Purgatorio, Canto 22
Dante Alighieri · Italian original · new English translation and commentary by Text Atlas
Overview
The angel of justice has been left behind, having erased another stroke from Dante's face and ending the beatitude with the thirsty word that leads toward the next purgation. Dante climbs more lightly behind the swift souls while Virgil turns to Statius with a friend's frankness. Love kindled by virtue kindles another love when its flame appears, and Juvenal's report of Statius's affection has bound Virgil to him before sight. Virgil asks how avarice could have found room in such wisdom. Statius smiles and explains that the appearances misled Virgil: he was not avaricious but too far from avarice, punished for prodigality and saved from worse by Virgil's own verse on the accursed hunger for gold. Contrary sins dry up together in Purgatory. Virgil then asks how Statius became faithful when the Thebaid does not show faith. Statius says Virgil first led him to Parnassus and, after God, first enlightened him; Virgil's prophecy of a renewed age and heavenly progeny harmonized with Christian preaching, drawing Statius to the persecuted Christians. He was baptized before completing the Thebaid, but fear kept him outwardly pagan, and that lukewarmness cost him more than four hundred years on the fourth ledge. Statius asks where Terence, Caecilius, Plautus, and Varro are. Virgil places them with himself, Persius, Homer, and other Greek poets in Limbo, where they often speak of Parnassus. The poets fall silent, free from the ascent and walls, and Virgil turns right by the mountain's custom. Dante follows alone, listening to their speech and gaining poetic understanding. Their sweet conversation is broken by a tree in the road, fragrant with fruit, narrowing downward like an inverted fir so no one can climb it. Clear water falls from the rock and spreads over the leaves. A voice within the branches warns that this food will be dear to them, then gives temperance examples: Mary cared more for the honor of the wedding than her own mouth; ancient Roman women were content with water; Daniel despised food and gained wisdom; the Golden Age made acorns sweet with hunger and streams nectar with thirst; and honey and locusts fed John the Baptist in the wilderness.
Narrative arc
- The angel's abbreviated justice beatitude, another P removed, and Dante's lighter ascent
- Virgil's love-kindled friendship and frank question about Statius's apparent avarice
- Statius explains prodigality, Virgil's hunger-for-gold line, and contrary purgation
- Virgil asks what light led Statius from the Thebaid toward faith and the Fisherman
- Statius names Virgil as poetic and Christian light, then recounts hidden faith and lukewarm delay
- Statius asks after ancient poets, and Virgil locates them among Homer and the Limbo company
- The poets fall silent, turn right by custom, and Dante listens to their poetic discourse
- The inverted fragrant tree, clear water, and the warning voice at the sixth ledge
- Temperance examples: Mary, Roman women, Daniel, the Golden Age, and John the Baptist
Central themes
- avarice
- poetic conversion
The angel's abbreviated justice beatitude, another P removed, and Dante's lighter ascent XXII.1–9
1Già era l’angel dietro a noi rimaso,
l’angel che n’avea vòlti al sesto giro,
avendomi dal viso un colpo raso;
e quei c’hanno a giustizia lor disiro
5detto n’avea beati, e le sue voci
con ‘sitiunt’, sanz’ altro, ciò forniro.
E io più lieve che per l’altre foci
m’andava, sì che sanz’ alcun labore
seguiva in sù li spiriti veloci;
1Already the angel had been left behind us,
the angel who had turned us to the sixth round,
having wiped one stroke from my face;
and those whose desire is set on justice
5he had called blessed, and his words
ended with sitiunt, and nothing more.
And I, lighter than through the other passages,
went on, so that without any labor
I followed upward after the swift spirits;
Commentary
The passage moves from the fifth ledge to the sixth: the angel removes another P, abbreviates the justice beatitude to the thirsting word, and Dante's body becomes lighter as he follows the swift souls upward. The translation keeps the Latin sitiunt visible because the canto is moving into hunger and thirst discipline.
XXII.1–3 The angel removes another P as the poets leave the fifth ledge.
XXII.1–3 The angel removes another P as the poets leave the fifth ledge. Line 3: The angel removes another P as the poets leave the fifth ledge.
XXII.3 The angel removes another P as the poets leave the fifth ledge. The angel removes another P as the poets leave the fifth ledge.
XXII.4–6 The shortened beatitude keeps thirst in the foreground as gluttony approaches.
XXII.4–6 The shortened beatitude keeps thirst in the foreground as gluttony approaches. Line 6: The shortened beatitude keeps thirst in the foreground as gluttony approaches.
XXII.6 The shortened beatitude keeps thirst in the foreground as gluttony approaches. The shortened beatitude keeps thirst in the foreground as gluttony approaches.
Virgil's love-kindled friendship and frank question about Statius's apparent avarice XXII.10–24
10quando Virgilio incominciò: «Amore,
acceso di virtù, sempre altro accese,
pur che la fiamma sua paresse fore;
onde da l’ora che tra noi discese
nel limbo de lo ’nferno Giovenale,
15che la tua affezion mi fé palese,
mia benvoglienza inverso te fu quale
più strinse mai di non vista persona,
sì ch’or mi parran corte queste scale.
Ma dimmi, e come amico mi perdona
20se troppa sicurtà m’allarga il freno,
e come amico omai meco ragiona:
come poté trovar dentro al tuo seno
loco avarizia, tra cotanto senno
di quanto per tua cura fosti pieno?».
10when Virgil began: Love,
kindled by virtue, always kindles another,
provided that its flame appears outwardly;
therefore from the hour when Juvenal
descended among us in the limbo of Hell,
15and made your affection clear to me,
my good will toward you became such
as ever most closely bound one to a person unseen,
so now these stairs will seem short to me.
But tell me, and as a friend forgive me
20if too much confidence loosens my rein,
and now speak with me as a friend:
how could avarice find room
inside your breast, amid so much wisdom
as that with which your care had filled you?
Commentary
Virgil's friendship question is courteous but direct. The translation keeps the love-kindled-by-virtue principle, Juvenal's report from Limbo, the loosened rein of friendly confidence, and the apparent mismatch between Statius's wisdom and his placement among the avaricious.
XXII.13–15 Juvenal is the unseen witness who first tells Virgil of Statius's love.
XXII.13–15 Juvenal is the unseen witness who first tells Virgil of Statius's love. Line 15: Juvenal is the unseen witness who first tells Virgil of Statius's love.
XXII.15 Juvenal is the unseen witness who first tells Virgil of Statius's love. Juvenal is the unseen witness who first tells Virgil of Statius's love.
Statius explains prodigality, Virgil's hunger-for-gold line, and contrary purgation XXII.25–54
25Queste parole Stazio mover fenno
un poco a riso pria; poscia rispuose:
«Ogne tuo dir d’amor m’è caro cenno.
Veramente più volte appaion cose
che danno a dubitar falsa matera
30per le vere ragion che son nascose.
La tua dimanda tuo creder m’avvera
esser ch’i’ fossi avaro in l’altra vita,
forse per quella cerchia dov’ io era.
Or sappi ch’avarizia fu partita
35troppo da me, e questa dismisura
migliaia di lunari hanno punita.
E se non fosse ch’io drizzai mia cura,
quand’ io intesi là dove tu chiame,
crucciato quasi a l’umana natura:
40‘Per che non reggi tu, o sacra fame
de l’oro, l’appetito de’ mortali?’,
voltando sentirei le giostre grame.
Allor m’accorsi che troppo aprir l’ali
potean le mani a spendere, e pente’mi
45così di quel come de li altri mali.
Quanti risurgeran coi crini scemi
per ignoranza, che di questa pecca
toglie ’l penter vivendo e ne li stremi!
E sappie che la colpa che rimbecca
50per dritta opposizione alcun peccato,
con esso insieme qui suo verde secca;
però, s’io son tra quella gente stato
che piange l’avarizia, per purgarmi,
per lo contrario suo m’è incontrato».
25These words first moved Statius
a little to laughter; then he answered:
Every word of yours is a dear sign of love to me.
Truly, many times things appear
that give false material for doubt,
30because the true reasons are hidden.
Your question makes your belief clear to me,
that I was avaricious in the other life,
perhaps because of that circle where I was.
Now know that avarice was removed
35too far from me, and this failed measure
thousands of lunar courses have punished.
And if I had not set my care straight,
when I understood the place where you cry out,
as though angered against human nature:
40To what do you not drive, O accursed hunger
for gold, the appetite of mortals?
I would, while turning, feel the grievous jousts.
Then I perceived that the hands could open
their wings too widely in spending, and I repented
45of that as I did of my other evils.
How many will rise again with hair shorn
because of ignorance, which for this fault
takes away repentance in life and at the last!
And know that the fault which strikes back
50against some sin by direct opposition
dries up its green here together with it;
therefore, if I have been among that people
who weep for avarice, to purge myself,
it befell me because of its contrary.
Commentary
Statius corrects Virgil: he was not avaricious but prodigal, an opposite failure of measure punished with avarice because contrary vices dry their green together. The translation keeps the Virgilian hunger-for-gold echo, hands spreading wings too far in spending, cropped hair, and the grievous infernal jousts.
XXII.34–36 Statius names his fault as prodigality, not avarice.
XXII.34–36 Statius names his fault as prodigality, not avarice. Line 35: Statius names his fault as prodigality, not avarice.
XXII.35 Statius names his fault as prodigality, not avarice. Statius names his fault as prodigality, not avarice.
XXII.40–42 Statius refers to Virgil's Aeneid line on gold-hunger; sacra carries the cursed sense. The jousts recall Inferno VII's colliding avaricious and prodigal weights.
XXII.40–42 Statius refers to Virgil's Aeneid line on gold-hunger; sacra carries the cursed sense. Line 40: Statius refers to Virgil's Aeneid line on gold-hunger; sacra carries the cursed sense. Line 42: The jousts recall Inferno VII's colliding avaricious and prodigal weights.
XXII.40 Statius refers to Virgil's Aeneid line on gold-hunger; sacra carries the cursed sense. Statius refers to Virgil's Aeneid line on gold-hunger; sacra carries the cursed sense.
XXII.42 The jousts recall Inferno VII's colliding avaricious and prodigal weights. The jousts recall Inferno VII's colliding avaricious and prodigal weights.
XXII.46–48 The shorn hair refers back to the prodigals' infernal sign.
XXII.46–48 The shorn hair refers back to the prodigals' infernal sign. Line 48: The shorn hair refers back to the prodigals' infernal sign.
XXII.48 The shorn hair refers back to the prodigals' infernal sign. The shorn hair refers back to the prodigals' infernal sign.
XXII.49–51 Avarice and prodigality are purged together as opposed failures of measure.
XXII.49–51 Avarice and prodigality are purged together as opposed failures of measure. Line 51: Avarice and prodigality are purged together as opposed failures of measure.
XXII.51 Avarice and prodigality are purged together as opposed failures of measure. Avarice and prodigality are purged together as opposed failures of measure.
Virgil asks what light led Statius from the Thebaid toward faith and the Fisherman XXII.55–63
55«Or quando tu cantasti le crude armi
de la doppia trestizia di Giocasta»,
disse ’l cantor de’ buccolici carmi,
«per quello che Clïò teco lì tasta,
non par che ti facesse ancor fedele
60la fede, sanza qual ben far non basta.
Se così è, qual sole o quai candele
ti stenebraron sì, che tu drizzasti
poscia di retro al pescator le vele?».
55Now when you sang the cruel arms
of the double sorrow of Jocasta,
said the singer of the bucolic songs,
from what Clio touches there with you,
it does not seem that faith had yet made you
60faithful, without which good works do not suffice.
If this is so, what sun or what candles
cleared your darkness so that afterward you set
your sails behind the Fisherman?
Commentary
This passage covers virgil asks what light led Statius from the Thebaid toward faith and the Fisherman.
XXII.55–57 Virgil refers to Statius's Thebaid and the sons of Jocasta.
XXII.55–57 Virgil refers to Statius's Thebaid and the sons of Jocasta. Line 56: Virgil refers to Statius's Thebaid and the sons of Jocasta.
XXII.56 Virgil refers to Statius's Thebaid and the sons of Jocasta. Virgil refers to Statius's Thebaid and the sons of Jocasta.
XXII.58–60 The muse and lyre image leaves the poem's own poetic witness visible.
XXII.58–60 The muse and lyre image leaves the poem's own poetic witness visible. Line 58: The muse and lyre image leaves the poem's own poetic witness visible.
XXII.58 The muse and lyre image leaves the poem's own poetic witness visible. The muse and lyre image leaves the poem's own poetic witness visible.
XXII.61–63 The Fisherman is Peter, marking Christian allegiance without expanding the line.
XXII.61–63 The Fisherman is Peter, marking Christian allegiance without expanding the line. Line 63: The Fisherman is Peter, marking Christian allegiance without expanding the line.
XXII.63 The Fisherman is Peter, marking Christian allegiance without expanding the line. The Fisherman is Peter, marking Christian allegiance without expanding the line.
Statius names Virgil as poetic and Christian light, then recounts hidden faith and lukewarm delay XXII.64–93
64Ed elli a lui: «Tu prima m’invïasti
65verso Parnaso a ber ne le sue grotte,
e prima appresso Dio m’alluminasti.
Facesti come quei che va di notte,
che porta il lume dietro e sé non giova,
ma dopo sé fa le persone dotte,
70quando dicesti: ‘Secol si rinova;
torna giustizia e primo tempo umano,
e progenïe scende da ciel nova’.
Per te poeta fui, per te cristiano:
ma perché veggi mei ciò ch’io disegno,
75a colorare stenderò la mano.
Già era ’l mondo tutto quanto pregno
de la vera credenza, seminata
per li messaggi de l’etterno regno;
e la parola tua sopra toccata
80si consonava a’ nuovi predicanti;
ond’ io a visitarli presi usata.
Vennermi poi parendo tanto santi,
che, quando Domizian li perseguette,
sanza mio lagrimar non fur lor pianti;
85e mentre che di là per me si stette,
io li sovvenni, e i lor dritti costumi
fer dispregiare a me tutte altre sette.
E pria ch’io conducessi i Greci a’ fiumi
di Tebe poetando, ebb’ io battesmo;
90ma per paura chiuso cristian fu’mi,
lungamente mostrando paganesmo;
e questa tepidezza il quarto cerchio
cerchiar mi fé più che ’l quarto centesmo.
64And he said to him: You first sent me
65toward Parnassus to drink in its grottoes,
and after God, you first gave me light.
You did like one who goes by night,
who carries the light behind and does not help himself,
but makes the people after him wise,
70when you said: The age renews itself;
justice returns, and the first human time,
and a new progeny descends from heaven.
Through you I became a poet, through you a Christian:
but so that you may better see what I sketch,
75I will stretch out my hand to add color.
Already the whole world was pregnant
with the true belief, sown
by the messengers of the eternal kingdom;
and your word touched on above
80was in harmony with the new preachers;
so I took up the habit of visiting them.
Then they came to seem so holy to me
that when Domitian persecuted them,
their tears were not without my weeping;
85and while I remained over there,
I aided them, and their upright customs
made me despise every other sect.
And before I led the Greeks to the rivers
of Thebes in poetry, I received baptism;
90but through fear I was a hidden Christian,
for a long while showing paganism;
and this lukewarmness made me circle
the fourth circle for more than four hundred years.
Commentary
This passage covers statius names Virgil as poetic and Christian light, then recounts hidden faith and lukewarm delay.
XXII.64–66 Statius makes Virgil an unwitting poetic and religious light.
XXII.64–66 Statius makes Virgil an unwitting poetic and religious light. Line 66: Statius makes Virgil an unwitting poetic and religious light.
XXII.66 Statius makes Virgil an unwitting poetic and religious light. Statius makes Virgil an unwitting poetic and religious light.
XXII.70–72 Statius reads Virgil's Eclogue IV in harmony with Christian proclamation.
XXII.70–72 Statius reads Virgil's Eclogue IV in harmony with Christian proclamation. Line 72: Statius reads Virgil's Eclogue IV in harmony with Christian proclamation.
XXII.72 Statius reads Virgil's Eclogue IV in harmony with Christian proclamation. Statius reads Virgil's Eclogue IV in harmony with Christian proclamation.
XXII.73–75 Statius extends a painterly metaphor for completing the outline of his conversion.
XXII.73–75 Statius extends a painterly metaphor for completing the outline of his conversion. Line 75: Statius extends a painterly metaphor for completing the outline of his conversion.
XXII.75 Statius extends a painterly metaphor for completing the outline of his conversion. Statius extends a painterly metaphor for completing the outline of his conversion.
XXII.88–90 Statius locates baptism before the Thebaid's completion.
XXII.88–90 Statius locates baptism before the Thebaid's completion. Line 89: Statius locates baptism before the Thebaid's completion.
XXII.89 Statius locates baptism before the Thebaid's completion. Statius locates baptism before the Thebaid's completion.
XXII.91–93 Statius's hidden faith belongs to sloth's lukewarmness rather than denial of faith.
XXII.91–93 Statius's hidden faith belongs to sloth's lukewarmness rather than denial of faith. Line 93: Statius's hidden faith belongs to sloth's lukewarmness rather than denial of faith.
XXII.93 Statius's hidden faith belongs to sloth's lukewarmness rather than denial of faith. Statius's hidden faith belongs to sloth's lukewarmness rather than denial of faith.
Statius asks after ancient poets, and Virgil locates them among Homer and the Limbo company XXII.94–114
94Tu dunque, che levato hai il coperchio
95che m’ascondeva quanto bene io dico,
mentre che del salire avem soverchio,
dimmi dov’ è Terrenzio nostro antico,
Cecilio e Plauto e Varro, se lo sai:
dimmi se son dannati, e in qual vico».
100«Costoro e Persio e io e altri assai»,
rispuose il duca mio, «siam con quel Greco
che le Muse lattar più ch’altri mai,
nel primo cinghio del carcere cieco;
spesse fïate ragioniam del monte
105che sempre ha le nutrice nostre seco.
Euripide v’è nosco e Antifonte,
Simonide, Agatone e altri piùe
Greci che già di lauro ornar la fronte.
Quivi si veggion de le genti tue
110Antigone, Deïfile e Argia,
e Ismene sì trista come fue.
Védeisi quella che mostrò Langia;
èvvi la figlia di Tiresia, e Teti,
e con le suore sue Deïdamia».
94You, then, who have lifted the covering
95that hid from me the great good I speak of,
while we have ascent to spare,
tell me where our ancient Terence is,
Caecilius and Plautus and Varro, if you know:
tell me if they are damned, and in what quarter.
100These men, and Persius and I and many others,
my guide replied, are with that Greek
whom the Muses nursed more than any other,
in the first belt of the blind prison;
often we speak of the mountain
105that always has our nurses with it.
Euripides is there with us, and Antiphon,
Simonides, Agathon, and many other
Greeks who once adorned their brows with laurel.
There among your own people are seen
110Antigone, Deiphyle, and Argia,
and Ismene, as sorrowful as she was.
There is seen the one who showed Langia;
there is the daughter of Tiresias, and Thetis,
and Deidamia with her sisters.
Commentary
This passage covers statius asks after ancient poets, and Virgil locates them among Homer and the Limbo company.
XXII.100–102 The Greek is Homer.
XXII.100–102 The Greek is Homer. Line 102: The Greek is Homer.
XXII.102 The Greek is Homer. The Greek is Homer.
XXII.103–105 The mountain is Parnassus, and the nurses are the Muses.
XXII.103–105 The mountain is Parnassus, and the nurses are the Muses. Line 105: The mountain is Parnassus, and the nurses are the Muses.
XXII.105 The mountain is Parnassus, and the nurses are the Muses. The mountain is Parnassus, and the nurses are the Muses.
XXII.112–114 The reference is to Hypsipyle showing the spring of Langia. The daughter of Tiresias creates a return-point because Manto appeared in Inferno XX.
XXII.112–114 The reference is to Hypsipyle showing the spring of Langia. Line 112: The reference is to Hypsipyle showing the spring of Langia. Line 113: The daughter of Tiresias creates a return-point because Manto appeared in Inferno XX.
XXII.112 The reference is to Hypsipyle showing the spring of Langia. The reference is to Hypsipyle showing the spring of Langia.
XXII.113 The daughter of Tiresias creates a return-point because Manto appeared in Inferno XX. The daughter of Tiresias creates a return-point because Manto appeared in Inferno XX.
The poets fall silent, turn right by custom, and Dante listens to their poetic discourse XXII.115–129
115Tacevansi ambedue già li poeti,
di novo attenti a riguardar dintorno,
liberi da saliri e da pareti;
e già le quattro ancelle eran del giorno
rimase a dietro, e la quinta era al temo,
120drizzando pur in sù l’ardente corno,
quando il mio duca: «Io credo ch’a lo stremo
le destre spalle volger ne convegna,
girando il monte come far solemo».
Così l’usanza fu lì nostra insegna,
125e prendemmo la via con men sospetto
per l’assentir di quell’ anima degna.
Elli givan dinanzi, e io soletto
di retro, e ascoltava i lor sermoni,
ch’a poetar mi davano intelletto.
115Both poets were already silent,
once more intent on looking around,
free from ascents and from walls;
and already the four handmaids of the day
were left behind, and the fifth was at the chariot pole,
120still directing its burning horn upward,
when my guide said: I think that toward the edge
we should turn our right shoulders,
circling the mountain as we are accustomed to do.
Thus custom was our guide there,
125and we took the way with less suspicion
because of that worthy soul's assent.
They went ahead, and I alone
behind them listened to their discourses,
which gave me understanding for poetry.
Commentary
This passage covers the poets fall silent, turn right by custom, and Dante listens to their poetic discourse.
XXII.118–120 The time signal places the canto between the fourth and fifth hours of daylight.
XXII.118–120 The time signal places the canto between the fourth and fifth hours of daylight. Line 120: The time signal places the canto between the fourth and fifth hours of daylight.
XXII.120 The time signal places the canto between the fourth and fifth hours of daylight. The time signal places the canto between the fourth and fifth hours of daylight.
XXII.127–129 Dante becomes a student of poetic craft while following Virgil and Statius.
XXII.127–129 Dante becomes a student of poetic craft while following Virgil and Statius. Line 129: Dante becomes a student of poetic craft while following Virgil and Statius.
XXII.129 Dante becomes a student of poetic craft while following Virgil and Statius. Dante becomes a student of poetic craft while following Virgil and Statius.
The inverted fragrant tree, clear water, and the warning voice at the sixth ledge XXII.130–141
130Ma tosto ruppe le dolci ragioni
un alber che trovammo in mezza strada,
con pomi a odorar soavi e buoni;
e come abete in alto si digrada
di ramo in ramo, così quello in giuso,
135cred’ io, perché persona sù non vada.
Dal lato onde ’l cammin nostro era chiuso,
cadea de l’alta roccia un liquor chiaro
e si spandeva per le foglie suso.
Li due poeti a l’alber s’appressaro;
140e una voce per entro le fronde
gridò: «Di questo cibo avrete caro».
130But soon the sweet reasonings were broken
by a tree we found in the middle of the road,
with apples sweet and good to smell;
and as a fir tree narrows upward
from branch to branch, so this one narrowed downward,
135I think, so that no person may go up.
From the side where our path was closed,
a clear liquid fell from the high rock
and spread itself over the leaves above.
The two poets approached the tree;
140and a voice from within the leaves
cried: This food will be dear to you.
Commentary
This passage covers the inverted fragrant tree, clear water, and the warning voice at the sixth ledge.
XXII.133–135 The tree's inverted form frustrates appetite before the gluttony terrace.
XXII.133–135 The tree's inverted form frustrates appetite before the gluttony terrace. Line 135: The tree's inverted form frustrates appetite before the gluttony terrace.
XXII.135 The tree's inverted form frustrates appetite before the gluttony terrace. The tree's inverted form frustrates appetite before the gluttony terrace.
XXII.139–141 Avrete caro carries scarcity and withheld desire rather than invitation to eat.
XXII.139–141 Avrete caro carries scarcity and withheld desire rather than invitation to eat. Line 141: Avrete caro carries scarcity and withheld desire rather than invitation to eat.
XXII.141 Avrete caro carries scarcity and withheld desire rather than invitation to eat. Avrete caro carries scarcity and withheld desire rather than invitation to eat.
Temperance examples: Mary, Roman women, Daniel, the Golden Age, and John the Baptist XXII.142–154
142Poi disse: «Più pensava Maria onde
fosser le nozze orrevoli e intere,
ch’a la sua bocca, ch’or per voi risponde.
145E le Romane antiche, per lor bere,
contente furon d’acqua; e Danïello
dispregiò cibo e acquistò savere.
Lo secol primo, quant’ oro fu bello,
fé savorose con fame le ghiande,
150e nettare con sete ogne ruscello.
Mele e locuste furon le vivande
che nodriro il Batista nel diserto;
per ch’elli è glorïoso e tanto grande
quanto per lo Vangelio v’è aperto».
142Then it said: Mary thought more about how
the wedding might be honorable and complete
than about her mouth, which now answers for you.
145And the ancient Roman women, for their drink,
were content with water; and Daniel
despised food and acquired wisdom.
The first age, as beautiful as gold,
made acorns savory with hunger,
150and every little stream nectar with thirst.
Honey and locusts were the food
that nourished the Baptist in the wilderness;
therefore he is glorious and so great
as the Gospel has opened to you.
Commentary
This passage covers temperance examples: Mary, Roman women, Daniel, the Golden Age, and John the Baptist.
XXII.142–144 The first temperance example is Mary at Cana.
XXII.142–144 The first temperance example is Mary at Cana. Line 143: The first temperance example is Mary at Cana.
XXII.143 The first temperance example is Mary at Cana. The first temperance example is Mary at Cana.
XXII.154 The canto closes on Gospel authority for John the Baptist's greatness. The canto closes on Gospel authority for John the Baptist's greatness.