Purgatorio, Canto 28
Dante Alighieri · Italian original · new English translation and commentary by Text Atlas
Overview
After Virgil's final release, Dante enters the divine living forest of the Earthly Paradise. A gentle unchanging breeze, birdsong, fragrance, and seedless growth mark a landscape free from the lower mountain's weather. A clear dark stream stops his feet but lets his eyes cross to a solitary flower-gathering lady, later known as Matelda. She approaches at Dante's request, explains that the place was chosen as humanity's nest, answers his doubt about the stream and forest sound, and describes Eden's protected height, the seed-bearing motion of the living air, the divine fountain of Lethe and Eunoe, and the ancient poets' dream of the Golden Age.
Narrative arc
- Dante enters the divine living forest of Earthly Paradise
- A clear dark stream stops his feet while his eyes cross
- The flower-gathering lady appears and approaches Dante
- The lady's brightness and the uncrossed river intensify desire
- Matelda invites Dante's question about the water and the forest sound
- She explains Eden, Adam's fault, and the mountain above weather
- The first motion carries seed-bearing power through the living air
- The divine fountain divides into Lethe and Eunoe
- The Golden Age poets dimly dreamed this innocent spring
Central themes
- Eden
- memory
Dante enters the divine living forest of Earthly Paradise XXVIII.1–21
1Vago già di cercar dentro e dintorno
la divina foresta spessa e viva,
ch’a li occhi temperava il novo giorno,
sanza più aspettar, lasciai la riva,
5prendendo la campagna lento lento
su per lo suol che d’ogne parte auliva.
Un’aura dolce, sanza mutamento
avere in sé, mi feria per la fronte
non di più colpo che soave vento;
10per cui le fronde, tremolando, pronte
tutte quante piegavano a la parte
u’ la prim’ ombra gitta il santo monte;
non però dal loro esser dritto sparte
tanto, che li augelletti per le cime
15lasciasser d’operare ogne lor arte;
ma con piena letizia l’ore prime,
cantando, ricevieno intra le foglie,
che tenevan bordone a le sue rime,
tal qual di ramo in ramo si raccoglie
20per la pineta in su ’l lito di Chiassi,
quand’ Ëolo scilocco fuor discioglie.
1Already eager to search within and around
the divine forest, dense and alive,
which tempered the new day to my eyes,
without waiting longer, I left the bank,
5taking the open ground slowly, slowly,
over the soil that breathed fragrance on every side.
A sweet breeze, without change
within itself, struck me on the forehead
with no heavier blow than a gentle wind;
10by which the boughs, trembling, readily
all together bent toward that side
where the holy mountain casts its first shadow;
yet not so parted from their upright being
that the little birds among the tops
15would leave off working each art of theirs;
but with full gladness the first hours,
singing, they received among the leaves,
which kept a drone beneath their rhymes,
such as gathers from branch to branch
20through the pinewood along the shore of Chiassi,
when Aeolus releases the sirocco.
Commentary
The passage gives the active entry into the divine living forest, the sweet unvarying breeze, birdsong, and the Classe/Chiassi pinewood simile. The translation keeps arte for the birds' art and bordone as a musical drone beneath their rhymes.
XXVIII.1–3 Viva is kept as living aliveness after the terraces of purgative discipline.
XXVIII.1–3 Viva is kept as living aliveness after the terraces of purgative discipline. Line 2: Viva is kept as living aliveness after the terraces of purgative discipline.
XXVIII.2 Viva is kept as living aliveness after the terraces of purgative discipline. Viva is kept as living aliveness after the terraces of purgative discipline.
XXVIII.4–6 The bank follows directly from Virgil's release at the end of Purgatorio XXVII.
XXVIII.4–6 The bank follows directly from Virgil's release at the end of Purgatorio XXVII. Line 4: The bank follows directly from Virgil's release at the end of Purgatorio XXVII.
XXVIII.4 The bank follows directly from Virgil's release at the end of Purgatorio XXVII. The bank follows directly from Virgil's release at the end of Purgatorio XXVII.
XXVIII.7–9 The paradoxical colpo keeps the breeze tactile without making it violent.
XXVIII.7–9 The paradoxical colpo keeps the breeze tactile without making it violent. Line 9: The paradoxical colpo keeps the breeze tactile without making it violent.
XXVIII.9 The paradoxical colpo keeps the breeze tactile without making it violent. The paradoxical colpo keeps the breeze tactile without making it violent.
XXVIII.13–15 Arte remains art here, now as natural song skill rather than Virgil's exhausted guidance.
XXVIII.13–15 Arte remains art here, now as natural song skill rather than Virgil's exhausted guidance. Line 15: Arte remains art here, now as natural song skill rather than Virgil's exhausted guidance.
XXVIII.15 Arte remains art here, now as natural song skill rather than Virgil's exhausted guidance. Arte remains art here, now as natural song skill rather than Virgil's exhausted guidance.
XXVIII.16–18 Bordone is musical support, a drone or burden under the birds' song.
XXVIII.16–18 Bordone is musical support, a drone or burden under the birds' song. Line 18: Bordone is musical support, a drone or burden under the birds' song.
XXVIII.18 Bordone is musical support, a drone or burden under the birds' song. Bordone is musical support, a drone or burden under the birds' song.
XXVIII.19–21 Chiassi is kept for the Classe pinewood allusion near Ravenna.
XXVIII.19–21 Chiassi is kept for the Classe pinewood allusion near Ravenna. Line 20: Chiassi is kept for the Classe pinewood allusion near Ravenna.
XXVIII.20 Chiassi is kept for the Classe pinewood allusion near Ravenna. Chiassi is kept for the Classe pinewood allusion near Ravenna.
A clear dark stream stops his feet while his eyes cross XXVIII.22–36
22Già m’avean trasportato i lenti passi
dentro a la selva antica tanto, ch’io
non potea rivedere ond’ io mi ’ntrassi;
25ed ecco più andar mi tolse un rio,
che ’nver’ sinistra con sue picciole onde
piegava l’erba che ’n sua ripa uscìo.
Tutte l’acque che son di qua più monde,
parrieno avere in sé mistura alcuna
30verso di quella, che nulla nasconde,
avvegna che si mova bruna bruna
sotto l’ombra perpetüa, che mai
raggiar non lascia sole ivi né luna.
Coi piè ristetti e con li occhi passai
35di là dal fiumicello, per mirare
la gran varïazion d’i freschi mai;
22Already my slow steps had carried me
so far within the ancient wood that I
could not see again where I had entered;
25and behold, a stream took further going from me,
which toward the left, with its little waves,
bent the grass that rose upon its bank.
All waters that are purest on this side
would seem to have some mixture in themselves
30beside that water, which hides nothing,
although it moves dark, dark
under the perpetual shade, which never
allows sun or moon to send a ray there.
With my feet I stopped, and with my eyes I crossed
35beyond the little river, to gaze upon
the great variation of the fresh May;
Commentary
Dante's slow steps lose sight of the entry point, the stream blocks further movement, water that hides nothing runs dark under perpetual shade, and the eye crosses where the feet cannot.
XXVIII.25–27 The water interrupts bodily movement before becoming theologically explained.
XXVIII.25–27 The water interrupts bodily movement before becoming theologically explained. Line 25: The water interrupts bodily movement before becoming theologically explained.
XXVIII.25 The water interrupts bodily movement before becoming theologically explained. The water interrupts bodily movement before becoming theologically explained.
XXVIII.31–33 The repeated darkness is visual shade, not impurity; line 30 keeps the water's transparency.
XXVIII.31–33 The repeated darkness is visual shade, not impurity; line 30 keeps the water's transparency. Line 31: The repeated darkness is visual shade, not impurity; line 30 keeps the water's transparency.
XXVIII.31 The repeated darkness is visual shade, not impurity; line 30 keeps the water's transparency. The repeated darkness is visual shade, not impurity; line 30 keeps the water's transparency.
XXVIII.34–36 The line makes perception cross where the body cannot, a local education of sight.
XXVIII.34–36 The line makes perception cross where the body cannot, a local education of sight. Line 34: The line makes perception cross where the body cannot, a local education of sight.
XXVIII.34 The line makes perception cross where the body cannot, a local education of sight. The line makes perception cross where the body cannot, a local education of sight.
The flower-gathering lady appears and approaches Dante XXVIII.37–63
37e là m’apparve, sì com’ elli appare
subitamente cosa che disvia
per maraviglia tutto altro pensare,
40una donna soletta che si gia
e cantando e scegliendo fior da fiore
ond’ era pinta tutta la sua via.
«Deh, bella donna, che a’ raggi d’amore
ti scaldi, s’i’ vo’ credere a’ sembianti
45che soglion esser testimon del core,
vegnati in voglia di trarreti avanti»,
diss’ io a lei, «verso questa rivera,
tanto ch’io possa intender che tu canti.
Tu mi fai rimembrar dove e qual era
50Proserpina nel tempo che perdette
la madre lei, ed ella primavera».
Come si volge, con le piante strette
a terra e intra sé, donna che balli,
e piede innanzi piede a pena mette,
55volsesi in su i vermigli e in su i gialli
fioretti verso me, non altrimenti
che vergine che li occhi onesti avvalli;
e fece i prieghi miei esser contenti,
sì appressando sé, che ’l dolce suono
60veniva a me co’ suoi intendimenti.
Tosto che fu là dove l’erbe sono
bagnate già da l’onde del bel fiume,
di levar li occhi suoi mi fece dono.
37and there appeared to me, as something appears
suddenly that turns aside
through wonder every other thought,
40a lady all alone, who was going
singing and choosing flower from flower
with which all her way was painted.
"Ah, beautiful lady, who in the rays of love
warm yourself, if I may believe the looks
45that are accustomed to witness the heart,
may the wish come to you to draw yourself forward,"
I said to her, "toward this stream,
far enough that I may understand what you sing.
You make me remember where, and what,
50Proserpina was at the time when her mother lost
her, and she herself lost spring."
As a lady dancing turns, with her feet pressed
to the ground and close together,
and scarcely sets foot before foot,
55she turned over the crimson and the yellow
little flowers toward me, no otherwise
than a virgin lowering her modest eyes;
and she made my prayers content,
drawing so near that the sweet sound
60came to me with its meanings.
As soon as she was where the grasses are
already bathed by the waves of the beautiful river,
she made me the gift of lifting her eyes.
Commentary
The passage gives the sudden diversion of thought by the solitary flower-gathering lady, Dante's Proserpina allusion, her modest dance-like turn, and the gift of raised eyes. Norton identifies the lady as the one later named Matelda, leaving the identification debate open.
XXVIII.40–42 The lady is later named Matelda; the line keeps her unnamed here.
XXVIII.40–42 The lady is later named Matelda; the line keeps her unnamed here. Line 40: The lady is later named Matelda; the line keeps her unnamed here.
XXVIII.40 The lady is later named Matelda; the line keeps her unnamed here. The lady is later named Matelda; the line keeps her unnamed here.
XXVIII.46–48 Voglia keeps desire language active but courteous.
XXVIII.46–48 Voglia keeps desire language active but courteous. Line 46: Voglia keeps desire language active but courteous.
XXVIII.46 Voglia keeps desire language active but courteous. Voglia keeps desire language active but courteous.
XXVIII.49–51 The Proserpina allusion links spring beauty with loss, separation, and a desired crossing.
XXVIII.49–51 The Proserpina allusion links spring beauty with loss, separation, and a desired crossing. Line 50: The Proserpina allusion links spring beauty with loss, separation, and a desired crossing.
XXVIII.50 The Proserpina allusion links spring beauty with loss, separation, and a desired crossing. The Proserpina allusion links spring beauty with loss, separation, and a desired crossing.
XXVIII.58–60 Intendimenti makes the song intelligible, not merely audible.
XXVIII.58–60 Intendimenti makes the song intelligible, not merely audible. Line 60: Intendimenti makes the song intelligible, not merely audible.
XXVIII.60 Intendimenti makes the song intelligible, not merely audible. Intendimenti makes the song intelligible, not merely audible.
The lady's brightness and the uncrossed river intensify desire XXVIII.64–75
64Non credo che splendesse tanto lume
65sotto le ciglia a Venere, trafitta
dal figlio fuor di tutto suo costume.
Ella ridea da l’altra riva dritta,
trattando più color con le sue mani,
che l’alta terra sanza seme gitta.
70Tre passi ci facea il fiume lontani;
ma Elesponto, là ’ve passò Serse,
ancora freno a tutti orgogli umani,
più odio da Leandro non sofferse
per mareggiare intra Sesto e Abido,
75che quel da me perch’ allor non s’aperse.
64I do not believe so much light ever shone
65beneath Venus's lids, when she was pierced
by her son beyond all his usual custom.
She smiled upright from the other bank,
handling many colors with her hands,
which the high land casts up without seed.
70The river kept us three steps apart;
but the Hellespont, where Xerxes crossed,
still a bridle to all human pride,
did not suffer more hatred from Leander
for surging between Sestos and Abydos,
75than this one did from me because it did not open then.
Commentary
The passage gives the Venus/Cupid brightness, the seedless flowers of the high land, and the Hellespont/Leander comparison. The translation keeps Xerxes as a curb on human pride while making Dante's frustrated desire to cross the small stream visible.
XXVIII.64–66 Cupid's wound of Venus intensifies the rays-of-love field without making Matelda erotic spectacle.
XXVIII.64–66 Cupid's wound of Venus intensifies the rays-of-love field without making Matelda erotic spectacle. Line 66: Cupid's wound of Venus intensifies the rays-of-love field without making Matelda erotic spectacle.
XXVIII.66 Cupid's wound of Venus intensifies the rays-of-love field without making Matelda erotic spectacle. Cupid's wound of Venus intensifies the rays-of-love field without making Matelda erotic spectacle.
XXVIII.67–69 Dritta may press posture and/or the right bank; the line keeps uprightness foremost.
XXVIII.67–69 Dritta may press posture and/or the right bank; the line keeps uprightness foremost. Line 67: Dritta may press posture and/or the right bank; the line keeps uprightness foremost.
XXVIII.67 Dritta may press posture and/or the right bank; the line keeps uprightness foremost. Dritta may press posture and/or the right bank; the line keeps uprightness foremost.
XXVIII.70–72 Xerxes' bridge over the Hellespont is treated as a lasting check on human arrogance.
XXVIII.70–72 Xerxes' bridge over the Hellespont is treated as a lasting check on human arrogance. Line 72: Xerxes' bridge over the Hellespont is treated as a lasting check on human arrogance.
XXVIII.72 Xerxes' bridge over the Hellespont is treated as a lasting check on human arrogance. Xerxes' bridge over the Hellespont is treated as a lasting check on human arrogance.
XXVIII.73–75 The simile turns the tiny stream into a barrier charged by desire, not by physical scale.
XXVIII.73–75 The simile turns the tiny stream into a barrier charged by desire, not by physical scale. Line 75: The simile turns the tiny stream into a barrier charged by desire, not by physical scale.
XXVIII.75 The simile turns the tiny stream into a barrier charged by desire, not by physical scale. The simile turns the tiny stream into a barrier charged by desire, not by physical scale.
Matelda invites Dante's question about the water and the forest sound XXVIII.76–90
76«Voi siete nuovi, e forse perch’ io rido»,
cominciò ella, «in questo luogo eletto
a l’umana natura per suo nido,
maravigliando tienvi alcun sospetto;
80ma luce rende il salmo Delectasti,
che puote disnebbiar vostro intelletto.
E tu che se’ dinanzi e mi pregasti,
dì s’altro vuoli udir; ch’i’ venni presta
ad ogne tua question tanto che basti».
85«L’acqua», diss’ io, «e ’l suon de la foresta
impugnan dentro a me novella fede
di cosa ch’io udi’ contraria a questa».
Ond’ ella: «Io dicerò come procede
per sua cagion ciò ch’ammirar ti face,
90e purgherò la nebbia che ti fiede.
76"You are new here, and perhaps because I smile,"
she began, "in this place chosen
as a nest for human nature,
some suspicion holds you wondering;
80but the psalm Delectasti gives light
that can uncloud your intellect.
And you who are in front and prayed to me,
say if you wish to hear anything else; for I came ready
for every question of yours, so far as may suffice."
85"The water," I said, "and the sound of the forest
contest within me the new belief
about a thing I heard contrary to this."
Then she: "I will tell how, from its cause, proceeds
what makes you wonder,
90and I will clear the mist that strikes you.
Commentary
Matelda explains that the psalm Delectasti should uncloud the newcomers' intellect, and Dante asks how the water and forest sound can fit Statius's earlier teaching about the upper mountain.
XXVIII.76–78 The nest image frames Eden as humanity's original dwelling, not simply a garden scene.
XXVIII.76–78 The nest image frames Eden as humanity's original dwelling, not simply a garden scene. Line 78: The nest image frames Eden as humanity's original dwelling, not simply a garden scene.
XXVIII.78 The nest image frames Eden as humanity's original dwelling, not simply a garden scene. The nest image frames Eden as humanity's original dwelling, not simply a garden scene.
XXVIII.79–81 The Latin incipit points to Psalm 92/91's gladness in God's works.
XXVIII.79–81 The Latin incipit points to Psalm 92/91's gladness in God's works. Line 80: The Latin incipit points to Psalm 92/91's gladness in God's works.
XXVIII.80 The Latin incipit points to Psalm 92/91's gladness in God's works. The Latin incipit points to Psalm 92/91's gladness in God's works.
XXVIII.85–87 The recent belief is Statius's teaching that weather and earthly disturbance cannot rise above the gate.
XXVIII.85–87 The recent belief is Statius's teaching that weather and earthly disturbance cannot rise above the gate. Line 86: The recent belief is Statius's teaching that weather and earthly disturbance cannot rise above the gate.
XXVIII.86 The recent belief is Statius's teaching that weather and earthly disturbance cannot rise above the gate. The recent belief is Statius's teaching that weather and earthly disturbance cannot rise above the gate.
XXVIII.88–90 Purgherò keeps purgation language active at the level of intellect.
XXVIII.88–90 Purgherò keeps purgation language active at the level of intellect. Line 90: Purgherò keeps purgation language active at the level of intellect.
XXVIII.90 Purgherò keeps purgation language active at the level of intellect. Purgherò keeps purgation language active at the level of intellect.
She explains Eden, Adam's fault, and the mountain above weather XXVIII.91–102
91Lo sommo Ben, che solo esso a sé piace,
fé l’uom buono e a bene, e questo loco
diede per arr’ a lui d’etterna pace.
Per sua difalta qui dimorò poco;
95per sua difalta in pianto e in affanno
cambiò onesto riso e dolce gioco.
Perché ’l turbar che sotto da sé fanno
l’essalazion de l’acqua e de la terra,
che quanto posson dietro al calor vanno,
100a l’uomo non facesse alcuna guerra,
questo monte salìo verso ’l ciel tanto,
e libero n’è d’indi ove si serra.
91The Supreme Good, who delights only in himself,
made man good and for good, and this place
gave him as pledge of eternal peace.
Through his own fault he dwelt here a short time;
95through his own fault he changed into weeping and anguish
modest laughter and sweet play.
So that the disturbance made below by themselves
by the exhalations of water and earth,
which follow heat as far as they can,
100might make no war on man,
this mountain rose so far toward heaven,
and is free from them from where it is sealed.
Commentary
Matelda explains that Eden was placed above ordinary atmospheric disturbance: Adam lost the place by fault, but the summit remains a protected pledge and foretaste of heavenly peace.
XXVIII.91–93 Arr' is pledge or earnest, not the completed peace itself.
XXVIII.91–93 Arr' is pledge or earnest, not the completed peace itself. Line 93: Arr' is pledge or earnest, not the completed peace itself.
XXVIII.93 Arr' is pledge or earnest, not the completed peace itself. Arr' is pledge or earnest, not the completed peace itself.
XXVIII.94–96 The repetition of fault keeps responsibility explicit in the Eden account.
XXVIII.94–96 The repetition of fault keeps responsibility explicit in the Eden account. Line 96: The repetition of fault keeps responsibility explicit in the Eden account.
XXVIII.96 The repetition of fault keeps responsibility explicit in the Eden account. The repetition of fault keeps responsibility explicit in the Eden account.
XXVIII.97–99 The line keeps Dante's medieval meteorological account as given.
XXVIII.97–99 The line keeps Dante's medieval meteorological account as given. Line 98: The line keeps Dante's medieval meteorological account as given.
XXVIII.98 The line keeps Dante's medieval meteorological account as given. The line keeps Dante's medieval meteorological account as given.
XXVIII.100–102 The sealed point refers back to the gate region of Purgatory; above it the summit is free from lower atmospheric disturbance.
XXVIII.100–102 The sealed point refers back to the gate region of Purgatory; above it the summit is free from lower atmospheric disturbance. Line 102: The sealed point refers back to the gate region of Purgatory; above it the summit is free from lower atmospheric disturbance.
XXVIII.102 The sealed point refers back to the gate region of Purgatory; above it the summit is free from lower atmospheric disturbance. The sealed point refers back to the gate region of Purgatory; above it the summit is free from lower atmospheric disturbance.
The first motion carries seed-bearing power through the living air XXVIII.103–120
103Or perché in circuito tutto quanto
l’aere si volge con la prima volta,
105se non li è rotto il cerchio d’alcun canto,
in questa altezza ch’è tutta disciolta
ne l’aere vivo, tal moto percuote,
e fa sonar la selva perch’ è folta;
e la percossa pianta tanto puote,
110che de la sua virtute l’aura impregna
e quella poi, girando, intorno scuote;
e l’altra terra, secondo ch’è degna
per sé e per suo ciel, concepe e figlia
di diverse virtù diverse legna.
115Non parrebbe di là poi maraviglia,
udito questo, quando alcuna pianta
sanza seme palese vi s’appiglia.
E saper dei che la campagna santa
dove tu se’, d’ogne semenza è piena,
120e frutto ha in sé che di là non si schianta.
103Now because in circuit the whole
air turns with the first revolution,
105unless its circle is broken by some corner,
upon this height, wholly loosened
in the living air, such motion strikes
and makes the wood sound because it is thick;
and the struck plant has such power
110that it impregnates the breeze with its virtue,
and that breeze, then circling, shakes it round about;
and the other earth, according as it is fit
in itself and by its sky, conceives and bears
diverse trees from diverse powers.
115Then down there it would not seem a marvel,
once this has been heard, when some plant
takes hold there without visible seed.
And you should know that the holy plain
where you are is full of every seed,
120and has in itself fruit not plucked down there.
Commentary
This passage covers the first motion carries seed-bearing power through the living air.
XXVIII.103–105 The first revolution refers to the cosmic motion of the outer heaven.
XXVIII.103–105 The first revolution refers to the cosmic motion of the outer heaven. Line 104: The first revolution refers to the cosmic motion of the outer heaven.
XXVIII.104 The first revolution refers to the cosmic motion of the outer heaven. The first revolution refers to the cosmic motion of the outer heaven.
XXVIII.109–111 Virtute is kept as power/virtue to preserve the natural and moral resonance of the seed-bearing motion.
XXVIII.109–111 Virtute is kept as power/virtue to preserve the natural and moral resonance of the seed-bearing motion. Line 110: Virtute is kept as power/virtue to preserve the natural and moral resonance of the seed-bearing motion.
XXVIII.110 Virtute is kept as power/virtue to preserve the natural and moral resonance of the seed-bearing motion. Virtute is kept as power/virtue to preserve the natural and moral resonance of the seed-bearing motion.
XXVIII.118–120 Di là is the lower/other earth; the summit has fruit not gathered in the ordinary world.
XXVIII.118–120 Di là is the lower/other earth; the summit has fruit not gathered in the ordinary world. Line 120: Di là is the lower/other earth; the summit has fruit not gathered in the ordinary world.
XXVIII.120 Di là is the lower/other earth; the summit has fruit not gathered in the ordinary world. Di là is the lower/other earth; the summit has fruit not gathered in the ordinary world.
The divine fountain divides into Lethe and Eunoe XXVIII.121–133
121L’acqua che vedi non surge di vena
che ristori vapor che gel converta,
come fiume ch’acquista e perde lena;
ma esce di fontana salda e certa,
125che tanto dal voler di Dio riprende,
quant’ ella versa da due parti aperta.
Da questa parte con virtù discende
che toglie altrui memoria del peccato;
da l’altra d’ogne ben fatto la rende.
130Quinci Letè; così da l’altro lato
Eünoè si chiama, e non adopra
se quinci e quindi pria non è gustato:
a tutti altri sapori esto è di sopra.
121The water you see does not rise from a vein
restored by vapor that cold turns back,
like a river that gains and loses breath;
but it issues from a fountain firm and sure,
125which takes back from the will of God as much
as, opened in two directions, it pours out.
On this side it descends with power
that takes away one's memory of sin;
on the other, restores memory of every good deed.
130Here it is called Lethe; so on the other side
it is called Eunoe, and it does not work
unless first it is tasted from here and from there:
this is above all other tastes.
Commentary
The river flows from a constant divine fountain rather than ordinary vapor-fed springs, has two open sides, and its Lethe removes the memory of sin while Eunoe restores good deeds. The translation treats tasting both waters as a necessary ordered sequence.
XXVIII.124–126 The fountain's constancy depends directly on divine will rather than ordinary hydrology.
XXVIII.124–126 The fountain's constancy depends directly on divine will rather than ordinary hydrology. Line 125: The fountain's constancy depends directly on divine will rather than ordinary hydrology.
XXVIII.125 The fountain's constancy depends directly on divine will rather than ordinary hydrology. The fountain's constancy depends directly on divine will rather than ordinary hydrology.
XXVIII.127–129 Lethe removes the memory of sin after repentance, not moral responsibility before confession.
XXVIII.127–129 Lethe removes the memory of sin after repentance, not moral responsibility before confession. Line 128: Lethe removes the memory of sin after repentance, not moral responsibility before confession.
XXVIII.128 Lethe removes the memory of sin after repentance, not moral responsibility before confession. Lethe removes the memory of sin after repentance, not moral responsibility before confession.
XXVIII.130–132 Eunoe is kept as a proper name for the stream that restores memory of the good. The ordered tasting of both waters anticipates the closing purification of Purgatorio.
XXVIII.130–132 Eunoe is kept as a proper name for the stream that restores memory of the good. Line 131: Eunoe is kept as a proper name for the stream that restores memory of the good. Line 132: The ordered tasting of both waters anticipates the closing purification of Purgatorio.
XXVIII.131 Eunoe is kept as a proper name for the stream that restores memory of the good. Eunoe is kept as a proper name for the stream that restores memory of the good.
XXVIII.132 The ordered tasting of both waters anticipates the closing purification of Purgatorio. The ordered tasting of both waters anticipates the closing purification of Purgatorio.
XXVIII.133–135 Taste language continues the purification of appetite from the upper terraces into sacramental memory.
XXVIII.133–135 Taste language continues the purification of appetite from the upper terraces into sacramental memory. Line 133: Taste language continues the purification of appetite from the upper terraces into sacramental memory.
XXVIII.133 Taste language continues the purification of appetite from the upper terraces into sacramental memory. Taste language continues the purification of appetite from the upper terraces into sacramental memory.
The Golden Age poets dimly dreamed this innocent spring XXVIII.134–148
134E avvegna ch’assai possa esser sazia
135la sete tua perch’ io più non ti scuopra,
darotti un corollario ancor per grazia;
né credo che ’l mio dir ti sia men caro,
se oltre promession teco si spazia.
Quelli ch’anticamente poetaro
140l’età de l’oro e suo stato felice,
forse in Parnaso esto loco sognaro.
Qui fu innocente l’umana radice;
qui primavera sempre e ogne frutto;
nettare è questo di che ciascun dice».
145Io mi rivolsi ’n dietro allora tutto
a’ miei poeti, e vidi che con riso
udito avëan l’ultimo costrutto;
poi a la bella donna torna’ il viso.
134And although your thirst may be enough satisfied
135that I uncover no more to you,
I will still give you a corollary by grace;
nor do I think my speech will be less dear to you
if it ranges with you beyond its promise.
Those who in ancient times made poetry of
140the Age of Gold and its happy state,
perhaps on Parnassus dreamed this place.
Here the human root was innocent;
here spring is always, and every fruit;
this is the nectar of which everyone speaks."
145Then I turned wholly back
to my poets, and saw that with a smile
they had heard the final conclusion;
then I turned my face back to the beautiful lady.
Commentary
Matelda graciously connects classical Golden Age poetry to a dim dream of Eden, and Virgil and Statius smile at the conclusion. The translation keeps umana radice as the human root and leaves the Parnassus pressure visible.
XXVIII.139–141 The Golden Age is treated as classical poetry's partial dream of Eden.
XXVIII.139–141 The Golden Age is treated as classical poetry's partial dream of Eden. Line 140: The Golden Age is treated as classical poetry's partial dream of Eden.
XXVIII.140 The Golden Age is treated as classical poetry's partial dream of Eden. The Golden Age is treated as classical poetry's partial dream of Eden.
XXVIII.142–144 Umana radice keeps Adamic origin concrete.
XXVIII.142–144 Umana radice keeps Adamic origin concrete. Line 142: Umana radice keeps Adamic origin concrete.
XXVIII.142 Umana radice keeps Adamic origin concrete. Umana radice keeps Adamic origin concrete.
XXVIII.145–147 Virgil and Statius, the classical poets, smile at Matelda's Golden Age corollary.
XXVIII.145–147 Virgil and Statius, the classical poets, smile at Matelda's Golden Age corollary. Line 146: Virgil and Statius, the classical poets, smile at Matelda's Golden Age corollary.
XXVIII.146 Virgil and Statius, the classical poets, smile at Matelda's Golden Age corollary. Virgil and Statius, the classical poets, smile at Matelda's Golden Age corollary.