Paradiso, Canto 17
Dante Alighieri · Italian original · new English translation and commentary by Text Atlas
Overview
Paradiso XVII completes the central Cacciaguida prophecy sequence in Mars and turns it into Dante's explicit poetic commission. Dante is compared to Phaethon going to Clymene for certainty after hearing a charge against himself; Beatrice and Cacciaguida understand his thirst, and Beatrice tells him to send out the flame of desire so his inward stamp may be fully spoken. Dante addresses Cacciaguida as his dear root, acknowledges that the blessed see contingent things in the eternal point where all times are present, and asks what fortune approaches him, because a foreseen arrow arrives more slowly. Cacciaguida answers without pagan ambiguity. He explains that contingency is depicted in the eternal sight without receiving necessity from that sight, just as a downstream ship is not determined by the eye that sees it. He then foretells the exile: Dante must depart Florence like Hippolytus from Athens; corrupt plotting where Christ is bought and sold will make it happen; public blame will fall on the injured party until just vengeance witnesses truth. The exile will take everything most loved, make another's bread taste of salt, make another's stairs hard, and burden Dante with the wicked, witless company of fellow exiles. Their own conduct will prove their bestiality, so Dante's honorable course is to become a party by himself. Cacciaguida then names Dante's first refuge in the courtesy of the great Lombard who bears the imperial eagle on the ladder, foretells Cangrande's Mars-stamped greatness, warns that some things must be kept written only in Dante's mind, and glosses the earlier prophecies as snares hidden only a few heavenly turns away. He also tells Dante not to envy his neighbors, because Dante's life reaches far beyond the punishment of their treacheries. When the prophecy is complete, Dante asks how he should handle the hard truths learned in Hell, Purgatory, and Heaven: if he speaks them, many will find them sharply sour; if he is timid toward truth, he fears losing life among future readers. Cacciaguida brightens and commands him to remove every lie and make the whole vision manifest. Darkened consciences will find his word harsh, but the first bitter taste will become vital nourishment after digestion. Dante's cry will strike the highest peaks like wind, and this public force is part of his honor. For that reason he has been shown famous souls in the heavens, on the mountain, and in the sorrowful valley, because listeners do not settle trust in examples whose roots are hidden or in arguments that do not appear.
Narrative arc
- Dante is compared to Phaethon seeking certainty, and Beatrice tells him to speak the flame and thirst of desire
- Dante asks Cacciaguida, who sees contingency in the eternal point, what fortune approaches him
- Cacciaguida answers plainly and explains divine sight of contingency without imposing necessity
- The exile prophecy names Florence, false blame, salt bread, another's stairs, bad company, and the party of self
- Cacciaguida foretells Scaliger refuge, Cangrande, hidden future deeds, glosses, snares, and Dante's enfutured life
- Dante asks how to tell bitter truths without losing future refuge and life among later readers
- Cacciaguida commands Dante to make the whole vision manifest because harsh truth becomes living nourishment and public witness
Central themes
- Florence
- exile
- mission
Dante is compared to Phaethon seeking certainty, and Beatrice tells him to speak the flame and thirst of desire XVII.1–12
1Qual venne a Climenè, per accertarsi
di ciò ch’avëa incontro a sé udito,
quei ch’ancor fa li padri ai figli scarsi;
tal era io, e tal era sentito
5e da Beatrice e da la santa lampa
che pria per me avea mutato sito.
Per che mia donna «Manda fuor la vampa
del tuo disio», mi disse, «sì ch’ella esca
segnata bene de la interna stampa:
10non perché nostra conoscenza cresca
per tuo parlare, ma perché t’ausi
a dir la sete, sì che l’uom ti mesca».
1As he came to Clymene to make sure
of what he had heard against himself,
he who still makes fathers wary toward sons;
so was I, and so was I perceived
5by Beatrice and by the holy lamp
that earlier for my sake had changed place.
Therefore my lady said to me, "Send out
the blaze of your desire, so that it issue
well signed with the inward stamp:
10not so that our knowledge may grow
through your speaking, but so that you accustom yourself
to tell your thirst, so one may pour for you."
Commentary
The Phaethon frame, inward stamp, flame, and thirst prepare Dante's full confession of desire before receiving the prophecy.
XVII.1–3 The Phaethon-Clymene comparison opens the canto as a question about paternity, proof, and dangerous foreknowledge.
XVII.1–3 The Phaethon-Clymene comparison opens the canto as a question about paternity, proof, and dangerous foreknowledge. Line 1: The Phaethon-Clymene comparison opens the canto as a question about paternity, proof, and dangerous foreknowledge.
XVII.1 The Phaethon-Clymene comparison opens the canto as a question about paternity, proof, and dangerous foreknowledge. The Phaethon-Clymene comparison opens the canto as a question about paternity, proof, and dangerous foreknowledge.
XVII.7–9 Vampa keeps desire as flame, linking Cacciaguida's light, Dante's thirst, and the need to speak fully. The stamp image keeps the pressure of inner form impressed on outward speech.
XVII.7–9 Vampa keeps desire as flame, linking Cacciaguida's light, Dante's thirst, and the need to speak fully. Line 7: Vampa keeps desire as flame, linking Cacciaguida's light, Dante's thirst, and the need to speak fully. Line 9: The stamp image keeps the pressure of inner form impressed on outward speech.
XVII.7 Vampa keeps desire as flame, linking Cacciaguida's light, Dante's thirst, and the need to speak fully. Vampa keeps desire as flame, linking Cacciaguida's light, Dante's thirst, and the need to speak fully.
XVII.9 The stamp image keeps the pressure of inner form impressed on outward speech. The stamp image keeps the pressure of inner form impressed on outward speech.
XVII.10–12 Sete is retained as thirst; mesca is rendered as pouring drink rather than abstractly answering.
XVII.10–12 Sete is retained as thirst; mesca is rendered as pouring drink rather than abstractly answering. Line 12: Sete is retained as thirst; mesca is rendered as pouring drink rather than abstractly answering.
XVII.12 Sete is retained as thirst; mesca is rendered as pouring drink rather than abstractly answering. Sete is retained as thirst; mesca is rendered as pouring drink rather than abstractly answering.
Dante asks Cacciaguida, who sees contingency in the eternal point, what fortune approaches him XVII.13–30
13«O cara piota mia che sì t’insusi,
che, come veggion le terrene menti
15non capere in trïangol due ottusi,
così vedi le cose contingenti
anzi che sieno in sé, mirando il punto
a cui tutti li tempi son presenti;
mentre ch’io era a Virgilio congiunto
20su per lo monte che l’anime cura
e discendendo nel mondo defunto,
dette mi fuor di mia vita futura
parole gravi, avvegna ch’io mi senta
ben tetragono ai colpi di ventura;
25per che la voglia mia saria contenta
d’intender qual fortuna mi s’appressa:
ché saetta previsa vien più lenta».
Così diss’ io a quella luce stessa
che pria m’avea parlato; e come volle
30Beatrice, fu la mia voglia confessa.
13"O my dear root, who raise yourself so high
that, as earthly minds see
15two obtuse angles cannot fit in a triangle,
so you see contingent things
before they are in themselves, gazing on the point
to which all times are present;
while I was joined with Virgil
20up along the mountain that cures souls
and descending into the dead world,
words of my future life were spoken to me,
heavy words, although I feel myself
well foursquare against the blows of chance;
25therefore my will would be content
to understand what fortune draws near me:
for an arrow foreseen comes more slowly."
So I said to that same light
which had spoken to me before; and, as Beatrice
30willed, my desire was confessed.
Commentary
Cacciaguida's vision of contingencies depends on the eternal point rather than ordinary prediction, while Dante gathers earlier Hell and Purgatory prophecies into one explicit request.
XVII.13–15 Piota is rendered as root, continuing the Cacciaguida ancestry field while keeping the living-plant image.
XVII.13–15 Piota is rendered as root, continuing the Cacciaguida ancestry field while keeping the living-plant image. Line 13: Piota is rendered as root, continuing the Cacciaguida ancestry field while keeping the living-plant image.
XVII.13 Piota is rendered as root, continuing the Cacciaguida ancestry field while keeping the living-plant image. Piota is rendered as root, continuing the Cacciaguida ancestry field while keeping the living-plant image.
XVII.16–18 The point is God's eternal present, where contingent temporal things are seen without being forced into necessity.
XVII.16–18 The point is God's eternal present, where contingent temporal things are seen without being forced into necessity. Line 17: The point is God's eternal present, where contingent temporal things are seen without being forced into necessity.
XVII.17 The point is God's eternal present, where contingent temporal things are seen without being forced into necessity. The point is God's eternal present, where contingent temporal things are seen without being forced into necessity.
XVII.22–24 Tetragono is kept as foursquare, with Fortune's blows treated as the combat image Dante later answers with armor.
XVII.22–24 Tetragono is kept as foursquare, with Fortune's blows treated as the combat image Dante later answers with armor. Line 24: Tetragono is kept as foursquare, with Fortune's blows treated as the combat image Dante later answers with armor.
XVII.24 Tetragono is kept as foursquare, with Fortune's blows treated as the combat image Dante later answers with armor. Tetragono is kept as foursquare, with Fortune's blows treated as the combat image Dante later answers with armor.
XVII.28–30 Confessa keeps the whole-desire confession frame established by Beatrice's prompt.
XVII.28–30 Confessa keeps the whole-desire confession frame established by Beatrice's prompt. Line 30: Confessa keeps the whole-desire confession frame established by Beatrice's prompt.
XVII.30 Confessa keeps the whole-desire confession frame established by Beatrice's prompt. Confessa keeps the whole-desire confession frame established by Beatrice's prompt.
Cacciaguida answers plainly and explains divine sight of contingency without imposing necessity XVII.31–45
31Né per ambage, in che la gente folle
già s’inviscava pria che fosse anciso
l’Agnel di Dio che le peccata tolle,
ma per chiare parole e con preciso
35latin rispuose quello amor paterno,
chiuso e parvente del suo proprio riso:
«La contingenza, che fuor del quaderno
de la vostra matera non si stende,
tutta è dipinta nel cospetto etterno;
40necessità però quindi non prende
se non come dal viso in che si specchia
nave che per torrente giù discende.
Da indi, sì come viene ad orecchia
dolce armonia da organo, mi viene
45a vista il tempo che ti s’apparecchia.
31Not through ambiguous riddling, in which the foolish people
once snared themselves before there was slain
the Lamb of God who takes away sins,
but, in clear words and with precise
35plain speech, that paternal love answered,
hidden and apparent in its own smile:
"Contingency, which does not stretch beyond
the quire of your matter,
is all painted in the eternal sight;
40yet from there it takes no necessity,
any more than from the sight where it is mirrored
does a ship descending on a torrent.
From there, just as to the ear there comes
sweet harmony from an organ, there comes
45to my sight the time prepared for you.
Commentary
The translation keeps the contrast between pagan oracle ambiguity and Cacciaguida's clear speech, and preserves the argument that divine foreknowledge sees contingency without imposing necessity.
XVII.31–33 Ambage is rendered as ambiguous riddling to distinguish pagan oracle speech from Cacciaguida's clear prophecy.
XVII.31–33 Ambage is rendered as ambiguous riddling to distinguish pagan oracle speech from Cacciaguida's clear prophecy. Line 31: Ambage is rendered as ambiguous riddling to distinguish pagan oracle speech from Cacciaguida's clear prophecy.
XVII.31 Ambage is rendered as ambiguous riddling to distinguish pagan oracle speech from Cacciaguida's clear prophecy. Ambage is rendered as ambiguous riddling to distinguish pagan oracle speech from Cacciaguida's clear prophecy.
XVII.34–36 Preciso latin means exact plain speech here, not a switch into the Latin language.
XVII.34–36 Preciso latin means exact plain speech here, not a switch into the Latin language. Line 35: Preciso latin means exact plain speech here, not a switch into the Latin language.
XVII.35 Preciso latin means exact plain speech here, not a switch into the Latin language. Preciso latin means exact plain speech here, not a switch into the Latin language.
XVII.37–39 Quaderno is rendered as quire, preserving the book/register image for sublunar matter and later glosses.
XVII.37–39 Quaderno is rendered as quire, preserving the book/register image for sublunar matter and later glosses. Line 37: Quaderno is rendered as quire, preserving the book/register image for sublunar matter and later glosses.
XVII.37 Quaderno is rendered as quire, preserving the book/register image for sublunar matter and later glosses. Quaderno is rendered as quire, preserving the book/register image for sublunar matter and later glosses.
XVII.40–42 Cacciaguida's foreknowledge does not impose necessity; the ship image distinguishes divine sight from coercive causation.
XVII.40–42 Cacciaguida's foreknowledge does not impose necessity; the ship image distinguishes divine sight from coercive causation. Line 40: Cacciaguida's foreknowledge does not impose necessity; the ship image distinguishes divine sight from coercive causation.
XVII.40 Cacciaguida's foreknowledge does not impose necessity; the ship image distinguishes divine sight from coercive causation. Cacciaguida's foreknowledge does not impose necessity; the ship image distinguishes divine sight from coercive causation.
The exile prophecy names Florence, false blame, salt bread, another's stairs, bad company, and the party of self XVII.46–69
46Qual si partio Ipolito d’Atene
per la spietata e perfida noverca,
tal di Fiorenza partir ti convene.
Questo si vuole e questo già si cerca,
50e tosto verrà fatto a chi ciò pensa
là dove Cristo tutto dì si merca.
La colpa seguirà la parte offensa
in grido, come suol; ma la vendetta
fia testimonio al ver che la dispensa.
55Tu lascerai ogne cosa diletta
più caramente; e questo è quello strale
che l’arco de lo essilio pria saetta.
Tu proverai sì come sa di sale
lo pane altrui, e come è duro calle
60lo scendere e ’l salir per l’altrui scale.
E quel che più ti graverà le spalle,
sarà la compagnia malvagia e scempia
con la qual tu cadrai in questa valle;
che tutta ingrata, tutta matta ed empia
65si farà contr’ a te; ma, poco appresso,
ella, non tu, n’avrà rossa la tempia.
Di sua bestialitate il suo processo
farà la prova; sì ch’a te fia bello
averti fatta parte per te stesso.
46As Hippolytus departed from Athens
because of the pitiless and treacherous stepmother,
so must you depart from Florence.
This is willed, and this already is sought,
50and soon it will be done by the one who thinks it
where Christ is bought and sold all day.
The blame will follow the injured party
in public outcry, as it usually does; but the vengeance
will bear witness to the truth that dispenses it.
55You will leave every thing most dearly beloved;
and this is that arrow
which the bow of exile first shoots.
You will learn how salty
another's bread tastes, and what a hard path
60is going down and up another's stairs.
And what will weigh most upon your shoulders
will be the wicked and witless company
with which you will fall into this valley;
for all ungrateful, all mad and impious,
65they will turn against you; but soon after,
they, not you, will have their brows red.
Its own conduct will make the proof
of its bestiality; so for you it will be fair
to have made yourself a party by yourself.
Commentary
The exile sequence runs through Hippolytus, papal commerce in Christ, false public blame, just vengeance, salt bread, another's stairs, the bad White-exile company, and the party-of-self line.
XVII.46–48 Hippolytus gives the exile prophecy a false-accusation and treacherous-household frame.
XVII.46–48 Hippolytus gives the exile prophecy a false-accusation and treacherous-household frame. Line 46: Hippolytus gives the exile prophecy a false-accusation and treacherous-household frame.
XVII.46 Hippolytus gives the exile prophecy a false-accusation and treacherous-household frame. Hippolytus gives the exile prophecy a false-accusation and treacherous-household frame.
XVII.49–51 The marketplace line points to the papal curia and simony without softening the Judas pressure.
XVII.49–51 The marketplace line points to the papal curia and simony without softening the Judas pressure. Line 51: The marketplace line points to the papal curia and simony without softening the Judas pressure.
XVII.51 The marketplace line points to the papal curia and simony without softening the Judas pressure. The marketplace line points to the papal curia and simony without softening the Judas pressure.
XVII.52–54 Vengeance is kept as the future witness to truth, not private revenge.
XVII.52–54 Vengeance is kept as the future witness to truth, not private revenge. Line 54: Vengeance is kept as the future witness to truth, not private revenge.
XVII.54 Vengeance is kept as the future witness to truth, not private revenge. Vengeance is kept as the future witness to truth, not private revenge.
XVII.55–57 The exile bow and arrow answer Dante's earlier request that the foreseen arrow come more slowly.
XVII.55–57 The exile bow and arrow answer Dante's earlier request that the foreseen arrow come more slowly. Line 57: The exile bow and arrow answer Dante's earlier request that the foreseen arrow come more slowly.
XVII.57 The exile bow and arrow answer Dante's earlier request that the foreseen arrow come more slowly. The exile bow and arrow answer Dante's earlier request that the foreseen arrow come more slowly.
XVII.58–60 The salt-bread image keeps exile as material dependency and humiliation. Another's stairs makes patronage concrete: shelter itself becomes a hard path of descent and ascent.
XVII.58–60 The salt-bread image keeps exile as material dependency and humiliation. Line 58: The salt-bread image keeps exile as material dependency and humiliation. Line 60: Another's stairs makes patronage concrete: shelter itself becomes a hard path of descent and ascent.
XVII.58 The salt-bread image keeps exile as material dependency and humiliation. The salt-bread image keeps exile as material dependency and humiliation.
XVII.60 Another's stairs makes patronage concrete: shelter itself becomes a hard path of descent and ascent. Another's stairs makes patronage concrete: shelter itself becomes a hard path of descent and ascent.
XVII.61–63 Scempia is rendered as witless to keep moral and practical foolishness in the White exiles.
XVII.61–63 Scempia is rendered as witless to keep moral and practical foolishness in the White exiles. Line 62: Scempia is rendered as witless to keep moral and practical foolishness in the White exiles.
XVII.62 Scempia is rendered as witless to keep moral and practical foolishness in the White exiles. Scempia is rendered as witless to keep moral and practical foolishness in the White exiles.
XVII.67–69 The party-of-self line marks Dante's separation from faction rather than modern individualism.
XVII.67–69 The party-of-self line marks Dante's separation from faction rather than modern individualism. Line 69: The party-of-self line marks Dante's separation from faction rather than modern individualism.
XVII.69 The party-of-self line marks Dante's separation from faction rather than modern individualism. The party-of-self line marks Dante's separation from faction rather than modern individualism.
Cacciaguida foretells Scaliger refuge, Cangrande, hidden future deeds, glosses, snares, and Dante's enfutured life XVII.70–99
70Lo primo tuo refugio e ’l primo ostello
sarà la cortesia del gran Lombardo
che ’n su la scala porta il santo uccello;
ch’in te avrà sì benigno riguardo,
che del fare e del chieder, tra voi due,
75fia primo quel che tra li altri è più tardo.
Con lui vedrai colui che ’mpresso fue,
nascendo, sì da questa stella forte,
che notabili fier l’opere sue.
Non se ne son le genti ancora accorte
80per la novella età, ché pur nove anni
son queste rote intorno di lui torte;
ma pria che ’l Guasco l’alto Arrigo inganni,
parran faville de la sua virtute
in non curar d’argento né d’affanni.
85Le sue magnificenze conosciute
saranno ancora, sì che ’ suoi nemici
non ne potran tener le lingue mute.
A lui t’aspetta e a’ suoi benefici;
per lui fia trasmutata molta gente,
90cambiando condizion ricchi e mendici;
e portera’ne scritto ne la mente
di lui, e nol dirai»; e disse cose
incredibili a quei che fier presente.
Poi giunse: «Figlio, queste son le chiose
95di quel che ti fu detto; ecco le ’nsidie
che dietro a pochi giri son nascose.
Non vo’ però ch’a’ tuoi vicini invidie,
poscia che s’infutura la tua vita
vie più là che ’l punir di lor perfidie».
70Your first refuge and your first inn
will be the courtesy of the great Lombard
who bears the holy bird upon the ladder;
who will have such benign regard for you
that of doing and asking, between you two,
75what is slowest among others will be first.
With him you will see the one who was impressed,
at birth, so strongly by this star
that his deeds will be notable.
The people have not yet become aware of him
80because of his new age, for only nine years
have these wheels turned around him;
but before the Gascon deceives high Henry,
sparks of his virtue will appear
in caring nothing for silver or for labors.
85His acts of magnificence will yet
become known, so that his enemies
will not be able to keep their tongues mute about them.
Set your expectation on him and his benefits;
through him many people will be transformed,
90rich and beggars changing condition;
and you will carry written in your mind
of him, and you will not say it"; and he said things
incredible to those who will be present.
Then he added: "Son, these are the glosses
95on what was told to you; here are the snares
hidden behind a few revolutions.
Still I do not want you to envy your neighbors,
since your life enfutures itself
far beyond the punishing of their treacheries."
Commentary
The Scaliger passage records the great Lombard, the ladder and imperial eagle, Cangrande's Mars-stamped future, Clement V and Henry VII, hidden prophecies, glosses, snares, and Dante's future-reaching fame.
XVII.70–72 The ladder and holy bird identify the Della Scala arms with the imperial eagle.
XVII.70–72 The ladder and holy bird identify the Della Scala arms with the imperial eagle. Line 72: The ladder and holy bird identify the Della Scala arms with the imperial eagle.
XVII.72 The ladder and holy bird identify the Della Scala arms with the imperial eagle. The ladder and holy bird identify the Della Scala arms with the imperial eagle.
XVII.76–78 The strong star is Mars, continuing the martial heaven and Cangrande's future public deeds.
XVII.76–78 The strong star is Mars, continuing the martial heaven and Cangrande's future public deeds. Line 78: The strong star is Mars, continuing the martial heaven and Cangrande's future public deeds.
XVII.78 The strong star is Mars, continuing the martial heaven and Cangrande's future public deeds. The strong star is Mars, continuing the martial heaven and Cangrande's future public deeds.
XVII.82–84 The Gascon is Clement V and high Henry is Emperor Henry VII.
XVII.82–84 The Gascon is Clement V and high Henry is Emperor Henry VII. Line 82: The Gascon is Clement V and high Henry is Emperor Henry VII.
XVII.82 The Gascon is Clement V and high Henry is Emperor Henry VII. The Gascon is Clement V and high Henry is Emperor Henry VII.
XVII.88–90 T'aspetta is taken as looking toward and relying on Cangrande's patronage.
XVII.88–90 T'aspetta is taken as looking toward and relying on Cangrande's patronage. Line 88: T'aspetta is taken as looking toward and relying on Cangrande's patronage.
XVII.88 T'aspetta is taken as looking toward and relying on Cangrande's patronage. T'aspetta is taken as looking toward and relying on Cangrande's patronage.
XVII.94–96 Chiose keeps Cacciaguida's prophecy as gloss on earlier, partial predictions.
XVII.94–96 Chiose keeps Cacciaguida's prophecy as gloss on earlier, partial predictions. Line 94: Chiose keeps Cacciaguida's prophecy as gloss on earlier, partial predictions.
XVII.94 Chiose keeps Cacciaguida's prophecy as gloss on earlier, partial predictions. Chiose keeps Cacciaguida's prophecy as gloss on earlier, partial predictions.
XVII.97–99 S'infutura is kept with the coined verb enfutures, marking the Comedy's long future fame.
XVII.97–99 S'infutura is kept with the coined verb enfutures, marking the Comedy's long future fame. Line 98: S'infutura is kept with the coined verb enfutures, marking the Comedy's long future fame.
XVII.98 S'infutura is kept with the coined verb enfutures, marking the Comedy's long future fame. S'infutura is kept with the coined verb enfutures, marking the Comedy's long future fame.
Dante asks how to tell bitter truths without losing future refuge and life among later readers XVII.100–120
100Poi che, tacendo, si mostrò spedita
l’anima santa di metter la trama
in quella tela ch’io le porsi ordita,
io cominciai, come colui che brama,
dubitando, consiglio da persona
105che vede e vuol dirittamente e ama:
«Ben veggio, padre mio, sì come sprona
lo tempo verso me, per colpo darmi
tal, ch’è più grave a chi più s’abbandona;
per che di provedenza è buon ch’io m’armi,
110sì che, se loco m’è tolto più caro,
io non perdessi li altri per miei carmi.
Giù per lo mondo sanza fine amaro,
e per lo monte del cui bel cacume
li occhi de la mia donna mi levaro,
115e poscia per lo ciel, di lume in lume,
ho io appreso quel che s’io ridico,
a molti fia sapor di forte agrume;
e s’io al vero son timido amico,
temo di perder viver tra coloro
120che questo tempo chiameranno antico».
100After, by falling silent, the holy soul
showed it was finished putting the weft
into that web whose warp I had offered,
I began, like one who longs,
while doubting, for counsel from a person
105who sees and wills rightly and loves:
"I see well, my father, how time spurs
toward me to give me a blow
such that it is heaviest for one who most abandons himself;
therefore it is good that I arm myself with foresight,
110so that, if the dearest place is taken from me,
I do not lose the others through my songs.
Down through the world endlessly bitter,
and through the mountain from whose fair summit
my lady's eyes lifted me,
115and afterward through Heaven, from light to light,
I have learned what, if I repeat it,
will be to many a taste of sharp sourness;
and if I am a timid friend to truth,
I fear losing life among those
120who will call this time ancient."
Commentary
The weaving image, foresight-as-armor, loss of place and other supports, bitter truths learned through all three realms, and timid friendship to truth mark the turn from private exile to public poetic mission.
XVII.100–102 The warp-and-weft image frames Dante's question as a text Cacciaguida has completed.
XVII.100–102 The warp-and-weft image frames Dante's question as a text Cacciaguida has completed. Line 102: The warp-and-weft image frames Dante's question as a text Cacciaguida has completed.
XVII.102 The warp-and-weft image frames Dante's question as a text Cacciaguida has completed. The warp-and-weft image frames Dante's question as a text Cacciaguida has completed.
XVII.106–108 S'abbandona is kept as abandoning oneself: the coming blow is worst for the unarmed or inwardly slack.
XVII.106–108 S'abbandona is kept as abandoning oneself: the coming blow is worst for the unarmed or inwardly slack. Line 108: S'abbandona is kept as abandoning oneself: the coming blow is worst for the unarmed or inwardly slack.
XVII.108 S'abbandona is kept as abandoning oneself: the coming blow is worst for the unarmed or inwardly slack. S'abbandona is kept as abandoning oneself: the coming blow is worst for the unarmed or inwardly slack.
XVII.109–111 Li altri remains the others, leaving open other places, patrons, and social supports endangered by truthful poetry.
XVII.109–111 Li altri remains the others, leaving open other places, patrons, and social supports endangered by truthful poetry. Line 111: Li altri remains the others, leaving open other places, patrons, and social supports endangered by truthful poetry.
XVII.111 Li altri remains the others, leaving open other places, patrons, and social supports endangered by truthful poetry. Li altri remains the others, leaving open other places, patrons, and social supports endangered by truthful poetry.
XVII.115–117 The sharp-sour taste prepares Cacciaguida's answer that bitter speech can become vital nourishment.
XVII.115–117 The sharp-sour taste prepares Cacciaguida's answer that bitter speech can become vital nourishment. Line 117: The sharp-sour taste prepares Cacciaguida's answer that bitter speech can become vital nourishment.
XVII.117 The sharp-sour taste prepares Cacciaguida's answer that bitter speech can become vital nourishment. The sharp-sour taste prepares Cacciaguida's answer that bitter speech can become vital nourishment.
XVII.118–120 The timid friend of truth marks the canto's turn from private prophecy to public poetic duty.
XVII.118–120 The timid friend of truth marks the canto's turn from private prophecy to public poetic duty. Line 118: The timid friend of truth marks the canto's turn from private prophecy to public poetic duty.
XVII.118 The timid friend of truth marks the canto's turn from private prophecy to public poetic duty. The timid friend of truth marks the canto's turn from private prophecy to public poetic duty.
Cacciaguida commands Dante to make the whole vision manifest because harsh truth becomes living nourishment and public witness XVII.121–142
121La luce in che rideva il mio tesoro
ch’io trovai lì, si fé prima corusca,
quale a raggio di sole specchio d’oro;
indi rispuose: «Coscïenza fusca
125o de la propria o de l’altrui vergogna
pur sentirà la tua parola brusca.
Ma nondimen, rimossa ogne menzogna,
tutta tua visïon fa manifesta;
e lascia pur grattar dov’ è la rogna.
130Ché se la voce tua sarà molesta
nel primo gusto, vital nodrimento
lascerà poi, quando sarà digesta.
Questo tuo grido farà come vento,
che le più alte cime più percuote;
135e ciò non fa d’onor poco argomento.
Però ti son mostrate in queste rote,
nel monte e ne la valle dolorosa
pur l’anime che son di fama note,
che l’animo di quel ch’ode, non posa
140né ferma fede per essempro ch’aia
la sua radice incognita e ascosa,
né per altro argomento che non paia».
121The light in which my treasure smiled,
which I found there, first became flashing,
like a golden mirror under a ray of sun;
then it answered: "A darkened conscience,
125whether by its own shame or another's,
will indeed feel your word as harsh.
But nevertheless, every lie removed,
make all your vision manifest;
and let them scratch wherever the itch is.
130For if your voice will be troublesome
in the first taste, it will leave vital nourishment
afterward, when it is digested.
This cry of yours will act like wind
that strikes the highest peaks the most;
135and this is no small proof of honor.
Therefore there have been shown to you in these wheels,
on the mountain, and in the sorrowful valley,
only the souls that are known to fame,
for the mind of the one who hears does not rest
140nor settle faith through an example that has
its root unknown and hidden,
nor through any other argument that does not appear."
Commentary
Cacciaguida's answer keeps harsh speech, revealed vision, itch, bitter first taste, vital nourishment, wind against high peaks, famous souls, and apparent examples together as the mandate for public witness.
XVII.124–126 Brusca is rendered as harsh, preserving the roughness felt by a guilty conscience.
XVII.124–126 Brusca is rendered as harsh, preserving the roughness felt by a guilty conscience. Line 126: Brusca is rendered as harsh, preserving the roughness felt by a guilty conscience.
XVII.126 Brusca is rendered as harsh, preserving the roughness felt by a guilty conscience. Brusca is rendered as harsh, preserving the roughness felt by a guilty conscience.
XVII.127–129 The command to make all the vision manifest is the canto's explicit poetic mission charge.
XVII.127–129 The command to make all the vision manifest is the canto's explicit poetic mission charge. Line 128: The command to make all the vision manifest is the canto's explicit poetic mission charge.
XVII.128 The command to make all the vision manifest is the canto's explicit poetic mission charge. The command to make all the vision manifest is the canto's explicit poetic mission charge.
XVII.130–132 Taste and nourishment language makes the poem medicinal: bitter first, life-giving after digestion.
XVII.130–132 Taste and nourishment language makes the poem medicinal: bitter first, life-giving after digestion. Line 131: Taste and nourishment language makes the poem medicinal: bitter first, life-giving after digestion.
XVII.131 Taste and nourishment language makes the poem medicinal: bitter first, life-giving after digestion. Taste and nourishment language makes the poem medicinal: bitter first, life-giving after digestion.
XVII.133–135 Grido is cry rather than song here, stressing public witness and public resistance.
XVII.133–135 Grido is cry rather than song here, stressing public witness and public resistance. Line 133: Grido is cry rather than song here, stressing public witness and public resistance.
XVII.133 Grido is cry rather than song here, stressing public witness and public resistance. Grido is cry rather than song here, stressing public witness and public resistance.
XVII.139–141 Faith here is the listener's settled trust in witness, not theological faith alone.
XVII.139–141 Faith here is the listener's settled trust in witness, not theological faith alone. Line 140: Faith here is the listener's settled trust in witness, not theological faith alone.
XVII.140 Faith here is the listener's settled trust in witness, not theological faith alone. Faith here is the listener's settled trust in witness, not theological faith alone.