Canto II 

 

O you in that little dinghy, dying to listen in,

Who’ve followed behind my boat

That’s singing its way across,

 

Turn back and take another look at your coast: 

Don’t set out on the open sea because, maybe,

If you lose sight of me, you’ll be totally lost.

 

The waters I’m sailing have never been crossed;

Minerva inspires me, Apollo guides me,

And the nine Muses show me the Bears.

 

You other few who’ve sometimes stretched out

Your necks for the bread of angels,

Which one lives on here but never gets enough of,

 

It’s fine for you to set sail for the salt sea

Keeping in my wake, in front

Of the water going back to being smooth.

                                               

Those heroes who made it to Colchis,

Even they weren’t as amazed as you're going to be,

When they saw Jason play the part of a plowboy.

 

The innate and perpetual thirst

For the deiform realm carried the two of us away    

Almost as fast as you see the heavens moving.

 

Beatrice looked up and I at her and—

In maybe as much time as an arrow lands,

Flies, and the notch lets go of the bow—

 

I saw I’d arrived where something wondrous

Caught my attention, while she,                       

From whom nothing I cared about could be hidden,

 

Turned to me, as glad as she was lovely,

“Address that grateful mind to God,” she said,

“Who has merged us with the first celestial body.”

 

I had the feeling we might be tucked away

In a cloud: crystalline, dense, solid

And polished, almost like a sun-struck diamond.

 

The eternal pearl had taken us into itself

The way water takes in a ray of light

While remaining undivided.

 

If I was body, and if here we can’t conceive 

How one dimension can merge with another,

Which must happen if body infuses body,

 

Then all the more we need to turn up the heat

Under our desire to see that essence and see

How within it, our nature and God’s became one.

 

There you’ll observe what we hold by faith,

Not proven, but made known in and of itself,

Like the self-evident truths humans trust in.

 

I said, “Yes, My Lady, with the utmost

Possible devotion, I thank Him

Who’s taken me so far from the mortal world.

 

But tell me, what are those darker spots

On this celestial body, which cause those

Down on earth to invent tall tales about Cain?"  

 

She gave a half smile, “If the opinions of mortals

Are mistaken,” she said, “When

The sense-making key doesn’t unlock the door,

 

You certainly shouldn’t be struck by a wonderbolt

Now, when you see how whenever reason trails

Behind the sensory, its wings get clipped.

 

But tell me, what do you make of it for yourself?”

I: “I think what appears to us as varied up above

Is because of the sparsity or density of the matter.”

 

And she: “You’re going to really see how knee-deep

In error your belief is, if you pay close attention

To the case I’ll make against it.

 

The eighth sphere shows you a lot of stars,

In which you can observe diverse facets,

In terms of mass and luminosity.

 

If sparseness and density did that much,

They’d all have a single quality, some having been

Given more, some less, and yet the same. 

 

But diverse qualities have to be the result

Of formal principles, and all but one of these

Would be destroyed in your reasoning.

 

Still, if sparsity were the cause of the darkness

You asked about, either this planet’s matter

Would have holes all the way through it

 

Or—like fat and lean areas of a body,

The same with this—the map

Of its magnitude would keep varying.

 

If the first, it would manifest itself during a solar

Eclipse, when light would shine through

Just like it does through anything low-density. 

 

But that’s not so: so, we have to consider the other;

And if I have to eliminate that one,

It will turn out your view is disproved. 

 

If it’s not low-density throughout,

There must be, at some point, a limitation,

An obstruction it can’t get past.

 

And then the ray is sent back

The way color is reflected off mirrored glass

That conceals a lead backing behind it.

 

Now you’ll claim that what looks dark there

Is because those rays are being reflected

From farther back than in other areas.

 

You’d be set free from this objection

By an experiment—that spring from which your

Science usually flows. If you’d ever want to try it,

 

You’d take three mirrors; place two

Equidistant from you; let the other, farther off

And between those two, meet your eyes;

 

Facing them, have a lamp placed behind your back,

Which will light the three mirrors

And bounce light from all three back to you.

 

The more distant image doesn’t spread out

As widely but you should be able to see,

That compared to the others, it’s equally bright.

 

Now, the way warm rays melt the snow,

Leaving what lies beneath it stripped

Of the cold and the whiteness it once had,

 

The same way, with your mind laid bare

I’ll educate you with a light so alive

It’ll look to you as if it’s flickering.

 

In the heaven of divine peace,

There’s a revolving body in whose power lies

The existence of all it contains. 

 

The next heaven, with its many vistas,

Distributes this existence through varied essences

Distinct from it and yet contained within it.

 

The other spheres, by varying degrees,

Dispose their unique distinctions according to

Their own ends and what they can seed.

 

So they go, these instruments of the universe,

As you can see now, from level to level;

They draw from above and act on below. 

 

Watch carefully now how I proceed

From here to the truth you want—after that

You’ll know how to wade through on your own.

 

The motion and power of the holy rotations,

Like a hammer’s impact comes from the smith,

Has to be inspired by the angelic movers,

 

And the heaven made beautiful by so many lights

Takes the image of the profound mind

That turns it and makes an imprint from it.

 

And like the soul inside your dust

Establishes itself through your various limbs,

And corresponds to different potentials,

 

Like that, a single intelligence unfolds

Its goodness, multiplied throughout the stars,

Rotating above in its own oneness.

 

A different power makes a different alloy

With each precious body it animates,

And it gets fused with it, just like life in you.

 

Because of the happy nature it derives from,

The mixed powers shine through the body

The way happiness shines through a living eye.

 

What seems different from planet to planet 

Comes from this, not from being more or less

Dense; it’s a formal principle that produces,

 

Equal to its goodness, the dark and the light.

 

 

 

Canto III

 

That sun that had first lit up my heart with love

Had, by proving and disproving, shown me

The lovely truth, how sweet it is.

 

In order to confess myself corrected

And convinced, I raised my head

As high as I needed to speak.

 

But just then, a vision appeared

And I was so riveted by it, I looked at that

And totally forgot about my confession.

 

Like through clean transparent glass,

Or through clear still water,

But not so deep that you lose the bottom—

 

A vague impression of our faces comes back

To our eyes no less sharply than a pearl

On a paperwhite forehead—

 

Like that, I saw more faces all set to speak—and

Made the opposite mistake from that of the man

Who got turned on by a weeping brook.

 

As soon as I became aware of the faces,

Believing they were mirrored images,

I turned to see who they might be.

 

And I saw nothing. I turned back

And looked straight into the light that glowed

In the Holy eyes of my sweet smiling guide.

 

“Don’t be surprised,” she told me,

“That your naive thinking is making me smile;

“Your feet aren’t yet resting on the truth

 

But, as usual, leading you in circles.

What you’re seeing are actual substances

Assigned here for having broken their vows.

 

So, talk to them, and listen, and believe.

The True Light, which is all they need,

Doesn’t let them make a wrong step.”

 

I turned to the waiting shade who seemed most

Eager to speak, straightened up and began,

A bit like someone weak from too much wanting.

 

“O well-created spirit, who in the rays

Of everlasting life is aware of that sweetness

That can never be known until having had it,  

 

I’d be grateful if you’d kindly tell me

Your name and how you came to be here.”

She then, eager and with smiling eyes:

 

“Our love doesn’t lock the doors to a just wish,

No more than does the love of that One

Who wills that His entire court be like Him.

 

In the world, I was an untouched nun, and

If you try your best to remember, my being

More beautiful won’t hide me from you

 

But you’ll recognize that I’m Piccarda, who,

Placed here with the rest who are so blessed,

Am blessed in this slowest sphere.

 

Our emotions, which are aroused only

Within what pleases the Holy Spirit,

Are happy to match what He has ordained.

 

This fate that seems so lowly was given to us

For the simple reason that our vows

Were neglected and in some way annulled.”

 

At which I told her, “In your marvelous look,

A divine something, I don’t know what, shines

And transforms you from how you used to seem.

 

That’s why I wasn’t quick to remember

But what you just told me

Makes it easier for me to make you out.

 

But tell me, as happy as you are here,

Do you long for a higher place,

Where you could see more and be more cherished?”

 

Along with the other shades, she first smiled

A little, then answered me with such happiness

She seemed to glow with the fire of a first love.

 

“Brother, the power of love quiets our will

And makes us want only what we have;

We have no desire for anything else.

 

If we wanted to be more upper-echelon,

Our wish would clash

With the will of Him who assigned us here.

 

Which you’ll see, wouldn’t work out

In these spheres, if being in love is necessary here,

And if you carefully consider the nature of love.

 

Instead, it’s the essence of this blessèd life

To stay within the Divine Will

Where all our wills become one.

 

So that our being ranked from level to level

Throughout the kingdom pleases all the kingdom

As well as the King, who makes us will what he wills.

 

In His will is our peace. He’s that sea

Toward which everything moves,

Whatever He creates or whatever nature makes.”

 

Right then it was clear to me: how every place

In Heaven is Paradise, even though the grace

Of the Highest Good doesn’t rain on it the same.

 

Like when one food fills you up, but you go on

Craving another—you ask for that one

While saying “Thank you, Ma’am” for the other—

 

Like that, I gestured and said I wanted to know

What kind of weaving it was that she hadn’t drawn

The thread through to the end.

 

“A perfect life and exalted merit enheaven

A higher woman,” she said, “in whose order

In your world one takes the habit and the veil—

 

So that until they die, they wake and sleep

With that bridegroom who accepts every vow

That Love tailors to His pleasure.

 

As a young girl, I fled the world to follow her

And enclosed myself in her habit

And promised myself to the path of her order.

 

Then men more used to evil than to good

Kidnapped me from the calm cloister:

God knows what my life was like after that.

 

And this other splendor showing herself to you

On my right, and lighting up

With all the light of our sphere,

 

What I said about myself, she says the same

Goes for her. She was a nun, and likewise, the shade

Of the sacred veil was taken from her head.

 

Even after she’d been turned back to the world,

Against her will and against accepted practice,

She was never unbound from her heart’s veil.

 

This is the light of the great Constance

Who, with the second whirlwind of Swabia,

Bore the third and final power.”

  

That’s what she said to me, then, she began

Singing Ave Maria, and singing, faded away

Like something weighty through deep water.

 

My sight, which followed her

As far as possible, once it lost her,

Turned to the target of greatest desire

 

And totally focused on Beatrice—

But looking, the lightning strike was so bright

That at first, I couldn’t bear it.

 

And that made me wait until later to ask.

Canto II

 

O voi che siete in piccioletta barca,
desiderosi d’ascoltar, seguiti
dietro al mio legno che cantando varca,

 

tornate a riveder li vostri liti:
non vi mettete in pelago, ché forse,
perdendo me, rimarreste smarriti.

 

L’acqua ch’io prendo già mai non si corse;
Minerva spira, e conducemi Appollo,
e nove Muse mi dimostran l’Orse.

 

Voialtri pochi che drizzaste il collo
per tempo al pan de li angeli, del quale
vivesi qui ma non sen vien satollo,

 

metter potete ben per l’alto sale
vostro navigio, servando mio solco
dinanzi a l’acqua che ritorna equale.

 

Que’ glorïosi che passaro al Colco
non s’ammiraron come voi farete,
quando Iasón vider fatto bifolco.

 

La concreata e perpetüa sete
del deïforme regno cen portava
veloci quasi come ’l ciel vedete.

 

Beatrice in suso, e io in lei guardava;
e forse in tanto in quanto un quadrel posa
e vola e da la noce si dischiava,

 

giunto mi vidi ove mirabil cosa
mi torse il viso a sé; e però quella
cui non potea mia cura essere ascosa,

 

volta ver’ me, sì lieta come bella,
«Drizza la mente in Dio grata», mi disse,
«che n’ha congiunti con la prima stella».

 

Parev’ a me che nube ne coprisse
lucida, spessa, solida e pulita,
quasi adamante che lo sol ferisse.

 

Per entro sé l’etterna margarita
ne ricevette, com’ acqua recepe
raggio di luce permanendo unita.

 

S’io era corpo, e qui non si concepe
com’ una dimensione altra patio,
ch’esser convien se corpo in corpo repe,

 

accender ne dovria più il disio
di veder quella essenza in che si vede
come nostra natura e Dio s’unio.

 

Lì si vedrà ciò che tenem per fede,
non dimostrato, ma fia per sé noto
a guisa del ver primo che l’uom crede.

 

Io rispuosi: «Madonna, sì devoto
com’ esser posso più, ringrazio lui
lo qual dal mortal mondo m’ha remoto.

 

Ma ditemi: che son li segni bui
di questo corpo, che là giuso in terra
fan di Cain favoleggiare altrui?».

 

Ella sorrise alquanto, e poi «S’elli erra
l’oppinïon», mi disse, «d’i mortali
dove chiave di senso non diserra,

 

certo non ti dovrien punger li strali
d’ammirazione omai, poi dietro ai sensi
vedi che la ragione ha corte l’ali.

 

Ma dimmi quel che tu da te ne pensi».
E io: «Ciò che n’appar qua sù diverso
credo che fanno i corpi rari e densi».

 

Ed ella: «Certo assai vedrai sommerso
nel falso il creder tuo, se bene ascolti
l’argomentar ch’io li farò avverso.

 

La spera ottava vi dimostra molti
lumi, li quali e nel quale e nel quanto
notar si posson di diversi volti.

 

Se raro e denso ciò facesser tanto,
una sola virtù sarebbe in tutti,
più e men distributa e altrettanto.

 

Virtù diverse esser convegnon frutti
di princìpi formali, e quei, for ch’uno,
seguiterieno a tua ragion distrutti.

 

Ancor, se raro fosse di quel bruno
cagion che tu dimandi, o d’oltre in parte
fora di sua materia sì digiuno

 

esto pianeto, o, sì come comparte
lo grasso e ’l magro un corpo, così questo
nel suo volume cangerebbe carte.

 

Se ’l primo fosse, fora manifesto
ne l’eclissi del sol, per trasparere
lo lume come in altro raro ingesto.

 

Questo non è: però è da vedere
de l’altro; e s’elli avvien ch’io l’altro cassi,
falsificato fia lo tuo parere.

 

S’elli è che questo raro non trapassi,
esser conviene un termine da onde
lo suo contrario più passar non lassi;

 

e indi l’altrui raggio si rifonde
così come color torna per vetro
lo qual di retro a sé piombo nasconde.

 

Or dirai tu ch’el si dimostra tetro
ivi lo raggio più che in altre parti,
per esser lì refratto più a retro.

 

Da questa instanza può deliberarti
esperïenza, se già mai la provi,
ch’esser suol fonte ai rivi di vostr’ arti.

 

Tre specchi prenderai; e i due rimovi
da te d’un modo, e l’altro, più rimosso,
tr’ambo li primi li occhi tuoi ritrovi.

 

Rivolto ad essi, fa che dopo il dosso
ti stea un lume che i tre specchi accenda
e torni a te da tutti ripercosso.

 

Ben che nel quanto tanto non si stenda
la vista più lontana, lì vedrai
come convien ch’igualmente risplenda.

 

Or, come ai colpi de li caldi rai
de la neve riman nudo il suggetto
e dal colore e dal freddo primai,

 

così rimaso te ne l’intelletto
voglio informar di luce sì vivace,
che ti tremolerà nel suo aspetto.

 

Dentro dal ciel de la divina pace
si gira un corpo ne la cui virtute
l’esser di tutto suo contento giace.

 

Lo ciel seguente, c’ha tante vedute,
quell’ esser parte per diverse essenze,
da lui distratte e da lui contenute.

 

Li altri giron per varie differenze
le distinzion che dentro da sé hanno
dispongono a lor fini e lor semenze.

 

Questi organi del mondo così vanno,
come tu vedi omai, di grado in grado,
che di sù prendono e di sotto fanno.

 

Riguarda bene omai sì com’ io vado
per questo loco al vero che disiri,
sì che poi sappi sol tener lo guado.

 

Lo moto e la virtù d’i santi giri,
come dal fabbro l’arte del martello,
da’ beati motor convien che spiri;

 

e ’l ciel cui tanti lumi fanno bello,
de la mente profonda che lui volve
prende l’image e fassene suggello.

 

E come l’alma dentro a vostra polve
per differenti membra e conformate
a diverse potenze si risolve,

 

così l’intelligenza sua bontate
multiplicata per le stelle spiega,
girando sé sovra sua unitate.

 

Virtù diversa fa diversa lega
col prezïoso corpo ch’ella avviva,
nel qual, sì come vita in voi, si lega.

 

Per la natura lieta onde deriva,
la virtù mista per lo corpo luce
come letizia per pupilla viva.

 

Da essa vien ciò che da luce a luce
par differente, non da denso e raro;
essa è formal principio che produce,

 

conforme a sua bontà, lo turbo e ’l chiaro».

 

 

 

Canto III

 

Quel sol che pria d’amor mi scaldò ’l petto,
di bella verità m’avea scoverto,
provando e riprovando, il dolce aspetto;

 

e io, per confessar corretto e certo
me stesso, tanto quanto si convenne
leva’ il capo a proferer più erto;

 

ma visïone apparve che ritenne
a sé me tanto stretto, per vedersi,
che di mia confession non mi sovvenne.

 

Quali per vetri trasparenti e tersi,
o ver per acque nitide e tranquille,
non sì profonde che i fondi sien persi,

 

tornan d’i nostri visi le postille
debili sì, che perla in bianca fronte
non vien men forte a le nostre pupille;

 

tali vid’ io più facce a parlar pronte;
per ch’io dentro a l’error contrario corsi
a quel ch’accese amor tra l’omo e ’l fonte.

 

Sùbito sì com’ io di lor m’accorsi,
quelle stimando specchiati sembianti,
per veder di cui fosser, li occhi torsi;

 

e nulla vidi, e ritorsili avanti
dritti nel lume de la dolce guida,
che, sorridendo, ardea ne li occhi santi.

 

«Non ti maravigliar perch’ io sorrida»,
mi disse, «appresso il tuo püeril coto,
poi sopra ’l vero ancor lo piè non fida,

 

ma te rivolve, come suole, a vòto:
vere sustanze son ciò che tu vedi,
qui rilegate per manco di voto.

 

Però parla con esse e odi e credi;
ché la verace luce che le appaga
da sé non lascia lor torcer li piedi».

 

E io a l’ombra che parea più vaga
di ragionar, drizza’mi, e cominciai,
quasi com’ uom cui troppa voglia smaga:

 

«O ben creato spirito, che a’ rai
di vita etterna la dolcezza senti
che, non gustata, non s’intende mai,

 

grazïoso mi fia se mi contenti
del nome tuo e de la vostra sorte».
Ond’ ella, pronta e con occhi ridenti:

 

«La nostra carità non serra porte
a giusta voglia, se non come quella
che vuol simile a sé tutta sua corte.

 

I’ fui nel mondo vergine sorella;
e se la mente tua ben sé riguarda,
non mi ti celerà l’esser più bella,

 

ma riconoscerai ch’i’ son Piccarda,
che, posta qui con questi altri beati,
beata sono in la spera più tarda.

 

Li nostri affetti, che solo infiammati
son nel piacer de lo Spirito Santo,
letizian del suo ordine formati.

 

E questa sorte che par giù cotanto,
però n’è data, perché fuor negletti
li nostri voti, e vòti in alcun canto».

 

Ond’ io a lei: «Ne’ mirabili aspetti
vostri risplende non so che divino
che vi trasmuta da’ primi concetti:

 

però non fui a rimembrar festino;
ma or m’aiuta ciò che tu mi dici,
sì che raffigurar m’è più latino.

 

Ma dimmi: voi che siete qui felici,
disiderate voi più alto loco
per più vedere e per più farvi amici?».

 

Con quelle altr’ ombre pria sorrise un poco;
da indi mi rispuose tanto lieta,
ch’arder parea d’amor nel primo foco:

 

«Frate, la nostra volontà quïeta
virtù di carità, che fa volerne
sol quel ch’avemo, e d’altro non ci asseta.

 

Se disïassimo esser più superne,
foran discordi li nostri disiri
dal voler di colui che qui ne cerne;

 

che vedrai non capere in questi giri,
s’essere in carità è qui necesse,
e se la sua natura ben rimiri.

 

Anzi è formale ad esto beato esse
tenersi dentro a la divina voglia,
per ch’una fansi nostre voglie stesse;

 

sì che, come noi sem di soglia in soglia
per questo regno, a tutto il regno piace
com’ a lo re che ’n suo voler ne ’nvoglia.

 

E ’n la sua volontade è nostra pace:
ell’ è quel mare al qual tutto si move
ciò ch’ella crïa o che natura face».

 

Chiaro mi fu allor come ogne dove
in cielo è paradiso, etsi la grazia
del sommo ben d’un modo non vi piove.

 

Ma sì com’ elli avvien, s’un cibo sazia
e d’un altro rimane ancor la gola,
che quel si chere e di quel si ringrazia,

 

così fec’ io con atto e con parola,
per apprender da lei qual fu la tela
onde non trasse infino a co la spuola.

 

«Perfetta vita e alto merto inciela
donna più sù», mi disse, «a la cui norma
nel vostro mondo giù si veste e vela,

 

perché fino al morir si vegghi e dorma
con quello sposo ch’ogne voto accetta
che caritate a suo piacer conforma.

 

Dal mondo, per seguirla, giovinetta
fuggi’mi, e nel suo abito mi chiusi
e promisi la via de la sua setta.

 

Uomini poi, a mal più ch’a bene usi,
fuor mi rapiron de la dolce chiostra:
Iddio si sa qual poi mia vita fusi.

 

E quest’ altro splendor che ti si mostra
da la mia destra parte e che s’accende
di tutto il lume de la spera nostra,

 

ciò ch’io dico di me, di sé intende;
sorella fu, e così le fu tolta
di capo l’ombra de le sacre bende.

 

Ma poi che pur al mondo fu rivolta
contra suo grado e contra buona usanza,
non fu dal vel del cor già mai disciolta.

 

Quest’ è la luce de la gran Costanza
che del secondo vento di Soave
generò ’l terzo e l’ultima possanza».

 

Così parlommi, e poi cominciò ‘Ave,
Maria’ cantando, e cantando vanio
come per acqua cupa cosa grave.

 

La vista mia, che tanto lei seguio
quanto possibil fu, poi che la perse,
volsesi al segno di maggior disio,

 

e a Beatrice tutta si converse;
ma quella folgorò nel mïo sguardo
sì che da prima il viso non sofferse;

 

e ciò mi fece a dimandar più tardo. 

Translator's Note

In translating all three books in the Divine Comedy, I’ve been guided by Dante’s argument for writing poetry in the vernacular, instead of in literary Latin. Dante wrote that he wanted anyone who could read to be able to read his poetry. He said that Latin requires special training whereas we learn the vernacular as children simply by hearing it spoken; he said that Latin was frozen in time and that poetry should be written in a language that changes over time; and he said that poetry requires a language that is instilled with warmth, i.e., the language with which we speak to our family, friends, and beloveds. Latin, he said, was too noble—so noble and sublime it would overwhelm whatever was being said.

I’m following Dante in writing for everyone who can read English but I’m especially writing for readers who may have wrongly assumed that the Comedy is a quaint literary artifact of a distant era that couldn’t possibly speak about our own urgent concerns. I’m also writing for those who have read previous translations and found that their elevated registers interfered with establishing the empathic bond required to read the subjectivity that underlies the text. Part of the problem is that a consistently elevated register tends to erase the differences between the characters, making them all sound alike. Elevated registers also tend to mask the humour, which is significant in the original.

In Canto I of Paradiso, Beatrice explains to Dante that contrary to what he’s thinking (she can read his mind), he’s no longer in the Terrestrial Heaven—the former Eden—but has advanced to Paradise. It only makes sense, she says, since he drank from the waters Lethe and Eunoe and is now unencumbered by sin. In Canto II, Dante explains to us that he and Beatrice have been literally absorbed into the moon, “that eternal pearl;” Beatrice explains to him why the moon, as seen from the earth, has light and dark areas, the gist of which is: God’s love reacts differently with each of the different materials He created. In terms of the moon, some parts of it are more sensitive to the illuminating principle—love that takes the form of light—that emanates from God. When seen from the earth, the more sensitive parts appear brighter. In Canto III, Dante meets two women who were nuns but who were kidnapped from their respective cloisters and forced to marry, thereby annulling their vows. Despite the fact that the evil was done to the women and not by them, they can’t achieve the highest ranking in the Empyrean Heaven because (as Beatrice will inform Dante later in the Canto) they could have returned to the convent after having been taken from it, but they didn’t. The divine gift of free will requires that one exercise that free will, no matter what. The women explain to Dante they are perfectly happy with their lesser standing.

This is one of those moments where the reader’s ability to read Dante’s state of mind, his “subjectivity,” is essential to tracking his growing understanding not only of how one’s behavior on earth affects how one experiences the afterlife, but also his awareness of the essential nature of heaven itself. This process of enlightenment is what the Divine Comedy is about: first there is the stepwise descent into Hell; then, the slow climb up Mount Purgatory where Dante observes how souls do penance for each of the seven cardinal sins; and now, his immersion in the heaven of the moon, the first of the nine heavens that comprise the universe. The first nun Dante meets is Piccarda, the sister of his close friend Forese Donati and cousin of his wife Gemma Donati. Dante was well aware that when she was alive, Piccarda was a paragon of virtue who had joined the convent only to have been kidnapped from it by her power-hungry elder brother, Corso, and crassly forced against her will to marry Rossellino della Tosa for the sole purpose of cementing a political alliance. In Dante’s thinking, if anyone had been unjustly treated and now deserved to be close to God, it would be Piccarda. And yet he was encountering her here, in the heaven farthest from the Empyrean where God resides. When he asks her (III.64–66) whether she wouldn’t prefer to be closer to God—“Ma dimmi: voi che siete qui felici, / disiderate voi più alto loco / per più vedere e per più farvi amici?”—he is also asking about the fairness of heaven, and of God, who designed heaven and rules over it. Vernon, in his 1909 prose translation, renders this tercet as: “But tell me: you that are here in bliss, do you long for any more exalted place, to see more or to make for yourselves more friends?” In the commentary that follows the line, he notes the ambiguity of the word amici, which usually means “friends.” It can, however, figuratively mean to be intimately linked to someone or to have someone’s support. Vernon (106) writes,

I follow Tommaséo, Scartazzini and Casini in their interpretation, which conveys the following meaning: “Do all of you desire to be in a more exalted region of Heaven, in order that you may see a greater number of your former friends who are already there, or, for the purpose of making for yourselves a glorious array of friends in increasing numbers among the Blessed on High?” And this interpretation is confirmed by the fact that Dante does not yet know that every one of the spirits in the Spheres are also inmates of the Empyrean. The more generally adopted interpretation, with which I do not agree, is: “For the purpose of beholding nearer that Divinity, from which all Blessedness takes its source, or to be able to make yourselves more beloved by God?”

Unlike Vernon, later translators have followed the “more generally adopted interpretation”: Mandelbaum (1995): “But tell me: though you’re happy here, do you / desire a higher place in order to / see more and to be still more close to Him?”; Singleton (1975), in prose: “But tell me, you who are happy here, do you desire a more exalted place, to see more, and to make yourselves more dear?”; Hollander and Hollander (2007): “But tell me, do you, who are here content, / Desire to achieve a higher place, where you / Might see still more and make yourselves more dear?” In my translation, I’m concerned not only with whether Dante wants amici to mean the souls would have “more friends” if they were seated in a higher heaven or they would be “more valued by God,” but with how to capture the curiosity and concern behind Dante’s question. My hope is that by lowering the register and making the question syntactically straight forward, the reader will better appreciate how Dante comes to terms with this confusing situation. My translation is: “But tell me, as happy as you are here, / Do you long for a higher place, / Where you could see more and be more cherished?”

This question, as small as it may seem, is key because it generates Piccarda's answer—which is that in heaven, the souls only want what God wants—to conform one’s will to God’s Will is the only way to be at peace. This information leads Dante to a crucial epiphany (vss. III.88–90): “Right then it was clear to me: how every place / In Heaven is Paradise, even though the grace / Of the Highest Good doesn’t rain on it the same.” It is also a lesson in difference. The materials in the different orbs absorb God’s light differently, and the blessedness that comes to each soul may be different, based on their prior circumstances, but each feels totally satisfied.

My translation tracks the Italian text as consistently as the others. The only thing I’ve done differently is that I’ve kept the register of the language in the range of spoken English: Dante’s vernacular is now a version of a contemporary American English vernacular. There are many contemporary American English vernaculars, this is just one. Any substitutions I make are embodied in the original language. In the Italian, Canto III ends like this:

124     La vista mia, che tanto lei seguio
125     quanto possibil fu, poi che la perse,
126     volsesi al segno di maggior disio,

127     e a Beatrice tutta si converse;
128     ma quella folgorò nel mïo sguardo
129     sì che da prima il viso non sofferse;

130     e ciò mi fece a dimandar più tardo.

Singleton gives those lines as:

My sight, which followed her so far as was possible, after it lost her, turned to the mark of greater desire and wholly reverted to Beatrice; but she so flashed upon my gaze that at first my sight endured it not; and this made me the slower with my questioning.

Allen Mandelbaum’s translation of those same lines reads:

My sight, which followed her as long as it
was able to, once she was out of view,
returned to where its greater longing lay,

and it was wholly bent on Beatrice;
but she then struck my eyes with so much brightness
that I, at first, could not withstand her force;

and that made me delay my questioning.

Robert and Jean Hollander translate the lines as:

My eyes, which watched her as long as they could,
Turned, once she was lost to view,
To the goal of their greater desire

And were wholly bent on Beatrice.
But she so blazed upon my sight
At first my gaze could not sustain her light
And that delayed my plying her with questions.

My own rendering is:

My sight, which followed her 
As far as possible, once it lost her, 
Turned to the target of greatest desire

And totally focused on Beatrice— 
But looking, the lightning strike was so bright
That at first, I couldn’t bear it.
And that made me wait until later to ask.

The word folgorò, the first-person singular indicative of forgoráre, means to flash or to strike “as with lightning.” Literally, that line—“ma quella folgorò nel mïo sguardo”—could be rendered “but she struck (or flashed) like lightning in my sight/looking/view.” Each of the four translations above carry over into English something close to the Tuscan Italian. I’ve tried to translate the line in a manner that sounds less archaic.

None of us attempt Dante’s unrelenting terza rima. Rhyme-poor English makes it impossible to sustain that interlocking rhyme scheme (aba, bcb, cdc, ded, etc.) for long before being forced to make compromises of one sort or another. Instead, I incorporate a variety of phonic echoes—internal rhyme, assonance and alliteration—to create some of the sonic cohesion that comes from linked sounds. Occasionally, I fall into metric regularity and sometimes, even into Dante’s endecasillabo (hendecasyllable verse): And that / made me wait / until la / ter to ask.


Mary Jo Bang

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