Purgatorio, Canto 8

Dante Alighieri · Italian original · new English translation and commentary by Text Atlas

Overview

At the evening hour that turns sailors and pilgrims toward absent loves, a soul rises in the valley and begins Te lucis ante, drawing the whole company into a devout hymn. Dante asks the reader to look through the thin veil as two green angels descend from Mary with pointless flaming swords to guard the valley against the serpent. Sordello leads the poets down among the great shades, where Dante recognizes Judge Nino Visconti and explains that he is still alive while seeking the other life. Nino asks for Giovanna's prayers and laments Beatrice d'Este's remarriage through the heraldry of Milan and Gallura. Dante sees three new stars, Virgil explains that the four morning stars have set, and the serpent enters before the angelic guardians drive it away. Corrado Malaspina then asks for news of Val di Magra, names his family love as refined in Purgatory, receives Dante's praise of Malaspina courtesy, generosity, and valor, and prophesies that Dante will soon know that hospitality by experience.

Narrative arc

The evening hour turns desire toward absent friends, one soul rises to sing Te lucis ante, and the whole valley follows the hymn with eyes on the celestial wheels
The reader is asked to look through the thin veil as the noble army waits and two green guardian angels descend with pointless flaming swords from Mary's bosom
Dante draws close to Virgil in fear, Sordello leads the poets down among the great shades, and Dante joyfully recognizes Judge Nino outside the damned
Nino and Sordello marvel at Dante's living journey, Currado is summoned, and Nino asks Giovanna's prayers while judging Beatrice d'Este's remarriage through heraldic memory and measured zeal
Dante's greedy eyes turn to three new stars, and Virgil explains that the four morning stars have set while these have risen in their place
Sordello points out the serpent entering the unguarded side of the valley, and the green-winged angels drive it away before returning to their posts
Currado keeps his gaze on Dante through the assault, asks for news of Val di Magra, names himself as a Malaspina descendant, and says his earthly family love is refined here
Dante praises the Malaspina fame, generosity, and valor, and Currado prophesies that Dante will soon know that courteous opinion by experience stronger than report

The evening hour turns desire toward absent friends, one soul rises to sing Te lucis ante, and the whole valley follows the hymn with eyes on the celestial wheels VIII.1–18

1Era già l’ora che volge il disio

ai navicanti e ’ntenerisce il core

lo dì c’han detto ai dolci amici addio;

e che lo novo peregrin d’amore

5punge, se ode squilla di lontano

che paia il giorno pianger che si more;

quand’ io incominciai a render vano

l’udire e a mirare una de l’alme

surta, che l’ascoltar chiedea con mano.

10Ella giunse e levò ambo le palme,

ficcando li occhi verso l’orïente,

come dicesse a Dio: ‘D’altro non calme’.

‘Te lucis ante’ sì devotamente

le uscìo di bocca e con sì dolci note,

15che fece me a me uscir di mente;

e l’altre poi dolcemente e devote

seguitar lei per tutto l’inno intero,

avendo li occhi a le superne rote.

1It was already the hour that turns desire

in seafarers and softens the heart

on the day they have said farewell to sweet friends;

and that pierces the new pilgrim with love,

5if he hears a bell from far away

that seems to weep for the dying day;

when I began to let hearing fall away

and to gaze at one of the souls,

risen, that with its hand asked to be heard.

10She joined and raised both palms,

fixing her eyes toward the east,

as if she said to God, "Nothing else concerns me."

"Te lucis ante" so devoutly

came from her mouth and with such sweet notes

15that it made me go out of myself;

and then the others sweetly and devoutly

followed her through the whole hymn,

with their eyes on the upper wheels.

Commentary

The canto opens as an evening lyric of distance, softened hearts, and pilgrim longing rather than a neutral time marker. The translation keeps the Compline hymn incipit, the movement from solitary gesture to communal song, and the eyes lifted to the supernal wheels.

VIII.1–3 The evening hour turns desire back toward absent friends and prepares the canto's theme of distance, memory, and prayer.

VIII.1–3 The evening hour turns desire back toward absent friends and prepares the canto's theme of distance, memory, and prayer. Line 1: The evening hour turns desire back toward absent friends and prepares the canto's theme of distance, memory, and prayer.

VIII.1 The evening hour turns desire back toward absent friends and prepares the canto's theme of distance, memory, and prayer. The evening hour turns desire back toward absent friends and prepares the canto's theme of distance, memory, and prayer.

VIII.4–6 Peregrin is kept as pilgrim rather than traveler so the new exile/devotional register remains active.

VIII.4–6 Peregrin is kept as pilgrim rather than traveler so the new exile/devotional register remains active. Line 4: Peregrin is kept as pilgrim rather than traveler so the new exile/devotional register remains active.

VIII.4 Peregrin is kept as pilgrim rather than traveler so the new exile/devotional register remains active. Peregrin is kept as pilgrim rather than traveler so the new exile/devotional register remains active.

VIII.10–12 D'altro non calme is rendered as exclusive concern for God, preserving the soul's focused prayer without over-explaining the idiom.

VIII.10–12 D'altro non calme is rendered as exclusive concern for God, preserving the soul's focused prayer without over-explaining the idiom. Line 12: D'altro non calme is rendered as exclusive concern for God, preserving the soul's focused prayer without over-explaining the idiom.

VIII.12 D'altro non calme is rendered as exclusive concern for God, preserving the soul's focused prayer without over-explaining the idiom. D'altro non calme is rendered as exclusive concern for God, preserving the soul's focused prayer without over-explaining the idiom.

VIII.13–15 The Latin incipit of the Compline hymn is retained; it carries a protective evening-prayer context.

VIII.13–15 The Latin incipit of the Compline hymn is retained; it carries a protective evening-prayer context. Line 13: The Latin incipit of the Compline hymn is retained; it carries a protective evening-prayer context.

VIII.16–18 Superne rote keeps the medieval celestial-sphere image in "upper wheels."

VIII.16–18 Superne rote keeps the medieval celestial-sphere image in "upper wheels.". Line 18: Superne rote keeps the medieval celestial-sphere image in "upper wheels."

VIII.18 Superne rote keeps the medieval celestial-sphere image in "upper wheels.". Superne rote keeps the medieval celestial-sphere image in "upper wheels."

The reader is asked to look through the thin veil as the noble army waits and two green guardian angels descend with pointless flaming swords from Mary's bosom VIII.19–39

19Aguzza qui, lettor, ben li occhi al vero,

20ché ’l velo è ora ben tanto sottile,

certo che ’l trapassar dentro è leggero.

Io vidi quello essercito gentile

tacito poscia riguardare in sùe,

quasi aspettando, palido e umìle;

25e vidi uscir de l’alto e scender giùe

due angeli con due spade affocate,

tronche e private de le punte sue.

Verdi come fogliette pur mo nate

erano in veste, che da verdi penne

30percosse traean dietro e ventilate.

L’un poco sovra noi a star si venne,

e l’altro scese in l’opposita sponda,

sì che la gente in mezzo si contenne.

Ben discernëa in lor la testa bionda;

35ma ne la faccia l’occhio si smarria,

come virtù ch’a troppo si confonda.

«Ambo vegnon del grembo di Maria»,

disse Sordello, «a guardia de la valle,

per lo serpente che verrà vie via».

19Sharpen here, reader, your eyes well to the truth,

20for now the veil is indeed so thin

that surely passing within it is easy.

I saw that noble army

then silently look upward,

as if waiting, pale and humble;

25and I saw come out from on high and descend

two angels with two flaming swords,

cut short and deprived of their points.

Green as leaflets newly born

they were in garments that, struck by green wings,

30they drew behind them, fluttering in the air.

One came to stand a little above us,

and the other descended to the opposite bank,

so that the people were held between them.

I could clearly discern in them the blond head;

35but in the face my eye lost itself,

like a power confounded by too much.

"Both come from Mary's bosom,"

Sordello said, "to guard the valley

against the serpent that will come very soon."

Commentary

The passage gives the reader apostrophe, thin veil, green hope-colored angels, pointless flaming swords, and Marian source of the guardians. The protective evening-prayer context frames the scene; the translation keeps the scene concrete and leaves allegorical explanation unstated.

VIII.19–21 The reader apostrophe flags the serpent and guardian angels as transparent allegorical action.

VIII.19–21 The reader apostrophe flags the serpent and guardian angels as transparent allegorical action. Line 19: The reader apostrophe flags the serpent and guardian angels as transparent allegorical action.

VIII.19 The reader apostrophe flags the serpent and guardian angels as transparent allegorical action. The reader apostrophe flags the serpent and guardian angels as transparent allegorical action.

VIII.22–24 Esercito gentile is rendered as "noble army," preserving ordered spiritual company rather than military aggression.

VIII.22–24 Esercito gentile is rendered as "noble army," preserving ordered spiritual company rather than military aggression. Line 22: Esercito gentile is rendered as "noble army," preserving ordered spiritual company rather than military aggression.

VIII.22 Esercito gentile is rendered as "noble army," preserving ordered spiritual company rather than military aggression. Esercito gentile is rendered as "noble army," preserving ordered spiritual company rather than military aggression.

VIII.25–27 The pointless swords signal defense rather than killing; this detail is left concrete in the line.

VIII.25–27 The pointless swords signal defense rather than killing; this detail is left concrete in the line. Line 27: The pointless swords signal defense rather than killing; this detail is left concrete in the line.

VIII.27 The pointless swords signal defense rather than killing; this detail is left concrete in the line. The pointless swords signal defense rather than killing; this detail is left concrete in the line.

VIII.28–30 The repeated green of garments and wings carries hope symbolism; the line keeps the fresh leaf image.

VIII.28–30 The repeated green of garments and wings carries hope symbolism; the line keeps the fresh leaf image. Line 28: The repeated green of garments and wings carries hope symbolism; the line keeps the fresh leaf image.

VIII.28 The repeated green of garments and wings carries hope symbolism; the line keeps the fresh leaf image. The repeated green of garments and wings carries hope symbolism; the line keeps the fresh leaf image.

VIII.34–36 The eye fails before angelic excess, not from physical darkness alone.

VIII.34–36 The eye fails before angelic excess, not from physical darkness alone. Line 36: The eye fails before angelic excess, not from physical darkness alone.

VIII.36 The eye fails before angelic excess, not from physical darkness alone. The eye fails before angelic excess, not from physical darkness alone.

VIII.37–39 Mary is named directly here; the guardian angels come from her bosom, answering the Marian evening prayer field. Vie via is taken as imminent arrival: the serpent will come very soon.

VIII.37–39 Mary is named directly here; the guardian angels come from her bosom, answering the Marian evening prayer field. Line 37: Mary is named directly here; the guardian angels come from her bosom, answering the Marian evening prayer field. Line 39: Vie via is taken as imminent arrival: the serpent will come very soon.

VIII.37 Mary is named directly here; the guardian angels come from her bosom, answering the Marian evening prayer field. Mary is named directly here; the guardian angels come from her bosom, answering the Marian evening prayer field.

VIII.39 Vie via is taken as imminent arrival: the serpent will come very soon. Vie via is taken as imminent arrival: the serpent will come very soon.

Dante draws close to Virgil in fear, Sordello leads the poets down among the great shades, and Dante joyfully recognizes Judge Nino outside the damned VIII.40–60

40Ond’ io, che non sapeva per qual calle,

mi volsi intorno, e stretto m’accostai,

tutto gelato, a le fidate spalle.

E Sordello anco: «Or avvalliamo omai

tra le grandi ombre, e parleremo ad esse;

45grazïoso fia lor vedervi assai».

Solo tre passi credo ch’i’ scendesse,

e fui di sotto, e vidi un che mirava

pur me, come conoscer mi volesse.

Temp’ era già che l’aere s’annerava,

50ma non sì che tra li occhi suoi e ’ miei

non dichiarisse ciò che pria serrava.

Ver’ me si fece, e io ver’ lui mi fei:

giudice Nin gentil, quanto mi piacque

quando ti vidi non esser tra ’ rei!

55Nullo bel salutar tra noi si tacque;

poi dimandò: «Quant’ è che tu venisti

a piè del monte per le lontane acque?».

«Oh!», diss’ io lui, «per entro i luoghi tristi

venni stamane, e sono in prima vita,

60ancor che l’altra, sì andando, acquisti».

40So I, not knowing by what path,

turned around and drew close,

wholly frozen, to the trusted shoulders.

And Sordello again: "Now let us go down

among the great shades, and speak with them;

45it will greatly please them to see you."

I think I had descended only three steps,

and I was below, and saw one who gazed

only at me, as if he wished to know me.

It was already the time when the air was darkening,

50but not so much that between his eyes and mine

it did not reveal what it had shut before.

Toward me he came, and I toward him:

gentle Judge Nino, how much it pleased me

when I saw you were not among the damned!

55No fair greeting between us was left unspoken;

then he asked: "How long since you came

to the mountain's foot over the far waters?"

"Oh!" I said to him, "through the sorrowful places

I came this morning, and I am in the first life,

60though, going this way, I gain the other."

Commentary

In the descent into the valley and recognition of Nino, the translation preserves Dante's fear at the serpent threat, Sordello's promise that the great shades will welcome the travelers, Nino's title as judge, and Dante's first-life/other-life distinction.

VIII.40–42 Dante's fear sends him to Virgil's trusted shoulders even in the purgatorial valley, preserving guidance and embodied dependence.

VIII.40–42 Dante's fear sends him to Virgil's trusted shoulders even in the purgatorial valley, preserving guidance and embodied dependence. Line 42: Dante's fear sends him to Virgil's trusted shoulders even in the purgatorial valley, preserving guidance and embodied dependence.

VIII.42 Dante's fear sends him to Virgil's trusted shoulders even in the purgatorial valley, preserving guidance and embodied dependence. Dante's fear sends him to Virgil's trusted shoulders even in the purgatorial valley, preserving guidance and embodied dependence.

VIII.52–54 Nino Visconti is kept as "Judge Nino," preserving his Sardinian title of office.

VIII.52–54 Nino Visconti is kept as "Judge Nino," preserving his Sardinian title of office. Line 53: Nino Visconti is kept as "Judge Nino," preserving his Sardinian title of office.

VIII.53 Nino Visconti is kept as "Judge Nino," preserving his Sardinian title of office. Nino Visconti is kept as "Judge Nino," preserving his Sardinian title of office.

VIII.58–60 "First life" preserves the distinction between earthly embodied life and the afterlife Dante is seeking while still alive.

VIII.58–60 "First life" preserves the distinction between earthly embodied life and the afterlife Dante is seeking while still alive. Line 59: "First life" preserves the distinction between earthly embodied life and the afterlife Dante is seeking while still alive.

VIII.59 "First life" preserves the distinction between earthly embodied life and the afterlife Dante is seeking while still alive. "First life" preserves the distinction between earthly embodied life and the afterlife Dante is seeking while still alive.

Nino and Sordello marvel at Dante's living journey, Currado is summoned, and Nino asks Giovanna's prayers while judging Beatrice d'Este's remarriage through heraldic memory and measured zeal VIII.61–84

61E come fu la mia risposta udita,

Sordello ed elli in dietro si raccolse

come gente di sùbito smarrita.

L’uno a Virgilio e l’altro a un si volse

65che sedea lì, gridando: «Sù, Currado!

vieni a veder che Dio per grazia volse».

Poi, vòlto a me: «Per quel singular grado

che tu dei a colui che sì nasconde

lo suo primo perché, che non lì è guado,

70quando sarai di là da le larghe onde,

dì a Giovanna mia che per me chiami

là dove a li ’nnocenti si risponde.

Non credo che la sua madre più m’ami,

poscia che trasmutò le bianche bende,

75le quai convien che, misera!, ancor brami.

Per lei assai di lieve si comprende

quanto in femmina foco d’amor dura,

se l’occhio o ’l tatto spesso non l’accende.

Non le farà sì bella sepultura

80la vipera che Melanesi accampa,

com’ avria fatto il gallo di Gallura».

Così dicea, segnato de la stampa,

nel suo aspetto, di quel dritto zelo

che misuratamente in core avvampa.

61And when my answer was heard,

Sordello and he drew themselves backward

like people suddenly bewildered.

One turned to Virgil and the other to one

65who sat there, crying, "Up, Currado!

come see what God by grace has willed."

Then, turned to me: "By that singular favor

that you owe to Him who so hides

His first why that there is no ford to it,

70when you are beyond the wide waves,

tell my Giovanna that she call for me

where answer is made to the innocent.

I do not think her mother loves me anymore,

since she exchanged the white veils,

75which, poor woman, she must still desire.

Through her one easily enough understands

how long love's fire lasts in woman,

if eye or touch does not often kindle it.

The viper that leads the Milanese to the field

80will not make so fair a tomb for her

as the rooster of Gallura would have done."

So he spoke, marked with the stamp,

in his aspect, of that righteous zeal

that in due measure blazes in the heart.

Commentary

The passage names Nino Visconti, Giovanna, Beatrice d'Este, the widow's white veils, and the Visconti/Gallura heraldry. The translation keeps Nino's wounded dynastic language and Dante's "measured" zeal pressure without modernizing the gendered claim.

VIII.64–66 The living pilgrim's arrival is framed as something God has willed by grace, not as Dante's autonomous achievement.

VIII.64–66 The living pilgrim's arrival is framed as something God has willed by grace, not as Dante's autonomous achievement. Line 66: The living pilgrim's arrival is framed as something God has willed by grace, not as Dante's autonomous achievement.

VIII.66 The living pilgrim's arrival is framed as something God has willed by grace, not as Dante's autonomous achievement. The living pilgrim's arrival is framed as something God has willed by grace, not as Dante's autonomous achievement.

VIII.67–69 Singular grado is rendered as favor, with grace/favor pressure active from the preceding line. The "first why" remains hidden and unfordable: divine providential causality is acknowledged, not explained away.

VIII.67–69 Singular grado is rendered as favor, with grace/favor pressure active from the preceding line. Line 67: Singular grado is rendered as favor, with grace/favor pressure active from the preceding line. Line 69: The "first why" remains hidden and unfordable: divine providential causality is acknowledged, not explained away.

VIII.67 Singular grado is rendered as favor, with grace/favor pressure active from the preceding line. Singular grado is rendered as favor, with grace/favor pressure active from the preceding line.

VIII.69 The "first why" remains hidden and unfordable: divine providential causality is acknowledged, not explained away. The "first why" remains hidden and unfordable: divine providential causality is acknowledged, not explained away.

VIII.70–72 The place where the innocent are answered is kept indirect, preserving Nino's appeal for intercessory prayer.

VIII.70–72 The place where the innocent are answered is kept indirect, preserving Nino's appeal for intercessory prayer. Line 72: The place where the innocent are answered is kept indirect, preserving Nino's appeal for intercessory prayer.

VIII.72 The place where the innocent are answered is kept indirect, preserving Nino's appeal for intercessory prayer. The place where the innocent are answered is kept indirect, preserving Nino's appeal for intercessory prayer.

VIII.73–75 The white veils are widow's garments; Nino interprets their exchange through his own wounded memory of remarriage.

VIII.73–75 The white veils are widow's garments; Nino interprets their exchange through his own wounded memory of remarriage. Line 74: The white veils are widow's garments; Nino interprets their exchange through his own wounded memory of remarriage.

VIII.74 The white veils are widow's garments; Nino interprets their exchange through his own wounded memory of remarriage. The white veils are widow's garments; Nino interprets their exchange through his own wounded memory of remarriage.

VIII.79–81 The viper is the Visconti emblem of Milan; the line preserves the heraldic-political image. The rooster is Gallura's emblem, contrasting Nino's own house with the Milanese remarriage.

VIII.79–81 The viper is the Visconti emblem of Milan; the line preserves the heraldic-political image. Line 79: The viper is the Visconti emblem of Milan; the line preserves the heraldic-political image. Line 81: The rooster is Gallura's emblem, contrasting Nino's own house with the Milanese remarriage.

VIII.79 The viper is the Visconti emblem of Milan; the line preserves the heraldic-political image. The viper is the Visconti emblem of Milan; the line preserves the heraldic-political image.

VIII.81 The rooster is Gallura's emblem, contrasting Nino's own house with the Milanese remarriage. The rooster is Gallura's emblem, contrasting Nino's own house with the Milanese remarriage.

VIII.82–84 Dritto zelo is righteous zeal, morally measured rather than wrathful or possessive in excess.

VIII.82–84 Dritto zelo is righteous zeal, morally measured rather than wrathful or possessive in excess. Line 83: Dritto zelo is righteous zeal, morally measured rather than wrathful or possessive in excess.

VIII.83 Dritto zelo is righteous zeal, morally measured rather than wrathful or possessive in excess. Dritto zelo is righteous zeal, morally measured rather than wrathful or possessive in excess.

Dante's greedy eyes turn to three new stars, and Virgil explains that the four morning stars have set while these have risen in their place VIII.85–93

85Li occhi miei ghiotti andavan pur al cielo,

pur là dove le stelle son più tarde,

sì come rota più presso a lo stelo.

E ’l duca mio: «Figliuol, che là sù guarde?».

E io a lui: «A quelle tre facelle

90di che ’l polo di qua tutto quanto arde».

Ond’ elli a me: «Le quattro chiare stelle

che vedevi staman, son di là basse,

e queste son salite ov’ eran quelle».

85My greedy eyes kept going to the sky,

always where the stars are slowest,

like a wheel closest to its axle.

And my guide: "Son, what are you looking at up there?"

And I to him: "At those three torches

90with which this whole pole is aflame."

Then he to me: "The four bright stars

that you saw this morning are low on the other side,

and these have risen where those were."

Commentary

The three-star passage sits in the larger Purgatorio star sequence: the four morning stars have gone low, while the three torches now burn at the southern pole. The translation does not insert theological-virtue symbolism into the lines.

VIII.85–87 Ghiotti keeps appetite language active even when Dante's object is heavenly stars.

VIII.85–87 Ghiotti keeps appetite language active even when Dante's object is heavenly stars. Line 85: Ghiotti keeps appetite language active even when Dante's object is heavenly stars.

VIII.85 Ghiotti keeps appetite language active even when Dante's object is heavenly stars. Ghiotti keeps appetite language active even when Dante's object is heavenly stars.

VIII.88–90 The three torches are left as stars/torches, with theological-virtue symbolism recorded as an open interpretive point.

VIII.88–90 The three torches are left as stars/torches, with theological-virtue symbolism recorded as an open interpretive point. Line 90: The three torches are left as stars/torches, with theological-virtue symbolism recorded as an open interpretive point.

VIII.90 The three torches are left as stars/torches, with theological-virtue symbolism recorded as an open interpretive point. The three torches are left as stars/torches, with theological-virtue symbolism recorded as an open interpretive point.

VIII.91–93 The four bright stars recall Purgatorio I's cardinal-virtue star field.

VIII.91–93 The four bright stars recall Purgatorio I's cardinal-virtue star field. Line 91: The four bright stars recall Purgatorio I's cardinal-virtue star field.

VIII.91 The four bright stars recall Purgatorio I's cardinal-virtue star field. The four bright stars recall Purgatorio I's cardinal-virtue star field.

Sordello points out the serpent entering the unguarded side of the valley, and the green-winged angels drive it away before returning to their posts VIII.94–108

94Com’ ei parlava, e Sordello a sé il trasse

95dicendo: «Vedi là ’l nostro avversaro»;

e drizzò il dito perché ’n là guardasse.

Da quella parte onde non ha riparo

la picciola vallea, era una biscia,

forse qual diede ad Eva il cibo amaro.

100Tra l’erba e ’ fior venìa la mala striscia,

volgendo ad ora ad or la testa, e ’l dosso

leccando come bestia che si liscia.

Io non vidi, e però dicer non posso,

come mosser li astor celestïali;

105ma vidi bene e l’uno e l’altro mosso.

Sentendo fender l’aere a le verdi ali,

fuggì ’l serpente, e li angeli dier volta,

suso a le poste rivolando iguali.

94As he was speaking, Sordello drew him to himself,

95saying: "See there our adversary";

and he pointed his finger so he would look there.

On that side where there is no barrier

for the little valley, there was a snake,

perhaps the one that gave Eve the bitter food.

100Through grass and flowers came the evil streak,

turning its head from time to time, and its back

licking like a beast that preens itself.

I did not see, and therefore cannot say,

how the heavenly goshawks moved;

105but I saw well both one and the other in motion.

Hearing the air split by the green wings,

the serpent fled, and the angels wheeled,

flying back up equally to their posts.

Commentary

The serpent is the adversary, the Eve allusion is tentative, and the angelic intervention is swift defensive action. The translation uses "goshawks" for astor to retain the raptor image and keeps the angels returning equally to their posts.

VIII.94–96 The serpent is called "our adversary," preserving the communal spiritual threat in the valley.

VIII.94–96 The serpent is called "our adversary," preserving the communal spiritual threat in the valley. Line 95: The serpent is called "our adversary," preserving the communal spiritual threat in the valley.

VIII.95 The serpent is called "our adversary," preserving the communal spiritual threat in the valley. The serpent is called "our adversary," preserving the communal spiritual threat in the valley.

VIII.97–99 The Eve allusion is kept as tentative, matching Dante's forse.

VIII.97–99 The Eve allusion is kept as tentative, matching Dante's forse. Line 99: The Eve allusion is kept as tentative, matching Dante's forse.

VIII.99 The Eve allusion is kept as tentative, matching Dante's forse. The Eve allusion is kept as tentative, matching Dante's forse.

VIII.100–102 Mala striscia is rendered as "evil streak," keeping both the snake's motion and moral marking.

VIII.100–102 Mala striscia is rendered as "evil streak," keeping both the snake's motion and moral marking. Line 100: Mala striscia is rendered as "evil streak," keeping both the snake's motion and moral marking.

VIII.100 Mala striscia is rendered as "evil streak," keeping both the snake's motion and moral marking. Mala striscia is rendered as "evil streak," keeping both the snake's motion and moral marking.

VIII.103–105 Astor is rendered as goshawks rather than generic birds to keep the raptor image of angelic defense.

VIII.103–105 Astor is rendered as goshawks rather than generic birds to keep the raptor image of angelic defense. Line 104: Astor is rendered as goshawks rather than generic birds to keep the raptor image of angelic defense.

VIII.104 Astor is rendered as goshawks rather than generic birds to keep the raptor image of angelic defense. Astor is rendered as goshawks rather than generic birds to keep the raptor image of angelic defense.

VIII.106–108 The angels return equally to their posts; the scene is protective, ordered, and restrained.

VIII.106–108 The angels return equally to their posts; the scene is protective, ordered, and restrained. Line 108: The angels return equally to their posts; the scene is protective, ordered, and restrained.

VIII.108 The angels return equally to their posts; the scene is protective, ordered, and restrained. The angels return equally to their posts; the scene is protective, ordered, and restrained.

Currado keeps his gaze on Dante through the assault, asks for news of Val di Magra, names himself as a Malaspina descendant, and says his earthly family love is refined here VIII.109–120

109L’ombra che s’era al giudice raccolta

110quando chiamò, per tutto quello assalto

punto non fu da me guardare sciolta.

«Se la lucerna che ti mena in alto

truovi nel tuo arbitrio tanta cera

quant’ è mestiere infino al sommo smalto»,

115cominciò ella, «se novella vera

di Val di Magra o di parte vicina

sai, dillo a me, che già grande là era.

Fui chiamato Currado Malaspina;

non son l’antico, ma di lui discesi;

120a’ miei portai l’amor che qui raffina».

109The shade that had gathered to the judge

110when he called, through all that assault

did not once release its gaze from me.

"If the lamp that leads you upward

finds in your free will so much wax

as is needed up to the highest enamel,"

115he began, "if true news

of Val di Magra or a neighboring part

you know, tell it to me, for there I once was great.

I was called Currado Malaspina;

I am not the ancient one, but descended from him;

120to my own I carried the love that here is refined."

Commentary

In the Corrado Malaspina exchange, the translation preserves the lamp/wax/free-will image, the difficult sommo smalto, Val di Magra, Currado's descent from the ancient Malaspina, and family love refined rather than erased in Purgatory.

VIII.112–114 The lamp image joins grace, guidance, and the ascent toward the summit. Arbitrio is rendered as free will, directly fitting the poem's will-educated-by-love frame. Sommo smalto is kept as "highest enamel," a diff.

VIII.112–114 The lamp image joins grace, guidance, and the ascent toward the summit. Line 112: The lamp image joins grace, guidance, and the ascent toward the summit. Line 113: Arbitrio is rendered as free will, directly fitting the poem's will-educated-by-love frame. Line 114: Sommo smalto is kept as "highest enamel," a difficult image for the flowered summit/Earthly Paradise.

VIII.112 The lamp image joins grace, guidance, and the ascent toward the summit. The lamp image joins grace, guidance, and the ascent toward the summit.

VIII.113 Arbitrio is rendered as free will, directly fitting the poem's will-educated-by-love frame. Arbitrio is rendered as free will, directly fitting the poem's will-educated-by-love frame.

VIII.114 Sommo smalto is kept as "highest enamel," a difficult image for the flowered summit/Earthly Paradise. Sommo smalto is kept as "highest enamel," a difficult image for the flowered summit/Earthly Paradise.

VIII.118–120 The source form Currado is retained for Corrado Malaspina, matching the Italian line. Corrado's earthly family love is not discarded but refined in Purgatory.

VIII.118–120 The source form Currado is retained for Corrado Malaspina, matching the Italian line. Line 118: The source form Currado is retained for Corrado Malaspina, matching the Italian line. Line 120: Corrado's earthly family love is not discarded but refined in Purgatory.

VIII.118 The source form Currado is retained for Corrado Malaspina, matching the Italian line. The source form Currado is retained for Corrado Malaspina, matching the Italian line.

VIII.120 Corrado's earthly family love is not discarded but refined in Purgatory. Corrado's earthly family love is not discarded but refined in Purgatory.

Dante praises the Malaspina fame, generosity, and valor, and Currado prophesies that Dante will soon know that courteous opinion by experience stronger than report VIII.121–139

121«Oh!», diss’ io lui, «per li vostri paesi

già mai non fui; ma dove si dimora

per tutta Europa ch’ei non sien palesi?

La fama che la vostra casa onora,

125grida i segnori e grida la contrada,

sì che ne sa chi non vi fu ancora;

e io vi giuro, s’io di sopra vada,

che vostra gente onrata non si sfregia

del pregio de la borsa e de la spada.

130Uso e natura sì la privilegia,

che, perché il capo reo il mondo torca,

sola va dritta e ’l mal cammin dispregia».

Ed elli: «Or va; che ’l sol non si ricorca

sette volte nel letto che ’l Montone

135con tutti e quattro i piè cuopre e inforca,

che cotesta cortese oppinïone

ti fia chiavata in mezzo de la testa

con maggior chiovi che d’altrui sermone,

se corso di giudicio non s’arresta».

121"Oh!" I said to him, "through your lands

I have never been; but where does one dwell

in all Europe where they are not known?

The fame that honors your house

125cries out its lords and cries out the district,

so that one knows it who has not yet been there;

and I swear to you, if I go above,

that your honored people do not strip themselves

of the praise of purse and sword.

130Custom and nature so privilege it

that, though the guilty head twist the world awry,

it alone goes straight and scorns the evil road."

And he: "Now go; for the sun shall not recline

seven times in the bed that the Ram

135covers and straddles with all four feet,

before this courteous opinion

will be nailed in the middle of your head

with greater nails than another's speech,

unless the course of judgment is arrested."

Commentary

The Malaspina praise is both courtesy and a prophecy of Dante's later exile hospitality. The translation keeps purse and sword concrete, the guilty head twisting the world, the straight road against the evil road, Aries as the seven-year time marker, and the nailing image for experience stronger than report.

VIII.127–129 Purse and sword are kept concrete for generosity and martial/civic valor.

VIII.127–129 Purse and sword are kept concrete for generosity and martial/civic valor. Line 129: Purse and sword are kept concrete for generosity and martial/civic valor.

VIII.129 Purse and sword are kept concrete for generosity and martial/civic valor. Purse and sword are kept concrete for generosity and martial/civic valor.

VIII.130–132 Capo reo is kept as a guilty head that twists the world awry; the political/religious identification is left open. The line deliberately echoes Purgatorio path language: straightness persists amid the evil road.

VIII.130–132 Capo reo is kept as a guilty head that twists the world awry; the political/religious identification is left open. Line 131: Capo reo is kept as a guilty head that twists the world awry; the political/religious identification is left open. Line 132: The line deliberately echoes Purgatorio path language: straightness persists amid the evil road.

VIII.131 Capo reo is kept as a guilty head that twists the world awry; the political/religious identification is left open. Capo reo is kept as a guilty head that twists the world awry; the political/religious identification is left open.

VIII.132 The line deliberately echoes Purgatorio path language: straightness persists amid the evil road. The line deliberately echoes Purgatorio path language: straightness persists amid the evil road.

VIII.133–135 The Ram is Aries; the seven solar returns form Corrado's prophecy of Dante's coming experience with Malaspina hospitality.

VIII.133–135 The Ram is Aries; the seven solar returns form Corrado's prophecy of Dante's coming experience with Malaspina hospitality. Line 135: The Ram is Aries; the seven solar returns form Corrado's prophecy of Dante's coming experience with Malaspina hospitality.

VIII.135 The Ram is Aries; the seven solar returns form Corrado's prophecy of Dante's coming experience with Malaspina hospitality. The Ram is Aries; the seven solar returns form Corrado's prophecy of Dante's coming experience with Malaspina hospitality.

VIII.136–138 The nailing image makes future lived experience stronger than report or courtesy.

VIII.136–138 The nailing image makes future lived experience stronger than report or courtesy. Line 137: The nailing image makes future lived experience stronger than report or courtesy.

VIII.137 The nailing image makes future lived experience stronger than report or courtesy. The nailing image makes future lived experience stronger than report or courtesy.

VIII.139 The closing condition preserves providential contingency rather than making the prophecy mechanically fatalistic. The closing condition preserves providential contingency rather than making the prophecy mechanically fatalistic.