io di sangue t' empio. Mostrava come in rotta si fuggiro Gli Assiri, poi che fu morto Oloferne, Ed anche le reliquie del martiro. 60 Vedeva Troia in cenere e in caverne: O Ilion, come te basso e vile Mostrava il segno che li si discerne! Qual di pennel fu maestro e di stile, Che ritraesse 1' ombre e gli atti, ch' ivi 65 Farien mirare ogni ingegno sottile ? Morti li morti, e i vivi parean vivi: Non vide me' di me chi vide il vero, Quant' io calcai fin che chinato givi. Or superbite, e via col viso altiero, 70 thians, cut off the head of Cyrus, whom she had defeated and taken prisoner, and filled the mouth with human blood, saying, " Drink thy fill of blood, for which thou hast so thirsted." 1 See Judith xiii.CANTO XII. PURGATORIO. 133 along with lofty mien, ye sons of Eve, and do not cast down your eyes to see the evil path ye follow. We had already gone round a greater space of the moun- tain, and spent far more of the sun's course than the on other things intent mind could estimate, when he who went before me, ever on the watch, began to say : " Raise up thy head; this is no time to walk with such suspended steps.1 See there an angel hastening on towards us ; see how the sixth handmaid 2 is returning from her waiting on the day. Compose with reverence thy countenance and behaviour, so that it may please him to send us on above ; remember that this day will never return." So well used was I to his admonitions not to lose time that nothing Figliuoli d'Eva, e non chinate il volto, Si che veggiate il vostro mal sentiero. Piu era gi& per noi del monte volto, E del cammin del Sole assai piu speso, Che non stimava 1' animo non sciolto; 75 Quando colui che sempre innanzi atteso Andava, comincio: Drizza la testa; Non e piu tempo da gir si sospeso. Yedi colk un Angel che s' appresta Per venir verso noi: vedi che torna 80 Dal servigio del di 1' ancella sesta. Di riverenza gli atti e il viso adorna, Si che i diletti lo inviarci in suso: Pensa che questo di mai non raggiorna. Io era ben del suo ammonir uso, 85 1 i.e. " It is now so late, that thou must not stay thy steps to look at the pavement any more." 2 The hours are here called the handmaids of the sun, and the meaning therefore is, "it is now past the sixth hour," i.e. mid- day.134 PURGATORIO. CANTO XII. he might say on that subject could be unintelligible to me. Towards us came the beautiful creature, arrayed in white, and in his face there shone the sparkling rays1 of the morning star. He opened his arms and said, with outstretched wings : " Come near, here are the steps, and easily does one ascend henceforth. There are but few that answer to this call.2 O human race, born to soar aloft, why dost thou fall at every puff of wind ? " He led us then to where the rock was cut; and here he beat his wings across my brow, and promised to vouchsafe me a safe journey. Pur di non perder tempo, si che in quella Materia non potea parlarmi chiuso. A noi venia la creatura bella Bianco vestita, e nella faccia quale Par tremolando mattutina stella. 90 Le braccia aperse, e indi aperse 1' ale : Disse: Yenite ; qui son presso i gradi, Ed agevolemente omai si sale. A questo invito vengon molto radi: 0 gente umana, per volar su nata, 95 Perche a poco vento cosi cadi ? Menocci ove la roccia era tagliata: Quivi mi batteo 1' ale per la fronte ; Poi mi promise sicura 1' andata. Come a man destra per salire al monte, 100 1 Stars sparkle most in the morn- ing, when the air, being full of moisture and dew, produces greater refraction. 2 Some read instead of " in- vito,1" " call," " annunzio," a "pro- clamation." The former seems more consonant with the mean- ing of the passage, which has evident reference to the words of our Lord, " Many be called, but few chosen."CANTO XII. PURGATORIO. 135 As on the right, when one mounts the hill where stands the church, which overlooks that well-ordered city above Rubaconte,1 the bold steepness of the ascent is broken by the steps constructed at a time when the records and the measure were safe ;2 so the bank is made easier, which descends very steeply from the second circle; but so narrow is the path that you graze the lofty rock on either side. As we turned to enter thereby, we heard voices singing "Beati pauperes spiritu "3 more sweetly than Dove siede la Chiesa che soggioga La ben guidata sopra Eubaconte, Si rompe del montar l'ardita foga, Per le scalee che si fero ad etade Ch' era sicuro il quaderno e la doga; 105 Cosi s' allenta la ripa che cade Quivi ben ratta dall' altro girone : Ma quinci e quindi l'alta pietra rade. Noi volgendo ivi le nostre persone, Beati pauperes spiritu, voci 110 Cantaron si, che nol diria sermone. Ahi quanto son diverse quelle foci 1 The road to ascend to the hill upon which stands fche Church of San Mfniato, that overlooks what the Poet ironically calls the well- governed city of Florence, above Rubaconte, a bridge built in 1237 by one Messer Eubaconte of Man- della, when he was Podestk of Flo- rence. It is now called Ponte alle G-razie. 2 In 1299 Messer Niccola Ac- •ciaiuoli and Messer Baldo d'Agu- glione cut out of the Florentine records an account of a disrepu- table transaction in which they had been engaged with the Podesta. At the same time Messer Durante di Chiaramontese, being officer of the Salt Excise, removed a stave (doga) from the standard measure, thus making it smaller. Both the Acciaiuoli and the Chiaramontesi were Guelfs. 3" Blessed are the'poor in spirit."136 PURGATORIO. CANTO XII. speech could tell. Ah! how diverse are the entrances here from those of Hell! For here one enters amidst songs, but there amidst savage cries of woe. And now we mounted up the holy stairs, and I seemed to move more lightly than even when on the plain I walked before. Wherefore I said: " Master, say, from what load I am relieved, that I scarcely feel fatigue in walk- ing?" He answered: "When the P's that still remain upon thy forehead, though now half effaced, are wholly obliterated like that one is already, thy feet overcome by thy good heart not only will feel no fatigue, but will delight in being urged along." Then did I act like those who go with something on their head they wot not of, but of which other men's remarks make them sus- Dalle infernali! che quivi per canti S' entra, e laggiu per lamenti feroci. Gia montavam su per li scaglion santi, 115 Ed esser mi parea troppo piu lieve, Che per lo pian non mi parea davanti: Ond' io: Maestro, di', qual cosa greve Levata s' e da me, che nulla quasi Per me fatica andando si riceve ? 120 Eispose : Quando i P, che son rimasi Ancor nel volto tuo presso che stinti, Saranno, come l'un, del tutto rasi, Fien li tuoi pie dal buon voler si vinti, Che non pur non fatica sentiranno, 125 Ma fia diletto loro esser su pinti. Allor fee* io come color che vanno Con cosa in capo non da lor saputa, Se non che i cenni altrui suspicar fanno ; Per che la mano ad accertar s' aiuta,* 130CANTO XII. PURGATORIO. 137 picious, when the hand proffers its aid to ascertain, and searches, and finds, and fulfils that service for which the sight is not available. So with the fingers of my right hand outspread, I found only six of those letters, which the keeper of the keys had stamped npon my brow ; Which act of mine my leader smiled to see. E cerca e trova, e quell' ufficio adempie Che non si pub fornir per la veduta : E con le dita della destra scempie Trovai pur sei le lettere, che incise Quel dalle chiavi a me sopra le tempie: 135 A che guardando il mio Duca sorrise.ARGUMENT TO CANTO XIII. The Poets now enter the second circle of Purgatory, where the envious, clad in haircloth, and with their eyes sewn up with an iron thread, purge their sin. Celestial and invisible spirits fly through the air, recounting famous examples of love and charity, Sapia, a Sienese lady, converses with Dante.140 PURGATORIO. canto xiii. CANTO XIII. We had now reached the summit of the staifs, where the mountain, which blots out the sins of him who ascends it, is hewn away a second time. Here a terrace, similar to the first, girdles the hill around, save that its circumference more quickly bends. There is no shadow nor sculptured form to be seen ; both the way and the rampart are so smooth, that nothing but the rock's dull hue appears. " If here we have to wait, and ask our way," reasoned the poet, " I fear lest haply our choice may be much delayed." Then he looked fixedly towards the sun, and making his right side the centre of his movement, swung his left side Noi eravamo al sommo della scala, Ove secondamente si risega Lo monte che, salendo, altrui dismala : Ivi cosi una cornice lega Dintorno il poggio, come la primaia, 5 Se non che 1' arco suo piu tosto piega. Ombra non gli e, ne segno che si paia; Par sx la ripa, e par si la via schietta, Col livido color della petraia. Se qui per dimandar gente s' aspetta, 10 Bagionava il Poeta, io temo forse Che troppo avrk d' indugio nostra eletta. Poi fisamente al Sole gli occhi porse; Fece del destro lato al mover centro, E la sinistra parte di se torse. 15CANTO XIII, PURGATORIO. 141 round.1 " 0 sweet light, trusting to which I enter upon this new path, guide us," said he, " as one should be guided in this place. Thou warmest the world, and shinest over it. Thy rays should always be our guide, unless some other cause compels us to act otherwise."2 We had already in a short time advanced from thence, as far as would measure a mile in this world, urged by a ready will, when towards us were heard flying spirits in- visible, who kindly bade us to the feast of love. The first voice, as it flew past, cried out loudly," Yinum non habent,"3 and went on repeating it behind us. Before this sound had 0 dolce lume, a cui fidanza i' entro Per lo nuovo cammin, tu ne conduci, Dicea, come condur si vuol quinc' entro : Tu scaldi il mondo, tu sovr' esso luci: S' altra cagione in contrario non pronta, 20 Esser den sempre li tuoi raggi duci. Quanto di qua per un migliaio si conta, Tanto di lk eravam noi gik iti, Con poco tempo, per la voglia pronta. E verso noi volar furon sentiti, 25 Non pero visti, spiriti, parlando Alia mensa d' amor cortesi inviti. La prima voce che passo volando, Vimim non habent, altamente disse, E dietro a noi 1' ando reiterando. 30 1 The idea is that Virgil used his right leg like the pivot leg of a pair of compasses, and swung round to his right. The poets turn to the right on reaching each of the circles of Purgatory. 2 i.e. we should always rather travel by day than by night, un- less compelled by necessity. 3 See John ii. 3.142 PURGATOBIO. CANTO XIII. wholly died away, still lingering in the distance, " I am Orestes/'1 exclaimed another, as it passed, but stopped not in its flight. " Oh, father," said I, " what voices are these ? " and, while I was asking, a third flew past, saying, " Love those from whom ye have received evil." 2 Then my good master said, " This circle chastises the sin of Envy, a#d therefore the cords of the scourge are drawn by love. The curb must be of the contrary sound :3 I think that thou wilt hear it before thou reachest the passage of pardon.4 But direct thine eyes attentively through the air, and thou E prima che del tutto non s' udisse Per allungarsi, un' altra : I' sono Oreste : Passo gridando, ed anche non s' affisse. 0 diss' io, Padre, che voci son queste ? E com' io dimandai, ecco la terza 35 Dicendo: Amate da cui male aveste. Lo buon Maestro : Questo cinghio sferza La colpa della invidia, e pero sono Tratte da amor le corde della ferza. Lo fren vuol esser del contrario suono; 40 Credo che 1' udirai, per mio awiso, Prima che giunghi al passo del perdono. Ma ficca gli occhi per 1' aer ben fiso, 1 Alluding to the mutual affec- tion of Py lades and Orestes. These words are not uttered, by either of the two celebrated friends, but by invisible spirits flying through the air. 2 See Matt. v. 44. 3 i.e. the envious are punished as with a whip by hearing recorded examples of the opposite virtue, Charity ; whilst terrible voices, threatening punishment, serve as a curb. 4 By " the passage of pardon" is meant the foot of the stairs that lead from the second to the third circle of Purgatory, where the angel stands who pardons and re- mits every sin which is purged in the second circle.CANTO XIII. PURGATORIO. 143 wilt see people sitting in front of us, each one beside tlie rock." Then I opened my eyes wider than before ; I looked straight forward, and saw spirits clad in mantles of the same hue as the rock. And when we had gone on a little farther, I heard them crying out, " Pray for us, Mary, Michael, Peter, and all the saints." I do not believe that there walks the earth a man so hardened as not to be struck with pity for what I saw afterwards. For when I arrived close enough to scan their actions clearly, my eyes filled wifch tears from the sorrow that weighed me down. They seemed to be clad in vile haircloth, each leaning on the other's shoulder, and all supported by the side of the rock; so the poor blind, who have no means of living, E vedrai gente innanzi a noi sedersi, E ciascun e lungo la grotta assiso. 45 Allora piu che prima gli occhi apersi; Guarda'mi innanjzi, e vidi ombre con manti A1 color della pietra non diversi. E poi che fummo un poco piu avanti, Udi' gridar: Maria, ora per noi : 50 Gridar Michele, e Pietro, e tutti i Santi. Non credo che per terra vada ancoi Uomo si duro, che non fosse punto Per compassion di quel ch' i' vidi poi: Che quando fui si presso di lor giunto, 55 Che gli atti loro a me venivan certi, Per gli occhi fui di grave dolor munto. Di vil cilicio mi parean coperti, E I' un sofferia V altro con la spalla, E tutti dalla ripa eran sofferti. 60 Cosi li ciechi, a cui la roba falla,144 PURGATORIO. CANTO XIII. stand at places of indulgence1 to ask for alms, one bending down tlie head beside the other, in order to ex- cite the compassion of the passers-by, not only by their mournful accents, but by their aspect, which no less moves to pity. And as the sun's rays never reach the blind, even so the heavenly beam does not diffuse its rays around the souls of whom I just now spoke ; for all have their eyelids pierced and sewn together with an iron thread, as is done to a wild falcon because he will not rest. I thought it was unseemly to walk on, seeing others and not being seen myself; wherefore I turned to my sage CQun- sellor. Well knew he what my silence wished to say, and therefore waited not my questioning, but said, " Speak, Stanno a' perdoni a chieder lor bisogna, E r uno il capo sopra 1' altro avvalla, Perche in altrui pieta tosto si pogna, Non pur per lo sonar delle parole, 65 Ma per la vista che non meno agogna. E come agli orbi non approda il Sole, Cos! all' ombre quivi, ond' io parlo ora, Luce del ciel di se largir non vuole ; Che a tutte un fil di ferro il ciglio fora, 70 E cuce si, com' a sparvier selvaggio Si fa, pero che queto non dimora. A me pareva andando fare oltraggio, Yedendo altrui, non essendo veduto; Per ch' io mi volsi al mio Consiglio saggio. 75 Ben sapev' ei, che volea dir lo muto; E pero non attese mia dimanda; 1 By " perdoni" is meant the places at which indulgences were ob- tained by prayer.CANTO XIII. PURGATORIO. 145 but be brief and to the point." Yirgil then was passing on that side of the mountain ledge, whence one might fall over, because it is not begirt by any rampart. On my other side were the pious souls, whose cheeks were bathed with tears that forced their way through the horrid stitches. I turned to them, and thus began: " O spirits, certain to behold the Supreme Light, which is the sole object of your desires; so may divine grace dissipate the scum of your consciences, that the stream of the mind may flow clearly through them, and tell me (for it would be pleasing to me to know) if there be any Italian soul amongst you, for it may perchance be good for him that I should know it." "0 my brother, each of us is a citizen of one true city; but thou meanest to say one who accomplished Ma disse : Parla, e sii breve ed arguto. Virgilio mi venia da quella banda Delia cornice, onde c&der si puote, 80 Perche da nulla gponda s' inghirlanda: Dall' altra parte m' eran le devote Ombre, che per 1' orribile costura Premevan si, che bagnavan le gote. Yolsimi a loro, ed: 0 gente sicura, 85 Incominciai, di veder 1' alto lume Che il disio vostro solo ha in sua cura, Se tosto grazia risolva le schiume Di vostra coscienza, si che chiaro Per essa scenda della mente il flume, 90 Ditemi (che mi fia grazioso e caro) S' anima e qui tra voi, che sia latina; E forse a lei sara buon, s' io 1' apparo. 0 frate mio, ciascuna e cittadina D' una vera cittk; ma tu vuoi dire, 95 L146 PURGATORIO. CANTO XIII. his pilgrimage in Italy." This for response methonght I heard somewhat in front of where I was then standing, wherefore I made myself heard still more that way. Amongst others I saw a shade, who seemed to be in ex- pectation ; and if anyone asks how I knew this, it was because it lifted up its chin like a blind man. " Spirit," said I, "that humblest thyself the better to mount on high, if it be thou that didst answer me, let me know who thou art, either by thy name or by thy native place." "I was from Siena," it replied, "and, with these others, I am purifying here my guilty life, beseeching God with tears to vouchsafe Himself to us. I was not sapient,1 although my name was Sapia,2 and rejoiced more at the misfortunes Che vivesse in Italia peregrina. Questo mi parve per risposta udire Piu innanzi alquanto, che la dov' io stava; Ond' io mi feci ancor piu la sentire. Tra I' altre vidi un' ombra che aspettava 100 In vista; e se volesse alcun dir come, Lo mento, a guisa d' orbo, in su levava. Spirto, diss' io, che per salir ti dome, Se tu se' quegli che mi rispondesti, Fammiti conto per luogo o per nome. 105 I' fui Senese, rispose, e con questi Altri rimondo qui la vita ria, Lagrimando a Colui, clie se ne presti. Savia non fui, avvegna che Sapia Fossi chiamata, e fui degli altrui danni 1^0 1 The word used here is(i Savia," and the poet puns on the spirit's name " Sapia." 2 Sapia was a Sienese lady, who, being in exile at Colle, was so overjoyed at her countrymenCANTO XIII. PVRGATORIO. 147 of others than at my own happiness. And that thou may est not think that I speak false, hear if I was not, as I say, a fool. When I was already descending the curve of my life, my countrymen near Colle joined battle in the field with their foes. I prayed to God to grant what he already willed. Routed were they here, and forced to seek the bitter steps of flight; and seeing them thus chased, I felt a joy beyond all other pleasure; so that audaciously I raised my eyes, crying to God, 1 Henceforth I fear Thee not'—as sang the merlin, deceived by a little fine weather.1 I wished to make my peace with God at my life's end, and Piu lieta assai, che di ventura mia. E perch& tu non credi ch' io t' inganni, Odi se fui, com' io ti dico, folle. Gia discendendo 1' arco de' miei anni, Erano i cittadin miei presso a Colle 115 In campo giunti co' loro avversari, Ed io pregava Dio di quel ch' ei voile. Eotti fur quivi, e volti negli amari Passi di fuga, e veggendo la caccia, Letizia presi ad ogni altra dispari: 120 Tanto ch' io levai in su 1' ardita faccia, Gridando a Dio: Omai piu non ti temo : Come fe il merlo per poca bonaccia. Pace volli con Dio in su lo stremo being routed by the Florentines near that place, that she exclaimed, " Do what thou wilt with me, O God; I can now die happy." 1 The allusion is to the fable, much in .vogue in Dante's time, of the blackbird, who thinking one beautiful January day that the winter was over, escaped from his master's cage, exclaiming " Do- mine, piu non ti euro," " Master, I don't care for you any more."148 PURGATORIO. CANTO XIII. yet my debt would not have been cancelled by repentance had not Peter Pettinagno1 of his charity taken pity on me, and remembered me in his holy prayers. But who art thou that comest to inquire into our condition, having thine own eyes open, as I suppose, and breathing as thou speakest ? " " My eyes," said I, " will yet here be taken from me, but only for a short time, for the sins they have committed through envy are not very heinous. A much greater terror overhangs my soul, on account of the torments of the lower circle, whose heavy burden weighs me down already."2 And she to me, "Who then has led thee hither up amongst us, if thou expectest to return below ? " Delia mia vita; ed ancor non sarebbe 125 Lo mio dover per penitenza scemo, Se cio non fosse, ch' a memoria m' ebbe Pier Pettinagno in sue sante orazioni, A cui di me per caritate increbbe. Ma tu chi se', che nostre condizioni 180 Vai dimandando, e porti gli occhi sciolti, Si come io credo, e spirando ragioni ? Gli occhi, diss' io, mi fieno ancor qui tolti; Ma picciol tempo, che poca e 1' offesa Fatta per esser con invidia volti. 135 Troppa e piu la paura, ond' e sospesa L' anima mia, del tormento di sotto, Che gia lo incarco di laggiu mi pesa. Ed ella a me: Chi t' ha dunque condotto Quassu tra noi, se giu ritornar credi ? 140 1 Sapia says that she would be still in the Ante-purgatory but for the prayers of Peter, a pious comb- seller of Siena. 2 Dante implies that he fears to have sinned more by pride than by envy.CANTO XIII. PURGATORIO. 149 " He," I replied, "who silent stands beside me. I am still alive, and thou mayest therefore ask me, spirit elect, if thou wilt that I should move my mortal feet for thee in that other world ? " " Oh ! to hear such a thing is so strange," she replied, " that it is a great sign that God doth love thee! Therefore assist me sometimes with thy prayers. And I beseech thee, by that which best thou lovest, if ever thou treadest on Tuscan soil, to restore my fame amongst my kinsfolk. Thou wilt see them amongst that vainglorious crew who pin their hopes on Talamone,1 but they will be deceived more than when they tried to find the Diana ; but the admirals will lose most there." 2 Ed io : Costui ch' e meco, e non fa motto : E vivo sono ; e pero mi richiedi, Spirito eletto, se tu vuoi ch' io muova Di la per te ancor li mortai piedi. Oh questa 6 ad udir si cosa nuova, 145 Eispose, che gran segno e che Dio t' ami; Pero col prego tuo talor mi giova. E chieggoti per quel che tu piu brami, Se mai calchi la terra di Toscana, Ch' a' miei propinqui tu ben mi rinfami. 150 Tu gli vedrai tra quella gente vana Che spera in Talamone, e perderagli Piu di speranza, ch' a trovar la Diana : Ma piu vi perderanno gli ammiragli. 1 The Sienese having bought the harbour of Talamone, thought they should become a great mari- time power;<{ but this hope," says Sapia, "will be as chimerical as the hope they had of finding .the Diana," a river they believed to pass under their city, and in order to find it, had made costly excava- tions. 2 The admirals lost their lives because Talamone was so un- healthy.ARGUMENT TO CANTO XIV. On the same terrace Dante finds Guido del Duca of Brettinoro and Rinieri de' Calboli, both of Romagna. The former inveighs first against the perversity of certain peoples in Tuscany, and secondly against the corrupted manners of the degenerate inhabitants of Ro- magna. As the poets proceed, voices are heard in the air proclaim- ing the punishment of envy.152 PURGATORIO. canto xiy. CANTO XIY. "Who is lie that compasses our mountain, before death has given him the power to fly, and who opens and shuts his eyes at pleasure ? " " I know not who he is ; but I know he is not alone; ask him thyself, as thou art nearer to him, and greet him gently, so that he may speak." So did two spirits, leaning each to each, discourse of me there upon my right hand, and then turned up their faces to speak to me. The one said, " 0 soul, that still united to the body, goest onward towards heaven, of thy charity console us now, and tell us whence thou comest, and who thou art; for thou in truth surprisest us as much by the grace conferred on thee, as does a thing that Chi e costui che il nostro monte cerchia, Prima che morte gli abbia dato il volo, Ed apre gli occhi a sua voglia e coperchia ? Non so chi sia; ma so ch' ei non e solo: Dimandal tu che piu gli t' avvicini, 5 E dolcemente, si che parli, accolo. Cosi duo spirti, 1' uno all' altro chini, Eagionavan di me ivi a man dritta; Poi fer li visi, per dirmi, supini; E disse 1' uno: O anima, che fitta 10 Nel corpo ancora in ver lo ciel ten vai, Per carita ne consola, e ne ditta, Onde vieni, e chi se'; che tu ne fai Tanto maravigliar della tua grazia,CANTO XIV. PTJRGATORIO. 153 ne'er was seen before." And I replied: " Through the midst of Tuscany meanders a little stream that rises in Falterona, and is not content with a hundred miles of length. From its banks I bring this body. To tell who I am would be to speak in vain, for my name is not yet in much renown." Then he who spoke first rejoined: "If well I penetrate thy meaning, thou speakest of Arno." Then said the other : " Why did he keep back that river's name, as if it were a thing too horrible to mention P " And the spirit so questioned, delivered himself thus : " I know not,but that valley's name deserves to perish; because, from its very beginning (where the Alpine mountain1 from which Quanta vuol cosa, che non fu piu mai. 15 Ed io : Per mezza Toscana si spazia Un fiumicel che nasce in Falterona, E cento miglia di corso nol sazia. Di sovr' esso rech' io questa persona ; Dirvi chi sia, saria parlare indarno ; Che '1 nome mio ancor molto non suona. 20 Se ben lo intendimento tuo accarno Con lo intelletto, allora mi rispose Quei che prima dicea, tu parli d' Arno. E 1' altro disse a lui: Perche nascose Questi il vocabol di quella rivera, Pur com'uom fa delle orribili cose ? 25 E 1' ombra che di cio dimandata era, Si sdebito cosi: Non so, ma degno Ben e che '1 nome di tal valle pera ; 30 Che dal principio suo (dov' e si pregno 1 Prom the rise of the Arno in i it was believed, Cape Peloro in Falterona (a mountain from which, I Sicily was detached by an earth-154 PURGATORIO. CANTO XIV. Peloro is cut off so teems with waters, that in few places is to be found a greater quantity), even to that place where it comes down to restore that which the air has drawn up from the sea, and by which the rivers are supplied with their contents, virtue is hunted down by all, as if it were a snake, either from the bad influence of the place, or from the perverse habits that spur on the people. Whence the denizens of this wretched valley have so changed their nature, as though they had fed in Circe's pastures. Amongst filthy swine1 more worthy of acorns than of food fit for man's use, the river at first shapes its poor course.2 Then, as it descends, it finds curs snarling3 with rage L' alpestro monte, ond' e tronco Peloro, Che in pochi luoghi passa oltra quel segno) Infin la, 've si rende per ristoro Di quel che il ciel della marina asciuga, 35 Ond' hanno i fiumi cio che va con loro, Virtu cosi per nimica si fuga Da tutti, come biscia, o per sventura Del loco, o per mal uso che li fruga : Ond' hanno si mutata lor natura 40 Gli abitator della misera valle, Che par che Circe gli avesse in pastura. Tra brutti porci, piu degni di galle, Che d' altro cibo fatto in uman uso, Dirizza prima il suo povero calle. 45 quake) to the sea at its mouth, vir- tue is got. Mount Falterona is said to be more pregnant with water than any other, because the Arno rises in it, and at no great distance, the Tiber. 1 The people of Casentino, and particularly the Counts of Por- ciano. 2 "Poor," because as yet un- swelled by tributary streams. 3 The people of Arezzo.CANTO XIV. PURGATORIO. 155 beyond their powers, and from them it disdainfully turns away its face.1 It still flows down, and the more its waters increase, the more does the accursed and ill-starred ditch find dogs transformed to wolves.2 Then having gone down through more deep gorges, it encounters foxes,3 so full of fraud, that they do not fear to be ensnared by human craft. Nor will I cease to speak, though another hear me ; and good will it be for him, who takes to heart what the spirit of truth reveals to me. I see thy grandson4 who is becoming a hunter of those wolves on the bank of Botoli trova poi, venendo giuso, Ringhiosi piu die non chiede lor possa, Ed a lor disdegnosa torce il muso. Yassi caggendo, e quanto ella piu ingrossa, Tanto piu trova di can farsi lupi 50 La maledetta e sventurata fossa. Discesa poi per piu pelaghi cupi, Trova le volpi si piene di froda, Che non temono ingegno che le occupi. Ne lascero di dir, perch' altrim' oda: 55 E buon sara costui s' ancor s' ammenta Di cio che vero spirto mi disnoda. Io veggio tuo nipote, che diventa Cacciator di que' lupi in sulla riva 1 The Arno flows about four miles to the west of Arezzo. 2 The wolves are the Floren- tines, on account of their gluttony and greed. 3 The people of Pisa, who were malicious and fraudulent. 4 This was Fulcieri deJ Calboli, who being Podesta of Florence in 1302, was bribed by the Neri, or Black Guelfs, to persecute, arrest, and condemn many of the Bianchi or White Guelfs of the same town. This made the White Guelfs join the Ghibellines. But Dante calls both Guelf parties " wolves," as here.156 PURGATORIO. CANTO XIV. the haughty stream, and terrifies them all. He sells their flesh, whilst they are still alive;1 then slaughters them like worn-out bullocks. Many he robs of life, himself of honour. Bloody he issues from the accursed forest;2 and leaves it in such a plight, that for a thousand years it will not re- sume its former shape." As at the announcement of future misfortunes the countenance of the listener is troubled, no matter from what quarter the evil assails him, so I saw the other soul, which had turned to listen, become sad and perturbed, when he had gathered the sense of those words. The language of one, and the countenance of the Del fiero fiume, e tutti gli sgomenta: 60 Vende la carne loro, essendo viva, Poscia gli ancide come antica belva: Molti di vita, e se di pregio priva. Sanguinoso esce della trista selva; Lasciala tal, che di qui a mill' anni 65 Nello stato primaio non si rinselva. Come all' annunzio de' futuri danni Si turba il viso di colui che ascolta, Da qual che parte il periglio lo assanni; Cosi vid' io r altr' anima, che volta 70 Stava ad udir, turbarsi e farsi trista, Poi ch' ebbe la parola a se raccolta. Lo dir dell' una, e dell' altra la vista Mi fe voglioso di saper lor nomi, 1 This line is very difficult to understand; nor do the commen- tators do much towards clearing it up. It probably refers to some transaction of the time, since for- gotten. It may have something to do with Eulcieri having been bribed by the Neri; see last note. 2 i.e. Florence.CANTO XIV. PURGATORIO. 157 other, made me anxious to know their names; and so I asked them in a supplicating tone. On this, the spirit who had first addressed me began again: " Thou wishest that I should demean myself to do for thee what thou wilt not do for me. But since it is God's will that so much of His grace should shine in thee, I will not be churlish towards thee. Know then that I am Gruido del Duca. My'blood was so inflamed with envy, that had I seen a fellow-creature happy, thou wouldest have seen my face lividly pale. And this is the straw I reap from what I sowed. 0 human race, why dost thou place thy desires on things of which thou canst never hope to enjoy the undivided possession ? This other is Rinieri: the glory and honour of the house of Calboli, in which none has inherited his valour. And E dimanda ne fei con prieghi mista. 75 Per che lo spirto, che di pria parlomi, Ricomincio: Tu vuoi ch' io mi deduca Nel fare a te cio che tu far non vuo' mi; Ma dacche Dio in te vuol che traluca Tanta sua grazia, non ti saro scarso : 80 Pero sappi ch' io son Guido del Duca. Fu il sangue mio d' invidia si riarso, Che se veduto avessi uom farsi lieto, Yisto m' avresti di livore sparso. Di mia sementa cotal paglia mieto. 85 0 gente umana, perche poni il core La V e mestier di consorto divieto ? Questi e Rinier; questi e '1 pregio e 1' onore Delia casa da Calboli, ove nullo Fatto s' e reda poi del suo valore. 90158 PURGATORIO. CANTO XIV. not his family alone, between the Po and the Mountain, the sea and the Reno,1 is destitute of the good required for truth and pleasure. For within these boundaries the ground so teems with poisonous bushes,2 that even good cultivation would not soon root them up. Where is good Lizio,3 and Arrigo Manardi,4 Pier Traversaro,5 and Guido of Carpigna ?6 0 men of Romagna turned into bastards !7 when will a second Fabbro take root in Bologna ? and when in Faenza another Bernardin di Fosco—that precious twig from an ignoble plant ? Marvel not, 0 Tuscan, if I weep when I recall to mind, E non pur lo suo sangue e fatto brullo Tra '1 Po e il monte, e la marina e il Eeno, Del ben richiesto al vero ed al trastullo ; Che dentro a questi termini e ripieno Di venenosi sterpi, si che tardi 95 Per coltivare omai verrebber meno. Ov' e il buon Lizio, ed Arrigo Manardi, Pier Traversaro, e Guido di Carpigna? 0 Romagnuoli tornati in bastardi! Quando in Bologna un Fabbro si ralligna ? 100 Quando in Faenza un Bernardin di Fosco, Yerga gentil di picciola gramigna ? Non ti maravigliar, s' io piango, Tosco, 1 i.e. in Romagna. The Reno flows W. of Bologna, and then by a S.E. course connects with the southern mouths of the Po, the mountain, i.e. the Apennines. 3 i.e. with evil manners. 3 Lizio, a knight of Val- bona. 4 Arrigo Manardi, a prudent and liberal citizen of Faenza. 5 Pier Traversaro was once lord of Ravenna. 6 Guido of Carpigna was a liberal nobleman of Montefeltro. 7 i.e. thoroughly degenerated.CANTO XIV. FURGATORIO. 159 with Guido da Prata, Ugolino d'Azzo who lived with us, Federigo Tignoso1 and his family, the Traversara house and the Anastagi,2 both of which are now bereft of heirs. I weep too when I think of the ladies and the knights, the toils and the repose, which filled our hearts with love and courtesy, where now men's minds are become so perverse. 0 Brettinoro, why dost not thou flee away, since thy family3 has left the place with many others to escape from guilt ? Bagnacavallo4 does well to have no sons, and ill fares it with Castrocaro, and worse with Conio, that still try to procreate such counts. Well shall the Pagani fare, when their demon5 is departed, Quando rimembro con Guido da Prata Ugolin d' Azzo che vivette nosco; 105 Federigo Tignoso e sua brigata, La casa Traversara, e gli Anastagi; (E I' una gente e 1' altra e diretata!) Le donne e i cavalier, gli affanni e gli agi, Che ne 'nvogliava amore e cortesia, 110 lik dove i cuor son fatti si malvagi. O Brettinoro, che non fuggi via, Poiche gita se n' e la tua famiglia, E molta gente per non esser ria ? Ben fa Bagnacaval, che non rifiglia, 115 E mal fa Castrocaro, e peggio Conio, Che di figliar tai conti piu s' impiglia. Ben faranno i Pagan, da che il Demonio 1 Federigo Tignoso, of Rimini. 2 Two illustrious families in Ravenna. 3 The a family" was that of Guido del Duca himself. 4 Bagnacavallo was a castle be- tween Lugo and Ravenna. The family who had been its lords, were extinct. 5 This " demon" was Machi-160 PURGATORIO. CANTO XIV. but yet not so well that a pure record of them shall ever remain. O Ugolino de' Fantoli, thy name is safe, since no one is looked for who can darken it by going astray. But now, 0 Tuscan, begone, for it pleases me far more to weep than to talk, so much has our 1 country strained my mind." We knew that those dear spirits heard us as we went; so through their silence, we felt confident about our way.2 As then we proceeded alone, a voice like lightning, when it cleaves the air, came towards us, saying, " Whoever Lor sen girk; ma non pero che puro Giammai rimanga d' essi testimonio. 120 0 IJgolin de' Fantoli, sicuro E il nome tuo, da che piu non s' aspetta Chi far lo possa tralignando oscuro. Ma va via, Tosco, omai, ch' or mi diletta Troppo di pianger piu che di parlare, 125 Si m' ha nostra region la mente stretta. Noi sapevam che quell' anime care Ci sentivano andar: pero tacendo « Facevan noi del cammin confidare. Poi fummo fatti soli procedendo, 130 Folgore parve, quando 1' aer fende, Voce che giunse di contra, dicendo: Anciderammi qualunque m' apprende; nardo Pagani, lord of Faenza and Imola, so called for his cruelty and treachery. 1 i. e." such pain has the thought of our country given me." Another and perhaps better reading is " nostra ragion," " our conversa- tion." 2 i.e. because they felt sure that these heavenly spirits would tell them if they were going wrong.CANTO XIV. PURGATORIO. 161 findeth me,1 will slay me," and then fled like thunder melting away, after the cloud bursts. When this sound ceased to ring in our ears, another came, with so loud a crash, that it was like a succeeding clap of thunder. u I am Aglauros," 2 it said, " who became a stone." And then, to draw closer to the poet, I took a step back, instead of forward. The air was now at rest on every side, and he said to me, " That was the strong curb3 I spoke of, which should keep man within his bounds. But ye bolt down the bait, so that the old enemy drags you to him on his hook; and therefore neither curb avails, nor warning call. E fuggio; come tuon che si dilegua, Se subito la nuvola scoscende. 185 Come da lei 1' udir nostro ebbe tregua, Ed ecco 1' altra con si gran fracasso, Che somiglia tonar che tosto segua : Io sono Aglauro che divenni sasso. Ed allor per istringermi al Poeta, 140 Indietro feci e non innanzi il passo. Gik era 1' aura d' ogni parte queta, Ed ei mi disse: Quel fu il duro camo, Che dovria 1' uom tener dentro a sua meta. Ma voi prendete 1' esca, si che T amo Dell' antico avversario a se vi tira; E pero poco val freno o richiamo. 145 2 Aglauros was daughter to Erechtheus, king of Attica. She envied her sister Herse, who was loved by Mercury, and for this was turned by him into a stone. 1 See Gen. iv. 14. 3 See Canto xiii. 40. Camo is from the Greek word Xapog, a bit. M162 PURGATORIO. CANTO X1Y. Heaven calls to you and ever circles round you, display- ing to you its eternal glories, and yet your eye for ever turns to earth. Wherefore He Who seeth all, chastiseth you." Chiamavi il cielo, e intorno vi si gira, Mostrandovi le sue beljezze eterne, E 1' occhio vostro pure a terra mira; 150 Onde vi batte Chi tutto discerne.AEGUMENT TO CANTO XV. Ail angel shows the poets the steps leading to the third circle of Purga- tory. Virgil resolves some doubts of Dante. When they reach the third Terrace, where the Sin of Anger is punished, Dante, entranced in an ecstatic vision, sees some remarkable examples of patience. And, when he returns to his senses, he soon becomes enveloped in a dense fog.164 PURGATORIO. CANTO XV. CANTO XY. As much as, between the end of the third hour and the beginning of the day, is shown, of the sphere that is always sporting in the manner of a child, so much did there appear to be left of the sun's course towards the evening.1 It was evening there, but here midnight;2 and the sun's rays smote us full in the face,3 because we had circled so far round the mountain, that we now were travelling straight towards the sunset, when I felt the splendour weigh down my brows more than before, and was amazed Quanto tra 1' ultimar dell' ora terza, E il principio del di par della spera, Che sempre a guisa di fanciullo scherza, Tanto pareva gia in ver la sera Essere al Sol del suo corso rimaso: 5 Yespero lk, e qui mezza notte era. E i raggi ne ferian per mezzo il naso, Perche per noi girato era si il monte, Che gik dritti andavamo in ver 1' occaso; Quand' io senti' a me gravar la fronte 10 Alio splendore assai piu che di prima, E stupor m' eran le cose non conte: 1 i.e. it wanted three hours of sunset. 2 It was three hours past noon in Purgatory; and in Italy, where Dante wrote, it was midnight. 3 Literally, "in the middle of the nose;" but as the nose is in the centre of the face, the sun's rays must have shone full in the poets' faces.CANTO XY. PURGATORIO. 165 at the unknown reason of it. Wherefore I raised my hands up to my eyebrows, and made a screen of them to relieve the exceeding brightness of the light. As when from water or from a mirror the sun-ray leaps in the opposite direc- tion, ascending in a similar way to that in which it de- scends, and parts itself just as far from the fall of the stone at an equal distance, as experience and learning prove; so methought I was stricken on the face by reflected1 light, wherefore my sight was quick to fly. "What is that, sweet father," said I, "from which I cannot properly screen my eyes, and which appears to be moving towards us ? " " Marvel not," he replied, " if the family of heaven Ond' io levai le mani in ver la cima Delle mie ciglia, e fecimi il solecchio, Che del soverchio visibile lima. 15 Come quando dall' acqua o dallo specchio Salta lo raggio all' opposita parte, Salendo su per lo modo parecchio A quel che scende, e tanto si diparte Dal cader della pietra in igual tratta, 20 Si come mostra esperienza ed arte; Cos! mi parve da luce rifratta Ivi dinanzi a me esser percosso; Perche a fuggir la mia vista fu ratta. Che e quel, dolce Padre, a che non posso 25 Schermar lo viso tanto che mi vaglia, Diss' io, e pare in ver noi esser mosso ? Non ti maravigliar se ancor t' abbaglia 1 This was the divine light that illuminated the angel, and was re- flected from him.166 PURGATORIO. CANTO XV. dazzle thee still; he is a messenger who invites men to ascend. Before long it will no more grieve thee to see such things, but thou wilt have as much delight in them as thy nature disposes thee to feel." After we were come to the blessed angel, he cried, with cheerful voice, " Enter ye here by a flight of steps, less steep than those ye have ascended before." We now began the ascent, having departed from thence, when behind us was chanted, " Beati misericordes," and " Rejoice thou that overcomest." My master and I were going up alone: and I thought, as I went, to derive some profit by his discourse. So I turned towards him, and begged to know what that spirit from Romagna meant when he spoke of refusal and com- La famiglia del Cielo, a me rispose: Messo e, che viene ad invitar ch' uom saglia. 30 Tosto sark ch' a veder queste cose Non ti fia grave, ma fieti diletto, Quanto natura a sentir ti dispose. Poi giunti fummo all' Angel benedetto, Con lieta voce disse: Intrate quinci, Ad un scaleo vie men che gli altri eretto. 35 Noi montavamo, gik partiti linci, E, Beati misericordes, fue Cantato retro, e: Godi tu che vinci. Lo mio Maestro ed io soli ambedue Suso andavamo, ed io pensava, andando, Prode acquistar nelle parole sue ; 40 E dirizza'mi a lui si dimandando: Che voile dir lo spirto di Romagna, E divieto e consorto menzionando ? 45CANTO XV. PURGATORIO. 167 panionship ? 1 So lie said to me, " He knows the evil of his worst2 defect; be not then surprised, if he reproves it, that others may less weep for it.3 Because your desires are directed to advantages which are decreased by com- panionship, envy moves the bellows to your sighs; but if the love of the highest sphere attracted your desires upwards, your breasts would not be troubled with that fear; because the more there are who can say, ' This is ours,' so much more does each possess, and greatest is the charity that shines in the heavenly cloister." " I am still less satisfied," I said, " than if I had been silent, and more doubt gathers in my mind. How is it possible that one good distributed Perch' egli a me: Di sua maggior magagna Conosce il danno; e pero non s' ammiri Se ne riprende, perche men sen piagna. Perche s' appuntano i vostri desiri, Dove per compagnia parte si scema, 50 Invidia muove il mantaco a' sospiri. Ma se 1' amor della spera suprema Torcesse in suso il desiderio vostro, Non vi sarebbe al petto quella tema; Che per quanti si dice piu li nostro, 55 Tanto possiede piu di ben ciascuno, E piu di caritate arde in quel chiostro. Io son d' esser contento piu digiuno, Diss' io, che se mi fossi pria taciuto, E piu di dubbio nella mente aduno. 60 Com' esser puote che un ben distributo 1 See Canto xiv., 1. 86, 87 : " O gente umana, perche poni il cuore La v' e mestier di consorto divieto." 2 i.e. Envy. 3 i.e. that men may weep less for it in Purgatory.168 PURGATORIO. CANTO XV. amongst many should make the possessors richer than if possessed by a few ? " And he replied, " Because thou fixest thy mind on earthly things, thou extractest darkness from true light. That infinite and ineffable good, that lives above, so runs to love, as a ray darts upon a shining body. It gives itself in proportion to the love it finds ; so that how far soever charity extends, the eternal glory extends abore it. So that the more people know each other on high, the more there are to love truly, and the more love each othei, and like a mirror, one reflects the other. And if my argu- ments do not satisfy thee, thou shalt see Beatrice,1 who will fully take from thee that and every other desire. Strive I piu posseditor faccia piu ricchi Di se, che se da pochi e posseduto ? Ed egli a me: Perocche tu rificchi La mente pure alle cose terrene, 65 Di vera luce tenebre dispicchi. Quello infinito ed ineffabil bene Che lassu e, cosi corre ad amore, Come a lucido corpo raggio viene. Tanto si dsfc, quanto trova d' ardore: 70 Si che quantunque caritk si stende, Cresce sovr' essa Y eterno valore. E quanta gente piu lassu s' intende, Piu v' e da bene amare, e piu vi s' ama, E come specchio 1' uno all' altro rende. 75 E se la mia ragion non ti disfama, Vedrai Beatrice, ed ella pienamente Ti torr& questa e ciascun' altra brama. 1 Beatrice, the personification of holy wisdom, or theology. See Inf. ii. 70.CANTO XV. PURGATORIO. 169 then that thy five remaining scars be soon done away, as the two others have been,1 for quickly are they healed by true repentance. As I was about to reply, " Thou con- * tentest me," I saw I had come up to the other terrace, so that the desire of satisfying my eyes made me silent. There methought I was suddenly entranced in an ecstatic vision, and that I saw in a temple several persons, and a lady 2 in the porch, with a mother's sweet gestures, saying, " Son, why hast thou thus dealt with us ? Behold thy father and I have sought thee sorrowingand as she Procaccia pur, che tosto sieno spente, Come son gia le due, le cinque piaghe, 80» Che si richiudon per esser dolente. Com' io voleva dicer: Tu m' appaghe: Yidimi giunto in su 1' altro girone, Si che tacer mi fer le luci vaghe. Ivi mi parve in una visione 85 Estatica di subito esser tratto, E vedere in un tempio piu persone: Ed una donna in su 1' entrar, con atto Dolce di madre, dicer: Figliuol mio, Perche hai tu cosi verso noi fatto ? 90 Ecco, dolenti lo tuo padre ed io Ti cercavamo. E come qui si tacque, 1 The two scars, or P's, repre- senting pride and envy, had been already done away in the two lower circles visited by Dante. The re- maining five, viz., anger, sloth, avarice, gluttony, and luxury, re- mained to be obliterated. 2 The Virgin Mary. The poet alludes to the discovery by his parents of the child Jesus amongst the Jewish doctors in the Temple. St. Luke, ii. 48.170 PUMGATORIO. CANTO XV. ceased to speak, the first vision disappeared. Then ap- peared to me another matron,1 with her cheeks bedewed with those drops that are wrung from grief, springing from deep indignation. She seemed to say, " If thou art lord of the city, whose name caused such dissension amongst the gods,2 and whence all science diffuses its lustre, avenge thyself, Pisistratus, of those arms daring enough to embrace our daughter." And methought her gentle lord replied, with kindly looks, "What shall we do to him that wills us woe, if we condemn the one who loves Cio che pareva prima dispario. Indi m' apparve un' altra con quelle acque Giu per le gote, che '1 dolor distilla, 95 Quando per gran dispetto in altrui nacque, E dir: Se tu se' sire della villa, Del cui nome ne' Dei fu tanta lite, E onde ogni scienzia disfavilla, Yendica te di quelle braccia ardite 100 Che abbracciar nostra figlia, o Pisistrato. E il signor mi parea benigno e mite Eisponder lei con viso temperato: Che farem noi a chi mal ne disira, Se quei che ci ama e per noi condannato ? 105 1 The wife of Pisistratus, tyrant of Athens, who urged her hus- band to put to death a young man who was in love with her daughter, and had publicly kissed her. See Valerius Maximus, book v., chap. i. 2 Neptune and Minerva dis- puted as to which was to give the name to the new city, Athens; and it was agreed that whichever could at once produce the most useful thing to man should give the city its name. Neptune struck the earth with his trident, and pro- duced the horse ; Minerva did the same with her spear, and produced the olive, and was adjudged the prize by the other gods.CANTO XV. P UR GA TO RIO. 171 us P " ' Then did I see people, inflamed with anger, slay a young 1 man with stones, crying loudly to each other, " Away with him to martyrdom." And him I beheld sink- ing to the earth, for death already weighed him down, yet keeping his eyes, still open, fixed on heaven, in that atti- tude which wins compassion, and even in such direful straits imploring the Supreme Lord of all for mercy on his persecutors. "When my mind returned from its imaginings to objects really existing outside it, I knew my delusion, which was not wholly false.2 My guide, who saw that I was acting like a man just awakened from sleep, said, " What ails thee that thou canst not firmly stand, but art come Poi vidi genti accese in fuoco d' ira, Con pietre un giovinetto ancider, forte Gridando a se pur: Martira, martira: E lui vedea chinarsi per la morfce, Che I' aggravava gi&, in ver la terra, 110 Ma degli occhi facea sempre al ciel porte; Orando all' alto Sire in tanta guerra, Che perdonasse a' suoi persecutori, Con quell' aspetto che pieta disserra. QuandoT anima mia torno di fuori 115 Alle cose, che son fuor di lei vere, Io riconobbi i miei non falsi errori. Lo Duca mio, che mi potea vedere Far si com' uom che dal sonno si slega, Disse: Che hai, che non ti puoi tenere ; 120 1 The proto-martyr Stephen. 2 The meaning seems to be that the vision was not a mere passing dream; but by placing before Dante's eyes these examples of tenderness, it made him reflect on his own bad tendencies to anger.172 PURGATORIO. CANTO XV. for more than half a league with closed eyes and tottering gait, like one overcome by either wine or sleep ? " " 0 my sweet father," said I, " if thou wilt listen I will tell thee that which appeared to me when my legs failed me." And he replied, 44 Shouldest thou conceal thy features with a hundred masks, thy thoughts, however trifling, could not be hid from me. What thou sawest was revealed to thee lest thou shouldest refuse to open thy heart to receive the waters of peace that flow from the eternal fount. I did not ask, ' What ails thee,' as one whose sight is limited, and can no further penetrate when, after the departure of the soul, the body lies inanimate, but (know- ing thy thoughts) I merely asked to stimulate thy pace. Ma se' venuto pin che mezza lega Yelando gli occhi, e con le gambe avvolte A guisa di cui vino o sonno piega ? 0 dolce Padre mio, se tu m' ascolte, I' ti diro, diss' io, cio che mi apparve 125 Quando le gambe mi furon si tolte. Ed ei: Se tu avessi cento larve Sovra la faccia, non mi sarien chiuse Le tue cogitazion quantunque parve. Cio che vedesti fu, perche non scuse 130 D' aprir lo cuore all' acque della pace, Che dall' eterno fonte son diffuse. Non dimandai, Che Tiai ? per quel che face Chi guarda pur con 1' occhio che non vede, Quando disanimato il corpo giace ; 135 Ma dimandai per darti forza al piede: Cos! frugar conviensi i pigri, lenti Ad usar lor vigilia quando riede.CANTO XY. PURGATORIO. 173 So meet is it to spur on the indolent and tardy to use their waking hours when they return." We went on in the evening, peering intently through the glittering sunset rays as far as eye could see. When lo, by slow degrees, a smoke, as black as night, came on to meet us; nor was there shelter to escape from it; it reft us of our eyes and the pure air. Noi andavam per lo vespero attenti Oltre, quanto poten gli occhi allungarsi, 140 Contra i raggi serotini e lucenti: Ed ecco a poco a poco un fumo farsi Yerso di noi, come la notte, oscuro, Ne da quello era loco da cansarsi: Questo ne tolse gli occhi e 1' aer puro. 145ARGUMENT TO CANTO XYI. In the third Terrace of Purgatory is punished amidst a thick smoke, and profound darkness, the sin of anger. Marco Lombardo, one of the spirits that are there, explains to Dante, that our actions must not'be imputed to necessity, hut to the free will, which man possesses; he further says that the conjunction of temporal and spiritual authority has perverted mankind.176 PURGATORIO. canto XVI. CANTO XYI. Neither the darkness of hell, nor of night deprived of stars under a barren sky, darkened by clouds to the utmost, drew so thick a veil across my sight, nor one of such harsh texture to the touch, as that dense smoke that there enveloped us, which would not even let my eyes stay open. Wherefore my experienced and faithful guide drew near to me, and offered me his shoulder. Just as a blind man goes behind his guide, lest he may go astray, or stumble against aught that may hurt or slay him, so I advanced through the loathsome murky air, listening to my leader, who kept saying, " See that thou dost not separate from Buio d' inferno, e di notte privata D' ogni pianeta sotto pover cielo, Quant' esser puo di nuvol tenebrata, Non fece al viso mio si grosso velo, Come quel fumo ch' ivi ci coperse, 5 Nea sentir di cosi aspro pelo; Che 1' occhio stare aperto non sofferse : Onde la Scorta mia saputa e fida Mi s' accosto, e Y omero m' offerse. Si come cieco va dietro a sua guida 10 Per non smarrirsi, e per non dar di cozzo In cosa che '1 molesti, o forse ancida; M' andava io per 1' aere amaro e sozzo, Ascoltando il mio Duca che diceva Pur: Guarda, che da me tu non sie mozzo. 15CANTO XVI. PURGATORIO. 177 me." Then I heard voices, and each seemed to pray for peace and mercy to the Lamb of God that takes away sins. " Agnus Dei " was their prelude, all in one measure and one voice united ; so that unbroken concord reigned throughout. " Are those spirits, master, which I hear ? " said I. And he replied, " Thou guessest right; they are loosening the knot of anger." " Now who art thou that cuttest through our smoke, and speakest of us as if thou still measuredst thy time by Calends P " 1 Thus spake a voice. x Wherefore my master said, " Answer, and ask if from this point one mounts above." And I said, " 0 being, that art purifying thyself Io sentia voci, e ciascuna pareva Pregar per pace e per misericordia L' Agnel di Dio, che le peccata leva. Pure Agnus Dei eran le loro esordia: Una parola in tutti era ed un modo, Si che parea tra esse ogni concordia. 20 Quei sono spirti, Maestro, ch' i* odo ? Diss' io. Ed egli a me : Tu vero apprendi, E d' iracondia van solvendo il nodo. Or tu chi se' che '1 nostro fumo fendi, E di noi parli pur, come se tue 25 Partissi ancor lo tempo per calendi ? Cosi per una voce detto fue. Onde il Maestro mio disse : Rispondi, E dimanda se quinci si va sue. 30 Ed io : 0 creatura, che ti mondi, 1 i.e. one who still lives in Time, not in Eternity, and therefore uses the ordinary measure of Time. N178 PURGATORIO. CANTO XVI. to return fair to Him Who made thee, thou shalt hear marvels, if thou follow me." "I will follow thee as far as I may," it replied; " and if this smoke cuts off our sight, hearing will keep us together in its stead," Then I began: " With that frame that death dissolves I wend my way above, and hither I came through the terrors of Hell. And if God has so far received me into His favour as to suffer me to see His Court, in a manner quite different from the usage of to-day, do not hide from me who thou wast before death ; but tell me this, and also say if I am in the right way to the passage, and may thy words be our guide." " A Lombard was I, Marco was my name.1 I well knew the world, and loved that honesty, to aim at which no one Per tornar bella a colui che ti fece, Maraviglia udirai se mi secondi. Jo ti seguitero quanto mi lece, Hispose ; e se veder fumo non lascia, 85 Jj udir ci terra giunti in quella vece. Allora incominciai: Con quella fascia, Che la morte dissolve, men vo suso, E venni qui per la infernale ambascia; E se Dio m' ha in sua grazia richiuso 40 Tanto, ch' e' vuol ch' io veggia la sua corfce Per modo tutto fuor del modern' uso, Non mi celar chi fosti anzi la morte, Ma dilmi, e dimmi s' io vo bene al varco; E tue parole fien le nostre scorte. 45 Lombardo fui, e fui chiamato Marco : Del mondo seppi, e quel valore amai 1 A noble Venetian, and a man of great worth.CANTO XYI. PURGATORIO. 179 now bends his bow. Thou goest straight for the ascent on high." Thus answered he, and added, " Pray thou for me, I beg, when thou arrivest there." And I to him: "My faith I pledge to thee, that I will do thy bidding; but I am racked with a doubt, till it is cleared up. Before it was but single, and now it is double,1 through your words, which confirm that wherewith I couple it here and elsewhere. The world is indeed utterly devoid of every virtue, as thou tellest me, and teems inside and out with wickedness ; but, I pray you, tell me the cause of this, so that I both may perceive it myself, and declare it to others, for some ascribe it to heaven, and some 2 to A1 quale ha or ciascun disteso 1' arco : Per montar su dirittamente vai. Cosi rispose ; e soggiunse: Io ti prego 50 Che per me preghi, quando su sarai. Ed io a lui: Per fede mi ti lego Di far cio che mi chiedi; ma io scoppio Dentro da un dubbio, s' i' non me ne spiego. Prima era scempio, ed ora e fatto doppio 55 Nella sentenzia tua, che mi fa certo Qui ed altrove quello ov* io 1' accoppio. Lo mondo e ben cosi tutto diserto D' ogni virtute, come tu mi suone, E di malizia gravido e coverto ; 60 Ma prego che m' additi la cagione, Si ch' io la veggia, e ch' io la mostri altrui; Che nel cielo uno, ed un quaggiu la pone. 1 i.e. I have now heard the same thing from Guido del Duca before (see Canto xiv.), and now again from thee. 2 i.e. some attribute the cause of the world's wickedness to the malevolent influences of the stars, and some to human perversity.180 PURGATORIO. CANTO XYI. earth." He first heaved a deep sigh, which his sorrow turned into a groan, and then began : " Brother, the world is blind, and surely thou art from it. Ye who live there refer the cause of everything to the heavens above, as if they moved all things with them of necessity. If this were so, all free will would be destroyed within you ; nor would it be just to have joy for doing good, or sorrow for doing evil. The stars initiate your movements; I say not all, but granted that I did say so, then light is vouchsafed you to discern between good and evil, and free will, which, though it may endure many a weary fight at first with the starry influences, yet it conquers all in the end, if its strength is well supported. To a mightier force and a better nature1 ye are subject, though still free; and that Alto sospir, che duolo strinse in hui, Mise fuor prima, e poi comincio : Frate, 65 Lo mondo e cieco, e tu vien ben da lui. Yoi che vivete ogni cagion recate Pur suso al cielo, si come se tutto Movesse seco di necessitate. Se cosi fosse, in voi fora distrutto 70 Libero arbitrio, e non fora giustizia, Per ben, letizia, e per male, aver lutto. Lo cielo i vostri movimenti inizia; Non dico tutti; ma, posto ch' io '1 dica, Lume v' e dato a bene ed a malizia, 75 E libero voler, che, se fatica Nelle prime battaglie col ciel dura, Poi vince tutto, se ben si nutrica. A maggior forza ed a miglior natura 1 i.e. that of God.CANTO XYI. PURGATORIO. 181 Nature creates in you the mental powers which are not in- fluenced by the planets. But if the present world is out of course, the cause rests with yourselves ; in you it must be sought, and I shall now be to thee a true interpreter. " From his hand, who loves her before she exists, issues, like a baby-girl that sports about, now crying, now laugh- ing, the soul in her simplicity, knowing nought as yet save that, set in motion by a joyful Maker, she willingly turns to that which gives her joy. She first perceives the savour of trifling pleasures; here she is deceived, and runs after them, unless rein or bit can turn off her affections. " Wherefore it is meet to lay down laws as a curb, and to have a king, who at least can distinguish the tower of Liberi soggiacete, e quella cria 80 La mente in voi, che '1 ciel non ha in sua cura. Pero, se il mondo presente disvia, In voi e la cagione, in voi si cheggia, Ed io te ne saro or vera spia. Esce di mano a lui, che la vagheggia 85 Prima che sia, a guisa di fanciulla, Che piangendo e ridendo pargoleggia, L' anima semplicetta, che sa nulla, Salvo che, mossa da lieto Fattore, Yolentier torna a cio che la trastulla. 90 Di picciol bene in pria sente sapore ; Quivi s' inganna, e dietro ad esso corre, Se guida o fren non torce suo amore. Onde convenne legge per fren porre ; Convenne rege aver, che discernesse 95 Delia vera cittade almen la torre.182 PURGA TORIO. CANTO XVI. the true city.1 The laws are there, but who puts hand to them P 2 No one; because the pastor who precedes the flock may chew the cud, but has not cloven feet.3 Where- fore the people who see that their guide makes for that good they covet for themselves, glut themselves there- with, and ask for nought beyond. Well canst thou see that evil conduct is the cause that has made the world so bad, and not that nature is corrupt within you. Le leggi son, ma chi pon mano ad esse ? Nullo : pero che '1 pastor che precede Kuminar puo, ma non ha 1' unghie fesse. Per che la gente, che sua guida vede 100 Pure a quel ben ferire ond' ella e ghiotta, Di quel si pasce e piu oltre non chiede. Ben puoi veder che la mala condotta E la cagion che il mondo ha fatto reo, E non natura che in voi sia corrotta. 105 1 Dante seems here to be con- trasting the German Empire with its capital on earth, and the heavenly city where Christ is King Supreme. He says, therefore, that a king should always be able to distinguish the towers of the Heavenly City, i.e. should so be- have and govern his subjects as one under its dominion. 2 i.e. who puts them into exe- cution ? 3 Ma non Jia V unghie fesse = but has not cloven hoofs. We read in Levit. xi. 3," Whatsoever parteth the hoof, and is cloven-footed, and cheweth the cud among the beasts, that shall ye eat." Dante finds in the Pope only one of these marks of the "clean" animal. Thomas Aquinas allegorizes the rumination as meditation on the Scriptures,, and the cloven hoof as the power of distinguishing, e.g. between good and evil. This might apply here, the Pope being represented as making no distinction between the temporal and spiritual power. Another idea is, that though the Pope (Pastor) may preach true doctrine, e.g. ruminate; yet his deeds do not correspond with the purity of the doctrine = he has- not his feet cloven.CANTO XVI. PURGATORIO. 183 Rome, that once spread righteousness throughout the world, used to have two suns which pointed out both roads, the world's and God's.1 The one has put out the other,2 and the sword is joined to the crozier; and the union of the two must of necessity produce evil, because united, one fears not the other. If thou belie vest me not, observe the harvest;3 for every plant is known by its seed.4 In the land which the Adige and Po water, valour and courtesy were to be found before Frederick got into quarrels;5 nowadays, it is safe for anyone who might Soleva Roma, che il buon mondo feo, Duo Soli aver, che 1' una e 1' altra strada Facen vedere, e del mondo e di Deo. L' un T altro ha spento; ed e giunta la spada Col pasturale ; e 1' uno e 1' altro insieme 110 Per viva forza mal convien che vada ; Perocche, giunti, 1' un 1' altro non teme. Se non mi credi, pon mente alia spiga, Ch' ogni erba si conosce per lo seme. In sul paese ch' Adige e Po riga 115 Solea valore e cortesia trovarsi Prima che Federigo avesse briga; Or puo sicuramente indi passarsi 1 These two suns were the Church as embodied by the Pope, that showed men the way to God, and the Imperial Government, that taught men how to behave in the world; in other words, Kome acknowledged that the Temporal and Spiritual Powers were two distinct things. 2 i.e. the spiritual has absorbed the temporal power. 3 La spiga, lit., the ear of corn, but here, the harvest, i.e. the results of the present state of things. 4 St. Matt. xii. 33. " The tree is known by his fruit." 5 This was the Emperor Frede-184 PURGATORIO. CANTO XYI. refuse to approach., feeling ashamed to speak to virtuous men, to go thither. True there still exist three ancient men in whom the old times reprove the new, and who long for the time when God shall move them to a better life—Conrad of Palazzo, and the good Gerard, and Guy of Castello, better named in French fashion1 the Simple Lombard. Say from henceforth that the Church of Rome, by mixing up two realms within herself, is sinking in the mire, and defiles both herself and her burden." " 0 my Marco," said I, " thou reasonest well; and now I see, why2 the sons of Levi were excluded from the Per qualunque lasciasse, per vergogna Di ragionar co' buoni, d'appressarsi. 120 Ben v' en tre vecchi ancora, in cui rampogna L' antica et& la nuova, e par lor tardo Che Dio a miglior vita li ripogna : Currado da Palazzo, e il buon Gherardo, E Guido da Castel, che me' si noma 125 Francescamente il semplice Lombardo. DV oggimai che la Chiesa di Eoma, Per confondere in se duo reggimenti, Cade nel fango, e se brutta e la soma. 0 Marco mio, diss' io, bene argomenti; 130 Ed or discerno, perche dal retaggio rick II. of Germany, son of Henry V. and grandson of Frederick Bar- barossa. The Pope disputed his Imperial prerogatives; and the scandals arising from their un- seemly quarrels had a disastrous effect on the morals of the Italian nations. 1 By the French at that time all Italians were called Lombards. He was descended of a noble house at Keggio. 2 i.e. because of the evils aris- ing from temporal wealth being in the hands of ecclesiastics.CANTO XVI. PURGATORIO. 185 inheritance; but what Gerard is he whom thou say est is left as a sample of the extinct generation for a reproof to this unruly age ? " 44 Either thy speech deceives me, or it is making trial of me," he replied, " when thou, who speakest Tuscan, appearest to know nought of the good Gerard. I know him not by any other surname, unless I take it from his daughter Gaia.1 Now God be with thee; I may go no further. See how the brightness, that shines through the smoke, is already whitening the sky. The angel is there; I must depart before he appears." So he turned away and would hearken to me no more. Li figli di Levi furono esenti: Ma qual Gherardo e quel che tu per saggio D¥ ch' e rimaso della gente spenta In rimpro verio del secol selvaggio ? 135 O tuo parlar m'inganna, o e' mi tenta, Eispose a me; che, parlandomi Tosco, Par che del buon Gherardo nulla senta. Per altro soprannome io nol conosco, S' i' nol togliessi da sua figlia Gaia. 140 Dio sia con voi, che piu non vegno vosco. Yedi 1' albor che per lo fumo raia, Gia biancheggiare, e me convien partirmi, L' Angelo e ivi, prima ch' egli paia. Cosi torno, e piu non voile udirmi. 145 1 Gaia was the daughter of Gerard da Cammino, and is said to have been a prudent and virtuous lady, equally admired for her beauty and her talents. Others say that she was notorious for her licentiousness. In this case the poet's mention of her would point the contrast drawn (in line 122) between the old times and the new.ARGUMENT TO CANTO XVII. On issuing from the smoke-fog, Dante is again entranced in an ecstatic vision, and sees some notable instances of anger. He is awakened by the refulgent splendour of the angel who comes to conduct him and Virgil to the Fourth Circle. Night coming on, they are obliged to remain there, and Virgil, wishing to impart some instruction to Dante, explains to him how love is the root of all sin as well as of all virtue.188 PURGATORIO. CANTO XVII. CANTO XVII. Reader, if ever thou hast been caught in a mist on the Alps, through which thou couldst see no better than a mole does through his eye web, call to thy remembrance how the sun's bright orb faintly pierces the thick and watery vapours, when they begin to rarefy; and yet thy memory will be too weak to give thee an idea with what feelings I first saw again the sun, which was on the point of setting. Thus, making my steps even with those of my trusty guide, I issued from that cloud into the sunbeams just expiring on the shore beneath. 0 power of imagina- tion, that sometimes robs us of ourselves, so that though a thousand trumpets were pealing round us, we should heed Ricorditi, lettor, se mai nell' alpe Ti colse nebbia, per la qual vedessi Non altrimenti che per pelle talpe; Come, quando i vapori umidi e spessi A diradar cominciansi, la spera 5 • Del Sol debilemente entra per essi; E fia la tua immagine leggiera In giugnere a veder, com' io rividi Lo Sole in pria, che gik nel corcare era. Si, pareggiando i miei co' passi fidi 10 Del mio Maestro, usci' fuor di tal nube, A' raggi morti gik ne' bassi lidi. 0 immaginativa, che ne rube Tal volta si di fuor, ch' uom non s' accorge, Perche d' intorno suonin mille tube, 15CANTO XVII. P UR GA TO RIO* 189 them not; who moves thee if the senses give no percep- tion ? A light stirs thee, no doubt, formed in heaven, and either acting of itself, or else sent down by the Divine will. Before my fancy came an image of the impiety of her1 who was transformed into that bird which most delights in singing—and here my mind became so self- contained, that it could not take in the impress of any- thing from without. Next came before my deep imagin- ings, one crucified 2 with visage proud and grim, and in that guise he died. Around him were the great Ahasuerus, Esther his spouse, and Mordecai the Just, who both in word and deed was of such integrity. And as this image Chi muove te, se il senso non ti porge ? Muoveti lume, che nel ciel s'informa, Per se, o per voler che giu lo scorge. Dell' empiezza di lei, che muto forma Nell' uccel che a cantar piu si diletta, 20> Nell' immagine mia apparve 1' orma: E qui fu la mia mente si ristretta Dentro da se, che di fuor non venia Cosa che fosse allor da lei recetta. Poi piovve dentro all' alta fantasia 25 Un crocifisso dispettoso e fiero Nella sua vista, e cotal si moria. Intorno ad esso era il grande Assuero, Ester sua sposa e il giusto Mardocheo, Che fu al dire e al far cosi intero. 30' 1 Alluding to Procne, who, for cutting her own son in pieces and giving them to his father to eat, was changed into a nightingale. 2 The allusion is to Hainan, the prime minister of Ahasuerus, who was crucified (hanged in our ver- sion) on the same gallows that he had prepared for Mordecai. See the story in the book of Esther.190 PURGATORIO. CANTO XVII. vanished of itself, like some bubble, when fails the water whence it took its form, a damsel1 rose before me weeping aloud, and saying, " 0 Queen, wherefore for wrath's sake hast thou chosen to make thyself nought ? Thou hast killed thyself, not to lose Lavinia ; but now hast thou lost me indeed. I am she who weeps for thy death, mother, rather than for the woes of others."2 As sleep is broken when suddenly a new day strikes on the imprisoned eyes, and yet, though broken, struggles before it quite dies away,3 so my illusion vanished, as soon as a light smote E come questa immagine rompeo Se per se stessa, a guisa d' una bulla Cui manca 1' acqua sotto qual si feo, Surse in mia visione una fanciulla, Piangendo forte, e diceva: 0 regina, 35 Perche per ira hai voluto esser nulla ? Ancisa t' hai per non perder Lavina; Or m' hai perduta : i' sono essa che lutto, Madre, alia tua pria ch' all' altrui ruina. Come si frange il sonno, ove di butto 40 Nuova luce percuote il viso chiuso, Che fratto guizza pria che muoia tutto, Cosi 1' immaginar mio cadde giuso, Tosto che un lume il volto mi percosse, 1 This damsel was Lavinia, daughter of King Latinus and Amata his queen. She is lament- ing her mother, who killed herself through indignation at the sup- posed death of Turnus (to whom her daughter Lavinia was betrothed). See Virg. JEn. xii. 593-952. 2 i. e. those of Turnus, her lover, afterwards killed by iEneas. This vision of examples of the punish- ment of the sin of anger corre- sponds to the vision in Canto xv. 85-114 of examples of forgiveness. 3 The allusion is to the struggles of a man, only half awake, to go to sleep again, which only end when he is completely roused.CANTO XVII. PURGATORIO. 191 my face, far brighter than any we are accustomed to see. I was turning round to see where I was, when a voice said, " Here you must ascend; " and this withdrew my attention from any other object. And it made me so desirous to see who it was that spake, that I could not rest till I saw him face to face. But my sight now failed me, as it fails before the sun which overpowers our vision, and veils itself with its transcendent splendour. "This is a divine spirit, who, unasked by us, shows ns the way by which we are to mount, and yet conceals himself in his own brightness. He does by us as one does for himself; for he who sees the need and waits for prayers, is already malignantly preparing a refusal. Let us then hasten our steps in accordance with such an invitation, Maggiore assai, che quello ch* e in nostr' uso. 45 I* mi volgea per vedere ov' io fosse, Quand' una voce disse : Qui si monta : Che da ogni altro intento mi rimosse; E fece la mia voglia tanto pronta Di riguardar chi era che parlava, 50 Che mai non posa, se non si raffronta. Ma come al Sol, che nostra vista grava, E per soperchio sua figura vela, Cosi la mia virtu quivi mancava. Questi e divino spirito, che ne la 55 Via d' andar su ne drizza senza prego, E col suo lume se medesmo cela. Si fa con noi, come 1' uom si fa sego; , Che quale aspetta prego, e 1' uopo vede, Malignamente gik si mette al nego. 60 Ora accordiamo a tanto invito il piede :192 PURGATORIO. CANTO XVII. and strive to ascend before it grows dark, for then it would be impossible till the return of day." Thus spake my guide, and we both turned our steps towards the stair. And no sooner was I on the first step, than I heard close to me, as it were, the fluttering of a wing that fanned my face, and heard a voice saying, " Beati jpacifici, who are free from evil wrath." By this time1 the last rays of the sun, that are followed by night, were so high above our heads, that the stars appeared in many places. " 0 my strength, why dost thou melt away ? " I said to myself, when I felt that the powers of my legs were in abeyance. We had now reached the topmost step of the stair, and remained glued to the Procacciam di salir pria che s' abbui, Che poi non si poria, se il di non riede. Cos! disse il mio Duca ; ed io con lui Yolgemmo i nostri passi ad una scala: E tosto ch' io al primo grado fui, 65 Senti'mi presso quasi un muover d' ala, E ventarmi nel volto, e dir : Beati Pacifici, che son senz' ira mala. Gi& eran sopra noi tanto levati Gli ultimi raggi che la notte segue, Che le stelle apparivan da piu lati. 70 O virtu mia, perche si ti dilegue ? Fra me stesso dicea, che mi sentiva La possa delle gambe posta in tregue. 75 Noi eravam dove piu non saliva La scala su, ed eravamo affissi, 1 They are now entsring the I of Sloth, and the second night is Fourth Circle of Purgatory, that I beginning.CANTO XVII. PURGATORIO. 193 ground, like a ship that has stranded on the beach. I listened awhile to see if I could hear anything in this new circle. Then turning to my master, " Sweet father," said I, " tell me what offence is purged here in the circle where we are ? If our feet must rest, yet stay not thy discourse." And he to me : " The love of good that slackens in ful- filling its duty, is here restored; here the sluggish oars- man is corrected. But that thou mayest more clearly understand, give me thy mind, and thou shalt reap good fruit from our delay." He then began: " Son, neither creator nor creature was ever devoid of love, either natural or of free will,1 and this thou knowest. The natural was always free from error, but the other may err when applied Pur come nave ch' alia piaggia arriva. Ed io attesi un poco s' io udissi Alcuna cosa nel nuovo girone ; 80 Poi mi rivolsi al mio Maestro, e dissi: Dolce mio Padre, di', quale offensione Si purga qui nel giro, dove semo ? Se i pie si stanno, non stea tuo sermone. Ed egli a me: L' amor del bene, scemo 85 Di suo dover, quiritta si ristora, Qui si ribatte il mal tardato remo. Ma perche piu aperto intendi ancora, Yolgi la mente a me, e prenderai Alcun buon frutto di nostra dimora. 90 Ne Creator, ne creatura mai, Comincio ei, figliuol, fu senza am ore, 0 naturale, o d' animo ; e tu '1 sai. Lo natural fu sempre senza errore ; 1 Naturale o d9 animo, i.e. either instinctive or rational love. 0194 ♦ JPUBGA TORIO. CANTO XVII. to unworthy objects, or through excess or defect of fervency. While it is directed to the highest good,1 and when bent on secondary advantages keeps within bounds, it cannot be an occasion of evil delight. But when it is perverted to evil, or with more or less zeal than is due pursues the good, then the creature rebels against his Creator. Hence thou mayest know that love must be in man the seed of every virtue, and of every action that merits punishment. Therefore as Love can never be averse from the welfare of the beloved object, all are quite secure from self-hatred. And as we cannot conceive of anything divided, nor stand- ing by itself away from the First Cause, every affection is far removed from hating that. If, then, my distinction be Ma 1' altro puote errar per malo obbietto, 95 0 per troppo, o per poco di vigore. Mentre cli' egli e ne' primi ben diretto, E ne' secondi se stess^ misura, Esser non pK&'.cagion di mal diletto; Ma quando al mal si torce, o con piu cura, 100 0 con men che non dee, corre nel bene, Contra il Fattore adovra sua fattura. Quinci comprender puoi, ch' esser conviene Amor sementa in voi d' ogni virtute, E d' ogni operazion che merta pene. 105 Or perche mai non puo dalla salute Amor del suo suggetto volger viso, Dall' odio proprio son le cose tute: E perche intender non si pub diviso, Ne per se stante, alcuno esser dal primo, 110 Da quello odiare ogni affetto e deciso. 1 i.e. God and virtue. The secondary goods are things terrestrial.CANTO XVII. PZJRGATORIO. 195 correct, it follows that the evil that is loved is that of one's neighbour; and this love in jour clay is generated in three ways. One man hopes to excel by keeping down his neighbour, and for this reason only wishes that he may be deprived of his greatness and laid low. Another fears to lose power, favour, honour, and reputation by the eleva- tion of another; whence he is so sorrowful that he loves the contrary.1 A third is so angered by injuries received, that he pants for revenge, and must needs desire to work ill to others. This threefold love is punished there below.2 Now I would have thee understand the other kind which aims at good, but in a disorderly fashion. Each indistinctly Resta, se, dividendo, bene estimo, Che il mal che s' ama e del prossimo, ed esso Amor nasce in tre modi in vostro limo. E chi, per esser suo vicin soppresso, 115 Spera eccellenza, e sol per questo brama Ch' el sia di sua grandezza in basso messo. E chi podere, grazia, onore e fama Teme di perder perch' altri sormonti, Onde s' attrista si, che il contraro ama: 120 Ed e chi per ingiuria par ch' adonti Si, che si fa della vendetta ghiotto : E tal convien, che il male altrui impronti. Questo triforme amor quaggiii disotto Si piange : or vo' che tu dell' altro intende, 125 Che corre al ben con ordine corrotto. 1 II contrario ama, i.e. his neigh- bour's abasement. 2 i.e. in the three circles we have passed through. Pride is punished in the first; envy in the second, and anger in the third.196 PURGATORIO. CANTO XVII. conceives a good wherein his mind may rest, and eagerly desires it; and therefore strives hard to reach it.1 If a too slow love draws you on to see it, or to obtain it, this terrace, after due penitence, will purge you of it. There is yet another good that does not make man happy. It is not happiness, it is not the Good Essence, the fruit and root of every good. The love which gives itself -Up too much to that is punished in the three circles above us. But I am silent as to the reason of this threefold division, that thou may est seek it for thyself." Ciascun confusamente un bene apprende, Nel qual si quieti 1' animo, e desira: Perche di giugner lui ciascun contende. Se lento amore in lui veder vi tira, 180 0 a lui acquistar, questa cornice, Dopo giusto penter, ve ne martira. Altro ben e che non fa 1' uom felice ; Non e felicitk, non e la buona Essenzia, d' ogni ben frutto e radice. 135 L' amor ch' ad esso troppo s* abbandona, Di sovr' a noi si piange per tre cerchi; Ma come tripartito si ragiona, Tacciolo, accio che tu per te ne cerchi. 1 i.e. the presence of God. The whole of this dissertation is an echo from the scholastic theology of the day, especially as set forth by St. Thomas Aquinas.ARGUMENT TO CANTO XVIII. Virgil continues his discourse on the nature of Love. A multitude of spirits, who are expiating the sin of Sloth, come running towards the poets, repeating examples of the virtue opposed to their sin, and the two who come last relate the bad effects of Slothfulness. At last Dante falls asleep.198 P UR GA TORIO. CANTO XVIIJ. CANTO XVIII. The exalted teacher had ceased to speak and scanned me intently to see if I seemed satisfied. But I, tormented by fresh thirst for knowledge, was mute outwardly, but said within myself, " Perhaps he is troubled, because I ask too much." But that true father, who perceived the timid wish I did not dare to utter, by speaking first, emboldened me to speak. Wherefore I said, " Master, my sight re- vives so in thy light, that I see clearly now what is de- scribed and meant by thy discourse. Wherefore I pray thee, sweet father dear, to explain to me what that love is to which thou ascribest all good and evil deeds." " Direct," Posto avea fine al suo ragionamento L' alto Dottore, ed attento guardava Nella mia vista s' io parea contento. Ed io, cui nuova sete ancor frugava, Di fuor taceva, e dentro dicea: Forse 5 Lo troppo dimandar, ch' io fo, gli grava. Ma quel padre verace, che s' accorse Del timido voler che non s' apriva, Parlando, di parlare ardir mi porse. Ond' io: Maestro, il mio veder s' avviva 10 Si nel tuo lume, ch' io discerno chiaro Quanto la tua ragion porti, o descriva: Pero ti prego, dolce Padre caro, Che mi dimostri amore, a. cui riduci Ogni buono operare e il suo contraro. 15 Drizza, disse, ver me 1' acute luciCANTO XVIII. PURGATORIO. 199 said he, " to what I am going to say, the keenest eyes of thy intelligence, and then thou wilt clearly see the error of the blind who would be leaders. The soul, which is created prone to love, moves readily to everything that pleases, so soon as pleasure rouses it to action. Your apprehensive faculty receives an impression from some actual intrinsic object, and unfolds it within you, so as to make the soul turn to it. And if turning back, it inclines towards it, that inclination is love ; this is nature, which by pleasure binds itself anew to you. Then, as fire, which by its nature is born to rise, ascends aloft thither where it so long substantially endures,1 so the soul, once captivated, forms a desire, which is a spiritual move- Dello intelletto, e fieti manifesto L' error de' ciechi che si fanno duci. L' animo, ch' e creato ad amar presto, Ad ogni cosa e mobile che piace, 20 Tosto che dal piacere in atto e desto. Vostra apprensiva da esser verace Tragge intenzione, e dentro a Voi la spiega, Si che I' animo ad essa volger face. E se, rivolto, in ver di lei si piega, 25 Quel piegare e amor, quello e natura, Che per piacer di nuovo in voi si lega. Poi come il fuoco movesi in altura, Per la sua forma, ch' e nata a salire Lk dove piu in sua materia dura; 30 Cos} T animo preso entra in disire, Che e moto spiritale, e mai non j:osa 1 i.e. to the Empyrean, or fiery zone, supposed to exist above the earth's atmosphere.200 PURGATORIO. CANTO XVIII. ment, and never rests till it enjoys the beloved object. Now thou canst clearly see how the truth is hidden from those who assert that every kind of love is praiseworthy in itself; for possibly its matter may seem to be always good, but not every seal is good, however good the wax." 1 " Thy words, and my close attention to them," I replied, " have revealed to me what love is, but have greatly in- creased my doubts. For if love is presented to us from without, and the soul exclusively follows it,2 whether it goes right or wrong, it has itself no merit." And he to me: Fin che la cosa amata il fa gioire. Or ti puote apparer quant* e nascosa La veritade alia gente ch' avvera 85 Ciascuno amore in se laudabil cosa; Perocche forse appar la sua matera Sempr' esser buono; ma non ciascun segno E buono, anoor che buona sia la cera. Le tue parole e il mio seguace ingegno, 40 Eisposi lui, m' hanno amor discoverto; Ma cio m'ha fatto di dubbiar piu pregno: Che se amore e di fuori a noi offerto, E 1' anima non va con altro piede, Se dritto o torto va, non e suo merto. 45 Ed egli a me: Quanto ragion qui vede 1 The philosophy here con- demned is probably that of the Epicureans. The poet's meaning seems to be that Love generically is always good, but specifically may be good or bad, according to its object. Dante here draws largely from the Aristotelian philo- sophy, as taught and commented upon by the Schoolmen, and freely uses their technical phraseology. 2 U anima non va con altro piede—literally : goes not with other foot, i.e. than that of love: meaning, blindly, without choice or reflection.CATS'TO XYIII. PURGATORIO. 201 "Whatever reason can discern, I can tell thee; beyond that thou must wait till thou seest Beatrice, for it is a work of faith.1 Every substantial form that exists apart from matter, and [afterwards] unites with it, contains in itself a specific virtue which is not perceived until it operates, nor can be proved except through its effects, as th« life of a plant is by its green leaves.2 Therefore man does not know whence comes the understanding of the first ideas, or the affec- tion towards the primary objects of appetite, which exist Dir ti poss' io; da indi in la t' aspetta Pure a Beatrice, ch' e opra di fede. Ogni forma sustanzial, che setta E da materia, ed e con lei unita, 50 Specifica virtude ha in se colletta, La qual senza operar non e sentita, Ne si dimostra ma che per effetto, Come per verdi fronde in pianta vita. Pero, lk onde vegna lo intelletto 55 Delle prime notizie, uomo non sape, E de' primi appetibili 1' affetto, 1 i.e. where reason ends faith begins. Yirgil tells Dante that, if he wants to know more than he can tell him, he must wait till he can consult Beatrice, or Theology. 2 Form was necessary to the existence of a thing; substantial form caused a thing to exist, acci- dental form to exist in a particular way. By substantial forms, Dante means God, the angels, and souls, as self-existing, independently of matter; to which, when joined to it, they impart a specific character; but their existence in a material covering is not perceived, except by the actions of the compound entity. These subjects are dis- cussed at large in Aristotle's " Analytics," and in the works of St. Thomas Aquinas. Dante lived when the Scholastic Philosophy was at its height.202 PURGATORIO. CANTO XVIII. in you, like the instinctive desire of the bee to make honey; and this first volition deserves neither praise nor blame. Now that every other desire may gather itself into this, you have an innate faculty that deliberates 1 and ought to keep the door of your consent. This is the principle, whence is derived in you a cause of merit, according as it receives and selects virtuous or criminal affections. Those who by their reasoning went to the bottom of things,2 recognised this innate free will;3 therefore they be- queathed their moral doctrine to the world. Whence let us assume that every passion that is kindled within Che sono in voi, si come studio in ape Di far lo mele ; e questa prima voglia Merto di lode o di biasmo non cape. 60 Or, perch£ a questa ogni altra si raccoglia, Innata v' e la virtu che consiglia, E dell' assenso de' tener la soglia. Quest' e il principio lk onde si piglia Cagion di meritare in voi, secondo 65 Che buoni e rei amori accoglie e viglia. Color che ragionando andaro al fondo, S' accorser d' esta innata libertate ; Pero morality lasciaro al mondo. Onde pognam che di necessitate 70 1 i.e. the reasoning faculty, or opQog Xoyo£ of Aristotle, which gives man the power of deciding as to his actions. 2 i.e. Aristotle and his School of Philosophy, represented in Dante's time by the so-called Schoolmen. 3 See Eth. Nic. iii. 5. 'Eft r^iiv de kcu r) apery ofioiix) de kcii rj Kaicia. " Both virtue and vice are equally in our own power."CANTO XVIII. PURGATORIO. 203 you arises from necessity, but in you resides the power to restrain it. This free will Beatrice calls the noble virtue, see therefore that thou keep it in mind, if ever she chance to speak to thee about it." The moon, slowly moving on about midnight, like a cask all on fire, made the stars appear scarce to us; and was running right opposite to heaven's course1 along those ways which the sun gilds when the Romans see it set between Corsica and Sardinia; and that noble shade on whose account Pietola2 is more renowned than the city of Mantua, had freed himself from the burden I had laid Surga ogni amor che dentro a voi s' accende, Di ritenerlo e in voi la potestate. La nobile virtu Beatrice intende Per lo libero arbitrio, e pero guarda Che r abbi a mente, s' a parlar ten prende. 75 La luna, quasi a mezza notte tarda, Facea le stelle a noi parer piu rade, Fatta com' un secchione che tutt' arda; E correa contra '1 ciel, per quelle strade Che il Sole infiamma allor che quel da Roma 80 Tra' Sardi e' Corsi il vede quando cade; E quell' ombra gentil, per cui si noma Pietola piu che villa Mantovana, Del mio carcar diposto avea la soma. 1 Contra il ciel, i.e. from West to East, through the Constellation Scorpio, in which the sun is, when the Romans see it setting be- tween Corsica and Sardinia. 2 Pietola was a little village near Mantua, formerly called Andes, where Virgil was born.204 PURGATORIO. CANTO XVIII. upon him;1 wherefore I who had received a clear and ex- plicit answer to all my questions, stood like a man who wanders in his sleep. But this somnolency was suddenly dissipated by a multitude, who were coming towards us behind our backs. And as Ismenus and Asopus2 saw of old by night a furious trampling along their banks, because the Thebans needed Bacchus; such a crowd pursues its winding way along this circle as I saw of those spirits who are spurred on by good will and holy love. Soon they came upon us, for all that mighty crowd were running at full speed, and the two foremost cried out, as they wept: " Mary ran in haste to the mountain: "3 and Perch' io, che la ragione aperta e piana 85 Sovra le mie questioni avea ricolta, Stava com' uom che sonnolento vana. Ma questa sonnolenza mi fu tolta Subitamente da gente, che dopo Le nostre spalle a noi era gia volta. 90 E quale Ismeno gik vide ed Asopo Lungo di se di notte furia e fealca, Pur che i Teban di Bacco avesser uopo; Tale per quel giron suo passo falca, Per quel ch' io vidi, di color, venendo, 95 Cui buon volere e giusto amor cavalea. Tosto fur sovra noi, perche correndo Si movea tutta quella turfea magna; E duo dinanzi gridavan piangendo: Maria corse con fretta alia montagna; 100 1 Bel mio carcar. Thist( burden " was the trouble Dante had given .Virgil by his questionings with regard to the philosophy of Love. 2 Two rivers in Boeotia. 3 See St. Luke i. 39,40.CANTO XVIII. PURGATORIO. 205 " Caesar, in order to subdue Ilerda, attacked Marseilles and then rushed into Spain."1 " Quick, quick, that no time be lost for want of love," cried out the rest that followed. " So that our anxiety to act right may renew the divine grace." " 0 ye whose ardent zeal now perchance makes up for that negligence and sloth which ye indulged in through lukewarmness in doing good, this man who comes here yet alive (and truly I do not lie) wishes to ascend, what time the sun returns: so tell us pray, which way the passage lies." These were my leader's words. And one of those spirits replied, " Come after us and thou wilt find the opening. So eager are we to move on, that we cannot E Cesare, per suggiugare Ilerda, Punse Marsilia, e poi corse in Ispagna. Eatto, ratto, che il tempo non si perda Per poco amor, gridavan gli altri appresso; Che studio di ben far grazia rinverda. 105 0 gente, in cui fervore acuto adesso Bicompie forse negligenza e indugio Da voi per tepidezza in ben far messo, Questi che vive (e certo io non vi bugio) Yuole andar su, purche il Sol ne riluca; 110 Pero ne dite ond' e presso il pertugio. Parole furon queste del mio Duca: Ed un di quegli spirti disse: Yieni Diretro a noi, che troverai la buca. Noi siam di voglia a moverci si pieni, 115 1 Caesar left Rome in great haste, and, leaving Brutus with part of his army to besiege Mar- seilles, which was hostile to him, pushed on into Spain, where he defeated Afranius,' Petreius, and one of Pompey's sons, and took the city of Ilerda (now Lerida).206 PURGATORIO. CANTO XVIII. stay; wherefore forgive us, if thou takest our duty to God for discourtesy to thyself. I was the Abbot of San Zeno in Yerona, during the reign of the good Barbarossa, of whom even now Milan speaks with tears.1 And a certain person,2 with one foot already in the grave, will shortly weep for that monastery, and will repent of ever having had power over it; because in place of its true Pastor, he has installed his base-born son, deformed in body, and still worse in mind." I know not whether he continued to speak, or held his peace, so far beyond us he had already gone; but this I heard and willingly retained it. Then he, my sole resource Che ristar non potem; pero perdona, Se villania nostra giustizia tieni. I' fni Abate in San Zeno a Yerona, Sotto I' imperio del buon Barbarossa, Di cui dolente ancor Melan ragiona. 120 E tale ha gia 1' un pie dentro la fossa, Che tosto piangerk quel monistero, E tristo fia d' avervi avuta possa; Perche suo figlio, mal del corpo intero, E della mente peggio, e che mal nacque, 125 Ha posto in luogo di suo pastor vero. Io non so se piu disse, o s' ei si tacque, Tant' era gia di 1& da noi trascorso ; Ma questo intesi, e ritener mi piacque. 1 This Barbarossa was the Em- peror Frederick I., who destroyed the city of Milan. 2 This " certain person" was Alberto della Scala, Lord of Ye- rona, now an old man, who, in 1292, forced upon the monks of San Zeno, as their abbot, his natural son, Giuseppe, who was equally deformed in body and mind. Alberto died in 1301.CANTO XVIII. PUBGATORIO. 207 for every need, said, " Turn this way ; see these two shades who come inveighing against the sin of sloth." As they followed the rest they said : " The people for whose sake the sea1 was cleft, were dead, before Jordan beheld his inheritors, and they2 who did not endure their hardships to the end with the son of Anchises, gave themselves up to an inglorious life." Then when those spirits were so far distant from us as to be out of sight, a new thought came into my mind, from which sprung up other different ones, and so much did I wander from one to the other that at last I closed my eyes, for vagueness of mind, and soon ex- changed my thoughts for dreams. E quei, che m' era ad ogni uopo soccorso, 190 Disse: Volgiti in qua, vedine due All' accidia venir dando di morso. Diretro a tutti dicean: Prima fue Morta la gente, a cui il mar s' aperse, Che vedesse Giordan le rede sue. 135 E quella, che 1' affanno non sofferse Fino alia fine col figliuol d' Anchise, Se stessa a vita senza gloria offerse. Poi quando fur da noi tanto divise Quell' ombre, clie veder piu. non potersi, 140 Nuovo pensier dentro da me si mise, Del qual piu altri nacquero e diversi: E tanto d' uno in altro vaneggiai, Che gli occhi per vaghezza ricopersi, E il pensamento in sogno trasmutai. 145 1 Numb, xiv., xxvii. 63-65. 2 After the burning of part of his ships in Sicily, iEneas left behind there the weak and those who were eager for rest " animos nil magnae laudis egentes."—2Ent v. 751.ARGUMENT TO CANTO XIX. Dante has a mysterious vision of an ill-favoured siren. The poets then ascend to the Fifth Circle, where are spirits lying with their faces on the earth, to expiate the sin of Avarice and Prodigality. Dante con- verses with Pope Adrian V.210 PURGA TORIO. canto xix. CANTO XIX. At the hour when the heat of the day, overcome by the earth's influences,1 or sometimes by those of Saturn,2 can no longer warm the moon's cold rays; and when the Geomancers can see rising up in the east before the dawn their Greater Fortune3 by a way which remains but a short time dark; there came to me in a dream a woman stam- mering, squint-eyed, and with distorted feet, and hands Nell' ora che non puo il calor diurno Intepidar piu il freddo della luna, Yinto da Terra o talor da Saturno ; Quando i geomanti lor maggior fortuna Yeggiono in oriente, innanzi all' alba, 5 Surger per via che poco le sta bruna; Mi venne in sogno una femmina balba, Con gli occhi guerci, e sovra i pie distorta, Con le man monche, e di colore scialba. 1 i.e. the last hour of the night, just before sunrise, always the coldest part of the twenty-four hours. 2 Saturn was supposed to have peculiarly chilly influences, owing to the great distance of that planet from the sun. 3 This so called " Greater For- tune " of the Geomancers, or earth- diviners, was a combination of dots on the ground, in this form This is the position of certain stars that form the end of Aquarius and the beginning of Pisces, which con- stellations, at the time when Dante imagines the voyage to have been made, would rise about dawn.CANTO XIX. PURGATORIO. 211 deformed, and of pale yellow hue.1 I gazed at her; and as the sunshine revives the limbs benumbed by nightly chills, so my look unloosed her tongue, and in brief space straightened her form throughout, and imparted to her marred complexion the hues which love delights in. As soon then as her speech was free, she began to sing so sweetly that I could hardly have turned my attention from her. "I am," she sang, ".I am a sweet Siren, who charm aside the sailors in mid ocean, so full am I of plea- sure to listen to. I turned aside Ulysses from his wan- derings to my song; and whoso companies with me rarely departs, so fully I content him.,, Her mouth was not yet Io la mirava ; e, come il Sol conforta 10 Le fredde membra che la notte aggrava, Cosi lo sguardo mio le facea scorta La lingua, e poscia tutta la drizzava In poco d' ora, e lo smarrito volto, Com' amor vuol, cosi le colorava. 15 Poi ch' ella avea il parlar cosi disciolto, Cominciava a cantar si, che con pena Da lei avrei mio intento rivolto. Io son, cantava, io son dolce sirena, Che i marinari in mezzo al mar dismago; 20 Tanto son di piacere a sentir piena. Io volsi Ulisse del suo cammin vago Al canto mio ; e qual meco s' ausa Eado sen parte, si tutto 1' appago. Ancor non era sua bocca richiusa, 25 Quando una donna apparve santa e presta 1 This ugly, misshapen woman is of hideous mien, can assume an a symbol of the false pleasures of enticing shape. These sins are in the flesh, which, though in truth the highest three circles.212 PURGATORIO. CANTO XIX. closed when a lady,1 holy and active, appeared close to me to put her to confusion. " O Virgil, Virgil, who is this ?99 she said, in a menacing tone ; and he drew near with eyes fixed only on that holy woman. She then seized the other, and laid her open in front, rending her clothes, and showed her womb to me; the stench from which soon waked me from my dream. I moved my eyes, and the good Virgil said, " At least three times I have called thee; rise and come. Let us find the pass, which thou must enter by.'* At once I rose ; and all the circles of the holy mount were now full of broad daylight, and we were going on with the rising sun in our backs. As I followed him, carry- ing my head down like one who is overwhelmed with anxious thoughts and bends himself in form of half an Lunghesso me per far colei confusa. 0 Yirgilio, Yirgilio, chi e questa ? Fieramente dicea: ed ei venia, Con gli occhi fitti pure in quella onesta. 80 L' altra prendeva, e dinanzi 1' apria Fendendo i drappi, e mostravami il ventre : Quel mi sveglio col puzzo che n' uscia. r volsi gli occhi; e il buon Virgilio: Almen tre Yoci t' ho messe, dicea: surgi e vieni, 35 Troviam la porta per la qual tu entre. Su mi levai, e tutti eran gik pieni Dell' alto di i giron del sacro monte, E andavam col Sol nuovo alle reni. Seguendo lui, portava la mia fronte 40 Come colui che 1' ha di pensier carca, 1 Some think that by this lady Philosophy is intended, others Virtue, but it seems better to re- gard her as a personification of Truth, the exposer of lies.CANTO XIX. PURGATORIO. 213 arch,1 I heard, " Come, here is the passage," uttered in such benign and pleasing tones, as never are heard within these mortal borders. He that spake thus, with wings expanded, seeming like a swan's, directed us up between the two side walls of the flinty rock; then fanned us with the beating of his wings, declaring that those are happy, Qui lugent, for they shall have their souls filled with consolation.2 " What ails thee that thou still lookest down to earth ? " my leader began to say to me, when we had both gone up a little way from the augel. And I Che fa di se un mezzo arco di ponte ; Quand' io udi': Yenite, qui si varca: Parlare in modo soave e benigno, Qual non si sente in questa mortal marca. 45 Con 1' ale aperte che parean di cigno, Volseci in su colui che si parlonne, Tra i duo pareti del duro macigno. Mosse le penne poi e ventilonne, Qm lugent affermando esser beati, 50 Ch' avran di consolar T anime donne. Che hai, che pure in ver la terra guati ? La Guida mia incomincio a dirmi, Poco ambedue dalT Angel sormontati. 1 Dante's biographers tell us that he actually did stoop in the manner here described. s The quotation is from St. Matt, v. 4. It is not, however, very clear why it is brought in here in regard to the punishment of sloth in the fourth circle, unless that those who mourn for past sin are the more eager to strive to retrieve it, which the slothful fail to do. The ex- pression "anime donne di conso- lar " is very unusual. The mean- ing seems to be " mistresses of and therefore fully provided with con- solation."214 PURGATORIO. CANTO XIX. replied, " I am thrown into much uncertainty by a fresh vision, which so absorbs my attention that I cannot rid myself of the thought of it." "Hast thou then seen," said he, " that ancient witch, the sole cause of woe to those above us ? Sawest thou how man may loose himself from her grasp ? Let that suffice thee, and quicken thy pace. Turn thine eyes to the heavenly lure, which the Eternal King whirls around with the motion of the spheres." Like the falcon, which first looks at its talons, then turns to his master's call, and reaches forward through eagerness for the food that attracts him,1 so I made myself ready; and thus, through all that opening in the rock that affords a way to ascend, I went on to the spot where the circling begins around the mountain. Ed io : Con tanta suspizion fa irmi 55 Novella vision ch' a se mi piega, Si ch' io non posso dal pensar partirmi. Vedesti, disse, quell' antica strega, Che sola sovra noi omai si piagne ? Vedesti come 1' uom da lei si slega ? 60 Bastiti, e batti a terra le calcagne, Gli occhi rivolgi al logoro, che gira Lo rege eterno con le rote magne. Quale il falcon che prima a' pie si mira, Indi si volge al grido, e si protende, 65 Per lo disio del pasto che la il tira; Tal mi fee' io, e tal, quanto si fende La roccia per dar via a chi va suso, N' andai infin dove il cerchiar si prende. 1 The hooded falcon thus waits, pecking at its jesses, till roused by the falconer's halloo.CANTO XIX. P XJR GA TO RIO* 215 When I stood at large in the fifth circle, I saw folk there weeping,1 and prostrate on the earth face downwards. " AdhaBsit pavimento anima mea," I heard them say, with such deep-drawn sighs, that their words could scarce be understood. " O elect of God, whose sufferings are softened by justice and hope,2 direct us towards the ascents on high." " If ye come here exempt from prostration, and wish to find the way more speedily, keep your right hands ever on the outside." Thus the poet prayed, and thus was answer made by them a little in our front. Where- fore I, by the sound of those words, discovered the hidden speaker, and then turned my eyes upon my lord/ and Com' io nel quinto giro fui dischiuso, 70 Yidi gente per esso che piangea, Giacendo a terra tutta volta in giuso. Adhwsit pavimento anima mea, Sentia dir lor con si alti sospiri, Che la parola appena s' intendea. 75 0 eletti di Dio, gli cui soffriri E giustizia e speranza fan men duri, Drizzate noi verso gli alti saliri. Se voi venite dal giacer sicuri, E volete trovar la via piu tosto, 80 Le vostre destre sien sempre di furi. Cosi prego il Poeta, e si risposto Poco dinanzi a noi ne fu ; per ch' io Nel parlare avvisai 1' altro nascosto ; E volsi gli occhi allora al Signor mio: 85 1 i.e. the avaricious. and by hope, because after being 2 Their sufferings were said to purged of their sins, they were be softened by justice, because secure of eternal happiness. feeling the justice of their pe- 3 i.e. to ask if he would let me nalty, they bore it more patiently, talk to the spirit.216 PURGATORIO. CANTO XIX. he conceded with a cheerful nod that which my wistful countenance besought. So being free to follow my own bent, I went and stood over that spirit whose words drew my attention before, saying: " 0 spirit, whose tears are hastening that expiation without which thou canst not return to God, suspend a while for me thy greater care* Tell me who thou wast, and why ye all lie with up- turned backs, and whether thou wouldest have me obtain ought for thee from that world, whence living I set forth." And he to me, " Thou shalt hear why Heaven turns our backs towards itself; but first, Scias quod ego fui suc- cessor Petri,1 Between Siestri and Chiaveri flows a fair Ond' egli m' assenti con lieto cenno Cio che chiedea la vista del disio. Poi ch' io potei di me fare a mio senno, Trassimi sopra quella creatura, Le cui parole pria notar mi fenno, Dicendo: Spirto, in cui pianger matura Quel, sanza il quale a Dio tornar non puossi, Sosta un poco per me tua maggior cura. Chi fosti, e perche volti avete i dossi A1 su, mi di', e se vuoi ch' io t' impetri Cosa di la ond' io vivendo mossi. Ed egli a me : Perche i nostri diretri Eivolga il cielo a se, saprai: ma prima, Scias quod ego fui successor Petri. Intra Siestri e Chiaveri s' adima Una fiumana bella, e del suo nome 1 " Know that I was Peter's sue- i de' Fieschi, Count of Lavagna, who cessor." This spirit was Ottobuono I became Pope Adrian V. 95 #CANTO XIX. PURGATORIO. 217 river, and from its name my family takes its highest title.1 One month and somewhat more, I felt how great the mantle weighs on him who guards it from the mud.2 All other burdens seem like feathers to it. My conversion alas ! was late; but when I was made chief shepherd of Rome, I discovered that life was a lie. I saw that the heart could not find rest even there, and that in that life to rise higher was impossible; wherefore desire for this one was kindled in me. Till then I was a wretched soul, estranged from God, greedy of everything; now as thou seest here I smart for it. What evil avarice works, is here declared in the purgation of the converted Lo titol del mio sangue fa sua cima. Un mese e poco piu prova' io come Pesa il gran manto a chi dal fango il guarda, Che piuma sembran tutte 1' altre some. 105 La mia conversione, oime ! fu tarda : Ma, come fatto fui Boman Pastore, Cosi scopersi la vita bugiarda. Yidi che li non si quetava il core, N& piu salir potiesi in quella vita; 110 Perch& di questa in me s' accese amore. Fino a quel punto misera e partita Da Dio anima fui, del tutto a vara : Or, come vedi, qui ne son punita. Quel ch' avarizia fa, qui si dichiara 115 In purgazion dell' anime converse, 1 The river is the Lavagna, which runs between Siestri and Chiaveri, two places in the eastern portion of the Genoese territory. 2 At this time the mantle indi- cated the papal dignity {Inf. xix. 69). By " mud" is meant the cor- ruption of the world.218 PURGATORIO. CANTO XIX. souls ; in all the mount no suffering is more bitter. And as our eyes, when bent on earthly things, never lifted up their gaze on high, so justice here sunk them to the ground. As avarice put out our love for all things good, so that our good works were left undone, so justice keeps us captive here bound tightly hand and foot; and here shall we remain stretched out and motionless, so long as our most righteous Lord shall choose." I had fallen upon my knees, and would have spoken, but just as I began, he per- ceived, though by the ear alone,1 my act of reverence. " What cause," he said, " bent thee down like this P " And I to him: " Out of respect for your dignity my con- science justly stung me."2 " Straighten thy legs, and E nulla pena il monte ha piu amara. Si come I' occhio nostro non s' aderse In alto, fisso alle cose terrene, Cosi giustizia qui a terra il merse. 120 Come avarizia spense a ciascun bene Lo nostro amore, onde operar perdesi, Cosi giustizia qui stretti ne tiene Ne' piedi e nelle man legati e presi; E quanto fia piacer del giusto Sire, 125 Tanto staremo immobili e distesi. Io m' era inginocchiato, e volea dire ; Ma com' io cominciai, ed ei s' accorse, Solo ascoltando, del mio riverire: Qual cagion, disse, in gin cosi ti torse ? 130 Ed io a lui: Per vostra dignitate Mia coscienza dritta mi rimorse. 1 i.e. because he could not see what I 2 Others read " dritto," i.e. I did, owing to his lying on his face. | " for standing."CANTO XIX. PURGATORIO. 219 raise thee up, my brother; err not," he said, "I am a fellow servant with thee and with the others to one Power.1 If ever thou didst hear that holy gospel text,2 which says Neque nubent, thou canst see well why I do reason thus. Go now thy way ; I would not have thee stay longer, for thy delay does but impede my tears, with which I hasten what thou saidst before.3 I have a niece in that world, by name Alagia,4 good of herself, provided that our house do not corrupt her by their example ; and she alone is left to me in that world." Drizza le gambe, e levati su, frate, Kispose; non errar, conservo sono Teco e con gli altri ad una potestate. 185 Se mai quel santo evangelico suono, Che dice Neque nubent, intendesti, Ben puoi veder perch' io cosi ragiono. Yattene omai; non vo' che piu t' arresti, Che la tua stanza mio pianger disagia, 140 Col qual maturo cio che tu dicesti. Nepote ho io di la c' ha nome Alagia, Buona da se, purche la nostra casa Non faccia lei per esemplo malvagia; E questa sola m' e di lk rimasa. 145 1 See Rev. xix. 10. 2 See Mark xii. 25. Dante ap- pears to intend by this quotation, that the supposed marriage be- tween the Pope and Holy Church was dissolved in the other world. 3 Referring to verses 91, 92, supra, where Dante addresses the shade of Adrian V. in these words:— " Spirto gentil, in cui pianger ma- tura Quel, sanza il quale a Dio tornar non puossi." 4 Alagia. This was Alagia de' Eieschi, niece of Pope Adrian V., said to have married Moroello Ma- lespini, Marquis of Giovagallo.ARGUMENT TO CANTO XX. Hugh Capet, one of the spirits who are expiating the sin of Avarice in the Fifth Circle, relates to Dante the origin of his house, and then fiercely inveighs against the depravity of his descendants. The mountain then trembles violently, and from every terrace the spirits, send up a song of exultation.222 PURGATORIO. canto xx, CANTO XX. In vain does the will fight against a better will, so against my wish I, to do his pleasure,1 drew from the water the jet unsated sponge.2 We then went on, my guide and I, through the spaces left vacant along the rock, as one walks along a wall hugging the battlement; for the spirits, that distil drop by drop from their eyes that evil vice that doth infect the world,3 lie too close to the dutward side. Accursed be thou, old she-wolf, that through thy insa- tiable hunger hast devoured more prey than all other wild beasts put together. 0 heaven, to whose revolutions some Contra miglior voler, voler mal pugna; Onde contra il piacer mio, per piacerli, Trassi dell' acqua non sazia la spugna. Mossimi, e il Duca mio si mosse per li Luoghi spediti pur lungo la roccia, 5 Come si va per muro stretto a' merli; Che la gente che fonde a goccia a goccia Per gli occhi il mal che tutto il mondo occupa, DalT altra parte in fuor troppo s' approccia. Maledetta sie tu, antica lupa, 10 Che piu che tutte 1' altre bestie hai preda, Per la tua fame senza fine cupa! 0 ciel, nel cui girar par che si creda 1 Per piacerli, i.e. to please Adrian V.'s shade, who had de- sired Dante to leave off conversing with him. 2 i.e. I was obliged to draw off my mind, though desirous to gain more knowledge. 3 i.e. Avarice.CANTO XX. PURGATORIO. 223 persons attribute all human vicissitudes, when will he come that shall force her to depart ?1 We went along with slow and measured steps, I lis- tening to the shades whom I heard piteously weeping and lamenting ; and by some chance I overheard one in front of us cry out, " Sweet Mary " in such doleful accents as a woman utters in the pangs of childbirth, and thus con- tinue : " How poor thou wast that lowly hostelry shows in which thou laidest down thy sacred burden." Soon after- wards I heard: " 0 good Fabricius,2 thou didst prefer poverty with virtue to the possession of great riches foully gained." These words pleased me so that I went further on to have knowledge of the spirit from whom they Le condizion di quaggiii trasmutarsi, Quando verrk per cui questa disceda ? 15 Noi andavam eo' passi lenti e scarsi, Ed io attento all' ombre ch' i' sentia Pietosamente piangere e lagnarsi. E per ventura udi': Dolce Maria: Dinanzi a noi chiamar cosl nel pianto, Come fa donna che in partorir sia; 20 E seguitar: Povera fosti tanto, Quanto veder si puo per quell' ospizio, Ove sponesti il tuo portato santo. Seguentemente intesi: 0 buon Fabrizio, Con poverta volesti anzi virtute, Che gran ricchezza posseder con vizio. 25 Queste parole m' eran si piaciute, Ch' i' mi trassi oltre per aver contezza 1 See Inf. i. 94-112. King of Epirus, whose bribes he 2 Fabricius was a Roman gene- refused, ral, who fought against Pyrrhus,224 PURGAT0R10. CANTO XX. seemed to come. He farther spoke of the largess that Nicholas1 made to those young girls to guide their youth in the path of virtue. " 0 soul, that speakest so well," I said, " tell me who thou wast, and why thus alone thou repeatest these well-deserved praises. Thy reply shall not lose its reward if I return to earth to fulfil the short career of that life that is hastening to its close." And he replied: "I will tell thee, not for any consolation that I expect from thence, but because such signal grace shines on thee before thy death. I was the root of the baneful plant that so overshadows every Christian land, that good fruit is seldom culled therefrom. But if Douay, Ghent, Di quello spirto, onde parean venute. 30 Esso parlava ancor della larghezza Che fece Niccolao alle pulcelle, Per condurre ad onor lor giovinezza. 0 anima, che tanto ben favelle, Dimmi chi fosti, dissi, e perche sola 35 Tu queste degne lode rinnovelle ? Non fia senza merce la tua parola, S' i' ritorno a compier lo cammin corto Di quella vita ch' al termine vola. Ed egli: I' ti diro, non per conforto 40 Ch' io attenda di lk, ma perche tanta Grazia in te luce prima che sie morto. I' fui radice della mala pianta, Che la terra cristiana tutta aduggia Si, che buon frutto rado se ne schianta. 45 Ma se Doagio, Guanto, Lilla e Bruggia 1 Nicholas, Bishop of Myra, I whose father was too poor to let gave a dowry to three young girls, | them marry.canto xx. PIJRGATORIO. 225 Lille, and Bruges had any power, vengeance soon would come,1 and I implore it from Him Who judges all. On earth I was called Hugh Capet.2 From me are sprung the Philips and the Louises by whom, of late years, France has been ruled. I was the son of a butcher of Paris.3 When the old race of kings became extinct, except one clad in grey garments,41 found drawn tight in my hands the reins of the kingdom's government, and such newly Potesser, tosto ne saria vendetta; 1 Ed io la cheggio a lui che tutto giuggia. Chiamato fui di lk Ugo Ciapetta: Di me son nati i Filippi e i Luigi, 50 Per cui novellamente & Francia retta. Figliuol fui d' un beccaio di Parigi. Quando li regi antichi venner meno Tutti, fuor ch' un renduto in panni bigi, Trova'mi stretto nelle mani il freno 55 Del governo del regno, e tanta possa Di nuovo acquisto, e si d' amici pieno, 1 Reference is made to the de- feat of the French army at Cour- trai, in 1302, called " The Battle of the Spurs," and their subsequent expulsion from Flanders. 2 This was Hugh the Great, father of the Hugh Capet who founded the dynasty bearing his name, as is seen from lines 58,59 $ see note 1, infra. 3 Hugh's real father was Robert , Duke of Aquitaine 5 but Dante adopted the popular tradition, found also in the historian Vil- lani. Dante also seems to have confused Hugh the Great with his son, Hugh Capet. 4 i.e. when the Carlovingian dy- nasty had failed, after lasting about three centuries. It is not clear who the " one clad in grey gar- ments " was; many think it was Charles of Lorraine, uncle of the last Carlovingian monarch; some say, Childeric III., last of the Me- rovingians, who became a monk after his deposition. It is not impossible that Dante thus con- fused the close of the two great dynasties.226 PURGATORIO. CANTO XX. acquired power, and troops of friends, that to the widowed crown was raised the head of my son, from whom began the anointed1 race of those kings. While as yet the great dowry of Provence2 had not stripped my race of all shame, it was not good for much, but at least it did no evil. But then it began its course of rapine aided by violence and lying, and afterwards, for amends, it seized Ponthieu, Normandy, and Gascony. Charles came into Italy, and, for amends, sacrificed Conradin, and then sent back Thomas3 to Heaven, still for amends. I see a time Ch' alia corona vedova promossa La testa di mio figlio fu, dal quale Comincikr di costor le sacrate ossa. 60 Mentre che la gran dote provenzale A1 sangue mio non tolse la vergogna, Poco valea, ma pur non facea male. Li comincio con forza e con menzogna La sua rapina; e poscia, per ammenda, 65 Pontl e Normandia prese, e Guascogna. Carlo venne in Italia, e per ammenda, Vittima fe di Curradino; e poi Eipinse al ciel Tommaso, per ammenda. Tempo vegg' io non molto dopo ancoi 70 1 Sacrate ossa. Some think the word " sacrate" is used in the sense of " execrable," referring to Hugh Capet's denunciations of his descendants in the lines that fol- low. 2 Louis IX. and his brother Charles of Anjou, afterwards King Charles I. of Sicily and Apulia, married the eldest and youngest daughters of Raymond Berenger, Count of Provence. See Par. yi. 134. 3 Conradin, son of the Emperor Conrad, was beheaded by order of Charles I. of Anjou, who had taken possession of the throne of Naples and Sicily, belonging to him. " Thomas " was the celebrated St.CANTO XX. PURGATORIO. 227 not far distant that draws another Charles 1 forth from France, to make himself and his party better known. He departs unarmed, save with that lance with which Judas tilted;'2 and he directs it so as to cause the bosom of Florence to burst open. No territory, but sin, and shame, will he there acquire, the more grievous the lighter he himself thinks of the wrong. I see the other,3 who has already gone forth, taken prisoner from his ship* selling his daughter, and trafficking with her, as corsairs Che tragge un altro Carlo fuor di Francia, Per far conoscer meglio es^ei suoi. Senz' arme n' esce, e solo con la lancia Con la qual giostro Giuda; e quella ponta Si, ch' a Fiorenza fa scoppiar la pancia. 75 Quindi non terra, ma peccato ed onta Guadagnerk, per se tanto piu grave, Quanto piu lieve simil danno conta. L' altro, che gik usci preso di nave, Veggio vender sua figlia, e patteggiarne, 80 Thomas Aquinas, supposed to have been poisoned by Charles I. for opposing his ambitious designs. 1 This "other Charles" was Charles of Yalois, brother of Philip IV., sent by Boniface VIII. to Florence as peace-maker in 1301. There he caused the entire ruin of the party of the Bianchi, who were inclined to the Ghibellines. He threw their leaders into prison, and allowed the Neri, who returned with him, to commit frightful outrages. He banished six hun- dred citizens, amongst whom was Dante. 2 By " the lance with which Judas tilted" is meant "fraud and cunning." 3 This "other" was Charles II., son of Charles I. of Anjou, King of Sicily and Apulia, who was taken prisoner in a naval encounter by Roger de Loria, admiral to Peter, King of Arragon. He sold his daughter Beatrice to Azzo VIII. of Este, an old man, for 50,000 golden florins.228 PURGATORIO. CANTO XX. do with other female slaves. O avarice, what canst thou do more, now that thou hast so drawn my race within thy clutches, that they no longer care for their own flesh and blood? In order that every other wickedness, whether past or future, may appear less atrocious, I see the Fleur- de-Lys enter Anagni,1 and Christ led captive in His Vicar's person. I see Him a second time derided, I see the vinegar and gall again commingled, and Himself again put to death between two new thieves. I see the, new Pilate so cruel, that not satisfied with that, without any legal authority he pushes his covetous sails into the Temple it- self.2 O my Lord, when shall I rejoice to see the vengeance, Come fan li corsar dell' altre schiave. 0 avarizia, che puoi tu piu fame, Poi c' hai il sangue mio a te si tratto, Che non si cura della propria carne ? Perche men paia il mal futuro e il fatto, 85 Veggio in Alagna entrar lo fiordaliso, E nel Yicario suo Cristo esser catto. Yeggiolo un' altra volta esser deriso : Veggio rinnovellar 1' aceto e il fele, E tra nuovi ladroni essere anciso. 90 Veggio il nuovo Pilato si crudele, Che cio nol sazia, ma senza decreto Porta nel tempio le cupide vele. O Signor mio, quando saro io lieto 1 Pope Boniface VIII. was cap- tured at Anagni, in 1303, by the soldiers of Philip IV. of France, and so ill-treated that he died some days after. 2 This " new Pilate" was Philip IV. of France, who, of his own authority, illegally suppressed the Templars, in order to get their wealth. Some, however, regard "il tempio "as merely equivalent j to " the Church" generally, whoseCANTO XX. PURGATORIO. 229 which, hidden in Thy inscrutable counsels, makes Thy wrath sweet? That which I was saying concerning the Holy Ghost's sole spouse, and which made thee turn to me for explanation, is the subject of all our prayers, so long as daylight lasts ; but when night draws on, in its stead we take up words of contrary purport.1 We then recall to mind Pygmalion2 whom his insatiable thirst for gold made a traitor, robber, and parricide ; and the misery of covetous Midas, when his greedy request was granted, which will always be a fit subject of laughter. Then every one be- thinks himself of Achan's folly, how he stole the booty, A veder la vendetta, che nascosa 95 Fa dolce 1' ira tua nel tuo segreto ? Cio ch' i' dicea di quell' unica sposa Dello Spirito Santo, e che ti fece Verso me volger per alcuna chiosa, Tant' e disposto a tutte nostre prece, 100 Quanto il di dura; ma, quando s' annotta, Contrario suon prendemo in quella vece. Noi ripetiam Pigmalion allotta, Cui traditore e ladro e patricida Fece la voglia sua dell' oro ghiotta; 105 E la miseria dell' avaro Mida, Che segui alia sua dimanda ingorda, Per la qual sempre convien che si rida. Del folle Ackm ciascun poi si ricorda, property was seized by Philip, after the death of Boniface. 1 In reference to Hugh Capet's cries of " Sweet Mary," &c., in lines 19, 22, 25, 32, of this Canto. 2 Pygmalion murdered the hus- band of his sister Dido, Sychaeus, in order to obtain possession of his wealth. Virg. Mn. i. 340-356.230 PURGATORIO. CANTO XX. so that Joshua's anger seems still to pursue him. Then we accuse Sapphira with her husband, we praise the kicks that Heliodorus had,1 and all the mountain rings around with the infamy of Polymnestor who slaughtered Poly- dorus.2 Finally we cry out, ' O Crassus, tell us, for thou knowest it well, what is the taste of gold ? '3 Sometimes we speak, one in a loud, the other in a soft tone, as our feelings prompt us, now in a higher, now in a lower strain. Where- fore it was not that I was just now alone in repeating the Come furo le spoglie, si che 1' ira 110 Di Iosue qui par che ancor lo morda. Indi accusiam col marito Safira: Lodiamo i calci ch' ebbe Eliodoro; Ed in infamia tutto il monte gira Polinestor che ancise Polidoro. 115 Ultimamente ci si grida: Crasso, Dicci, che '1 sai, di che sapore e 1' oro. Talor parliam 1' un alto, e 1' altro basso, Secondo 1' affezion ch' a dir ci sprona, Ora a maggiore, ed ora a minor passo. 120 Pero al ben che il dl ci si ragiona, 1 Heliodorus was sent by Seleu- cus, King of Syria, to plunder the Temple of Jerusalem; but he had scarcely crossed the threshold when he was met by one on horseback, and received such kicks from the horse that he was obliged to return empty-handed. 2 See Virg. JEn. iii. 49, sqq. Poly dor US; son of Priam, was sent by him with some of his treasure to his friend, Polymnestor, King of Thrace, for safe custody; but Polymnestor murdered the youth through greed of gold. 3 Crassus was defeated and cap- tured by the Parthians, who, knowing his avarice, poured molten gold down his throat.CANTO XX. PURGATORJO. 231 examples of good which we discuss by day, but no other spirit was lifting up its voice near me." We had now left him, and were striving to get over our road, as quickly as we could, when I heard the mountain tremble like a thing tottering to its fall, which sent a shudder through me, such as feels the wretch on his way to death. Certainly Delos never shook so fiercely before Latona built her nest thereon, to bring forth heaven's two eyes.1 Then arose, on every side, such a shout that my master turned towards me, saying : " Fear nothing whilst I guide thee." They all were singing " Gloria in Excelsis Deo," as I perceived, when near enough to hear their voices. We Dianzi non er' io sol; ma qui da presso Non alzava la voce altra persona. Noi eravam partiti gi& da esso, E brigavam di soverchiar la strada 125 Tanto, quanto al poder n' era permesso; Quand' io senti', come cosa che cada, Tremar lo monte: onde mi prese un gielo, Qual prender suol colui ch' a morte vada. Certo non si scotea si forte Delo 130 Pria che Latona in lei facesse il nido A parturir li due occhi del cielo. Poi comincio da tutte parti un grido Tal, che '1 Maestro in ver di me si feo, Dicendo: Non dubbiar, mentr' io ti guido. 135 Gloria in excelsis, tutti, Deo, Dicean, per quel ch' io da vicin compresi, Onde intender lo grido si poteo. 1 Delos, which at first had been i land because Latona there gave a floating island, was made firm | birth to Apollo and Diana.232 PURGATORIO. CANTO XX. remained motionless and in suspense, as did the shepherds who first heard that strain, until the trembling ceased, and the song was finished. Then we resumed our holy way, regarding the souls that lay prostrate, who had already returned to their usual wailing. Never, if my memory does not fail me, did my ignorance assail me with such fierce desire for knowledge, as then I seemed to feel; neither, through our haste, did I dare to inquire, nor could I make out anything of myself. Thus timid and thought- ful I pursued my way. Noi ci rest ammo immobili e sospesi, Come i pastor che prima udir quel canto, 140 Fin che '1 tremar cesso, ed ei compiesi. Poi ripigliammo nostro cammin santo, Guardando 1' ombre che giacean per terra, Tornate gia in su 1' usato pianto. Nulla ignoranza mai con tanta guerra 145 Mi fe desideroso di sapere, Se la memoria mia in cio non erra, Quanta paremi allor pensando avere: Ne per la fratta dimandare er' oso, Ne per me li potea cosa vedere. 150 Cosi m' andava timido e pensoso.• ARGUMENT TO CANTO XXI. As the poets pursue their upward course, they fall in with the shade of the poet Statius, who had been released from Purgatory, and was now on his way to Paradise, who explains the cause of the trembling of the mountain, and tells them who he is.234 PURGATORIO. CANTO XXI. CANTO XXI. The natural thirst that cannot be quenched save with the water of which the Samaritan woman besought the free gift, tormented me, and I hastened to follow my leader along the encumbered way, and grieving for the just punishment of those spirits, when lo, just as Luke writes that Christ appeared to the two as they journeyed, after he had risen from the sepulchral vault, so a shade appeared, coming behind us, gazing at the multitude pros- trate at his feet; nor did we perceive it till it spoke, saying: " God grant you peace, my brethren." We turned round suddenly, and Yirgil returned him the salutation suited to his greeting. Then he began: " May the all- La sete natural, che mai non sazia, Se non con 1' acqua onde la femminetta Samaritana dimando la grazia, Mi travagliava; e pungemi la fretta Per la impacciata via retro al mio Duca ; 5 E condoliemi alia giusta vendetta. Ed ecco, si come ne scrive Luca, Che Cristo apparve a' duo ch' erano in via, Gia surto fuor della sepulcral buca, Ci apparve un' ombra, e dietro a noi venia 10 Dappie guardando la turba che giace; Ne ci addemmo di lei, si parlo pria, Dicendo : Frati miei, Dio vi dea pace. Noi ci volgemmo subito, e Virgilio Kende lui '1 cenno ch' a cio si conface. 15CANTO XXI. PURGATORIO. 235 righteous court, that condemns me to eternal exile, bring th.ee in peace into the assembly of the blessed." " What I said he (and meanwhile we were advancing briskly), " if ye be souls whom God refuses to receive above, who has conducted you so far up His ladder ? " And my teacher replied: " If thou note the marks that this man bears, and which the Angel traces,1 thou wilt easily perceive that he must reign with the just. But, as she who spins night and day, had not yet finished for him the distaff that Clotho fills and packs together for each one, his soul, which is thy sister and mine, could not come up here alone, as it does not see things after our fashion. Wherefore I was taken from the yawning throat of Hell, to show him Poi comincio : Nel beato concilio Ti ponga in pace la verace corte, Che me rilega nell' eterno esilio. Come! diss' egli (e parte andavam forte), Se voi siete ombre che Dio su non degni, 20 Chi v' ha per la sua scala tanto scorte ? E il Dottor mio : Se tu riguardi i segni Che questi porta e che V Angel proffila, Ben vedrai che co' buon convien ch' e' regni. Ma perche lei che di e notte fila, 25 Non gli avea tratta ancora la conocchia, Che Cloto impone a ciascuno e compila; L' anima sua, ch' e tua e mia sirocchia, Yenendo su, non potea venir sola; Pero ch' al nostro modo non adocchia: 30 Ond' io fui tratto fuor dell' ampia gola D' inferno per mostrarli, e mostrerolli 1 Referring to the seven P's I forehead, only three of which now stamped by the angel on Dante's I remained.236 PURGATORIO. CANTO XXI. the way, and I shall show it so far as my school has power to lead. But tell us, if thou canst, why the moun- tain shook so violently just now, and why all the souls seemed to cry with one voice as far as its watery base P "1 By this request Yirgil threaded so straight the eye of my desire, that solely through the hope of soon satisfying it, my thirst became less ardent. He then began: "The holiness of the mountain wit- nesses nothing out of the natural order, or contrary to usage. This place is free from all change,2 such there may be from that which Heaven receives from itself into itself, and from no other cause. For neither rain, nor hail, nor snow, nor dew, nor hoar frost ever falls above Oltre, quanto 1 potrk menar mia scuola. Ma dinne, se tu sai, perche tai crolli Die dianzi il monte, e perche tutti ad una 35 Parver gridare infino a' suoi pie molli ? Si mi die dimandando per la cruna Del mio disio, che pur con la speranza Si fece la mia sete men digiuna. Quei comincio : Gosanon e che sanza 40 Ordine senta la religione Delia montagna, o che sia fuor d' usanza. Libero e qui da ogni alterazione : Di quel che '1 Cielo in s& da se "riceve Esserci puote, e non d' altra cagione: 45 Perche non pioggia, non grando, non neve, Non rugiada, non brina piu su cade, 1 Referring to the foot of the or disturbances in the four elements, mountain as stretching into the earth, air, fire, and water. The sea. following sentence seems to allude 2 i.e. from all change of seasons, to the liberation of purified souls.CANTO XXI. PURGATORIO. 237 the short stair with the three steps. No clouds are ever seen here, whether heavy or light, nor lightning, nor Thanmas' daughter,1 who often shifts her place on earth. Dry vapour never rises2 above the summit of the three steps I spoke of just now, whereon is stationed Peter's deputy.3 Lower down perchance it trembles more or less, but it never trembled up here by reason of wind hidden (I know not how) in the earth. It trembles here whenever any soul feels itself pure enough to soar aloft, or to move on upwards, and then the cry of joy accompanies it. Proof of purification is made by the will alone, which feeling itself free to change its dwelling-place, takes possession of the Che la scaletta de' tre gradi breve. Nuvole spesse non paion, ne rade, Ne corruscar, ne figlia di Taumante, 50 Che di Xk cangia sovente contrade. Secco vapor non surge piu avante Ch' al sommo de' tre gradi ch' io parlai, Ov' ha '1 vicario di Pietro le piante. Trema forse piu giu poco od assai; 55 Ma, per vento che in terra si nasconda, Non so come, quassu non tremo mai: Tremaci quando alcuna anima monda Si sente si, che surga, o che si muova Per salir su, e tal grido seconda. 60 Delia mondizia il sol voler fa pruova, Che, tutto libero a mutar convento, 1 i.e. the rainbow. Iris was the daughter of Thaumas. 2 Dry vapour, according; to Aris- totle,caused windsand earthquakes. 3 i.e. the angel who keeps the keys of Purgatory, and acts on be- half of St. Peter.238 PURGATORIO. CANTO XXI. soul, and sustains it in the act of willing. It wills indeed well at first, but tlie inclination does not let it act, so tliat divine justice subjects that will to tor- ment as it was subject to sin. And I who have lain in this misery five hundred years and more, only just now felt this free wish for a better abode. There- fore didst thou feel the earthquake, and heardest the pious spirits all over the mountain giving praise to that Lord, who, I pray, may soon send them upwards." Thus he spake, and because one enjoys drinking in proportion to the fierceness of one's thirst, so words would fail to ex- press what good he did me. And my wise leader said: " Now I see the net that retains you here, and how ye can escape it, why the mountain trembles, and why ye rejoice together. Now may it please thee to let me know 1/ alma sorprende, e di voler le giova. Prima vuol ben ; ma non lascia il talento, Che divina giustizia contra voglia, 65 Come fu al peccar, pone al tormento. Ed io che son giaciuto a questa doglia Cinquecento anni e piix, pur mo sentii Libera volontk di miglior soglia. Pero sentisti il tremoto, e li pii 70 Spiriti per lo monte render lode ' A quel Signor, che tosto su gl' invii. Cosi gli disse; e pero che si gode Tanto del ber quant' e grande la sete, Non saprei dir quant' e' mi fece prode. 75 E il savio Duca: Omai veggio la rete Che qui vi piglia, e come si scalappia, Perch& ci trema, e di che congaudete. Ora chi fosti piacciati ch' io sappia,CANTO XXI. PURGATORIO. 239 who thou wast on earth, and let thy words explain^ to me why thou hast lain here so many ages." " At the time when the good Titus, with the aid of the supreme King of all, avenged the wounds from which gushed the blood bartered by Judas; with the name1 that endures longest and is most honoured, I lived in the world," replied that spirit, " renowned enough, but as yet devoid of faith. My singing was found so sweet, that Rome drew me, a native of Tolosa, within her walls, where I earned the right to wear a myrtle garland. Statius I still am called on earth; I sung of Thebes, and then of the mighty Achilles; but I fell in the way beneath that second burden.2 The seeds of the poetic fire that warmed me were the sparks from that divine flame which hath illumined full a thou- E, perche tanti secoli giaciuto 80 Qui se', nelle parole tue mi cappia. Nel tempo ehe il buon Tito con 1' aiuto Del sommo Rege vendicdle fora, Ond' usci '1 sangue per Griuda venduto, Col nome che piu dura e piu onora 85 Er' io di lk, rispose quello spirto, Famoso assai, ma non con fede ancora. Tanto fu dolce mio vocale spirto, Che, Tolosano, a se mi trasse Roma, Dove mertai le tempie ornar di mirto. 90 Stazio la gente ancor di lk mi noma; Gantai di Tebe, e poi del grande Achille; Ma caddi in via con la seconda soma. A1 mio ardor fur seme le faville, Che mi scaldar, della divina fiamma, 95 1 i.e. the name of poet. 2 Statius died before he had completed his Achilleid.240 PURGATORIO. CANTO XXI. sand more, I mean the ^neid, which was my mother and my nurse in poetry. Without it I never did anything of the least weight. And to have lived on earth when Virgil lived, I would consent to prolong my banishment a year beyond my due." These words made Virgil turn to me with a look which silently said, " Keep silence;" but man's goodwill cannot do all it would, for smiles and tears follow so close on the passion from which each springs, that they obey the will the less the more truthful men are. I merely smiled, just like a man who winks ; wherefore the spirit was silent, and looked into my eyes, which best re- flect the mind, and said, " So mayest thou bring to a happy issue thy wondrous enterprise; and tell me, why did thy Onde sono allumati piu di mille; Dell' Eneida dico, la qual mamma Fummi, e fummi nutrice poetando: Senz' essa non fermai peso di dramma. E, per esser vivuto di la quando 100 Yisse Yirgilio, assentirei un sole Piii ch' i' non deggio al mio uscir di bando. Yolser Yirgilio a me queste parole Con viso che tacendo dicea: Taci: Ma non pub tutto la virtu che vuole; 105 Che riso e pianto son tanto seguaci Alia passion da che ciascun si spicca, Che men seguon voler ne' piu veraci. Io pur sorrisi, come 1' uom che ammicca; Perche 1' ombra si tacque, e riguardommi 110 Negli occhi, ove '1 sembiante piu si ficca. E, se tanto lavoro in bene assommi, Disse, perche la faccia tua testesoCANTO XXI. PZJRGATORIO. 241 face just now show me a flash of smiling ? " So now I am embarrassed on both sides. The one bids me be silent, the other adjures me to speak; wherefore I sigh, and my sigh is heard. "Say on," said my master, "and do not fear to speak; but speak and tell him what he is so anxious - to ask." I said, therefore: " Perhaps thou wonderest, ancient spirit, to see me smile; but I will cause thee a still greater surprise. This one, who guides my eyes on high, is that Yirgil, from whom thou didst gather strength to sing of men and gods. If thou didst believe any other reason for my smile, give it up as untrue, and believe that the cause was those words thou didst speak of him." Already was he stooping to embrace my teacher's feet, but he said to him : " Brother, do it not, for thou art Un lampeggiar di riso dimostrommi ? Or son io d' una parte e d' altra preso : 115 L' una mi fa tacer, 1' altra scongiura Ch' i' dica; ond' io sospiro, e sono inteso. Di', il mio Maestro, e non aver paura, Mi disse, di parlar; ma parla, e digli Quel ch' e' dimanda con cotanta cura. 120 Ond' io : Forse che tu ti maravigli, Antico spirto, del rider ch' io fei; Ma piu d' ammirazion vo' che ti pigli. Questi, che guida in alto gli occhi miei, E quel Yirgilio, dal qual tu togliesti 125 Forza a cantar degli uomini e de; Dei. Se cagione altra al mio rider credesti, Lasciala per non vera ; ed esser credi Quelle parole che di lui dicesti. Gia si chinava ad abbracciar li piedi 130 Al mio Dottor; ma e' gli disse: Frate, R242 PURGATORIO. CANTO XXI. but a shade, and but a shade thou seest." And he rising up said: " Now canst thou comprehend the depth of the affection that warms me towards thee, when I forget our emptiness by treating shadows as solid things." Non far, che tu se' ombra, e ombra vedi. Ed ei surgendo: Or puoi la quantitate Comprender dell' amor ch' a te mi scalda, Quando dismento nostra vanitate, 185 Trattando 1' ombre come cosa salda.ARGUMENT TO CANTO XXII. Whilst the three Poets are ascending up to the Sixth Circle, where the sin of Gluttony is purged, Statius tells Virgil how he became a Christian, and why he was kept so long in Purgatory. Virgil then mentions the names of some famous personages, who are in Limbo with him. On arriving at the Sixth Terrace, they find a tree with sweet-smelling fruit, from which proceeds a voice, recording exam- ples of temperance.244 PURGATORIO. canto xxii. CANTO XXII. ^ The Angel who had conducted us to the entrance of the sixth circle, after erasing another scar from my face, had remained behind ; and had told us that those are "Beati," whose desires are turned to Justice; and his words ended with u sitiunt." 1 And I, feeling lighter than at the other entrances, was going on so that without any fatigue I kept up with those swift-moving spirits ; when Virgil thus began: " Love kindled by virtue always kindles other love, provided its flame shines forth so as to be seen. Gi& era 1' Angel dietro a noi rimaso, L' Angel che n' avea volti al sesto giro, Avendomi dal viso un colpo raso: E quei e' hanno a giustizia lor disiro Detto n' avea Beati; e le sue voci 5 Con sitiunt, senz' altro, cio forniro. Ed io, piu lieve che per altre foci, M' andava si, che senza alcun labore Seguiva in su gli spiriti veloci: Quando Virgilio comincio : Amore, 10 Acceso di virtu, sempre altro accese, Per che la fiamma sua paresse fuore. 1 The interpretation here adopted is that given by Lombardi, be- cause, as may be seen at all the other entrances, it is the angel who accompanies the poets, that repeats a Scriptural passage relating to the sin that is expiated in the circle that Dante is leaving at the time. The quotation here is from St. Matth. v. 6.CANTO XXII. PURGATORIO. 245 Wherefore from the moment that Juvenal made known to me thy affection, and descended amongst us into the Limbo of Hell, my kind feeling towards thee was such, that no stronger was ever felt for an unseen person, so that these stairs will now seem short to me.1 But tell me, (and forgive me, as a friend, if too great security makes me loose my rein, and henceforth speak to me, as a friend) how could avarice2 find a place in thy breast, filled as it was through thy care with so much wisdom ? " These words made Statius smile a little at first, and then he re- plied : " Every word of thine is to me a cherished sign of love. Truly things oftentimes appear, that afford false Onde, d' allora che tra noi discese Nel limbo dell' Inferno Giuvenale, Che la tua affezion mi fe palese, 15 Mia benvoglienza inverso te fu quale Piu strinse mai di non vista persona, Si ch' or mi parran corte queste scale. Ma dimmi, e come amico mi perdona Se troppa sicurtk m' allarga il freno, 20 E come amico omai meco ragiona: Come poteo trovar dentro al tuo seno Luogo avarizia, tra cotanto senno, Di quanto per tua cura fosti pieno ? Queste parole Stazio mover fenno 25 Un poco a riso pria; poscia rispose : . Ogni tuo dir d' amor m' e caro cenno. Veramente piu volte appaion cose, 1 i.e. from the pleasure of your company. 2 As Virgil found Statius in the fifth circle, which was devoted to the punishment of avarice, he sup- posed he had been an avaricious man, and was surprised at it.246 PURGATORIO. CANTO XXII. matter for doubt, because their true reasons are bidden. Thy question shows me thy belief to be that I was a covetous man in the other life, perhaps on account of the circle where I was. Know, then, that avarice was only too far removed from me, and this excess1 has been punished during many thousand lunar revolutions. And had it not been that I changed my conduct when I heard the passage wherein thou exclaimest, as if racked with passion against human nature, 6 O cursed thirst for gold, to what dost not thou excite the appetites of mortals ? ',2 I should feel the gruesome jousts revolving.3 Then I perceived that the hands could spread themselves too wide to spend, Che danno a dubitar falsa matera, Per le vere cagion che son nascose. La tua dimanda tuo creder m' avvera 30 Esser, ch' io fossi avaro in 1' altra vita, Forse per quella cerchia dov' io era: Or sappi ch' avarizia fu partita Troppo da me, e questa dismisura 85 Migliaia di lunari hanno punita. E se non fosse ch' io drizzai mia cura, Quand' io intesi lk dove tu chiame, Crucciato quasi all' umana natura: A che non reggi tu, o sacra fame *40 Dell' oro, 1' appetito de' mortali ? Yoltando sentirei le giostre grame. Allor m' accorsi che troppo aprir 1' ali Potean le mani a spendere, e pentemi 1 i.e. Prodigality. 2 Mn, iii. 56, 57. 3 The punishment of the avari- cious and the prodigal is described Inf. vii.CANTO XXII. PURGATORIO. 247 and repented of that as well as of my other sins. How many will rise again with close-clipped heads,1 through ignorance which prevents them from repenting of this sin in their lifetime or in their last moments ! and know that the fault which directly opposes2 any sin is expiated3 here together with the sin itself. Wherefore if I have been amongst those spirits who are atoning for their avarice, it was to purify myself from the contrary fault." "Now," said the singer of bucolic strains, " when thou didst sing of the cruel war of the double wretche