Purgatorio, Canto 6
Dante Alighieri · Italian original · new English translation and commentary by Text Atlas
Overview
Dante frees himself from the press of souls by promising to remember them, like the winner in a dice game who keeps moving through the crowd. He names further violently killed penitents, then asks Virgil whether their hope in prayer contradicts the Aeneid's claim that prayer cannot bend divine decree. Virgil distinguishes pagan prayer cut off from God from the fire of love that can satisfy purgatorial debt, and defers the deepest answer to Beatrice. Dante presses for speed, but Virgil explains that the sun will return before they reach the summit and points to a solitary soul who can show the quickest way. The soul is Sordello of Mantua, dignified and lion-like, and his sudden embrace of Virgil at the sound of Mantua launches Dante's great apostrophe to enslaved Italy: a ship without pilot, a brothel instead of a lady of provinces, torn by civic war. The apostrophe indicts the empty imperial saddle, clerical interference, German Albert's neglect, Rome's widowhood, and the tyrant-filled Italian cities before turning with bitter irony on Florence, whose laws, offices, money, customs, and citizens change so restlessly that she resembles a sick woman tossing on her bed.
Narrative arc
- The dice-game simile frames Dante's escape from the dense crowd by promising remembrance and prayer
- More violently killed penitents ask for aid: the Aretine, the drowned pursuer, Federigo Novello, Marzucco's son, Count Orso, and Pier de la Brosse
- Dante asks whether prayer can bend Heaven's decree, and Virgil distinguishes love-filled intercession from pagan prayer disjoined from God before deferring to Beatrice
- Dante asks for greater haste, Virgil corrects his time expectation, and a solitary soul is seen as the quickest guide
- The solitary Lombard soul stands in dignified silence until the sound of Mantua reveals Sordello and prompts the embrace
- Sordello's local affection triggers the apostrophe to enslaved Italy, civic war, the empty imperial saddle, and clerical mishandling of the bridle
- The apostrophe addresses German Albert, the wasted imperial garden, faction-torn cities, widowed Rome, divine counsel, and tyrant-filled Italy
- The apostrophe turns bitterly on Florence's lip-justice, eager public burdens, unstable laws, money, offices, customs, and sick-bed restlessness
Central themes
- delay
- repentance
- prayer
- community
- Italy
The dice-game simile frames Dante's escape from the dense crowd by promising remembrance and prayer VI.1–12
1Quando si parte il gioco de la zara,
colui che perde si riman dolente,
repetendo le volte, e tristo impara;
con l’altro se ne va tutta la gente;
5qual va dinanzi, e qual di dietro il prende,
e qual dallato li si reca a mente;
el non s’arresta, e questo e quello intende;
a cui porge la man, più non fa pressa;
e così da la calca si difende.
10Tal era io in quella turba spessa,
volgendo a loro, e qua e là, la faccia,
e promettendo mi sciogliea da essa.
1When the game of dice breaks up,
the one who loses remains behind in grief,
repeating the throws, and sadly learns;
with the other all the people go away;
5one goes ahead, another catches him from behind,
and another at his side brings himself to mind;
he does not stop, and listens to this one and that;
whoever he offers his hand presses no further,
and so he defends himself from the crowd.
10So was I in that dense throng,
turning my face to them, here and there,
and by promising I loosened myself from it.
Commentary
The opening dice-game simile translates promised intercession into social pressure and release. The translation keeps the winner/loser contrast, hand-stretching, crowd, and promettendo release visible.
VI.1–3 Zara is a dice game; the translation keeps the social scene plain while leaving the specific gaming term unexplained.
VI.1–3 Zara is a dice game; the translation keeps the social scene plain while leaving the specific gaming term unexplained. Line 1: Zara is a dice game; the translation keeps the social scene plain while leaving the specific gaming term unexplained.
VI.1 Zara is a dice game; the translation keeps the social scene plain while leaving the specific gaming term unexplained. Zara is a dice game; the translation keeps the social scene plain.
VI.10–12 The release comes through promised remembrance and intercession, continuing the previous canto's economy of prayer.
VI.10–12 The release comes through promised remembrance and intercession, continuing the previous canto's economy of prayer. Line 12: The release comes through promised remembrance and intercession, continuing the previous canto's economy of prayer.
VI.12 The release comes through promised remembrance and intercession, continuing the previous canto's economy of prayer. The release comes through promised remembrance and intercession, continuing the previous canto's economy of prayer.
More violently killed penitents ask for aid: the Aretine, the drowned pursuer, Federigo Novello, Marzucco's son, Count Orso, and Pier de la Brosse VI.13–24
13Quiv’ era l’Aretin che da le braccia
fiere di Ghin di Tacco ebbe la morte,
15e l’altro ch’annegò correndo in caccia.
Quivi pregava con le mani sporte
Federigo Novello, e quel da Pisa
che fé parer lo buon Marzucco forte.
Vidi conte Orso e l’anima divisa
20dal corpo suo per astio e per inveggia,
com’ e’ dicea, non per colpa commisa;
Pier da la Broccia dico; e qui proveggia,
mentr’ è di qua, la donna di Brabante,
sì che però non sia di peggior greggia.
13There was the Aretine, who from the fierce
arms of Ghin di Tacco received his death,
15and the other who drowned while running in pursuit.
There, with hands stretched out, Federigo Novello
was praying, and that one from Pisa
who made the good Marzucco seem strong.
I saw Count Orso, and the soul divided
20from its body by hatred and by envy,
as he said, not through any fault committed;
I mean Pier de la Brosse; and here let her take thought,
while she is on this side, the Lady of Brabant,
so that for this she may not be of a worse flock.
Commentary
The Aretine, Federigo Novello, Marzucco, Count Orso, and Pier de la Brosse appear with compressed identities and violent-death contexts. The translation preserves Dante's rapid catalogue rather than expanding the biographies inside the line.
VI.16–18 The Marzucco line points to exemplary restraint under violent loss; the translation keeps Dante's compressed naming.
VI.16–18 The Marzucco line points to exemplary restraint under violent loss; the translation keeps Dante's compressed naming. Line 18: The Marzucco line points to exemplary restraint under violent loss; the translation keeps Dante's compressed naming.
VI.18 The Marzucco line points to exemplary restraint under violent loss; the translation keeps Dante's compressed naming. The Marzucco line points to exemplary restraint under violent loss; the translation keeps Dante's compressed naming.
VI.22–24 L'anima divisa resolves as Pier de la Brosse; the syntax deliberately postpones the identification.
VI.22–24 L'anima divisa resolves as Pier de la Brosse; the syntax deliberately postpones the identification. Line 22: L'anima divisa resolves as Pier de la Brosse; the syntax deliberately postpones the identification.
VI.22 L'anima divisa resolves as Pier de la Brosse; the syntax deliberately postpones the identification. L'anima divisa resolves as Pier de la Brosse; the syntax deliberately postpones the identification.
Dante asks whether prayer can bend Heaven's decree, and Virgil distinguishes love-filled intercession from pagan prayer disjoined from God before deferring to Beatrice VI.25–48
25Come libero fui da tutte quante
quell’ ombre che pregar pur ch’altri prieghi,
sì che s’avacci lor divenir sante,
io cominciai: «El par che tu mi nieghi,
o luce mia, espresso in alcun testo
30che decreto del cielo orazion pieghi;
e questa gente prega pur di questo:
sarebbe dunque loro speme vana,
o non m’è ’l detto tuo ben manifesto?».
Ed elli a me: «La mia scrittura è piana;
35e la speranza di costor non falla,
se ben si guarda con la mente sana;
ché cima di giudicio non s’avvalla
perché foco d’amor compia in un punto
ciò che de’ sodisfar chi qui s’astalla;
40e là dov’ io fermai cotesto punto,
non s’ammendava, per pregar, difetto,
perché ’l priego da Dio era disgiunto.
Veramente a così alto sospetto
non ti fermar, se quella nol ti dice
45che lume fia tra ’l vero e lo ’ntelletto.
Non so se ’ntendi: io dico di Beatrice;
tu la vedrai di sopra, in su la vetta
di questo monte, ridere e felice».
25When I was free from every one
of those shades who prayed only that others pray,
so that their becoming holy might be hastened,
I began: "It seems that you deny me,
my light, expressed in some text,
30that prayer can bend the decree of Heaven;
and these people pray only for this:
would their hope, then, be vain,
or is your saying not clear enough to me?"
And he to me: "My writing is plain;
35and the hope of these does not fail,
if it is well regarded with a sound mind;
for the summit of judgment is not brought low
because the fire of love fulfills in one moment
what one detained here must satisfy;
40and where I fixed that point,
no defect was amended by praying,
because the prayer was severed from God.
Yet at so deep a doubt
do not come to rest, unless she tells it to you
45who will be light between truth and the intellect.
I do not know if you understand: I speak of Beatrice;
you will see her above, on the summit
of this mountain, smiling and happy."
Commentary
The prayer question turns on Virgil's Aeneid and on prayer separated from God, not on a denial of purgatorial intercession. The translation keeps judgment high, charity active, and Beatrice deferred as the light between truth and intellect.
VI.28–30 Dante is testing intercessory prayer against Virgil's pagan epic authority.
VI.28–30 Dante is testing intercessory prayer against Virgil's pagan epic authority. Line 30: Dante is testing intercessory prayer against Virgil's pagan epic authority.
VI.30 Dante is testing intercessory prayer against Virgil's pagan epic authority. Dante is testing intercessory prayer against Virgil's pagan epic authority.
VI.37–39 Virgil preserves divine judgment while allowing love-filled prayer to satisfy purgatorial debt without bending justice downward.
VI.37–39 Virgil preserves divine judgment while allowing love-filled prayer to satisfy purgatorial debt without bending justice downward. Line 39: Virgil preserves divine judgment while allowing love-filled prayer to satisfy purgatorial debt without bending justice downward.
VI.39 Virgil preserves divine judgment while allowing love-filled prayer to satisfy purgatorial debt without bending justice downward. Virgil preserves divine judgment while allowing love-filled prayer to satisfy purgatorial debt without bending justice downward.
VI.40–42 The distinction is not prayer versus decree in general, but prayer disjoined from God versus charity in purgatorial communion.
VI.40–42 The distinction is not prayer versus decree in general, but prayer disjoined from God versus charity in purgatorial communion. Line 42 names prayer disjoined from God; read with VI.37-39, the contrast is with love-filled satisfaction in purgatorial communion rather than with prayer as such.
VI.42 The distinction is not prayer versus decree in general, but prayer disjoined from God versus charity in purgatorial communion. Line 42 names prayer disjoined from God; read with VI.37-39, the contrast is with love-filled satisfaction in purgatorial communion rather than with prayer as such.
VI.46–48 Beatrice is deferred as the light between truth and intellect, marking Virgil's rational limit without diminishing his guidance.
VI.46–48 Beatrice is deferred as the light between truth and intellect, marking Virgil's rational limit without diminishing his guidance. Line 48: Beatrice is deferred as the light between truth and intellect, marking Virgil's rational limit without diminishing his guidance.
VI.48 Beatrice is deferred as the light between truth and intellect, marking Virgil's rational limit without diminishing his guidance. Beatrice is deferred as the light between truth and intellect, marking Virgil's rational limit without diminishing his guidance.
Dante asks for greater haste, Virgil corrects his time expectation, and a solitary soul is seen as the quickest guide VI.49–60
49E io: «Segnore, andiamo a maggior fretta,
50ché già non m’affatico come dianzi,
e vedi omai che ’l poggio l’ombra getta».
«Noi anderem con questo giorno innanzi»,
rispuose, «quanto più potremo omai;
ma ’l fatto è d’altra forma che non stanzi.
55Prima che sie là sù, tornar vedrai
colui che già si cuopre de la costa,
sì che ’ suoi raggi tu romper non fai.
Ma vedi là un’anima che, posta
sola soletta, inverso noi riguarda:
60quella ne ’nsegnerà la via più tosta».
49And I: "Lord, let us go with greater haste,
50for now I do not tire as I did before,
and see now that the hill is casting shadow."
"We will go forward with this day,"
he answered, "as far now as we can;
but the fact has another shape than you suppose.
55Before you are up there, you will see return
the one already hidden by the slope,
so that you do not break his rays.
But see there a soul that, stationed
all alone, looks toward us:
60that one will teach us the quickest way."
Commentary
The time and shadow passage keeps Dante's eagerness, Virgil's correction of the assumed timetable, and the sun hidden behind the slope as part of Purgatorio's disciplined ascent.
VI.55–57 The hidden colui is the sun; Virgil corrects Dante's urgency with purgatorial time.
VI.55–57 The hidden colui is the sun; Virgil corrects Dante's urgency with purgatorial time. Line 57: The hidden colui is the sun; Virgil corrects Dante's urgency with purgatorial time.
VI.57 The hidden colui is the sun; Virgil corrects Dante's urgency with purgatorial time. The hidden colui is the sun; Virgil corrects Dante's urgency with purgatorial time.
The solitary Lombard soul stands in dignified silence until the sound of Mantua reveals Sordello and prompts the embrace VI.61–75
61Venimmo a lei: o anima lombarda,
come ti stavi altera e disdegnosa
e nel mover de li occhi onesta e tarda!
Ella non ci dicëa alcuna cosa,
65ma lasciavane gir, solo sguardando
a guisa di leon quando si posa.
Pur Virgilio si trasse a lei, pregando
che ne mostrasse la miglior salita;
e quella non rispuose al suo dimando,
70ma di nostro paese e de la vita
ci ’nchiese; e ’l dolce duca incominciava
«Mantüa . . . », e l’ombra, tutta in sé romita,
surse ver’ lui del loco ove pria stava,
dicendo: «O Mantoano, io son Sordello
75de la tua terra!»; e l’un l’altro abbracciava.
61We came to it: O Lombard soul,
how lofty and disdainful you stood,
and in the movement of your eyes dignified and slow!
It said nothing at all to us,
65but let us go on, only gazing
in the manner of a lion when it rests.
Still Virgil drew near to it, praying
that it would show us the best ascent;
and that one did not answer his request,
70but asked us of our country and of our life;
and the sweet guide began
"Mantua . . .," and the shade, all withdrawn into itself,
rose toward him from the place where it first stood,
saying: "O Mantuan, I am Sordello
75of your land!"; and each embraced the other.
Commentary
Sordello's entrance is unusually dignified and withholding. The translation keeps disdegnosa, the lion simile, the lack of answer to Virgil's first request, and the sudden Mantuan embrace.
VI.73–75 The embrace turns shared place-name into the trigger for Dante's civic apostrophe.
VI.73–75 The embrace turns shared place-name into the trigger for Dante's civic apostrophe. Line 75: The embrace turns shared place-name into the trigger for Dante's civic apostrophe.
VI.75 The embrace turns shared place-name into the trigger for Dante's civic apostrophe. The embrace turns shared place-name into the trigger for Dante's civic apostrophe.
Sordello's local affection triggers the apostrophe to enslaved Italy, civic war, the empty imperial saddle, and clerical mishandling of the bridle VI.76–96
76Ahi serva Italia, di dolore ostello,
nave sanza nocchiere in gran tempesta,
non donna di province, ma bordello!
Quell’ anima gentil fu così presta,
80sol per lo dolce suon de la sua terra,
di fare al cittadin suo quivi festa;
e ora in te non stanno sanza guerra
li vivi tuoi, e l’un l’altro si rode
di quei ch’un muro e una fossa serra.
85Cerca, misera, intorno da le prode
le tue marine, e poi ti guarda in seno,
s’alcuna parte in te di pace gode.
Che val perché ti racconciasse il freno
Iustinïano, se la sella è vòta?
90Sanz’ esso fora la vergogna meno.
Ahi gente che dovresti esser devota,
e lasciar seder Cesare in la sella,
se bene intendi ciò che Dio ti nota,
guarda come esta fiera è fatta fella
95per non esser corretta da li sproni,
poi che ponesti mano a la predella.
76Ah, enslaved Italy, hostel of grief,
ship without helmsman in a great storm,
not lady of provinces, but brothel!
That noble soul was so ready,
80only for the sweet sound of his homeland,
to make welcome there for his fellow citizen;
and now in you your living do not dwell without war,
and one gnaws at the other
among those whom one wall and one ditch enclose.
85Search, wretched one, around the shores
of your seaboard, and then look within your breast,
to see if any part in you enjoys peace.
What does it profit that Justinian
repaired your bridle, if the saddle is empty?
90Without it, the shame would be less.
Ah, people who ought to be devout,
and leave Caesar sitting in the saddle,
if you understand rightly what God marks out for you,
look how this beast has become fierce
95through not being corrected by the spurs,
since you put your hand to the bridle.
Commentary
The Italy apostrophe keeps Dante's medieval political frame: Italy as enslaved, a ship without helmsman, a brothel instead of a lady, and a bridled but riderless beast. The translation avoids modern political labels while keeping Dante's harsh register.
VI.76–78 The harsh political-sexual register is Dante's; the translation does not soften it into generic disorder.
VI.76–78 The harsh political-sexual register is Dante's; the translation does not soften it into generic disorder. Line 78: The harsh political-sexual register is Dante's; the translation does not soften it into generic disorder.
VI.78 The harsh political-sexual register is Dante's; the translation does not soften it into generic disorder. The harsh political-sexual register is Dante's; the translation does not soften it into generic disorder.
VI.88–90 Justinian's legal ordering is imaged as a bridle made useless by the absent emperor.
VI.88–90 Justinian's legal ordering is imaged as a bridle made useless by the absent emperor. Line 89: Justinian's legal ordering is imaged as a bridle made useless by the absent emperor.
VI.89 Justinian's legal ordering is imaged as a bridle made useless by the absent emperor. Justinian's legal ordering is imaged as a bridle made useless by the absent emperor.
VI.91–93 The apostrophe turns toward Church interference in temporal rule without importing modern categories.
VI.91–93 The apostrophe turns toward Church interference in temporal rule without importing modern categories. Line 93: The apostrophe turns toward Church interference in temporal rule without importing modern categories.
VI.93 The apostrophe turns toward Church interference in temporal rule without importing modern categories. The apostrophe turns toward Church interference in temporal rule without importing modern categories.
The apostrophe addresses German Albert, the wasted imperial garden, faction-torn cities, widowed Rome, divine counsel, and tyrant-filled Italy VI.97–126
97O Alberto tedesco ch’abbandoni
costei ch’è fatta indomita e selvaggia,
e dovresti inforcar li suoi arcioni,
100giusto giudicio da le stelle caggia
sovra ’l tuo sangue, e sia novo e aperto,
tal che ’l tuo successor temenza n’aggia!
Ch’avete tu e ’l tuo padre sofferto,
per cupidigia di costà distretti,
105che ’l giardin de lo ’mperio sia diserto.
Vieni a veder Montecchi e Cappelletti,
Monaldi e Filippeschi, uom sanza cura:
color già tristi, e questi con sospetti!
Vien, crudel, vieni, e vedi la pressura
110d’i tuoi gentili, e cura lor magagne;
e vedrai Santafior com’ è oscura!
Vieni a veder la tua Roma che piagne
vedova e sola, e dì e notte chiama:
«Cesare mio, perché non m’accompagne?».
115Vieni a veder la gente quanto s’ama!
e se nulla di noi pietà ti move,
a vergognar ti vien de la tua fama.
E se licito m’è, o sommo Giove
che fosti in terra per noi crucifisso,
120son li giusti occhi tuoi rivolti altrove?
O è preparazion che ne l’abisso
del tuo consiglio fai per alcun bene
in tutto de l’accorger nostro scisso?
Ché le città d’Italia tutte piene
125son di tiranni, e un Marcel diventa
ogne villan che parteggiando viene.
97O German Albert, who abandon
this one who has grown untamed and wild,
and who ought to straddle her saddle-bows,
100may just judgment fall from the stars
upon your blood, and may it be strange and plain,
so that your successor may have fear of it!
For you and your father have allowed,
held fast by greed for what lies over there,
105the garden of the empire to be deserted.
Come see the Montecchi and Cappelletti,
Monaldi and Filippeschi, man without care:
those already grieving, and these with suspicions!
Come, cruel one, come and see the distress
110of your nobles, and tend their wounds;
and you will see how dark Santa Fiora is!
Come see your Rome, who weeps,
widowed and alone, and day and night calls:
"My Caesar, why do you not keep me company?"
115Come see how much the people love one another!
and if no pity for us moves you,
come to be ashamed of your fame.
And if it is lawful for me, O highest Jove,
who on earth were crucified for us,
120are your just eyes turned elsewhere?
Or is it preparation that in the abyss
of your counsel you make for some good
wholly cut off from our perceiving?
For the cities of Italy are all full
125of tyrants, and every churl becomes
a Marcellus when he comes factioneering.
Commentary
The passage presses imperial and providential concerns: German Albert's neglect, the garden of the empire, factional families, Rome as widow, Supreme Jove as the crucified God, hidden divine counsel, and Marcellus as anti-imperial faction figure.
VI.100–102 The line is framed as judgment on Albert's house and imperial neglect, not as generic vengeance.
VI.100–102 The line is framed as judgment on Albert's house and imperial neglect, not as generic vengeance. Line 102: The line is framed as judgment on Albert's house and imperial neglect, not as generic vengeance.
VI.102 The line is framed as judgment on Albert's house and imperial neglect, not as generic vengeance. The line is framed as judgment on Albert's house and imperial neglect, not as generic vengeance.
VI.103–105 Costà points away from Italy toward transalpine interests; the garden image keeps Italy as cultivated imperial trust.
VI.103–105 Costà points away from Italy toward transalpine interests; the garden image keeps Italy as cultivated imperial trust. Line 105: Costà points away from Italy toward transalpine interests; the garden image keeps Italy as cultivated imperial trust.
VI.105 Costà points away from Italy toward transalpine interests; the garden image keeps Italy as cultivated imperial trust. Costà points away from Italy toward transalpine interests; the garden image keeps Italy as cultivated imperial trust.
VI.109–111 Oscura keeps the decline and threatened obscurity of Santa Fiora rather than smoothing the line into a general safety claim.
VI.109–111 Oscura keeps the decline and threatened obscurity of Santa Fiora rather than smoothing the line into a general safety claim. Line 111: Oscura keeps the decline and threatened obscurity of Santa Fiora rather than smoothing the line into a general safety claim.
VI.111 Oscura keeps the decline and threatened obscurity of Santa Fiora rather than smoothing the line into a general safety claim. Oscura keeps the decline and threatened obscurity of Santa Fiora rather than smoothing the line into a general safety claim.
VI.115–117 The line is bitterly ironic after the gnawing city image.
VI.115–117 The line is bitterly ironic after the gnawing city image. Line 115: The line is bitterly ironic after the gnawing city image.
VI.115 The line is bitterly ironic after the gnawing city image. The line is bitterly ironic after the gnawing city image.
VI.118–120 Dante applies a classical divine name to the crucified Christian God; the translation preserves the pressure instead of normalizing it.
VI.118–120 Dante applies a classical divine name to the crucified Christian God; the translation preserves the pressure instead of normalizing it. Line 118: Dante applies a classical divine name to the crucified Christian God; the translation preserves the pressure instead of normalizing it.
VI.118 Dante applies a classical divine name to the crucified Christian God; the translation preserves the pressure instead of normalizing it. Dante applies a classical divine name to the crucified Christian God; the translation preserves the pressure instead of normalizing it.
VI.121–123 The question leaves providential hiddenness open instead of presuming to interpret Italy's disorder fully.
VI.121–123 The question leaves providential hiddenness open instead of presuming to interpret Italy's disorder fully. Line 123: The question leaves providential hiddenness open instead of presuming to interpret Italy's disorder fully.
VI.123 The question leaves providential hiddenness open instead of presuming to interpret Italy's disorder fully. The question leaves providential hiddenness open instead of presuming to interpret Italy's disorder fully.
VI.124–126 Marcellus keeps the Caesar/anti-Caesar allusion active within the imperial argument.
VI.124–126 Marcellus keeps the Caesar/anti-Caesar allusion active within the imperial argument. Line 126: Marcellus keeps the Caesar/anti-Caesar allusion active within the imperial argument.
VI.126 Marcellus keeps the Caesar/anti-Caesar allusion active within the imperial argument. Marcellus keeps the Caesar/anti-Caesar allusion active within the imperial argument.
The apostrophe turns bitterly on Florence's lip-justice, eager public burdens, unstable laws, money, offices, customs, and sick-bed restlessness VI.127–151
127Fiorenza mia, ben puoi esser contenta
di questa digression che non ti tocca,
mercé del popol tuo che si argomenta.
130Molti han giustizia in cuore, e tardi scocca
per non venir sanza consiglio a l’arco;
ma il popol tuo l’ha in sommo de la bocca.
Molti rifiutan lo comune incarco;
ma il popol tuo solicito risponde
135sanza chiamare, e grida: «I’ mi sobbarco!».
Or ti fa lieta, ché tu hai ben onde:
tu ricca, tu con pace e tu con senno!
S’io dico ’l ver, l’effetto nol nasconde.
Atene e Lacedemona, che fenno
140l’antiche leggi e furon sì civili,
fecero al viver bene un picciol cenno
verso di te, che fai tanto sottili
provedimenti, ch’a mezzo novembre
non giugne quel che tu d’ottobre fili.
145Quante volte, del tempo che rimembre,
legge, moneta, officio e costume
hai tu mutato, e rinovate membre!
E se ben ti ricordi e vedi lume,
vedrai te somigliante a quella inferma
150che non può trovar posa in su le piume,
ma con dar volta suo dolore scherma.
127My Florence, you may well be content
with this digression, which does not touch you,
thanks to your people, who take such thought.
130Many have justice in the heart, and it shoots late
so as not to come to the bow without counsel;
but your people have it at the top of the mouth.
Many refuse the common burden;
but your eager people answer
135without being called, and cry: "I shoulder it!"
Now make yourself glad, for you have good reason:
you rich, you at peace, and you with wisdom!
If I speak the truth, the result does not hide it.
Athens and Lacedaemon, which made
140the ancient laws and were so civil,
made only a little sign toward living well
compared with you, who make such finely spun
provisions that by mid-November
what you spin in October does not arrive.
145How many times, in the time you remember,
law, coinage, office, and custom
have you changed, and renewed your members!
And if you remember well and see light,
you will see yourself resembling that sick woman
150who cannot find rest upon the feathers,
but wards off her pain by turning.
Commentary
The Florence close is sustained irony. The translation keeps justice on the lip rather than in action, the common burden, unstable provisions, repeated changes in law/coinage/office/custom, and the final sick-woman image.
VI.127–129 The praise of Florence is sustained irony; si argomenta is kept as self-protective cleverness rather than true prudence.
VI.127–129 The praise of Florence is sustained irony; si argomenta is kept as self-protective cleverness rather than true prudence. Line 129: The praise of Florence is sustained irony; si argomenta is kept as self-protective cleverness rather than true prudence.
VI.129 The praise of Florence is sustained irony; si argomenta is kept as self-protective cleverness rather than true prudence. The praise of Florence is sustained irony; si argomenta is kept as self-protective cleverness rather than true prudence.
VI.133–135 The public burden language deliberately echoes the poem's burden motif while retaining Dante's civic irony.
VI.133–135 The public burden language deliberately echoes the poem's burden motif while retaining Dante's civic irony. Line 135: The public burden language deliberately echoes the poem's burden motif while retaining Dante's civic irony.
VI.135 The public burden language deliberately echoes the poem's burden motif while retaining Dante's civic irony. The public burden language deliberately echoes the poem's burden motif while retaining Dante's civic irony.
VI.142–144 The spinning image makes Florence's hyperactive lawmaking look too fragile to last even a month.
VI.142–144 The spinning image makes Florence's hyperactive lawmaking look too fragile to last even a month. Line 144: The spinning image makes Florence's hyperactive lawmaking look too fragile to last even a month.
VI.144 The spinning image makes Florence's hyperactive lawmaking look too fragile to last even a month. The spinning image makes Florence's hyperactive lawmaking look too fragile to last even a month.
VI.151 The canto ends with civic instability as sick-bed restlessness, not reform or true renewal. The canto ends with civic instability as sick-bed restlessness, not reform or true renewal.