Paradiso, Canto 25
Dante Alighieri · Italian original · new English translation and commentary by Text Atlas
Overview
Paradiso XXV continues the fixed-star examinations through the theological virtue of hope. Dante opens with the extraordinary hope that the sacred poem, made by Heaven and earth and long labor, may overcome Florentine cruelty so that he can return with changed voice and fleece to receive the poet's crown at the font of his baptism, where he entered the faith Peter has just confirmed. James, the apostolic light linked to Galicia's pilgrimage, arrives from the same sphere as Peter; the two apostles greet each other like doves and praise the food that feasts them above. Beatrice asks James to make hope resound, and James strengthens Dante's sight before asking what hope is, how Dante's mind flowers with it, and whence it came. Beatrice answers first where self-praise would be dangerous, saying no child of the Church Militant has more hope and that Dante has been allowed to come from Egypt to Jerusalem before his warfare is complete. Dante defines hope as certain expectation of future glory produced by divine grace and preceding merit, then traces its light to many stars, first to David's psalm and then to James's Epistle, so that he is full and rains their rain back on others. James, still burning with love for the virtue that followed him to martyrdom, asks what hope promises; Dante answers from the old and new Scriptures, Isaiah's double garment, this sweet life, and John's Revelation of the white stoles. Sperent in te sounds from above and the carols answer. John then appears in a brightness that would make winter a month of one long day if Cancer held such a crystal. He joins Peter and James in their song and wheel while Beatrice watches like a silent bride, then Beatrice identifies him as the disciple who lay on the breast of the Pelican and received the great office from the Cross. Dante strains to see whether John has a body and becomes sightless like one who stares at the eclipsed sun. John corrects him: his body remains earth on earth until the number of the elect agrees with the eternal purpose; in the blessed cloister only Christ and Mary are present with the two stoles. The apostolic circle and trinal sound fall quiet like oars at a whistle, and Dante turns in distress, unable to see Beatrice though he is near her in the happy world.
Narrative arc
- Dante hopes the sacred poem will overcome Florentine exile so he can return to his baptismal font for the poet's crown
- James arrives from Peter's sphere, and the two apostolic princes greet each other like doves before standing bright before Dante
- Beatrice asks James to make hope resound, and James tells Dante that mortal sight must ripen in heavenly rays
- James asks Dante to define hope, explain how it flowers in him, and name its source; Beatrice certifies Dante's hope first
- Dante defines hope and traces its light through David's psalm and James's Epistle into the rain he returns to others
- James asks what hope promises, and Dante answers from Isaiah's double garment and John's white stoles
- Sperent in te sounds above, John arrives in overwhelming brightness, and Beatrice watches the apostolic dance like a silent bride
- Beatrice identifies John, Dante blinds himself trying to see his body, and John corrects the bodily-assumption belief
- The apostolic circle and trinal sound fall quiet, and Dante turns unable to see Beatrice though he is beside her
Central themes
- Mary
- faith
- hope
- love
Dante hopes the sacred poem will overcome Florentine exile so he can return to his baptismal font for the poet's crown XXV.1–12
1Se mai continga che ’l poema sacro
al quale ha posto mano e cielo e terra,
sì che m’ha fatto per molti anni macro,
vinca la crudeltà che fuor mi serra
5del bello ovile ov’ io dormi’ agnello,
nimico ai lupi che li danno guerra;
con altra voce omai, con altro vello
ritornerò poeta, e in sul fonte
del mio battesmo prenderò ’l cappello;
10però che ne la fede, che fa conte
l’anime a Dio, quivi intra’ io, e poi
Pietro per lei sì mi girò la fronte.
1If ever it should happen that the sacred poem
to which Heaven and earth have set their hand,
so that it has made me lean for many years,
should overcome the cruelty that shuts me out
5from the fair sheepfold where I slept as a lamb,
an enemy to the wolves that make war on it;
with another voice by then, with another fleece,
I shall return a poet, and at the font
of my baptism I shall take the crown;
10because into the faith that makes souls known
to God, there I entered; and then
Peter, for her sake, so circled my brow.
Commentary
The opening is both earthly and theological hope: the sacred poem made by Heaven and earth, exile from Florence, sheepfold/lamb/wolves imagery, changed voice and fleece, baptismal font, poet's crown, and Peter's faith-circling all remain linked.
XXV.1–3 Poema sacro is kept as "sacred poem," answering Paradiso XXIII's representational limit and making the public poem part of Dante's hope. The singular mano keeps the joint authorship image compact.
XXV.1–3 Poema sacro is kept as "sacred poem," answering Paradiso XXIII's representational limit and making the public poem part of Dante's hope. Line 1: Poema sacro is kept as "sacred poem," answering Paradiso XXIII's representational limit and making the public poem part of Dante's hope. Line 2: The singular mano keeps the joint authorship image compact.
XXV.1 Poema sacro is kept as "sacred poem," answering Paradiso XXIII's representational limit and making the public poem part of Dante's hope. Poema sacro is kept as "sacred poem," answering Paradiso XXIII's representational limit and making the public poem part of Dante's hope.
XXV.2 The singular mano keeps the joint authorship image compact. The singular mano keeps the joint authorship image compact.
XXV.4–6 The sheepfold is Florence, with San Giovanni's baptismal pressure immediately ahead.
XXV.4–6 The sheepfold is Florence, with San Giovanni's baptismal pressure immediately ahead. Line 5: The sheepfold is Florence, with San Giovanni's baptismal pressure immediately ahead.
XXV.5 The sheepfold is Florence, with San Giovanni's baptismal pressure immediately ahead. The sheepfold is Florence, with San Giovanni's baptismal pressure immediately ahead.
XXV.7–9 The changed voice and fleece hold together poetic maturity, age, and the sheepfold/lamb image. Cappello is rendered as the poet's crown, with laurel implied by context.
XXV.7–9 The changed voice and fleece hold together poetic maturity, age, and the sheepfold/lamb image. Line 7: The changed voice and fleece hold together poetic maturity, age, and the sheepfold/lamb image. Line 9: Cappello is rendered as the poet's crown, with laurel implied by context.
XXV.7 The changed voice and fleece hold together poetic maturity, age, and the sheepfold/lamb image. The changed voice and fleece hold together poetic maturity, age, and the sheepfold/lamb image.
XXV.9 Cappello is rendered as the poet's crown, with laurel implied by context. Cappello is rendered as the poet's crown, with laurel implied by context.
XXV.10–12 Fa conte carries known, counted, and accepted before God; the line keeps the known/counting pressure without adding a gloss. This explicitly recalls Peter's triple approval at the end of Paradiso XXIV.
XXV.10–12 Fa conte carries known, counted, and accepted before God; the line keeps the known/counting pressure without adding a gloss. Line 10: Fa conte carries known, counted, and accepted before God; the line keeps the known/counting pressure without adding a gloss. Line 12: This explicitly recalls Peter's triple approval at the end of Paradiso XXIV.
XXV.10 Fa conte carries known, counted, and accepted before God; the line keeps the known/counting pressure without adding a gloss. Fa conte carries known, counted, and accepted before God; the line keeps the known/counting pressure without adding a gloss.
XXV.12 This explicitly recalls Peter's triple approval at the end of Paradiso XXIV. This explicitly recalls Peter's triple approval at the end of Paradiso XXIV.
James arrives from Peter's sphere, and the two apostolic princes greet each other like doves before standing bright before Dante XXV.13–27
13Indi si mosse un lume verso noi
di quella spera ond’ uscì la primizia
15che lasciò Cristo d’i vicari suoi;
e la mia donna, piena di letizia,
mi disse: «Mira, mira: ecco il barone
per cui là giù si vicita Galizia».
Sì come quando il colombo si pone
20presso al compagno, l’uno a l’altro pande,
girando e mormorando, l’affezione;
così vid’ ïo l’un da l’altro grande
principe glorïoso essere accolto,
laudando il cibo che là sù li prande.
25Ma poi che ’l gratular si fu assolto,
tacito coram me ciascun s’affisse,
ignito sì che vincëa ’l mio volto.
13Then a light moved toward us
from that sphere from which the first-fruit came forth,
15whom Christ left among his vicars;
and my lady, full of gladness,
said to me: "Look, look: here is the baron
for whom Galicia is visited down there."
As when a dove alights
20near its companion, and each to each displays,
circling and murmuring, its affection;
so I saw one great and glorious prince
received by the other,
praising the food that feasts them there above.
25But after the greeting was completed,
silent coram me, each fixed himself,
so fired that he overmastered my sight.
Commentary
The arrival of James brings Galicia pilgrimage, apostolic courtly rank, dove greeting, shared heavenly food, and the Latin coram me, all retained without over-explaining them in the line text.
XXV.13–15 The first-fruit is Peter, first among Christ's vicars.
XXV.13–15 The first-fruit is Peter, first among Christ's vicars. Line 14: The first-fruit is Peter, first among Christ's vicars.
XXV.14 The first-fruit is Peter, first among Christ's vicars. The first-fruit is Peter, first among Christ's vicars.
XXV.16–18 Barone keeps the courtly register that will continue through Emperor, counts, hall, and court. The line refers to pilgrimage to the shrine of Saint James at Compostela.
XXV.16–18 Barone keeps the courtly register that will continue through Emperor, counts, hall, and court. Line 17: Barone keeps the courtly register that will continue through Emperor, counts, hall, and court. Line 18: The line refers to pilgrimage to the shrine of Saint James at Compostela.
XXV.17 Barone keeps the courtly register that will continue through Emperor, counts, hall, and court. Barone keeps the courtly register that will continue through Emperor, counts, hall, and court.
XXV.18 The line refers to pilgrimage to the shrine of Saint James at Compostela. The line refers to pilgrimage to the shrine of Saint James at Compostela.
XXV.22–24 Prande keeps the blessed banquet pressure from Paradiso XXIV's Lamb's supper.
XXV.22–24 Prande keeps the blessed banquet pressure from Paradiso XXIV's Lamb's supper. Line 24: Prande keeps the blessed banquet pressure from Paradiso XXIV's Lamb's supper.
XXV.24 Prande keeps the blessed banquet pressure from Paradiso XXIV's Lamb's supper. Prande keeps the blessed banquet pressure from Paradiso XXIV's Lamb's supper.
XXV.25–27 The Latin coram me is retained as Dante marks the formal examination scene. Volto is taken in the visual sense required by the scene.
XXV.25–27 The Latin coram me is retained as Dante marks the formal examination scene. Line 26: The Latin coram me is retained as Dante marks the formal examination scene. Line 27: Volto is taken in the visual sense required by the scene.
XXV.26 The Latin coram me is retained as Dante marks the formal examination scene. The Latin coram me is retained as Dante marks the formal examination scene.
XXV.27 Volto is taken in the visual sense required by the scene. Volto is taken in the visual sense required by the scene.
Beatrice asks James to make hope resound, and James tells Dante that mortal sight must ripen in heavenly rays XXV.28–39
28Ridendo allora Bëatrice disse:
«Inclita vita per cui la larghezza
30de la nostra basilica si scrisse,
fa risonar la spene in questa altezza:
tu sai, che tante fiate la figuri,
quante Iesù ai tre fé più carezza».
«Leva la testa e fa che t’assicuri:
35che ciò che vien qua sù del mortal mondo,
convien ch’ai nostri raggi si maturi».
Questo conforto del foco secondo
mi venne; ond’ io leväi li occhi a’ monti
che li ’ncurvaron pria col troppo pondo.
28Then Beatrice, smiling, said:
"Illustrious life, through whom the largess
30of our basilica was written,
make hope resound in this height:
you know it, for you figure it as many times
as Jesus showed greater favor to the three."
"Lift your head and make yourself assured:
35for whatever comes up here from the mortal world
must ripen in our rays."
This comfort from the second fire
came to me; and so I lifted my eyes to the mountains
that had bent them down before with too much weight.
Commentary
Beatrice's address to James keeps the Epistle/basilica association, James as the hope-bearing apostle among the three specially favored by Jesus, and the need for Dante's mortal sight to ripen in heavenly rays.
XXV.28–30 The basilica/court image points to the Epistle attributed to James.
XXV.28–30 The basilica/court image points to the Epistle attributed to James. Line 30: The basilica/court image points to the Epistle attributed to James.
XXV.30 The basilica/court image points to the Epistle attributed to James. The basilica/court image points to the Epistle attributed to James.
XXV.31–33 The three are Peter, James, and John, the apostles specially favored at key Gospel scenes.
XXV.31–33 The three are Peter, James, and John, the apostles specially favored at key Gospel scenes. Line 33: The three are Peter, James, and John, the apostles specially favored at key Gospel scenes.
XXV.33 The three are Peter, James, and John, the apostles specially favored at key Gospel scenes. The three are Peter, James, and John, the apostles specially favored at key Gospel scenes.
XXV.34–36 The ripening image lets heavenly light prepare Dante's mortal faculty.
XXV.34–36 The ripening image lets heavenly light prepare Dante's mortal faculty. Line 36: The ripening image lets heavenly light prepare Dante's mortal faculty.
XXV.36 The ripening image lets heavenly light prepare Dante's mortal faculty. The ripening image lets heavenly light prepare Dante's mortal faculty.
XXV.37–39 The second fire is James, after Peter. Monti is retained as "mountains" for the apostolic heights whose brightness had weighed Dante's eyes down.
XXV.37–39 The second fire is James, after Peter. Line 37: The second fire is James, after Peter. Line 38: Monti is retained as "mountains" for the apostolic heights whose brightness had weighed Dante's eyes down.
XXV.37 The second fire is James, after Peter. The second fire is James, after Peter.
XXV.38 Monti is retained as "mountains" for the apostolic heights whose brightness had weighed Dante's eyes down. Monti is retained as "mountains" for the apostolic heights whose brightness had weighed Dante's eyes down.
James asks Dante to define hope, explain how it flowers in him, and name its source; Beatrice certifies Dante's hope first XXV.40–63
40«Poi che per grazia vuol che tu t’affronti
lo nostro Imperadore, anzi la morte,
ne l’aula più secreta co’ suoi conti,
sì che, veduto il ver di questa corte,
la spene, che là giù bene innamora,
45in te e in altrui di ciò conforte,
di’ quel ch’ell’ è, di’ come se ne ’nfiora
la mente tua, e dì onde a te venne».
Così seguì ’l secondo lume ancora.
E quella pïa che guidò le penne
50de le mie ali a così alto volo,
a la risposta così mi prevenne:
«La Chiesa militante alcun figliuolo
non ha con più speranza, com’ è scritto
nel Sol che raggia tutto nostro stuolo:
55però li è conceduto che d’Egitto
vegna in Ierusalemme per vedere,
anzi che ’l militar li sia prescritto.
Li altri due punti, che non per sapere
son dimandati, ma perch’ ei rapporti
60quanto questa virtù t’è in piacere,
a lui lasc’ io, ché non li saran forti
né di iattanza; ed elli a ciò risponda,
e la grazia di Dio ciò li comporti».
40"Since, through grace, our Emperor wills
that you face him before your death,
in the most secret hall with his counts,
so that, having seen the truth of this court,
the hope that down there rightly enamors
45may strengthen you and others from this,
say what it is, say how with it
your mind flowers, and say whence it came to you."
So the second light continued further.
And that pious one who guided the feathers
50of my wings to so high a flight
anticipated me in the answer thus:
"The Church Militant has no child
with more hope, as is written
in the Sun that rays over all our band:
55therefore it is granted him that from Egypt
he come into Jerusalem to see,
before his soldiering is ended.
The other two points, which not for knowledge
are asked, but so that he may report
60how pleasing this virtue is to you,
I leave to him, for they will not be hard for him
nor matters of vaunting; and let him answer this,
and may God's grace grant this to him."
Commentary
The imperial and courtly language remains active through Emperor, secret hall, counts, court, and report; Beatrice's certificate of Dante's hope answers the self-praise problem before Dante defines the virtue.
XXV.40–42 The courtly-political register is kept literal.
XXV.40–42 The courtly-political register is kept literal. Line 41: The courtly-political register is kept literal.
XXV.41 The courtly-political register is kept literal. The courtly-political register is kept literal.
XXV.43–45 Bene innamora keeps hope as rightly ordered attraction, not only confidence.
XXV.43–45 Bene innamora keeps hope as rightly ordered attraction, not only confidence. Line 44: Bene innamora keeps hope as rightly ordered attraction, not only confidence.
XXV.44 Bene innamora keeps hope as rightly ordered attraction, not only confidence. Bene innamora keeps hope as rightly ordered attraction, not only confidence.
XXV.46–48 The flowering image is retained because it links hope to living growth rather than abstract definition alone.
XXV.46–48 The flowering image is retained because it links hope to living growth rather than abstract definition alone. Line 47: The flowering image is retained because it links hope to living growth rather than abstract definition alone.
XXV.47 The flowering image is retained because it links hope to living growth rather than abstract definition alone. The flowering image is retained because it links hope to living growth rather than abstract definition alone.
XXV.49–51 Beatrice is named through guidance, pity/piety, and winged ascent. Beatrice preempts only the answer that would sound like self-praise from Dante.
XXV.49–51 Beatrice is named through guidance, pity/piety, and winged ascent. Line 49: Beatrice is named through guidance, pity/piety, and winged ascent. Line 51: Beatrice preempts only the answer that would sound like self-praise from Dante.
XXV.49 Beatrice is named through guidance, pity/piety, and winged ascent. Beatrice is named through guidance, pity/piety, and winged ascent.
XXV.51 Beatrice preempts only the answer that would sound like self-praise from Dante. Beatrice preempts only the answer that would sound like self-praise from Dante.
XXV.52–54 The Sun is the divine book/light in which Dante's hope is known.
XXV.52–54 The Sun is the divine book/light in which Dante's hope is known. Line 54: The Sun is the divine book/light in which Dante's hope is known.
XXV.54 The Sun is the divine book/light in which Dante's hope is known. The Sun is the divine book/light in which Dante's hope is known.
XXV.55–57 Egypt-to-Jerusalem keeps the Exodus/pilgrimage figure for Dante's living ascent. The Church Militant frame governs the military-service metaphor.
XXV.55–57 Egypt-to-Jerusalem keeps the Exodus/pilgrimage figure for Dante's living ascent. Line 55: Egypt-to-Jerusalem keeps the Exodus/pilgrimage figure for Dante's living ascent. Line 57: The Church Militant frame governs the military-service metaphor.
XXV.55 Egypt-to-Jerusalem keeps the Exodus/pilgrimage figure for Dante's living ascent. Egypt-to-Jerusalem keeps the Exodus/pilgrimage figure for Dante's living ascent.
XXV.57 The Church Militant frame governs the military-service metaphor. The Church Militant frame governs the military-service metaphor.
XXV.61–63 Iattanza is kept as vaunting/self-praise in the examination context.
XXV.61–63 Iattanza is kept as vaunting/self-praise in the examination context. Line 62: Iattanza is kept as vaunting/self-praise in the examination context.
XXV.62 Iattanza is kept as vaunting/self-praise in the examination context. Iattanza is kept as vaunting/self-praise in the examination context.
Dante defines hope and traces its light through David's psalm and James's Epistle into the rain he returns to others XXV.64–78
64Come discente ch’a dottor seconda
65pronto e libente in quel ch’elli è esperto,
perché la sua bontà si disasconda,
«Spene», diss’ io, «è uno attender certo
de la gloria futura, il qual produce
grazia divina e precedente merto.
70Da molte stelle mi vien questa luce;
ma quei la distillò nel mio cor pria
che fu sommo cantor del sommo duce.
‘Sperino in te’, ne la sua tëodia
dice, ‘color che sanno il nome tuo’:
75e chi nol sa, s’elli ha la fede mia?
Tu mi stillasti, con lo stillar suo,
ne la pistola poi; sì ch’io son pieno,
e in altrui vostra pioggia repluo».
64Like a learner who follows his teacher,
65ready and willing in what he knows well,
so that his worth may be disclosed,
"Hope," I said, "is a certain expectation
of future glory, which is produced
by divine grace and preceding merit.
70From many stars this light comes to me;
but he first distilled it into my heart
who was supreme singer of the supreme Leader.
"Let them hope in you," in his theody
he says, "those who know your name":
75and who does not know it, if he has my faith?
You distilled it for me, with his distilling,
afterward in the Epistle; so that I am full,
and on others I rain back your rain."
Commentary
The scholastic definition of hope is kept as certain expectation of future glory produced by divine grace and preceding merit; David/Psalms, James's Epistle, distillation, and rain/re-raining imagery remain linked.
XXV.64–66 The university examination register continues from Paradiso XXIV.
XXV.64–66 The university examination register continues from Paradiso XXIV. Line 64: The university examination register continues from Paradiso XXIV.
XXV.64 The university examination register continues from Paradiso XXIV. The university examination register continues from Paradiso XXIV.
XXV.67–69 The definition follows the scholastic formulation of hope as certain expectation. The line is phrased so grace and merit produce hope, not the reverse.
XXV.67–69 The definition follows the scholastic formulation of hope as certain expectation. Line 67: The definition follows the scholastic formulation of hope as certain expectation. Line 69: The line is phrased so grace and merit produce hope, not the reverse.
XXV.67 The definition follows the scholastic formulation of hope as certain expectation. The definition follows the scholastic formulation of hope as certain expectation.
XXV.69 The line is phrased so grace and merit produce hope, not the reverse. The line is phrased so grace and merit produce hope, not the reverse.
XXV.70–72 The stars are sources of scriptural and doctrinal illumination. The singer is David, and the Leader is God.
XXV.70–72 The stars are sources of scriptural and doctrinal illumination. Line 70: The stars are sources of scriptural and doctrinal illumination. Line 72: The singer is David, and the Leader is God.
XXV.70 The stars are sources of scriptural and doctrinal illumination. The stars are sources of scriptural and doctrinal illumination.
XXV.72 The singer is David, and the Leader is God. The singer is David, and the Leader is God.
XXV.73–75 The line cites Psalm 9 in Italian before the later Latin Sperent in te. Faith remains prior to hope in Dante's theological sequence.
XXV.73–75 The line cites Psalm 9 in Italian before the later Latin Sperent in te. Line 73: The line cites Psalm 9 in Italian before the later Latin Sperent in te. Line 75: Faith remains prior to hope in Dante's theological sequence.
XXV.73 The line cites Psalm 9 in Italian before the later Latin Sperent in te. The line cites Psalm 9 in Italian before the later Latin Sperent in te.
XXV.75 Faith remains prior to hope in Dante's theological sequence. Faith remains prior to hope in Dante's theological sequence.
XXV.76–78 Dante addresses James, whose Epistle is treated as another source of hope. Repluo is a rare Latinism; "rain back" keeps the return-flow image.
XXV.76–78 Dante addresses James, whose Epistle is treated as another source of hope. Line 76: Dante addresses James, whose Epistle is treated as another source of hope. Line 78: Repluo is a rare Latinism; "rain back" keeps the return-flow image.
XXV.76 Dante addresses James, whose Epistle is treated as another source of hope. Dante addresses James, whose Epistle is treated as another source of hope.
XXV.78 Repluo is a rare Latinism; "rain back" keeps the return-flow image. Repluo is a rare Latinism; "rain back" keeps the return-flow image.
James asks what hope promises, and Dante answers from Isaiah's double garment and John's white stoles XXV.79–96
79Mentr’ io diceva, dentro al vivo seno
80di quello incendio tremolava un lampo
sùbito e spesso a guisa di baleno.
Indi spirò: «L’amore ond’ ïo avvampo
ancor ver’ la virtù che mi seguette
infin la palma e a l’uscir del campo,
85vuol ch’io respiri a te che ti dilette
di lei; ed emmi a grato che tu diche
quello che la speranza ti ’mpromette».
E io: «Le nove e le scritture antiche
pongon lo segno, ed esso lo mi addita,
90de l’anime che Dio s’ha fatte amiche.
Dice Isaia che ciascuna vestita
ne la sua terra fia di doppia vesta:
e la sua terra è questa dolce vita;
e ’l tuo fratello assai vie più digesta,
95là dove tratta de le bianche stole,
questa revelazion ci manifesta».
79While I was speaking, within the living breast
80of that blaze a flash was trembling,
sudden and frequent, like lightning.
Then it breathed: "The love with which I burn
still toward the virtue that followed me
to the palm and to the leaving of the field,
85wills that I breathe again to you who delight
in her; and it pleases me that you say
what hope promises you."
And I: "The new and ancient Scriptures
set the mark, and it points this out to me,
90for the souls whom God has made his friends.
Isaiah says that each shall be clothed
in his own land with a double garment:
and his own land is this sweet life;
and your brother, far more explicitly,
95where he treats of the white stoles,
makes this revelation manifest to us."
Commentary
James's martyrdom and battlefield language were kept with palm and field; Dante's answer on hope's promise preserves the scriptural mark, Isaiah's double garment, this sweet life, John as James's brother, Revelation, and the white stoles.
XXV.82–84 Spirò is kept as breathed, preserving spirit/breath resonance. The virtue is hope. Palm and field carry martyrdom and the battlefield of mortal life.
XXV.82–84 Spirò is kept as breathed, preserving spirit/breath resonance. Line 82: Spirò is kept as breathed, preserving spirit/breath resonance. Line 83: The virtue is hope. Line 84: Palm and field carry martyrdom and the battlefield of mortal life.
XXV.82 Spirò is kept as breathed, preserving spirit/breath resonance. Spirò is kept as breathed, preserving spirit/breath resonance.
XXV.83 The virtue is hope. The virtue is hope.
XXV.84 Palm and field carry martyrdom and the battlefield of mortal life. Palm and field carry martyrdom and the battlefield of mortal life.
XXV.88–90 Segno is rendered as "mark" to preserve target/sign pressure.
XXV.88–90 Segno is rendered as "mark" to preserve target/sign pressure. Line 89: Segno is rendered as "mark" to preserve target/sign pressure.
XXV.89 Segno is rendered as "mark" to preserve target/sign pressure. Segno is rendered as "mark" to preserve target/sign pressure.
XXV.91–93 The double garment anticipates John's correction about the two stoles.
XXV.91–93 The double garment anticipates John's correction about the two stoles. Line 92: The double garment anticipates John's correction about the two stoles.
XXV.92 The double garment anticipates John's correction about the two stoles. The double garment anticipates John's correction about the two stoles.
XXV.94–96 James's brother is John, treated by Dante as the author of Revelation. Stole is kept because the canto will return to due stole for body and soul.
XXV.94–96 James's brother is John, treated by Dante as the author of Revelation. Line 94: James's brother is John, treated by Dante as the author of Revelation. Line 95: Stole is kept because the canto will return to due stole for body and soul.
XXV.94 James's brother is John, treated by Dante as the author of Revelation. James's brother is John, treated by Dante as the author of Revelation.
XXV.95 Stole is kept because the canto will return to due stole for body and soul. Stole is kept because the canto will return to due stole for body and soul.
`Sperent in te` sounds above, John arrives in overwhelming brightness, and Beatrice watches the apostolic dance like a silent bride XXV.97–111
97E prima, appresso al fin d’este parole,
‘Sperent in te’ di sopr’ a noi s’udì;
a che rispuoser tutte le carole.
100Poscia tra esse un lume si schiarì
sì che, se ’l Cancro avesse un tal cristallo,
l’inverno avrebbe un mese d’un sol dì.
E come surge e va ed entra in ballo
vergine lieta, sol per fare onore
105a la novizia, non per alcun fallo,
così vid’ io lo schiarato splendore
venire a’ due che si volgieno a nota
qual conveniesi al loro ardente amore.
Misesi lì nel canto e ne la rota;
110e la mia donna in lor tenea l’aspetto,
pur come sposa tacita e immota.
97And first, close upon the end of these words,
"Sperent in te" was heard above us;
to which all the carols answered.
100Then among them one light grew so clear
that, if Cancer had such a crystal,
winter would have a month of one sole day.
And as a maiden rises and goes and enters the dance,
a glad virgin, only to do honor
105to the new bride, not through any fault,
so I saw the brightened splendor
come to the two who turned to a tune
such as befitted their ardent love.
There he took his place in the song and in the wheel;
110and my lady held her gaze on them,
just like a bride, silent and motionless.
Commentary
Sperent in te, the answering carols, John's excessive brightness, the Cancer crystal image, the maiden honoring the new bride, the apostolic dance, and Beatrice as silent bride form one scene of arrival and recognition.
XXV.97–99 The Latin Psalm response marks the completion of the hope examination.
XXV.97–99 The Latin Psalm response marks the completion of the hope examination. Line 98: The Latin Psalm response marks the completion of the hope examination.
XXV.98 The Latin Psalm response marks the completion of the hope examination. The Latin Psalm response marks the completion of the hope examination.
XXV.100–102 The new light is John. The astronomical image makes John's brightness cosmically excessive.
XXV.100–102 The new light is John. Line 100: The new light is John. Line 102: The astronomical image makes John's brightness cosmically excessive.
XXV.100 The new light is John. The new light is John.
XXV.102 The astronomical image makes John's brightness cosmically excessive. The astronomical image makes John's brightness cosmically excessive.
XXV.103–105 Fallo is kept ethically light here: the maiden enters from honor, not vanity or error.
XXV.103–105 Fallo is kept ethically light here: the maiden enters from honor, not vanity or error. Line 105: Fallo is kept ethically light here: the maiden enters from honor, not vanity or error.
XXV.105 Fallo is kept ethically light here: the maiden enters from honor, not vanity or error. Fallo is kept ethically light here: the maiden enters from honor, not vanity or error.
XXV.109–111 Beatrice's bride posture coordinates the apostolic dance with ecclesial and nuptial imagery.
XXV.109–111 Beatrice's bride posture coordinates the apostolic dance with ecclesial and nuptial imagery. Line 111: Beatrice's bride posture coordinates the apostolic dance with ecclesial and nuptial imagery.
XXV.111 Beatrice's bride posture coordinates the apostolic dance with ecclesial and nuptial imagery. Beatrice's bride posture coordinates the apostolic dance with ecclesial and nuptial imagery.
Beatrice identifies John, Dante blinds himself trying to see his body, and John corrects the bodily-assumption belief XXV.112–129
112«Questi è colui che giacque sopra ’l petto
del nostro pellicano, e questi fue
di su la croce al grande officio eletto».
115La donna mia così; né però piùe
mosser la vista sua di stare attenta
poscia che prima le parole sue.
Qual è colui ch’adocchia e s’argomenta
di vedere eclissar lo sole un poco,
120che, per veder, non vedente diventa;
tal mi fec’ ïo a quell’ ultimo foco
mentre che detto fu: «Perché t’abbagli
per veder cosa che qui non ha loco?
In terra è terra il mio corpo, e saragli
125tanto con li altri, che ’l numero nostro
con l’etterno proposito s’agguagli.
Con le due stole nel beato chiostro
son le due luci sole che saliro;
e questo apporterai nel mondo vostro».
112"This is the one who lay upon the breast
of our Pelican, and this is he
who from the Cross was chosen for the great office."
115Thus my lady spoke; yet no more
did she move her sight from its attention
after her words than before them.
As one who stares and tries
to see the sun eclipsed a little,
120and, by seeing, becomes unseeing;
so I became before that last fire,
until it was said: "Why do you dazzle yourself
to see a thing that has no place here?
On earth my body is earth, and there it will be
125so long with the others, until our number
is equal to the eternal purpose.
With the two stoles in the blessed cloister
are only the two lights that ascended;
and this you shall carry back into your world."
Commentary
John's identification through the Pelican and the Cross, Dante's eclipse-like self-blinding, and John's correction that only Christ and Mary have bodies in Heaven before Judgment connect to the Paradiso resurrection-body motif.
XXV.112–114 The Pelican is Christ, in the medieval image of self-wounding life-giving love. The office is John's charge to care for Mary.
XXV.112–114 The Pelican is Christ, in the medieval image of self-wounding life-giving love. Line 113: The Pelican is Christ, in the medieval image of self-wounding life-giving love. Line 114: The office is John's charge to care for Mary.
XXV.113 The Pelican is Christ, in the medieval image of self-wounding life-giving love. The Pelican is Christ, in the medieval image of self-wounding life-giving love.
XXV.114 The office is John's charge to care for Mary. The office is John's charge to care for Mary.
XXV.118–120 The simile prepares Dante's temporary blindness from excessive desire to inspect John's body.
XXV.118–120 The simile prepares Dante's temporary blindness from excessive desire to inspect John's body. Line 120: The simile prepares Dante's temporary blindness from excessive desire to inspect John's body.
XXV.120 The simile prepares Dante's temporary blindness from excessive desire to inspect John's body. The simile prepares Dante's temporary blindness from excessive desire to inspect John's body.
XXV.121–123 The last fire is John, after Peter and James. The thing with no place here is John's resurrected body, which Dante mistakenly seeks.
XXV.121–123 The last fire is John, after Peter and James. Line 121: The last fire is John, after Peter and James. Line 123: The thing with no place here is John's resurrected body, which Dante mistakenly seeks.
XXV.121 The last fire is John, after Peter and James. The last fire is John, after Peter and James.
XXV.123 The thing with no place here is John's resurrected body, which Dante mistakenly seeks. The thing with no place here is John's resurrected body, which Dante mistakenly seeks.
XXV.124–126 The doubled earth/body wording is kept plain and doctrinal. The line points to the completion of the elect before general resurrection.
XXV.124–126 The doubled earth/body wording is kept plain and doctrinal. Line 124: The doubled earth/body wording is kept plain and doctrinal. Line 126: The line points to the completion of the elect before general resurrection.
XXV.124 The doubled earth/body wording is kept plain and doctrinal. The doubled earth/body wording is kept plain and doctrinal.
XXV.126 The line points to the completion of the elect before general resurrection. The line points to the completion of the elect before general resurrection.
XXV.127–129 The two stoles mark blessed soul and glorified body. The two lights are Christ and Mary.
XXV.127–129 The two stoles mark blessed soul and glorified body. Line 127: The two stoles mark blessed soul and glorified body. Line 128: The two lights are Christ and Mary.
XXV.127 The two stoles mark blessed soul and glorified body. The two stoles mark blessed soul and glorified body.
XXV.128 The two lights are Christ and Mary. The two lights are Christ and Mary.
The apostolic circle and trinal sound fall quiet, and Dante turns unable to see Beatrice though he is beside her XXV.130–139
130A questa voce l’infiammato giro
si quïetò con esso il dolce mischio
che si facea nel suon del trino spiro,
sì come, per cessar fatica o rischio,
li remi, pria ne l’acqua ripercossi,
135tutti si posano al sonar d’un fischio.
Ahi quanto ne la mente mi commossi,
quando mi volsi per veder Beatrice,
per non poter veder, benché io fossi
presso di lei, e nel mondo felice!
130At this voice the inflamed circle
grew quiet, along with the sweet mingling
that was made in the sound of the trinal breath,
just as, to cease from fatigue or risk,
the oars, before struck back in the water,
135all come to rest at the sound of a whistle.
Ah, how much I was shaken in my mind
when I turned to see Beatrice,
because I could not see, although I was
near her, and in the happy world!
Commentary
The quieting of the apostolic circle, the trinal breath, the oar-whistle simile, and Dante's inability to see Beatrice though near her in the happy world close the canto by turning doctrinal correction into a temporary crisis of sight.
XXV.130–132 Trino spiro holds the three apostolic flames and Trinitarian breath together.
XXV.130–132 Trino spiro holds the three apostolic flames and Trinitarian breath together. Line 132: Trino spiro holds the three apostolic flames and Trinitarian breath together.
XXV.132 Trino spiro holds the three apostolic flames and Trinitarian breath together. Trino spiro holds the three apostolic flames and Trinitarian breath together.
XXV.139 The closing turns the doctrinal correction into a temporary loss of sight that will be worked in Paradiso XXVI. The closing turns the doctrinal correction into a temporary loss of sight that will be worked in Paradiso XXVI.