Paradiso, Canto 8
Dante Alighieri · Italian original · new English translation and commentary by Text Atlas
Overview
Paradiso VIII opens in Venus by rejecting the ancient error that the lovely Cyprian herself radiated irresistible mad love. Dante enters the sphere without sensing the ascent, recognizing it by Beatrice's increased beauty, and sees lights moving within light according to their inward vision. One spirit, Charles Martel, leaves the circling begun among the Seraphim and greets Dante with loving readiness, recalling Dante's canzone to the movers of the third heaven. After Dante asks who he is, Charles reveals his brief earthly life, his affection for Dante, and the kingdoms he should have inherited: Provence, Naples, Hungary, and Sicily. His account turns bitter around bad Angevin rule, the Sicilian Vespers, and his brother Robert, whose Catalan officials and avarice burden the realm. Dante asks how bitter can come from sweet seed. Charles answers through providence: God orders the heavens as powers serving foreseen ends; society needs citizens with diverse offices; therefore the roots of human capacities must differ. Heavenly influence makes one person a lawgiver, another a warrior, king, or artist, and prevents generated nature from simply copying its parents. The canto closes with the corollary that nature fails when placed in discordant fortune: the world twists some born for the sword into religion and makes kings of those fit for sermons, so its track strays off the road.
Narrative arc
- The Venus proem corrects ancient worship of the Cyprian, Dione, Cupid, and mad love
- Dante enters Venus by Beatrice's beauty and sees joyful lights moving according to inward vision
- Charles Martel greets Dante through love, song, short life, and unrealized friendship
- Charles maps his lost inheritances and warns against bad Angevin rule, Catalan greed, and Robert's burdened bark
- Dante asks how bitter comes from sweet seed, and Charles begins a providential account of heavenly influence and civic life
- Charles explains differentiated talents, heredity overridden by providence, and vocation misassigned by human society
Central themes
- love
- providence
The Venus proem corrects ancient worship of the Cyprian, Dione, Cupid, and mad love VIII.1–12
1Solea creder lo mondo in suo periclo
che la bella Ciprigna il folle amore
raggiasse, volta nel terzo epiciclo;
per che non pur a lei faceano onore
5di sacrificio e di votivo grido
le genti antiche ne l’antico errore;
ma Dïone onoravano e Cupido,
quella per madre sua, questo per figlio,
e dicean ch’el sedette in grembo a Dido;
10e da costei ond’ io principio piglio
pigliavano il vocabol de la stella
che ’l sol vagheggia or da coppa or da ciglio.
1The world once used, to its peril, to believe
that the lovely Cyprian rayed out mad love
as she turned in the third epicycle;
and therefore the ancient peoples, in ancient error,
5paid honor not only to her with sacrifice
and votive cries,
but honored Dione and Cupid too,
the one as her mother, the other as her son,
and said he had sat in Dido's lap;
10and from her, from whom I take my beginning,
they took the name of the star
that woos the sun, now from behind, now from before.
Commentary
The opening corrects pagan Venus worship without rejecting ordered planetary influence. The translation keeps Cyprian, Dione, Cupid, Dido, epicycle, and Venus as morning/evening star visible without over-explaining the mythology in the line text.
VIII.1–3 The opening marks pagan Venus worship as perilous error before redirecting planetary influence into providential order. Epicycle is retained as Dante's Ptolemaic term for Venus's apparent motion.
VIII.1–3 The opening marks pagan Venus worship as perilous error before redirecting planetary influence into providential order. Line 1: The opening marks pagan Venus worship as perilous error before redirecting planetary influence into providential order. Line 3: Epicycle is retained as Dante's Ptolemaic term for Venus's apparent motion.
VIII.1 The opening marks pagan Venus worship as perilous error before redirecting planetary influence into providential order. The opening marks pagan Venus worship as perilous error before redirecting planetary influence into providential order.
VIII.3 Epicycle is retained as Dante's Ptolemaic term for Venus's apparent motion. Epicycle is retained as Dante's Ptolemaic term for Venus's apparent motion.
VIII.7–9 Cupid in Dido's lap recalls Aeneid 1 and links false love mythology to the Venus sphere.
VIII.7–9 Cupid in Dido's lap recalls Aeneid 1 and links false love mythology to the Venus sphere. Line 9: Cupid in Dido's lap recalls Aeneid 1 and links false love mythology to the Venus sphere.
VIII.9 Cupid in Dido's lap recalls Aeneid 1 and links false love mythology to the Venus sphere. Cupid in Dido's lap recalls Aeneid 1 and links false love mythology to the Venus sphere.
VIII.10–12 The line describes Venus as morning or evening star, near the sun from either side.
VIII.10–12 The line describes Venus as morning or evening star, near the sun from either side. Line 12: The line describes Venus as morning or evening star, near the sun from either side.
VIII.12 The line describes Venus as morning or evening star, near the sun from either side. The line describes Venus as morning or evening star, near the sun from either side.
Dante enters Venus by Beatrice's beauty and sees joyful lights moving according to inward vision VIII.13–30
13Io non m’accorsi del salire in ella;
ma d’esservi entro mi fé assai fede
15la donna mia ch’i’ vidi far più bella.
E come in fiamma favilla si vede,
e come in voce voce si discerne,
quand’ una è ferma e altra va e riede,
vid’ io in essa luce altre lucerne
20muoversi in giro più e men correnti,
al modo, credo, di lor viste interne.
Di fredda nube non disceser venti,
o visibili o no, tanto festini,
che non paressero impediti e lenti
25a chi avesse quei lumi divini
veduti a noi venir, lasciando il giro
pria cominciato in li alti Serafini;
e dentro a quei che più innanzi appariro
sonava ‘Osanna’ sì, che unque poi
30di rïudir non fui sanza disiro.
13I did not notice the ascent into it;
but my lady gave me full assurance
15that I was within it, when I saw her grow more beautiful.
And as a spark is seen within a flame,
and as a voice is discerned within a voice
when one is steady and the other goes and returns,
so in that light I saw other lamps
20moving in circles, more and less swift,
in measure, I believe, of their inward sight.
From a cold cloud no winds ever descended,
visible or not, so quickly
that they would not seem hampered and slow
25to one who had seen those divine lights
come toward us, leaving the circling
first begun among the high Seraphim;
and within those who appeared furthest forward
Hosanna sounded so that never since
30have I been without desire to hear it again.
Commentary
Ascent into Venus is perceived through Beatrice's increased beauty and through lights whose movement follows inward vision. The Hosanna desire continues Paradiso's ordered desire and joy vocabulary.
VIII.19–21 The varying speed of the lights is tied to their inward vision, not to disorder.
VIII.19–21 The varying speed of the lights is tied to their inward vision, not to disorder. Line 21: The varying speed of the lights is tied to their inward vision, not to disorder.
VIII.21 The varying speed of the lights is tied to their inward vision, not to disorder. The varying speed of the lights is tied to their inward vision, not to disorder.
VIII.25–27 The blessed descend from the universal heavenly circling; the Seraphim stand for the highest angelic order.
VIII.25–27 The blessed descend from the universal heavenly circling; the Seraphim stand for the highest angelic order. Line 27: The blessed descend from the universal heavenly circling; the Seraphim stand for the highest angelic order.
VIII.27 The blessed descend from the universal heavenly circling; the Seraphim stand for the highest angelic order. The blessed descend from the universal heavenly circling; the Seraphim stand for the highest angelic order.
Charles Martel greets Dante through love, song, short life, and unrealized friendship VIII.31–57
31Indi si fece l’un più presso a noi
e solo incominciò: «Tutti sem presti
al tuo piacer, perché di noi ti gioi.
Noi ci volgiam coi principi celesti
35d’un giro e d’un girare e d’una sete,
ai quali tu del mondo già dicesti:
‘Voi che ’ntendendo il terzo ciel movete’;
e sem sì pien d’amor, che, per piacerti,
non fia men dolce un poco di quïete».
40Poscia che li occhi miei si fuoro offerti
a la mia donna reverenti, ed essa
fatti li avea di sé contenti e certi,
rivolsersi a la luce che promessa
tanto s’avea, e «Deh, chi siete?» fue
45la voce mia di grande affetto impressa.
E quanta e quale vid’ io lei far piùe
per allegrezza nova che s’accrebbe,
quando parlai, a l’allegrezze sue!
Così fatta, mi disse: «Il mondo m’ebbe
50giù poco tempo; e se più fosse stato,
molto sarà di mal, che non sarebbe.
La mia letizia mi ti tien celato
che mi raggia dintorno e mi nasconde
quasi animal di sua seta fasciato.
55Assai m’amasti, e avesti ben onde;
che s’io fossi giù stato, io ti mostrava
di mio amor più oltre che le fronde.
31Then one drew nearer to us
and alone began: "We are all ready
for your pleasure, so that you may rejoice in us.
We turn with the heavenly Principalities
35in one circle, one circling, and one thirst,
to whom, already in the world, you said:
'You who, understanding, move the third heaven';
and we are so full of love that, to please you,
a little quiet will be no less sweet."
40After my eyes had offered themselves
reverently to my lady, and she
had made them content and certain of herself,
they turned back to the light that had promised
so much of itself, and "Ah, who are you?"
45was my voice, stamped with great affection.
And how great, and how much greater, I saw it become
through a new gladness that was added,
when I spoke, to its gladnesses!
Thus made, it said to me: "The world had me
50below for a little time; and had it been more,
much evil that will be would not be.
My joy keeps me hidden from you,
for it rays around me and conceals me
like a creature wrapped in its own silk.
55You loved me greatly, and you had good cause;
for if I had stayed below, I would have shown you
more than the leaves of my love.
Commentary
Charles Martel identifies himself indirectly through Dante's canzone, affectionate recognition, short earthly life, and unrealized friendship. The silk and leaves imagery keeps joy, concealment, and unripe earthly promise together.
VIII.37–39 The quoted incipit is Dante's own canzone Voi che 'ntendendo il terzo ciel movete.
VIII.37–39 The quoted incipit is Dante's own canzone Voi che 'ntendendo il terzo ciel movete. Line 37: The quoted incipit is Dante's own canzone Voi che 'ntendendo il terzo ciel movete.
VIII.37 The quoted incipit is Dante's own canzone Voi che 'ntendendo il terzo ciel movete. The quoted incipit is Dante's own canzone Voi che 'ntendendo il terzo ciel movete.
VIII.52–54 The silk image identifies Charles Martel as hidden by the radiance of his own joy.
VIII.52–54 The silk image identifies Charles Martel as hidden by the radiance of his own joy. Line 54: The silk image identifies Charles Martel as hidden by the radiance of his own joy.
VIII.54 The silk image identifies Charles Martel as hidden by the radiance of his own joy. The silk image identifies Charles Martel as hidden by the radiance of his own joy.
VIII.55–57 The leaves/fruit image frames Dante's thwarted friendship with Charles as an unrealized earthly fruitfulness.
VIII.55–57 The leaves/fruit image frames Dante's thwarted friendship with Charles as an unrealized earthly fruitfulness. Line 57: The leaves/fruit image frames Dante's thwarted friendship with Charles as an unrealized earthly fruitfulness.
VIII.57 The leaves/fruit image frames Dante's thwarted friendship with Charles as an unrealized earthly fruitfulness. The leaves/fruit image frames Dante's thwarted friendship with Charles as an unrealized earthly fruitfulness.
Charles maps his lost inheritances and warns against bad Angevin rule, Catalan greed, and Robert's burdened bark VIII.58–84
58Quella sinistra riva che si lava
di Rodano poi ch’è misto con Sorga,
60per suo segnore a tempo m’aspettava,
e quel corno d’Ausonia che s’imborga
di Bari e di Gaeta e di Catona,
da ove Tronto e Verde in mare sgorga.
Fulgeami già in fronte la corona
65di quella terra che ’l Danubio riga
poi che le ripe tedesche abbandona.
E la bella Trinacria, che caliga
tra Pachino e Peloro, sopra ’l golfo
che riceve da Euro maggior briga,
70non per Tifeo ma per nascente solfo,
attesi avrebbe li suoi regi ancora,
nati per me di Carlo e di Ridolfo,
se mala segnoria, che sempre accora
li popoli suggetti, non avesse
75mosso Palermo a gridar: “Mora, mora!”.
E se mio frate questo antivedesse,
l’avara povertà di Catalogna
già fuggeria, perché non li offendesse;
ché veramente proveder bisogna
80per lui, o per altrui, sì ch’a sua barca
carcata più d’incarco non si pogna.
La sua natura, che di larga parca
discese, avria mestier di tal milizia
che non curasse di mettere in arca».
58That left bank which is washed
by Rhone after it has mingled with Sorgue
60awaited me in due time as its lord,
and that horn of Ausonia, fortified
by Bari and Gaeta and Catona,
from where Tronto and Verde pour into the sea.
Already on my brow there shone the crown
65of that land which the Danube waters
after it leaves the German banks.
And beautiful Trinacria, which grows dark
between Pachino and Peloro, above the gulf
that receives greatest trouble from Eurus,
70not from Typhoeus but from rising sulfur,
would still have awaited its kings,
born through me of Charles and Rudolph,
if evil lordship, which always grieves
subject peoples, had not moved
75Palermo to cry: "Die, die!"
And if my brother foresaw this,
he would already flee the greedy poverty
of Catalonia, so that it might not harm him;
for truly provision must be made
80by him, or by another, so that on his bark,
already laden, more load is not placed.
His nature, sparing though it descended
from a liberal one, would need such service
as would not care to put wealth in a chest."
Commentary
The passage draws the dynastic map: Provence, Naples, Hungary, and Sicily, with Palermo's Sicilian Vespers cry and Robert of Anjou's Catalan officials sharpening the political warning.
VIII.58–60 Provence is identified by the Rhone after its junction with the Sorgue.
VIII.58–60 Provence is identified by the Rhone after its junction with the Sorgue. Line 60: Provence is identified by the Rhone after its junction with the Sorgue.
VIII.60 Provence is identified by the Rhone after its junction with the Sorgue. Provence is identified by the Rhone after its junction with the Sorgue.
VIII.61–63 The horn of Ausonia is the Kingdom of Naples, triangulated by cities and rivers.
VIII.61–63 The horn of Ausonia is the Kingdom of Naples, triangulated by cities and rivers. Line 63: The horn of Ausonia is the Kingdom of Naples, triangulated by cities and rivers.
VIII.63 The horn of Ausonia is the Kingdom of Naples, triangulated by cities and rivers. The horn of Ausonia is the Kingdom of Naples, triangulated by cities and rivers.
VIII.64–66 Hungary is the one crown Charles Martel actually held.
VIII.64–66 Hungary is the one crown Charles Martel actually held. Line 66: Hungary is the one crown Charles Martel actually held.
VIII.66 Hungary is the one crown Charles Martel actually held. Hungary is the one crown Charles Martel actually held.
VIII.70–72 Dante rejects the mythic Typhoeus explanation for Etna's smoke in favor of natural sulfur.
VIII.70–72 Dante rejects the mythic Typhoeus explanation for Etna's smoke in favor of natural sulfur. Line 70: Dante rejects the mythic Typhoeus explanation for Etna's smoke in favor of natural sulfur.
VIII.70 Dante rejects the mythic Typhoeus explanation for Etna's smoke in favor of natural sulfur. Dante rejects the mythic Typhoeus explanation for Etna's smoke in favor of natural sulfur.
VIII.73–75 The cry points to the Sicilian Vespers revolt against Angevin rule in Palermo.
VIII.73–75 The cry points to the Sicilian Vespers revolt against Angevin rule in Palermo. Line 75: The cry points to the Sicilian Vespers revolt against Angevin rule in Palermo.
VIII.75 The cry points to the Sicilian Vespers revolt against Angevin rule in Palermo. The cry points to the Sicilian Vespers revolt against Angevin rule in Palermo.
VIII.76–78 Greedy poverty names Catalan officials around Robert of Anjou as both needy and grasping.
VIII.76–78 Greedy poverty names Catalan officials around Robert of Anjou as both needy and grasping. Line 77: Greedy poverty names Catalan officials around Robert of Anjou as both needy and grasping.
VIII.77 Greedy poverty names Catalan officials around Robert of Anjou as both needy and grasping. Greedy poverty names Catalan officials around Robert of Anjou as both needy and grasping.
VIII.82–84 Milizia is rendered as service here to cover officials or retainers while preserving the civic warning against hoarding.
VIII.82–84 Milizia is rendered as service here to cover officials or retainers while preserving the civic warning against hoarding. Line 84: Milizia is rendered as service here to cover officials or retainers while preserving the civic warning against hoarding.
VIII.84 Milizia is rendered as service here to cover officials or retainers while preserving the civic warning against hoarding. Milizia is rendered as service here to cover officials or retainers while preserving the civic warning against hoarding.
Dante asks how bitter comes from sweet seed, and Charles begins a providential account of heavenly influence and civic life VIII.85–120
85«Però ch’i’ credo che l’alta letizia
che ’l tuo parlar m’infonde, segnor mio,
là ’ve ogne ben si termina e s’inizia,
per te si veggia come la vegg’ io,
grata m’è più; e anco quest’ ho caro
90perché ’l discerni rimirando in Dio.
Fatto m’hai lieto, e così mi fa chiaro,
poi che, parlando, a dubitar m’hai mosso
com’ esser può, di dolce seme, amaro».
Questo io a lui; ed elli a me: «S’io posso
95mostrarti un vero, a quel che tu dimandi
terrai lo viso come tien lo dosso.
Lo ben che tutto il regno che tu scandi
volge e contenta, fa esser virtute
sua provedenza in questi corpi grandi.
100E non pur le nature provedute
sono in la mente ch’è da sé perfetta,
ma esse insieme con la lor salute:
per che quantunque quest’ arco saetta
disposto cade a proveduto fine,
105sì come cosa in suo segno diretta.
Se ciò non fosse, il ciel che tu cammine
producerebbe sì li suoi effetti,
che non sarebbero arti, ma ruine;
e ciò esser non può, se li ’ntelletti
110che muovon queste stelle non son manchi,
e manco il primo, che non li ha perfetti.
Vuo’ tu che questo ver più ti s’imbianchi?».
E io: «Non già; ché impossibil veggio
che la natura, in quel ch’è uopo, stanchi».
115Ond’ elli ancora: «Or dì: sarebbe il peggio
per l’omo in terra, se non fosse cive?».
«Sì», rispuos’ io; «e qui ragion non cheggio».
«E puot’ elli esser, se giù non si vive
diversamente per diversi offici?
120Non, se ’l maestro vostro ben vi scrive».
85"Because I believe the high joy
that your speech pours into me, my lord,
where every good ends and begins,
is seen by you as I see it,
it is more grateful to me; and this too I hold dear,
90because you discern it by gazing into God.
You have made me glad, and now make clear to me,
since, speaking, you have moved me to doubt,
how bitter can come from sweet seed."
This I said to him; and he to me: "If I can
95show you a truth, toward what you ask
you will hold your face as now you hold your back.
The Good that turns and contents
all the realm you are ascending makes
its providence a power in these great bodies.
100And not only the natures provided for
are in the Mind that is perfect in itself,
but they together with their welfare;
therefore whatever this bow shoots
falls disposed toward a foreseen end,
105like a thing directed to its mark.
If this were not so, the heaven you walk through
would produce its effects in such a way
that they would not be arts, but ruins;
and that cannot be, unless the Intelligences
110that move these stars are defective,
and defective the First, who did not make them perfect.
Do you want this truth made whiter for you?"
And I: "No indeed; for I see it impossible
that nature tire in what is necessary."
115Then he again: "Now say: would it be worse
for man on earth, if he were not a citizen?"
"Yes," I answered; "and here I ask no reason."
"And can he be one, if below people do not live
differently through different offices?
120No, if your master writes well for you."
Commentary
The question about bitter fruit from sweet seed turns into Charles's deductive account of providence operating through the heavens. The translation keeps the bow/target image, Intelligences, the First, and Aristotle's civic premise explicit.
VIII.91–93 Dante's question turns Charles's brother Robert into the heredity crux: bitter fruit from sweet seed.
VIII.91–93 Dante's question turns Charles's brother Robert into the heredity crux: bitter fruit from sweet seed. Line 93: Dante's question turns Charles's brother Robert into the heredity crux: bitter fruit from sweet seed.
VIII.93 Dante's question turns Charles's brother Robert into the heredity crux: bitter fruit from sweet seed. Dante's question turns Charles's brother Robert into the heredity crux: bitter fruit from sweet seed.
VIII.97–99 Virtute is rendered as power because Charles is describing providence operating through the heavenly bodies.
VIII.97–99 Virtute is rendered as power because Charles is describing providence operating through the heavenly bodies. Line 99: Virtute is rendered as power because Charles is describing providence operating through the heavenly bodies.
VIII.99 Virtute is rendered as power because Charles is describing providence operating through the heavenly bodies. Virtute is rendered as power because Charles is describing providence operating through the heavenly bodies.
VIII.112–114 Whiter keeps the source image of truth made brighter and clearer.
VIII.112–114 Whiter keeps the source image of truth made brighter and clearer. Line 112: Whiter keeps the source image of truth made brighter and clearer.
VIII.112 Whiter keeps the source image of truth made brighter and clearer. Whiter keeps the source image of truth made brighter and clearer.
VIII.118–120 Your master is Aristotle, invoked for human beings as civic/social animals and for differentiated offices.
VIII.118–120 Your master is Aristotle, invoked for human beings as civic/social animals and for differentiated offices. Line 120: Your master is Aristotle, invoked for human beings as civic/social animals and for differentiated offices.
VIII.120 Your master is Aristotle, invoked for human beings as civic/social animals and for differentiated offices. Your master is Aristotle, invoked for human beings as civic/social animals and for differentiated offices.
Charles explains differentiated talents, heredity overridden by providence, and vocation misassigned by human society VIII.121–148
121Sì venne deducendo infino a quici;
poscia conchiuse: «Dunque esser diverse
convien di vostri effetti le radici:
per ch’un nasce Solone e altro Serse,
125altro Melchisedèch e altro quello
che, volando per l’aere, il figlio perse.
La circular natura, ch’è suggello
a la cera mortal, fa ben sua arte,
ma non distingue l’un da l’altro ostello.
130Quinci addivien ch’Esaù si diparte
per seme da Iacòb; e vien Quirino
da sì vil padre, che si rende a Marte.
Natura generata il suo cammino
simil farebbe sempre a’ generanti,
135se non vincesse il proveder divino.
Or quel che t’era dietro t’è davanti:
ma perché sappi che di te mi giova,
un corollario voglio che t’ammanti.
Sempre natura, se fortuna trova
140discorde a sé, com’ ogne altra semente
fuor di sua regïon, fa mala prova.
E se ’l mondo là giù ponesse mente
al fondamento che natura pone,
seguendo lui, avria buona la gente.
145Ma voi torcete a la religïone
tal che fia nato a cignersi la spada,
e fate re di tal ch’è da sermone;
onde la traccia vostra è fuor di strada».
121So he came deducing up to this point;
then he concluded: "Therefore the roots
of your effects must be diverse:
for this one is born Solon and another Xerxes,
125another Melchizedek and another he
who, flying through the air, lost his son.
The circular nature, which is a seal
upon mortal wax, performs its art well,
but does not distinguish one dwelling from another.
130From this it happens that Esau is divided
in seed from Jacob; and Quirinus comes
from so base a father that he is assigned to Mars.
Generated nature would always make its road
like that of the generators,
135if divine foresight did not prevail.
Now what was behind you is before you;
but so that you may know I take joy in you,
I want a corollary to cloak you.
Nature, whenever she finds fortune
140discordant with herself, like every seed
outside its own region, always makes a bad showing.
And if the world down there would set its mind
on the foundation nature lays,
following it, it would have good people.
145But you twist toward religion
one born to gird on the sword,
and make a king of one fit for sermons;
therefore your track is off the road."
Commentary
The comparison pass supports the argument that society requires differentiated talents, that heavenly influence prevents mere hereditary repetition, and that civic disorder follows when natural vocation is forced into the wrong office.
VIII.124–126 The flyer who lost his son is Daedalus, with Icarus implied.
VIII.124–126 The flyer who lost his son is Daedalus, with Icarus implied. Line 126: The flyer who lost his son is Daedalus, with Icarus implied.
VIII.126 The flyer who lost his son is Daedalus, with Icarus implied. The flyer who lost his son is Daedalus, with Icarus implied.
VIII.130–132 Quirinus is Romulus, whose base paternity is displaced by attribution to Mars.
VIII.130–132 Quirinus is Romulus, whose base paternity is displaced by attribution to Mars. Line 132: Quirinus is Romulus, whose base paternity is displaced by attribution to Mars.
VIII.132 Quirinus is Romulus, whose base paternity is displaced by attribution to Mars. Quirinus is Romulus, whose base paternity is displaced by attribution to Mars.
VIII.133–135 Divine foresight/providence interrupts simple hereditary repetition.
VIII.133–135 Divine foresight/providence interrupts simple hereditary repetition. Line 135: Divine foresight/providence interrupts simple hereditary repetition.
VIII.135 Divine foresight/providence interrupts simple hereditary repetition. Divine foresight/providence interrupts simple hereditary repetition.
VIII.136–138 Corollary is retained as Dante's scholastic supplement and as a love-gift from Charles.
VIII.136–138 Corollary is retained as Dante's scholastic supplement and as a love-gift from Charles. Line 138: Corollary is retained as Dante's scholastic supplement and as a love-gift from Charles.
VIII.138 Corollary is retained as Dante's scholastic supplement and as a love-gift from Charles. Corollary is retained as Dante's scholastic supplement and as a love-gift from Charles.
VIII.145–147 The sermon line likely glances at Robert of Anjou, known for preaching and intellectual display.
VIII.145–147 The sermon line likely glances at Robert of Anjou, known for preaching and intellectual display. Line 147: The sermon line likely glances at Robert of Anjou, known for preaching and intellectual display.
VIII.147 The sermon line likely glances at Robert of Anjou, known for preaching and intellectual display. The sermon line likely glances at Robert of Anjou, known for preaching and intellectual display.
VIII.148 The closing road image turns vocational misassignment into civic and moral misdirection. The closing road image turns vocational misassignment into civic and moral misdirection.