Purgatorio, Canto 16

Dante Alighieri · Italian original · new English translation and commentary by Text Atlas

Overview

The third terrace's smoke is thicker than the darkness of Hell or any planetless, clouded night. Dante cannot keep his eyes open, so Virgil offers his shoulder and repeatedly warns him not to be cut off. Moving like a blind man behind a guide, Dante hears hidden souls praying the Agnus Dei in perfect concord. Virgil explains that they are loosening the knot of anger. A voice in the smoke asks who Dante is, since he speaks as though still measuring time by the calendar. At Virgil's prompting, Dante answers that he ascends in the mortal body, through Hell's anguish and by God's extraordinary grace, and asks the soul's name and the way upward. The shade identifies himself as Marco Lombardo, who knew the world and loved the civic worth now abandoned. He confirms the upward path and asks Dante to pray for him. Dante promises and asks the cause of a world emptied of virtue and covered by malice: some blame the heavens, others human beings. Marco sighs and says the world is blind. If heavenly influence moved all things by necessity, free will would be destroyed and justice in joy or grief for good and evil would fail. The heavens may initiate movement, but God gives light for good and evil and free willing; if that will is well nourished, it conquers its first battles with the stars. The human mind is created by a higher force than the heavens, so the cause of the present world's straying must be sought in human beings. The simple soul comes from God's delighted hand like a child, knowing only that it gladly turns toward what pleases it. It tastes a small good and is deceived unless guide or rein redirects love. Laws and a ruler are therefore necessary to discern the tower of the true city, but the shepherd who leads can chew the cud without split hooves, so the people follow his appetite and seek nothing further. Bad guidance, not corrupted human nature, has made the world guilty. Rome once had two suns, spiritual and temporal, showing the roads of God and the world; now one has quenched the other, and sword and pastoral staff are forced together. In Lombardy, valor and courtesy once flourished, but only three old men remain as rebukes to the new age. Marco concludes that the Church of Rome, by confusing two governments in itself, falls in the mud and soils itself and its burden. Dante accepts the argument and understands why Levi's sons were exempt from inheritance, then asks which Gherardo Marco means. Marco, surprised that a Tuscan does not know the good Gherardo, says he knows no other surname except from Gherardo's daughter Gaia. The angel's whitening light begins to ray through the smoke, so Marco departs before appearing to him and will hear Dante no more.

Narrative arc

Wrath's smoke is worse than infernal darkness; Dante moves blind, guided by Virgil's shoulder and warning
The wrathful souls pray the Agnus Dei in concord while loosening the knot of anger
Marco's unseen voice questions Dante; Dante explains his living ascent and asks for identity and direction
Marco names himself, confirms the upward path, asks prayer, and Dante asks the cause of the world's corruption
Marco rejects heavenly determinism and grounds justice in light, free will, and human responsibility
The simple soul is deceived by little goods unless guide, rein, law, and ruler turn love toward the true city
Marco's two-suns critique of Rome, Church and Empire, lost Lombard courtesy, and the Church's fall into mud
Dante asks about Gherardo; Marco names Gaia, sees the angelic brightness through the smoke, and departs

Central themes

wrath
free will
love
moral responsibility
discernment

Wrath's smoke is worse than infernal darkness; Dante moves blind, guided by Virgil's shoulder and warning XVI.1–15

1Buio d’inferno e di notte privata

d’ogne pianeto, sotto pover cielo,

quant’ esser può di nuvol tenebrata,

non fece al viso mio sì grosso velo

5come quel fummo ch’ivi ci coperse,

né a sentir di così aspro pelo,

che l’occhio stare aperto non sofferse;

onde la scorta mia saputa e fida

mi s’accostò e l’omero m’offerse.

10Sì come cieco va dietro a sua guida

per non smarrirsi e per non dar di cozzo

in cosa che ’l molesti, o forse ancida,

m’andava io per l’aere amaro e sozzo,

ascoltando il mio duca che diceva

15pur: «Guarda che da me tu non sia mozzo».

1Darkness of Hell, and of night deprived

of every planet, beneath a poor sky,

made as dark as cloud can make it,

never made so thick a veil before my face

5as that smoke which covered us there,

nor, to the touch, one of so rough a nap,

that my eye could not bear to stay open;

so my knowing and faithful escort

drew close to me and offered me his shoulder.

10Just as a blind man goes behind his guide

so as not to stray or butt against

something that may trouble him, or perhaps kill him,

so I went through the bitter, filthy air,

listening to my leader, who kept saying

15only: "Take care that you are not cut off from me."

Commentary

The opening compares infernal darkness, planetless night, and the smoke of wrath. The translation keeps the smoke as a tactile veil that removes sight and forces Dante into guided dependence on Virgil's shoulder.

XVI.1–3 Pover cielo keeps the sky's deprivation rather than becoming merely cloudy weather.

XVI.1–3 Pover cielo keeps the sky's deprivation rather than becoming merely cloudy weather. Line 2: Pover cielo keeps the sky's deprivation rather than becoming merely cloudy weather.

XVI.2 Pover cielo keeps the sky's deprivation rather than becoming merely cloudy weather. Pover cielo keeps the sky's deprivation rather than becoming merely cloudy weather.

XVI.4–6 Pelo is kept as fabric texture, making the smoke tactile as well as visual.

XVI.4–6 Pelo is kept as fabric texture, making the smoke tactile as well as visual. Line 6: Pelo is kept as fabric texture, making the smoke tactile as well as visual.

XVI.6 Pelo is kept as fabric texture, making the smoke tactile as well as visual. Pelo is kept as fabric texture, making the smoke tactile as well as visual.

XVI.13–15 Mozzo is kept as cut off rather than only separated, matching the smoke's danger of severing guidance.

XVI.13–15 Mozzo is kept as cut off rather than only separated, matching the smoke's danger of severing guidance. Line 15: Mozzo is kept as cut off rather than only separated, matching the smoke's danger of severing guidance.

XVI.15 Mozzo is kept as cut off rather than only separated, matching the smoke's danger of severing guidance. Mozzo is kept as cut off rather than only separated, matching the smoke's danger of severing guidance.

The wrathful souls pray the Agnus Dei in concord while loosening the knot of anger XVI.16–24

16Io sentia voci, e ciascuna pareva

pregar per pace e per misericordia

l’Agnel di Dio che le peccata leva.

Pur ‘Agnus Dei’ eran le loro essordia;

20una parola in tutte era e un modo,

sì che parea tra esse ogne concordia.

«Quei sono spirti, maestro, ch’i’ odo?»,

diss’ io. Ed elli a me: «Tu vero apprendi,

e d’iracundia van solvendo il nodo».

16I heard voices, and each seemed

to pray for peace and for mercy

to the Lamb of God who takes sins away.

Only "Agnus Dei" began each one;

20one word was in them all, and one manner,

so that every concord seemed among them.

"Are these spirits, master, that I hear?"

I said. And he to me: "You grasp the truth,

and they go loosening the knot of anger."

Commentary

The repeated Agnus Dei is a shared penitential prayer for peace and mercy. The translation keeps iracundia as anger in the line, while wrath remains the terrace category.

XVI.19–21 The Latin incipit is retained because the shared liturgical prayer is the scene's sound structure.

XVI.19–21 The Latin incipit is retained because the shared liturgical prayer is the scene's sound structure. Line 19: The Latin incipit is retained because the shared liturgical prayer is the scene's sound structure.

XVI.19 The Latin incipit is retained because the shared liturgical prayer is the scene's sound structure. The Latin incipit is retained because the shared liturgical prayer is the scene's sound structure.

XVI.22–24 Use anger for the line's direct vice term while keeping wrath as the terrace category.

XVI.22–24 Use anger for the line's direct vice term while keeping wrath as the terrace category. Line 24: Use anger for the line's direct vice term while keeping wrath as the terrace category.

XVI.24 Use anger for the line's direct vice term while keeping wrath as the terrace category. Use anger for the line's direct vice term while keeping wrath as the terrace category.

Marco's unseen voice questions Dante; Dante explains his living ascent and asks for identity and direction XVI.25–45

25«Or tu chi se’ che ’l nostro fummo fendi,

e di noi parli pur come se tue

partissi ancor lo tempo per calendi?».

Così per una voce detto fue;

onde ’l maestro mio disse: «Rispondi,

30e domanda se quinci si va sùe».

E io: «O creatura che ti mondi

per tornar bella a colui che ti fece,

maraviglia udirai, se mi secondi».

«Io ti seguiterò quanto mi lece»,

35rispuose; «e se veder fummo non lascia,

l’udir ci terrà giunti in quella vece».

Allora incominciai: «Con quella fascia

che la morte dissolve men vo suso,

e venni qui per l’infernale ambascia.

40E se Dio m’ha in sua grazia rinchiuso,

tanto che vuol ch’i’ veggia la sua corte

per modo tutto fuor del moderno uso,

non mi celar chi fosti anzi la morte,

ma dilmi, e dimmi s’i’ vo bene al varco;

45e tue parole fier le nostre scorte».

25"Now who are you, who cleave our smoke

and speak of us as if you still

divided time by kalends?"

So it was said by one voice;

therefore my master said: "Answer,

30and ask if from here one goes upward."

And I: "O creature, who are being cleansed

to return beautiful to the One who made you,

you shall hear wonder, if you follow me."

"I will follow you as far as I am allowed,"

35he answered; "and if smoke will not let us see,

hearing, in its place, will keep us joined."

Then I began: "With that band

which death dissolves, I go upward,

and I came here through the distress of Hell.

40And if God has enclosed me in his grace,

so much that he wills I see his court

by a manner wholly outside modern custom,

do not hide from me who you were before death,

but tell me, and tell me if I go rightly to the pass;

45and your words will be our escorts."

Commentary

This passage covers marco's unseen voice questions Dante; Dante explains his living ascent and asks for identity and direction.

XVI.25–27 Calendi keeps the Roman calendar marker for earthly time.

XVI.25–27 Calendi keeps the Roman calendar marker for earthly time. Line 27: Calendi keeps the Roman calendar marker for earthly time.

XVI.27 Calendi keeps the Roman calendar marker for earthly time. Calendi keeps the Roman calendar marker for earthly time.

XVI.31–33 Beauty is retained as the restored state after purgation, not generalized to purity alone.

XVI.31–33 Beauty is retained as the restored state after purgation, not generalized to purity alone. Line 32: Beauty is retained as the restored state after purgation, not generalized to purity alone.

XVI.32 Beauty is retained as the restored state after purgation, not generalized to purity alone. Beauty is retained as the restored state after purgation, not generalized to purity alone.

XVI.37–39 The band is the mortal body, which death normally unbinds.

XVI.37–39 The band is the mortal body, which death normally unbinds. Line 38: The band is the mortal body, which death normally unbinds.

XVI.38 The band is the mortal body, which death normally unbinds. The band is the mortal body, which death normally unbinds.

XVI.40–42 Moderno uso is kept as custom or usage, marking Dante's exceptional living journey.

XVI.40–42 Moderno uso is kept as custom or usage, marking Dante's exceptional living journey. Line 42: Moderno uso is kept as custom or usage, marking Dante's exceptional living journey.

XVI.42 Moderno uso is kept as custom or usage, marking Dante's exceptional living journey. Moderno uso is kept as custom or usage, marking Dante's exceptional living journey.

Marco names himself, confirms the upward path, asks prayer, and Dante asks the cause of the world's corruption XVI.46–63

46«Lombardo fui, e fu’ chiamato Marco;

del mondo seppi, e quel valore amai

al quale ha or ciascun disteso l’arco.

Per montar sù dirittamente vai».

50Così rispuose, e soggiunse: «I’ ti prego

che per me prieghi quando sù sarai».

E io a lui: «Per fede mi ti lego

di far ciò che mi chiedi; ma io scoppio

dentro ad un dubbio, s’io non me ne spiego.

55Prima era scempio, e ora è fatto doppio

ne la sentenza tua, che mi fa certo

qui, e altrove, quello ov’ io l’accoppio.

Lo mondo è ben così tutto diserto

d’ogne virtute, come tu mi sone,

60e di malizia gravido e coverto;

ma priego che m’addite la cagione,

sì ch’i’ la veggia e ch’i’ la mostri altrui;

ché nel cielo uno, e un qua giù la pone».

46"Lombard I was, and I was called Marco;

I knew the world, and loved that worth

toward which everyone now has let the bow go slack.

To mount upward, you are going straight."

50So he answered, and added: "I pray you

that you pray for me when you are above."

And I to him: "By faith I bind myself to you

to do what you ask of me; but I burst

inside with a doubt, if I do not explain it.

55At first it was single, and now it has become double

in your judgment, which makes me certain

here, and elsewhere, of the thing with which I pair it.

The world is indeed so wholly deserted

by every virtue, as your words sound to me,

60and pregnant with malice and covered by it;

but I pray you point out the cause to me,

so that I may see it and show it to others;

for one puts it in the heavens, and one down here."

Commentary

This passage covers marco names himself, confirms the upward path, asks prayer, and Dante asks the cause of the world's corruption.

XVI.46–48 The bow image keeps abandoned civic-moral effort rather than only saying people have turned away from virtue.

XVI.46–48 The bow image keeps abandoned civic-moral effort rather than only saying people have turned away from virtue. Line 48: The bow image keeps abandoned civic-moral effort rather than only saying people have turned away from virtue.

XVI.48 The bow image keeps abandoned civic-moral effort rather than only saying people have turned away from virtue. The bow image keeps abandoned civic-moral effort rather than only saying people have turned away from virtue.

XVI.55–57 Dante's doubt is doubled because Marco's words confirm the moral corruption already raised in the previous terrace.

XVI.55–57 Dante's doubt is doubled because Marco's words confirm the moral corruption already raised in the previous terrace. Line 57: Dante's doubt is doubled because Marco's words confirm the moral corruption already raised in the previous terrace.

XVI.57 Dante's doubt is doubled because Marco's words confirm the moral corruption already raised in the previous terrace. Dante's doubt is doubled because Marco's words confirm the moral corruption already raised in the previous terrace.

Marco rejects heavenly determinism and grounds justice in light, free will, and human responsibility XVI.64–84

64Alto sospir, che duolo strinse in «uhi!»,

65mise fuor prima; e poi cominciò: «Frate,

lo mondo è cieco, e tu vien ben da lui.

Voi che vivete ogne cagion recate

pur suso al cielo, pur come se tutto

movesse seco di necessitate.

70Se così fosse, in voi fora distrutto

libero arbitrio, e non fora giustizia

per ben letizia, e per male aver lutto.

Lo cielo i vostri movimenti inizia;

non dico tutti, ma, posto ch’i’ ’l dica,

75lume v’è dato a bene e a malizia,

e libero voler; che, se fatica

ne le prime battaglie col ciel dura,

poi vince tutto, se ben si notrica.

A maggior forza e a miglior natura

80liberi soggiacete; e quella cria

la mente in voi, che ’l ciel non ha in sua cura.

Però, se ’l mondo presente disvia,

in voi è la cagione, in voi si cheggia;

e io te ne sarò or vera spia.

64A deep sigh, which grief squeezed into "alas!",

65he first sent out; and then began: "Brother,

the world is blind, and you truly come from it.

You who are living refer every cause

only upward to the heavens, just as if everything

they moved with themselves by necessity.

70If it were so, free will would be destroyed

in you, and there would be no justice

in having joy for good, and grief for evil.

The heavens initiate your movements;

I do not say all; but, granting that I say it,

75light is given you for good and for malice,

and free willing; which, if it bears fatigue

in its first battles with the heavens,

then conquers all, if it is nourished well.

To a greater force and a better nature

80you, free, lie subject; and that creates

the mind in you, which heaven does not hold in its care.

Therefore, if the present world goes astray,

in you is the cause; in you let it be sought;

and I will now be its true reporter for you.

Commentary

This passage covers marco rejects heavenly determinism and grounds justice in light, free will, and human responsibility.

XVI.64–66 Uhi is rendered as a brief cry of pain rather than a polished exclamation.

XVI.64–66 Uhi is rendered as a brief cry of pain rather than a polished exclamation. Line 64: Uhi is rendered as a brief cry of pain rather than a polished exclamation.

XVI.64 Uhi is rendered as a brief cry of pain rather than a polished exclamation. Uhi is rendered as a brief cry of pain rather than a polished exclamation.

XVI.70–72 Marco's free-will argument ties moral freedom directly to the justice of reward and purgative grief.

XVI.70–72 Marco's free-will argument ties moral freedom directly to the justice of reward and purgative grief. Line 72: Marco's free-will argument ties moral freedom directly to the justice of reward and purgative grief.

XVI.72 Marco's free-will argument ties moral freedom directly to the justice of reward and purgative grief. Marco's free-will argument ties moral freedom directly to the justice of reward and purgative grief.

XVI.73–75 Lume is both moral discernment and a counter to the smoke-blindness of the terrace.

XVI.73–75 Lume is both moral discernment and a counter to the smoke-blindness of the terrace. Line 75: Lume is both moral discernment and a counter to the smoke-blindness of the terrace.

XVI.75 Lume is both moral discernment and a counter to the smoke-blindness of the terrace. Lume is both moral discernment and a counter to the smoke-blindness of the terrace.

XVI.76–78 The will is free but must be trained and nourished; the line reflects the free-will-educated-by-love frame.

XVI.76–78 The will is free but must be trained and nourished; the line reflects the free-will-educated-by-love frame. Line 78: The will is free but must be trained and nourished; the line reflects the free-will-educated-by-love frame.

XVI.78 The will is free but must be trained and nourished; the line reflects the free-will-educated-by-love frame. The will is free but must be trained and nourished; the line reflects the free-will-educated-by-love frame.

XVI.79–81 Marco distinguishes the directly created human mind from celestial influence.

XVI.79–81 Marco distinguishes the directly created human mind from celestial influence. Line 81: Marco distinguishes the directly created human mind from celestial influence.

XVI.81 Marco distinguishes the directly created human mind from celestial influence. Marco distinguishes the directly created human mind from celestial influence.

XVI.82–84 Vera spia is taken as a faithful informant, not a covert spy.

XVI.82–84 Vera spia is taken as a faithful informant, not a covert spy. Line 84: Vera spia is taken as a faithful informant, not a covert spy.

XVI.84 Vera spia is taken as a faithful informant, not a covert spy. Vera spia is taken as a faithful informant, not a covert spy.

The simple soul is deceived by little goods unless guide, rein, law, and ruler turn love toward the true city XVI.85–105

85Esce di mano a lui che la vagheggia

prima che sia, a guisa di fanciulla

che piangendo e ridendo pargoleggia,

l’anima semplicetta che sa nulla,

salvo che, mossa da lieto fattore,

90volontier torna a ciò che la trastulla.

Di picciol bene in pria sente sapore;

quivi s’inganna, e dietro ad esso corre,

se guida o fren non torce suo amore.

Onde convenne legge per fren porre;

95convenne rege aver, che discernesse

de la vera cittade almen la torre.

Le leggi son, ma chi pon mano ad esse?

Nullo, però che ’l pastor che procede,

rugumar può, ma non ha l’unghie fesse;

100per che la gente, che sua guida vede

pur a quel ben fedire ond’ ella è ghiotta,

di quel si pasce, e più oltre non chiede.

Ben puoi veder che la mala condotta

è la cagion che ’l mondo ha fatto reo,

105e non natura che ’n voi sia corrotta.

85From the hand of Him who delights in her

before she exists, like a little girl

who, weeping and laughing, plays as a child,

the simple little soul comes forth, knowing nothing

except that, moved by a glad maker,

90she gladly turns to what delights her.

At first she tastes the flavor of a little good;

there she is deceived, and runs after it,

unless guide or rein turns her love.

Therefore law had to be set as rein;

95there had to be a king, who could discern

at least the tower of the true city.

The laws exist, but who sets hand to them?

No one, because the shepherd who goes before

can chew the cud, but does not have split hooves;

100therefore the people, who see their guide

strike only at that good for which they are greedy,

feed on that, and ask no further.

You can clearly see that bad guidance

is the cause that has made the world guilty,

105and not nature corrupted in you.

Commentary

The passage sets out the simple soul, the need for guide and rein, law and king, and the Levitical shepherd image. The translation keeps love's misdirection, failed guidance, and bad leadership as the moral mechanism rather than softening it into generic corruption.

XVI.91–93 Love is not erased; it must be redirected by guidance and discipline.

XVI.91–93 Love is not erased; it must be redirected by guidance and discipline. Line 93: Love is not erased; it must be redirected by guidance and discipline.

XVI.93 Love is not erased; it must be redirected by guidance and discipline. Love is not erased; it must be redirected by guidance and discipline.

XVI.94–96 True city keeps the Augustinian and civic pressure active without expanding the line.

XVI.94–96 True city keeps the Augustinian and civic pressure active without expanding the line. Line 96: True city keeps the Augustinian and civic pressure active without expanding the line.

XVI.96 True city keeps the Augustinian and civic pressure active without expanding the line. True city keeps the Augustinian and civic pressure active without expanding the line.

XVI.97–99 The Levitical clean-animal image distinguishes doctrinal meditation from right temporal conduct.

XVI.97–99 The Levitical clean-animal image distinguishes doctrinal meditation from right temporal conduct. Line 99: The Levitical clean-animal image distinguishes doctrinal meditation from right temporal conduct.

XVI.99 The Levitical clean-animal image distinguishes doctrinal meditation from right temporal conduct. The Levitical clean-animal image distinguishes doctrinal meditation from right temporal conduct.

XVI.100–102 Ghiotta keeps appetite language inside the political-theological critique.

XVI.100–102 Ghiotta keeps appetite language inside the political-theological critique. Line 101: Ghiotta keeps appetite language inside the political-theological critique.

XVI.101 Ghiotta keeps appetite language inside the political-theological critique. Ghiotta keeps appetite language inside the political-theological critique.

XVI.103–105 Marco refuses both astrological determinism and a claim that human nature itself is the cause.

XVI.103–105 Marco refuses both astrological determinism and a claim that human nature itself is the cause. Line 105: Marco refuses both astrological determinism and a claim that human nature itself is the cause.

XVI.105 Marco refuses both astrological determinism and a claim that human nature itself is the cause. Marco refuses both astrological determinism and a claim that human nature itself is the cause.

Marco's two-suns critique of Rome, Church and Empire, lost Lombard courtesy, and the Church's fall into mud XVI.106–129

106Soleva Roma, che ’l buon mondo feo,

due soli aver, che l’una e l’altra strada

facean vedere, e del mondo e di Deo.

L’un l’altro ha spento; ed è giunta la spada

110col pasturale, e l’un con l’altro insieme

per viva forza mal convien che vada;

però che, giunti, l’un l’altro non teme:

se non mi credi, pon mente a la spiga,

ch’ogn’ erba si conosce per lo seme.

115In sul paese ch’Adice e Po riga,

solea valore e cortesia trovarsi,

prima che Federigo avesse briga;

or può sicuramente indi passarsi

per qualunque lasciasse, per vergogna

120di ragionar coi buoni o d’appressarsi.

Ben v’èn tre vecchi ancora in cui rampogna

l’antica età la nova, e par lor tardo

che Dio a miglior vita li ripogna:

Currado da Palazzo e ’l buon Gherardo

125e Guido da Castel, che mei si noma,

francescamente, il semplice Lombardo.

Dì oggimai che la Chiesa di Roma,

per confondere in sé due reggimenti,

cade nel fango, e sé brutta e la soma».

106Rome, which made the good world,

used to have two suns, which made visible

both roads, that of the world and that of God.

One has put out the other; and the sword

110is joined with the pastoral staff, and one with the other

by sheer force must go badly together;

because, joined, one does not fear the other:

if you do not believe me, consider the ear of grain,

for every plant is known by its seed.

115In the country that Adige and Po water,

valor and courtesy used to be found,

before Frederick had his quarrel;

now anyone may safely pass from there

who would leave off, from shame,

120speaking with the good or drawing near them.

Yet there are three old men there still, in whom

the old age rebukes the new, and to them it seems late

that God should restore them to the better life:

Currado da Palazzo and the good Gherardo

125and Guido da Castel, who is better named,

in the French manner, the simple Lombard.

Say from now on that the Church of Rome,

because it confounds in itself two governments,

falls in the mud, and soils itself and its burden."

Commentary

The passage gives the two-suns image for spiritual and temporal authority, the sword joined to the pastoral staff, the Lombard catalogue, and the Church of Rome falling into mud by confusing two forms of rule. The translation keeps the medieval Church/Empire frame explicit without importing modern political labels.

XVI.106–108 The two suns are kept as Dante's image for distinct spiritual and temporal authorities.

XVI.106–108 The two suns are kept as Dante's image for distinct spiritual and temporal authorities. Line 107: The two suns are kept as Dante's image for distinct spiritual and temporal authorities.

XVI.107 The two suns are kept as Dante's image for distinct spiritual and temporal authorities. The two suns are kept as Dante's image for distinct spiritual and temporal authorities.

XVI.115–117 The Frederick reference is left compact; it bears on the imperial-papal conflict.

XVI.115–117 The Frederick reference is left compact; it bears on the imperial-papal conflict. Line 117: The Frederick reference is left compact; it bears on the imperial-papal conflict.

XVI.117 The Frederick reference is left compact; it bears on the imperial-papal conflict. The Frederick reference is left compact; it bears on the imperial-papal conflict.

XVI.124–126 Semplice keeps plainness and uprightness; the French naming frame is not expanded in the line.

XVI.124–126 Semplice keeps plainness and uprightness; the French naming frame is not expanded in the line. Line 126: Semplice keeps plainness and uprightness; the French naming frame is not expanded in the line.

XVI.126 Semplice keeps plainness and uprightness; the French naming frame is not expanded in the line. Semplice keeps plainness and uprightness; the French naming frame is not expanded in the line.

XVI.127–129 The two governments are spiritual and temporal rule; the translation keeps the institutional claim direct. Soma is kept as burden to connect office, responsibility, and the load chosen by corrupt governance.

XVI.127–129 The two governments are spiritual and temporal rule; the translation keeps the institutional claim direct. Line 128: The two governments are spiritual and temporal rule; the translation keeps the institutional claim direct. Line 129: Soma is kept as burden to connect office, responsibility, and the load chosen by corrupt governance.

XVI.128 The two governments are spiritual and temporal rule; the translation keeps the institutional claim direct. The two governments are spiritual and temporal rule; the translation keeps the institutional claim direct.

XVI.129 Soma is kept as burden to connect office, responsibility, and the load chosen by corrupt governance. Soma is kept as burden to connect office, responsibility, and the load chosen by corrupt governance.

Dante asks about Gherardo; Marco names Gaia, sees the angelic brightness through the smoke, and departs XVI.130–145

130«O Marco mio», diss’ io, «bene argomenti;

e or discerno perché dal retaggio

li figli di Levì furono essenti.

Ma qual Gherardo è quel che tu per saggio

di’ ch’è rimaso de la gente spenta,

135in rimprovèro del secol selvaggio?».

«O tuo parlar m’inganna, o el mi tenta»,

rispuose a me; «ché, parlandomi tosco,

par che del buon Gherardo nulla senta.

Per altro sopranome io nol conosco,

140s’io nol togliessi da sua figlia Gaia.

Dio sia con voi, ché più non vegno vosco.

Vedi l’albor che per lo fummo raia

già biancheggiare, e me convien partirmi

(l’angelo è ivi) prima ch’io li paia».

145Così tornò, e più non volle udirmi.

130"O my Marco," I said, "you argue well;

and now I discern why from inheritance

the sons of Levi were exempt.

But which Gherardo is that whom you say

has remained as sample of the spent people,

135in reproach of the savage age?"

"Either your speech deceives me, or it tests me,"

he answered me; "for, speaking Tuscan to me,

you seem to know nothing of the good Gherardo.

By any other surname I do not know him,

140unless I took it from his daughter Gaia.

God be with you, for I go with you no farther.

See the brightness that through the smoke is already

raying white, and I must depart

(the angel is there) before I appear to him."

145So he turned back, and would not hear me more.

Commentary

Dante infers Levi, Marco is surprised that a Tuscan does not know Gherardo, Marco mentions the Gaia surname, and Marco departs before the angel appears. The translation leaves Gaia's reputation and Gherardo's identification unglossed.

XVI.130–132 Dante draws out the separation of priestly office from temporal inheritance.

XVI.130–132 Dante draws out the separation of priestly office from temporal inheritance. Line 132: Dante draws out the separation of priestly office from temporal inheritance.

XVI.132 Dante draws out the separation of priestly office from temporal inheritance. Dante draws out the separation of priestly office from temporal inheritance.

XVI.139–141 Gaia is named without resolving the conflicting commentary traditions around her reputation.

XVI.139–141 Gaia is named without resolving the conflicting commentary traditions around her reputation. Line 140: Gaia is named without resolving the conflicting commentary traditions around her reputation.

XVI.140 Gaia is named without resolving the conflicting commentary traditions around her reputation. Gaia is named without resolving the conflicting commentary traditions around her reputation.

XVI.142–144 Marco leaves before the angel because his purgation is not yet complete enough for the terrace exit.

XVI.142–144 Marco leaves before the angel because his purgation is not yet complete enough for the terrace exit. Line 144: Marco leaves before the angel because his purgation is not yet complete enough for the terrace exit.

XVI.144 Marco leaves before the angel because his purgation is not yet complete enough for the terrace exit. Marco leaves before the angel because his purgation is not yet complete enough for the terrace exit.