Paradiso, Canto 31
Dante Alighieri · Italian original · new English translation and commentary by Text Atlas
Overview
Paradiso XXXI continues the Empyrean vision after the river has become the celestial rose. The blessed appear as a white rose, the holy soldiery whom Christ made his bride in his blood, while the angelic host moves like bees between the flower and the place where love always dwells. Their living-flame faces, golden wings, and snow-surpassing whiteness carry peace and ardor through the rose without obstructing sight, because divine light penetrates according to worth. Dante invokes the triune light in one star to look down on the human tempest, then measures his amazement by barbarians seeing Rome and the Lateran, intensified by his passage from human to divine, time to eternity, and Florence to a just and whole people. Like a pilgrim in the temple of his vow, he walks his eyes through the tiers of living light, sees faces persuasive with charity and gestures full of dignity, and turns to question Beatrice. Instead, Saint Bernard appears as a tender father. He shows Dante where Beatrice has returned to her throne, and Dante offers her his final prayer of thanks: she has drawn him from slavery to freedom by every way and means, made his soul whole, and is asked to preserve her magnificence in him until death. Beatrice smiles from afar and turns back to the eternal fountain. Bernard then reveals his Marian devotion and commands Dante to fly with his eyes through the garden so his sight may be strengthened for the divine ray. Dante gazes at Bernard as a Croatian pilgrim would gaze at the Veronica, then raises his eyes to Mary, the queen to whom the kingdom is subject and devoted. She appears as the peaceful oriflamme at the rose's brightest center, encircled by more than a thousand festive angels, distinct in radiance and art. Bernard turns his own eyes to Mary with such affection that Dante's desire to look grows more ardent.
Narrative arc
- The white rose of the blessed and the angelic bees moving between flower and divine dwelling
- The secure kingdom fixes sight and love on one mark, and Dante invokes the triune light over the human tempest
- Dante's astonishment surpasses barbarians seeing Rome and becomes a pilgrim's ocular tour of the living light
- Dante turns from the whole form of Paradise to find Bernard instead of Beatrice
- Dante thanks Beatrice for drawing him from slavery to freedom, and she smiles before returning to the eternal fountain
- Bernard commands Dante to fly through the garden with his eyes and reveals himself as Mary's faithful lover
- Bernard directs Dante's eyes upward to Mary, the queen and peaceful oriflamme at the rose's radiant center
- The festive angels surround Mary's beauty, and Bernard's gaze increases Dante's ardor
Central themes
- Empyrean
- rose
- Mary
- contemplation
The white rose of the blessed and the angelic bees moving between flower and divine dwelling XXXI.1–24
1In forma dunque di candida rosa
mi si mostrava la milizia santa
che nel suo sangue Cristo fece sposa;
ma l’altra, che volando vede e canta
5la gloria di colui che la ’nnamora
e la bontà che la fece cotanta,
sì come schiera d’ape che s’infiora
una fïata e una si ritorna
là dove suo laboro s’insapora,
10nel gran fior discendeva che s’addorna
di tante foglie, e quindi risaliva
là dove ’l süo amor sempre soggiorna.
Le facce tutte avean di fiamma viva
e l’ali d’oro, e l’altro tanto bianco,
15che nulla neve a quel termine arriva.
Quando scendean nel fior, di banco in banco
porgevan de la pace e de l’ardore
ch’elli acquistavan ventilando il fianco.
Né l’interporsi tra ’l disopra e ’l fiore
20di tanta moltitudine volante
impediva la vista e lo splendore:
ché la luce divina è penetrante
per l’universo secondo ch’è degno,
sì che nulla le puote essere ostante.
1Thus in the form of a white rose
the holy soldiery showed itself to me,
that Christ made his bride in his blood;
but the other host, which while flying sees and sings
5the glory of him who enamors it
and the goodness that made it so great,
like a swarm of bees that enters flowers
at one moment and at another returns
to where its labor takes on savor,
10was descending into the great flower adorned
with so many leaves, and from there rose back
to where its love always dwells.
All their faces had living flame,
and wings of gold, and the rest so white
15that no snow reaches that limit.
When they descended into the flower, tier to tier,
they offered something of the peace and ardor
which they gained while fanning their sides.
Nor did the interposition between what was above and the flower
20of so great a flying multitude
impede the sight and the splendor:
for divine light penetrates
through the universe according to worth,
so that nothing can stand against it.
Commentary
This passage covers this sequence: The white rose of the blessed and the angelic bees moving between flower and divine dwelling.
XXXI.1–3 The canto resumes Paradiso XXX's rose after the river has become the true heavenly court. The rose is the blessed Church as Christ's bride, whitened through sacrificial blood.
XXXI.1–3 The canto resumes Paradiso XXX's rose after the river has become the true heavenly court. Line 1: The canto resumes Paradiso XXX's rose after the river has become the true heavenly court. Line 3: The rose is the blessed Church as Christ's bride, whitened through sacrificial blood.
XXXI.1 The canto resumes Paradiso XXX's rose after the river has become the true heavenly court. The canto resumes Paradiso XXX's rose after the river has become the true heavenly court.
XXXI.3 The rose is the blessed Church as Christ's bride, whitened through sacrificial blood. The rose is the blessed Church as Christ's bride, whitened through sacrificial blood.
XXXI.4–6 The other host is the angelic company, distinct from the human blessed.
XXXI.4–6 The other host is the angelic company, distinct from the human blessed. Line 4: The other host is the angelic company, distinct from the human blessed.
XXXI.4 The other host is the angelic company, distinct from the human blessed. The other host is the angelic company, distinct from the human blessed.
XXXI.7–9 The bee image carries both floral motion and ordered angelic ministry. Laboro remains singular with the swarm; the line keeps the work-to-sweetness transformation.
XXXI.7–9 The bee image carries both floral motion and ordered angelic ministry. Line 7: The bee image carries both floral motion and ordered angelic ministry. Line 9: Laboro remains singular with the swarm; the line keeps the work-to-sweetness transformation.
XXXI.7 The bee image carries both floral motion and ordered angelic ministry. The bee image carries both floral motion and ordered angelic ministry.
XXXI.9 Laboro remains singular with the swarm; the line keeps the work-to-sweetness transformation. Laboro remains singular with the swarm; the line keeps the work-to-sweetness transformation.
XXXI.10–12 Uses leaves for foglie to coordinate with Paradiso XXX's outer leaves of the rose.
XXXI.10–12 Uses leaves for foglie to coordinate with Paradiso XXX's outer leaves of the rose. Line 11: Uses leaves for foglie to coordinate with Paradiso XXX's outer leaves of the rose.
XXXI.11 Uses leaves for foglie to coordinate with Paradiso XXX's outer leaves of the rose. Uses leaves for foglie to coordinate with Paradiso XXX's outer leaves of the rose.
XXXI.13–15 The angelic colors keep the Empyrean's flame, gold, and purity fields.
XXXI.13–15 The angelic colors keep the Empyrean's flame, gold, and purity fields. Line 15: The angelic colors keep the Empyrean's flame, gold, and purity fields.
XXXI.15 The angelic colors keep the Empyrean's flame, gold, and purity fields. The angelic colors keep the Empyrean's flame, gold, and purity fields.
XXXI.16–18 The angels distribute what they receive rather than obstructing the rose's vision.
XXXI.16–18 The angels distribute what they receive rather than obstructing the rose's vision. Line 17: The angels distribute what they receive rather than obstructing the rose's vision.
XXXI.17 The angels distribute what they receive rather than obstructing the rose's vision. The angels distribute what they receive rather than obstructing the rose's vision.
XXXI.22–24 The line recapitulates Paradiso I's divine light while explaining why no angelic body blocks sight.
XXXI.22–24 The line recapitulates Paradiso I's divine light while explaining why no angelic body blocks sight. Line 22: The line recapitulates Paradiso I's divine light while explaining why no angelic body blocks sight.
XXXI.22 The line recapitulates Paradiso I's divine light while explaining why no angelic body blocks sight. The line recapitulates Paradiso I's divine light while explaining why no angelic body blocks sight.
The secure kingdom fixes sight and love on one mark, and Dante invokes the triune light over the human tempest XXXI.25–30
25Questo sicuro e gaudïoso regno,
frequente in gente antica e in novella,
viso e amore avea tutto ad un segno.
O trina luce che ’n unica stella
scintillando a lor vista, sì li appaga!
30guarda qua giuso a la nostra procella!
25This secure and joyous kingdom,
thronged with ancient people and with new,
had all its sight and love toward one mark.
O triune Light, that in a single star,
sparkling to their sight, so satisfies them,
30look down here upon our tempest!
Commentary
The translation retains sight and love for viso e amore, and the triune light in one star is a Trinitarian address that turns from the secure kingdom to the human tempest below.
XXXI.25–27 The ancient/new distinction prepares Bernard's ordering of the rose in Paradiso XXXII. Keeps viso e amore as the joined visual and affective orientation of the blessed.
XXXI.25–27 The ancient/new distinction prepares Bernard's ordering of the rose in Paradiso XXXII. Line 26: The ancient/new distinction prepares Bernard's ordering of the rose in Paradiso XXXII. Line 27: Keeps viso e amore as the joined visual and affective orientation of the blessed.
XXXI.26 The ancient/new distinction prepares Bernard's ordering of the rose in Paradiso XXXII. The ancient/new distinction prepares Bernard's ordering of the rose in Paradiso XXXII.
XXXI.27 Keeps viso e amore as the joined visual and affective orientation of the blessed. Keeps viso e amore as the joined visual and affective orientation of the blessed.
XXXI.28–30 The Trinitarian address turns from the ordered rose toward the disordered world below. Procella sets earthly human life against the secure heavenly polity.
XXXI.28–30 The Trinitarian address turns from the ordered rose toward the disordered world below. Line 28: The Trinitarian address turns from the ordered rose toward the disordered world below. Line 30: Procella sets earthly human life against the secure heavenly polity.
XXXI.28 The Trinitarian address turns from the ordered rose toward the disordered world below. The Trinitarian address turns from the ordered rose toward the disordered world below.
XXXI.30 Procella sets earthly human life against the secure heavenly polity. Procella sets earthly human life against the secure heavenly polity.
Dante's astonishment surpasses barbarians seeing Rome and becomes a pilgrim's ocular tour of the living light XXXI.31–51
31Se i barbari, venendo da tal plaga
che ciascun giorno d’Elice si cuopra,
rotante col suo figlio ond’ ella è vaga,
veggendo Roma e l’ardüa sua opra,
35stupefaciensi, quando Laterano
a le cose mortali andò di sopra;
ïo, che al divino da l’umano,
a l’etterno dal tempo era venuto,
e di Fiorenza in popol giusto e sano,
40di che stupor dovea esser compiuto!
Certo tra esso e ’l gaudio mi facea
libito non udire e starmi muto.
E quasi peregrin che si ricrea
nel tempio del suo voto riguardando,
45e spera già ridir com’ ello stea,
su per la viva luce passeggiando,
menava ïo li occhi per li gradi,
mo sù, mo giù e mo recirculando.
Vedëa visi a carità süadi,
50d’altrui lume fregiati e di suo riso,
e atti ornati di tutte onestadi.
31If barbarians, coming from such a region
that every day is covered by Helice,
as she revolves with the son for whom she yearns,
seeing Rome and her arduous work,
35were wonderstruck, when the Lateran
stood above mortal things;
I, who from the human to the divine,
from time to the eternal, had come,
and from Florence to a just and whole people,
40with what astonishment must I have been filled!
Surely between that wonder and the joy, I found
pleasure in not hearing and standing mute.
And like a pilgrim who refreshes himself
by looking around in the temple of his vow,
45and already hopes to retell what it is like,
walking with my eyes through the living light,
I led them over the tiers,
now up, now down, and now circling back.
I saw faces persuasive to charity,
50adorned by Another's light and by their own smile,
and gestures adorned with every dignity.
Commentary
The Rome/Lateran and pilgrim-in-temple similes frame the passage. The translation keeps Helice and her son, the northern barbarian perspective, Dante's triple passage from human/time/Florence into divine/eternal/just-whole people, and the pilgrim's ocular tour of the rose.
XXXI.31–33 Helice is Callisto as the Great Bear, marking the northern barbarian region. Her son is Arcas, associated with the Little Bear.
XXXI.31–33 Helice is Callisto as the Great Bear, marking the northern barbarian region. Line 32: Helice is Callisto as the Great Bear, marking the northern barbarian region. Line 33: Her son is Arcas, associated with the Little Bear.
XXXI.32 Helice is Callisto as the Great Bear, marking the northern barbarian region. Helice is Callisto as the Great Bear, marking the northern barbarian region.
XXXI.33 Her son is Arcas, associated with the Little Bear. Her son is Arcas, associated with the Little Bear.
XXXI.34–36 The Lateran gathers imperial and papal Rome as mortal magnificence.
XXXI.34–36 The Lateran gathers imperial and papal Rome as mortal magnificence. Line 35: The Lateran gathers imperial and papal Rome as mortal magnificence.
XXXI.35 The Lateran gathers imperial and papal Rome as mortal magnificence. The Lateran gathers imperial and papal Rome as mortal magnificence.
XXXI.37–39 Keeps sano as whole, answering the poem's freedom and healed-will language.
XXXI.37–39 Keeps sano as whole, answering the poem's freedom and healed-will language. Line 39: Keeps sano as whole, answering the poem's freedom and healed-will language.
XXXI.39 Keeps sano as whole, answering the poem's freedom and healed-will language. Keeps sano as whole, answering the poem's freedom and healed-will language.
XXXI.43–45 The pilgrim simile turns Dante's whole journey into an act of sight and future witness.
XXXI.43–45 The pilgrim simile turns Dante's whole journey into an act of sight and future witness. Line 43: The pilgrim simile turns Dante's whole journey into an act of sight and future witness.
XXXI.43 The pilgrim simile turns Dante's whole journey into an act of sight and future witness. The pilgrim simile turns Dante's whole journey into an act of sight and future witness.
XXXI.46–48 The eye walks here, flies at line 97, and climbs at lines 121-122.
XXXI.46–48 The eye walks here, flies at line 97, and climbs at lines 121-122. Line 46: The eye walks here, flies at line 97, and climbs at lines 121-122.
XXXI.46 The eye walks here, flies at line 97, and climbs at lines 121-122. The eye walks here, flies at line 97, and climbs at lines 121-122.
XXXI.49–51 Capitalized Another's keeps the divine source of borrowed light visible beside the saints' own smiles.
XXXI.49–51 Capitalized Another's keeps the divine source of borrowed light visible beside the saints' own smiles. Line 50: Capitalized Another's keeps the divine source of borrowed light visible beside the saints' own smiles.
XXXI.50 Capitalized Another's keeps the divine source of borrowed light visible beside the saints' own smiles. Capitalized Another's keeps the divine source of borrowed light visible beside the saints' own smiles.
Dante turns from the whole form of Paradise to find Bernard instead of Beatrice XXXI.52–78
52La forma general di paradiso
già tutta mïo sguardo avea compresa,
in nulla parte ancor fermato fiso;
55e volgeami con voglia rïaccesa
per domandar la mia donna di cose
di che la mente mia era sospesa.
Uno intendëa, e altro mi rispuose:
credea veder Beatrice e vidi un sene
60vestito con le genti glorïose.
Diffuso era per li occhi e per le gene
di benigna letizia, in atto pio
quale a tenero padre si convene.
E «Ov’ è ella?», sùbito diss’ io.
65Ond’ elli: «A terminar lo tuo disiro
mosse Beatrice me del loco mio;
e se riguardi sù nel terzo giro
dal sommo grado, tu la rivedrai
nel trono che suoi merti le sortiro».
70Sanza risponder, li occhi sù levai,
e vidi lei che si facea corona
reflettendo da sé li etterni rai.
Da quella regïon che più sù tona
occhio mortale alcun tanto non dista,
75qualunque in mare più giù s’abbandona,
quanto lì da Beatrice la mia vista;
ma nulla mi facea, ché süa effige
non discendëa a me per mezzo mista.
52The general form of Paradise
my gaze had already taken in as a whole,
not yet fixed firmly on any part;
55and I was turning with desire rekindled
to ask my lady about things
over which my mind was suspended.
One thing I meant, and another answered me:
I believed I would see Beatrice, and saw an elder
60clothed like the glorious people.
Through his eyes and cheeks was spread
a benign gladness, in a pious bearing
such as befits a tender father.
And "Where is she?" I said at once.
65To which he: "To bring your desire to its end,
Beatrice moved me from my place;
and if you look up to the third circle
from the highest rank, you will see her again
on the throne her merits allotted her."
70Without replying, I raised my eyes upward,
and saw her making herself a crown
by reflecting from herself the eternal rays.
From that region where thunder is highest above
no mortal eye is ever so distant,
75not one that sinks deepest in the sea,
as there my sight was from Beatrice;
but that made no difference to me, because her image
did not descend to me mixed with any medium.
Commentary
The Beatrice-to-Bernard transition echoes Purgatorio XXX. The translation keeps Dante's expectation, the elder's paternal appearance, Beatrice's throne in the third circle from the top, and the point that Empyrean sight reaches Beatrice without distortion by any intervening medium.
XXXI.55–57 The turn toward Beatrice echoes, without repeating the grief of, Virgil's disappearance in Purgatorio XXX.
XXXI.55–57 The turn toward Beatrice echoes, without repeating the grief of, Virgil's disappearance in Purgatorio XXX. Line 55: The turn toward Beatrice echoes, without repeating the grief of, Virgil's disappearance in Purgatorio XXX.
XXXI.55 The turn toward Beatrice echoes, without repeating the grief of, Virgil's disappearance in Purgatorio XXX. The turn toward Beatrice echoes, without repeating the grief of, Virgil's disappearance in Purgatorio XXX.
XXXI.58–60 This is the last guide transition in the poem.
XXXI.58–60 This is the last guide transition in the poem. Line 58: This is the last guide transition in the poem.
XXXI.58 This is the last guide transition in the poem. This is the last guide transition in the poem.
XXXI.61–63 The paternal bearing prepares Bernard as final guide without replacing Beatrice's salvific role.
XXXI.61–63 The paternal bearing prepares Bernard as final guide without replacing Beatrice's salvific role. Line 63: The paternal bearing prepares Bernard as final guide without replacing Beatrice's salvific role.
XXXI.63 The paternal bearing prepares Bernard as final guide without replacing Beatrice's salvific role. The paternal bearing prepares Bernard as final guide without replacing Beatrice's salvific role.
XXXI.64–66 Bernard presents himself as Beatrice's emissary.
XXXI.64–66 Bernard presents himself as Beatrice's emissary. Line 66: Bernard presents himself as Beatrice's emissary.
XXXI.66 Bernard presents himself as Beatrice's emissary. Bernard presents himself as Beatrice's emissary.
XXXI.67–69 Beatrice's place will be located more fully in Bernard's ordering of the rose in Paradiso XXXII.
XXXI.67–69 Beatrice's place will be located more fully in Bernard's ordering of the rose in Paradiso XXXII. Line 69: Beatrice's place will be located more fully in Bernard's ordering of the rose in Paradiso XXXII.
XXXI.69 Beatrice's place will be located more fully in Bernard's ordering of the rose in Paradiso XXXII. Beatrice's place will be located more fully in Bernard's ordering of the rose in Paradiso XXXII.
XXXI.70–72 Beatrice is a mirror of divine light rather than its source.
XXXI.70–72 Beatrice is a mirror of divine light rather than its source. Line 72: Beatrice is a mirror of divine light rather than its source.
XXXI.72 Beatrice is a mirror of divine light rather than its source. Beatrice is a mirror of divine light rather than its source.
XXXI.73–75 The comparison spans the greatest natural distance from sea-depth to upper air.
XXXI.73–75 The comparison spans the greatest natural distance from sea-depth to upper air. Line 73: The comparison spans the greatest natural distance from sea-depth to upper air.
XXXI.73 The comparison spans the greatest natural distance from sea-depth to upper air. The comparison spans the greatest natural distance from sea-depth to upper air.
XXXI.76–78 In the Empyrean, distance does not blur sight through an intervening physical medium.
XXXI.76–78 In the Empyrean, distance does not blur sight through an intervening physical medium. Line 78: In the Empyrean, distance does not blur sight through an intervening physical medium.
XXXI.78 In the Empyrean, distance does not blur sight through an intervening physical medium. In the Empyrean, distance does not blur sight through an intervening physical medium.
Dante thanks Beatrice for drawing him from slavery to freedom, and she smiles before returning to the eternal fountain XXXI.79–93
79«O donna in cui la mia speranza vige,
80e che soffristi per la mia salute
in inferno lasciar le tue vestige,
di tante cose quant’ i’ ho vedute,
dal tuo podere e da la tua bontate
riconosco la grazia e la virtute.
85Tu m’hai di servo tratto a libertate
per tutte quelle vie, per tutt’ i modi
che di ciò fare avei la potestate.
La tua magnificenza in me custodi,
sì che l’anima mia, che fatt’ hai sana,
90piacente a te dal corpo si disnodi».
Così orai; e quella, sì lontana
come parea, sorrise e riguardommi;
poi si tornò a l’etterna fontana.
79"O lady in whom my hope has strength,
80and who endured, for my salvation,
to leave your footprints in Hell,
of all the many things I have seen,
from your power and from your goodness
I acknowledge the grace and the virtue.
85You have drawn me from slavery to freedom
by all those ways, by all the means
that you had the power to use for this.
Preserve your magnificence in me,
so that my soul, which you have made whole,
90may, pleasing to you, be untied from the body."
Thus I prayed; and she, as far away
as she appeared, smiled and looked back at me;
then turned back to the eternal fountain.
Commentary
Dante's prayer of thanks to Beatrice carries theological and journey language. The translation keeps hope, Beatrice's descent into Hell, grace and virtue from her power and goodness, the passage from slavery to freedom by every way and means, the soul made whole, and Beatrice's distant smile before she returns to the eternal fountain.
XXXI.79–81 Dante's final direct address to Beatrice begins as prayerful gratitude rather than inquiry. The line recalls Beatrice's descent to Virgil in Inferno II.
XXXI.79–81 Dante's final direct address to Beatrice begins as prayerful gratitude rather than inquiry. Line 79: Dante's final direct address to Beatrice begins as prayerful gratitude rather than inquiry. Line 81: The line recalls Beatrice's descent to Virgil in Inferno II.
XXXI.79 Dante's final direct address to Beatrice begins as prayerful gratitude rather than inquiry. Dante's final direct address to Beatrice begins as prayerful gratitude rather than inquiry.
XXXI.81 The line recalls Beatrice's descent to Virgil in Inferno II. The line recalls Beatrice's descent to Virgil in Inferno II.
XXXI.82–84 Virtute here keeps the efficacy of Beatrice's God-given aid beside grace.
XXXI.82–84 Virtute here keeps the efficacy of Beatrice's God-given aid beside grace. Line 84: Virtute here keeps the efficacy of Beatrice's God-given aid beside grace.
XXXI.84 Virtute here keeps the efficacy of Beatrice's God-given aid beside grace. Virtute here keeps the efficacy of Beatrice's God-given aid beside grace.
XXXI.85–87 The slavery-to-freedom movement recapitulates the poem's journey of desire and will. Keeps vie in the path-language field while pairing it with modi.
XXXI.85–87 The slavery-to-freedom movement recapitulates the poem's journey of desire and will. Line 85: The slavery-to-freedom movement recapitulates the poem's journey of desire and will. Line 86: Keeps vie in the path-language field while pairing it with modi.
XXXI.85 The slavery-to-freedom movement recapitulates the poem's journey of desire and will. The slavery-to-freedom movement recapitulates the poem's journey of desire and will.
XXXI.86 Keeps vie in the path-language field while pairing it with modi. Keeps vie in the path-language field while pairing it with modi.
XXXI.88–90 The petition asks Beatrice to preserve the work already done in Dante rather than to grant a new spectacle. Sana links Beatrice's healing to the just and whole people at line 39.
XXXI.88–90 The petition asks Beatrice to preserve the work already done in Dante rather than to grant a new spectacle. Line 88: The petition asks Beatrice to preserve the work already done in Dante rather than to grant a new spectacle. Line 89: Sana links Beatrice's healing to the just and whole people at line 39.
XXXI.88 The petition asks Beatrice to preserve the work already done in Dante rather than to grant a new spectacle. The petition asks Beatrice to preserve the work already done in Dante rather than to grant a new spectacle.
XXXI.89 Sana links Beatrice's healing to the just and whole people at line 39. Sana links Beatrice's healing to the just and whole people at line 39.
XXXI.91–93 This is Beatrice's quiet return from guide to her place in the eternal source.
XXXI.91–93 This is Beatrice's quiet return from guide to her place in the eternal source. Line 93: This is Beatrice's quiet return from guide to her place in the eternal source.
XXXI.93 This is Beatrice's quiet return from guide to her place in the eternal source. This is Beatrice's quiet return from guide to her place in the eternal source.
Bernard commands Dante to fly through the garden with his eyes and reveals himself as Mary's faithful lover XXXI.94–111
94E ’l santo sene: «Acciò che tu assommi
95perfettamente», disse, «il tuo cammino,
a che priego e amor santo mandommi,
vola con li occhi per questo giardino;
ché veder lui t’acconcerà lo sguardo
più al montar per lo raggio divino.
100E la regina del cielo, ond’ ïo ardo
tutto d’amor, ne farà ogne grazia,
però ch’i’ sono il suo fedel Bernardo».
Qual è colui che forse di Croazia
viene a veder la Veronica nostra,
105che per l’antica fame non sen sazia,
ma dice nel pensier, fin che si mostra:
‘Segnor mio Iesù Cristo, Dio verace,
or fu sì fatta la sembianza vostra?’;
tal era io mirando la vivace
110carità di colui che ’n questo mondo,
contemplando, gustò di quella pace.
94And the holy elder: "That you may complete
95your journey perfectly," he said,
"for this prayer and holy love sent me,
fly with your eyes through this garden;
for seeing it will prepare your sight
further to mount along the divine ray.
100And the queen of Heaven, for whom I burn
wholly with love, will grant us every grace,
because I am her faithful Bernard."
As one who perhaps from Croatia
comes to see our Veronica,
105who through old hunger is not sated by it,
but says in his thought, while it is shown:
'My Lord Jesus Christ, true God,
was your likeness then made like this?';
such was I, gazing at the living
110charity of him who in this world,
by contemplation, tasted of that peace.
Commentary
The translation keeps Bernard as Beatrice's emissary and Mary's faithful lover, the command to fly through the garden with the eyes, and the Croatian pilgrim's hunger before the true image of Christ.
XXXI.94–96 Bernard takes up the final phase of the journey after Beatrice's return.
XXXI.94–96 Bernard takes up the final phase of the journey after Beatrice's return. Line 94: Bernard takes up the final phase of the journey after Beatrice's return.
XXXI.94 Bernard takes up the final phase of the journey after Beatrice's return. Bernard takes up the final phase of the journey after Beatrice's return.
XXXI.97–99 The visual motion intensifies from walking in line 46 to flying here.
XXXI.97–99 The visual motion intensifies from walking in line 46 to flying here. Line 97: The visual motion intensifies from walking in line 46 to flying here.
XXXI.97 The visual motion intensifies from walking in line 46 to flying here. The visual motion intensifies from walking in line 46 to flying here.
XXXI.100–102 Bernard's Marian devotion explains why he is the final guide. Bernard of Clairvaux is named only after his task and Marian allegiance are clear.
XXXI.100–102 Bernard's Marian devotion explains why he is the final guide. Line 100: Bernard's Marian devotion explains why he is the final guide. Line 102: Bernard of Clairvaux is named only after his task and Marian allegiance are clear.
XXXI.100 Bernard's Marian devotion explains why he is the final guide. Bernard's Marian devotion explains why he is the final guide.
XXXI.102 Bernard of Clairvaux is named only after his task and Marian allegiance are clear. Bernard of Clairvaux is named only after his task and Marian allegiance are clear.
XXXI.103–105 Croatia marks a remote pilgrim source within Christendom. The Veronica is the venerated true image of Christ's face in Rome.
XXXI.103–105 Croatia marks a remote pilgrim source within Christendom. Line 103: Croatia marks a remote pilgrim source within Christendom. Line 104: The Veronica is the venerated true image of Christ's face in Rome.
XXXI.103 Croatia marks a remote pilgrim source within Christendom. Croatia marks a remote pilgrim source within Christendom.
XXXI.104 The Veronica is the venerated true image of Christ's face in Rome. The Veronica is the venerated true image of Christ's face in Rome.
XXXI.106–108 Dio verace keeps the Veronica's pressure as true image of the true God.
XXXI.106–108 Dio verace keeps the Veronica's pressure as true image of the true God. Line 107: Dio verace keeps the Veronica's pressure as true image of the true God.
XXXI.107 Dio verace keeps the Veronica's pressure as true image of the true God. Dio verace keeps the Veronica's pressure as true image of the true God.
XXXI.109–111 Bernard's earthly contemplative life prepares his role in teaching Dante the final vision.
XXXI.109–111 Bernard's earthly contemplative life prepares his role in teaching Dante the final vision. Line 111: Bernard's earthly contemplative life prepares his role in teaching Dante the final vision.
XXXI.111 Bernard's earthly contemplative life prepares his role in teaching Dante the final vision. Bernard's earthly contemplative life prepares his role in teaching Dante the final vision.
Bernard directs Dante's eyes upward to Mary, the queen and peaceful oriflamme at the rose's radiant center XXXI.112–129
112«Figliuol di grazia, quest’ esser giocondo»,
cominciò elli, «non ti sarà noto,
tenendo li occhi pur qua giù al fondo;
115ma guarda i cerchi infino al più remoto,
tanto che veggi seder la regina
cui questo regno è suddito e devoto».
Io levai li occhi; e come da mattina
la parte orïental de l’orizzonte
120soverchia quella dove ’l sol declina,
così, quasi di valle andando a monte
con li occhi, vidi parte ne lo stremo
vincer di lume tutta l’altra fronte.
E come quivi ove s’aspetta il temo
125che mal guidò Fetonte, più s’infiamma,
e quinci e quindi il lume si fa scemo,
così quella pacifica oriafiamma
nel mezzo s’avvivava, e d’ogne parte
per igual modo allentava la fiamma;
112"Son of grace, this joyous existence,"
he began, "will not be known to you
by keeping your eyes only down here at the base;
115but look upon the circles to the most remote,
until you see the queen seated
to whom this realm is subject and devoted."
I raised my eyes; and as in the morning
the eastern part of the horizon
120surpasses that where the sun declines,
so, as if going from valley to mountain
with my eyes, I saw a part at the farthest height
surpass all the other front with light.
And as in the place where the shaft is awaited
125that Phaethon guided badly, the sky is more aflame,
and on this side and that the light grows less,
so did that peaceful oriflamme
come more alive in the middle, and from every side
slacken its flame by equal measure;
Commentary
This passage covers this sequence: Bernard directs Dante's eyes upward to Mary, the queen and peaceful oriflamme at the rose's radiant center.
XXXI.112–114 Esser is kept ontological rather than flattened to spectacle.
XXXI.112–114 Esser is kept ontological rather than flattened to spectacle. Line 112: Esser is kept ontological rather than flattened to spectacle.
XXXI.112 Esser is kept ontological rather than flattened to spectacle. Esser is kept ontological rather than flattened to spectacle.
XXXI.115–117 Mary is introduced through the kingdom's subjection and devotion before she is visually described.
XXXI.115–117 Mary is introduced through the kingdom's subjection and devotion before she is visually described. Line 117: Mary is introduced through the kingdom's subjection and devotion before she is visually described.
XXXI.117 Mary is introduced through the kingdom's subjection and devotion before she is visually described. Mary is introduced through the kingdom's subjection and devotion before she is visually described.
XXXI.118–120 The dawn comparison prepares Mary's brightness at the rose's height.
XXXI.118–120 The dawn comparison prepares Mary's brightness at the rose's height. Line 120: The dawn comparison prepares Mary's brightness at the rose's height.
XXXI.120 The dawn comparison prepares Mary's brightness at the rose's height. The dawn comparison prepares Mary's brightness at the rose's height.
XXXI.121–123 The journey's ascent is now performed by sight within the rose.
XXXI.121–123 The journey's ascent is now performed by sight within the rose. Line 122: The journey's ascent is now performed by sight within the rose.
XXXI.122 The journey's ascent is now performed by sight within the rose. The journey's ascent is now performed by sight within the rose.
XXXI.124–126 The shaft is the pole of the sun-chariot associated with Phaethon.
XXXI.124–126 The shaft is the pole of the sun-chariot associated with Phaethon. Line 124: The shaft is the pole of the sun-chariot associated with Phaethon.
XXXI.124 The shaft is the pole of the sun-chariot associated with Phaethon. The shaft is the pole of the sun-chariot associated with Phaethon.
XXXI.127–129 The martial standard term is transformed into a peaceful Marian center.
XXXI.127–129 The martial standard term is transformed into a peaceful Marian center. Line 127: The martial standard term is transformed into a peaceful Marian center.
XXXI.127 The martial standard term is transformed into a peaceful Marian center. The martial standard term is transformed into a peaceful Marian center.
The festive angels surround Mary's beauty, and Bernard's gaze increases Dante's ardor XXXI.130–142
130e a quel mezzo, con le penne sparte,
vid’ io più di mille angeli festanti,
ciascun distinto di fulgore e d’arte.
Vidi a lor giochi quivi e a lor canti
ridere una bellezza, che letizia
135era ne li occhi a tutti li altri santi;
e s’io avessi in dir tanta divizia
quanta ad imaginar, non ardirei
lo minimo tentar di sua delizia.
Bernardo, come vide li occhi miei
140nel caldo suo caler fissi e attenti,
li suoi con tanto affetto volse a lei,
che ’ miei di rimirar fé più ardenti.
130and at that center, with wings spread,
I saw more than a thousand festive angels,
each distinct in radiance and in art.
There, at their play and at their songs, I saw
a beauty smile, which was gladness
135in the eyes of all the other saints;
and if in speech I had as much wealth
as in imagining, I would not dare
to attempt the least of her delight.
Bernard, when he saw my eyes
140fixed and attentive on his burning love,
turned his own to her with such affection
that he made mine more ardent to look again.
Commentary
This passage covers this sequence: The festive angels surround Mary's beauty, and Bernard's gaze increases Dante's ardor.
XXXI.130–132 The angels are individually distinct, not an undifferentiated radiance.
XXXI.130–132 The angels are individually distinct, not an undifferentiated radiance. Line 132: The angels are individually distinct, not an undifferentiated radiance.
XXXI.132 The angels are individually distinct, not an undifferentiated radiance. The angels are individually distinct, not an undifferentiated radiance.
XXXI.133–135 The beauty is Mary, named by role and radiance rather than by proper name.
XXXI.133–135 The beauty is Mary, named by role and radiance rather than by proper name. Line 134: The beauty is Mary, named by role and radiance rather than by proper name.
XXXI.134 The beauty is Mary, named by role and radiance rather than by proper name. The beauty is Mary, named by role and radiance rather than by proper name.
XXXI.136–138 The poetic-defeat motif now attaches to Mary's delight.
XXXI.136–138 The poetic-defeat motif now attaches to Mary's delight. Line 138: The poetic-defeat motif now attaches to Mary's delight.
XXXI.138 The poetic-defeat motif now attaches to Mary's delight. The poetic-defeat motif now attaches to Mary's delight.
XXXI.139–141 Caldo suo caler is rendered as Bernard's fervent Marian concern rather than as physical heat.
XXXI.139–141 Caldo suo caler is rendered as Bernard's fervent Marian concern rather than as physical heat. Line 140: Caldo suo caler is rendered as Bernard's fervent Marian concern rather than as physical heat.
XXXI.140 Caldo suo caler is rendered as Bernard's fervent Marian concern rather than as physical heat. Caldo suo caler is rendered as Bernard's fervent Marian concern rather than as physical heat.
XXXI.142 The canto ends by intensifying Dante's desire for the Marian and then divine gaze. The canto ends by intensifying Dante's desire for the Marian and then divine gaze.