Purgatorio, Canto 31
Dante Alighieri · Italian original · new English translation and commentary by Text Atlas
Overview
Beatrice turns her accusation directly on Dante and requires confession before Lethe can work. Dante breaks under the burden, admits that present things with false pleasure turned his steps once her face was hidden, and receives her sharper teaching that her death should have moved him upward rather than downward toward brief mortal novelties. Shamed like a child, he raises his beard, sees Beatrice turned toward the griffin, and falls overcome by repentance and recognition. Matelda draws him through Lethe, immerses him, and offers him to the dance of the four virtues, who lead him to Beatrice's eyes. There he sees the griffin's two natures reflected while the theological virtues ask Beatrice to turn, unveil her mouth, and reveal the second beauty that the poet says no Parnassian power can adequately render.
Narrative arc
- Beatrice turns the accusation directly on Dante and demands confession
- Dante breaks under the burden and confesses that false present things turned his steps
- Beatrice turns confession into shame and explains why her death should have moved Dante upward
- Dante raises his beard, sees Beatrice turned to the griffin, and falls overcome by repentance
- Matelda draws Dante through Lethe and immerses him at the blessed shore
- The four virtues receive Dante and lead him to Beatrice's eyes
- Dante sees the griffin's two natures mirrored in Beatrice's eyes
- The three theological virtues dance forward and ask Beatrice to unveil her second beauty
- The poet confesses the impossibility of rendering Beatrice unveiled beneath the harmonizing heaven
Central themes
- Eden
- memory
- shame
- Beatrice
Beatrice turns the accusation directly on Dante and demands confession XXXI.1–15
1«O tu che se’ di là dal fiume sacro»,
volgendo suo parlare a me per punta,
che pur per taglio m’era paruto acro,
ricominciò, seguendo sanza cunta,
5«dì, dì se questo è vero: a tanta accusa
tua confession conviene esser congiunta».
Era la mia virtù tanto confusa,
che la voce si mosse, e pria si spense
che da li organi suoi fosse dischiusa.
10Poco sofferse; poi disse: «Che pense?
Rispondi a me; ché le memorie triste
in te non sono ancor da l’acqua offense».
Confusione e paura insieme miste
mi pinsero un tal «sì» fuor de la bocca,
15al quale intender fuor mestier le viste.
1O you who are beyond the sacred river,
turning her speech point-first toward me,
which by its edge alone had seemed sharp to me,
she began again, continuing without pause:
5"say, say if this is true: to so great an accusation
your confession must be joined."
My power was so confused
that my voice stirred, and died out first
before it was released from its own organs.
10She waited a little; then said: "What are you thinking?
Answer me; for the sad memories
in you are not yet injured by the water."
Confusion and fear together mingled
drove such a "yes" out of my mouth
15that eyes were needed to understand it.
Commentary
The passage gives the direct turn from edge to point in Beatrice's speech, the legal demand that accusation be joined to confession, and the faint yes that requires visual confirmation before Lethe removes memory of sin.
XXXI.1–3 The far-side address preserves the river boundary that still separates Dante from Beatrice before Matelda draws him through Lethe. The sword-point image continues Beatrice's judicial speech from the prior canto.
XXXI.1–3 The far-side address preserves the river boundary that still separates Dante from Beatrice before Matelda draws him through Lethe. Line 1: The far-side address preserves the river boundary that still separates Dante from Beatrice before Matelda draws him through Lethe. Line 2: The sword-point image continues Beatrice's judicial speech from the prior canto.
XXXI.1 The far-side address preserves the river boundary that still separates Dante from Beatrice before Matelda draws him through Lethe. The far-side address preserves the river boundary that still separates Dante from Beatrice before Matelda draws him through Lethe.
XXXI.2 The sword-point image continues Beatrice's judicial speech from the prior canto. The sword-point image continues Beatrice's judicial speech from the prior canto.
XXXI.4–6 Beatrice's language remains legal and penitential: accusation must become confession before Lethe can be crossed.
XXXI.4–6 Beatrice's language remains legal and penitential: accusation must become confession before Lethe can be crossed. Line 6: Beatrice's language remains legal and penitential: accusation must become confession before Lethe can be crossed.
XXXI.6 Beatrice's language remains legal and penitential: accusation must become confession before Lethe can be crossed. Beatrice's language remains legal and penitential: accusation must become confession before Lethe can be crossed.
XXXI.7–9 Here virtu is a faculty or capacity, not moral virtue.
XXXI.7–9 Here virtu is a faculty or capacity, not moral virtue. Line 7: Here virtu is a faculty or capacity, not moral virtue.
XXXI.7 Here virtu is a faculty or capacity, not moral virtue. Here virtu is a faculty or capacity, not moral virtue.
XXXI.10–12 The repeated question echoes Inferno V and marks Dante's dangerous delay under the weight of shame. Lethe has not yet removed the memory of sin, so confession is still possible and required.
XXXI.10–12 The repeated question echoes Inferno V and marks Dante's dangerous delay under the weight of shame. Line 10: The repeated question echoes Inferno V and marks Dante's dangerous delay under the weight of shame. Line 12: Lethe has not yet removed the memory of sin, so confession is still possible and required.
XXXI.10 The repeated question echoes Inferno V and marks Dante's dangerous delay under the weight of shame. The repeated question echoes Inferno V and marks Dante's dangerous delay under the weight of shame.
XXXI.12 Lethe has not yet removed the memory of sin, so confession is still possible and required. Lethe has not yet removed the memory of sin, so confession is still possible and required.
XXXI.13–15 The affirmation is barely audible; sight supplies what speech cannot.
XXXI.13–15 The affirmation is barely audible; sight supplies what speech cannot. Line 15: The affirmation is barely audible; sight supplies what speech cannot.
XXXI.15 The affirmation is barely audible; sight supplies what speech cannot. The affirmation is barely audible; sight supplies what speech cannot.
Dante breaks under the burden and confesses that false present things turned his steps XXXI.16–36
16Come balestro frange, quando scocca
da troppa tesa, la sua corda e l’arco,
e con men foga l’asta il segno tocca,
sì scoppia’ io sottesso grave carco,
20fuori sgorgando lagrime e sospiri,
e la voce allentò per lo suo varco.
Ond’ ella a me: «Per entro i mie’ disiri,
che ti menavano ad amar lo bene
di là dal qual non è a che s’aspiri,
25quai fossi attraversati o quai catene
trovasti, per che del passare innanzi
dovessiti così spogliar la spene?
E quali agevolezze o quali avanzi
ne la fronte de li altri si mostraro,
30per che dovessi lor passeggiare anzi?».
Dopo la tratta d’un sospiro amaro,
a pena ebbi la voce che rispuose,
e le labbra a fatica la formaro.
Piangendo dissi: «Le presenti cose
35col falso lor piacer volser miei passi,
tosto che ’l vostro viso si nascose».
16As a crossbow breaks, when it shoots
from being drawn too tight, its cord and bow,
and with less force the bolt strikes the mark,
so I burst beneath that heavy burden,
20pouring out tears and sighs,
and my voice slackened through its passage.
Then she to me: "Within those desires of mine,
which were leading you to love the good
beyond which there is nothing to aspire to,
25what cross-ditches or what chains
did you find, that you should so strip yourself
of hope for passing farther on?
And what ease or what advantage
showed itself on the brows of others,
30that you should parade before them?"
After the drawing of a bitter sigh,
I scarcely had the voice that answered,
and my lips formed it with difficulty.
Weeping, I said: "Present things,
35with their false pleasure, turned my steps
as soon as your face was hidden."
Commentary
The passage gives the crossbow/body-voice analogy, the heavy burden of guilt, the internal obstacles and external attractions in Beatrice's questioning, and Dante's confession that false present pleasures turned his path once her face was hidden.
XXXI.19–21 Carco continues the poem's burden motif: Dante's guilt and shame are felt physically.
XXXI.19–21 Carco continues the poem's burden motif: Dante's guilt and shame are felt physically. Line 19: Carco continues the poem's burden motif: Dante's guilt and shame are felt physically.
XXXI.19 Carco continues the poem's burden motif: Dante's guilt and shame are felt physically. Carco continues the poem's burden motif: Dante's guilt and shame are felt physically.
XXXI.22–24 Beatrice frames her earthly influence as desire ordered toward the highest good, not as mere erotic attraction.
XXXI.22–24 Beatrice frames her earthly influence as desire ordered toward the highest good, not as mere erotic attraction. Line 22: Beatrice frames her earthly influence as desire ordered toward the highest good, not as mere erotic attraction.
XXXI.22 Beatrice frames her earthly influence as desire ordered toward the highest good, not as mere erotic attraction. Beatrice frames her earthly influence as desire ordered toward the highest good, not as mere erotic attraction.
XXXI.25–27 The obstacles are military and internal: something blocked the desire that should have carried Dante onward.
XXXI.25–27 The obstacles are military and internal: something blocked the desire that should have carried Dante onward. Line 25: The obstacles are military and internal: something blocked the desire that should have carried Dante onward.
XXXI.25 The obstacles are military and internal: something blocked the desire that should have carried Dante onward. The obstacles are military and internal: something blocked the desire that should have carried Dante onward.
XXXI.28–30 The public walking image keeps the Vita nuova pressure and the outward performance of desire visible.
XXXI.28–30 The public walking image keeps the Vita nuova pressure and the outward performance of desire visible. Line 30: The public walking image keeps the Vita nuova pressure and the outward performance of desire visible.
XXXI.30 The public walking image keeps the Vita nuova pressure and the outward performance of desire visible. The public walking image keeps the Vita nuova pressure and the outward performance of desire visible.
XXXI.34–36 The line links false pleasure to path language: Dante's steps were redirected by goods that only seemed good.
XXXI.34–36 The line links false pleasure to path language: Dante's steps were redirected by goods that only seemed good. Line 35: The line links false pleasure to path language: Dante's steps were redirected by goods that only seemed good.
XXXI.35 The line links false pleasure to path language: Dante's steps were redirected by goods that only seemed good. The line links false pleasure to path language: Dante's steps were redirected by goods that only seemed good.
Beatrice turns confession into shame and explains why her death should have moved Dante upward XXXI.37–63
37Ed ella: «Se tacessi o se negassi
ciò che confessi, non fora men nota
la colpa tua: da tal giudice sassi!
40Ma quando scoppia de la propria gota
l’accusa del peccato, in nostra corte
rivolge sé contra ’l taglio la rota.
Tuttavia, perché mo vergogna porte
del tuo errore, e perché altra volta,
45udendo le serene, sie più forte,
pon giù il seme del piangere e ascolta:
sì udirai come in contraria parte
mover dovieti mia carne sepolta.
Mai non t’appresentò natura o arte
50piacer, quanto le belle membra in ch’io
rinchiusa fui, e che so’ ’n terra sparte;
e se ’l sommo piacer sì ti fallio
per la mia morte, qual cosa mortale
dovea poi trarre te nel suo disio?
55Ben ti dovevi, per lo primo strale
de le cose fallaci, levar suso
di retro a me che non era più tale.
Non ti dovea gravar le penne in giuso,
ad aspettar più colpo, o pargoletta
60o altra novità con sì breve uso.
Novo augelletto due o tre aspetta;
ma dinanzi da li occhi d’i pennuti
rete si spiega indarno o si saetta».
37And she: "If you kept silent or denied
what you confess, your fault would not be less
known: by such a Judge it is known!
40But when the accusation of sin bursts
from one's own cheek, in our court
the wheel turns itself against the edge.
Still, so that now you may bear shame
for your error, and so that another time,
45hearing the Sirens, you may be stronger,
put down the seed of weeping and listen:
so you will hear how in the opposite direction
my buried flesh should have moved you.
Never did nature or art present to you
50pleasure equal to the lovely members in which
I was enclosed, and which are scattered in earth;
and if the highest pleasure so failed you
through my death, what mortal thing
should then have drawn you into its desire?
55Indeed you should, at the first arrow
of fallacious things, have risen up
after me, who was no longer such.
Your wings should not have weighted you downward,
to wait for further blows, or a young girl
60or other novelty of such brief use.
A young bird waits for two or three;
but before the eyes of full-fledged birds
a net is spread or an arrow shot in vain."
Commentary
The passage gives the judicial sequence of known fault, self-accusation, shame as future strength, the Siren warning, Beatrice's buried flesh as a contrary mover, and the fledged-bird proverb for adult responsibility before deceptive nets and arrows.
XXXI.37–39 The Judge is left unnamed in the line, with the griffin/Christ context carried by the canto.
XXXI.37–39 The Judge is left unnamed in the line, with the griffin/Christ context carried by the canto. Line 39: The Judge is left unnamed in the line, with the griffin/Christ context carried by the canto.
XXXI.39 The Judge is left unnamed in the line, with the griffin/Christ context carried by the canto. The Judge is left unnamed in the line, with the griffin/Christ context carried by the canto.
XXXI.40–42 Gota keeps confession bodily, with tears and face joining the legal image. The sword/whetstone image softens Beatrice's sharp accusation after true confession.
XXXI.40–42 Gota keeps confession bodily, with tears and face joining the legal image. Line 41: Gota keeps confession bodily, with tears and face joining the legal image. Line 42: The sword/whetstone image softens Beatrice's sharp accusation after true confession.
XXXI.41 Gota keeps confession bodily, with tears and face joining the legal image. Gota keeps confession bodily, with tears and face joining the legal image.
XXXI.42 The sword/whetstone image softens Beatrice's sharp accusation after true confession. The sword/whetstone image softens Beatrice's sharp accusation after true confession.
XXXI.43–45 The Sirens recall the dream of Purgatorio XIX and the broader danger of seductive present goods.
XXXI.43–45 The Sirens recall the dream of Purgatorio XIX and the broader danger of seductive present goods. Line 45: The Sirens recall the dream of Purgatorio XIX and the broader danger of seductive present goods.
XXXI.45 The Sirens recall the dream of Purgatorio XIX and the broader danger of seductive present goods. The Sirens recall the dream of Purgatorio XIX and the broader danger of seductive present goods.
XXXI.46–48 The phrase stays close to Dante's agricultural image without resolving whether tears are seed, cause, or action. Beatrice's dead body should have redirected Dante away from mortal beauty toward her transformed life.
XXXI.46–48 The phrase stays close to Dante's agricultural image without resolving whether tears are seed, cause, or action. Line 46: The phrase stays close to Dante's agricultural image without resolving whether tears are seed, cause, or action. Line 48: Beatrice's dead body should have redirected Dante away from mortal beauty toward her transformed life.
XXXI.46 The phrase stays close to Dante's agricultural image without resolving whether tears are seed, cause, or action. The phrase stays close to Dante's agricultural image without resolving whether tears are seed, cause, or action.
XXXI.48 Beatrice's dead body should have redirected Dante away from mortal beauty toward her transformed life. Beatrice's dead body should have redirected Dante away from mortal beauty toward her transformed life.
XXXI.49–51 Piacer is kept as pleasure, which also carries the pressure of beauty and attraction.
XXXI.49–51 Piacer is kept as pleasure, which also carries the pressure of beauty and attraction. Line 50: Piacer is kept as pleasure, which also carries the pressure of beauty and attraction.
XXXI.50 Piacer is kept as pleasure, which also carries the pressure of beauty and attraction. Piacer is kept as pleasure, which also carries the pressure of beauty and attraction.
XXXI.55–57 Beatrice is no longer mortal and therefore no longer a fallacious present thing.
XXXI.55–57 Beatrice is no longer mortal and therefore no longer a fallacious present thing. Line 57: Beatrice is no longer mortal and therefore no longer a fallacious present thing.
XXXI.57 Beatrice is no longer mortal and therefore no longer a fallacious present thing. Beatrice is no longer mortal and therefore no longer a fallacious present thing.
XXXI.58–60 Pargoletta is kept as young girl without over-identifying the biographical referent in the translation.
XXXI.58–60 Pargoletta is kept as young girl without over-identifying the biographical referent in the translation. Line 59: Pargoletta is kept as young girl without over-identifying the biographical referent in the translation.
XXXI.59 Pargoletta is kept as young girl without over-identifying the biographical referent in the translation. Pargoletta is kept as young girl without over-identifying the biographical referent in the translation.
XXXI.61–63 The fledged-bird proverb marks adult responsibility after Beatrice's death.
XXXI.61–63 The fledged-bird proverb marks adult responsibility after Beatrice's death. Line 63: The fledged-bird proverb marks adult responsibility after Beatrice's death.
XXXI.63 The fledged-bird proverb marks adult responsibility after Beatrice's death. The fledged-bird proverb marks adult responsibility after Beatrice's death.
Dante raises his beard, sees Beatrice turned to the griffin, and falls overcome by repentance XXXI.64–90
64Quali fanciulli, vergognando, muti
65con li occhi a terra stannosi, ascoltando
e sé riconoscendo e ripentuti,
tal mi stav’ io; ed ella disse: «Quando
per udir se’ dolente, alza la barba,
e prenderai più doglia riguardando».
70Con men di resistenza si dibarba
robusto cerro, o vero al nostral vento
o vero a quel de la terra di Iarba,
ch’io non levai al suo comando il mento;
e quando per la barba il viso chiese,
75ben conobbi il velen de l’argomento.
E come la mia faccia si distese,
posarsi quelle prime creature
da loro aspersïon l’occhio comprese;
e le mie luci, ancor poco sicure,
80vider Beatrice volta in su la fiera
ch’è sola una persona in due nature.
Sotto ’l suo velo e oltre la rivera
vincer pariemi più sé stessa antica,
vincer che l’altre qui, quand’ ella c’era.
85Di penter sì mi punse ivi l’ortica,
che di tutte altre cose qual mi torse
più nel suo amor, più mi si fé nemica.
Tanta riconoscenza il cor mi morse,
ch’io caddi vinto; e quale allora femmi,
90salsi colei che la cagion mi porse.
64As children, ashamed, stand mute
65with eyes on the ground, listening
and recognizing themselves and repentant,
so I stood; and she said: "Since
you are grieved by hearing, lift your beard,
and you will take more grief by looking."
70With less resistance is a sturdy oak uprooted
by our native wind,
or by that from the land of Iarbas,
than I lifted my chin at her command;
and when by the beard she asked for my face,
75I well knew the venom of her argument.
And as my face stretched upward,
my eye perceived those first creatures
resting from their scattering;
and my eyes, still little secure,
80saw Beatrice turned toward the beast
that is one person alone in two natures.
Under her veil and beyond the river
she seemed to overcome her former self
more than she overcame the others here, when she was here.
85There the nettle of repentance so stung me
that the thing which, of all others, had bent me
became most my enemy.
So much recognition bit my heart
that I fell overcome; and what I then became,
90she knows who gave me the cause.
Commentary
The passage gives the severe childlike-shame posture, the deliberately adult barba rebuke, the Iarbas wind/oak simile, the venomous sharpness of Beatrice's argument, the griffin's two-nature Christological language, and Dante's penitential collapse through riconoscenza.
XXXI.67–69 The beard is deliberately shaming adult language, not a neutral request to raise the face.
XXXI.67–69 The beard is deliberately shaming adult language, not a neutral request to raise the face. Line 68: The beard is deliberately shaming adult language, not a neutral request to raise the face.
XXXI.68 The beard is deliberately shaming adult language, not a neutral request to raise the face. The beard is deliberately shaming adult language, not a neutral request to raise the face.
XXXI.70–72 The oak simile intensifies Dante's forced, reluctant raising of the face. The Iarbas reference keeps the Aeneid/Dido field around love, shame, and departure active.
XXXI.70–72 The oak simile intensifies Dante's forced, reluctant raising of the face. Line 70: The oak simile intensifies Dante's forced, reluctant raising of the face. Line 72: The Iarbas reference keeps the Aeneid/Dido field around love, shame, and departure active.
XXXI.70 The oak simile intensifies Dante's forced, reluctant raising of the face. The oak simile intensifies Dante's forced, reluctant raising of the face.
XXXI.72 The Iarbas reference keeps the Aeneid/Dido field around love, shame, and departure active. The Iarbas reference keeps the Aeneid/Dido field around love, shame, and departure active.
XXXI.73–75 Argomento carries point, argument, and sharpness, continuing the sword imagery.
XXXI.73–75 Argomento carries point, argument, and sharpness, continuing the sword imagery. Line 75: Argomento carries point, argument, and sharpness, continuing the sword imagery.
XXXI.75 Argomento carries point, argument, and sharpness, continuing the sword imagery. Argomento carries point, argument, and sharpness, continuing the sword imagery.
XXXI.76–78 The first creatures are the angels who had been scattering flowers at Beatrice's arrival.
XXXI.76–78 The first creatures are the angels who had been scattering flowers at Beatrice's arrival. Line 77: The first creatures are the angels who had been scattering flowers at Beatrice's arrival.
XXXI.77 The first creatures are the angels who had been scattering flowers at Beatrice's arrival. The first creatures are the angels who had been scattering flowers at Beatrice's arrival.
XXXI.79–81 The griffin is described in Christological language, with two natures joined in one person.
XXXI.79–81 The griffin is described in Christological language, with two natures joined in one person. Line 81: The griffin is described in Christological language, with two natures joined in one person.
XXXI.81 The griffin is described in Christological language, with two natures joined in one person. The griffin is described in Christological language, with two natures joined in one person.
XXXI.82–84 The repeated vincer is kept as overcoming rather than merely surpassing, preserving the intensity of perception.
XXXI.82–84 The repeated vincer is kept as overcoming rather than merely surpassing, preserving the intensity of perception. Line 83: The repeated vincer is kept as overcoming rather than merely surpassing, preserving the intensity of perception.
XXXI.83 The repeated vincer is kept as overcoming rather than merely surpassing, preserving the intensity of perception. The repeated vincer is kept as overcoming rather than merely surpassing, preserving the intensity of perception.
XXXI.85–87 Repentance turns the attractive object into an enemy of rightly ordered love.
XXXI.85–87 Repentance turns the attractive object into an enemy of rightly ordered love. Line 87: Repentance turns the attractive object into an enemy of rightly ordered love.
XXXI.87 Repentance turns the attractive object into an enemy of rightly ordered love. Repentance turns the attractive object into an enemy of rightly ordered love.
XXXI.88–90 Riconoscenza holds acknowledgment, recognition, and gratitude; the line keeps the bite of self-knowledge.
XXXI.88–90 Riconoscenza holds acknowledgment, recognition, and gratitude; the line keeps the bite of self-knowledge. Line 88: Riconoscenza holds acknowledgment, recognition, and gratitude; the line keeps the bite of self-knowledge.
XXXI.88 Riconoscenza holds acknowledgment, recognition, and gratitude; the line keeps the bite of self-knowledge. Riconoscenza holds acknowledgment, recognition, and gratitude; the line keeps the bite of self-knowledge.
Matelda draws Dante through Lethe and immerses him at the blessed shore XXXI.91–102
91Poi, quando il cor virtù di fuor rendemmi,
la donna ch’io avea trovata sola
sopra me vidi, e dicea: «Tiemmi, tiemmi!».
Tratto m’avea nel fiume infin la gola,
95e tirandosi me dietro sen giva
sovresso l’acqua lieve come scola.
Quando fui presso a la beata riva,
‘Asperges me’ sì dolcemente udissi,
che nol so rimembrar, non ch’io lo scriva.
100La bella donna ne le braccia aprissi;
abbracciommi la testa e mi sommerse
ove convenne ch’io l’acqua inghiottissi.
91Then, when the heart restored outward power to me,
the lady whom I had found alone
I saw above me, and she was saying: "Hold me, hold me!"
She had drawn me into the river to my throat,
95and, pulling me after herself, she went
over the water, light as a shuttle.
When I was near the blessed shore,
"Asperges me" I heard so sweetly
that I cannot remember it, much less write it.
100The beautiful lady opened her arms;
she embraced my head and submerged me
where I had to swallow the water.
Commentary
This passage covers matelda draws Dante through Lethe and immerses him at the blessed shore.
XXXI.91–93 The return of faculties follows medieval physiology: power moves outward again from the heart. The unnamed lady is Matelda, already introduced in the Earthly Paradise.
XXXI.91–93 The return of faculties follows medieval physiology: power moves outward again from the heart. Line 91: The return of faculties follows medieval physiology: power moves outward again from the heart. Line 92: The unnamed lady is Matelda, already introduced in the Earthly Paradise.
XXXI.91 The return of faculties follows medieval physiology: power moves outward again from the heart. The return of faculties follows medieval physiology: power moves outward again from the heart.
XXXI.92 The unnamed lady is Matelda, already introduced in the Earthly Paradise. The unnamed lady is Matelda, already introduced in the Earthly Paradise.
XXXI.97–99 The Latin incipit invokes Psalm 51/50 and the cleansing rite at Lethe. The sweetness exceeds memory and writing, anticipating Paradiso-style inexpressibility.
XXXI.97–99 The Latin incipit invokes Psalm 51/50 and the cleansing rite at Lethe. Line 98: The Latin incipit invokes Psalm 51/50 and the cleansing rite at Lethe. Line 99: The sweetness exceeds memory and writing, anticipating Paradiso-style inexpressibility.
XXXI.98 The Latin incipit invokes Psalm 51/50 and the cleansing rite at Lethe. The Latin incipit invokes Psalm 51/50 and the cleansing rite at Lethe.
XXXI.99 The sweetness exceeds memory and writing, anticipating Paradiso-style inexpressibility. The sweetness exceeds memory and writing, anticipating Paradiso-style inexpressibility.
XXXI.100–102 Dante must taste Lethe, not merely be externally washed.
XXXI.100–102 Dante must taste Lethe, not merely be externally washed. Line 102: Dante must taste Lethe, not merely be externally washed.
XXXI.102 Dante must taste Lethe, not merely be externally washed. Dante must taste Lethe, not merely be externally washed.
The four virtues receive Dante and lead him to Beatrice's eyes XXXI.103–117
103Indi mi tolse, e bagnato m’offerse
dentro a la danza de le quattro belle;
105e ciascuna del braccio mi coperse.
«Noi siam qui ninfe e nel ciel siamo stelle;
pria che Beatrice discendesse al mondo,
fummo ordinate a lei per sue ancelle.
Merrenti a li occhi suoi; ma nel giocondo
110lume ch’è dentro aguzzeranno i tuoi
le tre di là, che miran più profondo».
Così cantando cominciaro; e poi
al petto del grifon seco menarmi,
ove Beatrice stava volta a noi.
115Disser: «Fa che le viste non risparmi;
posto t’avem dinanzi a li smeraldi
ond’ Amor già ti trasse le sue armi».
103Then she took me, and, bathed, offered me
within the dance of the four beauties;
105and each covered me with her arm.
"Here we are nymphs, and in Heaven we are stars;
before Beatrice descended to the world,
we were ordained as her handmaids.
We will lead you to her eyes; but in the joyous
110light that is within, your eyes will be sharpened
by the three beyond, who gaze more deeply."
Thus they began singing; and then
they led me with them to the griffin's breast,
where Beatrice stood turned toward us.
115They said: "See that you do not spare your eyes;
we have placed you before the emeralds
from which Love once drew his weapons against you."
Commentary
This passage covers the four virtues receive Dante and lead him to Beatrice's eyes.
XXXI.103–105 The four beauties are the cardinal virtues in the pageant's allegorical order.
XXXI.103–105 The four beauties are the cardinal virtues in the pageant's allegorical order. Line 104: The four beauties are the cardinal virtues in the pageant's allegorical order.
XXXI.104 The four beauties are the cardinal virtues in the pageant's allegorical order. The four beauties are the cardinal virtues in the pageant's allegorical order.
XXXI.106–108 The virtues speak as both mythic nymphs in Eden and stars in the heavenly order.
XXXI.106–108 The virtues speak as both mythic nymphs in Eden and stars in the heavenly order. Line 106: The virtues speak as both mythic nymphs in Eden and stars in the heavenly order.
XXXI.106 The virtues speak as both mythic nymphs in Eden and stars in the heavenly order. The virtues speak as both mythic nymphs in Eden and stars in the heavenly order.
XXXI.109–111 The three theological virtues sharpen sight for the inner light beyond moral virtue alone.
XXXI.109–111 The three theological virtues sharpen sight for the inner light beyond moral virtue alone. Line 111: The three theological virtues sharpen sight for the inner light beyond moral virtue alone.
XXXI.111 The three theological virtues sharpen sight for the inner light beyond moral virtue alone. The three theological virtues sharpen sight for the inner light beyond moral virtue alone.
XXXI.112–114 The breast is the joining place for the griffin's two natures.
XXXI.112–114 The breast is the joining place for the griffin's two natures. Line 113: The breast is the joining place for the griffin's two natures.
XXXI.113 The breast is the joining place for the griffin's two natures. The breast is the joining place for the griffin's two natures.
XXXI.115–117 The emeralds are Beatrice's eyes, where Love once armed itself.
XXXI.115–117 The emeralds are Beatrice's eyes, where Love once armed itself. Line 116: The emeralds are Beatrice's eyes, where Love once armed itself.
XXXI.116 The emeralds are Beatrice's eyes, where Love once armed itself. The emeralds are Beatrice's eyes, where Love once armed itself.
Dante sees the griffin's two natures mirrored in Beatrice's eyes XXXI.118–126
118Mille disiri più che fiamma caldi
strinsermi li occhi a li occhi rilucenti,
120che pur sopra ’l grifone stavan saldi.
Come in lo specchio il sol, non altrimenti
la doppia fiera dentro vi raggiava,
or con altri, or con altri reggimenti.
Pensa, lettor, s’io mi maravigliava,
125quando vedea la cosa in sé star queta,
e ne l’idolo suo si trasmutava.
118A thousand desires hotter than flame
fastened my eyes to the shining eyes,
120which still stayed fixed upon the griffin.
As in a mirror the sun, not otherwise
the double beast shone within them,
now with one, now with the other mode.
Think, reader, whether I marveled,
125when I saw the thing stand quiet in itself
and transmute itself in its image.
Commentary
This passage covers dante sees the griffin's two natures mirrored in Beatrice's eyes.
XXXI.121–123 The mirror simile frames Dante's indirect vision of Christ through Beatrice's eyes. The alternating modes point to the griffin's two natures without explaining the doctrine inside the line.
XXXI.121–123 The mirror simile frames Dante's indirect vision of Christ through Beatrice's eyes. Line 121: The mirror simile frames Dante's indirect vision of Christ through Beatrice's eyes. Line 123: The alternating modes point to the griffin's two natures without explaining the doctrine inside the line.
XXXI.121 The mirror simile frames Dante's indirect vision of Christ through Beatrice's eyes. The mirror simile frames Dante's indirect vision of Christ through Beatrice's eyes.
XXXI.123 The alternating modes point to the griffin's two natures without explaining the doctrine inside the line. The alternating modes point to the griffin's two natures without explaining the doctrine inside the line.
XXXI.124–126 Idolo is rendered as image here: the changing reflection differs from the unmoving reality.
XXXI.124–126 Idolo is rendered as image here: the changing reflection differs from the unmoving reality. Line 126: Idolo is rendered as image here: the changing reflection differs from the unmoving reality.
XXXI.126 Idolo is rendered as image here: the changing reflection differs from the unmoving reality. Idolo is rendered as image here: the changing reflection differs from the unmoving reality.
The three theological virtues dance forward and ask Beatrice to unveil her second beauty XXXI.127–138
127Mentre che piena di stupore e lieta
l’anima mia gustava di quel cibo
che, saziando di sé, di sé asseta,
130sé dimostrando di più alto tribo
ne li atti, l’altre tre si fero avanti,
danzando al loro angelico caribo.
«Volgi, Beatrice, volgi li occhi santi»,
era la sua canzone, «al tuo fedele
135che, per vederti, ha mossi passi tanti!
Per grazia fa noi grazia che disvele
a lui la bocca tua, sì che discerna
la seconda bellezza che tu cele».
127While, full of wonder and glad,
my soul was tasting that food
which, satisfying with itself, makes one thirst for itself,
130showing in their bearing that they were
of a higher order, the other three came forward,
dancing to their angelic carol.
"Turn, Beatrice, turn your holy eyes,"
was their song, "to your faithful one,
135who, to see you, has moved through so many steps!
By grace, grant us grace to unveil
your mouth to him, so that he may discern
the second beauty that you conceal."
Commentary
This passage covers the three theological virtues dance forward and ask Beatrice to unveil her second beauty.
XXXI.127–129 The paradox belongs to the vision of divine truth: fulfillment increases desire rather than ending it.
XXXI.127–129 The paradox belongs to the vision of divine truth: fulfillment increases desire rather than ending it. Line 129: The paradox belongs to the vision of divine truth: fulfillment increases desire rather than ending it.
XXXI.129 The paradox belongs to the vision of divine truth: fulfillment increases desire rather than ending it. The paradox belongs to the vision of divine truth: fulfillment increases desire rather than ending it.
XXXI.130–132 The three are the theological virtues, distinguished from the four cardinal virtues. Caribo is kept as carol to preserve dance-song texture without introducing an obscure loanword.
XXXI.130–132 The three are the theological virtues, distinguished from the four cardinal virtues. Line 131: The three are the theological virtues, distinguished from the four cardinal virtues. Line 132: Caribo is kept as carol to preserve dance-song texture without introducing an obscure loanword.
XXXI.131 The three are the theological virtues, distinguished from the four cardinal virtues. The three are the theological virtues, distinguished from the four cardinal virtues.
XXXI.132 Caribo is kept as carol to preserve dance-song texture without introducing an obscure loanword. Caribo is kept as carol to preserve dance-song texture without introducing an obscure loanword.
XXXI.133–135 The repeated turn prepares Beatrice's direct unveiling.
XXXI.133–135 The repeated turn prepares Beatrice's direct unveiling. Line 133: The repeated turn prepares Beatrice's direct unveiling.
XXXI.133 The repeated turn prepares Beatrice's direct unveiling. The repeated turn prepares Beatrice's direct unveiling.
XXXI.136–138 The grace/grace repetition is deliberate and retained. The request moves from Beatrice's eyes to the mouth or smile, the second beauty.
XXXI.136–138 The grace/grace repetition is deliberate and retained. Line 136: The grace/grace repetition is deliberate and retained. Line 137: The request moves from Beatrice's eyes to the mouth or smile, the second beauty.
XXXI.136 The grace/grace repetition is deliberate and retained. The grace/grace repetition is deliberate and retained.
XXXI.137 The request moves from Beatrice's eyes to the mouth or smile, the second beauty. The request moves from Beatrice's eyes to the mouth or smile, the second beauty.
The poet confesses the impossibility of rendering Beatrice unveiled beneath the harmonizing heaven XXXI.139–145
139O isplendor di viva luce etterna,
140chi palido si fece sotto l’ombra
sì di Parnaso, o bevve in sua cisterna,
che non paresse aver la mente ingombra,
tentando a render te qual tu paresti
là dove armonizzando il ciel t’adombra,
145quando ne l’aere aperto ti solvesti?
139O splendor of living eternal light,
140who has grown pale beneath the shade
of Parnassus, or drunk from its cistern,
who would not seem to have the mind encumbered,
trying to render you as you appeared
where, harmonizing, Heaven overshadows you,
145when in the open air you unveiled yourself?
Commentary
The passage gives the Wisdom-light apostrophe, the Parnassus/Castalia inexpressibility topos, and the difficult final image of Beatrice unveiled in open air beneath harmonizing heaven. The translation keeps the crux open rather than over-resolving it.
XXXI.139–141 The apostrophe echoes Wisdom's reflected brightness and marks Beatrice's beauty as derived from divine light.
XXXI.139–141 The apostrophe echoes Wisdom's reflected brightness and marks Beatrice's beauty as derived from divine light. Line 139: The apostrophe echoes Wisdom's reflected brightness and marks Beatrice's beauty as derived from divine light.
XXXI.139 The apostrophe echoes Wisdom's reflected brightness and marks Beatrice's beauty as derived from divine light. The apostrophe echoes Wisdom's reflected brightness and marks Beatrice's beauty as derived from divine light.
XXXI.142–144 The line leaves open whether heavenly harmony, Eden, angelic song, or the pageant's light is doing the shading.
XXXI.142–144 The line leaves open whether heavenly harmony, Eden, angelic song, or the pageant's light is doing the shading. Line 144: The line leaves open whether heavenly harmony, Eden, angelic song, or the pageant's light is doing the shading.
XXXI.144 The line leaves open whether heavenly harmony, Eden, angelic song, or the pageant's light is doing the shading. The line leaves open whether heavenly harmony, Eden, angelic song, or the pageant's light is doing the shading.
XXXI.145 Ti solvesti is rendered as unveiling in context, though the open-air crux remains. Ti solvesti is rendered as unveiling in context, though the open-air crux remains.