Purgatorio, Canto 9
Dante Alighieri · Italian original · new English translation and commentary by Text Atlas
Overview
As night advances under the lunar Aurora and Scorpio, Dante sleeps in the valley and dreams near dawn of a golden eagle seizing him like Ganymede and carrying him to the fire. He wakes disoriented like Achilles at Scyros, beside Virgil alone, facing the sea and already at Purgatory's entrance because Lucia has carried him upward while he slept. Virgil reassures him, and Dante asks the reader not to marvel as the matter rises. The poets approach the gate, where a radiant angel porter with a naked sword challenges them until Virgil reports Lucia's warrant. Dante climbs the three colored steps, humbly asks mercy, strikes his breast three times, receives seven P's on his forehead, and watches the angel use Peter's gold and silver keys. The sacred gate opens with a harsh Tarpeian roar, the angel warns against looking back, and Dante hears the mixed sweetness of Te Deum laudamus from within.
Narrative arc
- The lunar Aurora leaves Tithonus, Scorpio gleams, night has taken two steps, and Dante's Adamic flesh yields to sleep among the five seated souls
- At the prophetic hour of dawn dreams, Dante sees a golden eagle over Ganymede's place, is seized and carried to the fire, and wakes from the imagined burning
- Dante wakes like Achilles carried to Scyros, finds only Virgil beside him, learns that Lucia has carried him to Purgatory's entrance, and turns from fear to comfort
- The poet raises the matter for the reader, the gate appears with three steps and a radiant porter, and Lucia's heavenly warrant wins courteous permission to approach
- The three penitential steps, diamond threshold, angel of God, humble request, mercy plea, and triple breast-striking bring Dante to the opening ritual
- The angel traces seven P's on Dante's forehead, commands him to wash the wounds inside, and explains Peter's gold and silver keys with a mercy-biased charge
- The sacred gate opens with harsh metal sound, the angel warns against looking back, and Dante hears the first interior hymn as Te Deum mingled with organ sweetness
Central themes
- dream
The lunar Aurora leaves Tithonus, Scorpio gleams, night has taken two steps, and Dante's Adamic flesh yields to sleep among the five seated souls IX.1–12
1La concubina di Titone antico
già s’imbiancava al balco d’orïente,
fuor de le braccia del suo dolce amico;
di gemme la sua fronte era lucente,
5poste in figura del freddo animale
che con la coda percuote la gente;
e la notte, de’ passi con che sale,
fatti avea due nel loco ov’ eravamo,
e ’l terzo già chinava in giuso l’ale;
10quand’ io, che meco avea di quel d’Adamo,
vinto dal sonno, in su l’erba inchinai
là ’ve già tutti e cinque sedavamo.
1The concubine of ancient Tithonus
was already whitening at the balcony of the east,
out of her sweet friend's arms;
her forehead was shining bright with gems,
5set in the shape of the cold animal
that strikes people with its tail;
and night, with the steps by which she climbs,
had made two in the place where we were,
and the third was already bending its wings downward;
10when I, who had with me some of Adam,
overcome by sleep, leaned down on the grass
where all five of us were seated.
Commentary
The dense opening is a lunar-Aurora and Scorpio time signal rather than a simple dawn description. Old Tithonus, the eastern balcony, the cold animal, night-steps, and Adamic flesh belong to that setting; the translation keeps the mythic astronomy concrete.
IX.1–3 The phrase is kept starkly mythic; Norton reads this as the lunar Aurora rather than the proper dawn-Aurora of Tithonus.
IX.1–3 The phrase is kept starkly mythic; Norton reads this as the lunar Aurora rather than the proper dawn-Aurora of Tithonus. Line 1: The phrase is kept starkly mythic; Norton reads this as the lunar Aurora rather than the proper dawn-Aurora of Tithonus.
IX.1 The phrase is kept starkly mythic; Norton reads this as the lunar Aurora rather than the proper dawn-Aurora of Tithonus. The phrase is kept starkly mythic; Norton reads this as the lunar Aurora rather than the proper dawn-Aurora of Tithonus.
IX.4–6 The cold animal is Scorpio; the line leaves the constellation implicit as Dante does.
IX.4–6 The cold animal is Scorpio; the line leaves the constellation implicit as Dante does. Line 5: The cold animal is Scorpio; the line leaves the constellation implicit as Dante does.
IX.5 The cold animal is Scorpio; the line leaves the constellation implicit as Dante does. The cold animal is Scorpio; the line leaves the constellation implicit as Dante does.
IX.7–9 Norton glosses the steps as the hours of the first half of night.
IX.7–9 Norton glosses the steps as the hours of the first half of night. Line 7: Norton glosses the steps as the hours of the first half of night.
IX.7 Norton glosses the steps as the hours of the first half of night. Norton glosses the steps as the hours of the first half of night.
IX.10–12 The Adamic element is Dante's living flesh, the bodily burden that can sleep and later makes ascent difficult.
IX.10–12 The Adamic element is Dante's living flesh, the bodily burden that can sleep and later makes ascent difficult. Line 10: The Adamic element is Dante's living flesh, the bodily burden that can sleep and later makes ascent difficult.
IX.10 The Adamic element is Dante's living flesh, the bodily burden that can sleep and later makes ascent difficult. The Adamic element is Dante's living flesh, the bodily burden that can sleep and later makes ascent difficult.
At the prophetic hour of dawn dreams, Dante sees a golden eagle over Ganymede's place, is seized and carried to the fire, and wakes from the imagined burning IX.13–33
13Ne l’ora che comincia i tristi lai
la rondinella presso a la mattina,
15forse a memoria de’ suo’ primi guai,
e che la mente nostra, peregrina
più da la carne e men da’ pensier presa,
a le sue visïon quasi è divina,
in sogno mi parea veder sospesa
20un’aguglia nel ciel con penne d’oro,
con l’ali aperte e a calare intesa;
ed esser mi parea là dove fuoro
abbandonati i suoi da Ganimede,
quando fu ratto al sommo consistoro.
25Fra me pensava: ‘Forse questa fiede
pur qui per uso, e forse d’altro loco
disdegna di portarne suso in piede’.
Poi mi parea che, poi rotata un poco,
terribil come folgor discendesse,
30e me rapisse suso infino al foco.
Ivi parea che ella e io ardesse;
e sì lo ’ncendio imaginato cosse,
che convenne che ’l sonno si rompesse.
13At the hour when the little swallow begins
her sad laments near morning,
15perhaps in memory of her first sorrows,
and when our mind, wandering
more from the flesh and less seized by thoughts,
is almost divine in its visions,
in dream it seemed to me I saw suspended
20an eagle in the sky with golden feathers,
with wings opened and intent on descending;
and it seemed to me I was in the place
where Ganymede left his own people behind,
when he was snatched to the highest council.
25I thought within myself: 'Perhaps this one strikes
only here by habit, and perhaps from any other place
disdains to carry anyone upward in its feet.'
Then it seemed to me that, after wheeling a little,
terrible as lightning, it descended
30and snatched me up as far as the fire.
There it seemed that it and I were burning;
and the imagined blaze so seared me
that sleep had to break.
Commentary
The passage gives the swallow's sad morning song, the almost-divine status of dawn dreams, the Ganymede setting, and the eagle carrying Dante to the sphere of fire. The translation keeps the dream attractive, violent, and grace-like without explaining it inside the translated lines.
IX.13–15 The swallow points to the Progne/Philomela myth without naming it.
IX.13–15 The swallow points to the Progne/Philomela myth without naming it. Line 15: The swallow points to the Progne/Philomela myth without naming it.
IX.15 The swallow points to the Progne/Philomela myth without naming it. The swallow points to the Progne/Philomela myth without naming it.
IX.16–18 The translation keeps the prophetic-dream pressure of quasi è divina without modernizing it into psychology.
IX.16–18 The translation keeps the prophetic-dream pressure of quasi è divina without modernizing it into psychology. Line 18: The translation keeps the prophetic-dream pressure of quasi è divina without modernizing it into psychology.
IX.18 The translation keeps the prophetic-dream pressure of quasi è divina without modernizing it into psychology. The translation keeps the prophetic-dream pressure of quasi è divina without modernizing it into psychology.
IX.22–24 Norton identifies the place as Mt. Ida; the line keeps Dante's compressed mythic reference.
IX.22–24 Norton identifies the place as Mt. Ida; the line keeps Dante's compressed mythic reference. Line 23: Norton identifies the place as Mt. Ida; the line keeps Dante's compressed mythic reference.
IX.23 Norton identifies the place as Mt. Ida; the line keeps Dante's compressed mythic reference. Norton identifies the place as Mt. Ida; the line keeps Dante's compressed mythic reference.
IX.28–30 The fire is the medieval sphere of fire above the air, not Hellfire.
IX.28–30 The fire is the medieval sphere of fire above the air, not Hellfire. Line 30: The fire is the medieval sphere of fire above the air, not Hellfire.
IX.30 The fire is the medieval sphere of fire above the air, not Hellfire. The fire is the medieval sphere of fire above the air, not Hellfire.
Dante wakes like Achilles carried to Scyros, finds only Virgil beside him, learns that Lucia has carried him to Purgatory's entrance, and turns from fear to comfort IX.34–69
34Non altrimenti Achille si riscosse,
35li occhi svegliati rivolgendo in giro
e non sappiendo là dove si fosse,
quando la madre da Chirón a Schiro
trafuggò lui dormendo in le sue braccia,
là onde poi li Greci il dipartiro;
40che mi scoss’ io, sì come da la faccia
mi fuggì ’l sonno, e diventa’ ismorto,
come fa l’uom che, spaventato, agghiaccia.
Dallato m’era solo il mio conforto,
e ’l sole er’ alto già più che due ore,
45e ’l viso m’era a la marina torto.
«Non aver tema», disse il mio segnore;
«fatti sicur, ché noi semo a buon punto;
non stringer, ma rallarga ogne vigore.
Tu se’ omai al purgatorio giunto:
50vedi là il balzo che ’l chiude dintorno;
vedi l’entrata là ’ve par digiunto.
Dianzi, ne l’alba che procede al giorno,
quando l’anima tua dentro dormia,
sovra li fiori ond’ è là giù addorno
55venne una donna, e disse: “I’ son Lucia;
lasciatemi pigliar costui che dorme;
sì l’agevolerò per la sua via”.
Sordel rimase e l’altre genti forme;
ella ti tolse, e come ’l dì fu chiaro,
60sen venne suso; e io per le sue orme.
Qui ti posò, ma pria mi dimostraro
li occhi suoi belli quella intrata aperta;
poi ella e ’l sonno ad una se n’andaro».
A guisa d’uom che ’n dubbio si raccerta
65e che muta in conforto sua paura,
poi che la verità li è discoperta,
mi cambia’ io; e come sanza cura
vide me ’l duca mio, su per lo balzo
si mosse, e io di rietro inver’ l’altura.
34Not otherwise did Achilles start awake,
35turning his awakened eyes around
and not knowing where he was,
when his mother, from Chiron to Scyros,
stole him away, sleeping in her arms,
from where the Greeks later drew him out;
40so I shook myself, as from my face
sleep fled, and I turned pale,
as does a man who freezes when frightened.
Beside me was only my comfort,
and the sun was already more than two hours high,
45and my face was turned toward the sea.
"Have no fear," said my lord;
"make yourself secure, for we are at a good point;
do not tighten, but widen every strength.
You have now reached Purgatory:
50see there the cliff that closes it all around;
see the entrance where it seems split.
A little while ago, in the dawn that goes before day,
when your soul was sleeping inside,
upon the flowers with which that place below is adorned
55a lady came and said: "I am Lucia;
let me take this one who sleeps;
so I will ease him along his way."
Sordello remained, and the other noble forms;
she lifted you, and as the day grew clear,
60she came up; and I followed in her tracks.
Here she set you down, but first
her beautiful eyes showed me that open entrance;
then she and sleep went away together."
Like a man who is reassured in doubt
65and changes his fear into comfort,
after the truth has been uncovered to him,
so I changed; and when my guide
saw me without anxiety, up along the cliff
he moved, and I behind him toward the height.
Commentary
The Achilles/Scyros simile and Lucia's carried ascent draw on the Achilleid background and on Lucia as assisting grace; the translation keeps Dante's disorientation, Virgil's reassurance, and the concrete movement from fear to comfort.
IX.37–39 Thetis carries Achilles from Chiron to Scyros to hide him from the Trojan war.
IX.37–39 Thetis carries Achilles from Chiron to Scyros to hide him from the Trojan war. Line 37: Thetis carries Achilles from Chiron to Scyros to hide him from the Trojan war.
IX.37 Thetis carries Achilles from Chiron to Scyros to hide him from the Trojan war. Thetis carries Achilles from Chiron to Scyros to hide him from the Trojan war.
IX.43–45 The singular comfort is Virgil; the valley company has been left below. Norton identifies this as Easter Monday morning.
IX.43–45 The singular comfort is Virgil; the valley company has been left below. Line 43: The singular comfort is Virgil; the valley company has been left below. Line 44: Norton identifies this as Easter Monday morning.
IX.43 The singular comfort is Virgil; the valley company has been left below. The singular comfort is Virgil; the valley company has been left below.
IX.44 Norton identifies this as Easter Monday morning. Norton identifies this as Easter Monday morning.
IX.46–48 The exhortation reverses fear's constriction into expanded vigor.
IX.46–48 The exhortation reverses fear's constriction into expanded vigor. Line 48: The exhortation reverses fear's constriction into expanded vigor.
IX.48 The exhortation reverses fear's constriction into expanded vigor. The exhortation reverses fear's constriction into expanded vigor.
IX.55–57 Lucia resumes the mediation chain from Inferno II and now acts directly while Dante sleeps. The way remains Dante's, but Lucia's grace-assisted carrying makes it easier.
IX.55–57 Lucia resumes the mediation chain from Inferno II and now acts directly while Dante sleeps. Line 55: Lucia resumes the mediation chain from Inferno II and now acts directly while Dante sleeps. Line 57: The way remains Dante's, but Lucia's grace-assisted carrying makes it easier.
IX.55 Lucia resumes the mediation chain from Inferno II and now acts directly while Dante sleeps. Lucia resumes the mediation chain from Inferno II and now acts directly while Dante sleeps.
IX.57 The way remains Dante's, but Lucia's grace-assisted carrying makes it easier. The way remains Dante's, but Lucia's grace-assisted carrying makes it easier.
The poet raises the matter for the reader, the gate appears with three steps and a radiant porter, and Lucia's heavenly warrant wins courteous permission to approach IX.70–93
70Lettor, tu vedi ben com’ io innalzo
la mia matera, e però con più arte
non ti maravigliar s’io la rincalzo.
Noi ci appressammo, ed eravamo in parte
che là dove pareami prima rotto,
75pur come un fesso che muro diparte,
vidi una porta, e tre gradi di sotto
per gire ad essa, di color diversi,
e un portier ch’ancor non facea motto.
E come l’occhio più e più v’apersi,
80vidil seder sovra ’l grado sovrano,
tal ne la faccia ch’io non lo soffersi;
e una spada nuda avëa in mano,
che reflettëa i raggi sì ver’ noi,
ch’io drizzava spesso il viso in vano.
85«Dite costinci: che volete voi?»,
cominciò elli a dire, «ov’ è la scorta?
Guardate che ’l venir sù non vi nòi».
«Donna del ciel, di queste cose accorta»,
rispuose ’l mio maestro a lui, «pur dianzi
90ne disse: “Andate là: quivi è la porta”».
«Ed ella i passi vostri in bene avanzi»,
ricominciò il cortese portinaio:
«Venite dunque a’ nostri gradi innanzi».
70Reader, you see well how I raise
my matter, and therefore with more art
do not wonder if I reinforce it.
We drew near, and were at a place
where, in what first seemed broken to me,
75just like a cleft that divides a wall,
I saw a gate, and three steps beneath
to go to it, of different colors,
and a gatekeeper who still made no word.
And as I opened my eye more and more there,
80I saw him seated on the upper step,
such in the face that I could not bear him;
and he had a naked sword in hand,
which reflected the rays so toward us
that I often lifted my face in vain.
85"Say from there: what do you want?"
he began to say; "where is the escort?
Take care that the coming up does not harm you."
"A lady from Heaven, aware of these things,"
my master answered him, "just now
90said to us: 'Go there: there is the gate.'"
"And may she advance your steps in good,"
the courteous doorkeeper began again:
"come forward, then, to our steps."
Commentary
The reader apostrophe formally elevates the poem's matter before the gate scene. The translation keeps matera, arte, the silent angel porter, reflected sword, and Lucia's heavenly warrant without flattening the sacramental pressure.
IX.70–72 Matera and arte mark a deliberate elevation in poetic and doctrinal difficulty.
IX.70–72 Matera and arte mark a deliberate elevation in poetic and doctrinal difficulty. Line 71: Matera and arte mark a deliberate elevation in poetic and doctrinal difficulty.
IX.71 Matera and arte mark a deliberate elevation in poetic and doctrinal difficulty. Matera and arte mark a deliberate elevation in poetic and doctrinal difficulty.
IX.76–78 The gate moves the canto from Ante-Purgatory toward sacramental threshold imagery.
IX.76–78 The gate moves the canto from Ante-Purgatory toward sacramental threshold imagery. Line 76: The gate moves the canto from Ante-Purgatory toward sacramental threshold imagery.
IX.76 The gate moves the canto from Ante-Purgatory toward sacramental threshold imagery. The gate moves the canto from Ante-Purgatory toward sacramental threshold imagery.
IX.85–87 The warning preserves the possibility that unauthorized ascent would be spiritually harmful.
IX.85–87 The warning preserves the possibility that unauthorized ascent would be spiritually harmful. Line 87: The warning preserves the possibility that unauthorized ascent would be spiritually harmful.
IX.87 The warning preserves the possibility that unauthorized ascent would be spiritually harmful. The warning preserves the possibility that unauthorized ascent would be spiritually harmful.
The three penitential steps, diamond threshold, angel of God, humble request, mercy plea, and triple breast-striking bring Dante to the opening ritual IX.94–111
94Là ne venimmo; e lo scaglion primaio
95bianco marmo era sì pulito e terso,
ch’io mi specchiai in esso qual io paio.
Era il secondo tinto più che perso,
d’una petrina ruvida e arsiccia,
crepata per lo lungo e per traverso.
100Lo terzo, che di sopra s’ammassiccia,
porfido mi parea, sì fiammeggiante
come sangue che fuor di vena spiccia.
Sovra questo tenëa ambo le piante
l’angel di Dio sedendo in su la soglia
105che mi sembiava pietra di diamante.
Per li tre gradi sù di buona voglia
mi trasse il duca mio, dicendo: «Chiedi
umilemente che ’l serrame scioglia».
Divoto mi gittai a’ santi piedi;
110misericordia chiesi e ch’el m’aprisse,
ma tre volte nel petto pria mi diedi.
94There we came; and the first stair
95was white marble, so polished and clear
that I mirrored myself in it as I appear.
The second was tinted darker than dark purple,
of a rough and burnt-looking stone,
cracked lengthwise and crosswise.
100The third, which masses itself above,
seemed porphyry to me, as flaming
as blood that spurts out from a vein.
Upon this were planted both the feet
of the angel of God, seated on the threshold
105that seemed to me a stone of diamond.
Up the three steps with good will
my guide drew me, saying: "Ask
humbly that he loosen the lock."
Devoutly I cast myself at the holy feet;
110I asked for mercy and that he open to me,
but first I struck myself three times on the breast.
Commentary
The passage gives the three steps, diamond threshold, humble request, and triple breast-striking. The translation preserves the material colors and gestures while leaving confession, contrition, and satisfaction unglossed.
IX.94–96 The clear self-mirroring step is one part of the penitential gate sequence.
IX.94–96 The clear self-mirroring step is one part of the penitential gate sequence. Line 95: The clear self-mirroring step is one part of the penitential gate sequence.
IX.97–99 Perso continues the poem's dark-color field; here it belongs to the cracked, scorched second step.
IX.97–99 Perso continues the poem's dark-color field; here it belongs to the cracked, scorched second step. Line 97: Perso continues the poem's dark-color field; here it belongs to the cracked, scorched second step.
IX.97 Perso continues the poem's dark-color field; here it belongs to the cracked, scorched second step. Perso continues the poem's dark-color field; here it belongs to the cracked, scorched second step.
IX.103–105 Norton notes the threshold may signify the authority that makes the gate act effective.
IX.103–105 Norton notes the threshold may signify the authority that makes the gate act effective. Line 105: Norton notes the threshold may signify the authority that makes the gate act effective.
IX.105 Norton notes the threshold may signify the authority that makes the gate act effective. Norton notes the threshold may signify the authority that makes the gate act effective.
IX.109–111 The triple breast-striking keeps the embodied penitential gesture explicit.
IX.109–111 The triple breast-striking keeps the embodied penitential gesture explicit. Line 111: The triple breast-striking keeps the embodied penitential gesture explicit.
IX.111 The triple breast-striking keeps the embodied penitential gesture explicit. The triple breast-striking keeps the embodied penitential gesture explicit.
The angel traces seven P's on Dante's forehead, commands him to wash the wounds inside, and explains Peter's gold and silver keys with a mercy-biased charge IX.112–129
112Sette P ne la fronte mi descrisse
col punton de la spada, e «Fa che lavi,
quando se’ dentro, queste piaghe» disse.
115Cenere, o terra che secca si cavi,
d’un color fora col suo vestimento;
e di sotto da quel trasse due chiavi.
L’una era d’oro e l’altra era d’argento;
pria con la bianca e poscia con la gialla
120fece a la porta sì, ch’i’ fu’ contento.
«Quandunque l’una d’este chiavi falla,
che non si volga dritta per la toppa»,
diss’ elli a noi, «non s’apre questa calla.
Più cara è l’una; ma l’altra vuol troppa
125d’arte e d’ingegno avanti che diserri,
perch’ ella è quella che ’l nodo digroppa.
Da Pier le tegno; e dissemi ch’i’ erri
anzi ad aprir ch’a tenerla serrata,
pur che la gente a’ piedi mi s’atterri».
112Seven P's on my forehead he traced
with the point of the sword, and "See that you wash,
when you are inside, these wounds," he said.
115Ashes, or earth dug out dry,
would be of one color with his garment;
and from beneath it he drew two keys.
One was of gold and the other of silver;
first with the white and then with the yellow
120he worked the gate so that I was content.
"Whenever one of these keys fails,
so that it does not turn straight in the keyhole,"
he said to us, "this passage does not open.
One is more precious; but the other wants too much
125of art and genius before it unlocks,
because it is the one that untangles the knot.
From Peter I hold them; and he told me to err
rather in opening than in keeping it locked,
provided that people fall at my feet."
Commentary
The passage shows the seven P's as the wound-marks of the seven capital sins and the gold/silver keys as authority and discernment under Peter. The translation keeps the sword-point, wounds, key colors, art, genius, and mercy-biased instruction concrete.
IX.112–114 The P's mark the seven peccati, the wounds that Purgatory's terraces will wash away.
IX.112–114 The P's mark the seven peccati, the wounds that Purgatory's terraces will wash away. Line 112: The P's mark the seven peccati, the wounds that Purgatory's terraces will wash away.
IX.112 The P's mark the seven peccati, the wounds that Purgatory's terraces will wash away. The P's mark the seven peccati, the wounds that Purgatory's terraces will wash away.
IX.118–120 The keys are later said to come from Peter and are tied to authority and discernment. White is the silver key; yellow is the gold key.
IX.118–120 The keys are later said to come from Peter and are tied to authority and discernment. Line 118: The keys are later said to come from Peter and are tied to authority and discernment. Line 119: White is the silver key; yellow is the gold key.
IX.118 The keys are later said to come from Peter and are tied to authority and discernment. The keys are later said to come from Peter and are tied to authority and discernment.
IX.119 White is the silver key; yellow is the gold key. White is the silver key; yellow is the gold key.
IX.121–123 Calla is rendered as passage to keep the threshold as both doorway and way.
IX.121–123 Calla is rendered as passage to keep the threshold as both doorway and way. Line 123: Calla is rendered as passage to keep the threshold as both doorway and way.
IX.123 Calla is rendered as passage to keep the threshold as both doorway and way. Calla is rendered as passage to keep the threshold as both doorway and way.
IX.124–126 Arte and ingegno here belong to discernment in opening, not poetic skill alone.
IX.124–126 Arte and ingegno here belong to discernment in opening, not poetic skill alone. Line 125: Arte and ingegno here belong to discernment in opening, not poetic skill alone.
IX.125 Arte and ingegno here belong to discernment in opening, not poetic skill alone. Arte and ingegno here belong to discernment in opening, not poetic skill alone.
IX.127–129 The line preserves the mercy-biased use of the keys without turning it into permissive laxity.
IX.127–129 The line preserves the mercy-biased use of the keys without turning it into permissive laxity. Line 128: The line preserves the mercy-biased use of the keys without turning it into permissive laxity.
IX.128 The line preserves the mercy-biased use of the keys without turning it into permissive laxity. The line preserves the mercy-biased use of the keys without turning it into permissive laxity.
The sacred gate opens with harsh metal sound, the angel warns against looking back, and Dante hears the first interior hymn as Te Deum mingled with organ sweetness IX.130–145
130Poi pinse l’uscio a la porta sacrata,
dicendo: «Intrate; ma facciovi accorti
che di fuor torna chi ’n dietro si guata».
E quando fuor ne’ cardini distorti
li spigoli di quella regge sacra,
135che di metallo son sonanti e forti,
non rugghiò sì né si mostrò sì acra
Tarpëa, come tolto le fu il buono
Metello, per che poi rimase macra.
Io mi rivolsi attento al primo tuono,
140e ‘Te Deum laudamus’ mi parea
udire in voce mista al dolce suono.
Tale imagine a punto mi rendea
ciò ch’io udiva, qual prender si suole
quando a cantar con organi si stea;
145ch’or sì or no s’intendon le parole.
130Then he pushed the door of the sacred gate,
saying: "Enter; but I make you aware
that whoever looks behind returns outside."
And when out of the twisted hinges
the pivots of that sacred entrance turned,
135which are of metal, ringing and strong,
Tarpeia did not roar so, nor show herself so harsh,
when the good Metellus was taken from her,
for which she afterward remained lean.
I turned, attentive to the first tone,
140and it seemed to me I heard 'Te Deum laudamus'
in voices mingled with sweet sound.
Just such an image gave back to me
what I heard, as one is used to taking in
when people stand singing with organs;
145now yes, now no, the words are understood.
Commentary
The passage warns against looking back, alludes to the Tarpeian/Metellus treasury, and gives the first inner sound as Te Deum laudamus mixed with organ-like sweetness. The translation keeps the threshold's severity and the partially intelligible liturgical sound.
IX.130–132 The warning holds the forward-only logic of repentance and entrance.
IX.130–132 The warning holds the forward-only logic of repentance and entrance. Line 132: The warning holds the forward-only logic of repentance and entrance.
IX.132 The warning holds the forward-only logic of repentance and entrance. The warning holds the forward-only logic of repentance and entrance.
IX.136–138 Tarpeia names the Roman treasury on the Tarpeian rock in the Caesar/Metellus allusion.
IX.136–138 Tarpeia names the Roman treasury on the Tarpeian rock in the Caesar/Metellus allusion. Line 136: Tarpeia names the Roman treasury on the Tarpeian rock in the Caesar/Metellus allusion.
IX.136 Tarpeia names the Roman treasury on the Tarpeian rock in the Caesar/Metellus allusion. Tarpeia names the Roman treasury on the Tarpeian rock in the Caesar/Metellus allusion.
IX.139–141 The first tone is the first sound heard from within Purgatory proper. The Latin hymn is retained as a liturgical threshold marker.
IX.139–141 The first tone is the first sound heard from within Purgatory proper. Line 139: The first tone is the first sound heard from within Purgatory proper. Line 140: The Latin hymn is retained as a liturgical threshold marker.
IX.139 The first tone is the first sound heard from within Purgatory proper. The first tone is the first sound heard from within Purgatory proper.
IX.140 The Latin hymn is retained as a liturgical threshold marker. The Latin hymn is retained as a liturgical threshold marker.
IX.145 The partial intelligibility keeps the first inner song as real but not yet fully grasped. The partial intelligibility keeps the first inner song as real but not yet fully grasped.