Paradiso, Canto 24
Dante Alighieri · Italian original · new English translation and commentary by Text Atlas
Overview
Paradiso XXIV begins the examinations in the theological virtues among the fixed stars. Beatrice addresses the elect fellowship at the great supper of the blessed Lamb, where desire is always filled, and asks the souls to bedew Dante from the fountain from which their own thought and blessedness flow. The glad souls become spinning spheres on fixed poles, flaming like comets, and their varying carols let Dante judge their riches by speed and joy. From the most loving carol comes the happy fire of Peter, who circles Beatrice three times with a divine song Dante cannot remember or write. Beatrice names him as the eternal light of the apostle who received the keys and asks him to test Dante on faith, the virtue by which Peter walked upon the sea. Dante prepares like a bachelor before a master, arms himself with reasons, and answers Peter's first question by invoking Grace, Paul, and the Hebrews definition: faith is the substance of hoped-for things and the argument of those not appearing. Peter presses him to explain substance and argument, then tests whether he possesses the coin of faith whose alloy and weight have been examined. Dante says he has it in his purse, bright, round, and undoubted in its minting. Peter then asks where the jewel came from, and Dante answers that the broad rain of the Holy Spirit on the old and new skins of Scripture has concluded faith for him more sharply than any demonstration. Peter challenges the apparent circular proof of Scripture by miracles; Dante answers that the world's conversion by poor and fasting apostles would itself be a greater miracle than the others, and he marks the Christian plant as once a vine and now a thornbush. The heavenly court responds with praise. Peter, having drawn Dante from branch to branch near the last leaves, asks him to express what he believes and whence that belief came. Dante professes one eternal unmoved God who moves all Heaven with love and desire, names physical and metaphysical proofs, and adds the truth raining down through Moses, prophets, psalms, Gospel, and apostolic writings. He confesses three eternal Persons in one essence, so one and so trine that both 'are' and 'is' belong to it; Gospel doctrine seals this deep divine condition in his mind. Faith is the beginning and spark that expands into living flame and sparkles in him like a star. Peter, pleased, blesses Dante in song and circles him three times.
Narrative arc
- Beatrice addresses the elect company at the Lamb's supper and asks the blessed to bedew Dante from the fountain of their thought
- The blessed become spinning spheres and carols, and Peter comes forth from the most loving fire with a song Dante cannot repeat
- Peter answers Beatrice, and Beatrice asks him to examine Dante on faith, the virtue by which Peter walked on the sea
- Dante prepares like a bachelor before his master and defines faith through Paul's Hebrews formula
- Peter tests Dante's explanation of substance and argument, then asks whether Dante possesses the coin of faith
- Dante traces faith to the old and new Scriptures, answers Peter's miracle-proof challenge, and names the vine become thornbush
- The court sings praise, and Peter approves the first answers before asking Dante to express his belief and its source
- Dante confesses one eternal unmoved God, Scripture's truth, the Trinity, and faith as spark, flame, and star within him
- Peter blesses Dante and circles him three times in approval
Central themes
- faith
- hope
- love
- Church corruption
Beatrice addresses the elect company at the Lamb's supper and asks the blessed to bedew Dante from the fountain of their thought XXIV.1–9
1«O sodalizio eletto a la gran cena
del benedetto Agnello, il qual vi ciba
sì, che la vostra voglia è sempre piena,
se per grazia di Dio questi preliba
5di quel che cade de la vostra mensa,
prima che morte tempo li prescriba,
ponete mente a l’affezione immensa
e roratelo alquanto: voi bevete
sempre del fonte onde vien quel ch’ei pensa».
1"O elect fellowship at the great supper
of the blessed Lamb, who feeds you
so that your desire is always full,
if, by God's grace, this man foretastes
5what falls from your table,
before death prescribes his time,
set your minds upon his immense longing
and bedew him somewhat: you drink
always from the fountain whence comes what he thinks."
Commentary
The Lamb's supper, table, foretaste, dew, fountain, and thought/desire imagery stay tightly linked as Beatrice asks the blessed to refresh Dante from the same source they drink.
XXIV.1–3 Sodalizio is kept as elevated fellowship rather than a casual company.
XXIV.1–3 Sodalizio is kept as elevated fellowship rather than a casual company. Line 1: Sodalizio is kept as elevated fellowship rather than a casual company.
XXIV.1 Sodalizio is kept as elevated fellowship rather than a casual company. Sodalizio is kept as elevated fellowship rather than a casual company.
XXIV.7–9 The dew image is retained and later answered by the Holy Spirit's rain on Scripture. The fountain gathers Dante's thought, desire, and the Johannine living-water pressure.
XXIV.7–9 The dew image is retained and later answered by the Holy Spirit's rain on Scripture. Line 8: The dew image is retained and later answered by the Holy Spirit's rain on Scripture. Line 9: The fountain gathers Dante's thought, desire, and the Johannine living-water pressure.
XXIV.8 The dew image is retained and later answered by the Holy Spirit's rain on Scripture. The dew image is retained and later answered by the Holy Spirit's rain on Scripture.
XXIV.9 The fountain gathers Dante's thought, desire, and the Johannine living-water pressure. The fountain gathers Dante's thought, desire, and the Johannine living-water pressure.
The blessed become spinning spheres and carols, and Peter comes forth from the most loving fire with a song Dante cannot repeat XXIV.10–27
10Così Beatrice; e quelle anime liete
si fero spere sopra fissi poli,
fiammando, a volte, a guisa di comete.
E come cerchi in tempra d’orïuoli
si giran sì, che ’l primo a chi pon mente
15quïeto pare, e l’ultimo che voli;
così quelle carole, differente-
mente danzando, de la sua ricchezza
mi facieno stimar, veloci e lente.
Di quella ch’io notai di più carezza
20vid’ ïo uscire un foco sì felice,
che nullo vi lasciò di più chiarezza;
e tre fïate intorno di Beatrice
si volse con un canto tanto divo,
che la mia fantasia nol mi ridice.
25Però salta la penna e non lo scrivo:
ché l’imagine nostra a cotai pieghe,
non che ’l parlare, è troppo color vivo.
10Thus Beatrice; and those glad souls
made themselves spheres upon fixed poles,
flaming as they wheeled, in the manner of comets.
And as wheels in the workings of clocks
turn so that the first, to one who watches,
15seems still, and the last seems to fly;
so those carols, dancing in different
ways, let me estimate their riches
by their swiftness and slowness.
From the one I marked as fullest of love
20I saw a fire come forth so happy
that it left none there of greater brightness;
and three times around Beatrice
it wheeled with a song so divine
that my imagination does not tell it back to me.
25Therefore the pen leaps, and I do not write it:
for our image-making, before such folds,
let alone speech, is too vivid a color.
Commentary
The blessed souls' spheres, clockwork speeds, carols, comet fire, Peter's emergence, triple circling, and inexpressible song together keep motion, joy, rank, and poetic insufficiency visible.
XXIV.16–18 Carole carries both round dance and song.
XXIV.16–18 Carole carries both round dance and song. Line 16: Carole carries both round dance and song.
XXIV.16 Carole carries both round dance and song. Carole carries both round dance and song.
XXIV.22–24 Peter's first triple circle is answered by his approving triple circle around Dante at the close.
XXIV.22–24 Peter's first triple circle is answered by his approving triple circle around Dante at the close. Line 22: Peter's first triple circle is answered by his approving triple circle around Dante at the close.
XXIV.22 Peter's first triple circle is answered by his approving triple circle around Dante at the close. Peter's first triple circle is answered by his approving triple circle around Dante at the close.
XXIV.25–27 The folds image keeps the painting analogy and inexpressibility topos visible.
XXIV.25–27 The folds image keeps the painting analogy and inexpressibility topos visible. Line 26: The folds image keeps the painting analogy and inexpressibility topos visible.
XXIV.26 The folds image keeps the painting analogy and inexpressibility topos visible. The folds image keeps the painting analogy and inexpressibility topos visible.
Peter answers Beatrice, and Beatrice asks him to examine Dante on faith, the virtue by which Peter walked on the sea XXIV.28–45
28«O santa suora mia che sì ne prieghe
divota, per lo tuo ardente affetto
30da quella bella spera mi disleghe».
Poscia fermato, il foco benedetto
a la mia donna dirizzò lo spiro,
che favellò così com’ i’ ho detto.
Ed ella: «O luce etterna del gran viro
35a cui Nostro Segnor lasciò le chiavi,
ch’ei portò giù, di questo gaudio miro,
tenta costui di punti lievi e gravi,
come ti piace, intorno de la fede,
per la qual tu su per lo mare andavi.
40S’elli ama bene e bene spera e crede,
non t’è occulto, perché ’l viso hai quivi
dov’ ogne cosa dipinta si vede;
ma perché questo regno ha fatto civi
per la verace fede, a glorïarla,
45di lei parlare è ben ch’a lui arrivi».
28"O my holy sister, who so devoutly
pray to us, by your ardent affection
30you unbind me from that fair sphere."
Then, having come to rest, the blessed fire
directed its breath toward my lady,
which spoke as I have said.
And she: "O eternal light of the great man
35to whom Our Lord left the keys
that he carried below, of this wondrous joy,
test this man on points light and grave,
as you please, concerning faith,
by which you walked upon the sea.
40Whether he loves well and hopes well and believes
is not hidden from you, because your sight is there
where everything is seen depicted;
but because this realm has made citizens
through true faith, to glorify it,
45it is well that speech about it should come to him."
Commentary
Peter is the apostolic light and keeper of keys, while Beatrice frames the examination as public glorification of faith rather than information Peter lacks.
XXIV.31–33 Spiro keeps breath, spirit, and speech close together.
XXIV.31–33 Spiro keeps breath, spirit, and speech close together. Line 32: Spiro keeps breath, spirit, and speech close together.
XXIV.32 Spiro keeps breath, spirit, and speech close together. Spiro keeps breath, spirit, and speech close together.
XXIV.34–36 Beatrice identifies Peter through apostolic office before naming the faith examination. Peter's keys continue the office-and-authority motif from Inferno XIX, Inferno XXVII, Purgatorio IX, and Paradiso XXIII.
XXIV.34–36 Beatrice identifies Peter through apostolic office before naming the faith examination. Line 34: Beatrice identifies Peter through apostolic office before naming the faith examination. Line 35: Peter's keys continue the office-and-authority motif from Inferno XIX, Inferno XXVII, Purgatorio IX, and Paradiso XXIII.
XXIV.34 Beatrice identifies Peter through apostolic office before naming the faith examination. Beatrice identifies Peter through apostolic office before naming the faith examination.
XXIV.35 Peter's keys continue the office-and-authority motif from Inferno XIX, Inferno XXVII, Purgatorio IX, and Paradiso XXIII. Peter's keys continue the office-and-authority motif from Inferno XIX, Inferno XXVII, Purgatorio IX, and Paradiso XXIII.
XXIV.37–39 The line invokes Peter's walk toward Christ on the Sea of Galilee.
XXIV.37–39 The line invokes Peter's walk toward Christ on the Sea of Galilee. Line 39: The line invokes Peter's walk toward Christ on the Sea of Galilee.
XXIV.39 The line invokes Peter's walk toward Christ on the Sea of Galilee. The line invokes Peter's walk toward Christ on the Sea of Galilee.
XXIV.40–42 Beatrice names love, hope, and faith, anticipating the full theological-virtues sequence. Peter sees in God; the examination is not for his information.
XXIV.40–42 Beatrice names love, hope, and faith, anticipating the full theological-virtues sequence. Line 40: Beatrice names love, hope, and faith, anticipating the full theological-virtues sequence. Line 42: Peter sees in God; the examination is not for his information.
XXIV.40 Beatrice names love, hope, and faith, anticipating the full theological-virtues sequence. Beatrice names love, hope, and faith, anticipating the full theological-virtues sequence.
XXIV.42 Peter sees in God; the examination is not for his information. Peter sees in God; the examination is not for his information.
Dante prepares like a bachelor before his master and defines faith through Paul's Hebrews formula XXIV.46–66
46Sì come il baccialier s’arma e non parla
fin che ’l maestro la question propone,
per approvarla, non per terminarla,
così m’armava io d’ogne ragione
50mentre ch’ella dicea, per esser presto
a tal querente e a tal professione.
«Dì, buon Cristiano, fatti manifesto:
fede che è?». Ond’ io levai la fronte
in quella luce onde spirava questo;
55poi mi volsi a Beatrice, ed essa pronte
sembianze femmi perch’ ïo spandessi
l’acqua di fuor del mio interno fonte.
«La Grazia che mi dà ch’io mi confessi»,
comincia’ io, «da l’alto primipilo,
60faccia li miei concetti bene espressi».
E seguitai: «Come ’l verace stilo
ne scrisse, padre, del tuo caro frate
che mise teco Roma nel buon filo,
fede è sustanza di cose sperate
65e argomento de le non parventi;
e questa pare a me sua quiditate».
46As the bachelor arms himself and does not speak
until the master puts forward the question
to prove it, not to determine it,
so I armed myself with every reason
50while she was speaking, to be ready
for such a questioner and such a profession.
"Speak, good Christian; make yourself manifest:
what is faith?" At that I lifted my brow
toward that light from which this breathed;
55then I turned to Beatrice, and she
made ready signs to me that I should pour
the water out from my inner fountain.
"May Grace, which grants me this confession
before the high chief centurion,
60make my concepts well expressed," I began.
And I continued: "As the truthful stylus
wrote for us, father, from your dear brother
who with you set Rome on the right road,
faith is the substance of things hoped for
65and argument of those not appearing;
and this seems to me its quiddity."
Commentary
The university examination register was kept through bachelor, master, question, proof, and profession language; Hebrews 11:1 governs Dante's definition of faith as substance and argument.
XXIV.46–48 The scholastic examination register begins here and governs the question-and-answer sequence. The candidate argues or proves; the master determines.
XXIV.46–48 The scholastic examination register begins here and governs the question-and-answer sequence. Line 46: The scholastic examination register begins here and governs the question-and-answer sequence. Line 48: The candidate argues or proves; the master determines.
XXIV.46 The scholastic examination register begins here and governs the question-and-answer sequence. The scholastic examination register begins here and governs the question-and-answer sequence.
XXIV.48 The candidate argues or proves; the master determines. The candidate argues or proves; the master determines.
XXIV.55–57 The inner fountain answers Beatrice's opening fountain image and the living-water context.
XXIV.55–57 The inner fountain answers Beatrice's opening fountain image and the living-water context. Line 57: The inner fountain answers Beatrice's opening fountain image and the living-water context.
XXIV.57 The inner fountain answers Beatrice's opening fountain image and the living-water context. The inner fountain answers Beatrice's opening fountain image and the living-water context.
XXIV.58–60 Primipilo is the chief centurion; Dante applies the military title to Peter as head of the Church Militant.
XXIV.58–60 Primipilo is the chief centurion; Dante applies the military title to Peter as head of the Church Militant. Line 59: Primipilo is the chief centurion; Dante applies the military title to Peter as head of the Church Militant.
XXIV.59 Primipilo is the chief centurion; Dante applies the military title to Peter as head of the Church Militant. Primipilo is the chief centurion; Dante applies the military title to Peter as head of the Church Militant.
XXIV.61–63 The dear brother is Paul, named through the traditional Pauline authorship of Hebrews and 2 Peter's phrase.
XXIV.61–63 The dear brother is Paul, named through the traditional Pauline authorship of Hebrews and 2 Peter's phrase. Line 62: The dear brother is Paul, named through the traditional Pauline authorship of Hebrews and 2 Peter's phrase.
XXIV.62 The dear brother is Paul, named through the traditional Pauline authorship of Hebrews and 2 Peter's phrase. The dear brother is Paul, named through the traditional Pauline authorship of Hebrews and 2 Peter's phrase.
XXIV.64–66 Dante quotes the Vulgate form of Hebrews 11:1. Argomento is kept as argument rather than flattened to proof or evidence. The scholastic quiditate is retained as quiddity.
XXIV.64–66 Dante quotes the Vulgate form of Hebrews 11:1. Line 64: Dante quotes the Vulgate form of Hebrews 11:1. Line 65: Argomento is kept as argument rather than flattened to proof or evidence. Line 66: The scholastic quiditate is retained as quiddity.
XXIV.64 Dante quotes the Vulgate form of Hebrews 11:1. Dante quotes the Vulgate form of Hebrews 11:1.
XXIV.65 Argomento is kept as argument rather than flattened to proof or evidence. Argomento is kept as argument rather than flattened to proof or evidence.
XXIV.66 The scholastic quiditate is retained as quiddity. The scholastic quiditate is retained as quiddity.
Peter tests Dante's explanation of substance and argument, then asks whether Dante possesses the coin of faith XXIV.67–87
67Allora udi’: «Dirittamente senti,
se bene intendi perché la ripuose
tra le sustanze, e poi tra li argomenti».
70E io appresso: «Le profonde cose
che mi largiscon qui la lor parvenza,
a li occhi di là giù son sì ascose,
che l’esser loro v’è in sola credenza,
sopra la qual si fonda l’alta spene;
75e però di sustanza prende intenza.
E da questa credenza ci convene
silogizzar, sanz’ avere altra vista:
però intenza d’argomento tene».
Allora udi’: «Se quantunque s’acquista
80giù per dottrina, fosse così ’nteso,
non lì avria loco ingegno di sofista».
Così spirò di quello amore acceso;
indi soggiunse: «Assai bene è trascorsa
d’esta moneta già la lega e ’l peso;
85ma dimmi se tu l’hai ne la tua borsa».
Ond’ io: «Sì ho, sì lucida e sì tonda,
che nel suo conio nulla mi s’inforsa».
67Then I heard: "You understand rightly,
if you clearly grasp why he placed it
among substances, and then among arguments."
70And I after: "The deep things
that here bestow their appearance on me
are so hidden from eyes down there,
that their being there is in belief alone,
on which high hope is founded;
75and so it takes the force of substance.
And from this belief we must
syllogize, without having any other sight:
therefore it holds the force of argument."
Then I heard: "If all that is acquired
80below by doctrine were so understood,
there would be no place there for a sophist's wit."
Thus breathed that enkindled love;
then added: "Very well has been examined
already the alloy and weight of this coin;
85but tell me if you have it in your purse."
And I: "Yes, I have it, so bright and so round
that in its minting nothing makes me doubt."
Commentary
The substance/argument explanation and coin metaphor are kept; alloy, weight, purse, brightness, roundness, and minting are retained as doctrinal and personal tests of faith.
XXIV.73–75 The explanation takes substance as foundation or underlying support for hope.
XXIV.73–75 The explanation takes substance as foundation or underlying support for hope. Line 75: The explanation takes substance as foundation or underlying support for hope.
XXIV.75 The explanation takes substance as foundation or underlying support for hope. The explanation takes substance as foundation or underlying support for hope.
XXIV.76–78 The scholastic verb is retained because faith supplies the premise where sight cannot.
XXIV.76–78 The scholastic verb is retained because faith supplies the premise where sight cannot. Line 77: The scholastic verb is retained because faith supplies the premise where sight cannot.
XXIV.77 The scholastic verb is retained because faith supplies the premise where sight cannot. The scholastic verb is retained because faith supplies the premise where sight cannot.
XXIV.82–84 The coin metaphor tests doctrinal purity, weight, personal possession, and minting.
XXIV.82–84 The coin metaphor tests doctrinal purity, weight, personal possession, and minting. Line 84: The coin metaphor tests doctrinal purity, weight, personal possession, and minting.
XXIV.84 The coin metaphor tests doctrinal purity, weight, personal possession, and minting. The coin metaphor tests doctrinal purity, weight, personal possession, and minting.
XXIV.85–87 Conio keeps both stamp and minting authority in the faith-as-coin image.
XXIV.85–87 Conio keeps both stamp and minting authority in the faith-as-coin image. Line 87: Conio keeps both stamp and minting authority in the faith-as-coin image.
XXIV.87 Conio keeps both stamp and minting authority in the faith-as-coin image. Conio keeps both stamp and minting authority in the faith-as-coin image.
Dante traces faith to the old and new Scriptures, answers Peter's miracle-proof challenge, and names the vine become thornbush XXIV.88–111
88Appresso uscì de la luce profonda
che lì splendeva: «Questa cara gioia
90sopra la quale ogne virtù si fonda,
onde ti venne?». E io: «La larga ploia
de lo Spirito Santo, ch’è diffusa
in su le vecchie e ’n su le nuove cuoia,
è silogismo che la m’ha conchiusa
95acutamente sì, che ’nverso d’ella
ogne dimostrazion mi pare ottusa».
Io udi’ poi: «L’antica e la novella
proposizion che così ti conchiude,
perché l’hai tu per divina favella?».
100E io: «La prova che ’l ver mi dischiude,
son l’opere seguite, a che natura
non scalda ferro mai né batte incude».
Risposto fummi: «Dì, chi t’assicura
che quell’ opere fosser? Quel medesmo
105che vuol provarsi, non altri, il ti giura».
«Se ’l mondo si rivolse al cristianesmo»,
diss’ io, «sanza miracoli, quest’ uno
è tal, che li altri non sono il centesmo:
ché tu intrasti povero e digiuno
110in campo, a seminar la buona pianta
che fu già vite e ora è fatta pruno».
88Next from the deep light issued
that was shining there: "This dear jewel
90on which every virtue is founded,
whence did it come to you?" And I: "The broad rain
of the Holy Spirit, which is poured
upon the old and upon the new skins,
is the syllogism that has concluded it
95so sharply for me that, beside it,
every demonstration seems obtuse."
I then heard: "The ancient and the new
proposition that so concludes your case,
why do you hold it for divine speech?"
100And I: "The proof that opens truth to me
is the works that followed, for which nature
never heats iron nor strikes an anvil."
I was answered: "Say, who assures you
that those works occurred? The very thing
105that wants proving, no other, swears it to you."
"If the world turned to Christianity,"
I said, "without miracles, this one
is such that the others are not its hundredth:
for you entered poor and fasting
110into the field, to sow the good plant
that once was vine and now has become thornbush."
Commentary
The old and new skins are kept as Scripture; Peter's circularity challenge remains sharp, and Dante's answer rests on Christianity's spread as the greater miracle, ending with the good plant now become a thornbush.
XXIV.88–90 Faith is treated as the foundation of the other virtues.
XXIV.88–90 Faith is treated as the foundation of the other virtues. Line 90: Faith is treated as the foundation of the other virtues.
XXIV.90 Faith is treated as the foundation of the other virtues. Faith is treated as the foundation of the other virtues.
XXIV.91–93 Ploia keeps the rain/dew field active while moving to Scripture. The old and new skins are the Old and New Testament parchments.
XXIV.91–93 Ploia keeps the rain/dew field active while moving to Scripture. Line 91: Ploia keeps the rain/dew field active while moving to Scripture. Line 93: The old and new skins are the Old and New Testament parchments.
XXIV.91 Ploia keeps the rain/dew field active while moving to Scripture. Ploia keeps the rain/dew field active while moving to Scripture.
XXIV.93 The old and new skins are the Old and New Testament parchments. The old and new skins are the Old and New Testament parchments.
XXIV.97–99 Peter continues Dante's syllogism metaphor for the Old and New Testaments.
XXIV.97–99 Peter continues Dante's syllogism metaphor for the Old and New Testaments. Line 98: Peter continues Dante's syllogism metaphor for the Old and New Testaments.
XXIV.98 Peter continues Dante's syllogism metaphor for the Old and New Testaments. Peter continues Dante's syllogism metaphor for the Old and New Testaments.
XXIV.100–102 The works are miracles treated as beyond nature's ordinary powers.
XXIV.100–102 The works are miracles treated as beyond nature's ordinary powers. Line 101: The works are miracles treated as beyond nature's ordinary powers.
XXIV.101 The works are miracles treated as beyond nature's ordinary powers. The works are miracles treated as beyond nature's ordinary powers.
XXIV.103–105 Peter states the circularity objection directly; the translation does not soften it.
XXIV.103–105 Peter states the circularity objection directly; the translation does not soften it. Line 105: Peter states the circularity objection directly; the translation does not soften it.
XXIV.105 Peter states the circularity objection directly; the translation does not soften it. Peter states the circularity objection directly; the translation does not soften it.
XXIV.106–108 Dante answers with the apologetic argument that conversion without miracles would itself be the greater miracle.
XXIV.106–108 Dante answers with the apologetic argument that conversion without miracles would itself be the greater miracle. Line 108: Dante answers with the apologetic argument that conversion without miracles would itself be the greater miracle.
XXIV.108 Dante answers with the apologetic argument that conversion without miracles would itself be the greater miracle. Dante answers with the apologetic argument that conversion without miracles would itself be the greater miracle.
XXIV.109–111 The good plant's degeneration points to the Church's corruption without weakening the apostolic proof.
XXIV.109–111 The good plant's degeneration points to the Church's corruption without weakening the apostolic proof. Line 111: The good plant's degeneration points to the Church's corruption without weakening the apostolic proof.
XXIV.111 The good plant's degeneration points to the Church's corruption without weakening the apostolic proof. The good plant's degeneration points to the Church's corruption without weakening the apostolic proof.
The court sings praise, and Peter approves the first answers before asking Dante to express his belief and its source XXIV.112–123
112Finito questo, l’alta corte santa
risonò per le spere un ‘Dio laudamo’
ne la melode che là sù si canta.
115E quel baron che sì di ramo in ramo,
essaminando, già tratto m’avea,
che a l’ultime fronde appressavamo,
ricominciò: «La Grazia, che donnea
con la tua mente, la bocca t’aperse
120infino a qui come aprir si dovea,
sì ch’io approvo ciò che fuori emerse;
ma or convien espremer quel che credi,
e onde a la credenza tua s’offerse».
112When this was finished, the high holy court
resounded through the spheres with "We praise you, God"
in the melody sung up there.
115And that baron who thus, from branch to branch,
examining me, had drawn me on
so that we were nearing the last leaves,
began again: "The Grace that woos your mind
opened your mouth
120up to here as it ought to open,
so that I approve what came forth;
but now you must express what you believe,
and whence it offered itself to your belief."
Commentary
The heavenly court's praise, Peter's branch-by-branch examination image, and Grace wooing Dante's mind form the hinge from general faith proof to Dante's explicit creed.
XXIV.112–114 The vernacular phrase points to the Te Deum.
XXIV.112–114 The vernacular phrase points to the Te Deum. Line 113: The vernacular phrase points to the Te Deum.
XXIV.113 The vernacular phrase points to the Te Deum. The vernacular phrase points to the Te Deum.
XXIV.115–117 Baron keeps the courtly terminology for Peter within Heaven's court. The branch-and-leaves image figures the examination's topical progression.
XXIV.115–117 Baron keeps the courtly terminology for Peter within Heaven's court. Line 115: Baron keeps the courtly terminology for Peter within Heaven's court. Line 117: The branch-and-leaves image figures the examination's topical progression.
XXIV.115 Baron keeps the courtly terminology for Peter within Heaven's court. Baron keeps the courtly terminology for Peter within Heaven's court.
XXIV.117 The branch-and-leaves image figures the examination's topical progression. The branch-and-leaves image figures the examination's topical progression.
XXIV.118–120 Donnea gives Grace a courtly wooing action toward Dante's mind.
XXIV.118–120 Donnea gives Grace a courtly wooing action toward Dante's mind. Line 118: Donnea gives Grace a courtly wooing action toward Dante's mind.
XXIV.118 Donnea gives Grace a courtly wooing action toward Dante's mind. Donnea gives Grace a courtly wooing action toward Dante's mind.
Dante confesses one eternal unmoved God, Scripture's truth, the Trinity, and faith as spark, flame, and star within him XXIV.124–147
124«O santo padre, e spirito che vedi
125ciò che credesti sì, che tu vincesti
ver’ lo sepulcro più giovani piedi»,
comincia’ io, «tu vuo’ ch’io manifesti
la forma qui del pronto creder mio,
e anche la cagion di lui chiedesti.
130E io rispondo: Io credo in uno Dio
solo ed etterno, che tutto ’l ciel move,
non moto, con amore e con disio;
e a tal creder non ho io pur prove
fisice e metafisice, ma dalmi
135anche la verità che quinci piove
per Moïsè, per profeti e per salmi,
per l’Evangelio e per voi che scriveste
poi che l’ardente Spirto vi fé almi;
e credo in tre persone etterne, e queste
140credo una essenza sì una e sì trina,
che soffera congiunto ‘sono’ ed ‘este’.
De la profonda condizion divina
ch’io tocco mo, la mente mi sigilla
più volte l’evangelica dottrina.
145Quest’ è ’l principio, quest’ è la favilla
che si dilata in fiamma poi vivace,
e come stella in cielo in me scintilla».
124"O holy father, and spirit who see
125what you so believed, that you overcame
younger feet toward the sepulcher,"
I began, "you want me here to make manifest
the form of my ready believing,
and you also asked its cause.
130And I answer: I believe in one God
alone and eternal, who moves all Heaven,
unmoved, with love and with desire;
and for such believing I have not only proofs
physical and metaphysical, but also
135the truth that rains from here gives it to me
through Moses, through prophets and through psalms,
through the Gospel and through you who wrote
after the burning Spirit made you holy;
and I believe in three eternal Persons, and these
140I believe one essence, so one and so trine
that it admits joined "are" and "is."
Of the deep divine condition
that I touch now, my mind is sealed
many times by the evangelical doctrine.
145This is the beginning, this is the spark
that then expands into a living flame,
and like a star in Heaven sparkles in me."
Commentary
The creed passage preserves Peter at the tomb, one eternal unmoved God, physical and metaphysical proofs, Scripture raining down truth, Trinity grammar, Gospel sealing, and the spark-to-flame-to-star conclusion.
XXIV.124–126 The allusion is to Peter and John at Christ's tomb, with Peter's faith and entry emphasized.
XXIV.124–126 The allusion is to Peter and John at Christ's tomb, with Peter's faith and entry emphasized. Line 126: The allusion is to Peter and John at Christ's tomb, with Peter's faith and entry emphasized.
XXIV.126 The allusion is to Peter and John at Christ's tomb, with Peter's faith and entry emphasized. The allusion is to Peter and John at Christ's tomb, with Peter's faith and entry emphasized.
XXIV.127–129 The form is Dante's explicit creed, not generic religious feeling.
XXIV.127–129 The form is Dante's explicit creed, not generic religious feeling. Line 128: The form is Dante's explicit creed, not generic religious feeling.
XXIV.128 The form is Dante's explicit creed, not generic religious feeling. The form is Dante's explicit creed, not generic religious feeling.
XXIV.130–132 The line fuses Christian creed with the unmoved-mover language already active in Paradiso.
XXIV.130–132 The line fuses Christian creed with the unmoved-mover language already active in Paradiso. Line 132: The line fuses Christian creed with the unmoved-mover language already active in Paradiso.
XXIV.132 The line fuses Christian creed with the unmoved-mover language already active in Paradiso. The line fuses Christian creed with the unmoved-mover language already active in Paradiso.
XXIV.136–138 The burning Spirit is Pentecostal; Scripture remains the revealed source of the creed.
XXIV.136–138 The burning Spirit is Pentecostal; Scripture remains the revealed source of the creed. Line 138: The burning Spirit is Pentecostal; Scripture remains the revealed source of the creed.
XXIV.138 The burning Spirit is Pentecostal; Scripture remains the revealed source of the creed. The burning Spirit is Pentecostal; Scripture remains the revealed source of the creed.
XXIV.139–141 The grammar preserves the Trinitarian paradox of plural Persons and singular essence.
XXIV.139–141 The grammar preserves the Trinitarian paradox of plural Persons and singular essence. Line 141: The grammar preserves the Trinitarian paradox of plural Persons and singular essence.
XXIV.141 The grammar preserves the Trinitarian paradox of plural Persons and singular essence. The grammar preserves the Trinitarian paradox of plural Persons and singular essence.
XXIV.142–144 The Gospel gives the explicit seal for the Trinity.
XXIV.142–144 The Gospel gives the explicit seal for the Trinity. Line 144: The Gospel gives the explicit seal for the Trinity.
XXIV.144 The Gospel gives the explicit seal for the Trinity. The Gospel gives the explicit seal for the Trinity.
XXIV.145–147 The spark-flame-star sequence turns doctrinal confession into interior light.
XXIV.145–147 The spark-flame-star sequence turns doctrinal confession into interior light. Line 147: The spark-flame-star sequence turns doctrinal confession into interior light.
XXIV.147 The spark-flame-star sequence turns doctrinal confession into interior light. The spark-flame-star sequence turns doctrinal confession into interior light.
Peter blesses Dante and circles him three times in approval XXIV.148–154
148Come ’l segnor ch’ascolta quel che i piace,
da indi abbraccia il servo, gratulando
150per la novella, tosto ch’el si tace;
così, benedicendomi cantando,
tre volte cinse me, sì com’ io tacqui,
l’appostolico lume al cui comando
io avea detto: sì nel dir li piacqui!
148As the lord who hears what pleases him
then embraces his servant, rejoicing
150at the news, as soon as he is silent;
so, blessing me in song,
he circled me three times, as soon as I was silent,
the apostolic light at whose command
I had spoken: so in speaking I pleased him!
Commentary
Peter's approving triple circle answers his earlier triple circling of Beatrice and anticipates Paradiso XXV's baptismal-crown opening.
XXIV.151–153 The triple circle is approving, Trinitarian, and anticipates Paradiso XXV's baptismal opening.
XXIV.151–153 The triple circle is approving, Trinitarian, and anticipates Paradiso XXV's baptismal opening. Line 152: The triple circle is approving, Trinitarian, and anticipates Paradiso XXV's baptismal opening.
XXIV.152 The triple circle is approving, Trinitarian, and anticipates Paradiso XXV's baptismal opening. The triple circle is approving, Trinitarian, and anticipates Paradiso XXV's baptismal opening.