Purgatorio, Canto 13
Dante Alighieri · Italian original · new English translation and commentary by Text Atlas
Overview
Dante and Virgil reach the second ledge, where the mountain that frees its climbers from evil is cut back again into a bare livid cornice without shadows or sculptured signs. Virgil decides not to wait for souls to question, fixes on the sun, turns, and prays to the sweet light to guide the new way. Moving swiftly by ready will, the poets hear unseen flying voices offering courteous invitations to the table of love: Mary at Cana, Orestes, and the command to love those who have harmed us. Virgil explains that this terrace scourges envy, so the lashes are drawn from love; a contrary bridle will be heard before the pass of pardon. Dante strains his eyes and sees stone-colored mantled souls seated along the rock, crying to Mary, Michael, Peter, and all saints. They are covered in coarse haircloth, leaning on one another and on the bank like blind beggars asking alms at pardons; Heaven's light is withheld from them, and iron wire pierces and sews their eyelids like a wild sparrowhawk's. Dante feels he is wronging them by seeing while unseen, and Virgil tells him to speak briefly and pointedly. With Virgil on the dangerous outer side and the weeping shades on the inner side, Dante blesses them with the hope that grace will clear the foam of conscience and asks whether any Latin soul is among them. A shade corrects him: all are citizens of the one true city, though he means someone who lived in Italy as a pilgrim. Dante moves toward the voice, sees its expectant blind chin, and asks for place or name. Sapia of Siena confesses that, though called Sapia, she was not wise: she rejoiced more at others' harm than at her own good, prayed for the defeat of her fellow citizens at Colle, lifted her bold face against God in blackbird-like overconfidence, and found late peace only because Pier Pettinaio remembered her in charitable prayers. She asks who Dante is, with open eyes and living breath; Dante says his eyes will be sewn here only briefly for envy, while the heavier fear is the burden below. When Sapia learns he is alive, she asks his prayer and asks him, if he returns to Tuscany, to restore her name among her kin. She closes with satire on Siena's vain hope in Talamone, its search for Diana, and the still greater loss of its admirals.
Narrative arc
- The poets reach the bare second ledge, and Virgil turns by the sun while praying to the sweet light to guide the new way
- Unseen voices fly past with examples of love, and Virgil explains that the terrace scourges envy with lashes drawn from love
- Dante sees the stone-colored envious shades, their prayers, haircloth, mutual support, blind-beggar posture, and sewn eyelids
- Dante feels the wrong of seeing unseen souls, receives Virgil's speech command, and asks for an Italian soul while being corrected toward the true city
- Sapia identifies herself, confesses her envy at Colle, and credits Pier Pettinaio's charitable prayers for shortening her penitential debt
- Sapia asks about Dante's living condition, receives his offer of earthly aid, and asks for prayer and restored name among vain Sienese hopes
Central themes
- envy
- shared good
The poets reach the bare second ledge, and Virgil turns by the sun while praying to the sweet light to guide the new way XIII.1–21
1Noi eravamo al sommo de la scala,
dove secondamente si risega
lo monte che salendo altrui dismala.
Ivi così una cornice lega
5dintorno il poggio, come la primaia;
se non che l’arco suo più tosto piega.
Ombra non lì è né segno che si paia:
parsi la ripa e parsi la via schietta
col livido color de la petraia.
10«Se qui per dimandar gente s’aspetta»,
ragionava il poeta, «io temo forse
che troppo avrà d’indugio nostra eletta».
Poi fisamente al sole li occhi porse;
fece del destro lato a muover centro,
15e la sinistra parte di sé torse.
«O dolce lume a cui fidanza i’ entro
per lo novo cammin, tu ne conduci»,
dicea, «come condur si vuol quinc’ entro.
Tu scaldi il mondo, tu sovr’ esso luci;
20s’altra ragione in contrario non ponta,
esser dien sempre li tuoi raggi duci».
1We were at the summit of the stair,
where for the second time the mountain is cut back,
the mountain that frees whoever climbs from evil.
There a cornice binds
5around the hill, as the first one did;
except that its arc bends more quickly.
No shadow is there, nor any mark that shows:
the bank and the clear road alike appeared
in the livid color of the stony place.
10"If here one waits for people to ask,"
the poet reasoned, "I fear perhaps
our choice will have too much delay."
Then fixedly he offered his eyes to the sun;
he made his right side the center for moving,
15and turned the left part of himself.
"O sweet light, in whose trust I enter
upon the new way, lead us,"
he said, "as one must be led within here.
You warm the world; you shine above it;
20unless another reason points the contrary,
your rays should always be our guides."
Commentary
The transition to the second ledge is a bare cornice without sculptured signs. The translation keeps the mountain's freeing action, the tighter arc, the livid stone, Virgil's sun-guided turn, and the prayer to sweet light on the new way.
XIII.1–3 dismala is kept as an active freeing from evil rather than a neutral healing of fatigue.
XIII.1–3 dismala is kept as an active freeing from evil rather than a neutral healing of fatigue. Line 3: dismala is kept as an active freeing from evil rather than a neutral healing of fatigue.
XIII.3 dismala is kept as an active freeing from evil rather than a neutral healing of fatigue. dismala is kept as an active freeing from evil rather than a neutral healing of fatigue.
XIII.7–9 The absence of segno contrasts with the sculptured first terrace.
XIII.7–9 The absence of segno contrasts with the sculptured first terrace. Line 7: The absence of segno contrasts with the sculptured first terrace.
XIII.7 The absence of segno contrasts with the sculptured first terrace. The absence of segno contrasts with the sculptured first terrace.
XIII.13–15 The bodily turning is left concrete because the canto makes sun-guided orientation part of purgatorial perception.
XIII.13–15 The bodily turning is left concrete because the canto makes sun-guided orientation part of purgatorial perception. Line 14: The bodily turning is left concrete because the canto makes sun-guided orientation part of purgatorial perception.
XIII.14 The bodily turning is left concrete because the canto makes sun-guided orientation part of purgatorial perception. The bodily turning is left concrete because the canto makes sun-guided orientation part of purgatorial perception.
XIII.16–18 cammin is rendered as way here because the scene concerns guidance and orientation more than life-journey abstraction.
XIII.16–18 cammin is rendered as way here because the scene concerns guidance and orientation more than life-journey abstraction. Line 17: cammin is rendered as way here because the scene concerns guidance and orientation more than life-journey abstraction.
XIII.17 cammin is rendered as way here because the scene concerns guidance and orientation more than life-journey abstraction. cammin is rendered as way here because the scene concerns guidance and orientation more than life-journey abstraction.
Unseen voices fly past with examples of love, and Virgil explains that the terrace scourges envy with lashes drawn from love XIII.22–42
22Quanto di qua per un migliaio si conta,
tanto di là eravam noi già iti,
con poco tempo, per la voglia pronta;
25e verso noi volar furon sentiti,
non però visti, spiriti parlando
a la mensa d’amor cortesi inviti.
La prima voce che passò volando
‘Vinum non habent’ altamente disse,
30e dietro a noi l’andò reïterando.
E prima che del tutto non si udisse
per allungarsi, un’altra ‘I’ sono Oreste’
passò gridando, e anco non s’affisse.
«Oh!», diss’ io, «padre, che voci son queste?».
35E com’ io domandai, ecco la terza
dicendo: ‘Amate da cui male aveste’.
E ’l buon maestro: «Questo cinghio sferza
la colpa de la invidia, e però sono
tratte d’amor le corde de la ferza.
40Lo fren vuol esser del contrario suono;
credo che l’udirai, per mio avviso,
prima che giunghi al passo del perdono.
22As much as here is counted by a mile,
so much had we already gone there,
in little time, through ready will;
25and toward us were heard to fly,
though not seen, spirits speaking
courteous invitations to the table of love.
The first voice that passed in flight
said loudly, "Vinum non habent,"
30and went repeating it behind us.
And before it was wholly unheard
because it drew away, another, "I am Orestes,"
passed crying, and it too did not stop.
"Oh!" I said. "Father, what voices are these?"
35And as I asked, behold the third
saying, "Love those from whom you have had harm."
And the good master: "This terrace scourges
the fault of envy, and therefore
the lash's cords are drawn from love.
40The bridle must be of the opposite sound;
I think you will hear it, by my judgment,
before you reach the pass of pardon.
Commentary
The unseen flying voices are examples of love opposed to envy: Mary at Cana, Orestes/Pylades friendship, and Christ's command to love those who have harmed us. The translation keeps the scourge drawn from love and the deferred contrary bridle before the pass of pardon.
XIII.25–27 The love-table image introduces positive examples that answer envy through shared charity.
XIII.25–27 The love-table image introduces positive examples that answer envy through shared charity. Line 27: The love-table image introduces positive examples that answer envy through shared charity.
XIII.28–30 The Latin is retained; the phrase is Mary's charitable notice at Cana, They have no wine.
XIII.28–30 The Latin is retained; the phrase is Mary's charitable notice at Cana, They have no wine.. Line 29: The Latin is retained; the phrase is Mary's charitable notice at Cana, They have no wine.
XIII.29 The Latin is retained; the phrase is Mary's charitable notice at Cana, They have no wine.. The Latin is retained; the phrase is Mary's charitable notice at Cana, They have no wine.
XIII.31–33 The Orestes example points to Pylades' self-offering friendship and is left compact in the line.
XIII.31–33 The Orestes example points to Pylades' self-offering friendship and is left compact in the line. Line 32: The Orestes example points to Pylades' self-offering friendship and is left compact in the line.
XIII.32 The Orestes example points to Pylades' self-offering friendship and is left compact in the line. The Orestes example points to Pylades' self-offering friendship and is left compact in the line.
XIII.34–36 The phrasing preserves the hard reciprocity of loving those who caused harm.
XIII.34–36 The phrasing preserves the hard reciprocity of loving those who caused harm. Line 36: The phrasing preserves the hard reciprocity of loving those who caused harm.
XIII.36 The phrasing preserves the hard reciprocity of loving those who caused harm. The phrasing preserves the hard reciprocity of loving those who caused harm.
XIII.37–39 The corrective instrument comes from love because envy is healed by rejoicing in another's good.
XIII.37–39 The corrective instrument comes from love because envy is healed by rejoicing in another's good. Line 39: The corrective instrument comes from love because envy is healed by rejoicing in another's good.
XIII.39 The corrective instrument comes from love because envy is healed by rejoicing in another's good. The corrective instrument comes from love because envy is healed by rejoicing in another's good.
XIII.40–42 The bridle anticipates the negative examples of envy that restrain the vice. The pass of pardon is the angelic exit from the terrace where envy will be cancelled.
XIII.40–42 The bridle anticipates the negative examples of envy that restrain the vice. Line 40: The bridle anticipates the negative examples of envy that restrain the vice. Line 42: The pass of pardon is the angelic exit from the terrace where envy will be cancelled.
XIII.40 The bridle anticipates the negative examples of envy that restrain the vice. The bridle anticipates the negative examples of envy that restrain the vice.
XIII.42 The pass of pardon is the angelic exit from the terrace where envy will be cancelled. The pass of pardon is the angelic exit from the terrace where envy will be cancelled.
Dante sees the stone-colored envious shades, their prayers, haircloth, mutual support, blind-beggar posture, and sewn eyelids XIII.43–72
43Ma ficca li occhi per l’aere ben fiso,
e vedrai gente innanzi a noi sedersi,
45e ciascun è lungo la grotta assiso».
Allora più che prima li occhi apersi;
guarda’mi innanzi, e vidi ombre con manti
al color de la pietra non diversi.
E poi che fummo un poco più avanti,
50udia gridar: ‘Maria, òra per noi’:
gridar ‘Michele’ e ‘Pietro’ e ‘Tutti santi’.
Non credo che per terra vada ancoi
omo sì duro, che non fosse punto
per compassion di quel ch’i’ vidi poi;
55ché, quando fui sì presso di lor giunto,
che li atti loro a me venivan certi,
per li occhi fui di grave dolor munto.
Di vil ciliccio mi parean coperti,
e l’un sofferia l’altro con la spalla,
60e tutti da la ripa eran sofferti.
Così li ciechi a cui la roba falla,
stanno a’ perdoni a chieder lor bisogna,
e l’uno il capo sopra l’altro avvalla,
perché ’n altrui pietà tosto si pogna,
65non pur per lo sonar de le parole,
ma per la vista che non meno agogna.
E come a li orbi non approda il sole,
così a l’ombre quivi, ond’ io parlo ora,
luce del ciel di sé largir non vole;
70ché a tutti un fil di ferro i cigli fóra
e cusce sì, come a sparvier selvaggio
si fa però che queto non dimora.
43But fix your eyes through the air, very steadily,
and you will see people seated ahead of us,
45each sitting along the rock wall."
Then I opened my eyes more than before;
I looked ahead and saw shades with mantles
no different from the color of the stone.
And after we had gone a little farther,
50I heard them cry, "Mary, pray for us";
cry "Michael" and "Peter" and "All saints."
I do not believe there goes on earth today
a man so hard that he would not be pierced
by compassion for what I then saw;
55for when I had come so near to them
that their actions came clearly to me,
heavy grief drew tears from my eyes.
They seemed covered in coarse haircloth,
and one bore the other with his shoulder,
60and all were borne up by the bank.
So the blind, when their means fail,
stand at pardons to ask for what they need,
and one lowers his head upon another,
so that pity may quickly be set in others,
65not only by the sound of words,
but by the sight that begs no less.
And as the sun does not profit the blind,
so to the shades there, of whom I now speak,
Heaven's light does not will to give itself;
70for an iron wire pierces all their eyelids
and sews them up, as is done to a wild sparrowhawk
because it will not stay quiet.
Commentary
The visual delay works in stages: Dante first strains through the air, then recognizes stone-colored mantles, prayers to Mary, Michael, Peter, and all saints, haircloth, mutual shoulder support, blind-beggar imagery, and the sewn eyelids like those of a wild sparrowhawk.
XIII.52–54 Purgatorial compassion here is intercessory and educative rather than the false pity rebuked in Inferno.
XIII.52–54 Purgatorial compassion here is intercessory and educative rather than the false pity rebuked in Inferno. Line 54: Purgatorial compassion here is intercessory and educative rather than the false pity rebuked in Inferno.
XIII.54 Purgatorial compassion here is intercessory and educative rather than the false pity rebuked in Inferno. Purgatorial compassion here is intercessory and educative rather than the false pity rebuked in Inferno.
XIII.55–57 munto is literally milking or drawing out; the translation keeps the action without making the English grotesque.
XIII.55–57 munto is literally milking or drawing out; the translation keeps the action without making the English grotesque. Line 57: munto is literally milking or drawing out; the translation keeps the action without making the English grotesque.
XIII.57 munto is literally milking or drawing out; the translation keeps the action without making the English grotesque. munto is literally milking or drawing out; the translation keeps the action without making the English grotesque.
XIII.61–63 perdoni points to church pardon or indulgence gatherings where beggars would seek alms.
XIII.61–63 perdoni points to church pardon or indulgence gatherings where beggars would seek alms. Line 62: perdoni points to church pardon or indulgence gatherings where beggars would seek alms.
XIII.62 perdoni points to church pardon or indulgence gatherings where beggars would seek alms. perdoni points to church pardon or indulgence gatherings where beggars would seek alms.
XIII.70–72 The falconry image keeps envy's restless gaze under corrective training.
XIII.70–72 The falconry image keeps envy's restless gaze under corrective training. Line 71: The falconry image keeps envy's restless gaze under corrective training.
XIII.71 The falconry image keeps envy's restless gaze under corrective training. The falconry image keeps envy's restless gaze under corrective training.
Dante feels the wrong of seeing unseen souls, receives Virgil's speech command, and asks for an Italian soul while being corrected toward the true city XIII.73–99
73A me pareva, andando, fare oltraggio,
veggendo altrui, non essendo veduto:
75per ch’io mi volsi al mio consiglio saggio.
Ben sapev’ ei che volea dir lo muto;
e però non attese mia dimanda,
ma disse: «Parla, e sie breve e arguto».
Virgilio mi venìa da quella banda
80de la cornice onde cader si puote,
perché da nulla sponda s’inghirlanda;
da l’altra parte m’eran le divote
ombre, che per l’orribile costura
premevan sì, che bagnavan le gote.
85Volsimi a loro e: «O gente sicura»,
incominciai, «di veder l’alto lume
che ’l disio vostro solo ha in sua cura,
se tosto grazia resolva le schiume
di vostra coscïenza sì che chiaro
90per essa scenda de la mente il fiume,
ditemi, ché mi fia grazioso e caro,
s’anima è qui tra voi che sia latina;
e forse lei sarà buon s’i’ l’apparo».
«O frate mio, ciascuna è cittadina
95d’una vera città; ma tu vuo’ dire
che vivesse in Italia peregrina».
Questo mi parve per risposta udire
più innanzi alquanto che là dov’ io stava,
ond’ io mi feci ancor più là sentire.
73As I went, it seemed to me I was doing wrong,
seeing others while not being seen;
75therefore I turned to my wise counsel.
He well knew what the mute one meant to say;
and so he did not wait for my question,
but said: "Speak, and be brief and pointed."
Virgil came with me on that side
80of the cornice from which one can fall,
because no parapet garlands it;
on the other side were the devout
shades, who through the horrible stitching
pressed so hard that they bathed their cheeks.
85I turned to them: "O people secure,"
I began, "of seeing the high light
that alone keeps your desire in its care,
may grace soon dissolve the foam
of your conscience, so that clear
90through it the river of the mind may descend;
tell me, for it will be gracious and dear to me,
if any soul among you here is Latin;
and perhaps it will be good for her if I learn it."
"O my brother, each one is a citizen
95of one true city; but you mean
one who lived in Italy as a pilgrim."
This I seemed to hear as an answer
somewhat farther on than where I stood,
so I made myself heard still farther there.
Commentary
Dante feels ethical discomfort at seeing unseen souls, and Virgil instructs him to speak briefly. The translation keeps the precarious ledge position, the horrible stitching, Dante's blessing for conscience to clear, and the correction from 'Latin' identity to citizenship in the true city.
XIII.76–78 arguto is taken as pointed and alert rather than merely witty.
XIII.76–78 arguto is taken as pointed and alert rather than merely witty. Line 78: arguto is taken as pointed and alert rather than merely witty.
XIII.78 arguto is taken as pointed and alert rather than merely witty. arguto is taken as pointed and alert rather than merely witty.
XIII.79–81 The decorative garlands keeps the missing safety edge concrete.
XIII.79–81 The decorative garlands keeps the missing safety edge concrete. Line 81: The decorative garlands keeps the missing safety edge concrete.
XIII.81 The decorative garlands keeps the missing safety edge concrete. The decorative garlands keeps the missing safety edge concrete.
XIII.85–87 Their desire is ordered toward the high light, in contrast to envy as grief at another's good.
XIII.85–87 Their desire is ordered toward the high light, in contrast to envy as grief at another's good. Line 87: Their desire is ordered toward the high light, in contrast to envy as grief at another's good.
XIII.87 Their desire is ordered toward the high light, in contrast to envy as grief at another's good. Their desire is ordered toward the high light, in contrast to envy as grief at another's good.
XIII.88–90 mente may carry memory as well as mind; the line keeps the mental river image clear and provisional.
XIII.88–90 mente may carry memory as well as mind; the line keeps the mental river image clear and provisional. Line 90: mente may carry memory as well as mind; the line keeps the mental river image clear and provisional.
XIII.90 mente may carry memory as well as mind; the line keeps the mental river image clear and provisional. mente may carry memory as well as mind; the line keeps the mental river image clear and provisional.
XIII.91–93 Latin is retained because the answering soul immediately corrects earthly Italian identity toward heavenly citizenship.
XIII.91–93 Latin is retained because the answering soul immediately corrects earthly Italian identity toward heavenly citizenship. Line 92: Latin is retained because the answering soul immediately corrects earthly Italian identity toward heavenly citizenship.
XIII.92 Latin is retained because the answering soul immediately corrects earthly Italian identity toward heavenly citizenship. Latin is retained because the answering soul immediately corrects earthly Italian identity toward heavenly citizenship.
XIII.94–96 The true city frames the saved as heavenly citizens before local Tuscan identity.
XIII.94–96 The true city frames the saved as heavenly citizens before local Tuscan identity. Line 95: The true city frames the saved as heavenly citizens before local Tuscan identity.
XIII.95 The true city frames the saved as heavenly citizens before local Tuscan identity. The true city frames the saved as heavenly citizens before local Tuscan identity.
Sapia identifies herself, confesses her envy at Colle, and credits Pier Pettinaio's charitable prayers for shortening her penitential debt XIII.100–129
100Tra l’altre vidi un’ombra ch’aspettava
in vista; e se volesse alcun dir ‘Come?’,
lo mento a guisa d’orbo in sù levava.
«Spirto», diss’ io, «che per salir ti dome,
se tu se’ quelli che mi rispondesti,
105fammiti conto o per luogo o per nome».
«Io fui sanese», rispuose, «e con questi
altri rimendo qui la vita ria,
lagrimando a colui che sé ne presti.
Savia non fui, avvegna che Sapìa
110fossi chiamata, e fui de li altrui danni
più lieta assai che di ventura mia.
E perché tu non creda ch’io t’inganni,
odi s’i’ fui, com’ io ti dico, folle,
già discendendo l’arco d’i miei anni.
115Eran li cittadin miei presso a Colle
in campo giunti co’ loro avversari,
e io pregava Iddio di quel ch’e’ volle.
Rotti fuor quivi e vòlti ne li amari
passi di fuga; e veggendo la caccia,
120letizia presi a tutte altre dispari,
tanto ch’io volsi in sù l’ardita faccia,
gridando a Dio: “Omai più non ti temo!”,
come fé ’l merlo per poca bonaccia.
Pace volli con Dio in su lo stremo
125de la mia vita; e ancor non sarebbe
lo mio dover per penitenza scemo,
se ciò non fosse, ch’a memoria m’ebbe
Pier Pettinaio in sue sante orazioni,
a cui di me per caritate increbbe.
100Among the others I saw a shade waiting
in its face; and if someone wished to ask, "How?",
it lifted its chin like a blind person.
"Spirit," I said, "who tame yourself to climb,
if you are the one who answered me,
105make yourself known to me by place or name."
"I was Sienese," it answered, "and with these
others here I mend my evil life,
weeping to Him that He give Himself to us.
Wise I was not, although Sapia
110was what I was called, and I was far happier
at others' harm than at my own good fortune.
And so you may not think I deceive you,
hear whether I was, as I tell you, mad,
when the arc of my years was already descending.
115My fellow citizens near Colle
had come into the field with their adversaries,
and I prayed God for what He willed.
They were broken there and turned into the bitter
passes of flight; and seeing the chase,
120I took a joy unlike all others,
so that I turned upward my bold face,
crying to God, "Now I fear you no more!",
as the blackbird did for a little fair weather.
I desired peace with God at the very edge
125of my life; and still my debt
would not be diminished through penance,
were it not that Pier Pettinaio held me
in memory in his holy prayers,
who grieved for me out of charity.
Commentary
In Sapia's confession, the translation preserves the Sapia/wise pun, her joy in Sienese defeat at Colle, the blackbird fair-weather proverb, late peace with God, and Pier Pettinaio's charitable prayers.
XIII.106–108 The divine gift remains personal: God gives Himself, not merely relief.
XIII.106–108 The divine gift remains personal: God gives Himself, not merely relief. Line 108: The divine gift remains personal: God gives Himself, not merely relief.
XIII.108 The divine gift remains personal: God gives Himself, not merely relief. The divine gift remains personal: God gives Himself, not merely relief.
XIII.109–111 The Sapia/savia name pun is preserved directly across lines 109-110.
XIII.109–111 The Sapia/savia name pun is preserved directly across lines 109-110. Line 109: The Sapia/savia name pun is preserved directly across lines 109-110.
XIII.109 The Sapia/savia name pun is preserved directly across lines 109-110. The Sapia/savia name pun is preserved directly across lines 109-110.
XIII.115–117 The battle is the 1269 defeat of Siena near Colle. The line keeps Sapia's bitter claim close to the Italian: she prays for the outcome God wills, but her joy exposes the envy.
XIII.115–117 The battle is the 1269 defeat of Siena near Colle. Line 116: The battle is the 1269 defeat of Siena near Colle. Line 117: The line keeps Sapia's bitter claim close to the Italian: she prays for the outcome God wills, but her joy exposes the envy.
XIII.116 The battle is the 1269 defeat of Siena near Colle. The battle is the 1269 defeat of Siena near Colle.
XIII.117 The line keeps Sapia's bitter claim close to the Italian: she prays for the outcome God wills, but her joy exposes the envy. The line keeps Sapia's bitter claim close to the Italian: she prays for the outcome God wills, but her joy exposes the envy.
XIII.121–123 The proverb suggests rash confidence after a brief spell of good weather.
XIII.121–123 The proverb suggests rash confidence after a brief spell of good weather. Line 123: The proverb suggests rash confidence after a brief spell of good weather.
XIII.123 The proverb suggests rash confidence after a brief spell of good weather. The proverb suggests rash confidence after a brief spell of good weather.
XIII.124–126 dover is treated as penitential debt, continuing Purgatorio's satisfaction logic.
XIII.124–126 dover is treated as penitential debt, continuing Purgatorio's satisfaction logic. Line 126: dover is treated as penitential debt, continuing Purgatorio's satisfaction logic.
XIII.126 dover is treated as penitential debt, continuing Purgatorio's satisfaction logic. dover is treated as penitential debt, continuing Purgatorio's satisfaction logic.
XIII.127–129 Pier Pettinaio's prayers give Sapia a concrete example of the intercession she now asks from Dante.
XIII.127–129 Pier Pettinaio's prayers give Sapia a concrete example of the intercession she now asks from Dante. Line 128: Pier Pettinaio's prayers give Sapia a concrete example of the intercession she now asks from Dante.
XIII.128 Pier Pettinaio's prayers give Sapia a concrete example of the intercession she now asks from Dante. Pier Pettinaio's prayers give Sapia a concrete example of the intercession she now asks from Dante.
Sapia asks about Dante's living condition, receives his offer of earthly aid, and asks for prayer and restored name among vain Sienese hopes XIII.130–154
130Ma tu chi se’, che nostre condizioni
vai dimandando, e porti li occhi sciolti,
sì com’ io credo, e spirando ragioni?».
«Li occhi», diss’ io, «mi fieno ancor qui tolti,
ma picciol tempo, ché poca è l’offesa
135fatta per esser con invidia vòlti.
Troppa è più la paura ond’ è sospesa
l’anima mia del tormento di sotto,
che già lo ’ncarco di là giù mi pesa».
Ed ella a me: «Chi t’ha dunque condotto
140qua sù tra noi, se giù ritornar credi?».
E io: «Costui ch’è meco e non fa motto.
E vivo sono; e però mi richiedi,
spirito eletto, se tu vuo’ ch’i’ mova
di là per te ancor li mortai piedi».
145«Oh, questa è a udir sì cosa nuova»,
rispuose, «che gran segno è che Dio t’ami;
però col priego tuo talor mi giova.
E cheggioti, per quel che tu più brami,
se mai calchi la terra di Toscana,
150che a’ miei propinqui tu ben mi rinfami.
Tu li vedrai tra quella gente vana
che spera in Talamone, e perderagli
più di speranza ch’a trovar la Diana;
ma più vi perderanno li ammiragli».
130But who are you, who go asking
of our conditions, and carry your eyes unbound,
as I believe, and speak with living breath?"
"My eyes," I said, "will yet be taken from me here,
but for little time, because small is the offense
135they did by being turned with envy.
Far greater is the fear in which
my soul hangs suspended over the torment below,
for already the burden down there weighs on me."
And she to me: "Who, then, has led you
140up here among us, if you expect to return below?"
And I: "This one with me, who says no word.
And I am alive; therefore ask me,
chosen spirit, if you wish me yet to move
my mortal feet for you over there."
145"Oh, this is such a new thing to hear,"
she answered, "that it is a great sign God loves you;
therefore help me sometimes with your prayer.
And I ask you, by what you most desire,
if ever you tread the land of Tuscany,
150that among my kin you restore my good name.
You will see them among that vain people
who hope in Talamone, and they will lose there
more hope than in finding the Diana;
but the admirals will lose still more there."
Commentary
The close is an exchange between purgatorial intercession and Dante's living embassy. The translation keeps Dante's small envy, greater fear of the lower burden, his living mortal feet, Sapia's request for prayer and restored name, and the Siena satire around Talamone, Diana, and the obscure admirals.
XIII.130–132 spirando ragioni joins speech and living breath; the English keeps Sapia's inference from sound and unbound eyes.
XIII.130–132 spirando ragioni joins speech and living breath; the English keeps Sapia's inference from sound and unbound eyes. Line 132: spirando ragioni joins speech and living breath; the English keeps Sapia's inference from sound and unbound eyes.
XIII.132 spirando ragioni joins speech and living breath; the English keeps Sapia's inference from sound and unbound eyes. spirando ragioni joins speech and living breath; the English keeps Sapia's inference from sound and unbound eyes.
XIII.133–135 Dante admits envy as a real but small offense relative to the lower burden he fears.
XIII.133–135 Dante admits envy as a real but small offense relative to the lower burden he fears. Line 135: Dante admits envy as a real but small offense relative to the lower burden he fears.
XIII.135 Dante admits envy as a real but small offense relative to the lower burden he fears. Dante admits envy as a real but small offense relative to the lower burden he fears.
XIII.136–138 incarco keeps the poem's burden motif active: Dante fears the heavier sins below before their terrace is reached.
XIII.136–138 incarco keeps the poem's burden motif active: Dante fears the heavier sins below before their terrace is reached. Line 138: incarco keeps the poem's burden motif active: Dante fears the heavier sins below before their terrace is reached.
XIII.138 incarco keeps the poem's burden motif active: Dante fears the heavier sins below before their terrace is reached. incarco keeps the poem's burden motif active: Dante fears the heavier sins below before their terrace is reached.
XIII.142–144 The living body becomes useful as a vehicle for earthly memory and prayer.
XIII.142–144 The living body becomes useful as a vehicle for earthly memory and prayer. Line 144: The living body becomes useful as a vehicle for earthly memory and prayer.
XIII.144 The living body becomes useful as a vehicle for earthly memory and prayer. The living body becomes useful as a vehicle for earthly memory and prayer.
XIII.148–150 rinfami is taken positively as restoring report or name among kin, not defaming.
XIII.148–150 rinfami is taken positively as restoring report or name among kin, not defaming. Line 150: rinfami is taken positively as restoring report or name among kin, not defaming.
XIII.150 rinfami is taken positively as restoring report or name among kin, not defaming. rinfami is taken positively as restoring report or name among kin, not defaming.
XIII.151–153 Talamone is Siena's costly hoped-for port, used here as civic satire. Diana is the legendary underground stream the Sienese hoped to find.
XIII.151–153 Talamone is Siena's costly hoped-for port, used here as civic satire. Line 152: Talamone is Siena's costly hoped-for port, used here as civic satire. Line 153: Diana is the legendary underground stream the Sienese hoped to find.
XIII.152 Talamone is Siena's costly hoped-for port, used here as civic satire. Talamone is Siena's costly hoped-for port, used here as civic satire.
XIII.153 Diana is the legendary underground stream the Sienese hoped to find. Diana is the legendary underground stream the Sienese hoped to find.
XIII.154 The final reference to the admirals is obscure; the translation keeps the obscurity in the line rather than overexplaining it. The final reference to the admirals is obscure; the translation keeps the obscurity in the line rather than overexplaining it.