Paradiso, Canto 28
Dante Alighieri · Italian original · new English translation and commentary by Text Atlas
Overview
Paradiso XXVIII continues in the Primum Mobile after Beatrice's rebuke of mortal misrule. Dante turns from Beatrice's eyes as one checks whether a reflected candle flame corresponds to the real flame behind him, and he sees an almost unbearable point of light circled by nine fiery rings. The nearest ring is fastest and purest because it most directly enters the truth of the point; the farther rings move more slowly according to their distance from the one. Beatrice explains that all heaven and nature depend from that point and that the first circle is swift because of the enflamed love that pierces it. Dante asks why this angelic order seems opposite to the sensible cosmos, where the more divine spheres are larger and farther from the center. Beatrice answers that bodily circles are wide or narrow according to the power diffused through them, so measure must be taken from virtue rather than appearance: the Primum Mobile corresponds to the angelic circle that loves and knows most. Her answer clears Dante like a northern wind clearing the sky. The circles then spark like boiling iron, multiply beyond chessboard doubling, and sing Hosanna to the fixed point that holds them in their ubis. Beatrice identifies the angelic orders: Seraphim, Cherubim, Thrones; then Dominations, Virtues, Powers; then Principalities, Archangels, and Angels. She explains that blessedness is founded in vision before love, though merit is born of grace and good will, and closes by affirming Dionysius's hierarchy over Gregory's divergent ordering because Dionysius received the truth from one who saw it above.
Narrative arc
- Dante turns from Beatrice's mirrored eyes as one verifies a reflected flame against the real light
- Dante sees the unbearable point of light and the nine fiery circles ordered by nearness, speed, and purity
- Beatrice says all heaven and nature depend from the point, and Dante asks why the angelic model and sensible cosmos seem reversed
- Beatrice unties the knot by measuring circles according to virtue rather than appearance
- The answer clears Dante's mind, the angelic circles spark beyond chessboard counting, and they sing Hosanna to the point that holds their ubis
- Beatrice names the first triad and explains beatitude as founded in seeing before loving
- Beatrice names the second and third triads and gathers the hierarchy into upward vision and downward drawing
- Dionysius is affirmed over Gregory because the hierarchy was disclosed by one who saw it above
Central themes
- angelic order
- motion
- hierarchy
Dante turns from Beatrice's mirrored eyes as one verifies a reflected flame against the real light XXVIII.1–12
1Poscia che ’ncontro a la vita presente
d’i miseri mortali aperse ’l vero
quella che ’mparadisa la mia mente,
come in lo specchio fiamma di doppiero
5vede colui che se n’alluma retro,
prima che l’abbia in vista o in pensiero,
e sé rivolge per veder se ’l vetro
li dice il vero, e vede ch’el s’accorda
con esso come nota con suo metro;
10così la mia memoria si ricorda
ch’io feci riguardando ne’ belli occhi
onde a pigliarmi fece Amor la corda.
1After the truth against the present life
of miserable mortals had been opened
by her who imparadises my mind,
as in a mirror a double candle's flame
5one sees, lit by it from behind,
before he has it in sight or thought,
and turns himself to see whether the glass
tells him truth, and sees that it accords
with it as a note with its metre;
10so my memory recalls
that I did, looking again into the beautiful eyes
where Love had made the cord to capture me.
Commentary
The mirror-verification sequence is exact: Beatrice's eyes mediate the vision, the reflected flame must be checked against the direct object, and the music/metre analogy prepares Dante's later model-copy question. The translation keeps Dante's coinage imparadisa as imparadises and retains Love's cord.
XXVIII.1–3 The opening resumes Beatrice's denunciation at the end of Paradiso XXVII. Vero begins the canto's repeated truth, glass, and seeing field. Imparadisa is retained with an English cognate to preserve Dante's coinage.
XXVIII.1–3 The opening resumes Beatrice's denunciation at the end of Paradiso XXVII. Line 1: The opening resumes Beatrice's denunciation at the end of Paradiso XXVII. Line 2: Vero begins the canto's repeated truth, glass, and seeing field. Line 3: Imparadisa is retained with an English cognate to preserve Dante's coinage.
XXVIII.1 The opening resumes Beatrice's denunciation at the end of Paradiso XXVII. The opening resumes Beatrice's denunciation at the end of Paradiso XXVII.
XXVIII.2 Vero begins the canto's repeated truth, glass, and seeing field. Vero begins the canto's repeated truth, glass, and seeing field.
XXVIII.3 Imparadisa is retained with an English cognate to preserve Dante's coinage. Imparadisa is retained with an English cognate to preserve Dante's coinage.
XXVIII.4–6 Doppiero is a torch or double candle; the doubling prepares the reflected/direct vision.
XXVIII.4–6 Doppiero is a torch or double candle; the doubling prepares the reflected/direct vision. Line 4: Doppiero is a torch or double candle; the doubling prepares the reflected/direct vision.
XXVIII.4 Doppiero is a torch or double candle; the doubling prepares the reflected/direct vision. Doppiero is a torch or double candle; the doubling prepares the reflected/direct vision.
XXVIII.7–9 The mirror's truth is tested against direct sight. The music comparison prepares the later copy/model problem.
XXVIII.7–9 The mirror's truth is tested against direct sight. Line 8: The mirror's truth is tested against direct sight. Line 9: The music comparison prepares the later copy/model problem.
XXVIII.8 The mirror's truth is tested against direct sight. The mirror's truth is tested against direct sight.
XXVIII.9 The music comparison prepares the later copy/model problem. The music comparison prepares the later copy/model problem.
XXVIII.10–12 The beautiful eyes are Beatrice's eyes, which mediate the reflected vision. Love's cord keeps the courtly and theological attachment to Beatrice active.
XXVIII.10–12 The beautiful eyes are Beatrice's eyes, which mediate the reflected vision. Line 11: The beautiful eyes are Beatrice's eyes, which mediate the reflected vision. Line 12: Love's cord keeps the courtly and theological attachment to Beatrice active.
XXVIII.11 The beautiful eyes are Beatrice's eyes, which mediate the reflected vision. The beautiful eyes are Beatrice's eyes, which mediate the reflected vision.
XXVIII.12 Love's cord keeps the courtly and theological attachment to Beatrice active. Love's cord keeps the courtly and theological attachment to Beatrice active.
Dante sees the unbearable point of light and the nine fiery circles ordered by nearness, speed, and purity XXVIII.13–39
13E com’ io mi rivolsi e furon tocchi
li miei da ciò che pare in quel volume,
15quandunque nel suo giro ben s’adocchi,
un punto vidi che raggiava lume
acuto sì, che ’l viso ch’elli affoca
chiuder conviensi per lo forte acume;
e quale stella par quinci più poca,
20parrebbe luna, locata con esso
come stella con stella si collòca.
Forse cotanto quanto pare appresso
alo cigner la luce che ’l dipigne
quando ’l vapor che ’l porta più è spesso,
25distante intorno al punto un cerchio d’igne
si girava sì ratto, ch’avria vinto
quel moto che più tosto il mondo cigne;
e questo era d’un altro circumcinto,
e quel dal terzo, e ’l terzo poi dal quarto,
30dal quinto il quarto, e poi dal sesto il quinto.
Sopra seguiva il settimo sì sparto
già di larghezza, che ’l messo di Iuno
intero a contenerlo sarebbe arto.
Così l’ottavo e ’l nono; e chiascheduno
35più tardo si movea, secondo ch’era
in numero distante più da l’uno;
e quello avea la fiamma più sincera
cui men distava la favilla pura,
credo, però che più di lei s’invera.
13And as I turned and my own eyes were touched
by what appears in that volume,
15whenever its turning is well eyed,
I saw a point that rayed out light
so sharp that the sight it sets aflame
must close before that piercing force;
and whatever star from here seems smallest
20would seem a moon, if placed beside it
as star beside star is placed.
Perhaps as near as the halo seems
to gird the light that paints it
when the vapor bearing it is thickest,
25at such distance around the point, a circle of fire
was turning so swiftly that it would have conquered
the motion that most swiftly girds the world;
and this was by another circled round,
and that by a third, and the third then by the fourth,
30the fourth by the fifth, and then the fifth by the sixth.
Above followed the seventh, already so spread
in breadth that Juno's messenger,
entire, would be too narrow to contain it.
So too the eighth and ninth; and each one
35moved more slowly according as it was
more distant in number from the one;
and that one had the sincerest flame
from which the pure spark was least distant,
I believe, because it more deeply enters its truth.
Commentary
The central point, halo distance, rainbow messenger of Juno, and nine fiery circles form the vision's structure. The translation keeps the point infinitesimal yet visually overwhelming, reads the seventh circle against the full rainbow image, and preserves invera as entering or being trued in the pure spark.
XXVIII.13–15 Volume keeps the Latin turning-wheel pressure of the Primum Mobile. The awkwardness of well eyed preserves the act of attentive looking at a turning.
XXVIII.13–15 Volume keeps the Latin turning-wheel pressure of the Primum Mobile. Line 14: Volume keeps the Latin turning-wheel pressure of the Primum Mobile. Line 15: The awkwardness of well eyed preserves the act of attentive looking at a turning.
XXVIII.14 Volume keeps the Latin turning-wheel pressure of the Primum Mobile. Volume keeps the Latin turning-wheel pressure of the Primum Mobile.
XXVIII.15 The awkwardness of well eyed preserves the act of attentive looking at a turning. The awkwardness of well eyed preserves the act of attentive looking at a turning.
XXVIII.16–18 The point represents God as infinitesimal focus and source. Acume keeps visual keenness and intellectual acuity together.
XXVIII.16–18 The point represents God as infinitesimal focus and source. Line 16: The point represents God as infinitesimal focus and source. Line 18: Acume keeps visual keenness and intellectual acuity together.
XXVIII.16 The point represents God as infinitesimal focus and source. The point represents God as infinitesimal focus and source.
XXVIII.18 Acume keeps visual keenness and intellectual acuity together. Acume keeps visual keenness and intellectual acuity together.
XXVIII.22–24 The image can refer to a lunar or solar halo; the line keeps the optical relation rather than specifying.
XXVIII.22–24 The image can refer to a lunar or solar halo; the line keeps the optical relation rather than specifying. Line 23: The image can refer to a lunar or solar halo; the line keeps the optical relation rather than specifying.
XXVIII.23 The image can refer to a lunar or solar halo; the line keeps the optical relation rather than specifying. The image can refer to a lunar or solar halo; the line keeps the optical relation rather than specifying.
XXVIII.25–27 The surpassed motion is that of the Primum Mobile in the sensible cosmos.
XXVIII.25–27 The surpassed motion is that of the Primum Mobile in the sensible cosmos. Line 27: The surpassed motion is that of the Primum Mobile in the sensible cosmos.
XXVIII.27 The surpassed motion is that of the Primum Mobile in the sensible cosmos. The surpassed motion is that of the Primum Mobile in the sensible cosmos.
XXVIII.28–30 The gradation enacts the ordered expansion of the circles.
XXVIII.28–30 The gradation enacts the ordered expansion of the circles. Line 30: The gradation enacts the ordered expansion of the circles.
XXVIII.30 The gradation enacts the ordered expansion of the circles. The gradation enacts the ordered expansion of the circles.
XXVIII.31–33 Juno's messenger is Iris, the rainbow. The line imagines the full circular extension of the rainbow.
XXVIII.31–33 Juno's messenger is Iris, the rainbow. Line 32: Juno's messenger is Iris, the rainbow. Line 33: The line imagines the full circular extension of the rainbow.
XXVIII.32 Juno's messenger is Iris, the rainbow. Juno's messenger is Iris, the rainbow.
XXVIII.33 The line imagines the full circular extension of the rainbow. The line imagines the full circular extension of the rainbow.
XXVIII.34–36 One carries both ordinal firstness and the central One.
XXVIII.34–36 One carries both ordinal firstness and the central One. Line 36: One carries both ordinal firstness and the central One.
XXVIII.36 One carries both ordinal firstness and the central One. One carries both ordinal firstness and the central One.
XXVIII.37–39 The pure spark is the central divine point. S'invera is a Dantean coinage for being trued in, or entering into, the divine truth.
XXVIII.37–39 The pure spark is the central divine point. Line 38: The pure spark is the central divine point. Line 39: S'invera is a Dantean coinage for being trued in, or entering into, the divine truth.
XXVIII.38 The pure spark is the central divine point. The pure spark is the central divine point.
XXVIII.39 S'invera is a Dantean coinage for being trued in, or entering into, the divine truth. S'invera is a Dantean coinage for being trued in, or entering into, the divine truth.
Beatrice says all heaven and nature depend from the point, and Dante asks why the angelic model and sensible cosmos seem reversed XXVIII.40–57
40La donna mia, che mi vedëa in cura
forte sospeso, disse: «Da quel punto
depende il cielo e tutta la natura.
Mira quel cerchio che più li è congiunto;
e sappi che ’l suo muovere è sì tosto
45per l’affocato amore ond’ elli è punto».
E io a lei: «Se ’l mondo fosse posto
con l’ordine ch’io veggio in quelle rote,
sazio m’avrebbe ciò che m’è proposto;
ma nel mondo sensibile si puote
50veder le volte tanto più divine,
quant’ elle son dal centro più remote.
Onde, se ’l mio disir dee aver fine
in questo miro e angelico templo
che solo amore e luce ha per confine,
55udir convienmi ancor come l’essemplo
e l’essemplare non vanno d’un modo,
ché io per me indarno a ciò contemplo».
40My lady, who saw me held suspended
in deep concern, said: "From that point
heaven and all of nature depend.
Look at the circle that is most joined to it;
and know that its movement is so swift
45through the enflamed love by which it is pierced."
And I to her: "If the world were set
with the order I see in those wheels,
what is proposed to me would have satisfied me;
but in the sensible world one can
50see the spheres so much more divine
as they are more remote from the center.
Therefore, if my desire must find its end
in this marvelous and angelic temple
that has only love and light for boundary,
55I still must hear how the copy
and the model do not go in one way,
for by myself I contemplate this in vain."
Commentary
The question turns on the apparent inversion between angelic order and the sensible heavens. The translation keeps the Aristotelian pressure of all heaven and nature depending from the point, the enflamed love that pierces the innermost circle, and Dante's need to hear how copy and model differ.
XXVIII.40–42 The formulation recalls Aristotle's First Mover tradition while making the principle a visible point.
XXVIII.40–42 The formulation recalls Aristotle's First Mover tradition while making the principle a visible point. Line 42: The formulation recalls Aristotle's First Mover tradition while making the principle a visible point.
XXVIII.42 The formulation recalls Aristotle's First Mover tradition while making the principle a visible point. The formulation recalls Aristotle's First Mover tradition while making the principle a visible point.
XXVIII.43–45 Punto echoes the point while also meaning pierced or stung.
XXVIII.43–45 Punto echoes the point while also meaning pierced or stung. Line 45: Punto echoes the point while also meaning pierced or stung.
XXVIII.45 Punto echoes the point while also meaning pierced or stung. Punto echoes the point while also meaning pierced or stung.
XXVIII.46–48 Dante accepts the visible angelic order but not its relation to the physical cosmos.
XXVIII.46–48 Dante accepts the visible angelic order but not its relation to the physical cosmos. Line 48: Dante accepts the visible angelic order but not its relation to the physical cosmos.
XXVIII.48 Dante accepts the visible angelic order but not its relation to the physical cosmos. Dante accepts the visible angelic order but not its relation to the physical cosmos.
XXVIII.52–54 The angelic temple is the Primum Mobile bounded only by the Empyrean. Love and light continue the enclosing Empyrean language from Paradiso XXVII.
XXVIII.52–54 The angelic temple is the Primum Mobile bounded only by the Empyrean. Line 53: The angelic temple is the Primum Mobile bounded only by the Empyrean. Line 54: Love and light continue the enclosing Empyrean language from Paradiso XXVII.
XXVIII.53 The angelic temple is the Primum Mobile bounded only by the Empyrean. The angelic temple is the Primum Mobile bounded only by the Empyrean.
XXVIII.54 Love and light continue the enclosing Empyrean language from Paradiso XXVII. Love and light continue the enclosing Empyrean language from Paradiso XXVII.
XXVIII.55–57 Essemplo is treated as the created copy or example. Essemplare is the exemplar or model.
XXVIII.55–57 Essemplo is treated as the created copy or example. Line 55: Essemplo is treated as the created copy or example. Line 56: Essemplare is the exemplar or model.
XXVIII.55 Essemplo is treated as the created copy or example. Essemplo is treated as the created copy or example.
XXVIII.56 Essemplare is the exemplar or model. Essemplare is the exemplar or model.
Beatrice unties the knot by measuring circles according to virtue rather than appearance XXVIII.58–78
58«Se li tuoi diti non sono a tal nodo
sufficïenti, non è maraviglia:
60tanto, per non tentare, è fatto sodo!».
Così la donna mia; poi disse: «Piglia
quel ch’io ti dicerò, se vuo’ saziarti;
e intorno da esso t’assottiglia.
Li cerchi corporai sono ampi e arti
65secondo il più e ’l men de la virtute
che si distende per tutte lor parti.
Maggior bontà vuol far maggior salute;
maggior salute maggior corpo cape,
s’elli ha le parti igualmente compiute.
70Dunque costui che tutto quanto rape
l’altro universo seco, corrisponde
al cerchio che più ama e che più sape:
per che, se tu a la virtù circonde
la tua misura, non a la parvenza
75de le sustanze che t’appaion tonde,
tu vederai mirabil consequenza
di maggio a più e di minore a meno,
in ciascun cielo, a süa intelligenza».
58"If your fingers are not sufficient
for such a knot, it is no marvel:
60it has grown so hard from not being tried!"
So my lady; then she said: "Take
what I shall tell you, if you would be satisfied;
and around it make yourself subtle.
The corporeal circles are wide and narrow
65according to the more and less of the power
that extends through all their parts.
Greater goodness wills to work greater well-being;
greater well-being a greater body contains,
if it has its parts equally complete.
70Therefore this one, which sweeps
all the rest of the universe along with itself, corresponds
to the circle that loves most and knows most:
therefore, if you encircle your measure around the power,
not around the appearance
75of the substances that appear round to you,
you will see a marvelous correspondence
of greater to more and of smaller to less
in every heaven, to its Intelligence."
Commentary
In Beatrice's answer, bodily spheres are measured by the power diffused through their parts, not by apparent circular size. The Primum Mobile therefore corresponds to the angelic circle that loves and knows most.
XXVIII.58–60 The knot is the relation of the angelic model to the sensible heavens.
XXVIII.58–60 The knot is the relation of the angelic model to the sensible heavens. Line 59: The knot is the relation of the angelic model to the sensible heavens.
XXVIII.59 The knot is the relation of the angelic model to the sensible heavens. The knot is the relation of the angelic model to the sensible heavens.
XXVIII.61–63 Dante's mind is invited to circle the explanation as the angels circle the point.
XXVIII.61–63 Dante's mind is invited to circle the explanation as the angels circle the point. Line 63: Dante's mind is invited to circle the explanation as the angels circle the point.
XXVIII.63 Dante's mind is invited to circle the explanation as the angels circle the point. Dante's mind is invited to circle the explanation as the angels circle the point.
XXVIII.64–66 Virtute is rendered as power here because it names diffused celestial efficacy.
XXVIII.64–66 Virtute is rendered as power here because it names diffused celestial efficacy. Line 65: Virtute is rendered as power here because it names diffused celestial efficacy.
XXVIII.65 Virtute is rendered as power here because it names diffused celestial efficacy. Virtute is rendered as power here because it names diffused celestial efficacy.
XXVIII.67–69 Salute here carries blessedness or welfare, not only salvation in a narrow sense.
XXVIII.67–69 Salute here carries blessedness or welfare, not only salvation in a narrow sense. Line 67: Salute here carries blessedness or welfare, not only salvation in a narrow sense.
XXVIII.67 Salute here carries blessedness or welfare, not only salvation in a narrow sense. Salute here carries blessedness or welfare, not only salvation in a narrow sense.
XXVIII.70–72 This one is the Primum Mobile.
XXVIII.70–72 This one is the Primum Mobile. Line 70: This one is the Primum Mobile.
XXVIII.70 This one is the Primum Mobile. This one is the Primum Mobile.
XXVIII.73–75 Appearance must not govern the correspondence; virtue or power does.
XXVIII.73–75 Appearance must not govern the correspondence; virtue or power does. Line 75: Appearance must not govern the correspondence; virtue or power does.
XXVIII.75 Appearance must not govern the correspondence; virtue or power does. Appearance must not govern the correspondence; virtue or power does.
XXVIII.76–78 Each material heaven corresponds to its angelic Intelligence.
XXVIII.76–78 Each material heaven corresponds to its angelic Intelligence. Line 78: Each material heaven corresponds to its angelic Intelligence.
XXVIII.78 Each material heaven corresponds to its angelic Intelligence. Each material heaven corresponds to its angelic Intelligence.
The answer clears Dante's mind, the angelic circles spark beyond chessboard counting, and they sing Hosanna to the point that holds their ubis XXVIII.79–96
79Come rimane splendido e sereno
80l’emisperio de l’aere, quando soffia
Borea da quella guancia ond’ è più leno,
per che si purga e risolve la roffia
che pria turbava, sì che ’l ciel ne ride
con le bellezze d’ogne sua paroffia;
85così fec’ïo, poi che mi provide
la donna mia del suo risponder chiaro,
e come stella in cielo il ver si vide.
E poi che le parole sue restaro,
non altrimenti ferro disfavilla
90che bolle, come i cerchi sfavillaro.
L’incendio suo seguiva ogne scintilla;
ed eran tante, che ’l numero loro
più che ’l doppiar de li scacchi s’inmilla.
Io sentiva osannar di coro in coro
95al punto fisso che li tiene a li ubi,
e terrà sempre, ne’ quai sempre fuoro.
79As the hemisphere of air remains
80splendid and serene, when Boreas blows
from that cheek by which he is mildest,
so that the haze is purged and dissolved
that had troubled it before, so that the sky smiles
with the beauties of its every parish;
85so did I, after my lady provided me
with her clear answer,
and like a star in heaven the truth was seen.
And after her words came to rest,
iron does not spark otherwise
90when it boils, than those circles sparked.
Each spark followed its own fire;
and they were so many that their number
out-thousanded the doubling of the chessboard.
I heard them hosanna from choir to choir
95to the fixed point that holds them at their ubis,
and always will, where they have always been.
Commentary
The northern-wind clearing, sparks like boiling iron, chessboard multiplication, and Latin ubi all remain active. The translation keeps the clearing of thought as visual weather, treats s'inmilla with an English coinage, and leaves ubis visible for the Primum Mobile and Canto XXIX space-time continuation.
XXVIII.79–81 Boreas is the north wind. The cheek image draws on personified wind-heads.
XXVIII.79–81 Boreas is the north wind. Line 80: Boreas is the north wind. Line 81: The cheek image draws on personified wind-heads.
XXVIII.80 Boreas is the north wind. Boreas is the north wind.
XXVIII.81 The cheek image draws on personified wind-heads. The cheek image draws on personified wind-heads.
XXVIII.82–84 Paroffia is left as parish to keep Dante's rare communal word for the starry regions visible.
XXVIII.82–84 Paroffia is left as parish to keep Dante's rare communal word for the starry regions visible. Line 84: Paroffia is left as parish to keep Dante's rare communal word for the starry regions visible.
XXVIII.84 Paroffia is left as parish to keep Dante's rare communal word for the starry regions visible. Paroffia is left as parish to keep Dante's rare communal word for the starry regions visible.
XXVIII.85–87 The star image shows understanding as cleared vision.
XXVIII.85–87 The star image shows understanding as cleared vision. Line 87: The star image shows understanding as cleared vision.
XXVIII.87 The star image shows understanding as cleared vision. The star image shows understanding as cleared vision.
XXVIII.91–93 Each individual angel follows the fiery circle of its order. S'inmilla is rendered with an English coinage to preserve the number-making force.
XXVIII.91–93 Each individual angel follows the fiery circle of its order. Line 91: Each individual angel follows the fiery circle of its order. Line 93: S'inmilla is rendered with an English coinage to preserve the number-making force.
XXVIII.91 Each individual angel follows the fiery circle of its order. Each individual angel follows the fiery circle of its order.
XXVIII.93 S'inmilla is rendered with an English coinage to preserve the number-making force. S'inmilla is rendered with an English coinage to preserve the number-making force.
XXVIII.94–96 Osannar is kept as a verb. Ubi is retained as the Latin technical where.
XXVIII.94–96 Osannar is kept as a verb. Line 94: Osannar is kept as a verb. Line 95: Ubi is retained as the Latin technical where.
XXVIII.94 Osannar is kept as a verb. Osannar is kept as a verb.
XXVIII.95 Ubi is retained as the Latin technical where. Ubi is retained as the Latin technical where.
Beatrice names the first triad and explains beatitude as founded in seeing before loving XXVIII.97–114
97E quella che vedëa i pensier dubi
ne la mia mente, disse: «I cerchi primi
t’hanno mostrato Serafi e Cherubi.
100Così veloci seguono i suoi vimi,
per somigliarsi al punto quanto ponno;
e posson quanto a veder son soblimi.
Quelli altri amori che ’ntorno li vonno,
si chiaman Troni del divino aspetto,
105per che ’l primo ternaro terminonno;
e dei saper che tutti hanno diletto
quanto la sua veduta si profonda
nel vero in che si queta ogne intelletto.
Quinci si può veder come si fonda
110l’esser beato ne l’atto che vede,
non in quel ch’ama, che poscia seconda;
e del vedere è misura mercede,
che grazia partorisce e buona voglia:
così di grado in grado si procede.
97And she who saw the doubtful thoughts
in my mind said: "The first circles
have shown you Seraphim and Cherubim.
100So swiftly they follow their bonds,
to make themselves like the point as much as they can;
and they can so far as they are raised high in seeing.
Those other loves that go around them
are called Thrones of the divine aspect,
105because they complete the first triad;
and you should know that all have delight
as much as their sight goes deep
into the True in which every intellect grows quiet.
From this one may see how blessedness is founded
110in the act that sees,
not in the one that loves, which follows after;
and merit is the measure of seeing,
which grace and good will give birth to:
thus from grade to grade one proceeds.
Commentary
The first angelic triad is identified as Seraphim, Cherubim, and Thrones. The translation keeps blessedness founded in the act of seeing before loving, while preserving grace and good will as the source of merit and the graded ascent.
XXVIII.97–99 The highest two angelic orders begin the first triad.
XXVIII.97–99 The highest two angelic orders begin the first triad. Line 99: The highest two angelic orders begin the first triad.
XXVIII.99 The highest two angelic orders begin the first triad. The highest two angelic orders begin the first triad.
XXVIII.100–102 Vimi are the bonds or circular courses by which the angels are held. The power to resemble God depends on the height of intellectual vision.
XXVIII.100–102 Vimi are the bonds or circular courses by which the angels are held. Line 100: Vimi are the bonds or circular courses by which the angels are held. Line 102: The power to resemble God depends on the height of intellectual vision.
XXVIII.100 Vimi are the bonds or circular courses by which the angels are held. Vimi are the bonds or circular courses by which the angels are held.
XXVIII.102 The power to resemble God depends on the height of intellectual vision. The power to resemble God depends on the height of intellectual vision.
XXVIII.103–105 The angelic orders are called loves because their motion is love toward God.
XXVIII.103–105 The angelic orders are called loves because their motion is love toward God. Line 103: The angelic orders are called loves because their motion is love toward God.
XXVIII.103 The angelic orders are called loves because their motion is love toward God. The angelic orders are called loves because their motion is love toward God.
XXVIII.106–108 The capitalized True marks the divine truth where intellect rests.
XXVIII.106–108 The capitalized True marks the divine truth where intellect rests. Line 108: The capitalized True marks the divine truth where intellect rests.
XXVIII.108 The capitalized True marks the divine truth where intellect rests. The capitalized True marks the divine truth where intellect rests.
XXVIII.109–111 Dante gives primacy to intellectual vision in beatitude. Love is not dismissed; it follows vision.
XXVIII.109–111 Dante gives primacy to intellectual vision in beatitude. Line 110: Dante gives primacy to intellectual vision in beatitude. Line 111: Love is not dismissed; it follows vision.
XXVIII.110 Dante gives primacy to intellectual vision in beatitude. Dante gives primacy to intellectual vision in beatitude.
XXVIII.111 Love is not dismissed; it follows vision. Love is not dismissed; it follows vision.
XXVIII.112–114 Merit is born from grace met by good will.
XXVIII.112–114 Merit is born from grace met by good will. Line 113: Merit is born from grace met by good will.
XXVIII.113 Merit is born from grace met by good will. Merit is born from grace met by good will.
Beatrice names the second and third triads and gathers the hierarchy into upward vision and downward drawing XXVIII.115–129
115L’altro ternaro, che così germoglia
in questa primavera sempiterna
che notturno Arïete non dispoglia,
perpetüalemente ‘Osanna’ sberna
con tre melode, che suonano in tree
120ordini di letizia onde s’interna.
In essa gerarcia son l’altre dee:
prima Dominazioni, e poi Virtudi;
l’ordine terzo di Podestadi èe.
Poscia ne’ due penultimi tripudi
125Principati e Arcangeli si girano;
l’ultimo è tutto d’Angelici ludi.
Questi ordini di sù tutti s’ammirano,
e di giù vincon sì, che verso Dio
tutti tirati sono e tutti tirano.
115The next triad, which sprouts so
in this sempiternal spring
that nocturnal Aries does not strip,
perpetually sings springtime "Hosanna"
with three melodies that sound in three
120orders of joy, through which it is made triune.
In this hierarchy are the other divinities:
first Dominations, and then Virtues;
the third order is of Powers.
Then in the two penultimate dances
125Principalities and Archangels turn;
the last is wholly of Angelic play.
All these orders gaze upward in wonder,
and prevail downward so that toward God
all are drawn and all draw.
Commentary
The second and third triads preserve the eternal spring, nocturnal Aries, triple melodies, and the upward/downward order of angelic drawing. Dominations, Virtues, Powers, Principalities, Archangels, and Angels follow the Dionysian ordering.
XXVIII.115–117 The eternal spring anticipates the rose imagery of the final cantos. No autumnal night under Aries strips this spring.
XXVIII.115–117 The eternal spring anticipates the rose imagery of the final cantos. Line 116: The eternal spring anticipates the rose imagery of the final cantos. Line 117: No autumnal night under Aries strips this spring.
XXVIII.116 The eternal spring anticipates the rose imagery of the final cantos. The eternal spring anticipates the rose imagery of the final cantos.
XXVIII.117 No autumnal night under Aries strips this spring. No autumnal night under Aries strips this spring.
XXVIII.118–120 Sberna is rendered through springtime song to keep the spring/winter reversal active. The line supports the canto's explicit polyphonic and Trinitarian pressure.
XXVIII.118–120 Sberna is rendered through springtime song to keep the spring/winter reversal active. Line 118: Sberna is rendered through springtime song to keep the spring/winter reversal active. Line 119: The line supports the canto's explicit polyphonic and Trinitarian pressure.
XXVIII.118 Sberna is rendered through springtime song to keep the spring/winter reversal active. Sberna is rendered through springtime song to keep the spring/winter reversal active.
XXVIII.119 The line supports the canto's explicit polyphonic and Trinitarian pressure. The line supports the canto's explicit polyphonic and Trinitarian pressure.
XXVIII.121–123 Dee is kept as divinities rather than flattened to orders, while the angels remain created beings.
XXVIII.121–123 Dee is kept as divinities rather than flattened to orders, while the angels remain created beings. Line 121: Dee is kept as divinities rather than flattened to orders, while the angels remain created beings.
XXVIII.121 Dee is kept as divinities rather than flattened to orders, while the angels remain created beings. Dee is kept as divinities rather than flattened to orders, while the angels remain created beings.
XXVIII.124–126 Tripudi keeps cultic dance and rejoicing together.
XXVIII.124–126 Tripudi keeps cultic dance and rejoicing together. Line 124: Tripudi keeps cultic dance and rejoicing together.
XXVIII.124 Tripudi keeps cultic dance and rejoicing together. Tripudi keeps cultic dance and rejoicing together.
XXVIII.127–129 The hierarchy both receives from above and governs below.
XXVIII.127–129 The hierarchy both receives from above and governs below. Line 128: The hierarchy both receives from above and governs below.
XXVIII.128 The hierarchy both receives from above and governs below. The hierarchy both receives from above and governs below.
Dionysius is affirmed over Gregory because the hierarchy was disclosed by one who saw it above XXVIII.130–139
130E Dïonisio con tanto disio
a contemplar questi ordini si mise,
che li nomò e distinse com’ io.
Ma Gregorio da lui poi si divise;
onde, sì tosto come li occhi aperse
135in questo ciel, di sé medesmo rise.
E se tanto secreto ver proferse
mortale in terra, non voglio ch’ammiri:
ché chi ’l vide qua sù gliel discoperse
con altro assai del ver di questi giri».
130And Dionysius, with so much desire,
set himself to contemplate these orders
that he named and distinguished them as I do.
But Gregory later departed from him;
therefore, as soon as he opened his eyes
135in this heaven, he smiled at himself.
And if so secret a truth was set forth
by a mortal on earth, I do not want you to marvel:
for one who saw it up here disclosed it to him,
with much else of the truth of these circlings."
Commentary
The translation follows Dante's claim that Dionysius named the hierarchy rightly because the truth was revealed by one who saw it above, while Gregory smiles at his own divergence once his eyes open in heaven.
XXVIII.130–132 Dionysius is the Pseudo-Dionysius traditionally identified with Paul's Athenian convert. Beatrice endorses the Dionysian ordering she has just given.
XXVIII.130–132 Dionysius is the Pseudo-Dionysius traditionally identified with Paul's Athenian convert. Line 130: Dionysius is the Pseudo-Dionysius traditionally identified with Paul's Athenian convert. Line 132: Beatrice endorses the Dionysian ordering she has just given.
XXVIII.130 Dionysius is the Pseudo-Dionysius traditionally identified with Paul's Athenian convert. Dionysius is the Pseudo-Dionysius traditionally identified with Paul's Athenian convert.
XXVIII.132 Beatrice endorses the Dionysian ordering she has just given. Beatrice endorses the Dionysian ordering she has just given.
XXVIII.133–135 Gregory the Great used a different ordering of the angelic hierarchy.
XXVIII.133–135 Gregory the Great used a different ordering of the angelic hierarchy. Line 133: Gregory the Great used a different ordering of the angelic hierarchy.
XXVIII.133 Gregory the Great used a different ordering of the angelic hierarchy. Gregory the Great used a different ordering of the angelic hierarchy.
XXVIII.136–138 The one who saw it above is traditionally Paul, from whom Dionysius is said to have learned.
XXVIII.136–138 The one who saw it above is traditionally Paul, from whom Dionysius is said to have learned. Line 138: The one who saw it above is traditionally Paul, from whom Dionysius is said to have learned.
XXVIII.138 The one who saw it above is traditionally Paul, from whom Dionysius is said to have learned. The one who saw it above is traditionally Paul, from whom Dionysius is said to have learned.
XXVIII.139 The canto closes with ver and giri, returning truth to the angelic circles. The canto closes with ver and giri, returning truth to the angelic circles.