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Authors: Dante Alighieri

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109-117. The tableau signifies the persecutions of the early Church under the Roman emperors from Nero (A.D. 54-68) to Diocletian (A.D. 284-305). The “bird of Jove” is the eagle, the standard of the empire, here acting as a bird of prey, “tearing, ” “rending, ” and “destroying. ” Dante compares the assaulted chariot, the Church, to “a ship caught in a storm. ” The ship is a traditional symbol of the Church (cf. Dante’s reference to Peter’s ship in
Paradise
XI, 119-120).

118-123. The second tableau represents the internal heresies that threatened the early Church, particularly the heresy of Gnosticism.

124-129. The third catastrophe, again initiated by action of the eagle, is a tableau representing the Church’s acquisition of temporal wealth and power through what came to be renowned as the “Donation of Constantino, ” the alleged gift of the Western Empire to the papacy, the “ill-fated cargo” of line 129.

And then I saw the ground between the wheels opening up: a dragon issued forth, driving its tail up through the chariot;

132

then, as a wasp withdraws its sting, that thing drew back its poison tail, tearing away part of the floor—gloating, it wandered off;

135

the rest, like fertile soil left for thick weeds to thrive on, grew a rich cover of plumes granted with good intentions, it would seem,

138

and all the chariot, with both its wheels and pole as well, was overgrown with them in less time than it takes to heave a sigh.

141

Thus changed, the holy shrine began to sprout heads from all parts: three on the chariot’s pole and one from each of its four corners grew.

144

The three were horned like oxen, but the four had but one horn upon each of their heads. No one has ever seen a monster like it!

147

Seated thereon, securely, like a fort high on a hill, I saw an ungirt whore casting bold, sluttish glances all around.

150

130-135. The meaning of the fourth catastrophe is less certain. The dragon is a traditional representation of Satan (cf. Revelation 12:9), here issuing up from below to rend the floor of the chariot (i. e., the foundation of the Church). Historically, the tableau probably represents one of the schisms that divided the early Church, perhaps Mohammedanism, which rose to threaten her in the seventh century.

136-141. The tableau of the fifth catastrophe shows the Church’s further acquisitions of temporal wealth and power.

148-159. The seventh catastrophe brings us to the period of history close to Dante’s own time. The whore represents the corrupted papacy, which had been prostituting itself by forming lucrative alliances with the kings of France. The jealous “giant” (152) is most probably Philip the Fair (Philip III, 1285-1314) of France, and his kissing the whore “from time to time” (153) represents the mutual interests of king and pope served by their temporal alliances. Again, the imagery is apocalyptic. When the whore (at this point representing Pope Boniface VIII) casts her eyes on the Pilgrim, she is beaten by the jealous giant, who then removes both whore and transformed cart “far off into the woods” (159). The exact significance of the Pilgrim’s participation here is uncertain.

Acting as if someone might take her from him, a giant, I saw, standing there by her side; from time to time the two of them would kiss.

153

But when she turned her roving, lustful eyes on me, her lover in a fit of rage beat her ferociously from head to foot.

156

Then, furious with jealousy, the giant ripped loose the monster, dragging it away far off into the woods, until the trees

159

blocked from my sight the whore and that strange beast. ?

CANTO XXXIII

T
HE SEVEN LADIES
. With the seventh catastrophe (the removal of the papacy to Avignon in 1305), we have moved into prophetic or future time, with respect to the fictional date of the journey (1300). Thus the Pilgrim is unable to see the further activities of the whore, the jealous giant, and the cart-turned-monster.

Deus venerunt gentes,
sang the nymphs chanting in tears the dulcet psalmody, their voices alternating, three, then four,

3

and Beatrice listened to their song, sighing and sorrowful—hardly more grief showed in the face of Mary at the cross.

6

But when among those virgins silence reigned, yielding to her response, she stood up then and glowing like a flame, announced to them:

9

“Modicum et non videbitis me; et iterum,
sisters so dear to me,
modicum et vos videbitis me. ”

12

Then, having placed the seven in front of her, she had us move behind with just a nod to me and to the lady and the poet.

15

So she moved forward, and she had not gone ten steps into the wood when, suddenly, she turned to fix her eyes on mine, and said,

18

looking at me serenely: “Make more haste, so that, if I should wish to speak with you, you would be close enough to hear my words. ”

21

I did as I was told. Once I was close, she said: “Why, brother, do you hesitate to question me, now that you are with me?”

24

Like those who feel a paralyzing awe when in the presence of superiors and scarcely can find breath enough to speak—

27

1. The seven virtues begin to sing Psalm 78 [79], a lamentation for the destruction of the temple of Jerusalem, which begins, “O God, the nations have come into your inheritance; / they have defiled your holy temple, they have laid / Jerusalem in ruins. ”

10-12. Beatrice speaks the words of Christ to his disciples: “A little while and you shall not see me; and again, a little while and you shall see me because I go to the Father” (John 16:16).

I, too, could utter, indistinctly though, the words: “My lady, you know all my needs, and how to satisfy them perfectly. ”

30

Then she to me: “It is my wish that you from now on free yourself from fear and shame, and cease to speak like someone in a dream.

33

Know that the vessel which the serpent broke was, and is not. Let him who bears the blame learn that God’s vengeance has no fear of sops.

36

The eagle that shed feathers on the car that would become a monster, then a prey, will not remain forever without heirs;

39

I tell you this because I clearly see those stars, already near, that will bring in a time—its advent nothing can prevent—

42

in which five hundred, ten, and five shall be God’s emissary, born to kill the giant and the usurping whore with whom he sins.

45

Perhaps my prophecy with its dark words, obscure as those of Themis or the Sphinx, has not convinced you but confused your mind;

48

but soon events themselves shall be the Naiads that will untie this riddle’s complex knot— with no destruction of the sheep or grain.

51

Note well my words: what I have said to you, you will repeat, as you teach those who live that life which is merely a race to death.

54

35. He “who bears the blame” is, collectively, Pope Clement and Philip the Fair.

43. Beatrice is prophesying the coming of such an heir to the Caesars: “God’s emissary” (44) to Italy. Exactly whom Beatrice had in mind is a question that continues to puzzle readers of the poem.

47. Both Themis and the Sphinx arc associated in classical mythology with “dark words” and obscure riddles.

And when you write, be sure that you describe the sad condition of the tree you saw despoiled, not once but twice, here on this spot.

57

Whoever robs this tree or breaks its limbs sins against God, blasphemes in deeds, for He created it to serve His Holy Self.

60

Because God’s first soul tasted of this tree, more than five thousand years in pain he yearned for Him Who paid the penalty Himself.

63

Your mind’s asleep if you do not perceive the special reason for the tree’s great height and why it grows inverted toward the top.

66

If your vain thoughts had not been to your mind waters of Elsa, and your joy in them a Pyramus to your mulberry, then

69

from the tree’s two strange attributes alone, you would have recognized its moral sense, and seen God’s justice in the interdict.

72

But since I see your mind has turned to stone and, like a stone, is dark and, being dark, cannot endure the clear light of my words,

75

it is my wish you carry back with you if not my words themselves, at least some trace, as pilgrims bring their staves back wreathed with palm. ”

78

And I to her: “As wax stamped by the seal will never lose the outline of the print, so, your seal is imprinted on my mind.

81

But your desired words, why do they fly so high above my mind? The more I try to follow them, the more they soar from sight. ”

84

68, The Elsa is a river that flows into the Arno between Florence and Pisa; at certain locations (especially near Colle) it had the property of “petrifying” objects immersed and left in its waters.

She said: “Why do they? So that you may come truly to know that school which you have followed, and see how well its doctrine follows mine—

87

also, that you may see that mankind’s ways are just as far away from those divine as earth is from the highest spinning sphere. ”

90

To that I answered: “I cannot recall ever having estranged myself from you: I have no guilty conscience on that score. ”

93

“You say that you do not remember it?” smiling, she said. “But, surely, you recall drinking of Lethe’s waters just today;

96

and even as fire can be inferred from smoke, your lack of memory is patent proof that your estrangement from me was a sin.

99

But from now on, I promise you, my words will be as plain as they will have to be for your uneducated mind to grasp. ”

102

And blazing brighter, moving slower now, the sun was riding its meridian ring, whose point in space depends upon the viewer,

105

when—just as someone who escorts a group stops short if something very strange appears in front of him—those seven ladies stopped

108

as they approached the margin of a shade, pale as a mountain’s shadow on cool streams flowing beneath green foliage and dark boughs.

111

Ahead of them I saw spring from one source what might have been the Tigris and Euphrates! Then, like close friends, they slowly drew apart.

114

103-105. It is now noon in Purgatory, and at noontime the sun appears to be moving slower.

“O light, O glory of the human race, what is this water pouring from one source, and then dividing self from self?” I asked.

117

She answered: “Ask Matelda to explain. ” And then the lovely lady spoke, as though she felt she had to free herself from blame:

120

“I have already made this clear to him, this and much more; and Lethe, I am sure, could not have washed away the memory. ”

123

Then Beatrice: “A more important thing, perhaps, weighs on his mind, depriving him of memory and clouding his mind’s eye.

126

But here before us is the stream Eunoë: now, lead him there and, as it is your wont, revive his weakened powers in its flow. ”

129

Then, gracious as she was, without demur, submitting her own will to another’s will, once this was made apparent by a sign,

132

the lovely lady took me by the hand, and said to Statius as she moved ahead with queenly modesty: “And you come too. ”

135

Reader, if I had space to write more words, I’d sing, at least in part, of that sweet draught which never could have satisfied my thirst;

138

115. The Pilgrim addresses Beatrice in her allegorical role of Wisdom.

118. Matelda, the “lovely lady” who brought the Pilgrim across the river to Beatrice, is at last named.

129. By drinking of the waters of Eunoë, the memory of good deeds done in the past is restored.

but now I have completed every page planned for my poem’s second canticle— I am checked by the bridle of my art!

141

From those holiest waters I returned to her reborn, a tree renewed, in bloom with newborn foliage, immaculate,

144

eager to rise, now ready for the stars.

THE DIVINE COMEDY:
PARADISE
CANTO I

A
FTER STATING THAT
God’s glory shines throughout the universe, Dante informs us that he has been to Paradise, and has seen things so extraordinary that he cannot possibly hope to tell about them. Nevertheless, he determines to make this final song his crowning achievement as a poet, and he calls on both the Muses and Apollo for inspiration as he focuses on his journey heavenward. At noon on the spring equinox, Dante, still in the Earthly Paradise, sees Beatrice gazing into the sun, and he imitates her gaze. In so doing, he becomes aware of an extraordinary brightness, as though God had placed in the heavens a second sun, and feels himself being “transhumanized” in preparation for his experience of Paradise. He then finds himself soaring heavenward through God’s grace, although he is uncertain whether it is his soul or his corporeal self that rises. As Dante and Beatrice pass out of the earth’s atmosphere into the sphere of fire that lies above it, Dante hears the music of the spheres. This music fills him with wonderment and perplexity, but before he can question Beatrice about it, she explains to him the teleological order of the universe, and how it is only natural that, having been purified, he should now rise heavenward.

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