Purgatorio, Canto 29
Dante Alighieri · Italian original · new English translation and commentary by Text Atlas
Overview
Matelda continues singing and leads Dante upstream along Lethe until the bank turns him east. A supernatural light and melody fill the Earthly Paradise, prompting Dante to reflect on Eve and the delayed loss of Edenic delight. After invoking the Muses and Urania for the difficult vision, Dante sees seven golden forms resolve into candelabra and hears Hosanna. Behind the living lights comes the sacred procession: white-clad elders, seven rainbow-like streams of light, twenty-four elders, four living creatures, a triumphal chariot drawn by a griffin, the theological and cardinal virtues dancing at its wheels, seven New Testament figures, and finally thunder that halts the whole company before Beatrice’s appearance in the next canto.
Narrative arc
- Matelda resumes the psalm and leads Dante upstream toward the east
- The forest fills with growing light, melody, and Edenic first fruits
- Dante invokes the Muses for the hard apocalyptic vision
- Seven golden trees resolve into candelabra and Hosanna
- Matelda redirects Dante from the living lights to the white-clad procession
- Twenty-four elders and four living creatures enter beneath the painted heaven
- Ezekiel, John, the chariot, and the griffin define the central vision
- The theological and cardinal virtues dance at the chariot wheels
- Seven New Testament figures follow with rose-red crowns
- Thunder halts the procession with the first standards
Central themes
- Beatrice
Matelda resumes the psalm and leads Dante upstream toward the east XXIX.1–15
1Cantando come donna innamorata,
continüò col fin di sue parole:
‘Beati quorum tecta sunt peccata!’.
E come ninfe che si givan sole
5per le salvatiche ombre, disïando
qual di veder, qual di fuggir lo sole,
allor si mosse contra ’l fiume, andando
su per la riva; e io pari di lei,
picciol passo con picciol seguitando.
10Non eran cento tra ’ suoi passi e ’ miei,
quando le ripe igualmente dier volta,
per modo ch’a levante mi rendei.
Né ancor fu così nostra via molta,
quando la donna tutta a me si torse,
15dicendo: «Frate mio, guarda e ascolta».
1Singing like a woman in love,
she continued with the end of her words:
“Beati quorum tecta sunt peccata!”
And as nymphs who used to go alone
5through the wild-wood shades, desiring
some to see, some to flee, the sun,
so then she moved against the river, going
up along the bank; and I, even with her,
followed little step with little step.
10There were not a hundred between her steps
and mine, when both banks turned equally,
so that I was brought back facing east.
Nor had our way yet gone very far
when the lady turned wholly toward me,
15saying, “My brother, look and listen.”
Commentary
The passage gives the psalm continuation, the Matelda-like singer, the nymph simile, upstream movement, eastward turn, and the explicit command to look and listen. The translation keeps the source-return and attention-training pressure visible.
XXIX.1–3 The singer is the lady later known as Matelda; the line keeps the love-song register without naming her in the translation. The Latin incipit is Psalm 31/32:1 and gathers the terrace beatitude pattern into the Earthly P.
XXIX.1–3 The singer is the lady later known as Matelda; the line keeps the love-song register without naming her in the translation. Line 1: The singer is the lady later known as Matelda; the line keeps the love-song register without naming her in the translation. Line 3: The Latin incipit is Psalm 31/32:1 and gathers the terrace beatitude pattern into the Earthly Paradise scene.
XXIX.1 The singer is the lady later known as Matelda; the line keeps the love-song register without naming her in the translation. The singer is the lady later known as Matelda; the line keeps the love-song register without naming her in the translation.
XXIX.3 The Latin incipit is Psalm 31/32:1 and gathers the terrace beatitude pattern into the Earthly Paradise scene. The Latin incipit is Psalm 31/32:1 and gathers the terrace beatitude pattern into the Earthly Paradise scene.
XXIX.10–12 The bend turns Dante eastward again, making the procession approach within sunrise and origin-return pressure.
XXIX.10–12 The bend turns Dante eastward again, making the procession approach within sunrise and origin-return pressure. Line 12: The bend turns Dante eastward again, making the procession approach within sunrise and origin-return pressure.
XXIX.12 The bend turns Dante eastward again, making the procession approach within sunrise and origin-return pressure. The bend turns Dante eastward again, making the procession approach within sunrise and origin-return pressure.
The forest fills with growing light, melody, and Edenic first fruits XXIX.16–36
16Ed ecco un lustro sùbito trascorse
da tutte parti per la gran foresta,
tal che di balenar mi mise in forse.
Ma perché ’l balenar, come vien, resta,
20e quel, durando, più e più splendeva,
nel mio pensier dicea: ‘Che cosa è questa?’.
E una melodia dolce correva
per l’aere luminoso; onde buon zelo
mi fé riprender l’ardimento d’Eva,
25che là dove ubidia la terra e ’l cielo,
femmina, sola e pur testé formata,
non sofferse di star sotto alcun velo;
sotto ’l qual se divota fosse stata,
avrei quelle ineffabili delizie
30sentite prima e più lunga fïata.
Mentr’ io m’andava tra tante primizie
de l’etterno piacer tutto sospeso,
e disïoso ancora a più letizie,
dinanzi a noi, tal quale un foco acceso,
35ci si fé l’aere sotto i verdi rami;
e ’l dolce suon per canti era già inteso.
16And behold, a sudden radiance ran
from every side through the great forest,
so that it made me doubt whether it was lightning.
But because lightning ceases as it comes,
20and that, enduring, shone more and more,
within my thought I said, “What thing is this?”
And a sweet melody was running
through the luminous air; so good zeal
made me rebuke the boldness of Eve,
25who, where earth and heaven obeyed,
a woman, alone and only just formed,
could not endure to stay beneath any veil;
under which, if she had remained devout,
I would have felt those ineffable delights
30sooner, and for a longer time.
While I went on among so many first fruits
of eternal pleasure, wholly suspended
and still desirous of greater gladness,
before us, just like a fire kindled,
35the air showed itself beneath the green branches;
and the sweet sound was now understood as song.
Commentary
The light is not ordinary lightning; the passage gives the melody through luminous air, the Eve reflection, and the first-fruits language of Edenic pleasure. The translation keeps Dante’s historically specific Eve judgment rather than softening it.
XXIX.22–24 The Eve judgment is preserved as Dante frames the delayed access to Edenic delight through original disobedience.
XXIX.22–24 The Eve judgment is preserved as Dante frames the delayed access to Edenic delight through original disobedience. Line 24: The Eve judgment is preserved as Dante frames the delayed access to Edenic delight through original disobedience.
XXIX.24 The Eve judgment is preserved as Dante frames the delayed access to Edenic delight through original disobedience. The Eve judgment is preserved as Dante frames the delayed access to Edenic delight through original disobedience.
Dante invokes the Muses for the hard apocalyptic vision XXIX.37–42
37O sacrosante Vergini, se fami,
freddi o vigilie mai per voi soffersi,
cagion mi sprona ch’io mercé vi chiami.
40Or convien che Elicona per me versi,
e Uranìe m’aiuti col suo coro
forti cose a pensar mettere in versi.
37O most holy Virgins, if hungers,
cold, or vigils I ever suffered for you,
necessity spurs me to call on your mercy.
40Now Helicon must pour forth for me,
and Urania help me with her choir
to set in verse things hard to think.
Commentary
This passage covers dante invokes the Muses for the hard apocalyptic vision.
XXIX.37–39 The holy Virgins are the Muses; the invocation marks the difficulty of rendering the apocalyptic procession.
XXIX.37–39 The holy Virgins are the Muses; the invocation marks the difficulty of rendering the apocalyptic procession. Line 37: The holy Virgins are the Muses; the invocation marks the difficulty of rendering the apocalyptic procession.
XXIX.37 The holy Virgins are the Muses; the invocation marks the difficulty of rendering the apocalyptic procession. The holy Virgins are the Muses; the invocation marks the difficulty of rendering the apocalyptic procession.
XXIX.40–42 Urania, muse of astronomy, signals that the procession has cosmic and scriptural scale.
XXIX.40–42 Urania, muse of astronomy, signals that the procession has cosmic and scriptural scale. Line 41: Urania, muse of astronomy, signals that the procession has cosmic and scriptural scale.
XXIX.41 Urania, muse of astronomy, signals that the procession has cosmic and scriptural scale. Urania, muse of astronomy, signals that the procession has cosmic and scriptural scale.
Seven golden trees resolve into candelabra and Hosanna XXIX.43–60
43Poco più oltre, sette alberi d’oro
falsava nel parere il lungo tratto
45del mezzo ch’era ancor tra noi e loro;
ma quand’ i’ fui sì presso di lor fatto,
che l’obietto comun, che ’l senso inganna,
non perdea per distanza alcun suo atto,
la virtù ch’a ragion discorso ammanna,
50sì com’ elli eran candelabri apprese,
e ne le voci del cantare ‘Osanna’.
Di sopra fiammeggiava il bello arnese
più chiaro assai che luna per sereno
di mezza notte nel suo mezzo mese.
55Io mi rivolsi d’ammirazion pieno
al buon Virgilio, ed esso mi rispuose
con vista carca di stupor non meno.
Indi rendei l’aspetto a l’alte cose
che si movieno incontr’ a noi sì tardi,
60che foran vinte da novelle spose.
43A little farther on, seven trees of gold
were falsified in appearance by the long reach
45still lying between us and them;
but when I had been brought so near to them
that the common object, which deceives sense,
lost no feature through distance,
the power that furnishes discourse to reason
50recognized them as candelabra,
and in the voices of the singing, “Hosanna.”
Above, the beautiful array was flaming
far brighter than the moon through clear sky
at midnight in the middle of its month.
55I turned, filled with wonder,
to good Virgil, and he answered me
with a gaze laden with no less astonishment.
Then I returned my sight to the high things
that were moving toward us so slowly
60that new brides would have outpaced them.
Commentary
This passage covers seven golden trees resolve into candelabra and Hosanna.
XXIX.49–51 The line keeps the scholastic movement from sensory perception to rational discourse. Hosanna is retained as the acclamation heard once the apparent trees are recognized as candelabra.
XXIX.49–51 The line keeps the scholastic movement from sensory perception to rational discourse. Line 49: The line keeps the scholastic movement from sensory perception to rational discourse. Line 51: Hosanna is retained as the acclamation heard once the apparent trees are recognized as candelabra.
XXIX.49 The line keeps the scholastic movement from sensory perception to rational discourse. The line keeps the scholastic movement from sensory perception to rational discourse.
XXIX.51 Hosanna is retained as the acclamation heard once the apparent trees are recognized as candelabra. Hosanna is retained as the acclamation heard once the apparent trees are recognized as candelabra.
XXIX.55–57 This is the last explicit look to Virgil before the Beatrice transition; his wonder remains real but limited.
XXIX.55–57 This is the last explicit look to Virgil before the Beatrice transition; his wonder remains real but limited. Line 57: This is the last explicit look to Virgil before the Beatrice transition; his wonder remains real but limited.
XXIX.57 This is the last explicit look to Virgil before the Beatrice transition; his wonder remains real but limited. This is the last explicit look to Virgil before the Beatrice transition; his wonder remains real but limited.
XXIX.58–60 The new-brides simile preserves ceremonial slowness and nuptial pressure before the chariot scene.
XXIX.58–60 The new-brides simile preserves ceremonial slowness and nuptial pressure before the chariot scene. Line 60: The new-brides simile preserves ceremonial slowness and nuptial pressure before the chariot scene.
XXIX.60 The new-brides simile preserves ceremonial slowness and nuptial pressure before the chariot scene. The new-brides simile preserves ceremonial slowness and nuptial pressure before the chariot scene.
Matelda redirects Dante from the living lights to the white-clad procession XXIX.61–81
61La donna mi sgridò: «Perché pur ardi
sì ne l’affetto de le vive luci,
e ciò che vien di retro a lor non guardi?».
Genti vid’ io allor, come a lor duci,
65venire appresso, vestite di bianco;
e tal candor di qua già mai non fuci.
L’acqua imprendëa dal sinistro fianco,
e rendea me la mia sinistra costa,
s’io riguardava in lei, come specchio anco.
70Quand’ io da la mia riva ebbi tal posta,
che solo il fiume mi facea distante,
per veder meglio ai passi diedi sosta,
e vidi le fiammelle andar davante,
lasciando dietro a sé l’aere dipinto,
75e di tratti pennelli avean sembiante;
sì che lì sopra rimanea distinto
di sette liste, tutte in quei colori
onde fa l’arco il Sole e Delia il cinto.
Questi ostendali in dietro eran maggiori
80che la mia vista; e, quanto a mio avviso,
diece passi distavan quei di fori.
61The lady scolded me: “Why do you burn
so in affection for the living lights,
and not look at what comes after them?”
Then I saw people, as behind their guides,
65coming after, dressed in white;
and never down here was such whiteness.
The water shone from the left side
and gave my left flank back to me,
if I looked into it, still like a mirror.
70When I had such a station on my bank
that only the river kept me distant,
I halted my steps in order to see better,
and I saw the little flames go on ahead,
leaving the air painted behind themselves,
75and they had the likeness of drawn brushes;
so that above them it remained marked out
in seven stripes, all in those colors
with which the Sun makes his bow and Delia her belt.
These banners stretched backward farther
80than my sight; and, so far as I judged,
the outer ones stood ten paces apart.
Commentary
Matelda redirects Dante from the living lights to what follows: the unparalleled whiteness, the river as mirror, and the seven colored trails. The translation uses drawn brushes plus banners to preserve the visual-art and procession imagery around pennelli and ostendali.
XXIX.76–78 Delia names the moon; her belt is the lunar halo, paired with the solar rainbow.
XXIX.76–78 Delia names the moon; her belt is the lunar halo, paired with the solar rainbow. Line 78: Delia names the moon; her belt is the lunar halo, paired with the solar rainbow.
XXIX.78 Delia names the moon; her belt is the lunar halo, paired with the solar rainbow. Delia names the moon; her belt is the lunar halo, paired with the solar rainbow.
Twenty-four elders and four living creatures enter beneath the painted heaven XXIX.82–96
82Sotto così bel ciel com’ io diviso,
ventiquattro seniori, a due a due,
coronati venien di fiordaliso.
85Tutti cantavan: «Benedicta tue
ne le figlie d’Adamo, e benedette
sieno in etterno le bellezze tue!».
Poscia che i fiori e l’altre fresche erbette
a rimpetto di me da l’altra sponda
90libere fuor da quelle genti elette,
sì come luce luce in ciel seconda,
vennero appresso lor quattro animali,
coronati ciascun di verde fronda.
Ognuno era pennuto di sei ali;
95le penne piene d’occhi; e li occhi d’Argo,
se fosser vivi, sarebber cotali.
82Under so beautiful a heaven as I describe,
twenty-four elders, two by two,
came crowned with lilies.
85All were singing: “Blessed are you
among the daughters of Adam, and blessed
forever be your beauties!”
After the flowers and the other fresh grasses
opposite me on the other bank
90were free from those elect people,
just as light follows light in heaven,
four living creatures came after them,
each one crowned with green leaves.
Each was feathered with six wings;
95the feathers full of eyes; and the eyes of Argus,
if they were living, would have been like these.
Commentary
This passage covers twenty-four elders and four living creatures enter beneath the painted heaven.
XXIX.82–84 The twenty-four elders are left as elders in the line; they symbolize the Old Testament books.
XXIX.82–84 The twenty-four elders are left as elders in the line; they symbolize the Old Testament books. Line 83: The twenty-four elders are left as elders in the line; they symbolize the Old Testament books.
XXIX.83 The twenty-four elders are left as elders in the line; they symbolize the Old Testament books. The twenty-four elders are left as elders in the line; they symbolize the Old Testament books.
XXIX.85–87 The greeting echoes Marian blessing language while being sung by the Old Testament elders.
XXIX.85–87 The greeting echoes Marian blessing language while being sung by the Old Testament elders. Line 85: The greeting echoes Marian blessing language while being sung by the Old Testament elders.
XXIX.85 The greeting echoes Marian blessing language while being sung by the Old Testament elders. The greeting echoes Marian blessing language while being sung by the Old Testament elders.
XXIX.91–93 Animali is rendered as living creatures to preserve the biblical-apocalyptic register.
XXIX.91–93 Animali is rendered as living creatures to preserve the biblical-apocalyptic register. Line 92: Animali is rendered as living creatures to preserve the biblical-apocalyptic register.
XXIX.92 Animali is rendered as living creatures to preserve the biblical-apocalyptic register. Animali is rendered as living creatures to preserve the biblical-apocalyptic register.
Ezekiel, John, the chariot, and the griffin define the central vision XXIX.97–120
97A descriver lor forme più non spargo
rime, lettor; ch’altra spesa mi strigne,
tanto ch’a questa non posso esser largo;
100ma leggi Ezechïel, che li dipigne
come li vide da la fredda parte
venir con vento e con nube e con igne;
e quali i troverai ne le sue carte,
tali eran quivi, salvo ch’a le penne
105Giovanni è meco e da lui si diparte.
Lo spazio dentro a lor quattro contenne
un carro, in su due rote, trïunfale,
ch’al collo d’un grifon tirato venne.
Esso tendeva in sù l’una e l’altra ale
110tra la mezzana e le tre e tre liste,
sì ch’a nulla, fendendo, facea male.
Tanto salivan che non eran viste;
le membra d’oro avea quant’ era uccello,
e bianche l’altre, di vermiglio miste.
115Non che Roma di carro così bello
rallegrasse Affricano, o vero Augusto,
ma quel del Sol saria pover con ello;
quel del Sol che, svïando, fu combusto
per l’orazion de la Terra devota,
120quando fu Giove arcanamente giusto.
97To describe their forms I scatter no more
rhymes, reader; for another spending presses me,
so that I cannot be generous with this one;
100but read Ezekiel, who depicts them
as he saw them coming from the cold quarter
with wind and cloud and fire;
and as you will find them in his pages,
so they were here, except that in the wings
105John is with me and departs from him.
The space within the four of them contained
a triumphal chariot, upon two wheels,
which came drawn at a griffin’s neck.
He stretched one wing and the other upward
110between the middle stripe and the three and three,
so that, cleaving it, he harmed none.
So high they rose that they were not seen;
his limbs were gold so far as he was bird,
and the others white, mixed with crimson.
115Not that Rome with so beautiful a chariot
gladdened Africanus, or indeed Augustus;
but that of the Sun would be poor beside it,
that chariot of the Sun which, straying, was burned
at the prayer of the devout Earth,
120when Jove was mysteriously just.
Commentary
This passage covers ezekiel, John, the chariot, and the griffin define the central vision.
XXIX.100–102 The reader is directed to Ezekiel for the living creatures.
XXIX.100–102 The reader is directed to Ezekiel for the living creatures. Line 100: The reader is directed to Ezekiel for the living creatures.
XXIX.100 The reader is directed to Ezekiel for the living creatures. The reader is directed to Ezekiel for the living creatures.
XXIX.103–105 John agrees with Dante on the six wings and differs from Ezekiel; the line keeps Dante’s bold visionary claim.
XXIX.103–105 John agrees with Dante on the six wings and differs from Ezekiel; the line keeps Dante’s bold visionary claim. Line 105: John agrees with Dante on the six wings and differs from Ezekiel; the line keeps Dante’s bold visionary claim.
XXIX.105 John agrees with Dante on the six wings and differs from Ezekiel; the line keeps Dante’s bold visionary claim. John agrees with Dante on the six wings and differs from Ezekiel; the line keeps Dante’s bold visionary claim.
XXIX.106–108 The griffin draws the chariot; the griffin and chariot are read as Christ and the Church.
XXIX.106–108 The griffin draws the chariot; the griffin and chariot are read as Christ and the Church. Line 108: The griffin draws the chariot; the griffin and chariot are read as Christ and the Church.
XXIX.108 The griffin draws the chariot; the griffin and chariot are read as Christ and the Church. The griffin draws the chariot; the griffin and chariot are read as Christ and the Church.
XXIX.112–114 The gold, white, and crimson body colors preserve the two-nature Christological pressure without loading the line.
XXIX.112–114 The gold, white, and crimson body colors preserve the two-nature Christological pressure without loading the line. Line 114: The gold, white, and crimson body colors preserve the two-nature Christological pressure without loading the line.
XXIX.114 The gold, white, and crimson body colors preserve the two-nature Christological pressure without loading the line. The gold, white, and crimson body colors preserve the two-nature Christological pressure without loading the line.
XXIX.118–120 The Phaethon allusion keeps the mysterious justice of Jove as classical vehicle for correction of a straying chariot.
XXIX.118–120 The Phaethon allusion keeps the mysterious justice of Jove as classical vehicle for correction of a straying chariot. Line 120: The Phaethon allusion keeps the mysterious justice of Jove as classical vehicle for correction of a straying chariot.
XXIX.120 The Phaethon allusion keeps the mysterious justice of Jove as classical vehicle for correction of a straying chariot. The Phaethon allusion keeps the mysterious justice of Jove as classical vehicle for correction of a straying chariot.
The theological and cardinal virtues dance at the chariot wheels XXIX.121–132
121Tre donne in giro da la destra rota
venian danzando; l’una tanto rossa
ch’a pena fora dentro al foco nota;
l’altr’ era come se le carni e l’ossa
125fossero state di smeraldo fatte;
la terza parea neve testé mossa;
e or parëan da la bianca tratte,
or da la rossa; e dal canto di questa
l’altre toglien l’andare e tarde e ratte.
130Da la sinistra quattro facean festa,
in porpore vestite, dietro al modo
d’una di lor ch’avea tre occhi in testa.
121Three women around the right wheel
came dancing; one so red
that inside fire she would scarcely have been noticed;
the next was as if her flesh and bones
125had been made of emerald;
the third seemed newly fallen snow;
and now they seemed drawn by the white one,
now by the red; and from this one’s song
the others took their going, slow and swift.
130On the left four were making festival,
dressed in purple, following the measure
of one of them who had three eyes in her head.
Commentary
This passage covers the theological and cardinal virtues dance at the chariot wheels.
XXIX.121–123 The three women at the right wheel are the theological virtues in the usual interpretation.
XXIX.121–123 The three women at the right wheel are the theological virtues in the usual interpretation. Line 121: The three women at the right wheel are the theological virtues in the usual interpretation.
XXIX.121 The three women at the right wheel are the theological virtues in the usual interpretation. The three women at the right wheel are the theological virtues in the usual interpretation.
XXIX.127–129 This one refers to the currently leading virtue; the local sequence lets white and red alternate while the dance remains ordered by song.
XXIX.127–129 This one refers to the currently leading virtue; the local sequence lets white and red alternate while the dance remains ordered by song. Line 128: This one refers to the currently leading virtue; the local sequence lets white and red alternate while the dance remains ordered by song.
XXIX.128 This one refers to the currently leading virtue; the local sequence lets white and red alternate while the dance remains ordered by song. This one refers to the currently leading virtue; the local sequence lets white and red alternate while the dance remains ordered by song.
XXIX.130–132 The four at the left wheel are the cardinal virtues; the three-eyed leader is Prudence.
XXIX.130–132 The four at the left wheel are the cardinal virtues; the three-eyed leader is Prudence. Line 132: The four at the left wheel are the cardinal virtues; the three-eyed leader is Prudence.
XXIX.132 The four at the left wheel are the cardinal virtues; the three-eyed leader is Prudence. The four at the left wheel are the cardinal virtues; the three-eyed leader is Prudence.
Seven New Testament figures follow with rose-red crowns XXIX.133–150
133Appresso tutto il pertrattato nodo
vidi due vecchi in abito dispari,
135ma pari in atto e onesto e sodo.
L’un si mostrava alcun de’ famigliari
di quel sommo Ipocràte che natura
a li animali fé ch’ell’ ha più cari;
mostrava l’altro la contraria cura
140con una spada lucida e aguta,
tal che di qua dal rio mi fé paura.
Poi vidi quattro in umile paruta;
e di retro da tutti un vecchio solo
venir, dormendo, con la faccia arguta.
145E questi sette col primaio stuolo
erano abitüati, ma di gigli
dintorno al capo non facëan brolo,
anzi di rose e d’altri fior vermigli;
giurato avria poco lontano aspetto
150che tutti ardesser di sopra da’ cigli.
133After all the cluster I have treated of,
I saw two old men in differing garb,
135but equal in bearing, dignified and steadfast.
One showed himself as one of the household
of that supreme Hippocrates whom nature
made for the creatures she holds dearest;
the other showed the contrary care
140with a shining and sharp sword,
such that from this side of the river it made me afraid.
Then I saw four of humble appearance;
and behind them all a single old man
coming, asleep, with an alert face.
145And these seven, with the first company,
were dressed alike, but did not make
a garland of lilies around the head,
rather of roses and other crimson flowers;
a gaze from a little distance would have sworn
150that all were burning above their brows.
Commentary
This passage covers seven New Testament figures follow with rose-red crowns.
XXIX.136–138 The first old man is associated with Luke/Acts through the physician link to Hippocrates.
XXIX.136–138 The first old man is associated with Luke/Acts through the physician link to Hippocrates. Line 136: The first old man is associated with Luke/Acts through the physician link to Hippocrates.
XXIX.136 The first old man is associated with Luke/Acts through the physician link to Hippocrates. The first old man is associated with Luke/Acts through the physician link to Hippocrates.
XXIX.139–141 The sword-bearing figure is associated with Paul and his epistles.
XXIX.139–141 The sword-bearing figure is associated with Paul and his epistles. Line 139: The sword-bearing figure is associated with Paul and his epistles.
XXIX.139 The sword-bearing figure is associated with Paul and his epistles. The sword-bearing figure is associated with Paul and his epistles.
XXIX.142–144 The four humble figures are associated with the minor epistles. The sleeping but alert old man is associated with John as apocalyptic visionary.
XXIX.142–144 The four humble figures are associated with the minor epistles. Line 142: The four humble figures are associated with the minor epistles. Line 144: The sleeping but alert old man is associated with John as apocalyptic visionary.
XXIX.142 The four humble figures are associated with the minor epistles. The four humble figures are associated with the minor epistles.
XXIX.144 The sleeping but alert old man is associated with John as apocalyptic visionary. The sleeping but alert old man is associated with John as apocalyptic visionary.
Thunder halts the procession with the first standards XXIX.151–154
151E quando il carro a me fu a rimpetto,
un tuon s’udì, e quelle genti degne
parvero aver l’andar più interdetto,
fermandosi ivi con le prime insegne.
151And when the chariot was opposite me,
a thunderclap was heard, and those worthy people
seemed to have their going further forbidden,
stopping there with the first standards.
Commentary
This passage covers thunder halts the procession with the first standards.
XXIX.154 The halt with the first standards closes the procession before Beatrice appears in Purgatorio XXX. The halt with the first standards closes the procession before Beatrice appears in Purgatorio XXX.