Paradiso, Canto 6
Dante Alighieri · Italian original · new English translation and commentary by Text Atlas
Overview
Paradiso VI is Justinian's uninterrupted answer from Mercury. He identifies himself as the former Caesar and the saved Justinian, recounts his correction from belief in one nature in Christ, and names his law code as a grace-inspired simplification of what was excessive and vain. Because his identity invokes the Roman Eagle, he must add its providential history: from Aeneas and Pallas through Alba, Rome's kings and republic, Caesar, Augustus, Tiberius, Titus, and Charlemagne. The sacred public sign becomes the measure by which both Guelph opposition and Ghibelline appropriation are condemned. Justinian then explains Mercury as the sphere of good active spirits whose desire for honor and fame made the rays of true love rise less vividly, though living Justice sweetens every rank into harmony. He closes with Romeo of Villeneuve, whose great public service to Raymond Berenger was repaid by suspicion, exile-like poverty, and only insufficient praise.
Narrative arc
- Justinian identifies himself, his corrected Christology, his legal work, and Belisarius as Heaven-supported general
- Justinian turns from identity to the necessary addition: the sacred authority of the imperial Eagle
- The Eagle moves through Alba, Rome's monarchy and republic, and the wars that establish Roman fame
- Caesar and Augustus carry the Eagle through civil war, empire, and the peace before Christ
- Tiberius, Titus, and Charlemagne reveal the Eagle's providential role in justice, vengeance, and Church defense
- Justinian rebukes Guelph and Ghibelline misuse of the public imperial sign
- Mercury is explained as the sphere of active souls whose good was bent by honor and fame but harmonized by living Justice
- Justinian closes with Romeo of Villeneuve, whose faithful public service was repaid with suspicion and poverty
Central themes
- empire
- love
- providence
Justinian identifies himself, his corrected Christology, his legal work, and Belisarius as Heaven-supported general VI.1–27
1«Poscia che Costantin l’aquila volse
contr’ al corso del ciel, ch’ella seguio
dietro a l’antico che Lavina tolse,
cento e cent’ anni e più l’uccel di Dio
5ne lo stremo d’Europa si ritenne,
vicino a’ monti de’ quai prima uscìo;
e sotto l’ombra de le sacre penne
governò ’l mondo lì di mano in mano,
e, sì cangiando, in su la mia pervenne.
10Cesare fui e son Iustinïano,
che, per voler del primo amor ch’i’ sento,
d’entro le leggi trassi il troppo e ’l vano.
E prima ch’io a l’ovra fossi attento,
una natura in Cristo esser, non piùe,
15credea, e di tal fede era contento;
ma ’l benedetto Agapito, che fue
sommo pastore, a la fede sincera
mi dirizzò con le parole sue.
Io li credetti; e ciò che ’n sua fede era,
20vegg’ io or chiaro sì, come tu vedi
ogni contradizione e falsa e vera.
Tosto che con la Chiesa mossi i piedi,
a Dio per grazia piacque di spirarmi
l’alto lavoro, e tutto ’n lui mi diedi;
25e al mio Belisar commendai l’armi,
cui la destra del ciel fu sì congiunta,
che segno fu ch’i’ dovessi posarmi.
1"After Constantine turned the Eagle
against the course of heaven, which it had followed
behind the ancient one who took Lavinia,
for two hundred years and more the bird of God
5held itself at Europe's farthest edge,
near the mountains from which it first came forth;
and under the shadow of the sacred feathers
it governed the world there from hand to hand,
and, changing so, came upon mine.
10Caesar I was, and I am Justinian,
who, by the will of the first Love that I feel,
drew from within the laws the excess and the vain.
And before I was intent on that work,
I believed there was one nature in Christ, no more,
15and with such faith I was content;
but blessed Agapetus, who was
supreme shepherd, to sincere faith
directed me with his words.
I believed him; and what was in his faith
20I now see so clearly, as you see
every contradiction to be both false and true.
As soon as with the Church I moved my feet,
it pleased God by grace to breathe into me
the high work, and I gave myself wholly to him;
25and to my Belisarius I entrusted the arms,
with whom the right hand of Heaven was so joined
that it was a sign I should take my rest.
Commentary
The opening is a compressed imperial autobiography: Constantine reverses the Eagle eastward, Justinian distinguishes his earthly office from his saved identity, Agapetus corrects his belief about Christ, and the legal work follows as a grace-inspired task.
VI.1–3 The Eagle is the Roman imperial standard, treated throughout the canto as both emblem and providential bird. Took Lavinia means took her in marriage; the line points back to Aeneas and the westward Trojan-Roman transfer.
VI.1–3 The Eagle is the Roman imperial standard, treated throughout the canto as both emblem and providential bird. Line 1: The Eagle is the Roman imperial standard, treated throughout the canto as both emblem and providential bird. Line 3: Took Lavinia means took her in marriage; the line points back to Aeneas and the westward Trojan-Roman transfer.
VI.1 The Eagle is the Roman imperial standard, treated throughout the canto as both emblem and providential bird. The Eagle is the Roman imperial standard, treated throughout the canto as both emblem and providential bird.
VI.3 Took Lavinia means took her in marriage; the line points back to Aeneas and the westward Trojan-Roman transfer. Took Lavinia means took her in marriage; the line points back to Aeneas and the westward Trojan-Roman transfer.
VI.10–12 The past/present contrast keeps earthly office distinct from the saved soul's personal identity. Justinian identifies his law code as removing what was excessive or vain from Roman law.
VI.10–12 The past/present contrast keeps earthly office distinct from the saved soul's personal identity. Line 10: The past/present contrast keeps earthly office distinct from the saved soul's personal identity. Line 12: Justinian identifies his law code as removing what was excessive or vain from Roman law.
VI.10 The past/present contrast keeps earthly office distinct from the saved soul's personal identity. The past/present contrast keeps earthly office distinct from the saved soul's personal identity.
VI.12 Justinian identifies his law code as removing what was excessive or vain from Roman law. Justinian identifies his law code as removing what was excessive or vain from Roman law.
VI.13–15 The canto follows Dante's source tradition in presenting Justinian as corrected from Monophysite belief.
VI.13–15 The canto follows Dante's source tradition in presenting Justinian as corrected from Monophysite belief. Line 14: The canto follows Dante's source tradition in presenting Justinian as corrected from Monophysite belief.
VI.14 The canto follows Dante's source tradition in presenting Justinian as corrected from Monophysite belief. The canto follows Dante's source tradition in presenting Justinian as corrected from Monophysite belief.
VI.19–21 The line refers to the logical law of contradiction: of contradictory propositions, one is false and one true.
VI.19–21 The line refers to the logical law of contradiction: of contradictory propositions, one is false and one true. Line 21: The line refers to the logical law of contradiction: of contradictory propositions, one is false and one true.
VI.21 The line refers to the logical law of contradiction: of contradictory propositions, one is false and one true. The line refers to the logical law of contradiction: of contradictory propositions, one is false and one true.
VI.25–27 Belisarius' military success is read as Heaven's sign that Justinian should devote himself to the legal work.
VI.25–27 Belisarius' military success is read as Heaven's sign that Justinian should devote himself to the legal work. Line 27: Belisarius' military success is read as Heaven's sign that Justinian should devote himself to the legal work.
VI.27 Belisarius' military success is read as Heaven's sign that Justinian should devote himself to the legal work. Belisarius' military success is read as Heaven's sign that Justinian should devote himself to the legal work.
Justinian turns from identity to the necessary addition: the sacred authority of the imperial Eagle VI.28–36
28Or qui a la question prima s’appunta
la mia risposta; ma sua condizione
30mi stringe a seguitare alcuna giunta,
perché tu veggi con quanta ragione
si move contr’ al sacrosanto segno
e chi ’l s’appropria e chi a lui s’oppone.
Vedi quanta virtù l’ha fatto degno
35di reverenza; e cominciò da l’ora
che Pallante morì per darli regno.
28Now here my answer to the first question
comes to its point; but its condition
30constrains me to follow with some addition,
so that you may see with how much reason
there move against the sacrosanct sign
both those who appropriate it and those who oppose it.
See how much power has made it worthy
35of reverence; and it began from the hour
when Pallas died to give it a kingdom.
Commentary
The answer is complete in one sense but compelled into an addition by the sacred sign itself. The phrase "with how much reason" is ironic because both appropriation and opposition will be condemned.
VI.31–33 With how much reason is sharply ironic; the following lines condemn both partisan appropriation and opposition.
VI.31–33 With how much reason is sharply ironic; the following lines condemn both partisan appropriation and opposition. Line 31: With how much reason is sharply ironic; the following lines condemn both partisan appropriation and opposition.
VI.31 With how much reason is sharply ironic; the following lines condemn both partisan appropriation and opposition. With how much reason is sharply ironic; the following lines condemn both partisan appropriation and opposition.
VI.34–36 Pallas, Evander's son in the Aeneid, dies fighting for Aeneas; Dante makes his death part of the Eagle's providential title.
VI.34–36 Pallas, Evander's son in the Aeneid, dies fighting for Aeneas; Dante makes his death part of the Eagle's providential title. Line 36: Pallas, Evander's son in the Aeneid, dies fighting for Aeneas; Dante makes his death part of the Eagle's providential title.
VI.36 Pallas, Evander's son in the Aeneid, dies fighting for Aeneas; Dante makes his death part of the Eagle's providential title. Pallas, Evander's son in the Aeneid, dies fighting for Aeneas; Dante makes his death part of the Eagle's providential title.
The Eagle moves through Alba, Rome's monarchy and republic, and the wars that establish Roman fame VI.37–54
37Tu sai ch’el fece in Alba sua dimora
per trecento anni e oltre, infino al fine
che i tre a’ tre pugnar per lui ancora.
40E sai ch’el fé dal mal de le Sabine
al dolor di Lucrezia in sette regi,
vincendo intorno le genti vicine.
Sai quel ch’el fé portato da li egregi
Romani incontro a Brenno, incontro a Pirro,
45incontro a li altri principi e collegi;
onde Torquato e Quinzio, che dal cirro
negletto fu nomato, i Deci e ’ Fabi
ebber la fama che volontier mirro.
Esso atterrò l’orgoglio de li Aràbi
50che di retro ad Anibale passaro
l’alpestre rocce, Po, di che tu labi.
Sott’ esso giovanetti trïunfaro
Scipïone e Pompeo; e a quel colle
sotto ’l qual tu nascesti parve amaro.
37You know that it made its dwelling in Alba
for three hundred years and more, until the end
when three fought three for it again.
40And you know what it did, from the wrong of the Sabines
to Lucretia's sorrow, under seven kings,
conquering the neighboring peoples round about.
You know what it did, carried by the excellent
Romans against Brennus, against Pyrrhus,
45against the other princes and allied powers;
from this Torquatus and Quinctius, named from his neglected
lock was named, the Decii and the Fabii
won the fame I gladly keep in myrrh.
It struck down the pride of the Arabs
50who, behind Hannibal, crossed
the Alpine rocks, Po, from which you glide.
Beneath it, young Scipio and Pompey
triumphed; and to that hill
beneath which you were born it seemed bitter.
Commentary
This passage covers this sequence: The Eagle moves through Alba, Rome's monarchy and republic, and the wars that establish Roman fame.
VI.37–39 The three against three are the Horatii and Curiatii, resolving the Alba-Rome conflict.
VI.37–39 The three against three are the Horatii and Curiatii, resolving the Alba-Rome conflict. Line 39: The three against three are the Horatii and Curiatii, resolving the Alba-Rome conflict.
VI.39 The three against three are the Horatii and Curiatii, resolving the Alba-Rome conflict. The three against three are the Horatii and Curiatii, resolving the Alba-Rome conflict.
VI.46–48 Mirro carries myrrh or embalming; the translation keeps fame as something reverently preserved, not merely reported.
VI.46–48 Mirro carries myrrh or embalming; the translation keeps fame as something reverently preserved, not merely reported. Line 48: Mirro carries myrrh or embalming; the translation keeps fame as something reverently preserved, not merely reported.
VI.48 Mirro carries myrrh or embalming; the translation keeps fame as something reverently preserved, not merely reported. Mirro carries myrrh or embalming; the translation keeps fame as something reverently preserved, not merely reported.
VI.49–51 Arabs names the Carthaginians anachronistically from Dante's medieval geography.
VI.49–51 Arabs names the Carthaginians anachronistically from Dante's medieval geography. Line 49: Arabs names the Carthaginians anachronistically from Dante's medieval geography.
VI.49 Arabs names the Carthaginians anachronistically from Dante's medieval geography. Arabs names the Carthaginians anachronistically from Dante's medieval geography.
VI.52–54 The hill is Fiesole, linked by legend to Rome's harsh victory near Florence.
VI.52–54 The hill is Fiesole, linked by legend to Rome's harsh victory near Florence. Line 54: The hill is Fiesole, linked by legend to Rome's harsh victory near Florence.
VI.54 The hill is Fiesole, linked by legend to Rome's harsh victory near Florence. The hill is Fiesole, linked by legend to Rome's harsh victory near Florence.
Caesar and Augustus carry the Eagle through civil war, empire, and the peace before Christ VI.55–81
55Poi, presso al tempo che tutto ’l ciel volle
redur lo mondo a suo modo sereno,
Cesare per voler di Roma il tolle.
E quel che fé da Varo infino a Reno,
Isara vide ed Era e vide Senna
60e ogne valle onde Rodano è pieno.
Quel che fé poi ch’elli uscì di Ravenna
e saltò Rubicon, fu di tal volo,
che nol seguiteria lingua né penna.
Inver’ la Spagna rivolse lo stuolo,
65poi ver’ Durazzo, e Farsalia percosse
sì ch’al Nil caldo si sentì del duolo.
Antandro e Simeonta, onde si mosse,
rivide e là dov’ Ettore si cuba;
e mal per Tolomeo poscia si scosse.
70Da indi scese folgorando a Iuba;
onde si volse nel vostro occidente,
ove sentia la pompeana tuba.
Di quel che fé col baiulo seguente,
Bruto con Cassio ne l’inferno latra,
75e Modena e Perugia fu dolente.
Piangene ancor la trista Cleopatra,
che, fuggendoli innanzi, dal colubro
la morte prese subitana e atra.
Con costui corse infino al lito rubro;
80con costui puose il mondo in tanta pace,
che fu serrato a Giano il suo delubro.
55Then, near the time when all heaven wished
to bring the world back to its serene order,
Caesar took it by the will of Rome.
And what it did from Var to Rhine,
the Isere saw, and the Saone, and Seine,
60and every valley from which the Rhone is filled.
What it did after it came out from Ravenna
and leaped the Rubicon was of such flight
that neither tongue nor pen could follow it.
Toward Spain it turned the host,
65then toward Durazzo, and struck Pharsalia
so that the pain was felt at the hot Nile.
Antandros and Simois, whence it set out,
it saw again, and where Hector lies;
and then it shook itself, ill for Ptolemy.
70From there it descended, lightning-like, on Juba;
then it turned into your West,
where it heard the Pompeian trumpet.
Of what it did with the next bearer,
Brutus with Cassius barks in Hell,
75and Modena and Perugia were grieved.
Sad Cleopatra still weeps for it,
who, fleeing before it, from the asp
took sudden and black death.
With this man it ran as far as the Red shore;
80with this man it set the world in such peace
that Janus' temple was shut.
Commentary
This passage covers this sequence: Caesar and Augustus carry the Eagle through civil war, empire, and the peace before Christ.
VI.58–60 Era is traditionally identified here with the Saone among the Gallic rivers witnessing Caesar's campaign.
VI.58–60 Era is traditionally identified here with the Saone among the Gallic rivers witnessing Caesar's campaign. Line 59: Era is traditionally identified here with the Saone among the Gallic rivers witnessing Caesar's campaign.
VI.59 Era is traditionally identified here with the Saone among the Gallic rivers witnessing Caesar's campaign. Era is traditionally identified here with the Saone among the Gallic rivers witnessing Caesar's campaign.
VI.67–69 The shaking is Caesar's Egyptian action after Pompey's murder; ill for Ptolemy keeps Dante's compressed judgment.
VI.67–69 The shaking is Caesar's Egyptian action after Pompey's murder; ill for Ptolemy keeps Dante's compressed judgment. Line 69: The shaking is Caesar's Egyptian action after Pompey's murder; ill for Ptolemy keeps Dante's compressed judgment.
VI.69 The shaking is Caesar's Egyptian action after Pompey's murder; ill for Ptolemy keeps Dante's compressed judgment. The shaking is Caesar's Egyptian action after Pompey's murder; ill for Ptolemy keeps Dante's compressed judgment.
VI.73–75 The next bearer is Augustus, carrying the Eagle after Julius Caesar.
VI.73–75 The next bearer is Augustus, carrying the Eagle after Julius Caesar. Line 73: The next bearer is Augustus, carrying the Eagle after Julius Caesar.
VI.73 The next bearer is Augustus, carrying the Eagle after Julius Caesar. The next bearer is Augustus, carrying the Eagle after Julius Caesar.
Tiberius, Titus, and Charlemagne reveal the Eagle's providential role in justice, vengeance, and Church defense VI.82–96
82Ma ciò che ’l segno che parlar mi face
fatto avea prima e poi era fatturo
per lo regno mortal ch’a lui soggiace,
85diventa in apparenza poco e scuro,
se in mano al terzo Cesare si mira
con occhio chiaro e con affetto puro;
ché la viva giustizia che mi spira,
li concedette, in mano a quel ch’i’ dico,
90gloria di far vendetta a la sua ira.
Or qui t’ammira in ciò ch’io ti replìco:
poscia con Tito a far vendetta corse
de la vendetta del peccato antico.
E quando il dente longobardo morse
95la Santa Chiesa, sotto le sue ali
Carlo Magno, vincendo, la soccorse.
82But what the sign that makes me speak
had done before, and afterward was to do,
through the mortal realm subject to it,
85becomes little and obscure in appearance
if, in the hand of the third Caesar, it is viewed
with clear eye and pure affection;
for the living Justice that inspires me
granted it, in the hand of the one I mean,
90the glory of making vengeance for His wrath.
Now here marvel at what I repeat to you:
afterward with Titus it ran to avenge
the vengeance of the ancient sin.
And when the Lombard tooth bit
95Holy Church, under its wings
Charlemagne, conquering, came to her aid.
Commentary
The Tiberius/Titus passage is the theological crux: Roman authority is implicated first in divinely permitted vengeance for Adamic sin and then in vengeance for that vengeance. The translation preserves the paradox for Paradiso VII rather than smoothing it away.
VI.88–90 His wrath refers to God's wrath against ancient sin, fulfilled under Tiberius in Christ's Passion.
VI.88–90 His wrath refers to God's wrath against ancient sin, fulfilled under Tiberius in Christ's Passion. Line 90: His wrath refers to God's wrath against ancient sin, fulfilled under Tiberius in Christ's Passion.
VI.90 His wrath refers to God's wrath against ancient sin, fulfilled under Tiberius in Christ's Passion. His wrath refers to God's wrath against ancient sin, fulfilled under Tiberius in Christ's Passion.
VI.91–93 The paradox of vengeance avenging vengeance is handed directly into Beatrice's explanation in Paradiso VII.
VI.91–93 The paradox of vengeance avenging vengeance is handed directly into Beatrice's explanation in Paradiso VII. Line 93: The paradox of vengeance avenging vengeance is handed directly into Beatrice's explanation in Paradiso VII.
VI.93 The paradox of vengeance avenging vengeance is handed directly into Beatrice's explanation in Paradiso VII. The paradox of vengeance avenging vengeance is handed directly into Beatrice's explanation in Paradiso VII.
Justinian rebukes Guelph and Ghibelline misuse of the public imperial sign VI.97–111
97Omai puoi giudicar di quei cotali
ch’io accusai di sopra e di lor falli,
che son cagion di tutti vostri mali.
100L’uno al pubblico segno i gigli gialli
oppone, e l’altro appropria quello a parte,
sì ch’è forte a veder chi più si falli.
Faccian li Ghibellin, faccian lor arte
sott’ altro segno, ché mal segue quello
105sempre chi la giustizia e lui diparte;
e non l’abbatta esto Carlo novello
coi Guelfi suoi, ma tema de li artigli
ch’a più alto leon trasser lo vello.
Molte fïate già pianser li figli
110per la colpa del padre, e non si creda
che Dio trasmuti l’armi per suoi gigli!
97Now you can judge those people
I accused above, and their faults,
which are the cause of all your evils.
100One opposes the yellow lilies
to the public sign, and the other appropriates it to a party,
so that it is hard to see who errs more.
Let the Ghibellines, let them practice their art
under another sign, for this one is always followed badly
105by anyone who separates justice from it;
and let this new Charles not strike it down
with his Guelphs, but let him fear the talons
that stripped the hide from a higher lion.
Many times already sons have wept
110for the father's fault; and let him not believe
that God will change His arms for his lilies!
Commentary
The rebuke addresses both Guelph opposition to the Eagle through the French lilies and Ghibelline factional appropriation of it. The translation keeps "public sign" and "party" explicit so the imperial emblem is not reduced to either faction.
VI.100–102 The yellow lilies are the French/Angevin fleur-de-lis opposed by Guelph politics to the imperial sign.
VI.100–102 The yellow lilies are the French/Angevin fleur-de-lis opposed by Guelph politics to the imperial sign. Line 100: The yellow lilies are the French/Angevin fleur-de-lis opposed by Guelph politics to the imperial sign.
VI.100 The yellow lilies are the French/Angevin fleur-de-lis opposed by Guelph politics to the imperial sign. The yellow lilies are the French/Angevin fleur-de-lis opposed by Guelph politics to the imperial sign.
VI.103–105 The rebuke is aimed at Ghibellines who sever the Eagle from justice by making it a factional emblem.
VI.103–105 The rebuke is aimed at Ghibellines who sever the Eagle from justice by making it a factional emblem. Line 105: The rebuke is aimed at Ghibellines who sever the Eagle from justice by making it a factional emblem.
VI.105 The rebuke is aimed at Ghibellines who sever the Eagle from justice by making it a factional emblem. The rebuke is aimed at Ghibellines who sever the Eagle from justice by making it a factional emblem.
VI.106–108 The higher lion is a stronger power previously overcome by the imperial Eagle; Charles should fear the same talons.
VI.106–108 The higher lion is a stronger power previously overcome by the imperial Eagle; Charles should fear the same talons. Line 108: The higher lion is a stronger power previously overcome by the imperial Eagle; Charles should fear the same talons.
VI.108 The higher lion is a stronger power previously overcome by the imperial Eagle; Charles should fear the same talons. The higher lion is a stronger power previously overcome by the imperial Eagle; Charles should fear the same talons.
Mercury is explained as the sphere of active souls whose good was bent by honor and fame but harmonized by living Justice VI.112–126
112Questa picciola stella si correda
d’i buoni spirti che son stati attivi
perché onore e fama li succeda:
115e quando li disiri poggian quivi,
sì disvïando, pur convien che i raggi
del vero amore in sù poggin men vivi.
Ma nel commensurar d’i nostri gaggi
col merto è parte di nostra letizia,
120perché non li vedem minor né maggi.
Quindi addolcisce la viva giustizia
in noi l’affetto sì, che non si puote
torcer già mai ad alcuna nequizia.
Diverse voci fanno dolci note;
125così diversi scanni in nostra vita
rendon dolce armonia tra queste rote.
112This little star is adorned
with good spirits who were active
so that honor and fame might come after them;
115and when desires climb to this,
so straying, it must be that the rays
of true love climb upward less alive.
But in measuring our rewards
with merit lies part of our gladness,
120because we do not see them less or more.
Therefore living Justice sweetens
the affection in us so that it can
never be twisted toward any wickedness.
Different voices make sweet notes;
125so different seats in our life
make sweet harmony among these wheels.
Commentary
The Mercury explanation continues Paradiso desire and light language: active merit is real, but desire for honor and fame bends the rays of true love upward less vividly. Living Justice turns different rewards and ranks into harmony rather than resentment.
VI.112–114 This little star is Mercury, whose souls were active in good works but bent by honor and fame.
VI.112–114 This little star is Mercury, whose souls were active in good works but bent by honor and fame. Line 112: This little star is Mercury, whose souls were active in good works but bent by honor and fame.
VI.112 This little star is Mercury, whose souls were active in good works but bent by honor and fame. This little star is Mercury, whose souls were active in good works but bent by honor and fame.
VI.115–117 The diminished upward rays mark a saved but imperfectly ordered desire for earthly honor.
VI.115–117 The diminished upward rays mark a saved but imperfectly ordered desire for earthly honor. Line 117: The diminished upward rays mark a saved but imperfectly ordered desire for earthly honor.
VI.117 The diminished upward rays mark a saved but imperfectly ordered desire for earthly honor. The diminished upward rays mark a saved but imperfectly ordered desire for earthly honor.
VI.124–126 Different heavenly ranks make harmony rather than rivalry, continuing Paradiso III's blessed concord.
VI.124–126 Different heavenly ranks make harmony rather than rivalry, continuing Paradiso III's blessed concord. Line 126: Different heavenly ranks make harmony rather than rivalry, continuing Paradiso III's blessed concord.
VI.126 Different heavenly ranks make harmony rather than rivalry, continuing Paradiso III's blessed concord. Different heavenly ranks make harmony rather than rivalry, continuing Paradiso III's blessed concord.
Justinian closes with Romeo of Villeneuve, whose faithful public service was repaid with suspicion and poverty VI.127–142
127E dentro a la presente margarita
luce la luce di Romeo, di cui
fu l’ovra grande e bella mal gradita.
130Ma i Provenzai che fecer contra lui
non hanno riso; e però mal cammina
qual si fa danno del ben fare altrui.
Quattro figlie ebbe, e ciascuna reina,
Ramondo Beringhiere, e ciò li fece
135Romeo, persona umìle e peregrina.
E poi il mosser le parole biece
a dimandar ragione a questo giusto,
che li assegnò sette e cinque per diece,
indi partissi povero e vetusto;
140e se ’l mondo sapesse il cor ch’elli ebbe
mendicando sua vita a frusto a frusto,
assai lo loda, e più lo loderebbe».
127And within the present pearl
shines the light of Romeo, whose
great and beautiful work was poorly thanked.
130But the Provencals who acted against him
have not laughed; and therefore one walks a bad road
who makes harm for himself from another's good work.
Four daughters Raymond Berenger had, and each a queen,
and this Romeo did for him,
135a humble, pilgrim stranger.
And then crooked words moved him
to ask this just man for an account,
who returned him seven and five for ten;
then he departed poor and old;
140and if the world knew the heart he had
begging his life crust by crust,
it praises him much, and would praise him more."
Commentary
The Romeo close is a concrete counterexample to envy at another's good work. Raymond Berenger, the four queens, the hostile Provencals, the twelve-for-ten accounting, and Romeo's poor departure are the essential story points.
VI.127–129 Pearl recalls Mercury as a luminous sphere containing and revealing its souls.
VI.127–129 Pearl recalls Mercury as a luminous sphere containing and revealing its souls. Line 127: Pearl recalls Mercury as a luminous sphere containing and revealing its souls.
VI.127 Pearl recalls Mercury as a luminous sphere containing and revealing its souls. Pearl recalls Mercury as a luminous sphere containing and revealing its souls.
VI.133–135 Peregrina can mean foreign, pilgrim, or wandering; the translation keeps the pilgrim pressure of Romeo's name and story.
VI.133–135 Peregrina can mean foreign, pilgrim, or wandering; the translation keeps the pilgrim pressure of Romeo's name and story. Line 135: Peregrina can mean foreign, pilgrim, or wandering; the translation keeps the pilgrim pressure of Romeo's name and story.
VI.135 Peregrina can mean foreign, pilgrim, or wandering; the translation keeps the pilgrim pressure of Romeo's name and story. Peregrina can mean foreign, pilgrim, or wandering; the translation keeps the pilgrim pressure of Romeo's name and story.
VI.136–138 Seven and five for ten means Romeo returned twelve for ten: exemplary administration answered by suspicion.
VI.136–138 Seven and five for ten means Romeo returned twelve for ten: exemplary administration answered by suspicion. Line 138: Seven and five for ten means Romeo returned twelve for ten: exemplary administration answered by suspicion.
VI.138 Seven and five for ten means Romeo returned twelve for ten: exemplary administration answered by suspicion. Seven and five for ten means Romeo returned twelve for ten: exemplary administration answered by suspicion.
VI.139–141 Crust by crust keeps the literal poverty of frusto a frusto and the pathos of Romeo's exile-like departure.
VI.139–141 Crust by crust keeps the literal poverty of frusto a frusto and the pathos of Romeo's exile-like departure. Line 141: Crust by crust keeps the literal poverty of frusto a frusto and the pathos of Romeo's exile-like departure.
VI.141 Crust by crust keeps the literal poverty of frusto a frusto and the pathos of Romeo's exile-like departure. Crust by crust keeps the literal poverty of frusto a frusto and the pathos of Romeo's exile-like departure.