Purgatorio, Canto 14
Dante Alighieri · Italian original · new English translation and commentary by Text Atlas
Overview
On the second terrace, two envious spirits wonder that Dante circles the mountain while still alive, freely opening and covering his eyes, and they ask him gently to speak. Dante answers indirectly by naming the little stream that runs through Tuscany from Falterona to the sea, saying his own name still has little sound. One spirit identifies the Arno, and the other asks why Dante hid the river's name as though it were something horrible. Guido del Duca then gives the answer: the Arno valley deserves shame from source to mouth, because virtue is fled from there like a snake and evil custom has changed the inhabitants as if Circe had pastured them. The river passes filthy swine, snarling curs, wolfish dogs, and fraudulent foxes, a sequence of civic animal images for the peoples along its course. Guido prophesies that Rinieri da Calboli's grandson Fulcieri will hunt the Florentine wolves, sell living flesh, slaughter like an ancient beast, and leave the sad wood so bloodied that it will not recover for a thousand years. Rinieri grieves at the prophecy. Dante, moved by one spirit's speech and the other's expression, asks their names. Guido answers by noting the irony that Dante asks names while withholding his own, but because God's grace shines through Dante he will not be sparing. He identifies himself as Guido del Duca and confesses envy so intense that another person's joy would have covered him with livid color. He names Rinieri as the worth and honor of the Calboli house, then laments that Romagna, between Po, Apennines, sea, and Reno, is stripped of the good needed for truth and delight and full of poisonous shrubs. Guido names vanished figures and houses of Romagnol courtesy, women, knights, hardship, ease, love, and civic worth, then turns to places and families whose extinction or continuation exposes moral decay. Weeping overtakes speech, and the poets continue in silence, trusting the road because the souls hear them go. Once alone, they hear the terrace's contrary bridle: Cain's cry that whoever finds him will kill him, and Aglauros naming herself as the woman who became stone. Dante moves rightward toward Virgil. When the air quiets, Virgil explains that these were the hard bit meant to keep human beings within their bounds, but people still take the ancient adversary's bait. Heaven calls and wheels around them, showing eternal beauties, while their eyes keep looking down to earth; therefore the one who discerns all things strikes them.
Narrative arc
- Two envious spirits wonder at Dante's living eyes and body, ask him to speak, and Dante answers by the Arno without naming himself
- The Arno is identified and Guido begins the animalized valley invective from the river source through swine, curs, wolves, and foxes
- Guido prophesies Fulcieri da Calboli hunting Florence's wolves, and Rinieri receives the words in grief
- Dante asks the spirits' names; Guido identifies himself, confesses envy, names Rinieri, and laments Romagna's barren virtue
- Guido mourns vanished Romagnol courtesy, valor, families, and places until weeping overtakes speech
- The poets proceed by the souls' silence, hear Cain and Aglauros as the terrace's bridle voices, and Virgil rebukes earthbound sight
Central themes
- envy
- vision withheld
- civic decay
Two envious spirits wonder at Dante's living eyes and body, ask him to speak, and Dante answers by the Arno without naming himself XIV.1–21
1«Chi è costui che ’l nostro monte cerchia
prima che morte li abbia dato il volo,
e apre li occhi a sua voglia e coverchia?».
«Non so chi sia, ma so ch’e’ non è solo;
5domandal tu che più li t’avvicini,
e dolcemente, sì che parli, acco’lo».
Così due spirti, l’uno a l’altro chini,
ragionavan di me ivi a man dritta;
poi fer li visi, per dirmi, supini;
10e disse l’uno: «O anima che fitta
nel corpo ancora inver’ lo ciel ten vai,
per carità ne consola e ne ditta
onde vieni e chi se’; ché tu ne fai
tanto maravigliar de la tua grazia,
15quanto vuol cosa che non fu più mai».
E io: «Per mezza Toscana si spazia
un fiumicel che nasce in Falterona,
e cento miglia di corso nol sazia.
Di sovr’ esso rech’ io questa persona:
20dirvi ch’i’ sia, saria parlare indarno,
ché ’l nome mio ancor molto non suona».
1"Who is this one who circles our mountain
before death has given him flight,
and opens his eyes and covers them at his will?"
"I do not know who he is, but I know he is not alone;
5ask him, you who draw nearer to him,
and gently receive him, so that he may speak."
Thus two spirits, leaning toward each other,
were speaking of me there on the right hand;
then, to speak to me, they lifted their faces upward;
10and one said: "O soul who, still fixed
in the body, go your way toward Heaven,
for charity, console us and tell us
where you come from and who you are; for you make us
marvel so much at this grace of yours,
15as must a thing that never was before."
And I: "Through middle Tuscany there ranges
a little stream that is born in Falterona,
and a hundred miles of course do not sate it.
From above it I bring this person:
20to tell you who I am would be vain speech,
for my name still does not sound very far."
Commentary
The opening shows two sewn-eyed envious spirits discussing Dante's living motion, voluntary sight, and embodied grace. The translation keeps their gentle request and Dante's indirect Arno-based answer while preserving his unnamed, still-little-sounding identity.
XIV.1–3 The line keeps the voluntary opening and covering of living eyes, since the envious souls cannot use sight freely.
XIV.1–3 The line keeps the voluntary opening and covering of living eyes, since the envious souls cannot use sight freely. Line 3: The line keeps the voluntary opening and covering of living eyes, since the envious souls cannot use sight freely.
XIV.3 The line keeps the voluntary opening and covering of living eyes, since the envious souls cannot use sight freely. The line keeps the voluntary opening and covering of living eyes, since the envious souls cannot use sight freely.
XIV.10–12 The living body remains fixed in flesh while moving toward Heaven, sharpening the wonder of grace in lines 13-15.
XIV.10–12 The living body remains fixed in flesh while moving toward Heaven, sharpening the wonder of grace in lines 13-15. Line 11: The living body remains fixed in flesh while moving toward Heaven, sharpening the wonder of grace in lines 13-15.
XIV.11 The living body remains fixed in flesh while moving toward Heaven, sharpening the wonder of grace in lines 13-15. The living body remains fixed in flesh while moving toward Heaven, sharpening the wonder of grace in lines 13-15.
XIV.19–21 questa persona is kept as "this person" to preserve Dante's embodied presence without reducing it to a mere body. Dante's name still has little public sound; the canto will contrast personal fame with civic decay.
XIV.19–21 questa persona is kept as "this person" to preserve Dante's embodied presence without reducing it to a mere body. Line 19: questa persona is kept as "this person" to preserve Dante's embodied presence without reducing it to a mere body. Line 21: Dante's name still has little public sound; the canto will contrast personal fame with civic decay.
XIV.19 questa persona is kept as "this person" to preserve Dante's embodied presence without reducing it to a mere body. questa persona is kept as "this person" to preserve Dante's embodied presence without reducing it to a mere body.
XIV.21 Dante's name still has little public sound; the canto will contrast personal fame with civic decay. Dante's name still has little public sound; the canto will contrast personal fame with civic decay.
The Arno is identified and Guido begins the animalized valley invective from the river source through swine, curs, wolves, and foxes XIV.22–57
22«Se ben lo ’ntendimento tuo accarno
con lo ’ntelletto», allora mi rispuose
quei che diceva pria, «tu parli d’Arno».
25E l’altro disse lui: «Perché nascose
questi il vocabol di quella riviera,
pur com’ om fa de l’orribili cose?».
E l’ombra che di ciò domandata era,
si sdebitò così: «Non so; ma degno
30ben è che ’l nome di tal valle pèra;
ché dal principio suo, ov’ è sì pregno
l’alpestro monte ond’ è tronco Peloro,
che ’n pochi luoghi passa oltra quel segno,
infin là ’ve si rende per ristoro
35di quel che ’l ciel de la marina asciuga,
ond’ hanno i fiumi ciò che va con loro,
vertù così per nimica si fuga
da tutti come biscia, o per sventura
del luogo, o per mal uso che li fruga:
40ond’ hanno sì mutata lor natura
li abitator de la misera valle,
che par che Circe li avesse in pastura.
Tra brutti porci, più degni di galle
che d’altro cibo fatto in uman uso,
45dirizza prima il suo povero calle.
Botoli trova poi, venendo giuso,
ringhiosi più che non chiede lor possa,
e da lor disdegnosa torce il muso.
Vassi caggendo; e quant’ ella più ’ngrossa,
50tanto più trova di can farsi lupi
la maladetta e sventurata fossa.
Discesa poi per più pelaghi cupi,
trova le volpi sì piene di froda,
che non temono ingegno che le occùpi.
55Né lascerò di dir perch’ altri m’oda;
e buon sarà costui, s’ancor s’ammenta
di ciò che vero spirto mi disnoda.
22"If I rightly flesh out your meaning
with my understanding," then answered me
the one who spoke before, "you speak of Arno."
25And the other said to him: "Why did this one hide
the name of that river
just as one does with horrible things?"
And the shade who had been asked of this
answered thus: "I do not know; but rightly
30the name of such a valley deserves to perish;
for from its beginning, where the rugged mountain,
from which Pelorus is cut off, is so full
that in few places it passes beyond that mark,
down to where it gives back in restoration
35what heaven dries from the sea,
from which the rivers have what goes with them,
virtue, as from an enemy, is fled by all
as if it were a snake, whether through misfortune
of the place, or through evil custom that goads them:
40therefore the inhabitants of the wretched valley
have so changed their nature
that it seems Circe had them in pasture.
Among filthy swine, more worthy of acorns
than of any other food made for human use,
45it first directs its poor path.
Then it finds curs, as it comes downward,
more snarling than their strength requires,
and from them it turns its muzzle in disdain.
It goes on falling; and the more it swells,
50the more it finds the dogs becoming wolves,
this cursed and ill-starred ditch.
Then, descended through more hollow gulfs,
it finds the foxes so full of fraud
that they fear no craft that may trap them.
55Nor will I leave off speaking because another hears me;
and good it will be for this man, if he still remembers
what a true spirit unravels to me.
Commentary
The passage names the Arno and the shame-driven concealment of the river name. The animal sequence follows regions; the translation keeps the governing Italian's compressed geography, water-cycle syntax, Circe transformation pressure, and swine-curs-wolves-foxes civic invective.
XIV.22–24 accarno is rendered as "flesh out" to keep the embodied, interpretive force of grasping Dante's meaning.
XIV.22–24 accarno is rendered as "flesh out" to keep the embodied, interpretive force of grasping Dante's meaning. Line 22: accarno is rendered as "flesh out" to keep the embodied, interpretive force of grasping Dante's meaning.
XIV.22 accarno is rendered as "flesh out" to keep the embodied, interpretive force of grasping Dante's meaning. accarno is rendered as "flesh out" to keep the embodied, interpretive force of grasping Dante's meaning.
XIV.28–30 The Arno is treated as a name almost too shameful to pronounce, preparing the animalized valley invective.
XIV.28–30 The Arno is treated as a name almost too shameful to pronounce, preparing the animalized valley invective. Line 30: The Arno is treated as a name almost too shameful to pronounce, preparing the animalized valley invective.
XIV.30 The Arno is treated as a name almost too shameful to pronounce, preparing the animalized valley invective. The Arno is treated as a name almost too shameful to pronounce, preparing the animalized valley invective.
XIV.31–33 The Pelorus reference is left geographically compressed; Norton treats it as part of the difficult Apennine-source description.
XIV.31–33 The Pelorus reference is left geographically compressed; Norton treats it as part of the difficult Apennine-source description. Line 32: The Pelorus reference is left geographically compressed; Norton treats it as part of the difficult Apennine-source description.
XIV.32 The Pelorus reference is left geographically compressed; Norton treats it as part of the difficult Apennine-source description. The Pelorus reference is left geographically compressed; Norton treats it as part of the difficult Apennine-source description.
XIV.34–36 The water-cycle syntax follows Dante's account of sea evaporation, heaven, and river flow without modernizing the cosmology.
XIV.34–36 The water-cycle syntax follows Dante's account of sea evaporation, heaven, and river flow without modernizing the cosmology. Line 36: The water-cycle syntax follows Dante's account of sea evaporation, heaven, and river flow without modernizing the cosmology.
XIV.36 The water-cycle syntax follows Dante's account of sea evaporation, heaven, and river flow without modernizing the cosmology. The water-cycle syntax follows Dante's account of sea evaporation, heaven, and river flow without modernizing the cosmology.
XIV.37–39 mal uso che li fruga is taken as evil custom that prods or goads the valley's inhabitants away from virtue.
XIV.37–39 mal uso che li fruga is taken as evil custom that prods or goads the valley's inhabitants away from virtue. Line 39: mal uso che li fruga is taken as evil custom that prods or goads the valley's inhabitants away from virtue.
XIV.39 mal uso che li fruga is taken as evil custom that prods or goads the valley's inhabitants away from virtue. mal uso che li fruga is taken as evil custom that prods or goads the valley's inhabitants away from virtue.
XIV.40–42 Circe keeps the classical transformation frame for the following animal sequence.
XIV.40–42 Circe keeps the classical transformation frame for the following animal sequence. Line 42: Circe keeps the classical transformation frame for the following animal sequence.
XIV.42 Circe keeps the classical transformation frame for the following animal sequence. Circe keeps the classical transformation frame for the following animal sequence.
XIV.43–45 The Arno's "poor path" begins among the Casentino swine; the line keeps path language morally charged.
XIV.43–45 The Arno's "poor path" begins among the Casentino swine; the line keeps path language morally charged. Line 45: The Arno's "poor path" begins among the Casentino swine; the line keeps path language morally charged.
XIV.45 The Arno's "poor path" begins among the Casentino swine; the line keeps path language morally charged. The Arno's "poor path" begins among the Casentino swine; the line keeps path language morally charged.
XIV.46–48 The river's disdainful muzzle keeps the animal personification as it passes Arezzo.
XIV.46–48 The river's disdainful muzzle keeps the animal personification as it passes Arezzo. Line 48: The river's disdainful muzzle keeps the animal personification as it passes Arezzo.
XIV.48 The river's disdainful muzzle keeps the animal personification as it passes Arezzo. The river's disdainful muzzle keeps the animal personification as it passes Arezzo.
XIV.49–51 The ditch image carries the river into Florence's wolfish civic violence.
XIV.49–51 The ditch image carries the river into Florence's wolfish civic violence. Line 51: The ditch image carries the river into Florence's wolfish civic violence.
XIV.51 The ditch image carries the river into Florence's wolfish civic violence. The ditch image carries the river into Florence's wolfish civic violence.
XIV.52–54 The foxes are the Pisans in the animal sequence; fraud is named directly.
XIV.52–54 The foxes are the Pisans in the animal sequence; fraud is named directly. Line 54: The foxes are the Pisans in the animal sequence; fraud is named directly.
XIV.54 The foxes are the Pisans in the animal sequence; fraud is named directly. The foxes are the Pisans in the animal sequence; fraud is named directly.
XIV.55–57 disnoda is rendered as "unravels," preserving the image of a true spirit loosening a knot of future truth.
XIV.55–57 disnoda is rendered as "unravels," preserving the image of a true spirit loosening a knot of future truth. Line 57: disnoda is rendered as "unravels," preserving the image of a true spirit loosening a knot of future truth.
XIV.57 disnoda is rendered as "unravels," preserving the image of a true spirit loosening a knot of future truth. disnoda is rendered as "unravels," preserving the image of a true spirit loosening a knot of future truth.
Guido prophesies Fulcieri da Calboli hunting Florence's wolves, and Rinieri receives the words in grief XIV.58–72
58Io veggio tuo nepote che diventa
cacciator di quei lupi in su la riva
60del fiero fiume, e tutti li sgomenta.
Vende la carne loro essendo viva;
poscia li ancide come antica belva;
molti di vita e sé di pregio priva.
Sanguinoso esce de la trista selva;
65lasciala tal, che di qui a mille anni
ne lo stato primaio non si rinselva».
Com’ a l’annunzio di dogliosi danni
si turba il viso di colui ch’ascolta,
da qual che parte il periglio l’assanni,
70così vid’ io l’altr’ anima, che volta
stava a udir, turbarsi e farsi trista,
poi ch’ebbe la parola a sé raccolta.
58I see your grandson becoming
hunter of those wolves upon the bank
60of the fierce river, and frightening them all.
He sells their flesh while it is alive;
then slaughters them like an ancient beast;
he robs many of life, and himself of worth.
Bloodstained he comes out of the sad wood;
65he leaves it such that a thousand years from now
it will not grow back into its first forest."
As at the announcement of grievous losses
the face of one who listens is troubled,
from whatever side the danger attacks him,
70so I saw the other soul, who had turned
and stood listening, grow troubled and sad,
after it had gathered the words to itself.
Commentary
The prophecy is Fulcieri da Calboli's bloody attack on Florence. The translation keeps the hunting, selling living flesh, ancient-beast slaughter, loss of life and worth, sad wood, and failed reforesting imagery rather than smoothing it into a generic political prediction.
XIV.58–60 The grandson is Fulcieri da Calboli.
XIV.58–60 The grandson is Fulcieri da Calboli. Line 58: The grandson is Fulcieri da Calboli.
XIV.58 The grandson is Fulcieri da Calboli. The grandson is Fulcieri da Calboli.
XIV.61–63 pregio is rendered as "worth" to include both moral value and reputation.
XIV.61–63 pregio is rendered as "worth" to include both moral value and reputation. Line 63: pregio is rendered as "worth" to include both moral value and reputation.
XIV.63 pregio is rendered as "worth" to include both moral value and reputation. pregio is rendered as "worth" to include both moral value and reputation.
XIV.64–66 rinselva is kept as a reforesting image, matching the sad wood and civic devastation.
XIV.64–66 rinselva is kept as a reforesting image, matching the sad wood and civic devastation. Line 66: rinselva is kept as a reforesting image, matching the sad wood and civic devastation.
XIV.66 rinselva is kept as a reforesting image, matching the sad wood and civic devastation. rinselva is kept as a reforesting image, matching the sad wood and civic devastation.
XIV.70–72 The syntax keeps the other soul turned and listening before the prophecy settles into grief.
XIV.70–72 The syntax keeps the other soul turned and listening before the prophecy settles into grief. Line 71: The syntax keeps the other soul turned and listening before the prophecy settles into grief.
XIV.71 The syntax keeps the other soul turned and listening before the prophecy settles into grief. The syntax keeps the other soul turned and listening before the prophecy settles into grief.
Dante asks the spirits' names; Guido identifies himself, confesses envy, names Rinieri, and laments Romagna's barren virtue XIV.73–96
73Lo dir de l’una e de l’altra la vista
mi fer voglioso di saper lor nomi,
75e dimanda ne fei con prieghi mista;
per che lo spirto che di pria parlòmi
ricominciò: «Tu vuo’ ch’io mi deduca
nel fare a te ciò che tu far non vuo’mi.
Ma da che Dio in te vuol che traluca
80tanto sua grazia, non ti sarò scarso;
però sappi ch’io fui Guido del Duca.
Fu il sangue mio d’invidia sì rïarso,
che se veduto avesse uom farsi lieto,
visto m’avresti di livore sparso.
85Di mia semente cotal paglia mieto;
o gente umana, perché poni ’l core
là ’v’ è mestier di consorte divieto?
Questi è Rinier; questi è ’l pregio e l’onore
de la casa da Calboli, ove nullo
90fatto s’è reda poi del suo valore.
E non pur lo suo sangue è fatto brullo,
tra ’l Po e ’l monte e la marina e ’l Reno,
del ben richesto al vero e al trastullo;
ché dentro a questi termini è ripieno
95di venenosi sterpi, sì che tardi
per coltivare omai verrebber meno.
73The speech of one and the other's look
made me eager to know their names,
75and I made a question mixed with prayers;
wherefore the spirit who had spoken to me first
began again: "You want me to lower myself
to do for you what you will not do for me.
But since God wills that in you there shine through
80so much of his grace, I will not be sparing;
therefore know that I was Guido del Duca.
My blood was so burned by envy
that if I had seen a man become glad,
you would have seen me covered with livid color.
85From my seed I reap such straw;
O human race, why do you set your heart
where partnership must be forbidden?
This is Rinieri; this is the worth and honor
of the house of Calboli, where no one
90has since made himself heir to his valor.
And not only his blood has been stripped bare,
between the Po and the mountain and the sea and the Reno,
of the good required for truth and delight;
for within these borders the land is full
95of poisonous shrubs, so that only late
would they now be slow to lessen through cultivation.
Commentary
Guido rebukes Dante's withheld name, confesses envy, and names Rinieri as the remaining worth of the Calboli house. The translation keeps envy as livid response to another's joy and renders consorte divieto as forbidden partnership, tying the terrace to misdirected desire for unshareable goods.
XIV.76–78 The reciprocity complaint matters: Dante hid his own name while asking theirs.
XIV.76–78 The reciprocity complaint matters: Dante hid his own name while asking theirs. Line 78: The reciprocity complaint matters: Dante hid his own name while asking theirs.
XIV.78 The reciprocity complaint matters: Dante hid his own name while asking theirs. The reciprocity complaint matters: Dante hid his own name while asking theirs.
XIV.82–84 Guido names envy as inward burning, matching the terrace's wounded sight and livid color.
XIV.82–84 Guido names envy as inward burning, matching the terrace's wounded sight and livid color. Line 82: Guido names envy as inward burning, matching the terrace's wounded sight and livid color.
XIV.85–87 consorte divieto is rendered as forbidden partnership: envy sets the heart on goods imagined as unshareable.
XIV.85–87 consorte divieto is rendered as forbidden partnership: envy sets the heart on goods imagined as unshareable. Line 87: consorte divieto is rendered as forbidden partnership: envy sets the heart on goods imagined as unshareable.
XIV.87 consorte divieto is rendered as forbidden partnership: envy sets the heart on goods imagined as unshareable. consorte divieto is rendered as forbidden partnership: envy sets the heart on goods imagined as unshareable.
XIV.88–90 Valor is kept as the civic-moral inheritance Rinieri's house has failed to receive.
XIV.88–90 Valor is kept as the civic-moral inheritance Rinieri's house has failed to receive. Line 90: Valor is kept as the civic-moral inheritance Rinieri's house has failed to receive.
XIV.90 Valor is kept as the civic-moral inheritance Rinieri's house has failed to receive. Valor is kept as the civic-moral inheritance Rinieri's house has failed to receive.
XIV.91–93 al vero e al trastullo is left broad as truth and delight, not only solemn virtue.
XIV.91–93 al vero e al trastullo is left broad as truth and delight, not only solemn virtue. Line 93: al vero e al trastullo is left broad as truth and delight, not only solemn virtue.
XIV.93 al vero e al trastullo is left broad as truth and delight, not only solemn virtue. al vero e al trastullo is left broad as truth and delight, not only solemn virtue.
XIV.94–96 The cultivation image continues the poisonous-shrub diagnosis of Romagna.
XIV.94–96 The cultivation image continues the poisonous-shrub diagnosis of Romagna. Line 96: The cultivation image continues the poisonous-shrub diagnosis of Romagna.
XIV.96 The cultivation image continues the poisonous-shrub diagnosis of Romagna. The cultivation image continues the poisonous-shrub diagnosis of Romagna.
Guido mourns vanished Romagnol courtesy, valor, families, and places until weeping overtakes speech XIV.97–126
97Ov’ è ’l buon Lizio e Arrigo Mainardi?
Pier Traversaro e Guido di Carpigna?
Oh Romagnuoli tornati in bastardi!
100Quando in Bologna un Fabbro si ralligna?
quando in Faenza un Bernardin di Fosco,
verga gentil di picciola gramigna?
Non ti maravigliar s’io piango, Tosco,
quando rimembro, con Guido da Prata,
105Ugolin d’Azzo che vivette nosco,
Federigo Tignoso e sua brigata,
la casa Traversara e li Anastagi
(e l’una gente e l’altra è diretata),
le donne e ’ cavalier, li affanni e li agi
110che ne ’nvogliava amore e cortesia
là dove i cuor son fatti sì malvagi.
O Bretinoro, ché non fuggi via,
poi che gita se n’è la tua famiglia
e molta gente per non esser ria?
115Ben fa Bagnacaval, che non rifiglia;
e mal fa Castrocaro, e peggio Conio,
che di figliar tai conti più s’impiglia.
Ben faranno i Pagan, da che ’l demonio
lor sen girà; ma non però che puro
120già mai rimagna d’essi testimonio.
O Ugolin de’ Fantolin, sicuro
è ’l nome tuo, da che più non s’aspetta
chi far lo possa, tralignando, scuro.
Ma va via, Tosco, omai; ch’or mi diletta
125troppo di pianger più che di parlare,
sì m’ha nostra ragion la mente stretta».
97Where is good Lizio, and Arrigo Mainardi?
Pier Traversaro and Guido di Carpigna?
O Romagnols turned bastards!
100When in Bologna will a Fabbro root himself again?
when in Faenza a Bernardin di Fosco,
noble shoot from a little weed?
Do not marvel if I weep, Tuscan,
when I remember, with Guido da Prata,
105Ugolin d'Azzo who lived among us,
Federigo Tignoso and his company,
the Traversara house and the Anastagi
(both one people and the other are without heir),
the ladies and the knights, the hardships and the ease
110that love and courtesy made us desire
where hearts have become so evil.
O Brettinoro, why do you not flee away,
since your family has gone from you
and many people, so as not to be guilty?
115Bagnacaval does well, not bearing offspring;
Castrocaro does ill, and Conio worse,
for it entangles itself further in begetting such counts.
The Pagani will do well when the demon
has gone from them; but not for that reason pure
120will any pure testimony of them ever remain.
O Ugolin de' Fantolin, secure
is your name, since no one more is expected
who could darken it by degenerating.
But go your way now, Tuscan; for now it delights me
125far more to weep than to speak,
so has our discourse gripped my mind."
Commentary
The passage is a Romagnol catalogue of people and places. The translation preserves names, family extinction, humble-born nobility, love and courtesy, Brettinoro, Bagnacaval, Castrocaro, Conio, the Pagani demon, Ugolin de' Fantolin, and Guido's grief overtaking speech without adding explanatory paraphrase to the lines.
XIV.97–99 The bastardry line keeps Dante's severe dynastic and civic register.
XIV.97–99 The bastardry line keeps Dante's severe dynastic and civic register. Line 99: The bastardry line keeps Dante's severe dynastic and civic register.
XIV.99 The bastardry line keeps Dante's severe dynastic and civic register. The bastardry line keeps Dante's severe dynastic and civic register.
XIV.100–102 Bernardin's noble shoot from low grass keeps the surprise of virtue from humble stock.
XIV.100–102 Bernardin's noble shoot from low grass keeps the surprise of virtue from humble stock. Line 102: Bernardin's noble shoot from low grass keeps the surprise of virtue from humble stock.
XIV.102 Bernardin's noble shoot from low grass keeps the surprise of virtue from humble stock. Bernardin's noble shoot from low grass keeps the surprise of virtue from humble stock.
XIV.109–111 Love and courtesy are retained as the forces that once made Romagna's noble life desirable.
XIV.109–111 Love and courtesy are retained as the forces that once made Romagna's noble life desirable. Line 110: Love and courtesy are retained as the forces that once made Romagna's noble life desirable.
XIV.110 Love and courtesy are retained as the forces that once made Romagna's noble life desirable. Love and courtesy are retained as the forces that once made Romagna's noble life desirable.
XIV.112–114 The line is taken as people leaving Brettinoro to avoid sharing its guilt.
XIV.112–114 The line is taken as people leaving Brettinoro to avoid sharing its guilt. Line 114: The line is taken as people leaving Brettinoro to avoid sharing its guilt.
XIV.114 The line is taken as people leaving Brettinoro to avoid sharing its guilt. The line is taken as people leaving Brettinoro to avoid sharing its guilt.
XIV.118–120 The Pagani line keeps the impure family testimony after Mainardo, the "demon," is gone.
XIV.118–120 The Pagani line keeps the impure family testimony after Mainardo, the "demon," is gone. Line 120: The Pagani line keeps the impure family testimony after Mainardo, the "demon," is gone.
XIV.120 The Pagani line keeps the impure family testimony after Mainardo, the "demon," is gone. The Pagani line keeps the impure family testimony after Mainardo, the "demon," is gone.
XIV.121–123 Ugolin de' Fantolin's name is secure because no descendant remains to darken it.
XIV.121–123 Ugolin de' Fantolin's name is secure because no descendant remains to darken it. Line 123: Ugolin de' Fantolin's name is secure because no descendant remains to darken it.
XIV.123 Ugolin de' Fantolin's name is secure because no descendant remains to darken it. Ugolin de' Fantolin's name is secure because no descendant remains to darken it.
XIV.124–126 nostra ragion is rendered as discourse, the speech that has tightened Guido's mind into weeping.
XIV.124–126 nostra ragion is rendered as discourse, the speech that has tightened Guido's mind into weeping. Line 126: nostra ragion is rendered as discourse, the speech that has tightened Guido's mind into weeping.
XIV.126 nostra ragion is rendered as discourse, the speech that has tightened Guido's mind into weeping. nostra ragion is rendered as discourse, the speech that has tightened Guido's mind into weeping.
The poets proceed by the souls' silence, hear Cain and Aglauros as the terrace's bridle voices, and Virgil rebukes earthbound sight XIV.127–151
127Noi sapavam che quell’ anime care
ci sentivano andar; però, tacendo,
facëan noi del cammin confidare.
130Poi fummo fatti soli procedendo,
folgore parve quando l’aere fende,
voce che giunse di contra dicendo:
‘Anciderammi qualunque m’apprende’;
e fuggì come tuon che si dilegua,
135se sùbito la nuvola scoscende.
Come da lei l’udir nostro ebbe triegua,
ed ecco l’altra con sì gran fracasso,
che somigliò tonar che tosto segua:
«Io sono Aglauro che divenni sasso»;
140e allor, per ristrignermi al poeta,
in destro feci, e non innanzi, il passo.
Già era l’aura d’ogne parte queta;
ed el mi disse: «Quel fu ’l duro camo
che dovria l’uom tener dentro a sua meta.
145Ma voi prendete l’esca, sì che l’amo
de l’antico avversaro a sé vi tira;
e però poco val freno o richiamo.
Chiamavi ’l cielo e ’ntorno vi si gira,
mostrandovi le sue bellezze etterne,
150e l’occhio vostro pur a terra mira;
onde vi batte chi tutto discerne».
127We knew those dear souls
heard us going; therefore, by keeping silent,
they made us trust the road.
130Then, proceeding, we were left alone,
a voice seemed lightning, when it cleaves the air,
coming toward us, saying:
'Whoever finds me will kill me';
and it fled like thunder that fades
135when suddenly the cloud splits apart.
When our hearing had a truce from it,
behold the other, with so great a crash
that it seemed thunder quickly following:
"I am Aglauros, who became stone";
140and then, to draw myself close to the poet,
I took my step to the right, and not forward.
Already the air was quiet on every side;
and he said to me: "That was the hard bit
that should hold a man within his bounds.
145But you take the bait, so that the hook
of the ancient adversary draws you to itself,
and therefore bridle or recall has little value.
Heaven calls you and wheels around you,
showing you its eternal beauties,
150and your eye still looks only to earth;
wherefore he who discerns all things strikes you."
Commentary
Cain and Aglauros are the terrace's contrary bridle voices against envy. The translation follows the governing Italian at line 141 with a rightward, not forward, step toward Virgil, then keeps Virgil's bait, hook, bridle, heaven-calling, eternal beauties, earthward eye, and all-discerning correction.
XIV.127–129 The envious souls' silence functions as guidance: the poets can trust the road because no correction comes.
XIV.127–129 The envious souls' silence functions as guidance: the poets can trust the road because no correction comes. Line 129: The envious souls' silence functions as guidance: the poets can trust the road because no correction comes.
XIV.129 The envious souls' silence functions as guidance: the poets can trust the road because no correction comes. The envious souls' silence functions as guidance: the poets can trust the road because no correction comes.
XIV.133–135 The first bridle voice quotes Cain's fear after Abel's murder.
XIV.133–135 The first bridle voice quotes Cain's fear after Abel's murder. Line 133: The first bridle voice quotes Cain's fear after Abel's murder.
XIV.133 The first bridle voice quotes Cain's fear after Abel's murder. The first bridle voice quotes Cain's fear after Abel's murder.
XIV.139–141 Aglauros is the Ovidian envy exemplum turned to stone. The governing Italian source reads in destro; the translation therefore keeps a rightward step toward Virgil rather than a backward movement.
XIV.139–141 Aglauros is the Ovidian envy exemplum turned to stone. Line 139: Aglauros is the Ovidian envy exemplum turned to stone. Line 141: The governing Italian source reads in destro; the translation therefore keeps a rightward step toward Virgil rather than a backward movement.
XIV.139 Aglauros is the Ovidian envy exemplum turned to stone. Aglauros is the Ovidian envy exemplum turned to stone.
XIV.141 The governing Italian source reads in destro; the translation therefore keeps a rightward step toward Virgil rather than a backward movement. The governing Italian source reads in destro; the translation therefore keeps a rightward step toward Virgil rather than a backward movement.
XIV.142–144 The hard bit is the terrace's contrary bridle against envy, following the love examples of Purgatorio XIII.
XIV.142–144 The hard bit is the terrace's contrary bridle against envy, following the love examples of Purgatorio XIII. Line 144: The hard bit is the terrace's contrary bridle against envy, following the love examples of Purgatorio XIII.
XIV.144 The hard bit is the terrace's contrary bridle against envy, following the love examples of Purgatorio XIII. The hard bit is the terrace's contrary bridle against envy, following the love examples of Purgatorio XIII.
XIV.145–147 Virgil contrasts failed external restraint with the soul taking the bait of the old adversary.
XIV.145–147 Virgil contrasts failed external restraint with the soul taking the bait of the old adversary. Line 147: Virgil contrasts failed external restraint with the soul taking the bait of the old adversary.
XIV.147 Virgil contrasts failed external restraint with the soul taking the bait of the old adversary. Virgil contrasts failed external restraint with the soul taking the bait of the old adversary.
XIV.148–150 Earthward sight closes the canto by naming envy as misdirected vision and desire.
XIV.148–150 Earthward sight closes the canto by naming envy as misdirected vision and desire. Line 150: Earthward sight closes the canto by naming envy as misdirected vision and desire.
XIV.150 Earthward sight closes the canto by naming envy as misdirected vision and desire. Earthward sight closes the canto by naming envy as misdirected vision and desire.