THE INFERNO.

engraved. R. Young

Dante Allighieri

DANTE'S DIVINE COMEDY:
THE INFERNO.
A Literal Prose Translation,
WITH

THE TEXT OF T H E ORIGINAL COLLATED FROM T H E BEST
EDITIONS, AND EXPLANATORY NOTES.

BY

JOHN A. CARLYLE, M.D.

0 degli altri poeti onore e lume,
Vagliami il lungo studio e il grande amore,
Che m' han fatto cercar lo tuo volume.

Infern, i. 82-4.

FIFTH EDITION.

LONDON : GEORGE BELL & SONS, YORK STREET,
COVENT GARDEN.
1889.

CHISWICK PRESS :—C WHITTINGHAM AND CO., TOOKS COURT,
CHANCERY LANE,

PREFACE TO THE FIRST EDITION.
°
Ì
£
>
<
i
^

THE object of the following Prose Translation is to
give the real meaning of Dante as literally and briefly
as possible. No single particle has been wittingly
left unrepresented in it, for which any equivalent
could be discovered; and the few words that have
been added are marked in Italics. English readers,
.it is hoped, will here find a closer, and therefore,
with all its defects, a warmer version than any that
has hitherto been published for them.
j
The Italian Text, carefully collated from the best
g editions, is printed beneath, in order to justify and
^ support the Translation, which is perhaps too literal
^ for standing alone ; and likewise to enable those who
^ have any knowledge of Italian to understand the
i Original itself more easily, and with less obstruction
^5 enjoy the deep rhythmic force and beauty of it, which
cannot be transferred into any other language.
New Arguments or explanatory introductions, in\ tended to diminish the number and burden of indist\pensable notes, are prefixed to the Cantos.
The
^ Notes themselves are either original, or taken directly,

vi

PREFACE.

and in no case without accurate reference, from the
best Italian commentators and historians ; and, above
all, from Dante's own works, wherever any thing
appropriate could be met with. Illustrative or parallel
passages are quoted in them, from the Bible, and
from Virgil and other ancient authors, to shew the
way in which Dante used his materials ; and more
sparingly from Chaucer and Milton, both of whom
had read the Divina Commedia with poetic warmth
and insight, before producing any of their own great
works. The endless passages which might have been
quoted from Italian writers, are excluded for the sake
of brevity, and as being far less near and less interesting to us.
Finally, the doubtful, difficult, or obsolete words
are explained between the notes and the original text,,
or in the notes themselves. A brief account of the
most remarkable Editions, Comments, and Translations, is given at the commencement, together with a
sketch of Dante's Hell and his journey through it.
And the volume concludes with a complete Index of
the Proper Names that are mentioned or alluded to.
Now this simple statement will sufficiently shew
that the present undertaking is upon a plan quite
different from that of the other English translations ;
and therefore enters into no competition with them,
and requires no apology. I am persuaded that all

PREFACE.

vii

who know any thing of the manifold significance of
the Original, or of its old and recent history, will be
glad to see another faithful effort made to bring the
true meaning of it nearer to English readers. But,
for several purposes, and more especially for the
guidance of younger students, it may be useful to
state also, in a few words^ the reasons that have
gradually led to this new experiment, and the' feelings
and convictions under which it was begun. They are
as follows :
In the year 1831, being called to Italy by other
duties, I first studied the Divina Commedia, under
guidance of the most noted literary Dilettanti of Borne
and other places. I heard them read it with wondrous
gestures and declamation, and talk of it in the usual
superlatives ; I learnt by heart the stories of Francesca,
Ugolino, & c , and could speak very fluently about
them. But, as a whole, it took little serious hold
of me at that time. The long, burdensome, incoherent
jumble of contending notes in the Paduan edition of
1822—recommended as the best—had helped to
darken and perplex every part of it that required any
comment.
During the seven years which followed, I often
studied it again, at leisure hours, along with the
other works of Dante ; and got intimately acquainted
with various Italians~of different ranks, who, without
making any pretensions to literature, or troubling

viii

PREFACE,

themselves with conflicting commentaries, knew all
the best passages, and would recite them in a plain,
sober, quiet tone—now rapid, now slow, but always
with real warmth—like people who felt the meaning,
and were sure of its effect.
To them the Divina
Commedia had become a kind of Bible, and given
expression and expansion to what was highest in
their minds. The difference between them and the
Dilettanti seemed infinite, and was all the more impressive from the gradual way in which it had been
remarked.
The contemporary Historians, or Chroniclers, of
Florence and other parts of Italy were afterwards
studied, in connexion with Dante and his earliest
commentators; and here the meaning of the great
Poem first began to unfold itself in detail, and apart
from its mere literary merits. Ifc became significant
in proportion as it was felt to be true—to be, in fact,
the sincerest, the strongest, and warmest utterance
that had ever come from any human heart since the
time of the old Hebrew Prophets. Diligent readers
of those contemporary historians will find that the
Poet, amongst other things, took the real historical
facts of his age, and took them with surprising
accuracy and transcendent impartiality, extenuating
nothing, exaggerating nothing, though often rising
into very high fervour and indignation. And they
will also find that there was enough in those old times

PREFACE.

ix

to excite a great, earnest, far-seeing man, such as
Dante ; and send hint into the depths and heights of
Prophetic Song. Those times had already produced
Sicilian Vespers, and tragedies enough; and carried
within them the seeds of Bartholomew Massacres, of
Thirty-Years Wars, and French Kevolutions, and the
state of things that we now see over the whole continent of Europe and elsewhere. They were times of
transition, like our own—the commencement of a New
Era, big with vast energies and elements of change ;
and " the straight way was lost."
I t is only the
phraseology, the apparatus, and outward circumstances
that are remote and obsolete : all else is the same with
us as with Dante. Our horizon has grown wider than
his : our circumnavigators do not find that Mount of
Purgatory on the other side of the globe ; the Continents of America stand revealed in his Western
Hemisphere of Ocean; the Earth is no longer the
u
fixed and stable " Centre of our Universe : but the
great principles of truth and justice remain unaltered.
And to those amongst ourselves, who, with good and
generous intentions, have spoken lightly and unwisely
concerning Dante, one has to say—not without sadness : Study him better. His ideas of Mercy, and
Humanity, and Christian Freedom, and the means of
attaining them, are not the same as yours: not the
same, but unspeakably larger and sounder. He felt
the infinite distance between Eight and Wrong, and

X

FEE FA CE.

had to take that feeling along with him. And those
gentle qualities of his, which you praise so much, lie
at the root of his other heroic qualities, and are inseparable from them. All anger and indignation, it
may safely be said, were much more painful to him than
they can be to you. The Dante you have criticised is
not the real Dante, but a mere scarecrow—seen
through the unhealthy mist of your sentimentalisms.
Why do you keep preaching your impracticable
humanities, and saying, Peace, peace ; when there is
no peace ? Is there nothing within your own daily
observance or experience to make you seek for surer
footing, and prevent you from trying to heal the
foulest ulcers by merely hiding them, and talking
mildly about them ? Have you not this very year
beheld the whole of a great nation, franticly, and with
a world-wide re-echo, proclaiming universal Brotherhood, and Freedom, and Equality, on hollow grounds ;
and then, within four short months, as a natural and
inevitable consequence, slaughtering each other by
thousands ? The humanest men of all countries are
beginning to grow sick and weary of £uch expensive
sham humanities.
But to return.
Having thus acquired a clearer
idea of the Poem, and got fairly beneath the thick
encumbrances of Dilettantism and other encumbrances,
which hide its meaning, I began to be convinced that
the quantity of commentary, necessary to make the

PREFACE.

xì

substance and texture of it intelligible, might be
compressed into a much smaller space than had been
anticipated ; and this conviction was confirmed by a
minuter examination of the most celebrated modern
commentators, such as Venturi, Lombardi, Biagioli, & c ,
from whom those notes in the Paduan edition, above
mentioned, are chiefly taken. A practical commentator, whose main desire is to say nothing superfluous,
has got to study them all in the way of duty ; and
then feels it to be an equally clear duty to pass over
the ^greater part of what they have written in perfect
silence. All of us want to know something of Dante;
but not one in a thousand could endure to read long
discussions which generally end in nothing, and which
surely ought to be allowed to die a natural death aa
rapidly as possible.
I t was under such impressions as these that I first
thought of publishing a correct edition of the Original
Text, with English Arguments, and Notes explaining
all the difficult passages, allusions, &c. But this plan>
I was told by the best authorities I had an opportunity
of consulting, would "make a piebald, monstrous Book,,
such as has not been seen in this country ; " and
therefore, not without reluctance and misgiving, I
resolved to attempt the Literal Prose Translation at
the same time, and send forth this first volume—complete in itself—by way of experiment. The process of
breaking in pieces the harmony and quiet force of the

Xii

PREFACE.

Original, and having to represent it so helplessly and
inadequately in another language, has been found as
painful as was anticipated, and the notes as hard to
compress ; but from beginning to end, all the difficulties of the task have at least been honestly fronted;
and readers who are already familiar with Dante and
his commentators will be able to estimate the quantity
of labour required for the performance of it.
In conclusion, I have to acknowledge the kindness
of one highly accomplished friend, whose name I am
not allowed to mention ; he read over the proofs of
the first eight Cantos, and suggested some useful
additions and amendments.
I have also to thank my printers for the patient
diligence and dexterity with which they have gone
through their difficult and complicated task, submitting to numerous alterations and corrections in
the course of it. The common Italian punctuation,
somewhat different from our own, has been purposely
retained.
J. A. 0 .
Chelsea, December 1848.

PREFACE TO THE SECOND EDITION.
IN this Second Edition the Translation is carefully
revised, and the Italian Text freed from two or three
errors of the Pirst Edition.
The greater part of the Purgatorio had been translated when the Inferno was first " sent forth, complete
in itself, by way of experiment ; " and the experiment
has been successful in the best sense. All strangera
as well as friends, for whose opinion the Translator
has most respect, have urged him to complete the
translation of the whole.
Other occupations have
hitherto stood in the way ; but he now hopes to send
forth the two remaining volumes, Purgatorio and
Paradiso, in regular succession, regretting only that
all three volumes, as he wished, were not published at
once in 1849.
J. A. C.
September 1867.

PREFACE TO THE THIRD EDITION.
THIS Third Edition is a careful reprint of the Second,
and is issued at a price that will bring it within the
reach of a wider circle of readers.

MANUSCRIPTS AND EDITIONS.
THE Manuscripts of the Divina Commedia, found in different parts of Italy, and described by various Italian
writers who had seen or examined them, were estimated by
Ugo Foscolo (Edition of 1842-3, torn. iv. p. 49) as amounting in all to some Two Hundred. Our British Museum,
our Oxford and other libraries public and private, also
contain several that are not mentioned by those writers ;
and doubtless there are many more in the libraries of
France, Germany, &c. The number of them is indeed
very remarkable, considering that printing was introduced
into Italy nearly four centuries ago. And valuable readings have been obtained from some of them ; but none of
ours have as yet been thoroughly examined ; and the
terms in which most of the Italians speak of theirs are
extravagant, vague, and incredible, as Foscolo justly
observes : so that one is forced to wait for further evidence, before giving any opinion on the subject of their
relative merits. The second volume of the Bibliografia
Dantesca1 of M. de Batines, if it equals the first, will fur1

BIBLIOGRAFIA DANTESCA, ossia Catalogo delle Edizioni, Traduzioni, Codici Manoscritti e Coménti della Divina Commedia e delle
Opere Minori di Dante, seguito dalla serie de' Biografi di lui, compilata
dal Sig. Visconte Colomb de Batines. Traduzione Italiana, fatta sul
Manoscritto Francese dell' autore. Tom. i. 8V0, pp. 769. Prato, 1845-6.
I have quoted the title of this very useful and meritorious work at full

xvi

MANUSCRIPTS

AND

EDITIONS.

nish the sober and accurate account of them which is still
wanted.
The number of Editions hitherto published is upwards
of Two Hundred and Fifty. Of these, at least fifteen
authentic editions, besides five of doubtful authenticity,
were printed within the last thirty years of the fifteenth
century ; forty-two in the sixteenth ; four in the seventeenth, or poorest century of Italian literature ; forty in
the eighteenth ; and, in the present century, more than
one hundred and fifty. Ample details, concerning all of
them that were published before the year 1845, will be
found in the work of M. de Batines. Only a few of the
most remarkable can be mentioned here—in the order of
their dates.
1472. The earliest edition is that of Iohanni Numeister,
printed at Fuligno in 1472, with very brief arguments
and no comment. I t is printed in clear type, a-nd upon
strong paper ; not paged or numbered. There are almost
no points ; and no capital letters, except at the commencement of the Terzine, and in a very small number of the
proper names. In the British Museum there is an excellent copy of it, to which I have often referred, and not
always without profit,1 when perplexed by different readlength. The second volume is still unpublished.

The first, in two

parts, contains an account of the Editions, Translations, and Comments
printed and unprinted ; and throughout the whole of it, the author carefully distinguishes what he has himself seen from what is reported by
others
1
Thus, in canto i. ver. 48,1 found : Si che pareo, che laere ne TREMASSE, though Foscolo says " all the printed copies " have TEMESSE y
and, in canto xvii. ver. 124 : Et nidi poi che ^ZUEDEA davanti, instead

MANUSCRIPTS AND EDITIONS.

xvii

ings. All the Bibliographers speak of it, and also of two
other editions that were printed later in the same year. In
particular, the account which M. de Batines gives of it is
very accurate. I shall content myself with quoting one or
two passages, to show the curious way in which the words
flow together, without points or capitals, more especially
when the line threatens to be long. Thus :
Perme siua nellacipta dolente
perme siua neleterno dolore
perme siua tra laperduta gente
Inferno, iii. 1-3.
Come dautunno seleuan Moglie
luna apresso dellaltra finchel ramo
rendalla terra tutte lesue spoglie
Ibid. iii. 112-4.
Noi leggiauamo ungiorno perdiletto
dilancialotto come amor lostrinse
soli erauamo et senzalcun sospetto
- Ibid. v. 127-9.

1477. The next remarkable edition that I have had
opportunities of examining, also in the Museum, is that
of Vendelin da Spira, printed at Venice in 1477. M. de
Batines gives to it the title of La DIVINA Commedia, ap-

parently through inadvertency, as he also does to editions
printed in 1473, 1484, 1487, and 1491. The epithet
DIVINA occurs in no edition of the fifteenth century ; but

at the end of this of Yendelin, in some vehement helpless
of Foscolo's UDIA davanti. I find TREMESSE also in the
politan edition, printed about 1475. An exact reprint
edition, with the different readings of the other earliest
be very acceptable; and the Museum now possesses
them all.
I

very rare Neaof the Fuligno
editions, would
good copies of

xviii

MANUSCRIPTS

AND

EDITIONS

verses, we find the expression, INCLITO et
alleghieri Fiorentm poeta;

EXCELSQ, GLOEIOSO, DIVINO, or VENERÀBILE poeta
long before they begin to apply the title
poem itself.

DIUO

dante

and later editions speak of the
l

Fiorentino,

of DIVINE to the

The text is in general more accurate than

that of l^umeister ; and is accompanied by a long comment, which the title—falsely
to Benvenuto da Imola.

as we shall see—attributes

I shall give one specimen.

The

initial letters of the Terzine stand wide apart from the
lines, thus :
A

A

v

1

D

mor chanullo amato amar perdona
miprese dicostui piacer siforte
che come uedi ancor non mabandona
mor condusse noi aduna morte
chain attende che uita cispense
queste parole dalor cifur porte
achio intesi &c.
Inf. v. 103-9.

In the Letter to Can Grande, Dante himself, speaking of the Title,

says, "Libri titulus est: INCIPIT COMCEDIA DANTIS ALLAGHERII, F I O -

RENTINI NATIONE, NON MORiBUS." He then gives the derivation of the
terms Comedy and Tragedy thus : " Comcedia dicitur a KM/IT], villa, et
ydrj, quod est cantus, unde Comcedia quasi villanus canttts. . . . Tragcedia
a rpayog, quod est Mrcus, et qìdfi, quasi cantus kircimts, id est foetidus ad
modum hirci." And after adding that Tragedy " speaks in a style elate
and sublime, and at the beginning is admirable and quiet, at the end or
exit fetid and horrible ;J* while " Comedy begins with the asperity of a
subject, and ends prosperously, and speaks in a remiss and bumble style ;"
he says it will be easy to see " why the present work is called a Comedy.
For if we consider the subject thereof, at the beginning it is horrible and
fetid, being Hell ; at the end prosperous, desirable, and grateful, being
Paradise. And if we consider the style of speech, that style is remiss
and humble, being the vulgar speech, in which even the women talk with
one another. Wherefore it is evident why the work is called a Comedy."

MANUSCRIPTS

AND EDITIONS.

xix

1478. The Milanese edition of 1477-8, called Nido?>eatine from the name of its editor, is the best of all the
early editions. There are at least two copies of it in the
Museum : one beautifully printed on parchment, the other
on the strong paper of those times. A long commentary,
generally attributed to Jacopo della Lana of Bologna, a
contemporary of Dante, accompanies the text, which runs
thus:
Costui non ciberà terra ne peltro
ma sapienza & amore euirtute
e sua nation sarà tra feltro efeltro
Diquella humil italia fia salute
per cui mori lauergine Camilla
eurialo eturno e niso diferute
Questi lacaccera &c
Inf. i. 103-9.

1481. The earliest Florentine edition is that of 1481,
with the comment of Landino. I t is magnificent both in
size and form ; b u t greatly inferior to the Milan edition
in point of correctness. I n the best copy of the Museum
I find no fewer than fifteen instances in which verses or
whole Terzine are left out, besides other errors. I n all
the copies I have seen, there are at least Two Engravings,
heading the first and second cantos of the poem, while
See also Vulg. Eloq. ii. 4, where Dante again says : " In Tragedy we
/assume the higher style, in Comedy the lower," &c.
The earliest and most other editions of the fifteenth century translate
the title simply j COMINCIA LA COMEDIA D I DANTE ALLEGHIERI DI
FIRENZE, & C

The Letter to Can Grande, as given in the London edition of 1842-3
(torn. iii. p. 269-84) is miserably incorrect, and quite unintelligible. I
quote from Fratioelli's edition.

XX

3IANUSCEIPTS

AND

EDITIONS.

large blank spaces are left above all the other cantos ; and
in some rare copies as many as Twenty are found, the last
seventeen or eighteen of which seem to be glued upon
those blank spaces. On the whole, this edition is a decided and very expensive failure ; but shows the ideas
which the Florentines had learnt to entertain of their
great Poet. The comment of Landino, though reprinted
more than fifteen times at Venice and elsewhere, was
never again printed at Florence. I t is the last edition
from which I shall quote a specimen. The words, as will
be seen, begin to stand more regularly apart from one
another :
Incontinente intesi et certo fui
che quest era la secta de captiui
a dio spiacenti et animici suoi
Questi sciagurati che mai non fur uiui
erono ignudi et stimolati molto
da mosconi et da uespe cheron iui
Inf. iii. 61-6.

1502. After these folio editions of the 15th century
comes the first Aldine, printed in 1502 ; and one is glad
to see so perfect a little volume. I t bears the simple title
of L E TERZE RIME DI DANTE, in front ; and, on the reverse,
Lo 'NFERNO E 'L PURGATORIO E ?L PARADISO DI DANTE ALA-

GHIERI. The text is said to have been taken from " a
manuscript copy of Cardinal Bembo, now in the Vatican."
Batines, torn. i. p. 60.—The second Aldine edition, DANTE
COL SITO ET FORMA DELL' INFERNO TRATTA DALLA ISTESSA
DESCRITTANE DEL POETA, printed in 1515, is of the same

size and form in every respect, page for page ; and has
woodcuts at the end, representing the position and shape
of the Inferno. I have had these two editions constantly

MANUSCRIPTS

AND

EDITIONS.

xxi

at hand, and have found the last of them eveu more
correct than the other.
1506. The second Florentine edition, COMMEDIA DI DANTE
INSIEME CON UN DIALOGO CIRCA EL SlTO FORMA ET MlSURE

DELLO INPERNO, published by Philippo di Giunta in 1506,
is of the same small octavo size as the Aldine, and in
similar type ; but is much rarer than either of them, and
has many different readings. I t is also very correct. My
copy contains Seven woodcuts, along with the Dialogue at
the end, though only Six are spoken of by M. de Batines,
p. 65.

1507. The 2Dante altrieri fiorentino Jfg tortaio,
with the comment of Landino, printed at Yenice in 1507,
fey Bart, de Zanni da Portese, is a rare and curious edition
with singular woodcuts, but of little practical value. The
words flow together in it, as in the editions of the fifteenth
century, though the text seems mainly taken from the
Aldine.
1516. The first edition with the title of DIVINA Commedia,
is said to be the one printed at Yenice in 1516, by
Bernardino Stagnino de Monferra. I t has become very
scarce; and I have not been able to get sight of it to
verify the assertion. But in the neat and rare little Yenice
edition of 1555, by Gabriel Giolito di Ferrarli, of which
there is a copy in the Museum, I do find that title.
1564. The three Yenetian editions of 1564, 1578, and
1596, all in folio, with the comments of Landino and Yellutello and many useful woodcuts, published by Giovambattista Sessa and his Brothers, are simply and beautifully,
and on the whole very correctly printed. They are called
'Edizioni del Gatto, from the printer's mark of a Cat with

XXii

MANUSCRIPTS

AND

EDITIONS.

prey, at each important stage of the work ; and then of a
grave larger Cat, sitting at the end of it : or Edizioni del
Gran Naso, from the striking portrait of Dante on the
title-page. The text of them is very nearly the same as
the Aldine, only a little modernised in spelling and punctuation. I have used the edition of 1578.
1595. In 1595, the Academicians della Crusca, taking
the Aldine edition and comparing it with about one
hundred different Manuscripts, gave out their Text of the
Commedia, in a somewhat shabby and very incorrect little
volume.
Two of the four incorrect editions published in the 17th
century have the title : LA VISIONE, Poema di Dante, &c.
1727. The text given by the Cruscan Academy was first
thoroughly corrected in 1726-7, by G. A. Volpi, professor
of philosophy at Padua ; and the edition of that date,
superintended by him, and printed at Padua by Giuseppe
Cornino (hence called Edizione Cominiana), is much and
deservedly noted for its accuracy, and has been more
frequently reprinted than any other.
1757. Zatta's large Venetian' edition of 1757-8, rather
celebrated in this country, takes the text of Volpi with
more or less fidelity. I t is gaudy, pretentious, and on the
whole decidedly ugly " with abundant engravings."
1791. No edition of the Divina Commedia had been
permitted at Rome, till Lombardi's appeared in 1791, con
licenza de' Superiori. I t is in three volumes quarto, with
long comment ; and is a good, faithful, honest edition, the
result of many years' labour. The text of it is taken
from the Nidobeatine of 1477-8; or rather, the Cruscan
text, as given by Volpi in the Edizione Oominiana is

MANUSCRIFTS

AND EDITIONS.

xxiii

altered on the authority of the Nidobeatine. and of various
MSS. to which Lombardi had access in the Vatican and
other libraries at Rome. The worthy Friar gives only his
initials, F.B.L.M.C. (Fra Baipassare Lombardi, minor conventuale) on the title-page.
1795. The magnificent folio edition of Bodoni, edited by
G. F. Dionisi—a learned, but perverse and quarrelsome,
admirer of Dante—was printed at Parma in 1795.
1807. The Leghorn edition by Gaetano Poggiali (Livorno, Tommaso Masi et G'\ 1807-13, 4 vols. 8V0) is in considerable esteem for its correctness. I t gives various readings, from a parchment MS.—of the year 1330, as Poggiali
fondly believes and asserts—-and has a commentary, or
paraphrase of the text, in separate volumes.
1817. " La Divina Commedia con tavole in rame," published at Florence, in four large folio volumes, and dedicated
to Canova, in 1817-19, is perhaps the most splendid edition
of Dante, though the plates are not all in good taste. The
last volume contains a very judicious and useful selection
of brief notes, many of them taken from the old manuscript
commentaries which are not generally accessible. In truth,
it is the best selection that has hitherto been made ; and
well deserves to be reprinted in a separate and more accessible form.
1820-2. The text and comment of Lombardi are given
in the Roman editions of 1815 and 1820-1, and in the
Paduan of 1822, with numerous additional notes, readings,
and " illustrations "—forming a vast jungle, from which
the most experienced readers of Dante may well find it
hard to extricate themselves. The two last of these editions, however, are indispensably necessary for any one

xxiv

MANUSCRIPTS

AND

EDITIONS.

who undertakes to meet the difficulties of explaining or
editing the Divina Commedia, though they are probably
the worst that could be recommended to any serious
student of it.
1842. " La Commedia di Dante Allighieri, illustrata da
Ugo Foscolo," London, 1842-3, 4 vols. 8V0, is the last that
I shall mention. It is very valuable on account of the
number of accurate references that it contains. Foscolo
died on the 14th of September 1827, and lies buried in the
little cemetery at Chiswick. He had made many preparations for a large and perfect edition of Dante ; and this of
1842-3, superintended and corrected by " An Italian " well
known in this country, is the result of what was found in
his manuscripts. The first volume gives the long "Discorso sul Testo del Poema di Dante " enlarged and corrected, with a Preface by the Editor, in which the merits
and defects of Foscolo are briefly and candidly stated.
English readers will dislike the angry, disjointed, and
acrid style of that Discourse ; and quiet students of Dante
will be able to point out various errors, exaggerations, and
anachronisms ; but it ought to be remembered that poor
Foscolo had to remove very large quantities of deep-settled
rubbish, and deal with a class of his countrymen upon
whom any other style would have produced less effect.
And though he never got fairly beyond the morbid Lettere
di Jacopo Ortis, and had, as his Editor says, formed a most
incomplete idea of Dante, let us at least thank him for
what he did so zealously and faithfully.
By accurate
citation of every authority within his reach, he cleared the
way for finally determining the text of the great Poem ;
and all the editions of it, that have been published since

3IANUSC1UPTS

AND

EDITIONS.

xxv

the appearance of his, contain many of the readings and
restorations which he contended for.
1848. The plan that has been adopted for fixing tho
Text here given, may be stated very briefly. The best
common edition, that of Felice Le Monnier—printed at
Florence in 1844, and also published in London by Rolandi,
with the date of 1845—was taken and compared with the
Aldine, Giuntine, Cruscan, Roman, Paduan, and other
editions, besides that of Foscolo, whose notes had been all
carefully studied; and only such alterations were made
as seemed fully warranted. Those notes of Foscolo, in
various instances, failed to prove the propriety of changes
he had introduced; and were sometimes found defective
in their citations. No reading has been adopted without
good authority, as all may ascertain who choose to make
the same laborious comparisons ; and, on the whoie—after
what has been done by Foscolo and others—there seem
sufficient materials for determining the text of the great
Poem. Would that we had as sure and perfect a text of
our own Shakspeare !

COMMENTS AND TRANSLATIONS.
THE number of Essays, Dissertations, and partial or complete Commentaries on the Divina Commedia, mentioned
by M. de Batines (Bibl. Bant, torn. i. pp. 370-766) amounts
to no fewer than Twelve Hundred and Forty ; and several
more have been published within the last three years. I
refer to his work for an account of them, and shall here
notice only a few of the most remarkable.
The earliest of all comments seems to be that of Jacopo,
Dante's son, written in the year 1328. I t extends no
farther than the Inferno, in the only complete MS. of it
known to exist—a parchment MS. of the 14th century,
No. 7764* of the Royal or National Library at Paris. The
Proem begins thus : Per do che del frutto universale, novellamente dato al mondo per lo illustro filosofo e poeta dante
alligliieri fiorentino, con più agevolezza si possa conoscere
. . . . io Jacopo suo figliuolo dimostrare intendo parte del
suo profondo et autentico intendimento, &c. And, in the
explanation of Canto xxi. ver. 112, this passage occurs,
and fixes the date: E correvano gli anni dalla nativitade
del signoro mcclxxxxviiij, e oggi corrono mcccxxviij ; però
dire si puote che xxvij anni compiuti sieno eli etti comincioe
questa opera,1 &c. A certain learned advocate, Jacopo
1
To understand this quotation, we must recollect that, in Dante's
time, and for some centuries after, the year commenced on the 2ath of
March, and that questa opera probably means "this task or mystic

COMMENTS AND TRANSLATIONS.

xxvii

Ferrari of Beggio, who has carefully examined the MS.
and made these extracts from it, M. de Batines says, is
about to publish this old comment ; and it will certainly
be very welcome to students of Dante.
Jacopo della Lana, of Bologna, is the next commentator
in point of date. Little is known of him, though no fewer
than fifty-two different MSS., containing the whole or part
of his commentary, still exist. One of these, a Latin
translation, dated 1349, is in the Bodleian Library (Hss.
Canonici. Misceli. 449) ; and another, also a Latin translation, in the Royal Library of Paris, dated 1351. Both
these translations are the same in the Purgatorio and
Paradiso ; and the whole translation in the Parisian MS.
is by Alberico dà Bosciate, while that of the Inferno in
the Oxford MS. is by " D o n Guillielmus de Bernardis.'*
The remaining fifty MSS. are mostly in the original
Italian ; and have been found to correspond with the
comment which is printed in the Venetian edition of
Vendelin da Spira (see p. xvii.), and falsely attributed to.
Benvenuto da Imola. And, with the exception of a few
alterations and additions, chiefly in the first canto of the
Inferno, the comment in the Mdobeatine edition (see
p. xix.) is also the same. In cases of difficulty, I haveoften consulted both, and got little or nothing, but what
was to be had from other sources.
The Ottimo Contento—called also Anonimo, Buono, Antico, before it was rightly known—is a mixed commentary
of somewhat uncertain date. There are twenty-two MSS*
journey," begun at the very end of the old year 1299 (or in March of
our year 1300), so that only " 27 years were completed" from that timetill any earlier month of the year 1328.

XXviii

COMMENTS

AND

TRANSLATIONS,

of the whole or part of it, several of which belong to the
14th century. " I, the writer, have heard Dante say "
(Inf. x. 85), and such-like phrases occui in it. " Giotto was,
and is, amongst the painters that men know, the highest "
(Purg. xi. 95) ; and Giotto died on the 8th of January
1336-7. Again (Inf. xiii. 144), the bridge, on which
stood the ancient statue of Mars, " fell in the night of the
fourth day of November one thousand three hundred and
thirty-three, that is, LAST YEAR" (compare Villani, xi. 1) ;

and then, apparently, some other hand adds : " The said
statue, fallen into the said river Arno, remained in it for
MANY YEAES." This comment was first printed at Pisa in
1827-8, edited by Alessandro Torri. I t contains long
discussions, very learned for the time at which they were
written, but now superfluous and extremely wearisome.
In some places, owing to defects of the MS. and other
causes, it is hardly intelligible. Here and there it is brief
and appropriate, beyond any other of the old comments,
and in reality an OTTIMO Contento. The expression
" amongst us," in the note I have given at p. 349, shows
that at least one of the writers was a Florentine.
The Latin comment of Pietro Alligliieri, Dante's son,
was first published at the expense of Lord Vernon (Florence, 1845), in one thick volume, 1 edited by Vincenzo
Nannucci. I t is written with a striking kind of dignity
and reserve ; and has more meaning than appears at first
1

It is said that copies of this edition " were sent gratis to all the most
noted public libraries of Europe." Might a stranger suggest to Lord
Vernon the additional benefit that would be conferred, by having some
copies of the other comments, which he is about to publish, printed on
thinner and less costly paper, for the sake of private students, who cannot always frequent such libraries ?

COMMENTS

AND

TRANSLATIONS.

xxix

sight. I t gives explanations of the mystic or allegorical
sense, some useful historical details, many quotations of
parallel passages, occasional interpretations of the literal
meaning ; and yet withal is much briefer than the other
early comments. And, in spite of the far-fetched subtle*
ties of Dionisi and others, I see no valid reason for doubting that it is justly ascribed to Dante's son. There are
twelve MSS. of it, some of them from the 14th century,
and all bearing his name ; and it is expressly mentioned
in the Milanese edition of 1477, and in the Florentine of
1481. Pietro died in 1364, after having practised law,
and filled the onice of Chief Judge, at Verona, for many
years with good acceptance and success. The phrase
(Burg, canto xx. p. 434) " u p to this time, namely 1340,"
establishes the date at which the comment was written.
In August 1373, the republic of Florence resolved to
set apart an annual sum of one hundred gold florens for
Lectures on Dante ; and Boccaccio was the first person
appointed to deliver them. He began in October pf that
same year, in the church of San Stefano, near the Ponte
Vecchio; and continued till the time of his death in
1375. His comment contains the substance of those lec«
tures, and goes no farther than the 17th verse of canto xvii,
I t is written in his usual lively, pleasant style ; and,
though extremely diffuse, it is a genial and valuable comment, and gives one the sensation of having parted from a
good friend when it suddenly ends. The best edition of
it is that of Moutier [O^ere Volgari di Bocc. torn, x-xii.
Florence, 1831-2), in three octavo volumes. Lord Vernon
is, or has been, getting another comment of the 14th cen~
tury, "falsely attributed to Boccaccio," printed at Florence*

Xxx

COMMENTS

AND

TRANSLATIONS.

After the commentary of Boccaccio, comes that of his
pupil and intimate friend, Benvenuto da Imola, who is
supposed to have delivered lectures on Dante afe Bologna
in 1375 ; and certainly he himself (Inferii, xv. 110) speaks
of being there in that year, and of having incurred " the
mortal hatred and enmity of many " by exposing, to the
Cardinal Legate of that time, the scandalous vices of
" certain worms (professors) sprung from the ashes of
Sodom." He had also been at Rome in 1350 (Infern.
xviii. 28) ; and witnessed the second great Jubilee, and
the mode of passing the bridge of St. Angelo described by
Dante. He was one of Petrarch's familiar correspondents,
as may be seen by the letter, addressed Benvenuto Imolensi,
Ehetori suo ; and was author of the Libellus Augustalis, or
List and brief History of the Emperors from Julius Ca3sar
to Wenceslaus (1378), the emperor of his time—printed
along with Petrarch's Latin works, and by some attributed
to him. The historical part of his commentary was published by Muratori (Antiq. Ital. torn, i.), who first ascertained it to be quite different from that which had been
printed in the Vendeline edition of 1477.
Francesco da Buti explained the Divina Commedia at
Pisa in 1385, and left a long commentary, which is still
unprinted; but large extracts are given from it in the
Vocabolario della Crusca.
Messer Guiniforte delli Bargigi, a lawyer of Bergamo,
who died about 1460, wrote a comment on Dante, by
order of Filippo Maria Visconte, Duke of Milan. Only
the part of it which relates to the Inferno has come down
to us. This was first published at Marseilles in 1838—
not " entire," as M. de Batines says ; for the editor himself

COMMENTS

AND TRANSLATIONS.

xxxi

tells us that he had left out certain tedious theological
disquisitions. I t is a good, well-arranged commentary,
and, amongst other things, explains the literal sense with
much distinctness.
Oliristoforo Landino, the commentator of Virgil, and
one of the successors of Boccaccio, lectured on Dante at
Florence from the year 1457, with increased annual salary
of 800 gold fior ens. His comment on the Divina Commedia, first published in 1481, and often republished, shews
what a weight of speech, in regard to the great Poet,
could be borne by men in those days. I t is very learned,
and often unspeakably tedious ; and has few or none of
those brief appropriate passages which are found in the
Ottimo Comento ; but contains many authentic and indispensable details respecting the manners, and customs, and
families of Florence.
The briefer commentary of Vellutello was first printed
m 1544 at Venice ; and, like his commentary on Petrarch,
it is dull, and heavy, and generally of little practical
value.
The marginal Annotations, &G. of Ludovico Dolce, in
the Giolito edition of 1555 (see p. xxi.), have been very
frequently reprinted. They are good, but far too short.
The Notes of Torquato Tasso-—chiefly relating to words
and phrases—were first published complete in the Opere
di Tasso (torn. xxx. Pisa, 1831), edited by Prof. Rosini.
The best commentary of the 16th century is that of
Bernardino Daniello of Lucca, printed at Venice in 1568 ;
and, greatly to the discredit of Italians, never again
reprinted. I t is brief, clear, and practical, so far as it
goes ; and written in a very good style.

Xxxii

C0M3IENTS

AND

TRANSLATIONS.

The three Indexes of Vólpi, in the celebrated Cominian
editiqn of 1727, form a sort of commentary, and are as
accurate as they could be made at the time. They are
given in many subsequent editions ; and at last, combined
in one general Index, they occupy nearly 300 pages of the
fourth volume of Foscolo's edition, published in 1843.
The comment of Father u Pompeo Venturi della Compagnia di Gesù " came out in its complete form, at Verona
in 1749, and at Venice in 1751. I t is written in the true
spirit of a Jesuit, and with less than the usual learning ;
and has been too frequently reproduced in later editions.
It is impossible to mention all the other commentaries
of the 18th century. That of Lombardi, which appeared
in 1791, is such as could be written by the honest effort of
a whole life, amid the " dark wood " of Dilettantism
produced by a host of idle writers ; and one feels a real
respect for the worthy Friar, though at times he is surprisingly naive, or perhaps dull.
The comment of JBiagioli (Paris, 1819) is full of
grammatical discussions and far-sought niceties, superfluous praises of Dante, and vituperation of Lombardi and
others ; but is in some respects really useful, and evidently
written throughout with much zeal and fidelity. The
5936 verses, noted as beautiful by Alfieri in an autograph
MS. of 1776, which goes no farther than the 21st canto of
the Paradiso, are all duly registered by Biagioli. He
ought not to have spoken in such a way of Lombardi : no
difference of opinion can justify the language he uses. And
why should poor Commentators hate and abuse each other ?
Would it not be far wiser to meet on some common footing
of respect, or at lowest of mutual silence ? Is there not

COMMENTS AND TRANSLATIONS.

xxxiii

enough, and infinitely more than enough, for them all in
the great Masters they seek to elucidate ? Only one thing
is unpardonable, and that is, when commentators become
sham commentators, and merely seek to elucidate themselves.
This account concludes by recommending the Paduan
edition of 1822 to all readers who desire to have full
specimens of discordant commentary : they will there find
abundant, and apparently aimless, quotations from more
than thirty different authors. But for the sake of young
students of Dante, I shall repeat what was written some
time ago, after a detailed examination of many old and
recent commentators :
" The whole works of Dante, in prose and verse, if
separated from the unwieldy commentaries and dissertations that have been accumulating round them ever since
his death, might be comprised in two moderate volumes.
The mere language of his Italian works is not difficult :
all the greatest of his countrymen, in their successive
generations, from the commencement of the 14th century,
have been familiar with its expressive forms, and contributed to keep them current in the very heart of Italian
literature. Some few words have become obsolete, some
phrases require explanation ; but on the whole the speech
of Dante comes wonderfully entire across the five centuries ; and all the most beautiful passages are still quite
fresh and clear. This is more especially true in regard
to the great Poem, which stands as the mature representative of his genius, the essence and consummation of all
that he had endeavoured and attained. His Minor Poems
and other works—in which we find the germs of the Divine
c

xxxiv

COMMENTS AND

TRANSLATIONS.

Comedy, and many graceful, noble preludes to it—are
written in a statelier, less familiar style; and have never
been studied with the same universal zeal.
" T h e main obstruction, in reading Dante, arises from
our ignorance of the persons and things amidst which he
wrote. The whole time-basis of his mighty song has
become dim and cold. The names and events, which once
stirred and inflamed the thoughts of all readers, lie
far distant, and have little or no intrinsic interest for us.
Most of them have grown so dark and shadowy, that they
cannot by any effort be made to dwell in our memories ;
and so, by demanding constant notes and references, they
serve only to interrupt our reading, and prevent us from
rising to the full height and warmth of the subject. The
great Poem, we soon feel, must have taken a more direct
and earnest hold of the age from which it comes, than any
other poem, ancient or modern ; and .for that reason alone
it stands more in need of explanations. But it is likewise
distinguished for its intense brevity, its multiform significance ; and can have had no superfluous words even for the
nearest contemporaries. The language, throughout the
whole poem, to those who are duly prepared for it, has a
tone of plain familiarity which comes home to the subject
with marvellous sequency and effect.
I t is like the
language of a brother, whose position and feelings we are
understood to know in detail ; and who handles only the
summits of things with us, leaving to us all the filling-up
of circumstances, and the minuter shades and ramifications
of meaning.
" Most of the old commentaries on Dante are written
with a kind of large complacency, and genuine though

COMMENTS AND TRANSLATIONS.
long-winded

xxxv

enthusiasm, which makes them very inte-

resting at first sight ; but on closer inspection, they are
found to contain a surprising quantity of worn-out rubbish, and extremely little real information.

They may be

looked into more or less extensively from curiosity, and
•consulted for the sake of minute details of persons and
things which are not to be found elsewhere ; but no man
in a healthy state of mind can now read them without
being forced to it as a duty.

I n regard to all public

«events of Dante's time, the contemporary historians are
much safer and better guides. 1
1

Benvenuto

da Imola

RICORDANO MALESPINI is the oldest chronicler of Florence. He
•died in 1281, when Dante was only sixteen years of age. His work
{Istoria Fiorentina) begins with the current traditions, which are given
in a somewhat loose and straggling way, as in the other early histories ;
but what he writes of his own times, down to 1281, has a simple unaffected air of life and authenticity, and is almost wholly copied, with
slight alterations of style, by Villani, in the 5th, 6th, and 7th books of
àis Chronicle. The best editions of Malespini are the Giuntine of 1568
and 1598. The other Florentine edition, of 1718, omits important passages relating to the Popes and their avarice and simony.
GIOVANNI VILLANI began his Cronica, as he himself tells us (lib. viii.
<cap. 36), immediately after the great Jubilee of the year 1300, to which
he had gone as a pilgrim. The sight of " the great and ancient things
of the holy city of Rome," together with the immense concourse of
-Christians,f< women as well as men, from distant and strange countries,
and from far and near," had stirred up in him a desire to record the
events of his own city and time, " as a memorial and example for those
that are to come." His Chronicle begins with the ancient traditions, and
-extends to the period of his death in 1348. It is written in a most
naive, racy, honest style. Villani is known to have been of the Guelph
party; visited France and the Netherlands in 1304; was one of the
Priors of Florence in 1328, and the Ambassador at Bologna in 1329 :
and, at various other times, he filled high offices in his native city. Of
4he Popes he says all the good he can in honesty ; and sometimes palliates, but never conceals their vices. For their High Office his reverence

xxxvi

C03I3IENTS AND

TRANSLATIONS.

seems to have felt this, even in the 14th century ; for, as
Muratori remarks, he made diligent use of all the old local
chronicles—many of which are now lost—in compiling his
commentary.
a
T h e more modern commentaries and dissertations,
with some few exceptions, are also remarkably diffuse and
unsubstantial ; and in general they have a decidedly empty
tone, and a total want of earnestness, which are much more
difficult to endure in connexion with the works of Dante
than the thin enthusiasm of the old commentators. In
truth, very few of the books that have been written on the
subject seem to have cost their authors any serious thought
at all, or been honestly intended for the purpose of illustrating Dante. Eeal difficulties are passed over in silence,
or increased by a pompous repetition of all the incoherencies that have been uttered respecting them. The
plainest passages, on the contrary, are overladen with useless discussions ; and fresh conceits are started, and multiplied and pursued with an ostentatious and very cheap
display of learning. Meanwhile the huge vacant bulk of
the comment swells into more and more painful contrast
with the piercing brevity and compactness of the text ; the
is unlimited, but he has to record whatsoever is felt by him to be true,
and has often to speak of the " Judgments of God " that come upon them
for their crimes. Next to Dante himself, he is the most impartial and
trustworthy authority we have; and looking from different points of
view, each with his own peculiar fidelity and earnestness, they mutually
and unintentionally confirm one another. The best edition of Villani is
that of Florence, published by Magheri in 1823 (8 vols. 8vo); and from
it the quotations are all taken.
The Istoria Fiorentina di Dino Compagni is also good, but very fragmentary ; and has been of little use compared with those of Malespini
and Villani.

COMMENTS

AND

TRANSLATIONS.

xxxvii

reader's patience, however obstinate, gets quite exhausted ;
and the conviction grows strong, that if Dante be unintelligible without such aids as these, he will for ever remain
unintelligible, and continue to be the prey of idle men who
have nothing serious about them. In the whole range of
literature, it might perhaps be difficult to find any books so
painfully void of all thought, and so loudly diffuse, as the
most part of those which modern Italians have written
concerning the greatest man their country has produced.
Every thing relating to him has been darkened and entangled with doubts ; his character and works are encumbered and overladen with mere rubbish, collected and
heaped upon them without any just criticism or discrimination. But since the time of Lombardi, and more
especially of Foscolo—whose anger will be excused by
those who know what he had to deal with—a better spirit
seems to have arisen among the countrymen of Dante."
I t only remains for me to add, that the comment given
in the present volume is defined and limited by one simple
rule. In attempting to lessen the difficulties above mentioned, and bring the great Poem nearer by explaining its
material and temporary elements, I have endeavoured to
imitate the Author's own economy of words, as far as consistent with prosaic clearness, and strictly suppressed
whatever seemed irrelevant.
The TEANSLATIONS are also very numerous. The earliest
is in barbarous Latin hexameters, line for line, by one
Matteo Bonto ("Matheus Rompto"),a> Benedictine monkf of
Venetian parents, who died in 1343. In a kind of Elegy,
at the end of thè Paradiso, the good monk speaks of the

xxxviii

COMMENTS

AND

TRANSLATIONS.

mournful drudgeries inflicted on him for having made this
translation, which had occupied him many years. I t is
not without real warmth ; and must have been begun at
least a very short time after Dante's death, which took
place in 1321. I t still exists complete in two MSS. ; and
in three, imperfect. Specimens of it will be found in the
work of M. de Batines. The only other Latin translation
I shall here mention is that of the Abbate dalla Piazza,
also in hexameters, and without notes—the result of some
twenty years' labour. The author died at Vicenza in
1844 ; and it was first published at Leipzig only a few
months ago. It is incomparably the best Latin translation,
and may safely be commended to all students of Dante.
I n the preface, written by Professor C. Witte, the whole
story of Francesca is given from the version óf Matteo
Ronto, and from others of more recent date.
The Spaniards have but one translation, and that ends
with the Inferno. I t is by a certain Don Fernandez de
Villegas, archdeacon of Burgos ; and was published in that
" muy noble y mas leal " city, on the 2nd of April, 1515. A
remarkable translation, and tolerably literal, considering
the complicated verse and rhyme in which it is written.
Nearly the whole comment of Landino is also faithfully
translated, with many additions explaining the exact literal
sense ; so that the volume swells into a large folio. Professor 0. Witte, in the preface mentioned above, gives the story
of Francesca from it; and also from two French translations
of nearly the same date (MSS. in the libraries of Turin and
Vienna), which seem wonderfully true and literal.
The first published French translation is that of Grangier
(3 vols. 12 mo , Paris, 1597), dedicated to Henri I V . It is

COMMENTS AND TRANSLATIONS.

xxxix

little esteemed, except by ravenous collectors of old books.
The more modern French translations—many in number—
are, as usual, the worst in Europe ; and some serious
Frenchmen (see Eevue des Deux Mondes for 1840, &c.) are
beginning to feel this. The long-established fatal plan of
curtailing, diluting, and altering everything so as to suit
the current taste, is followed with Dante too. The prose
translation by Angelo Fiorentino, an Italian residing at
Paris, is the only exception : it is in general very faithful
and literal ; but passes over the difficulties too lightly, and
frequently omits the little words and phrases that are
hardest to translate. I t was first published in 1840. The
latest translation (Paris, 1847), by A. Brkeux, in a kind of
rhythmic prose, unhappily returns to the old method above
described ; and is often very feeble and very wide of the
Original.
The Germans have eight complete translations, some of
them in prose ; and all, so far as I have seen, remarkably
faithful. That of K. L. Kannegiesser, in the measure and
rhyme of the Original, went through four editions from
1814, when it was first published entire, to 1843. But
the best and warmest of all translations, known to me, is
that of " Philaleilies," or Prince John of Saxony. I t is in
blank verse—in good, racy, clear German,; and exactly of
the same length as the Original. The, first Ten Cantos of
it were privately printed in 1833 ; and then, in 1839-40,
the whole translation of the Inferno and Purgatorio published at Leipzig in two quarto volumes. The Prince tells
in his preface to the Inferno, how " Dante had long been
one of his favourite authors," and how, amongst other
things, " t h e high moral dignity of the Divine Comedy

xl

COMMENTS

AND

TRANSLATIONS.

had irresistibly attracted h i m ; " and finally " stirred up in
him an indescribable impulse to reproduce the great work
in his mother tongue, and that with as much literal fidelity
as the genius of the German language (and not merely the
grammars of it) would permit." A third volume, containing the Paradiso, was announced only a few months ago as
being ready for publication. Another very remarkable
translation (one vol., Berlin, 1842) is that of A. Kojpisch, a
German artist and poet of some celebrity, who spent several
years in Italy. I t is also in blank verse, printed line for
line along with the Italian Text, and is the most literal
translation hitherto published. The German of it might
often be hard to understand without the Italian, and the
verse is of necessity somewhat fiat and helpless ; but no
such translation could have been made or attempted in any
other modern language.
Of our own Translations it is unnecessary to say much,
as they are accessible to every one. Boyd's was made in
the last century, under wants and circumstances which no
longer exist ; and it seems to have become obsolete. Cary's
is a most excellent translation of its kind : perhaps there
is none better in our language. But the sort of verse in
which it is written takes away much of the familiar and
direct tone of the Original ; and here and there one finds evidence of a somewhat imperfect acquaintance with Italian.
Wright's is in many places very spirited ; and even where
the necessities of verse hinder him from giving the true
sense, you may frequently remark that he has thoroughly
understood it. The Americans have only a translation of
the first ten cantos of the Inferno (Boston, 1843) ; and that
also is very faithful in its way, and ought to be continued.

THE INFERNO

OF

DANTE.

I N this brief sketch of the Position and Form of Dante's
Hell and his Journey through it, I avoid the usual conjectures, and state nothing but what is warranted by his
own authority, quoting it for the sake of all faithful students, as follows :
Our Earth rests "forever fixed and s t a b l e " in the
Centre of Dante's universe (Conv. Tr. iii. c. 5), and the
Heavens l with their Planets and Stars go revolving round
1
These Heavens with their inhabitants form the proper subject of the
Paradiso. But Dante also enumerates them in the second Treatise and
fourth chapter of his Convito, or Banquet ; and mentions the order in
which they come—following the Ancient Astronomical System, which
makes our Earth stand motionless in the Centre. The Heavens, he tells
us, are Ten in number. Of these, the first with regard to our Earth is
the Heaven of the Moon, " which has the smallest circles" {Inf. ii. 78),
or includes the smallest space in its revolutions, and moves slowest ; the
second, of Mercury ; the third, of Venus ; the fourth, of the Sun, which
also is regarded as a " P l a n e t " {Inf. i. 17); the fifth, of Mars; the
sixth, of Jupiter ; the seventh, of Saturn ; the eighth, of the Stars proper; the ninth, or Primum Mobile, is the "Crystalline, that is, the diaphanous, or quite transparent Heaven, which is not discernible except
by the motion it gives" to the other eight Heavens that it includes.
Beyond, or te outside of all these," he adds, " Catholics place the Empyreal Heaven, that is to say, Heaven of flame, or luminous Heaven ; and
represent it as being immoveable," &c. It is also the " divinest Heaven,
the Heaven of rest," or peculiar abode of the Almighty : of which our
own Milton thus speaks :

xlii

THE INFERNO

OF

DANTE.

it. Only a comparatively small portion of it is known to
be inhabited in his time, and that he calls " the uncovered
part," or " t h e great dry l a n d " (Ibià]. and Inf em. xxxiv.
113) ; and, following the Bible, he places Jerusalem in the
centre of it, or ' in the midst of the nations.'
Immediately below the dry land lies, his Hell, as a kind
of sink into which all Sin and Misery falls. The successive
generations of men stand as it were on a thin earth-rind,
with the Heavenly Stars above them, and the " Dark
Valley " {valle huia) of Hell beneath. And the Cross on
Mount Calvary, where the Divine Man " was consumed "
(Inf. xxxiv. 114) for their transgressions, points from the
centre of their Temporary Dwelling-place to those same
"beautiful Stars," wherein the "blessed people" dwell
forever (Inf. i. 120) ; and to the all-including Empyrean,
which is the " City and High Seat of that Emperor who
reigns above, and rules in every p a r t " throughout the
universe. And the hollow " Realm of Sorrow " converges
beneath (Inf. xxxii. 3), towards its " Emperor " Satan,
who has his Seat (Inf. xi. 65; xxxiv. 28) at the very centre
* Under his burning wheels
The steadfast Empyrean shook throughout,
All but the throne itself of God.'
Par. Lost, vi. 832.
* Now had the Almighty Father from above,
From the pure Empyrean, where he sits
High throned above all height, bent down his eye,' &c.
' About him all the Sanctities of Heaven
Stood thick as stars,' &c.
lb. iii. 56.
Beatrice comes from it, f from singing Alleluiali5 (Inf. xii. 88; ii. 53,
&c), when she gives Virgil the mission to deliver Dante from the savage
beasts in the " dark wood."

THE INFERNO

OF

DANTE.

xliii

of the Earth or ]owest point of space. And all light and
heat, all wisdom, and love, and strength, comes from the
Stars or Heavens, and returns to them ; all cold and darkness, all ignorance, and hatred, and weakness, comes from
the Evil One, and also returns to him. He is planted at
the bottom of Hell, fixed in eternal Darkness and eternal
Ice {Inf. xxxiv. 4, &c), his head with its three emblematic faces pointing to Jerusalem, and his feet towards the
Mount of Purgatory, which is the exact antipodes of Jerusalem. And Dante, not without significance, ends each of
the three great divisions of his Poem with the word Stelle
or " Stars:" a Blessed Spirit from above, sent by Divine
Mercy, gives his Guide the power to rescue and conduct
him (Inf. ii. 53-120) ; and he does not visit the " Dark
Valley " of Hell for " sport," diletto {Inf. xii. 87), but from
sore " necessity," and because the road through it leads t a
Heaven—leads to the " Stars." The brief simple words in
which he alludes to all this at the bitterest stages of the
" woody way " (as in cantos x. 129 ; xii. 85 ; xv. 49-55 ;,
xvi. 61, 83, &G.) will be found very significant by readers
who rightly understand them.
The Hell itself is an immense, obscure, circular cavern^
becoming narrower and narrower by successive degrees
(Inf. v. 2, &c.) as it goes deeper. The general form is
t h a | of an inverted cone, which has its base towards the
" great dry land," and its apex at the centre of the Earth.
The sides of it, on which Dante's road lies, are occupied
by a series of Horizontal Circles, or circular stages, mostly
separated from one another by precipitous descents, and
gradually diminishing in size like the rows of an amphitheatre. These Circles are Nine in number, with various

xliv

THE INFERNO

OF

DANTE.

subdivisions in the lowest three of them ; all of which are
fully described in their proper places.
The Souls of the " lost people " are sent down to depths
corresponding to their guilt, the greatest sinners falling
into the lowest and smallest circular spaces, nearest to
Lucifer or Satan. Their crimes, which are instantly confessed when they come into the presence of Minos the
Infernal Judge, take hold of them, and- " weigh them down
towards the bottom " {Inf. v. 4, &c. ; vi. 86) ; and also
inflict the inevitable and appropriate punishment, which of
itself reveals the nature of those crimes.
Immediately within the entrance comes a " Dark
P l a i n " (iii. 22-130), which is as it were the Vestibule of
Hell ; and lies like a broad ring all round its mouth. This
space is occupied by the miserable "caitiffs'* or " captives,"
'Cattivi or captivi (see the verses from Landino's edition,
p. xviii.), the worthless crew, " who never were alive," and
passed their time on earth thinking only of themselves,
and taking no part in anything either for good or for evil.
The souls of this class are alike " displeasing to God and
to his enemies ; " and neither Heaven nor the deep Hell
will admit them. Wasps and hornets sting them forever,
and make them hurry round the brim of Hell, pursuing
an aimless-giddy flag. " They have no hope of death," or
even of condemnation ; " and their blind existence is so
mean that they are envious of every other lot."
After leaving them and crossing the rest of the dark
plain, Dante comes to the great river Acheron, or l Stream
of Sorrow,' which flows round the brink of Hell, and
afterwards descends (xiv. 113-124) from rock to rock, and
becomes the source of all the other rivers and marshes

THE INFERNO

OF

DANTE.

xlv

that are met with lower down. Crowds of guilty souls
are seen assembling, in rapid succession, upon its shore,
and Charon is ferrying them over. This scene, as described
by Dante, Michelangelo has endeavoured to represent in
the Cappella Sistina at Rome.
By supernatural means Dante is transported across the
Stream. Gazing round, he finds himself upon the very
" edge of the Abyss," and is led down by his Guide (iv.
13,' &e.) into the First Circle, or Limbo, which contains
the Heathen men, women, and children who lived without Baptism or Christianity. Yirgil delicately rouses
his attention as they enter : " Thou askest not what
spirits are these thou seest ? " &c. The great ancient
Poets come forth to meet them, and receive Dante as one
of their number. And from " a place open, luminous,
and high," the ancient Heroes and Sages are significantly
shewn to him, face to face ; and he " is exalted, or grows
higher, by having seen them." Csesar is there—an Emperor
with harness on5 and with falcon eyes ; and Saladin^ apart
and solitary.
On descending to the Second Circle, Dante finds Minos
the Infernal Judge stationed at its entrance, for the reason
given in the Argument to canto v. This circle is the
place of Francesca. 1
Dante is carried, again by supernatural agency, from
1
Foscolo (Discórso sul Testo, pp. 307-10, &c), quoting histories and
commentaries which he had not seen, confounded Guido—the friend of
Dante—with Guido Vecchio his grandfather ; and so made Francesca
the daughter, instead of the aunt, of that friend. The tragedies of Francesca and Ugolino, as I have noted in the Argument to canto xxxiii.,
probajbly occurred both in the same year ; and no doubt produced a deep
impression on the young Poet.

xlvi

THE INFERNO OF DANTE,

the second to the Third Circle, where he finds the Epicures
and Gluttons suffering appropriate punishment. Canto vi.
Plutus is found on the brink of the next or Fourth
Circle, wherein the Avaricious and the Prodigal have
their punishment. The souls of them are rolling dead
weights on a dismal plain; and thus continue sordid and
dingy to all eternity, so that not one of them can be
recognised. Canto vii.
The descent to the next circle is made, along the edge
of a second Stream (vii. 105, & c ) , in a dark ravine which
it has wrorn out for itself. This stream, coming from
Acheron, forms the Stygian Marsh, or Fifth Circle. In
its putrid mud, the Wrathful, the Sullen-sour or Gloomysluggish, and the Vainglorious, have their appropriate
punishment. Phlegyas conveys the Poets across the
Marsh ; and here Dante first discerns the red " mosques "
of the City of Dis, or Satan.
The Sixth Circle is the first that lies within the City, and
seems to be on a level witfi the fifth.
The Five Circles, through which the Poets have now
passed, constitute the Upper Hell (viii. 75 ; xi. 16, & c ) ,
in which the different sins of Incontinence, such as Lust,
Gluttony, Avarice, Prodigality, &c. are punished.
The Low Hell, or City of Dis, consists of Four Circles,
in the last three of which the different sins that indicate
Malice, or Rebellion (xi. 16, &c.) against the decrees of
the Almighty, are punished.
In the Sixth Circle, the Arch-heretics with their followers, who deny the immortality of the soul, "have
their cemetery." The souls of them lie buried in burning
sepulchres, which shall be all closed up (x. 10) after the

THE INFERNO OF DANTE.

xlvii

Great Judgment: and the lurid flames—emblems, here
and elsewhere (xxvi. 48, &c. ; xxvii. 13, &c f ), of awakened
consciousness—shall then be hidden within the tombs. This
Sixth Circle is as it were a connecting link (see note, p. 127)
between the circles of Incontinence and those of Malice, &o.
The Poets, on entering the City, turn to the right (ix.
132) ; and go through a portion of the circle (x. 2, &c),
with the city-wall on their right hand, and the flaming
•tombs on their left ; and after having seen enough of it,
they turn to the left (x. 133), and go across to the edge of
^the Seventh Circle. Perhaps they have taken a like
section or " arc " (vii. 128) of each circle above, and then
crossed it in the same way—-as many commentators anirm
—but this I leave to conjecture ; for Dante himself affirms
no such thing.
The descent to the Seventh Circle is made on precipitous shattered rocks ; to the Eighth, by means of Geryon ;
and to the Ninth, by help of Antaeus. The Arguments
and Notes, which relate to these circles, and to their subdivisions, will make them plain to all attentive readers ;
and for idle readers this book is quite unsuitable.
In conclusion I may remark, that the great leading
ideas of this Hell of Dante are not borrowed ideas ; but
are the result of all that he had learnt, and seen, and
known. Yisions of the fa ture world had indeed been
^common amongst Heathens and Christians before, and
'were s^ill common in his own time, as we know from
many sources ; but those visions are generally of the most
incoherent, dim, and fragmentary description, and could
suggest little or nothing, except that the minds of seiious

xlviii

THE INFERNO OF DANTE.

men had long been exercised with such things* Daiite
was familiar with all the materials of the Middle Ages,
and also with the worth and wisdom of the Ancients wlicm
he sees, face to face, in that Limbo of his : and he openly,
nay purposely, takes every document within his reach.
And it is not so much by what has been loosely called
Invention, as by true and clear recognition of the Nature
of Things in that age of his, by unerring discrimination of
what is significant from what is insignificant, and by
boundless diligence withal, that he constructs an original
and enduring work. I n his inmost heart the scattered
incidents gradually cohere, and expand, and become a
living whole—fit for utterance ; the " Sacred Poem for
many years has made him lean " {Farad, xxv. 3) ; and it
is upon condition of his not being a " timid friend to
Truth " [Ibid. v. 118) that he expects to live amongst
future generations. He has got infinitely beyond all the
wretched factions of Guelphs and Grhibellines of his time ;
and seen the very roots of their sin and misery. The
flaming Realities of Eternity stand visible on every side
of him, and have taught him the " Straight Way," and
given him power to measure the dimensions of all Popes
and Kaisers, and estimate them by a Standard which
" conquers every error." And his earthly life too, with
all its sadness, has thereby become " bright," and "clear,""
and unspeakably precious ; and even in Hell he recognises
all the good qualities of those that are condemned. There
is nothing more touching in the whole Poem than ijhe brief
simple way in which he makes them allude to the '" clear "
and "beautiful life," the " b r i g h t world," the ^ sweet
air, gladdened by the Sun," the " beauteous stars," &c.

ARGUMENT.
Dante finds himself astray in a dark Wood, where he spends a night
of great misery. He says that death is hardly more bitter, than it is
to recall what he suffered there ; but that he will tell the fearful
things he saw, in order that he may also tell how he found guidance,
and first began to discern the real causes of all misery. He comes
to a Hill ; and seeing its summit already bright with the rays of the
Sun, he begins to ascend it. The way to it looks quite deserted.
He is met by a beautiful Leopard, which keeps distracting his attention from the Hill, and makes him turn back several times. The
hour of the morning, the season, and the gay outward aspect of
that animal, give him good hopes at first ; but he is driven down and
terrified by a Lion and a She-wolf. Virgil comes to his aid, and
tells him that the Wolf lets none pass her way, but entangles
and slays every one that tries to get up the mountain by the road on
which she stands. He says a time will come when a swift and strong
Greyhound shall clear the earth of her, and chase her into Hell.
And he offers to conduct Dante by another road ; to show him the
eternal roots of misery and of joy, and leave him with a higher guide
that will lead him up to Heaven.

B

2

INFERNO.

CASTO I .

CANTO L
IN the middle 1 of the journey of our life, I found myself in a dark wood; 2 for the straight way was lost.
Ah ! how hard a thing it is to tell what a wild, and rough,
and stubborn wood this was, which in my thought renews
the fear : so bitter is it, that scarcely more is death. But
to treat of the good that I there found, I will relate the
other things that I discerned.
NEL mezzo del cammin di nostra vita
Mi ritrovai per una selva oscura,
Che la diritta via era smarrita.
Ahi quanto a dir qual era è cosa dura
Questa selva selvaggia ed aspra e forte,
Ohe nel pensier rinnova la paura !
Tanto è amara, che poco è più morte :
Ma per trattar del ben eh' ivi trovai,
Dirò dell' altre cose, eh* io v' ho scorte.
1
The action of the poem begins
on Good Friday of the year 1300,
as we learn from oamto xxi. 112,
&c. 5 and Dante was at that time
35 years of age. The Bible, with
which he was well acquainted,
says : " The days of our years are
threescore years and ten " {Psalm
xc. 10). And Dante himself speaks
of our life as an arch, which we
ascend and descend ; and in which
the highest, or middle point, " is at

5

the 35 th year in men of perfect
constitution." Convito, Tr. iv. c.
23.
2
In "the erroneous wood of
this life" (lb. c. 24) ; in the dark
battle of those who see not beyond it. " In the terrors of the
shadow of death " (Job xxiv. 17) 5
amongst men who had lost " the
Way, the truth, and the life."
John xiv. 6.

CANTO I.

INFERNO.

3

I cannot rightly tell how I entered it, so full of sleep
was I about the moment that I left the true way. But
after I had reached the foot of a Hill x there, where that
valley ended, which had pierced my heart with fear, I
looked up and saw its shoulders already clothed with
the rays of the Planet 2 that leads men straight on every
road. Then the fear was somewhat 3 calmed, which had
continued in the la"^. 4 of my heart the night that I passed
Io noli so hen ridir com' io v' entrai ;
Tant' era pien di sonno in su quel punto,
Che la verace via abbandonai.
Ma poi eh' io fui al pie d' un colle giunto,
Là ove terminava quella valle,
Che m' avea di paura il cor compunto,
Guardai in alto, e vidi le sue spalle
Vestite già de' raggi del pianeta,
Che mena dritto altrui per ogni calle.
Allor fu la paura un poco queta,
-Che nel lago del cor m' era durata
La notte, eh' io passai con tanta pietà.
1
The High Ground of Christianity ; the mystic " holy Hill,"
frequently spoken of in the Psalms
and other parts of the Scriptures.
The "Delectable Mountains" of
our own Bunyan.
2
The Sun ; in Dante's time regarded as a planet. " The Sun of
righteousness shall arise with healing in his wings." Mai. iv. 2. " The
Dayspring from on high hath visited us, to give light to them that
sit in darkness and in the shadow

10

15

20

of death, to guide our feet into the
way of peace." Luke i. 78, 79.
3
He now sees the bright summit at the end of that " valley of the
shadow of death ; " but is still far
from it, and breathless. Uh poco
does not here mean " a little while."
4
The heart was "the abode of the
vital spirit" (Vita Nuova,p. 267) ;
and a sort of reservoir (lake), or
"receptacle of the blood," before
the circulation became known.
See Landini Com. ad locum.

4

INFERNO.

so piteously.

CANTO I.

A n d as h e , w h o w i t h p a n t i n g b r e a t h h a s

escaped from t h e deep sea t o t h e shore, t u r n s to t h e d a n g e r o u s w a t e r a n d gazes ; so m y m i n d , w h i c h still w a s
fleeing,

t u r n e d b a c k to see t h e pass t h a t n o one ever left

alive.
After I h a d r e s t e d m y wearied body, I t o o k t h e w a y
a g a i n along t h e d e s e r t s t r a n d , so t h a t t h e firm foot a l w a y s
w a s t h e lower. 1
A n d behold, a l m o s t a t t h e c o m m e n c e m e n t of t h e steep,
a L e o p a r d , 2 l i g h t a n d v e r y n i m b l e , w h i c h was covered
E come quei, che con lena affannata
Uscito fuor del pelago alla riva,
Si volge all' acqua perigliosa, e guata ;
Così 1' animo mio, che ancor fuggiva,
Si volse indietro a rimirar lo passo,
Che non lasciò giammai persona viva.
Poi eh' ebbi riposato il corpo lasso,
Ripresi via per la piaggia diserta,
Sì che il pie fermo sempre era il più basso.
E d ecco, quasi al cominciar dell' erta,
Una lonza leggiera e presta molto,
Che di pel maculato era coverta.
1

It is only when walking on a
level, that the foot resting on the
ground is always the lower; but
from verse 61, it appears that
Dante had afterwards begun to ascend. If il pie fermo (firm, strong)
can be shewn to mean " the right
foot," as mano stanca (weary, weak)
means " left hand " in canto xix.
41 ; then Dante, in ascending the
hill slantwise, with its summit

/

25

*
30

on his left, will have the right
(fermo) ^foot always towards the
base, or lower than the other. Vide
Studii Inediti sic Dante (1846), p.
166, &c.
2
Worldly Pleasure, with its fair
outside ; in what Spenser calls the
"general intention." And Florence in particular, that changed
its factions with such levity and
rapidity. Varad. xvi. 84.

CAKT0 I .

INFERNO.

5

with a spotted skin : and it went not from hef ore my
face ; nay, so impeded my way, that I had often turned to
go hack.
The time was at the heginning of the morning; and
the Sun was mounting -up. with those stars, which were
with him when Divine Love first moved those fair things: 1
so that the gay skin of that animal, the,hour of time, and
the sweet season, were causes to me of good hope ; yet
not so, but that I feared afc the sight, which appeared to
me, of a Iaon. a
"He seemed coming upon me with head erect, and furious
E non mi si partìa dinanzi al volto ;
Anzi impediva tanto il mio cammino,
Ch* io fui per ritornar più volte volto.
Tempo era dal principio del mattino ;
3S il Sol montava in su con quelle stelle
Oh' eran con lui, quando V Amor Divino *
Mosse da prima quelle coso belle ;
Sì che a bene sperar m* eran cagione
Di quella fera la gaietta pelle,
li' ora del tempo, e la dolce stagione :
Ma non sì, che paura non mi desse
Da vista, che m* apparve, d* un leone.
Questi parea, che contra me venesse
Con la testa alta, e con rabbiosa fame ;
1

The sun is in Aries j the season spring. And Dante believed
*hat the world had been created
and set in motion at that season 5
and likewise that mankind had
$>een redeemed by the death of
èhrist His '-holy Friday"

35

40

45

(venerdì santo) was the greatest
and most sacred of days.
2
Ambition or Pride; and, in
particular, the King of France, who
shewed these qualities most, maintaining tyranny, bloodshed, and
discord ail over Italy.

6

INFERNO.

CANTO &

hunger,* so that the air seemed to quake -thereat. A n d ty
She-wolf, 1 that looked f a l l of all cravings in h e r leaner
ness ; and has ere n o w made m a n y live in sorrow : Sh$
brought such heaviness n p o n m e w i t h the terror of her
aspect, that I lost the hope of ascending. 2 A n d as one?
w h o i s eager in gaining, and, w h e n the time arrives thatò
makes h i m lose, weeps and afflicts himself i n all hie
thoughts ; such that restless beast made me, which comingj
against me, by little and little drove m e back to where the*
Sun i s silent. 3
Sì che parea che 1' aer ne trernesse.
Ed una lupa, che di tutte brame
Sembiava carca nella sua magrezza,
E molte genti, fé' già viver grame.
Questa mi porse tanto di gravezza
Con la paura, che uscia di sua vista,
ChJ io perdei la speranza delT altezza.
E quale è quei, che volentieri acquista,
E ghigne il tempo che perder lo face,
Ohe in tutti i suoi pender piange e s' attrista ;
Tal m i fece la bestia senza pace,
Che, venendomi incontro, a poco a poco
ffi. ripiageva la dove i l Sol tace.
1

Avarice, worship of this world's
goods 5 and the Court of Borne in
particular, " where Christ is daily
bought and sold." Par. xvii. 51.
The image of these three beasts
seems to be taken from Jeremiah
v. 6 : "A lion out of the forest shall
slay them, and a wolf of the evenings shall spoil them; a leopard
shall watch oyer their cities."

5(1

55;

60?

«Literally: "With the feat?
which issued from her look, th.'itj
Host the hope of the height3'
3
Into the valley where there i£
no light of the Sun.
" The sun to me is dark,
And silent as the MOOD,

"When she deserts the night,
Hid in her vacant interlunar cave;f
Hilton, Samson Jgor%

CANTO I.

INFERNO.

Whilst

I was rushing

downwards,

7
there

appeared

before m y eyes one w h o seemed h o a r s e l from l o n g silence.
W h e n I saw h i m in t h e g r e a t desert, I c r i e d :

"Have

p i t y on me, w h a t e ' e r t h o u b e , w h e t h e r s h a d e or veritable
man ! "
H e a n s w e r e d m e : " N o t m a n , a m a n I once w a s ; a n d
m y p a r e n t s w e r e L o m b a r d s , a n d b o t h of M a n t u a b y country.

I w a s b o r n sub Julia, t h o u g h i t w a s l a t e ; 2 a n d lived

a t E o m e u n d e r t h e good A u g u s t u s , in t h e t i m e of t h e false
Mentre eh' io rovinava in basso loco,
Dinanzi agli occhi mi si fu offerto
Ohi per lungo silenzio parea fioco.
Quando vidi costui nel gran diserto,
Miserere di me, gridai a lui,
Qual che tu sie, od ombra, od uomo certo.
Bisposemi : Non uomo, uomo già fui,
E li parenti miei furon Lombardi,
E Mantovani per patria ambedui.
Nacqui sub Julio, ancorché fosse tardi,
E vissi a Roma sotto il buono Augusto,
Al tempo degli Dei falsi e bugiardi.
1
Allusion to the long neglect
of Virgil's works before Dante's
time. Fioco also means " faint of
voice." So Milton :

" Unchanged
To hoarse or mute, though fallen
on evil days."
Paradise Lost, vii. 25.
2

Virgil was little more than
twenty years of age at the time

65

70*

of Julius Caesar's death; and
therefore too young (born too
late) for making himself known
to the great Emperor, whom
Dante venerated as the founder
of the Roman monarchy. See
his treatise De Monarchia, and
Convito, Tr. iv. c. 4 and 5. Virgil
" lived/' in Dante's sense, or applied himself to his great work
as a poet, under Augustus.

8

INFERNO.

CANTO I.

and lying gods. A Poet I was; and sang of that j u s t 1
son of Anchises, who came from Troy after proud Ilium
was burnt. But thou, why returnest thou to such disquiet ? why ascendest not the delectable mountain, which
is the beginning and the cause of all gladness ? "
" Art thou then that Yirgil, and that fountain which
pours abroad so rich a stream of speech ? " I answered him,
with bashful front. " O glory, and light of other poets !
May the long zeal avail me, and the great love, that
made me search thy volume. Thou art my master and
my author. 2 Thou alone art he from whom I took the
Poeta fui, e cantai di quel giusto
Figliuol d' Anchise, che venne da Troia,
Poi che il superbo Ilion fu combusto.
Ma tu, perchè ritorni a tanta noia ?
Perchè non sali il dilettoso monte,
Ch' è principio e cagion di tutta gioia ?
Or se' tu quel Virgilio, e quella fonte,
Che spande di parlar sì largo fiume ?
Risposi lui con vergognosa fronte.
0 degli altri poeti onore e lume,
Vagliami il lungo studio e il grande amore,
Che m' han fatto cercar lo tuo volume.
Tu se' lo mio maestro, e il mio autore :
1
Mneas, quo justior alter nec
pietatefuit, &c. iEneid. i. 544, 5.
2
Dante says that, in one sense,
the term "Author is applied
solely to poets, who with musaic
art (art of the Muses) bind words

75

80

85

together." And in another sense,
" Author signifies any person
worthy of being believed and
obeyed. And from this is derived the word Authority." Conv.
Tr. iv. c. 6.

CANTO I.

INFERNO.

9

good style that hath done me hononr. See the beast from
which I turned back. Help me from her, thou famous
sage ; for she makes my veins and pulses tremble."
"Thou must take another road," he answered, when
he saw me weeping, " i f thou desirest to escape from
this wild place ; because this beast, for which thou criest,
lets not men pass her way, but so entangles that she slays
them ; and has a nature so perverse and vicious, that she
never satiates her craving appetite ; and after feeding, she
is hungrier than before. The animals to which she weds l
herself are many ; and will yet be more, until the GreyTu se' solo colui, da cui io tolsi
Lo bello stile, che m' ha fatto onore.
Vedi la bestia, per cui io mi volsi :
Aiutami da lei, famoso saggio,
Ch' ella mi fa tremar le vene e i polsi.
A te convien tenere altro viaggio,
Kispose, poi che lagrimar mi vide,
Se vuoi campar d' esto loco selvaggio :
Che questa bestia, per la qual tu gride,
Non lascia altrui passar per la sua via,
Ma tanto lo impedisce, che 1' uccide :
E ha natura sì malvagia e ria,
Che mai non empie la bramosa voglia,
E dopo il pasto ha più fame che pria.
Molti son gli animali, a cui s' ammoglia,
1

Allusion to tke Papal alliances of his time. In canto xix.
106, &c, the Popes are said to
have been foreshewn in "her
that sitteth on the waters, whom

90

95

100

the Evangelist saw committing
fornication with the kings:" the
woman on the scarlet beast, " with
seven heads and ten horns." Rev.
xvii. 3, &c.

10

INFERNO.

h o u n d comes, t h a t will m a k e h e r die w i t h pain.

CANTO I .

H e will

n o t feed on l a n d or pelf, b u t on wisdom, a n d love, a n d
m a n f u l n e s s ; a n d h i s nation shall b e b e t w e e n F e l t r o a n d
Feltro.1

H e shall be t h e salvation of t h a t l o w Italy, 2 for
E più saranno ancora, infin che il Veltro
Verrà, che la farà morir di doglia.
Questi non ciberà terra né peltro,
Ma sapienza, e amore, e virtute ;
E sua nazion sarà tra Feltro e Feltro.
Di quell' umile Italia fìa salute,

1
Feltro and Montefeltro ; obscure places, found by commentators in the north-eastern part
of Italy; the former near Belluno, the latter west of Ancona.
Between them lay the country of
Can della Scala, Lord of Verona,
a young friend and protector of
Dante's, who certainly did not
set his heart on "land or pelf;"
but, in some fan* measure, on
"wisdom, and love, and manfulness." Troya, in his Veltro
Allegorico, considers Uguccione
della Faggiola.—another eminent
Ghibelline leader, and known to
Dante, but of much more questionable character than Can—to
be the personage here alluded to ;
and finds two Feltros—not towns,
but mountain summits—between
which lay Uguceione's country.
One looks in vain for reasonable
proofs of many things that Troya
asserts in his high-sounding

105

book: whole volumes on such
a subject are of necessity somewhat empty. The passage will
remain obscure, as it was even
to Dante's contemporaries ; but
will sufficiently indicate to us the
mixture of zeal and longing for
some deliverer, that must have
been in his mind when he wrote
it. The old commentator, who
knew Dante personally, thinks
Sica nazion sarà tra feltro e feltro
("his birth shall be between felt
and felt," literally) imports that
this promised deliverer " shall be
born of a humble race, as felt is
a humble and mean cloth" (see
Comento delV Ottimo, vol. i.p. 10).
Boccaccio also reads feltro (felt).
And it is to be recollected that
the old MSS. and editions of
the Commedia have no capital
letters.
2
Humilem Italiam (iEn. iii. 522)
the region of Borne, the Empire ;

11

INFERNO.

CANTO I .

w h i c h Camilla t h e virgin, E u r y a l u s , a n d T u r n u s ,
N i s u s , 1 died of w o u n d s .

H e shall chase h e r

and

through

every city, till h e h a v e p u t h e r i n t o H e l l again ; from
w h i c h e n v y first set h e r loose.

Wherefore I think and

discern this for t h y best, t h a t t h o u follow m e .

And

I

will be t h y guide, a n d lead t h e e h e n c e t h r o u g h a n e t e r n a l
place, w h e r e t h o u s h a l t h e a r t h e hopeless s h r i e k s , s h a l t
see t h e ancient spirits in p a i n ; so t h a t each calls for
second d e a t h .

A n d t h o u s h a l t see t h o s e w h o a r e con-

t e n t e d in t h e fire ; for they hope to come, whensoever i t
b e , a m o n g s t t h e blessed.
to

ascend, t h e r e

T h e n t o these, 2 if t h o u desirest

shall be a Spirit w o r t h i e r t h a n I to

Per cui morì la vergine Cammilla,
Eurialo, e Turno, e Niso di ferute :
Questi la caccerà per ogni villa,
F i n che 1' avrà rimessa neh" Inferno,
Là onde invidia prima dipartilla.
Ond' io per lo tuo me' penso e discerno,
Che tu mi segui, ed io sarò tua guida,
E trarrotti di qui per luogo eterno,
Ove udirai le disperate strida,
Vedrai gli antichi spiriti dolenti,
Che la seconda morte ciascun grida :
E vederai color, che son contenti
Nel fuoco, perchè speran di venire,
Quando che sia, alle beate genti :
Alle quai poi se tu vorrai salire,

110

115

120

or, " poor degraded Italy," from i 2 To the blessed. Virgil prothe state into which it had fallen.
mises to conduct him through Hell
1
Then, as now, friends and
and Purgatory only. Beatrice will
chief men of all parties fall in the
lead him to Heaven,
wild battle.

12

INFERNO.

CANTO I .

guide thee. With her will I leave thee at my parting.
For that Emperor who reigns above, because I was rebellious 1 to his law, wills not that I come into his city.
I n all parts he rules ; and there he dwells. There is his
city, and his high seat. O happy whom he chooses for it ! "
And I to him : " Poet, I beseech thee by that God
whom thou knewest not : in order that I may escape
this ill and worse, lead me where thou now hast said,
so that I may see the Gate of St. Peter, and those whom
thou makest so sad." 2
Then he moved ; and I kept on behind him.
Anima fia a ciò di me più degna :
Con lei ti lascierò nel mio partire ;
Che quello Imperador, che lassù regna,
Perch' io fui ribellante alla sua legge,
Non vuol che in sua città per me si vegna.
In tutte parti impera, e quivi regge :
Quivi è la sua eittade, e 1' alto seggio :
0 felice colui, cui ivi elegge !
Ed io a lui : Poeta, io ti richieggio
Per quello Iddio, che tu non conoscesti,
A ciò eh' io fugga questo male e peggio,
Che tu mi meni là dov' or dicesti,
Sì eh' io vegga la porta di San Pietro,
E color, che tu fai cotanto mesti.
Allor si mosse ; ed io li tenni dietro.
1
Virgil foresaw the coming Saviour ; but clung and trusted to
his human wisdom, according to
Dante. See the passage, Purg.
xxii. 70-72, where Statius tells
Virgil of his being converted to

125

130

135

Christianity by the fourth Eclogue.
2
Gate of Purgatory. Those
whom Virgil describes as so sad
" i n the eternal place" are the
inhabitants of Hell.

ARGUMENT.
End of the first day. Brief invocation. Dante is discouraged at the
outset, when he begins seriously to reflect upon what he has undertaken. That very day, his own strength has miserably failed before
the Lion and the She-wolf. He bids Virgil consider well whether
there be sufficient virtue in him, before committing him to so dreadful
a passage. He recalls the great errands of iEneas and of Paul, and
the great results of their going to the immortal world ; and, comparing
himself with them, he feels his heart quail, and is ready to turn
back. Virgil discerns the fear that has come over him ; and in order
to remove it, tells him how a blessed Spirit has descended from
Heaven expressly to command the journey. On hearing this, Dant$
immediately casts off all pusillanimity, and at once accepts the Freedom and the Mission that are given him.

14

INFERNO.

CANTO I I .

CANTO I I .
TUE day was departing, and the brown air taking the
animals, that are on earth, from their toils ; and I, one
alone, was preparing myself to bear the w a r x both of
the journey and the pity, which memory, that errs not,
shall relate.
0 Muses, 0 high Genius, now help me ! 0 Memory,
that hast inscribed what I saw, here will be shewn thy
nobleness.
1 began: " P o e t , who guidest 2 me, look if there be
worth in me sufficient,3 before thou trust me to the arLo giorno se n' andava, e 1' aer bruno
Toglieva gli animai, che sono in terra,
Dalle fatiche loro ; ed io sol uno
M' apparecchiava a sostener la guerra
Sì del cammino, e sì della pietate,
Che ritrarrà la mente, che non erra.
0 Muse, o alto ingegno, or m' aiutate :
0 mente, che scrivesti ciò eh' io vidi,
Qui si parrà la tua nobilitate.
Io cominciai : Poeta che mi guidi,
Guarda la mia virtù, s' ella è possente,
Prima che all' alto passo tu mi fidi.

5

10

1. Bruno, brown, dark, obscure.
12. Alto, high, deep, or difficult; as in v. 142.
3
1
Literally : " Look at (exaThe battle with the painful
mine) m y virtue (strength, worth)
road, and with the pity for those
whether it be able (adequate) " for
in Hell.
2
such a journey. I t has already
Virgil represents H u m a n Wisdom or Intelligence ; and we shall
miserably failed before the Lion
see wrho sends him, and gives him
and the Wolf.
power to be a guide to Dante.

15

INFERNO.

CANTO I I .

duous passage.

T h o u sayest t h a t t h e f a t h e r

1

of Sylvius,

whilst subject to corruption, w e n t to t h e i m m o r t a l world,
a n d w a s t h e r e in body.

B u t if t h e A d v e r s a r y of all evil

w a s propitious, considering t h e h i g h effect, a n d w h o a n d
w h a t should come from h i m ; i t seems n o t unfittin g to
an understanding mind.

F o r in t h e e m p y r e a l

heaven,

h e was chosen to be t h e father of g e n e r o u s Rome,, a n d
of h e r E m p i r e .

B o t h these, 2 t o say t h e t r u t h , were es-

tablished for t h e holy place, w h e r e t h e Successor of g r e a t
P e t e r sits.

B y this j o u r n e y , for w h i c h t h o u h o n o u r e s t

h i m , h e l e a r n e d t h i n g s t h a t w e r e t h e causes of his vict o r y , a n d of t h e P a p a l M a n t l e .

Afterwards, the

Tu dici, che di Silvio lo parente,
Corruttibile ancora, ad immortale
Secolo andò, e fu sensibilmente.
Però se 1' Avversario d' ogni male
Cortese fu, pensando 1' alto effetto,
Ch' uscir dovea di lui, e il chi, e il quale ;
Non pare indegno ad uomo d' intelletto :
Ch' ei fu dell' alma Eoma e di suo impero
Neil' empireo Ciel per padre eletto :
La quale, e il quale, a voler dir lo vero,
F u r stabiliti per lo loco santo,
U' siede il successor del maggior Piero.
Per questa andata, onde gli dai tu vanto,
Intese cose che furon cagione
Di sua vittoria e del papale ammanto.

Chosen

15

20

25

24. V, ove : contraction of Lat. ubi.
1

JEneas
Et qui te nomine I 2 La quale, Rome ; and il quale,
reddet, Sylvius Mneas. iEn. vi. the Empire. Both ordained by
768.
God. Conv. Tr. iy. c. 5.

16

INFERNO.

CANTO n .

V e s s e l 1 w e n t t h i t h e r , to b r i n g confirmation of t h a t F a i t h
which is t h e e n t r a n c e to t h e w a y of salvation.
w h y go ? or w h o p e r m i t s i t ?

P a u l : n e i t h e r myself n o r others
it.

B u t I,

I am not iEneas, am not
deem

me

w o r t h y of

W h e r e f o r e , if I r e s i g n myself to go, I fear m y g o i n g

may

prove foolish.

Thou

a r t wise, a n d

understandest

better than I speak."
A n d as one w h o u n wills w h a t h e willed, a n d w i t h n e w
t h o u g h t s c h a n g e s h i s purpose, so t h a t h e w h o l l y quits t h e
t h i n g commenced, 2 s u c h I m a d e myself on t h a t d i m coast ;
Andovvi poi lo Vas d' elezione,
Per recarne conforto a quella Fede,
Ch' è principio alla via di salvazione.
Ma io, perchè venirvi ? o chi '1 concede ?
Io non Enea, io non Paolo sono :
Me degno a ciò ne io, ne altri crede.
Per che se del venire io m ' abbandono,
Temo che la venuta non sia folle :
Se' savio, e intendi m e ' eh' io non ragiono.
E quale è quei, che disvuol ciò eh' e' volle,
E per novi pensier cangia proposta,
Sì che del cominciar tutto si tolle ;

30

35

39. Tolle, toglie (from tollere): old form, nearer to
the Latin. Many examples of this sort occur ; which
we here notice, once for all.
1
Paul, called " a chosen vessel"
(Acts ix. 15); "caught up to the
third heaven;" and into Paradise,
where he "heard unspeakable
words" (2 Cor. xii. 1-4). Thither,
i. e. " to the immortal world."

2
Literally : " Changes his purpose, so that he takes himself
wholly from the beginning" that
he has made : wholly gives up the
enterprise he had begun.

CANTO II.

INFERNO.

17

for w i t h t h i n k i n g I w a s t e d t h e e n t e r p r i s e , t h a t h a d been
so q u i c k i n i t s c o m m e n c e m e n t .
" I f I h a v e r i g h t l y u n d e r s t o o d t h y w o r d s , ' ' replied t h a t
shade
fear,

f t h e M a g n a n i m o u s , " t h y soul is s m i t w i t h c o w a r d
w h i c h oftentimes e n c u m b e r s m e n , so t h a t i t t u r n s

t h e m b a c k from h o n o u r e d e n t e r p r i s e ; as false seeing does
a startled beast;

To free t h e e from t h i s dread, I will tell

t h e e w h y I came, a n d w h a t I h e a r d i n t h e first m o m e n t
w h e n I took p i t y of t h e e .

I w a s a m o n g s t t h e m w h o a r e in

s u s p e n s e ; 1 a n d a L a d y , 2 so fair a n d blessed t h a t I p r a y e d
Tal mi fee' io in quella oscura costa :
Perchè pensando consumai la impresa,
Che fu nel cominciar cotanto tosta.
Se io ho ben la tua parola intesa,
Bispose del magnanimo quell' ombra,
L' anima tua è la viltade offesa,
L a qual molte fiate 1' uomo ingombra,
Sì che d' onrata impresa lo rivolve,
Come falso veder bestia quand' ombra.
Da questa tema acciocché tu ti solve,
Dirotti, perch' io venni, e quel eh' io intesi,
Nel primo punto che di te mi dolve.
Io era tra color, che son sospesi,
E Donna mi chiamò beata e bella,

40

45

50

44. Ombra, takes fright, is startled.
51. Dolve, dolse : Lat. doluit.
1

In Limbo. Canto iy. 45.
Beatrice : in Dante's heart,
transfigured into Celestial Wisdom. She descends to Human
Wisdom in its Limbo : and makes
2

it guide her " friend " some way
towards Heaven. See the Canzone : Voi che, intendendo, il terzo
del movete, &c. ; and Dante's beau
tiful comment on it, in which he

18

INFERNO.

h e r to c o m m a n d , called m e .

CANTO II.

H e r eyes shone b r i g h t e r

t h a n t h e S t a r ; 1 a n d she b e g a n soft a n d gentle to tell
m e w i t h angelic voice, in h e r l a n g u a g e : ' 0

courteous

M a n t u a n Spirit, w h o s e fame still l a s t s in t h e wc Id, a n d
will l a s t as l o n g as T i m e ! 2

M y friend, 3

a n d n o t of

Tal che di comandare io la richiesi.
Lucevan gli occhi suoi più che la Stella :
E cominciommi a dir soave e piana
Con angelica voce, in sua favella :
0 anima cortese Mantovana,
Di cui la fama ancor nel mondo dura,
E durerà quanto il moto lontana :
L ' amico mio, e non della ventura,

55

60

60. Lontana, used for lunga ; as in Par. xv. 49.

speaks of his Beatrice as a blessed
spirit ; and tells how he " went
away as if in rapture " when he
thought of her. Conv. Tr. ii. c.
7, 8, &c.
1
The Sun. La Bella Stella ch>
il tempo misura ("the beautiful
star that measures time"). Canzone xix. 1, page 62 of Fraticelli's
edition, Fior. 1834. " She (Wisdom) is more beautiful than the
sun, and above all the order of
stars 5 being compared with light,
she is found before it." Wisdom
of Solomon vii. 29.
2
Literally: "Motion." Tempus
est numerus motus secundum prius
et posterius (Aristotle) ; quoted

by Dante {Conv. Tr. iv. c. 2), and
translated : " Time, according to
Aristotle in the fourth (book) of
his Physics, is the number (summation) of motion with respect to
first and after." Many editions
read mondo (creation) ; and perhaps with equally good authority.
3
Line 61 lies open to several
interpretations, of which the plainest and best seems the following :
" My friend, and not the friend of
fortune ; " he who is dear to me,
though sorely wounded (CW\Tr. i.
c. 3) and driven about by fortune.
Alfieri, who studied Dante with
great zeal, suggests another remarkable meaning by a passage in

19

INFERNO.

CANTO I I .

fortune, is so i m p e d e d in his w a y u p o n t h e d e s e r t shore,
t h a t h e h a s t u r n e d b a c k for t e r r o r .

A n d I fear h e m a y

a l r e a d y be so far a s t r a y , t h a t I h a v e r i s e n too l a t e for his
relief, from w h a t I h e a r d of h i m in H e a v e n .

N o w go,

a n d w i t h t h y o r n a t e speech, a n d w i t h w h a t is

necessary

for his escape, h e l p h i m so, t h a t I m a y b e consoled t h e r e b y .
I

a m B e a t r i c e w h o send t h e e .

w h e r e I desire to r e t u r n .
me speak.

I

came

from a place

L o v e m o v e d me, t h a t m a k e s

W h e n I shall be before m y L o r d , I oft will

praise thee to him.'
" S h e w a s silent t h e n , a n d I b e g a n :

0 Lady, single

in w o r t h ; t h r o u g h w h o m m a n k i n d excels all t h a t is conNella diserta piaggia è impedito
Sì nel cammin, che vòlto è per paura :
E temo che non sia già sì smarrito,
Ch' io mi sia tardi al soccorso levata,
Per quel eh' io ho di lui nel Cielo udito.
Or muovi, e con la tua parola ornata,
E con ciò, che ha mestieri al suo campare,
L ' aiuta sì, eh' io ne sia consolata.
Io son Beatrice, che ti faccio andare :
Yegno di loco, ove tornar disio :
Amor mi mosse, che mi fa parlare.
Quando sarò dinanzi al Signor mio,
Di te mi loderò sovente a lui.
Tacette allora, e poi cominciai io :
0 Donna di virtù sola, per cui
his Filippo, where Perez tells Carlo
that he is the friend of his choice,
&c. Amico tuo. . . . Non di ventura
io sono, &c. (Atto i. se. 4). Scolari,

65

70

75

and other distinguished commentators, adopting it, explain : " My
friend, that of my choice, and not
that of chance, accident or caprice."

20

INFERNO.

CANTO I I .

tained w i t h i n t h e h e a v e n w h i c h h a s t h e smallest circles I 1
So

grateful

to m e is t h y c o m m a n d , t h a t my

w e r e i t done a l r e a d y , seems t a r d y .
t h o u m o r e explain to m e t h y wish.

obeying,

I t needs not

that

B u t tell m e t h e cause,

w h y t h o u forbearest n o t t o descend i n t o t h i s c e n t r e h e r e
below from t h e spacious place, 2 t o w h i c h t h o u

burnest

to return ? '
" ' Since t h o u desirest to k n o w

thus

far,

I will tell

t h e e briefly,' she replied, ' w h y I fear n o t to come w i t h i n
t h i s place.

T h o s e t h i n g s alone are to b e feared t h a t h a v e

the power
fearful.

of h u r t i n g ;
I

the

o t h e r s not, w h i c h a r e

not

a m m a d e s u c h by God, in his grace, t h a t

L' umana spezie eccede ogni contento
Da quel ciel, che ha minori i cerchi sui :
Tanto m ' aggrada il tuo comandamento,
Che 1' ubbidir, se già fosse, m ' è tardi 5
Più non t' è uopo aprirmi il tuo talento.
Ma dimmi la cagion, che non ti guardi
Dello scender quaggiù in questo centro
Dall' ampio loco, ove tornar tu ardi.
Da che tu vuoi saper cotanto addentro,
Dirotti brevemente, m i rispose,
Perch' io non temo di venir qua entro.
Temer si deve sol di quelle cose
Ch' hanno potenza di fare altrui male :
Dell' altre no, che non son paurose.

80

85

90

77. Contento, contenuto.
1

The heaven of the moon ; I 2 The widest circle of Paradise ;
which goes round (contains) our
the Empyreal Heaven, which is
earth, and is the nearest to it and
farthest from our earth. See note
smaller than any other.
I above, p. xxxix.

CANTO I I .

INFERNO.

21

j o u r misery does not touch me ; nor the flame of this
burning assail me. There is a noble Lady 1 in Heaven
who has such pity of this hindrance, for which I send
thee, that she breaks the sharp judgment there on high.
She called Lucia, 2 in her request, and said : ' Now thy
faithful one has need of thee ; and I commend him to
thee.'
" Lucia, enemy of all cruelty, arose and came to the
place where I was sitting with the ancient Rachel. 3 She
said : ' Beatrice, true praise of God ; why helpest thou not
him who loved thee so, that for thee he left the vulgar
Io son fatta da Dio, sua mercè, tale,
Che la vostra miseria non mi tange,
Ne fiamma d' esto incendio non m' assale.
Donna è gentil nel Ciel, che si compiange
Di questo impedimento, ov' io ti mando,
Sì che duro giudicio lassù frange.
Questa chiese Lucìa in suo dimando,
E disse : Or abbisogna il tuo fedele
Di te, ed io a te lo raccomando.
Lucìa, nimica di ciascun crudele,
Si mosse, e venne al loco dov' io era,
Che mi sedea con 1' antica Bachele.
Disse : Beatrice, loda di Dio vera,
Che non soccorri quei che t' amò tanto,
1

Divine Mercy.
Divine enlightening Grace.
Lucia, the Virgin Martyr ; a real
person, transfigured like Beatrice.
Dante finds her in Paradise, canto
xxxii. 136, &c. Vide also Purg.
ix. 55.
2

95

100

3
Contemplation. Vide Ptvrg.
xxvii. 104. Contemplation of God
and his works, "which without
any mixture is the use of our
highest faculty ; " but " cannot be
fully attained in this life." Conv.
Tr. iv. c. 22.

22

INFERNO.

crowd ?

Hearest

not

thou

CANTO I I .

t h e m i s e r y of his plaint ?

Seest t h o u n o t t h e d e a t h w h i c h c o m b a t s h i m u p o n t h e
river, t h a t s w e l l e t h n o t t h e sea ? 1

JSTone on e a r t h w e r e

ever swift to seek their good, or flee t h e i r h u r t , as I t o
come, after t h e s e w o r d s w e r e u t t e r e d , from m y blessed
seat ; confiding in t h y noble speech, w h i c h h o n o u r s t h e e ,
a n d t h e m w h o h a v e h e a r d it.'
" A f t e r s a y i n g t h i s t o m e , she t u r n e d a w a y h e r b r i g h t
eyes w e e p i n g ; b y w h i c h she m a d e m e h a s t e n m o r e t o
come.

A n d t h u s I c a m e t o thee, as she desired ; t o o k

t h e e from before t h a t s a v a g e b e a s t , w h i c h bereft t h e e of
t h e s h o r t w a y to t h e beautiful

mountain.

W h a t is i t

Che uscio per te della volgare schiera ?
Non odi tu la pietà del suo pianto ?
Non vedi tu la morte che il combatte
Su la fiumana, ove il mar non ha vanto ?
Al mondo non fur mai persone ratte
A far lor pro, ne a fuggir lor danno,
Coni' io, dopo cotai parole fatte,
Venni quaggiù dal mio beato scanno,
Fidandomi nel tuo parlare onesto,
Che onora te, e quei che udito 1' hanno.
Poscia che m ' ebbe ragionato questo,
Gli occhi lucenti lagrimando volse ;
Per che mi fece del venir più presto :
E venni a te così, com' ella volse ;
Dinanzi a quella fiera ti levai,
Che del bel monte il corto andar ti tolse.
1
Literally : " Of which the sea I do not fall into the sea.
has no boast." The rivers of Hell | canto xiv. 112> &c.

105

110

115

120
Vide

then ?

23

INFERNO.

CANTO I I .

W h y , why haltest thou ?

h e a r t such coward fear ?

W h y l o d g e s t in t h y

W h y a r t t h o u n o t bold a n d

free, w h e n t h r e e s u c h blessed L a d i e s 1 care for t h e e i n
t h e c o u r t of H e a v e n , a n d m y w o r d s p r o m i s e t h e e so m u c h
good?"
As

flowerets,

by t h e n i g h t l y chillness b e n d e d

down

a n d closed, erect themselves all open on t h e i r stems w h e n
the

sun whitens

courage.

t h e m ; 2 t h u s I did, w i t h m y fainting

A n d so m u c h good d a r i n g r a n i n t o m y h e a r t , 3

t h a t I b e g a n as one set f r e e :

"O

compassionate

Dunque che è ? perchè, perchè ristai ?
Perchè tanta viltà nel cuore allette ?
Perchè ardire e franchezza non hai ?
Poscia che tai tre Donne benedette
Curan di te nella corte del Cielo,
E il mio parlar tanto ben t' impromette ?
Quale i fioretti dal notturno gelo
Chinati e chiusi, poi che il Sol gì' imbianca,
Si drizzan tutti aperti in loro stelo ;
Tal m i fee' io, di mia virtute stanca :
E tanto buono ardire al cuor m i corse,
Ch' io cominciai come persona franca :
0 pietosa colei che mi soccorse,

she,

125

130

127. Quale, used like Virgil's Quale sopor fessìs,
&c. Eel. Y. 46.
1
Divine Merc}r, Grace, and
Wisdom.
2

"But right as floures through
the cold of night
Yclosed, stoupen in her stalkes
lowe,

Redressen hem ayen the Sunne
bright,
And spreden in her kind course
by rowe," &c.
Chaucer, Troilusand Cresseide, b. ii.
3
Per ima cucurrìt ossa tremor,
.ZEneid. ii. 120.

24

INFERNO.

CANTO I I .

who succoured me ! And courteous thou, who quickly
didst obey the true words that she gave thee ! Thou
hast disposed my heart with such desire to go, by what
thou sayest, that I have returned to my first purpose»
ISTow go ; for both have one will : Thou guide, thou lord
and master."
Thus I spake to him ; and he moving, I entered on
the arduous and savage way.
E tu cortese, eh' ubbidisti tosto
Alle vere parole che ti porse !
Tu m' hai con desiderio il cuor disposto
Sì al venir, con le parole tue,
Ch' io son tornato nel primo proposto.
Or va, che un sol volere è d' ambedue :
Tu duca, tu signore, e tu maestro.
Così gli dissi ; e poiché mosso fue,
Entrai per lo cammino alto e Silvestro.

135

140

ARGUMENT.
Inserir >n over the Gate of Hell, and the impression it produces upon
Df X.J. Virgil takes him by the hand, and leads him in. The dismal sounds make him burst into tears. His head is quite bewildered.
Upon a Dark Plain (buia campagna), which goes round the confines,
he sees a vast multitude of spirits running behind a flag in great
haste and confusion, urged on by furious wasps and hornets. These
are the unhappy people, who never were alive—never awakened to
take any part either in good or evil, to care for anything but themselves. They are mixed with a similar class of fallen angels. After
passing through the crowd of them, the Poets come to a great River,
which flows round the brim of Hell ; and then descends to form the
other rivers, the marshes, and the ice that we shall meet with. It is
the river Acheron ; and on its Shore all that die under the wrath of
God assemble from every country to be ferried over by the demon
Charon. He makes them enter his boat by glaring on them with his
burning eyes. Having seen these, and being refused a passage by
Charon, Dante is suddenly stunned by a violent trembling of the
ground, accompanied with wind and lightning, and falls down in a
state of insensibility.

26

INFERNO,

Ci

0 in.

CANTO III.
THROUGH m e is t h e w a y i n t o t h e doleful city ; t h r o u g h
me the way into the eternal pain; through me t e way
a m o n g t h e people lost.

Justice moved my High Maker :

Divine Power made me, Wisdom Supreme, and
Love.1

°rmial

Before m e w e r e n o t h i n g s c r e a t e d , b u t e

and eternal I endure.

mal;

L e a v e all h o p e , y e t h a t enter.

T h e s e w o r d s , of colour obscure, s a w I w r i t t e n above
a gate.
hard."

W h e r e a t I : "Master, their

m e a n i n g to m e is

2

P E R me si va nella città dolente :
Per me si va nelT eterno dolore :
Per me si va tra la perduta gente.
Giustizia mosse il mio alto Fattore :
Fecemi la divina Potestate,
L a somma Sapienza e il primo Amore.
Dinanzi a me non fur cose create,
Se non eterne, ed io eterno duro :
Lasciate ogni speranza, voi eh' entrate.
Queste parole di colore oscuro
Vid' io scritte al sommo d' una porta ;
Per eh' io : Maestro, il senso lo* m ' è duro.
1
Eternai Power and Wisdom,
and Love proceeding from them,
appoint the place of punishment
for sin. Remark how Dante, under his old phraseology here and
elsewhere, always feels that no infinite Love, or Wisdom, or Power,

5

10

are possible without Justice. To
him the great Trinity is not a mere
hearsay, but a living reality.
2
Bitter, ffearful to me. The
Hell of Dante comes upon him as
a very sad and painful thing
withal. See \\. 23.

CANTO H I .

INFERNO.

27

And he to me, as one experienced : " Here must all
distrust be left; all cowardice must here be dead. We
are come to the place where I told thee thou shouldst
see the wretched people, who have lost the good of the
intellect." l
And placing his hand on mine, with a cheerful countenance that comforted me, he led me into the secret
things. Here sighs, plaints, and deep wailings resounded
through the starless air : it made me weep at first.
Strange tongues, horrible outcries, words of pain, tones
of anger, voices deep and hoarse, and sounds of hands
amongst them, made a tumult, which turns itself unEd egli a me, come persona accorta :
Qui si convien lasciare ogni sospetto ;
Ogni viltà convien che qui sia morta.
Noi sem venuti al luogo ov' io t' ho detto
Che tu vedrai le genti dolorose,
Ch' hanno perduto il ben dello intelletto.
E poiché la sua mano alla mia pose,
Con lieto volto, ond' io mi confortai,
Mi mise dentro alle segrete cose.
Quivi sospiri, pianti, e alti guai
Bisonavan per 1' aer senza stelle,
Per eh' io al cominciar ne lagrimai.
Diverse lingue, orribili favelle,
Parole di dolore, accenti d' ira,
Voci alte e fioche, e suon di man con elle,
Facevano un tumulto, il qual s' aggira

15

20

25

16. Sem, siamo: Lat. sumus.
1

The knowledge of God, where- | ness and eternal salvation. Conv.
i alone the intellect finds clear- | Tr. ii, c. 14.

28

INFERNO.

CANTO I I I .

ceasing in that air for ever dyed, 1 as sand when the
whirlwind breathes.
And I, my head begirt with error, 2 said : " Master,
what is this that I hear ? and who are these that seem so
overcome with pain ? "
And he to me : " This miserable mode the dreary souls
of those sustain, who lived without blame, and without
praise. They are mixed with that caitiff choir of the
angels, who were not rebellious, nor were faithful to God ;
but were for themselves. Heaven chased them forth to
keep its beauty from impair ; 3 and the deep Hell receives
them not, for the wicked would have some glory over
them."
Sempre in quell' aria senza tempo tinta,
Come la rena quando il turbo spira.
Ed io, eh' avea d' error la testa cinta,
Dissi : Maestro, che è quel eh' i' odo ?
E che gente è, che par nel duol sì vinta ?
Ed egli a me : Questo misero modo
Tengon 1' anime triste di coloro,
Che visser senza infamia e senza lodo.
Mischiate sono a quel cattivo coro
Degli angeli che non fur on ribelli,
Ne fur fedeli a Dio, ma per se foro.
Cacciarli i ciel per non esser men belli,
Ne lo profondo inferno gli riceve,
Che alcuna gloria i rei avrebber d' elli.
1
" Without time, or eternally
dyed, or stained" with darkness.
2
Lit. : "Who had my head
begirt," &c. Some editions read

orror

30

35

4(

(horror) in line 31, instea
of error.
3
Lit. : " in order to be not le*
beautiful."

CANTO III,

INFERNO.

29

A n d I : " Master, w h a t is so g r i e v o u s to t h e m , t h a t
makes them lament thus bitterly ? "
H e answered:

" I

will t e l l i t t o t h e e v e r y

briefly.

T h e s e h a v e no h o p e of d e a t h ; a n d t h e i r b l i n d life is so
m e a n , t h a t t h e y a r e envious of e v e r y o t h e r lot.
t h e m t h e w o r l d p e r m i t s n o t to exist.
m e n t disdains t h e m .

R e p o r t of

Mercy and J u d g -

L e t u s n o t speak of t h e m ; b u t look,

and pass."
A n d I, w h o looked, saw a n ensign, w h i c h w r hirling r a n
so q u i c k l y t h a t it seemed to scorn all pause. 1 A n d b e h i n d
it came so l o n g a t r a i n of people, t h a t I s h o u l d n e v e r h a v e
believed d e a t h h a d u n d o n e so m a n y .
E d io : Maestro, che è tanto greve
A lor, che lamentar gli fa sì forte ?
Rispose : Dicerolti molto breve.
Questi non hanno speranza di morte,
E la lor cieca vita è tanto bassa,
Che invidiosi son d' ogni altra sorte.
F a m a di loro il mondo esser non lassa,
Misericordia e Giustizia gli sdegna :
Non ragioniam di lor, m a guarda e passa.
E d io, che riguardai, vidi un' insegna,
Che girando correva tanto ratta,
Che d' ogni posa m i pareva indegna :
E dietro le venia sì lunga tratta
Di gente, eh' io non avrei mai creduto,
Che morte tanta n ' avesse disfatta.

45

50

55

45. Dicerolti, tei dirò : Lat. dicere.
1

Or, " seemed unworthy of all
pause." The long train is kept
sweeping round the confines of

Hell, unworthy and unable to enter
it, and the giddy flag is their only
mark and guide.

30

INFERNO.

'

CANTO IH.

A f t e r I h a d recognised some a m o n g s t t h e m , I

looked

a n d s a w t h e s h a d o w of h i m 1 w h o from cowardice m a d e
t h e great refusal.

F o r t h w i t h I u n d e r s t o o d a n d felt as-

s u r e d , t h a t t h i s w a s t h e c r e w of caitiffs, hateful t o God
a n d to h i s enemies.

These unfortunate, who never were

alive, w e r e n a k e d , a n d sorely goaded by h o r n e t s a n d by
wasps t h a t w e r e t h e r e : t h e s e m a d e t h e i r faces

stream

w i t h blood, w h i c h m i x e d w i t h t e a r s w a s g a t h e r e d a t t h e i r
feet b y l o a t h s o m e w o r m s .
Poscia eh' io v' ebbi alcun riconosciuto,
Guardai, e vidi 1' ombra di colui
Che fece per viltate il gran rifiuto.
Incontanente intesi, e certo fui,
Che quest' era la setta dei cattivi,
A Dio spiacenti ed a' nemici sui.
Questi sciaurati, che mai non fur vivi,
Erano ignudi e stimolati molto
Da mosconi e da vespe eh' eran ivi.
Elle rigavan lor di sangue il volto,
Che mischiato di lagrime, a' lor piedi
Da fastidiosi vermi era ricolto.
1
It is uncertain to whom the
poet alludes in this place. Celestine Y. resigned the papal power
in 1294, and was followed by
Boniface VIII. ; but he had first
tried it for more than five months
(Villani, lib. viii. c. 5). He had
lived as a monk to the age of
seventy-two, and was suddenly
elected at Perugia, after the papal
chair had been kept vacant for

60

65

more than two years by the wild
contests of the cardinals. He died
soon after his resignation and was
canonised in 1313, eight years before Dante's death. The line often
quoted (Inferno, canto xxvii. 105)
proves nothing, except that Dante
knew about Celestine—a thing
that needed no proof. Each commentator may continue to select
for Danto the person most promi-

C4NT0 III.

31

INFERNO.

A n d t h e n , as I looked o n w a r d s , I s a w people on t h e
S h o r e of a g r e a t R i v e r .

W h e r e a t I said : " M a s t e r , n o w

grant that I may know who these are ; and what usage
m a k e s t h e m seem so r e a d y t o pass over, as I discern b y
t h e faint l i g h t . "
A n d h e : " T h e t h i n g s shall b e t o l d t h e e , w h e n w e s t a y
o u r steps u p o n t h e joyless s t r a n d of A c h e r o n . "
T h e n , w i t h eyes a s h a m e d a n d
w o r d s m i g h t h a v e offended

d o w n c a s t , fearing

him, I

s p e a k i n g till w e r e a c h e d t h e s t r e a m .

k e p t myself

my
from

A n d lo ! a n old

m a n , w h i t e w i t h ancient hair, comes t o w a r d s u s in a b a r k ,
s h o u t i n g : " W o e t o you, d e p r a v e d spirits ! H o p e n o t ever
E poi che a riguardare oltre m i diedi,
Vidi gente alla riva d' u n gran fiume :
Perch' io dissi : Maestro, or m i concedi,
Ch' io sappia quali sono, e qual costume
Le fa parer di trapassar sì pronte,
Com' io discerno per lo fioco lume.
E d egli a me : Le cose ti fìen conte,
Quando noi fermerem li nostri passi
Sulla trista riviera d' Acheronte.
Allor con gli occhi vergognosi e bassi,
Temendo no '1 mio dir gli fusse grave,
Infìno al fiume dal parlar m i trassi.
E d ecco verso noi venir per nave
Un vecchio bianco per antico pelo,
Gridando : Guai a voi, anime prave !
Non isperate mai veder lo Cielo :
I ' vegno per menarvi all' altra riva,
nent in his own imagination. I " great refusals " in all ages.
Pusillanimity causes enough of |

70

75

80

65

32

INFERNO.

to see H e a v e n .

CANTO I I I .

I come t o lead y o u t o t h e o t h e r s h o r e ;

i n t o t h e e t e r n a l d a r k n e s s ; i n t o fire a n d i n t o ice.

And

t h o u , w h o a r t t h e r e alive, d e p a r t t h e e from t h e s e w h o a r e
dead."
B u t w h e n h e saw t h a t I d e p a r t e d not, h e said : " B y
not here shalt thou pass1

other ways, by other ferries;
over.

A lighter

2

boat must carry thee."

A n d m y g u i d e to h i m :

" Charon, v e x n o t

thyself.

T h u s i t is willed t h e r e , 3 w h e r e w h a t is willed c a n b e
done : a n d a s k no m o r e . "

T h e n t h e woolly c h e e k s w e r e

quiet of t h e s t e e r s m a n on t h e livid m a r s h , w h o r o u n d h i s
eyes h a d wheels of

flame.

B u t t h o s e spirits, w h o w e r e

foreworn a n d n a k e d , c h a n g e d colour a n d c h a t t e r e d w i t h
Nelle tenebre eterne, in ealdo e in gelo.
E tu che sei costì, anima viva,
Partiti da cotesti, che son morti.
Ma poi eh' ei vide, eh' io non m i partiva,
Disse : Per altre vie, per altri porti
Verrai a piaggia, non qui, per passare :
Più lieve legno convien che ti porti.
E il Duca a lui : Caron, non ti crucciare :
Vuoisi così colà, dove si puote
Ciò che si vuole ; e più non dimandare.
Quinci far quete le lanose gote
Al nocchier della livida palude,
Che intorno agli occhi avea di fiamme-yòte.
Ma quell' anime, eh' eran lasse e nude,
Cangiar colore e dibatterò i denti,
Ratto che inteser le parole crude.
1
Lit. : " shalt thou come to the I
shore, not here, in order to pass." |

2
3

90

95

100

More buoyant. MnM. 412, & c
In Heaven.

CANTO I I I .

INFERNO.

33

their teeth, soon as they heard the bitter words. They
blasphemed God and their parents ; the human kind ; the
place, the time, and origin of their seed, and of their
birth. Then all of them together, sorely weeping, drew
to the accursed shore, which awaits every man that fears
not God.
Charon the demon, with eyes of glowing coal, beckoning them, collects them all ; smites with his oar whoever
lingers. As the leaves of autumn fall off one after the
other, till the branch sees all its spoils upon the ground ;
so one by one the evil seed of Adam cast themselves from
that shore at signals, as the bird at its call. Thus they
depart on the brown water ; and ere they have landed
on the other shore, again a fresh crowd collects on this.

s

Bestemmiavano Iddio e i lor parenti,
L'umana specie, il luogo, il tempo, e il seme
Di lor semenza e di lor nascimenti.
Poi si ritrasser tutte quante insieme,
Forte piangendo, alla riva malvagia,
Ohe attende ciascun uom, che Dio non teme.
Caron dimonio, con occhi di bragia
Loro accennando, tutte le raccoglie ;
Batte col remo qualunque s' adagia.
Come d' autunno si levan le foghe
L' una appresso dell' altra, infìn che il ramo
Yedè alla terra tutte le sue spoglie ;
Similemente il mal seme d' Adamo :
Gittansi di quel lito ad una ad una,
Per cenni, come augel per suo richiamo.
Così sen vanno su per 1' onda bruna,
Ed avanti che sian di là discese,
Anche di qua nova schiera s'aduna.
D

105

110

115

120

34

INFERNO.

CANTO I I I .

" My son," said the courteous Master, " those who die
under God's wrath, all assemble here from every country.
And they are prompt to pass the river, for Divine Justice
spurs them so, thai fear is changed into desire. By this
way no good spirit ever passes ; and hence, if Charon
complains of thee, thou easily now mayest know the
import of his words."
When he had ended, the dusky champaign trembled
so violently, that the remembrance of my terror bathes
me still with sweat. The tearful ground gave out wind,
and flashed with a crimson light, which conquered all
my senses : and I fell, like one who is seized with sleep.
Figliuol mio, disse il Maestro cortese,
Quelli, che muoion nelT ira di Dio,
Tutti convegnpn qui d' ogni paese :
E pronti sono a trapassar lo rio,
Che la divina Giustizia li sprona
Sì, che la tema si volge in disio.
Quinci non passa mai anima buona :
E però se Caron di te si lagna,
Ben puoi saper ornai, che il suo dir suona.
Einito questo, la buia campagna
Tremò sì forte, che dello spavento
La mente di sudore ancor mi bagna.
La terra lagrimosa diede vento,
E balenò d' una luce vermiglia,
La qual mi vinse ciascun sentimento ;
E caddi, come 1' uom, cui sonno piglia.

125

130

135

ARGUMENT.
Dante is roused by a heavy thunder, and finds himself on the brink of
the Abyss. Not in his own strength has he crossed the dismal river.
Virgil conducts him into Limbo, which is the First Circle of Hell,
and contains the spirits of those who lived without Baptism or Christianity. The only pain they suffer is, that they live in the desire and
without the hope of seeing God. Their sighs cause the eternal ajr to
tremble, and there is no other audible lamentation amongst them.
As Dante and Virgil go on, they reach a hemisphere of light amid
the darkness, and are met by Homer and other Poets, and conducted
into a Noble Castle, in which they see the most distinguished of the
Heathen women, statesmen, sages, and warriors. Homer and the
other Poets quit them ; and they go on to a place of total darkness.

38

INFERNO.

CANTO

CANTO IV.

IV.

A HEAVY t h u n d e r b r o k e t h e deep sleep in m y h e a d ;
so t h a t I s t a r t e d l i k e one w h o is a w a k e d b y force.

And,

h a v i n g r i s e n erect, I m o v e d m y r e s t e d eyes a r o u n d , a n d
l o o k e d stedfastly t o k n o w t h e place i n w h i c h

I

was.

T r u e is it, t h a t I found myself u p o n t h e b r i n k of t h e
dolorous V a l l e y of t h e A b y s s , w h i c h g a t h e r s t h u n d e r of
endless w a i l i n g s . 1

I t w a s so d a r k , profound, a n d cloudy,

t h a t , w i t h fixing m y look u p o n t h e b o t t o m , I t h e r e d i s cerned n o t h i n g .
" N o w l e t u s descend i n t o t h e b l i n d w o r l d h e r e below,''
b e g a n t h e P o e t all p a l e : " I will b e first, a n d t h o u s h a l t
be second."
KUPPEMI 1' alto sonno nella testa
Un greve tuono, sì eh' io mi riscossi,
Come persona che per forza è desta :
E 1' occhio riposato intorno mossi,
Dritto levato, e fiso riguardai
Per conoscer lo loco dov' io fossi.
Vero è, che in su la proda m i trovai
Della valle d' abisso dolorosa,
Che tuono accoglie d'infiniti guai.
Oscura, profonda era, e nebulosa,
Tanto che, per ficcar lo viso al fondo,
Io non vi discernea veruna cosa.
Or discendiam quaggiù nel cieco mondo,
Incominciò il Poeta tutto smorto :
Io sarò primo, e tu sarai secondo.

5

10

15

1
Collects into one thunder the I eternal trumpet, now that his ear
many sounds of woe. Like a huge | is fully awakened to it.

CANTO IV.

INFERNO.

37

And I, who had remarked his colour, said : " How
shall I come, when thou fearest, who art wont to be my
strength in doubt ? "
And he to me : " The anguish of the people who are
here below, on my face depaints that pity, which thou
takest for fear. Let us go ; for the length of way impels
us."
Thus he entered, 1 and made me enter, into the
first circle that girds the abyss. Here there was no
plaint, that could be heard,- except of sighs, which caused
the eternal air to tremble. And this arose from the
sadness, without torment, of the crowds that were many
and great, both of children, and of women and men.
Ed io, che del color mi fui accorto,
Dissi : Come verrò, se tu paventi
Che suoli al mio dubbiare esser conforto ?
Ed egli a me : L' angoscia delle genti,
Che son quaggiù, nel viso mi dipinge
Quella pietà, che tu per tema senti.
Andiam, che la via lunga ne sospinge.
Così si mise, e così mi fé' entrare
Nel primo cerchio che V abisso cinge.
Quivi, secondo che per ascoltare,
Non avea pianto, ma' che di sospiri,
Che 1' aura eterna facevan tremare :
E ciò awenia di duol senza martiri,
Ch' avean le turbe, eh' eran molte e grandi,
E d' infanti e di femmine e di viri.

20

25

80

26. Mal che, more than : Lat. magis quam.
1

Lit. : " put himself, and made I 2 Lit. : " Here, according to my
mc enter, into/' &c.
| listening, there was no plaint," &c.

38

INFERNO.
T h e good M a s t e r t o m e :

CANTO IV.

" Thou askest not

what

spirits a r e t h e s e t h o u seest ? I w i s h t h e e to k n o w , before
t h o u g o e s t farther, t h a t t h e y sinned n o t .

And though

t h e y h a v e merit, i t suffices n o t ; for t h e y h a d n o t B a p t i s m ,
which is t h e portal of t h e F a i t h
And

seeing t h e y

shipped

not

w e r e before

God a r i g h t .

that thou

Christianity,

believest.
they

wor-

A n d of t h e s e a m I myself.

F o r s u c h d e f e c t s / a n d for n o o t h e r fault, a r e w e l o s t ;
a n d only in so far afflicted, t h a t w i t h o u t h o p e w e live in
desire."2
G r e a t sadness t o o k m e a t t h e h e a r t on h e a r i n g t h i s ;
Lo buon Maestro a me : T u non dimandi
Che spiriti son questi, che tu vedi ?
Or vo' che sappi, innanzi che più andi,
Ch' ei non peccaro : e s' egli hanno mercedi,
Non basta, perch' ei non ebber battesmo,
Oh' è porta della Fede che tu credi :
E se furon dinanzi al Cristianesmo,
Non adorar debitamente Dio :
E di questi cotai son io medesmo.
Per tai difetti, e non per altro rio,
Semo perduti, e sol di tanto offesi,
Che senza speme vivemo in disio.
Gran duol mi prese al cuor, quando lo intesi,
Perocché gente di molto valore

35

40

40. Rio, reità. Vurg. vii. 7.
1

Dante says: Nemo, quanUimcumque moralibus et intellectualibus virtutibus, et secundum habitum et secundum operatìonem perfectus, absque fide salvavi potest :
dato, quod nunquam aliquid de

Carisio audiverit.
ii. p. 96.
2

Monarch, lib.

" And with desire to languish
without hope."
Par. Lost, x. 995.

CANTO IV.

INFERNO.

39

because I knew men of much worth, who in that Limbo 1
were suspense.
" Tell me, Master ; tell me, Sir," I
began, desiring to be assured of that Faith which conquers every error ; " did ever any, by his own merit,
or by others', go out from hence, that afterwards was
blessed?"
And he, understanding my covert speech, replied : " I
was new in this condition, when I saw a Mighty One 2
come to ns, crowned with sign of victory. He took
away from ns the shade of onr First Parent, of Abel his
son, and that of ISToah ; of Moses the Legislator, and
obedient Abraham the Patriarch ; David the King •
Conobbi, che in quel limbo eran sospesi.
Dimmi, Maestro mio, dimmi, Signore,
Cominciai io, per voler esser certo
Di quella fede che vince ogni errore :
Uscitine mai alcuno, o per suo merto,
O per altrui, che poi fosse beato ?
E quei, che intese il mio parlar coverto,
Bispose : Io era nuovo in questo stato,
Quando ci vidi venire un Possente
Con segno di vittoria incoronato.
Trasseci 1' ombra del Primo Parente,
D' Abel suo figlio, e quella di Noè,
Di Moisè Legista, e ubbidiente
Abraam Patriarca, e David Re,
Israel con suo padre, e co' suoi nati,
1

Limbo, from Lat. Limbus,
border.
2
The Mighty One is Christ,

45

50

55

whose name Danfé, out of reverence, refrains from uttering in
this place.

40

INFERNO.

CANTO IV.

I s r a e l w i t h his f a t h e r a n d his c h i l d r e n , a n d R a c h e l , for
w h o m h e did so m u c h ; 1 a n d m a n y o t h e r s , a n d m a d e t h e m
blessed.

A n d I w i s h t h e e t o k n o w , t h a t , before these, no

h u m a n souls w e r e s a v e d . "
W e ceased n o t t o go, t h o u g h h e w a s s p e a k i n g ; b u t
p a s s e d t h e wood m e a n w h i l e , t h e wood, 2 I say, of crowded
spirits.

O u r w a y w a s n o t y e t far w i t h i n t h e t o p m o s t

pari;, w h e n I s a w a fire, w h i c h c o n q u e r e d a h e m i s p h e r e
of t h e d a r k n e s s . 3 W e w e r e still a l i t t l e d i s t a n t from i t ; y e t

E con Eachele, per cui tanto fé',
E d altri molti ; e fecegli beati :
È vo' che sappi che, dinanzi ad essi,
Spiriti umani non eran salvati.
Non lasciavam 1' andar, perch' ei dicessi,
Ma passavam la selva tuttavia,
L a selva dico di spiriti spessi.
Non era lungi ancor la nostra via
Di qua dal sommo, quand' io vidi un foco,
Ch' emisperio di tenebre vincia.
Di lungi v' eravamo ancora u n poco,
Ma non sì, eh' io non discernessi in parte,

60

65

70

69. Vincia, vincea in prose, from Lat. vincere.
1

Served Laban 14 years.
The undistinguished . multitudes, that crowd the dark outer
parts of Limbo, are here called a
" wood " of spirits 5 and probably
not without some relation to the
"dark wood" of the first canto.
There Dante saw the mystic Hill,
2

lighted by the Sun ; and here he
finds a Noble Castle, lighted by
all that was highest amongst the
Heathen.
3
Illuminated a hemisphere of
the darkness 5 " conquered " it,
around and above, with rays of
light.

INFERNO.

CANTO IY.

41

n o t so distant, t h a t I did n o t i n p a r t d i s c e r n w h a t h o n o u r able people occupied t h a t place.
" 0 t h o u , t h a t h o n o u r e s t e v e r y science a n d a r t ; w h o
are t h e s e , w h o h a v e s u c h h o n o u r , t h a t i t s e p a r a t e s t h e m
from t h e m a n n e r of t h e r e s t ? "
A n d h e to m e : " T h e h o n o u r e d n a m e , w h i c h sounds
of t h e m , u p in t h a t life of t h i n e , gains favour in h e a v e n
which thus advances them."
M e a n w h i l e a voice w a s h e a r d b y mo : " H o n o u r t h e
great Poet !

His shade returns t h a t was departed."

After t h e voice h a d p a u s e d , a n d w a s silent, I s a w four
g r e a t s h a d o w s come to u s .
sad n o r joyful.

T h e y h a d a n aspect n e i t h e r

T h e good M a s t e r b e g a n to s p e a k : " M a r k

h i m w i t h t h a t s w o r d in h a n d , w h o comes before t h e t h r e e
Che orrevol gente possedea quel loco.
0 tu, che onori ogni scienza ed arte,
Questi chi son, eh' hanno cotanta orranza,
Che dal modo degli altri li diparte ?
E quegli a me : L ' onrata nominanza,
Che di lor suona su nella tua vita,
Grazia acquista nel ciel che sì gli avanza.
Intanto voce fu per me udita :
Onorate 1' altissimo Poeta ;
L ' ombra sua torna, eh' era dipartita.
Poiché la voce fu restata e queta,
Vidi quattro grand' ombre a noi venire :
Sembianza avevan ne trista ne lieta.
Lo buon Maestro cominciò a dire :
Mira colui con quella spada in mano,
72. Orrevol, onorevole ; and orranza, onoranza.

75

80

85

42

INFERNO.

a,s t h e i r lord.

CANTO rv.

T h a t is H o m e r , t h e sovereign P o e t .

n e x t w h o comes is H o r a c e t h e s a t i r i s t .
a n d t h e l a s t is L u c a n .

The

Ovid is t h e t h i r d ;

B e c a u s e each a g r e e s w i t h m e in

t h e n a m e , 1 w h i c h t h e one voice sounded, 2 t h e y do m e
h o n o u r : a n d t h e r e i n t h e y do w e l l . "
T h u s I s a w a s s e m b l e d t h e goodly school of t h a t l o r d of
h i g h e s t song, w h o , l i k e a n eagle, soars above t h e r e s t .
After t h e y h a d t a l k e d a space t o g e t h e r , t h e y t u r n e d t o m e
w i t h sign of s a l u t a t i o n ; 3 a n d m y M a s t e r smiled t h e r e a t .
And g r e a t l y m o r e besides t h e y h o n o u r e d m e ; for t h e y

Che vien dinanzi a' tre sì come sire.
Quegli è Omero poeta sovrano :
L ' altro è Orazio satiro, che viene ;
Ovidio è il terzo, e 1' ultimo è Lucano.
Però che ciascun meco si conviene
Nel nome, che sonò la voce sola ;
F a n n o m i onore, e di ciò fanno bene.
Così vidi adunar la bella scuola
Di quel signor dell' altissimo canto,
Che sovra gli altri, com' aquila, vola.
D a eh' ebber ragionato insieme alquanto,
Volsersi a me con salutevol cenno :
E il mio Maestro sorrise di tanto.
E più d' onore ancora assai m i fenno,
1

The name of Poet, uttered by
the united voices of the four (v. 80),
when they saw Virgil return.
2

" Sun . . . . sound his praise
In thy eternal course."
Tar. Lost, v. 172.

90

95

100

" . . . . The crested cock, whose
clarion sounds
The silent hours."
Ibid. vii. 443.
3

Or, " with sign saluting" him
tco as a Poet.

CA.NTO I V .

INFERNO.

43

made me of their number, so that I was a sixth amid such
intelligences. 1
Thus we went onwards to the light, speaking things
which it is well to pass in silence, as it was well to speak
there where I was. We came to the foot of a Noble
Castle, seven times circled with lofty Walls, defended
round by a fair Rivulet. 2 This we passed as solid land*
Through seven gates I entered with those sages. We
reached a meadow of fresh verdure. On it were people
with eyes slow and grave, of great authority in theirappearance.
Ch' essi mi fecer della loro schiera,
Sì eh' io fui sesto tra cotanto senno.
Così n' andammo infino alla lumiera
Parlando cose, che il tacere è bello,
Sì com' era il parlar colà dov' era.
Venimmo al pie d' un nobile castello,
Sette volte cerchiato d' alte mura,
Difeso intorno d' un bel fìumicello.
Questo passammo come terra dura ;
Per sette porte intrai con questi savi ;
Giugnemmo in prato di fresca verdura.
Genti v' eran con occhi tardi e gravi,
Di grande autorità ne' lor sembianti :
1

Lit. : " amid such sense ;" such
strength of faculty, or wisdom.
" One of the six ;" not the sixth,
or last.
2
This Rivulet is understood to
represent Eloquence, or elocution ;
and the seven lofty Walls, the Virtues of justice, temperance, mag-

105

110

nanimity, &c. The stream is very
beautiful ; and hinders the nameless spirits of Limbo from entering. But the Poets find it small
and shallow ; and pass on, as ifs it
were not there, to examine what
is contained on the green Heights
of the interior.

44

INFERNO.

CANTO IV.

T h e y spoke seldom, w i t h mild voices.

Thus we retired

on one of t h e sides ; i n t o a place open, l u m i n o u s , a n d
h i g h , so t h a t t h e y could all be seen.

T h e r e direct, 1 u p o n

t h e g r e e n e n a m e l , w e r e s h e w n to m e t h e g r e a t spirits
w h o m I g l o r y w i t h i n m y s e l f in h a v i n g seen. 2
Electra

3

I

saw

w i t h m a n y companions : a m o n g s t w h o m I k n e w

b o t h H e c t o r a n d i E n e a s ; Cgesar a r m e d , w i t h t h e falcon
eyes.

I saw Camilla a n d P e n t h e s i l e a .

On the

other

hand I saw the Latian king, sitting w i t h Lavinia
daughter.

his

I saw t h a t B r u t u s w h o expelled t h e T a r q u i n ;

Parlavan rado, con voci soavi.
Traemmoci così dall' un de' canti
I n luogo aperto, luminoso, ed alto,
Sì che veder si potean tutti quanti.
Colà diritto, sopra il verde smalto,
Mi fur mostrati gli spiriti magni,
Che di vederli in me stesso m ' esalto.
Io vidi Elettra con molti compagni,
Tra' quai conobbi ed Ettore,, ed Enea,
Cesare armato con gli occhi grifagni.
Vidi Cammilla e la Pentesilea.
Dall' altra parte vidi il re Latino,
Che con Lavinia sua figlia sedea.
Vidi quel Bruto, che cacciò Tarquino,
1
Direct in front, face to face
before him.
2
Or: "inwardly exalt myself,
grow higher, for haying seen."
3
Electra, mother of Dardanus,
the founder of Troy. She is with
her own descendants; amongst

115

120

125

whom JDante reckons (Jsesar, the
Head of his ideal Monarchy. The
great Emperor has his harness
on ; and sees with his " black and
lively eyes " (oculis nigris vegetisene), of which Suetonius speaks,
Vit. Cessar, e. 45.

45

INFERNO^

CANTO I V .

L u c r e t i a , J u l i a , M a r t i a , a n d Cornelia.
apart, I s a w t h e Saladin,

A n d b j himself

1

W h e n I r a i s e d m y eyelids a l i t t l e h i g h e r , I saw t h e
M a s t e r 2 of those t h a t k n o w , s i t t i n g a m i d a philosophic
family.

All r e g a r d h i m ; all do h i m h o n o u r .

H e r e I saw

Socrates a n d P l a t o , w h o before t h e r e s t s t a n d n e a r e s t t o
h i m ; D e m o c r i t u s , w h o ascribes t h e w o r l d to c h a n c e ; 3
Diogenes, A n a x a g o r a s , a n d T h a l e s ; E m p e d o c l e s , H e r a *
clitus, a n d Zeno.

A n d I suw t h e good collector of t h e

qualities, 4 Dioscorides I m e a n ; a n d s a w O r p h e u s , T u l l y ,
Lucrezia, Julia, Marzia e Corniglia,
E solo in parte vidi il Saladino.
Poi che innalzai un poco più le ciglia,
Vidi il Maestro di color che sanno,
Seder tra filosofica famiglia.
Tutti lo miran, tutti onor gli fanno.
Quivi vid' io e Socrate e Platone,
Che innanzi agli altri più presso gli stanno.
Democrito, che il mondo a caso pone,
Diogenes, Anassagora e Tale,
Empedocles, Eraclito e Zenone :
E vidi il buono accoglitor del quale,

130

* 185

139. Quale for qualità.
1

The Saladin, renowned in the
Crusades.
2
Aristotle : " that glorious Philosopher," as Dante elsewhere calls
him 5 " to whom nature opened
mcsther secrets ;" that "Master
and Guide of human reason.'5
Conv. Tr. ir. e. 5, 6.

3

Democritus of Abdera, who
attributed the origin of things to
the fortuitous concourse of em*
bryon atoms.
4
Dioscorides, who collected and
made experiments on the virtues
and qualities of herbs, &c.

46

INFERNO.

Livy, a n d
and

Seneca

CANTO IV.

the moralist;

Ptolemseus ;

Hippocrates,

Euclid t h e
Avicenna,

A v e r r h o e s / who made the great comment.
p a i n t t h e m all i n full ; for

the long

me, t h a t

w o r d comes

many

times

the

geometer,

and

Gralen ;

I may not

t h e m e so

chases

s h o r t of

the

reality.
T h e c o m p a n y of six diminishes to t w o .

By another

r o a d t h e s a g e g u i d e l e a d s m e , o u t of t h e quiet, into t h e
t r e m b l i n g 2 a i r ; a n d I come to a

p a r t w h e r e t h e r e is

n o u g h t t h a t shines.

Dioscoride dico : e vidi Orfeo,
Tullio, e Livio, e Seneca morale :
Euclide geometra, e Tolommeo,
Ippocrate, Avicenna e Galieno,
Averrois che il gran comento feo.
Io non posso ritrar di tutti appieno ;
Però che sì mi caccia il lungo tema,
Che molte volte al fatto il dir vien meno.
L a sesta compagnia in duo si scema :
Per altra via m i mena il savio Duca,
Fuor della queta, nelT aura che trema ;
E vengo in parte, ove non è che luca.
1
Averrhoes translated the works
of Aristotle into Arabic, in the
12th century, and wrote a comment on them.
3
Lit. : " out of the quiet air,
into the air that trembles." The
inhabitants of the noble castle
are neither sad nor joyful (v. 84) ;
and dwell apart, on their green

140

145

150

Heights, in bright serenity. In
all others parts of Limbo, the air
trembles (v. 27) with sighs of
sadness. When Virgil and Dante
leave the other four poets, they
have still some way to go, among
the obscure spirits, ere they reach
the storms and darkness of f the
Second Circle.

ARGUMENT.
The Second Circle, or proper commencement of Hell ; and Minos, the
Infernal Judge, at its entrance. It contains the souls of Carnal sinners; and their punishment consists in being driven about incessantly, in total darkness, by fierce winds. First amongst them comes
Semiramis, the Babylonian queen. Dido, Cleopatra, Helena, Achilles,
Paris, and a great multitude of others, pass in succession. Dante is
overcome and bewildered with pity at the sight of them, when his
attention is suddenly attracted to two Spirits that keep together,
and seem strangely light upon the wind. He is unable to speak for
some time, after finding that it is Francesca of Rimini, with her
lover Paolo ; and falls to the ground, as if dead, when he has heard
their painful story.
Francesca was the daughter of Guido Vecchio da Polenta, lord of Ravenna, and was given in marriage to Gianciotto, or Giovanni Sciancato (John the lame, or hipshot), eldest son of Malatesta Vecchio,
lord or tyrant of Rimini. Paolo, her lover, was a younger son of
Malatesta. They were surprised and slain together by the husband,
about the year 1288; and buried in the same grave. Guido Novello, the true and generous friend, with whom Dante resided at
Ravenna, was the son of Francesca's brother, Ostagio da Polenta.

48

INFERNO.

CANTO

CANTO V.

V.

T H U S I descended from t h e first circle d o w n i n t o t h e
second,

w h i c h encompasses

less

space, 1 a n d so

g r e a t e r pain, t h a t it stings t o wailing.

much

T h e r e Minos sits

horrific, a n d g r i n s : 2 examines t h e crimes upon t h e e n t r a n c e ; j u d g e s , a n d sends a c c o r d i n g as h e g i r d s himself.
I say, t h a t w h e n t h e ill-born spirit comes before h i m , i t
confesses all ; a n d t h a t sin-discerner sees w h a t place i n
hell is for it, a n d w i t h his tail m a k e s as m a n y circles r o u n d
himself as t h e d e g r e e s

3

h e will h a v e it to descend.

Così discesi del cerchio prunaio
Giù nel secondo, che men loco cinghia,
E tanto più dolor, che pugne a guaio.
Stavvi Minos orribilmente, e ringhia :
Esamina le colpe neh" entrata,
Giudica e manda, secondo che avvinghia.
Dico, che quando 1' anima m a l nata
Li vien dinanzi, tutta si confessa ;
E quel conoscitor delle peccata
Vede qual loco d' inferno è da essa :
Cignesi colla coda tante volte,
Quantunque gradi vuol che giù sia messa.

5

10

' 4. Binghia from Lat. fingere.
1

Each successive circle is umam movet: Me sìleniUm Cori'
smaller as we descend.
ciliumque vocat, vitasque et crimina
2
Lit. : "sits there horribly, discit. JExi. vi. 432.
3
and shews his teeth," like a dog
Number of grades or circles.
ready to bite. Qzccssitor Minos

CANTO V .

INFERNO

49

Always before him stands a crowd of them. They go
each in its turn to judgment : they tell, and hear ; and
then are whirled down.
" 0 thou who comest to the abode of pain ! " said
Minos to me, leaving the act of that great office when
he saw me ; " look how thou enterest, and in whom thou
trustest. Let not the wideness 1 of the entrance deceive
thee."
And my guide to him : " Why criest thou too ?
Hinder not his fated going. Thus it is willed there
where what is willed can be done: and ask no
more."
Now begin the doleful notes to reach me ; 2 now am
Sempre dinanzi a lui ne stanno molte :
Vanno a vicenda ciascuna al giudizio ;
Dicono e odono, e poi son giù volte.
0 tu, che vieni al doloroso ospizio,
Disse Minos a me,' quando mi vide,
Lasciando Y atto di cotanto ufìzio,
Guarda com' entri, e di cui tu ti fide :
Non t' inganni 1' ampiezza dell' entrare.
E il Duca mio a lui : Perchè pur gride ?
Non impedir lo suo fatale andare :
Vuoisi così colà, dove si puote
Ciò che si vuole, e più non dimandare.
Ora incomincian le dolenti note
A farmisi sentire : or son venuto

15

20

25

* Facilis descensus Averni : Noe- •' that leadeth to destruction." Matt,
ies atque dies patet atri janua
vii. 13.
2
Litis, &e. iEn. ri. 126. Perhaps
Lit. : " to make themselves
also with allusion to : " Wide is
be heard by me."
the gate, and broad is the way |
E

50

INFERNO.

CANTO V.

I come w h e r e m u c h l a m e n t i n g s t r i k e s m e .

I came i n t o

a p l a c e l void of a l l l i g h t , w h i c h bellows like t h e sea in
tempest, w h e n it is c o m b a t e d b y w a r r i n g 2 w i n d s .

The

hellish storm, w h i c h n e v e r r e s t s , leads t h e spirits w i t h
its sweep ; w h i r l i n g , a n d s m i t i n g i t vexes t h e m .

When

t h e y a r r i v e before t h e r u i n , 3 t h e r e t h e s h r i e k s , t h e m o a n ings, and the lamentation ; there they blaspheme

the

divine power.
I l e a r n t t h a t to s u c h t o r m e n t were doomed t h e c a r n a l
s i n n e r s , w h o subject r e a s o n t o l u s t .

A n d as t h e i r wings

bear a l o n g t h e s t a r l i n g s , 4 a t t h e cold season, in l a r g e a n d
L à dove molto pianto mi percuote.
Io venni in loco d' ogni luce muto,
Che mugghia, come fa m a r per tempesta,
Se da contrari venti è combattuto.
L a bufera infernal, che mai non resta,
Mena gli spirti con la sua rapina ;
Voltando e percotendo li molesta.
Quando giungon davanti alla ruina,
Quivi le strida, il compianto e il lamento ;
Bestemmian quivi la virtù divina.
Intesi, che a così fatto tormento
E r a n dannati i peccator carnali,
Che la ragion sommettono al talento.
E come gli stornei ne portan 1' ali,
1

Lit. : " Mute of all light ; "
utterly and eternally dark. See
in canto i. 60, the want of sunlight only; and in canto iii. 75,
the " faint light " of Hell's confines. In Hell itself there is total
darkness and blindness.
2
"Winds contrary to each other.

3

30

35

40

The precipitous, shattered
rocks which bound the circles.
4
The starlings fly together in
great flocks ; shooting up, and
then turning their outspread
wings to the wind; rising and
falling tortuously, as if opposite
gusts were drifting them.

CANTO V.

INFERNO.

51

crowded troop; so that blast, the evil spirits. Hither,
thither, down, up, it leads them. No hope ever comforts
them, not of rest but even of less pain. And as the
cranes go chanting their lays, making a long streak of
themselves in the air ; so I saw the shadows come, uttering wails, borne by that strife x of winds. Whereat I
said : " Master, who are those people, whom the black air
thus lashes ? "
" The first of these concerning whom thou seekest to
know," he then replied, " was Empress of many tongues.
With the vice of luxury she was so broken, that she
Nel freddo tempo, a schiera larga e piena ;
Così quel fiato gli spiriti mali :
Di qua, di là, di giù, di su gli mena.
Nulla speranza gli conforta mai,
Non che di posa, ma di minor pena.
E come i gru van cantando lor lai,
Facendo in aer di se lunga riga ;
Così vid' io venir, traendo guai,
Ombre portate dalla detta briga :
Per eh' io dissi : Maestro, chi son quelle
Genti, che 1' aer nero sì gastiga ?
La prima di color, di cui novelle
Tu vuoi saper, mi disse quegli allotta,
Fu imperatrice di molte favelle.
A vizio di lussuria fu sì rotta,

45

50

55

53. Allotta} allora.
1

"Wherewithal a man sinneth," I The storm and darkness; the
by the same also shall he be pun- passions, unrestrained by clouded
ished." Wisdom ofSolomon id. 16. I reason.

52

CANTO V.

INFERNO,

m a d e h i s t a n d l a w a l i k e in h e r decree, 1 to t a k e
the

blame

she h a d i n c u r r e d .

away

S h e is S e m i r a m i s , of

w h o m w e read t h a t she succeeded N i n u s , 2 a n d w a s his
spouse.

S h e held t h e

land

which

the

Soldan rules.

T h a t o t h e r is she w h o slew herself in love, 3 a n d b r o k e
faith to t h e ashes of Sichaeus.

N e x t comes l u x u r i o u s

Cleopatra."
H e l e n a I saw, for w h o m so l o n g a t i m e of ill r e v o l v e d \
Che libito fé' licito in sua legge
Per torre il biasmo, in che era condotta.
Ell' è Semiramis, di cui si legge,
Che succedette a Nino, e fu sua sposa :
Tenne la terra, che il Soldan corregge.
L' altra è colei, che s'ancise amorosa,
E ruppe fede al cener di Sicheo ;
Poi è Cleopatras lussuriosa.
Elena vidi, per cui tanto reo

60

57. Torre, togliere.
* Lit. : " the thing liked she
made legal by her decree."
2
The reading : Che sugger dette a Nino, e fu, sua sposa (" who
gave suck to Ninus, and was his
spouse "), though often suggested,
is not justified by any MS. or text
of the Commedia; and does not
accord well with the habits of
Dante. He has already described
the licentiousness of Semiramis
(v. 55-7) with his usual brevity
and completeness. And besides,
both Justin (lib. i. c. 2) and Orosius (lib. i. c. 4), whose works Dante

knew and followed {Monarch, lib.
ii. p. 70), mention that Semiramis " succeeded Ninus," contrary
to the custom and laws of the
Assyrians, by assuming the dress
of a man, and passing for her
son Ninyas, whom she thought
too young and feeble for the government. Not until after many
heroic enterprises had shewn her
power, did she make her sex and
succession known.
3
Dido, Mn. iv. Non servata
fides cineri promissa Sichceo, Ibid.
v. 552.

CANTO V.

INFERNO.

53

1

and I saw the great Achilles, who fought at last with
love. I saw Paris, Tristan. And more than a thousand
shades he shewed to me, and pointing with his finger,
named them, whom love had parted from our life.
After I had heard niy teacher name the olden dames
and cavaliers, pity conquered me, and I was as if bewildered.
I began : " Poet, willingly would I speak with those
two that go together, and seem so light upon the
wind."
And he to me : " Thou shalt see when they are nearer
to us : and do thou then entreat them by that love, which
leads them ; and they will come."
Soon as the wind bends them to us, I raise my voice :
Tempo si volse ; e vidi il grande Achille,
Che con amore al fine combatteo.
Vidi Paris, Tristano ; e più di mille
Ombre mostrommi, e nominolle a dito,
Ch' amor di nostra vita dipartille.
Poscia eh' io ebbi il mio Dottore udito
Nomar le donne antiche e i cavalieri,
Pietà mi vinse, e fui quasi smarrito.
Io cominciai : Poeta, volentieri
Parlerei a que' duo, che insieme vanno,
E paion sì al vento esser leggieri.
Ed egli a me : Vedrai, quando saranno
Più presso a noi ; e tu allor li prega
Per quell' amor che i mena ; e quei verranno.
Sì tosto come il vento a noi li piega,
1

65

70

75

Achilles was slain in the I whose sister, Polyxena, he had
Temple of Apollo, through the
been induced to leave the Grecian
treachery of Paris, for love of | camp.

54

INFERNO.

CANTO V.

" 0

w e a r i e d souls ! come t o s p e a k w i t h u s , if

nonel

denies i t . "
A s doves called b y desire, w i t h open a n d s t e a d y w i n g s
fly t h r o u g h t h e a i r to t h e i r loved n e s t , b o r n e b y t h e i r
will ; so t h o s e spirits issued from t h e b a n d w h e r e D i d o 2
is, c o m i n g t o u s t h r o u g h t h e m a l i g n a n t a i r .

Such was

t h e force of m y affectuous cry.
" 0 l i v i n g c r e a t u r e , gracious a n d b e n i g n ! t h a t goest
through

the

black3

air, v i s i t i n g u s w h o s t a i n e d

Muovo la voce : 0 anime affannate,
Venite a noi parlar, s' altri noi niega.
Quali colombe, dal disio chiamate,
Con 1' ah aperte e ferme al dolce nido
Volan per 1' aer dal voler portate :
Cotali uscir della schiera ov' è Dido,
A noi venendo per 1' aer maligno,
Sì forte fu 1' affettuoso grido.
0 animai grazioso e benigno,
Che visitando vai per 1' aer perso
Noi che tignemmo il mondo di sanguigno :
1
Lit. i " if other denies it not."
In the old Italian, altri and altrui
frequently mean "some superior
Power." As examples of this,
see canto xxvi. 1415 and Purg.
canto i. 133.
2
From the band of Dido,<c who
broke faith," &c. ; thus indicating
the crime of which they had been
guilty. Commentators and historians tell us of the deformities
and hatefuJness of Gianciotto, the
graceful qualities of Paolo, and the

the
80

85

90

unfair means by which the marriage was brought about. Dante
feels that he has to take the naked
facts, stern and bitter as they are
to him, in all their simplicity.
3
Lit. : " perse air." Dante
himself defines this vexed word
very clearly : " perse is a colour
mixed of purple and black, but
the black prevails." Conv. Tr. iv.
c. 20. It is often used by him,
and also occurs in our own
Chaucer.

CANTO V .

INFERNO.

55

earth with blood/ If the King of the Universe were
our friend, we would pray him for thy peace ; seeing
that thou hast pity of our perverse misfortune. Of that
which it pleases thee to hear and to speak, we will
hear and speak with you, whilst the wind, as now, is
silent.
" The town, 1 where I was born, sits on the shore,
where Po descends to rest with his attendant streams.
Love, which is quickly caught in gentle heart, took
him with the fair body of which I was bereft ; 2 and the
manner still afflicts me. Love, which to no loved one
permits excuse for loving, 3 took me so strongly with
Se fosse amico il Ee dell' universo,
Noi pregheremmo lui per la tua pace,
Poi che hai pietà del nostro mal perverso.
Di quel che udire e che parlar ti piace
Noi udiremo e parleremo a vui,
Mentrechè il vento, come fa, si tace.
Siede la terra, dove nata fui,
Su la marina dove il Po discende
Per aver pace co' seguaci sui.
Amor, che al cor gentil ratto s'apprende,
Prese costui della bella persona
Che mi fu tolta, e il modo ancor m' offende.
Amor, che a nullo amato amar perdona,
Mi prese del costui piacer sì forte,

95

100

97. Terra, town, city, fortress.
Ravenna ; on the coast of i 2 Lit. : " which was taken from
that sea, to which the Po, with me;" and in a way that continues
all his streams from Alps and to afflict me.
3
Apennines, descends to rest
Lit. : " pardons or remits lovtherein.
ing " in return.
1

56

INFERNO.

CANTO V.

d e l i g h t i n him, 1 t h a t , as t h o u seest, even now i t leaves
m e not.

L o v e l e d u s t o one d e a t h .

h i m w h o q u e n c h e d our life."

C a ì n a 2 w a i t s for

T h e s e w o r d s from

them

w e r e offered t o u s .
After I h a d h e a r d t h o s e w o u n d e d souls, I bowed m y
face, a n d h e l d i t low u n t i l t h e P o e t said t o m e : " W h a t
a r t t h o u t h i n k i n g of ? "
When I

answered, I b e g a n :

" Ah

me ! what

sweet

t h o u g h t s , w h a t l o n g i n g l e d t h e m to t h e woful pass ! "
T h e n I t u r n e d a g a i n to t h e m ; a n d I spoke, a n d b e g a n :
" F r a n c e s c a , t h y t o r m e n t s m a k e m e w e e p w i t h grief a n d
pity.

B u t tell m e : in t h e t i m e of t h e sweet sighs, b y

Che, come vedi, ancor non ni' abbandona.
Amor condusse noi ad una morte :
Caina attende chi vita ci spense.
Queste parole da lor ci fur porte.
Da che io intesi quelle anime offense,
Chinai il viso, e tanto il tenni basso,
Finché il Poeta mi disse : Che pense ?
Quando risposi, cominciai : 0 lasso !
Quanti dolci pensier, quanto disio
Menò costoro al doloroso passo !
Poi m i rivolsi a loro, e parlai io,
E cominciai : Francesca, i tuoi martiri
A lagrimar mi fanno tristo e pio.
Ma dimmi : al tempo de' dolci sospiri,

105

110

115

108. Porte from porgere.
1
2

Or : " with pleasing him," &c. I lowest circle of Hell, occupied by
Caina, Cain's place in the I fratricides, &c. Canto xxxii.

57

INFERNO.

CANTO V.

w h a t and h o w love g r a n t e d y o u to k n o w t h e

dubious

desires ? "
A n d she to m e : " There is no g r e a t e r p a i n t h a n t o
recall a h a p p y t i m e in w r e t c h e d n e s s ; a n d t h i s t h y t e a c h e r
knows.1

B u t if t h o u h a s t s u c h desire t o l e a r n t h e

r o o t of our

love, I will do l i k e

first

one w h o weeps a n d

tells.
" O n e day, for p a s t i m e , w e
love c o n s t r a i n e d h i m .
suspicion.

read

of Lancelot, 2

how

W e w e r e alone, a n d w i t h o u t all

Several t i m e s t h a t r e a d i n g u r g e d o u r eyes

A che, e come concedette amore,
Che conosceste i dubbiosi desili ?
E d ella a me : Nessun maggior dolore,
Che ricordarsi del tempo felice
Nella miseria ; e ciò sa il tuo dottore.
Ma se a conoscer la prima radice
Del nostro amor tu hai cotanto affetto,
Farò come colui che piange e dice.
Noi leggevamo un giorno per diletto
Di Lancillotto, come amor lo strinse :
Soli eravamo e senza alcun sospetto.
Per più fiate gli occhi ci sospinse

120

125

180

130. Sospinse rom sospingere.
Virgil. See the Infandum, of all the world ; " and his love for
regina, &c, of JEneas, when he J Queen Guenever, or Ginevra, is
has to recall the lost glories of infinite. Galeotto, Gallehaut, or
Troy (Trojanas ut opes, &c.) 5 [ Sir Galahad is he, who gives such
and begins : Sed si tantus amor a detailed declaration of Lancelot's
casus cognoscere nostris, &c. As love to the Queen ; and is to them,
Francesca here does.
in the romance, what the book and
fi
Lancelot of the Lake, in the its author are here to Francesca
old Romances of the Hound Table, and Paolo.
is described as " the greatest knight
1

58

INFERNO.

CANTO V

to m e e t , a n d c h a n g e d t h e colour of o u r faces.
m o m e n t alone i t w a s t h a t overcame u s .

B u t one

W h e n we read

h o w t h e fond smile w a s k i s s e d b y s u c h a lover, h e , w h o
s h a l l n e v e r b e divided from
trembling.
Galeotto.

The

book,

m e , k i s s e d m y m o u t h all

and he

who

w r o t e it, w a s

a

T h a t day w e r e a d i n it no f a r t h e r . " x

W h i l s t t h e one spirit t h u s spake, t h e o t h e r w e p t so,
t h a t I fainted w i t h p i t y , a s if I h a d b e e n d y i n g ; and
fell, as a d e a d body falls.
Quella lettura, e scolorocci il viso :
Ma solo u n punto fu quel che ci vinse.
Quando leggemmo il disiato riso
Esser baciato da cotanto amante,
Questi, che mai da me non fìa diviso,
La bocca m i baciò tutto tremante :
Galeotto fu il libro, e chi lo scrisse :
Quel giorno più non vi leggemmo avante.
Mentre che 1' uno spirto questo disse,
L ' altro piangeva sì, che di pietade
Io venni men così com' io morisse ;
E caddi, come corpo morto cade.
1
The facts of Francesca's story
are given by Hieronymus Rubens in
his Hist. Ravennat. Venetiis, 1572,
fol. lib. vi. p. 308, 9. The genealogy of the Guidos is given at the
end ; and completely agrees with,
and explains, all that is said respecting them by Boccaccio, Ben-

135

140

venuto da Imola, and the other
early Commentators. A later edition (1603) of the same work places
the death of Francesca and her
lover at the commencement of the
year 1289. In the first edition it
is placed between 1287 and 1289.
See the Argument of this canto.

ARGUMENT.
On recovering his senses, Dante gazes round, and finds himself in the
midst of new torments, and a new kind of sinners. During his swoon
(as at the river Acheron), he has'been transported, from the tempests
and precipices of the second, into the Third Circle. It is the place
appointed for Epicures and Gluttons, who set their hearts upon the
lowest spec\es of sensual gratification. An unvarying, eternal storm
of heavy hail, foul water ; and snow, pours down up*on th"em. They
are all lying prostrate on the ground ; and the three-headed monster
Cerberus keeps barking over them and rending them. The shade of
a citizen of Florence, who had been nicknamed Ciacco (Pig), eagerly
sits up as the Poets pass ; and from him Dante hears of various
events, that await the two parties by which the city is divided and
distracted. After leaving Ciacco, the Poets have still some way to
go in the disgusting circle, but notice nothing more in it. They wade
on slowly in the mixture of the Shadows and the rain, talking of the
great Judgment and Eternity, till they find Plutus at the next
descent.

60

INFERNO.

CANTO VI.

CANTO V I .
ON sense returning, which closed itself before the
misery of the two kinsfolk that stunned me all with
sadness, I discern new torments, and new tormented
souls, whithersoever I move, and turn, and gaze. I am
in the Third Circle, that of the eternal, accursed, cold,
and heavy rain. Its course and quality is never new :
large hail, and turbid water, and snow, it pours down
through the darksome air. The ground, on which it
falls, emits a putrid smell. Cerberus, 1 a monster fierce
and strange, with three throats, barks dog-like over
those that are immersed in it. His eyes are red, his beard
AL tornar della mente, che si chiuse
Dinanzi alla pietà de' duo cognati,
Che di tristizia tutto mi confuse,
Nuovi tormenti e nuovi tormentati
Mi veggio intorno, come eh' io mi muova,
E come eh' io mi volga, e eh' io mi guati.
Io sono al terzo cerchio della piova
Eterna, maledetta, fredda e greve :
Eegola e qualità mai non 1' è nova.
Grandine grossa, e acqua tinta, e neve
Per 1' aer tenebroso si riversa :
Pute la terra che questo riceve.
Cerbero, fiera crudele e diversa,
Con tre góle caninamente latra
Sovra la gente che quivi è sommersa.
1

5

10

15

Cerberus liceo ingens latratu I recubans immanìs in antro. MYL.
regna trìfauci Personai, adverso \ vi. 417.

g o r y a n d black,

61

INFERNO.

CANTO VI.
1

his b e l l y wide, a n d c l a w e d h i s h a n d s .

H e clutches t h e spirits, flays, a n d piecemeal r e n d s
T h e r a i n m a k e s t h e m h o w l l i k e dogs.

2

them.

W i t h one side

t h e y screen t h e o t h e r ; t h e y often t u r n t h e m s e l v e s ,

the

impious w r e t c h e s .
W h e n Cerberus, t h e g r e a t W o r m , 3 perceived

us, he

opened his m o u t h s a n d s h e w e d his t u s k s : n o l i m b of
him k e p t still. 4

M y g u i d e , s p r e a d i n g his p a l m s , took

u p e a r t h ; and, w i t h full fists, cast i t into his r a v e n i n g
Gli occhi h a vermigli, e la barba unta ed atra,
E il ventre largo, e unghiate le mani ;
Graffia gli spirti, gli scuoia, ed isquatra.
Urlar gli fa la pioggia come cani :
Dell' un de lati fanno all' altro schermo ;
Volgonsi spesso i miseri profani.
Quando ci scorse Cerbero, il gran vermo,
Le bocche aperse, e mostrocci le saune :
Non avea membro che tenesse fermo.
E il Duca mio distese le sue spanne ;
Prese la terra, e con piene le pugna
18. Isquatra,
1

Spìritus ieter saniesque manet
Ore trilìngui, Hor. Od. iii. 11.
2
Somewhat like the: Tergora
diripiunt costis, et viscera nudant :
Pars in frusta secant, &c. iEn. i.
211.
3
" Their Worm shall not die."
Isaiah lxvi. 24.
" 0 Eve, in evil hour thou didst
give ear
To that false Worm."
Tar. Lost, ix. 1067.

20

25

uatra, squarta.
4

Lit. : " he had no limb that
he kept still;" he shook in all
his limbs fur rage and hunger.
Virgil sees, not without significance, that a few" haifdfulsjof mere
sordid earth will quell and satisfy
this'new Demqn-worm, emblem
of*blind voracity; instead of the
Sibyl's ancient soporific cake j
Mette scforatam et medicatis fnc*
gibus cffam. Mn. vi. 420.

62

INFERNO.

gullets.

CANTO VI.

A s t h e dog, t h a t b a r k i n g craves, 1 a n d g r o w s

q u i e t w h e n h e bites h i s food, for h e s t r a i n s a n d b a t t l e s
o n l y to d e v o u r i t ; so did t h o s e squalid visages of Cerberus
t h e D e m o n , w h o t h u n d e r s on t h e spirits so, t h a t t h e y
w o u l d fain be deaf.
W e passed over t h e s h a d o w s w h o m t h e h e a v y
s u b d u e s ; a n d placed
which seems a body.

our

soles u p o n t h e i r

T h e y all w e r e l y i n g on t h e g r o u n d

save one, w h o s a t u p f o r t h w i t h
before h i m .

rain

emptiness,

w h e n h e saw u s

pass

" O t h o u , w h o t h r o u g h t h i s H e l l a r t led,"

h e said to m e ; " r e c o g n i s e m e if t h o u m a y e s t : t h o u w a s t
m a d e before I was u n m a d e . "

2

L a gittò dentro alle bramose canne.
Qual è quel cane che abbaiando agugna,
E si racqueta poi che il pasto morde,
Che solo a divorarlo intende e pugna ;
Cotai se fecer quelle facce lorde
Dello demonio Cerbero che introna
L' anime sì, eh' esser, vorrebber sorde.
Noi passavam su per V ombre, che adona
La greve pioggia, e ponevam le piante
Sopra lor vanità, che par persona.
Elle giacean per terra tutte quante,
F u o r d' una che a seder si levò, ratto
Ch' ella ci vide passarsi davante.
0 tu, che se' per questo inferno tratto,
Mi disse, riconoscimi, se sai :
Tu fosti, prima eh' io disfatto, fatto.
28. Agugnaì agogna, craves, longs for.
1

Barks, craving for his food.

|

2

Wasfc born before I died.

35

CANTO VI.

INFERNO.

63

A n d I to him : " The anguish which thou hast, perhaps
w i t h d r a w s t h e e from m y m e m o r y , so t h a t i t seems n o t
as if I ever saw t h e e .
p u t in

B u t tell m e who a r t t h o u , t h a t a r t

s u c h a doleful place, a n d i n s u c h p u n i s h m e n t ;

t h a t , t h o u g h o t h e r m a y be g r e a t e r , n o n e is so d i s p l e a s i n g . "
And
that

h e t o m e : " T h y city, w h i c h is so full of e n v y

t h e sack a l r e a d y overflows, c o n t a i n e d m e

c l e a r x life.
baneful

in

the

Y o u , citizens, called m e Ciacco : 2 for t h e

c r i m e of

g l u t t o n y , as t h o u

seest, I

E d io a lei ; L ' angoscia che tu hai
Forse ti tira fuor della mia mente,
Sì che non par eh' io ti vedessi mai.
Ma dimmi chi tu se', che in sì dolente
Luogo se' messa, ed a sì fatta pena,
Che s' altra è maggior, nulla è sì spiacente.
E d egli a me : La tua città, eh' è piena
D ' invidia sì, che già trabocca il sacco,
Seco mi tenne in la vita serena.
Voi, cittadini, m i chiamaste Ciacco :
Per la dannosa colpa della gola,
Come t u vedi, alla pioggia m i fiacco ;
1
Our earthly life seems clear
to him, in that mud and darkness,
though envy overflows in it.
2
This Ciacco (Hog) was a kind
of Diner-out in those old times.
xi
He died," says the Ottimo Commentator, " when Dante was a
little boy. . . . He was a man
of court, that is, a buffoon; and
very famous for his love of dainty
meats. And as a buffoon, he had
^elegant manners ; and made witty

languish

45

50

jests to people of consequence;
and had a great contempt for the
meaner sort." Bargigi, another
very old commentator, also tells
how Ciacco was fond of delicacies,
and poor; and how, " i n order to
have more enjoyment, he made a
buffoon of himself ; and was a very
pleasant and excellent talker. . .
a man that always had news for
conversation ; and used to frequent
the houses of the rich; where there

CANTO VI.

INFERNO.
in t h e rain.

A n d I , w r e t c h e d spirit, a m n o t alone ; since

all t h e s e for like crime a r e i n like p u n i s h m e n t : " a n d
m o r e h e said n o t .
I a n s w e r e d h i m : " Ciacco, 1 t h y sore distress
u p o n m e so, t h a t i t bids m e w e e p .

weighs

B u t tell m e , if t h o u

c a n s t , w h a t t h e citizens of t h e divided city s h a l l come to :
if a n y one in i t be j u s t .

A n d tell m e t h e r e a s o n w h y s u c h

discord h a s assailed i t . "
A n d h e to m e : " After l o n g contention, t h e y shall come
to blood, a n d t h e s a v a g e 2 p a r t y shall expel t h e o t h e r w i t h
E d io anima trista non son sola,
Che tutte queste a simil pena stanno
Per simil colpa : e più non fé' parola.
Io gli risposi : Ciacco, il tuo affanno
Mi pesa sì, eh' a lagrimar m 7 invita :
Ma dimmi, se tu sai, a che verranno
Li cittadin della città partita :
S' alcun v' è giusto : e dimmi la cagione,
Perchè V h a tanta discordia assalita.
E d egli a me : Dopo lunga tenzone
Verranno al sangue, e la parte selvaggia
Caccerà 1' altra con molta offensione.
is commonly a great deal of talk,
more especially at table." It makes
Dante almost weep to see the poor
gifted Ciacco in such a plight.
1
The name Ciacco is said also
to have been a familiar abbreviation of Jacopo (James) in Dante's
time.
2
Florence was divided by two
factions, the Neri and Bianchi, or
Blacks and Whites. The Whites

55

60

6&

are called the " savage party," because it was headed by the Cerchi>
a rough, purse-proud family of
merchants (see Villani, viii. 39,
and Boccaccio Com.), that had recently acquired great wealth and
influence in Florence. Or, " party
of the woods" (as it may be
translated), because the Cerchi
were from the woody Valdisieve,
or Val di fievole. The Donati,.

CANTO VI.

65

INFERNO.

m u c h offence.

T h e n it behoves t h i s t o fall w i t h i n t h r e e

s u n s , a n d t h e o t h e r t o p r e v a i l t h r o u g h t h e force of one
w h o n o w k e e p s tacking. 1

I t sball c a r r y its front h i g h for

a long time, keeping the other under heavy burdens, however i t m a y weep t h e r e a t a n d be ashamed.
j u s t ; b u t a r e n o t listened t o t h e r e .

T w o 2 are

Pride, Envy, and

Poi appresso convien che questa caggia
Infra tre soli, e che 1' altra sormonti
Con la forza di tal, che teste piaggia.
Alto terrà lungo tempo le fronti,
Tenendo 1' altra sotto gravi pesi,
Come che di ciò pianga, e che ne adonti.
Giusti son duo, m a non vi sono intesi :
Superbia, invidia ed avarizia sono
Le tre faville eh' hanno i cuori accesi.

70

75

69. Piaggia, coasts or tacks ; flatters, cajoles.
comparatively poor, but possessing greater talents, proud of their
old nobility, and very scornful of
all upstarts, led the opposite party.
They "came to bloodshed" on
the evening of May-day, 1300, at
" a grand ladies' dance " on the
Piazza di Santa Trinità; which
was to conclude the festivities of
the day, and had attracted all the
most distinguished of the young
men. In 1301 the Whites expelled the Blacks ; and were in
their turn expelled, by help of
Charles de Valois, in the year
following, *. e. within less than
"three suns" (solar years) of the
time at which Ciacco speaks.

1

Charles, or perhaps Boniface
who sent him ; and kept li tacking," or pretending to be equally
well disposed to both parties, till
Charles was actually in Elorenee.
2
The names of these two are
unknown ; and the conjectures of
the commentators are not edifying. See Canzone ix., last stanza,
beginning : " Canzone, aì tre men
rei," &c. (page 28 of Fraticelli^
edit.)^ where Dante speaks perhaps of the same two just men ;
and in a very remarkable way of a
third—probably his friend Guido
Cavalcanti.

66

INFERNO,

CANTO VI.

A v a r i c e a r e t h e t h r e e s p a r k s w h i c h h a v e set t h e h e a r t s of
all on

fire."

H e r e he ended the l a m e n t a b l e 1 sound.

A n d I to h i m : " Still I w i s h t h e e t o i n s t r u c t m e , a n d
t o b e s t o w a l i t t l e f a r t h e r speech on m e .

Farinata and the

T e g g h i a i o , w h o w e r e so w o r t h y ; J a c o p o R u s t i c u c c i ,

Ar-

r i g o a n d Mosca, 2 a n d t h e r e s t w h o set t h e i r m i n d s on d o i n g
good : tell m e w h e r e t h e y are, a n d give m e to k n o w t h e m ;
for g r e a t desire u r g e s m e to l e a r n w h e t h e r H e a v e n soothes
or H e l l empoisons t h e m . "
A n d h e to m e : " T h e y a r e a m o n g s t t h e b l a c k e s t spirits.
A different c r i m e w e i g h s t h e m d o w n w a r d s to t h e b o t t o m .
S h o u l d s t t h o u descend so far, t h o u m a y e s t see t h e m .

Qui pose fine al lacrimabil suono.
E d io a lui : Ancor vo' che m ' i n s e g n i ,
E che di più parlar mi facci dono.
Farinata e il Tegghiaio, che fur sì degni,
Jacopo Eusticucci, Arrigo e il Mosca,
E gli altri, che a ben far poser gV ingegni,
Dimmi ove sono, e fa eh' io li conosca ;
Che gran desio m i stringe di sapere,
Se il Ciel gli addolcia o 1' Inferno gli attosca.
E quegli : E i son tra le anime più nere ;
Diversa colpa giù gli aggrava al fondo :
1
Lamentable enough to Dante
in many ways. He belonged to
neither party ; and had the leaders
of both banished, when he was
chief Prior, in June, 1300, though
his relations and dearest friends
were amongst them. He only
joined the Whites in opposing the

But

80

85

coming of Charles to Florence;
and was for that reason exiled ;
deprived of all his property ; and
condemned to be burnt alive.
2
Noble Florentines, whose
names again occur, except Arrigo's. He is said to have been of
the Fifanti family.

CANTO VI.

INFERNO.

67

if ever thou return to the sweet world, I pray thee recall
me to the memory of men. More I tell thee not, and
more I answer not."
Therewith he writhed his straight eyes asquint ; 1 looked
at me a little; then bent his head, and fell down with it
like his blind companions.
And my Guide said to me : " He wakes no more until
the angel's trumpet sounds. When the adverse Power
shall come, each shall revisit his sad grave ; shall resume
his flesh and form ; shall hear that which resounds to all
eternity."
Thus passed we through the filthy mixture of the shadows and the rain, with paces slow, touching a little on
the future life.
Se tanto, scendi, gli potrai vedere.
Ma se tu torni mai nel dolce mondo,
Pregoti che alla mente altrui mi rechi :
Più non ti dico, e più non ti rispondo.
Gli diritti occhi torse allora in biechi :
Guardommi un poco ; e poi chinò la testa :
Cadde con essa a par degli altri ciechi.
E il Duca disse a me : Più non si desta
Di qua dal suon dell' angelica tromba :
Quando verrà la nimica podestà,
Ciascun ritroverà la trista tomba,
Ripiglierà sua carne e sua figura,
Udirà quel che in eterno rimbomba.
Sì trapassammo per sozza mistura
Dell' ombre e della pioggia, a passi lenti,
Toccando un poco la vita futura.

90

95

100

1
His eyes, with which he had I he "distortedinto squinting." He
sen looking "straight" at me, | grew blind again, like the others.

68

INFERNO.

CANTO VI.

Wherefore I said : " Master, shall these torments increase after the great Sentence, or grow less, or remain as
burning ? " 1
And he to me : " Return to thy science,2 which has it,
that the more a thing is perfect, the more it feels pleasure
and likewise pain. Though these accursed people never
attain to true perfection, yet shall they be nearer to it
after than before." 3
We went round along that road, speaking much more
than I repeat. We reached the point where the descent
begins. Here found we Plutus, the great enemy.
Perch' io dissi : Maestro, esti tormenti
Cresceranno ei dopo la gran sentenza,
0 fìen minori, o saran sì cocenti ?
Ed egli a me : Eitorna a tua scienza,
Che vuol, quanto la cosa è più perfetta,
Più senta il bene, e così la doglienza.
Tuttoché questa gente maledetta
In vera perfezion giammai non vada,
Di là, più che di qua, essere aspetta.
Noi aggirammo a tondo quella strada,
Parlando più assai eh' io non ridico :
Venimmo al punto dove si digrada :
Quivi trovammo Pluto il gran nemico.

105

110

Ili

114. Si digrada, descends in degrees.
1
2

Equally burnings or bitter.
I 3 Lit. : " beyond, than on th
Thy Aristotelian Philosophy. | side," the great Judgment.

ARGUMENT.
Plutus, the ancient god of riches, whom the Poets find on the brink of
the Fourth Circle, swells with rage and astonishment when he sees
them about to enter it ; and succeeds in uttering some strange words.
Virgil, with brief and sharp reproof, makes him collapse and fall to
the ground. In this circle—divided into two halves—the Poets find
two separate classes of spirits, that are coming in opposite directions,
rolling large dead Weights, smiting these against one another ; and
then, with bitter mutual reproaches, each turning round his Weight,
and rolling it backwards, till all meet and smite again, " at the other
joust," or other end of the two Half-circles. It is the souls of the
Prodigal and Avaricious that have this punishment. In the left
semicircle, which is occupied by the avaricious, Dante notices many
that are tonsured ; and is told that they were once High Dignitaries
of his Church, but have now grown so dim, that it would be vain to
think of recognising any of them.
After speaking of Fortune and the things committed to her charge, the
Poets hasten across the circle to the next descent. Upon its brink
they find a stream of dark water, gushing down through a, cleft,
which it has worn out for itself ; and they accompany this water till
it forms a marsh called Styx, which occupies the Fifth' Circle. In
this Marsh they see spirits, all muddy and naked, assailing and
tearing each other. These are the souls of the Wrathful. ' Beneath
them, and covered with the black mud, are the souls of the Gloomysluggish, gurgling in their throats a dismal chant The Poets, after
going a long way round the edge of the loathsome pool, come at last
to the foot of a high tower.

70

INFERNO.

CANTO VII.

CANTO VII.
" P A P E S a t a n ! p a p e S a t a n , aleppè ! " b e g a n P l u t u s , w i t h
c l u c k i n g 1 voice.

A n d t h a t gentle Sage, w h o k n e w all,

said, comforting m e : " L e t n o t t h y fear h u r t thee ; for,
w h a t e v e r power h e h a v e , h e shall n o t h i n d e r u s from descending t h i s r o c k . "
T h e n h e t u r n e d himself JJO t h a t inflated visage, a n d
said : " Peace, c u r s e d W o l f ! 2 Consume thyself i n t e r n a l l y
with t h y greedy rage.

N o t w i t h o u t cause is o u r j o u r n e y

PAPE Satan, pape Satan aleppe,
Cominciò Pluto colla voce chioccia :
E quel Savio gentil, che tutto seppe,
Disse per confortarmi : Non ti noccia
L a tua paura, che, poder eh' egli abbia,
Non ci terrà lo scender questa roccia.
Poi si rivolse a quella enfiata labbia,
E disse : Taci, maledetto lupo :
Consuma dentro te con la tua rabbia.
Non è senza cagion 1' andare al cupo :

5

10

1. Pape, Lat. papse. A jpe, alpha, prince, chief.
1

" Hah Satan ! hah Satan ! thou
Alpha ! " Dante's son Pietro gives
the explanation of Pape and Aleppe, as above. Plutus probably
continues to regard Satan as his
Alpha, or Prince j and is surprised
and enraged when he sees the intruders. But his ideas are not
clear, and his utterance of them is

very imperfect. Chioccia (subst.)
means a brood, or clucking, hen in
Italian. Headers will recollect the
" Paix! Paix! Satan allez! Paia J"
of the Huissiers, which Benvenuto
Cellini heard, when he " took his
dagger," and went to get justice
in the courts at Paris.
2
Wolf, symbol of avarice.

to t h e deep.

11

INFERNO.

CANTO V I I .

T h u s it is willed on h i g h , w h e r e

Michael

took v e n g e a n c e of t h e p r o u d l a d u l t e r y . ' '
As sails, swelled b y t h e wind, fall e n t a n g l e d w h e n t h e
m a s t b r e a k s ; so fell t h a t c r u e l m o n s t e r t o t h e g r o u n d .
T h e n w e descended into t h e f o u r t h concavity, t a k i n g in
m o r e of t h e dismal b a n k , w h i c h s h u t s u p all t h e evil of
the universe.
A h , J u s t i c e Divine !

W h o shall teli in f e w 2 t h e m a n y

fresh pains a n d travails t h a t I s a w ?

A n d w h y does g u i l t

of o a r s t h u s w a s t e u s ?
A s does t h e s u r g e , t h e r e above C h a r y b d i s , t h a t
Vuoisi così nel!' alto, ove Michele
F é ' la vendetta del superbo strupo.
Quali dal vento le gonfiate vele
Caggiono avvolte, poiché 1' alber fiacca ;
Tal cadde a terra la fiera crudele.
Così scendemmo nella quarta lacca,
Prendendo più della dolente ripa,
Che il mal dell' universo tutto insacca.
Ahi giustizia di Dio ! tante chi stipa
Nuove travaghe e pene, quante io viddi ?
E perchè nostra colpa sì ne scipa ?
Come fa 1' onda là sovra Cariddi,
Che si frange con quella in cui s'intoppa ;
1

" And there was war in heaven : Michael and his angels fought
against the dragon
And the
great dragon was cast out, that
old serpent called the Devil, and
Satan, which deceiveth the whole
world." Rev,xii. 7. "Adultery"
in the scriptural sense : " With

breaks

15

20

their idols have they committed
adultery," &c. EzeJc. xxiii. 37.
2
Lit. : " Who stows, packs, or
erowds together, so many new
pains and travails as I saw ? "
This literal meaning of the words
will perhaps bear different explanations.

72

INFERNO.

CANTO VII.

itself a g a i n s t t h e s u r g e w h e r e w i t h it m e e t s ; so h a v e t h e
people h e r e t o c o u n t e r - d a n c e . 1
H e r e saw I too m a n y m o r e t h a n elsewhere, 2 b o t h on t h e
one side a n d on t h e o t h e r , w i t h l o u d h o w l i n g s ,
w e i g h t s b y force of chest.

rolling

T h e y smote a g a i n s t each o t h e r ,

a n d t h e n e a c h w h e e l e d r o u n d j u s t t h e r e , r o l l i n g aback,
shouting,

" W h y holdest t h o u ? " and

thou away ? "

Thus they returned

"Why

thro west

along the

gloomy

circle, on either h a n d , t o t h e opposite point, s h o u t i n g alw a y s i n t h e i r reproachful m e a s u r e . T h e n e v e r y one, w h e n
h e h a d r e a c h e d it, t u r n e d t h r o u g h his half-circle t o w a r d s
t h e other j o u s t .
Così convien che qui la gente riddi.
Qui vidi gente più che altrove troppa,
E d' u n a parte e d' altra, con grandi urli,
Voltando pesi per forza di poppa :
Percotevansi incontro, e poscia pur lì
Si rivolgea ciascun, voltando a retro, ,
Gridando : Perchè tieni ? e perchè burli ?
Così tornavan per lo cerchio tetro,
Da ogni mano all' opposito punto,
Gridando sempre in loro ontoso metro.
Poi si volgea ciascun, quand' era giunto,
Per lo suo mezzo cerchio, all' altra giostra.

25

30

35

24. Biadare, wheel round and meet again, as in
the ridda dance. 30. Burlare, sport away.
1
As the waves of Charybdis
meet and dash against the waves
of Scylla (JEn. iii. 420, &c.) ; so
the spirits here, with their bur
dens.
2
Dante, in another place, says

to Avarice : " Accurst be thou,
inveterate Wolf! that hast more
prey than all the other beasts."
Burg. xx. 10. The avaricious and
prodigal are also placed together
in Purgatory. lb.

CANTO VII.

INFERNO.

73

And I, who felt my heart as it were stung, said : " My
Master, now shew me what people these are ; and whether
all those tonsured on our left were of the clergy."
And he to me : " In their first life, all were so squinteyed in mind, 1 that they made no expenditure in it with
moderation. Most clearly do their voices bark out this,
when they come to the two points 2 of the circle, where
contrary guilt divides them. These were Priests, that
have not hairy covering on their heads, and Popes and
Cardinals, in whom avarice does its utmost."

Ed io che avea lo cor quasi compunto,
Dissi : Maestro mio, or mi dimostra
Che gente è questa ; e se tutti fur cherci
Questi chercnti alla sinistra nostra.
Ed egli a me : Tutti quanti fur guerci
Sì della mente in la vita prunaia,
Che con misura nullo spendio ferci.
Assai la voce lor chiaro V abbaia,
Quando vengono a? duo punti del cerchio,
Ove colpa contraria li dispaia.
Questi fur Cherci, che non han coperchio
Piloso al capo, e Papi e Cardinali,
In cui usa avarizia il suo soperchio.

40

45

42. Ferci, ci fecero; made there, i. e. in their
first life.
1

Saw every thing so falsely, j other, and cry : < • Why holdest, or
that they never made any right graspest thou ?" and " Why throwuse of their wealth.
est thou away?" or, Why squan2
When they strike against each | derest thou ?

74

INFERNO.

CANTO VII.

Ànd 1 : " Master, among this set, I surely ought to
recognise some that were defiled by these evils."
And he to me : " Vain thoughts combinest thou : their
undiscerning life, which made them sordid, now makes
them too obscure for any recognition. To all eternity they
shall continue butting one another. 1 These shall arise
from their graves with closed fists ; and these with wasted 2
hair. Ill-giving, and ill-keeping, has deprived them of
the bright world, 3 and put them to this conflict : what a
conflict it is, I adorn no words to tell.4 But thou, my Son,
mayest see the brief mockery of the goods that are com-

Ed io : Maestro, tra questi cotali
Dovrei io ben riconoscere alcuni,
Che furo immondi di cotesti mali.
Ed egli a me : Vani pensieri aduni :
La sconoscente vita, che i fé' sozzi,
Ad ogni conoscenza or li fa bruni.
In eterno verranno agli due cozzi :
Questi risurgeranno del sepulcro
Col pugno chiuso, e questi co' crin mozzi.
Mal dare, e mal tener lo mondo pulcro
Ha tolto loro, e posti a questa zuffa :
Qual ella sia, parole non ci appulcro.
Or puoi, fìgliuol, veder la corta buffa
De' ben, che son commessi alla Fortuna,
1
Lit. : " they shall come to the
two buttiags."
2
The avaricious, with closed
fists; the prodigals, with their
very hair " shorn off," or wasted.

50

55

60

3
Their prodigality, or their avarice, has deprived them of Heaven.
4
Their case is clear enough;
and needs no ornate words of
mine to set it forth.

75

INFERNO.

CANTO V I I .

m i t t e d u n t o F o r t u n e , for w h i c h t h e h u m a n k i n d c o n t e n d
w i t h one another. 1

F o r all t h e gold t h a t is b e n e a t h t h e

moon, or ever w a s , could n o t give r e s t to a single one of
t h e s e w e a r y souls.
" Master," I

said t o him, " n o w tell m e also :

F o r t u n e , of w h i c h t h o u h i n t e s t t o m e ;

w h a t is

this
she,

t h a t h a s t h e good t h i n g s of t h e w o r l d t h u s w i t h i n h e r
clutches?"
A n d h e t o m e : " O foolish c r e a t u r e s , h o w
this ignorance

that

t o receive my

judgment2

is t r a n s c e n d e n t
them guides;3

falls u p o n y e !
of h e r .

g r e a t is

Now I wish thee
He

whose

wisdom

over all, m a d e t h e h e a v e n s a n d

gave

so t h a t every p a r t m a y s h i n e to e v e r y

Per che 1' umana gente si rabbuffa.
Che tutto T oro, eh' è sotto la luna,
E che già fu, di queste anime stanche
Non poterebbe farne posar una.
Maestro, dissi lui, or m i di' anche ;
Questa Fortuna, di che tu mi tocche,
Che è, che i ben del mondo ha sì tra branche ?
E quegli a me : 0 creature sciocche,
Quanta ignoranza è quella che vi offende ?
Or vo' che t u mia sentenza ne imbocche.
Colui, lo cui saver tutto trascende,
Fece li cieli, e die lor chi conduce,

65

70

72. Imboccke for imbocchi; as tocche, v. 68, for tocchi.
1

Or, more literally : scuffle
with, " rebuffone another."
2
Lit. : " I wish thee to take my
judgment of her into thy mouth,"
and speak it forth

3
Gave to each of the celestial
spheres, or "nine moveable heavens," an Angelic Intelligence to
guide its course. Coftv. Tr. ii. c. 2,
&c. ; and Farad, xxviii. 77.

76

INFERNO.

CANTO VH.

part, 1 equally d i s t r i b u t i n g t h e l i g h t .

I n like m a n n e r , for

worldly splendours, he ordained a general minister and
g u i d 6 ; 2 to c h a n g e b e t i m e s t h e v a i n possessions, from people
to people, a n d from one k i n d r e d to a n o t h e r , b e y o n d t h e
h i n d r a n c e of h u m a n w i s d o m .

Hence

one people c o m -

m a n d s , a n o t h e r l a n g u i s h e s ; o b e y i n g h e r sentence, w h i c h
is h i d d e n like t h e s e r p e n t in t h e g r a s s .
cannot withstand her.

Your knowledge

S h e provides, j u d g e s , a n d m a i n -

t a i n s h e r k i n g d o m , as t h e o t h e r gods

3

do t h e i r s .

Sì eh' ogni parte ad ogni parte splende,
Distribuendo ugualmente la luce :
Similemente agli splendor mondani
Ordinò general ministra e duce,
Che permutasse a tempo li ben vani,
Di gente in gente, e d' uno in altro sangue,
Oltre la difension de' senni umani :
Per eh' una gente impera, e 1' altra langue,
Seguendo lo giudicio di costei,
Che è occulto, come in erba 1' angue.
Vostro saver non ha contrasto a lei :
Ella provvede, giudica, e persegue
Suo regno, come il loro gli altri Dei.

1
That each of these spheres
may come round in its due time ;
and, amongst other things, shine
on every part of our earth.
' St. Augustine says : Nos eas
<causas, quee dicuntur fortuita
{unde etiam Fortuna nomen acoepit), non dicimus nullas, sed latentes, easque tribuimus, vel veri

Her

75

80

85

Dei, vel quorumlibet Sjpirituum voluntati. De Civitate Dei, lib. v.
And Dante : Heram {Pyrrhus)
vocabat Fortunam, quam causavi
melius et rectius nos Divinam
Providentiam appellamus. Monarchia, lib. ii. p. 110.
3
" These Celestial Intelligences
Plato named Ideas, which is as

CANTO VII.

INFERNO.

p e r m u t a t i o n s h a v e no t r u c e .

77
Necessity makes her be

swift ; so oft come t h i n g s r e q u i r i n g c h a n g e .

T h i s is s h e ,

w h o is so m u c h reviled, 1 even by t h o s e w h o o u g h t t o
p r a i s e h e r , ivhen b l a m i n g h e r wrongfully, a n d w i t h evil
words.

B u t s h e is in bliss, a n d h e a r s it not.

With the

other P r i m a l C r e a t u r e s joyful, she w h e e l s h e r s p h e r e , a n d
t a s t e s h e r blessedness. 2
" B u t l e t u s n o w descend t o g r e a t e r m i s e r y .

Already

every s t a r is falling, t h a t w a s a s c e n d i n g w h e n we e n t e r e d ; a
a n d t o s t a y too l o n g is n o t p e r m i t t e d . "

Le sue permutazion non hanno triegue :
Necessità la fa esser veloce ;
Sì spesso vien chi vicenda consegue.
Quest' è colei, eh' è tanto posta in croce
P u r da color, che le dovrian dar lode,
Dandole biasmo a torto e mala voce.
Ma ella s' è beata, e ciò non ode :
Con 1' altre prime creature lieta
Volve sua spera, e beata si gode.
Or discendiamo ornai a maggior pietà.
Già ogni stella cade, che saliva
Quando m i mossi, e il troppo star si vieta.

much as to say Forms. The Gentiles called them gods and goddesses." Conv. Tr. ii. c. 5. Vide
also Parad. xxviii. 121.
1
Lit. : " So oft put on the cross."
2
Or : Blessed, enjoys her bliss.
3
Lit.: " when I moved myself/'
to lead thee in. The Poets have
been six hours in getting thus

9Q

95

far. It is therefore past midnight.
See cantos i. 136 andii. 1. Dante*
as we shall see, generally indicates
the time by noting positions of the
stars, &c. And it must always be
remembered, that the time of the
Vision is near the vernal Equinox ;
so that the days and nights are of
equal length.

78

INFERNO.

CANTO VII.

We crossed the circle, to the other bank ; near a fount,
that boils and pours down through a cleft, which it has
formed. The water was darker far than perse. 1 And
we, accompanying the dusky waves, entered down by a
strange path. This dreary streamlet makes a Marsh, that
is named Styx, when it has descended to the foot of the
grey malignant shores.
And I, who stood intent on
looking, saw muddy people in that bog, all naked and
with a look of anger. They were smiting each other, not
with hands only, but with head, and with chest, and with
feet; maiming one another with their teeth, piece by
piece.
Noi ricidemmo il cerchio all' altra riva
Sovr' una fonte, che bolle, e riversa
Per un fossato che da lei diriva.
L' acqua era buia mol to più che persa :
E noi, in compagnia dell' onde bige,
Entrammo giù per una via diversa.
Una palude fa, che ha nome Stige,
Questo tristo ruscel, quando è disceso
Al pie delle maligne piagge grige.
Ed io, che a rimirar mi stava inteso,
Vidi genti fangose in quel pantano,
Ignude tutte, e con sembiante offeso.
Questi si percotean non pur con mano,
Ma con la testa, e col petto, e co' piedo,
Troncandosi coi denti a brano a brano.

100

105

110

1
Perse is a purple-black co- iuat, alque omnem Cocyto eruclour. See note 3d, p. 54.
tat arenarti. JEn. vi. 295. Cocyti
2
Hinc via Tartarei fert Ache- stagna alta videsì Stygiamque parontis ad unàas. Tiirbidus MG
ludem. Ib. 323. Colles maligni.
acano vastàque voragine "urges Ms- Georg, ii. 179.

CANTO VII.

INFERNO.

79

T h e k i n d M a s t e r said : " Son, n o w see t h e souls of
those whom anger overcame.

A n d also I w o u l d h a v e

t h e e t o believe for certain, t h a t t h e r e a r e people u n d e r n e a t h t h e w a t e r , w h o sob, a n d m a k e i t bubble a t t h e
surface ; as t h y eye m a y tell t h e e , whichever w a y
turns.

it

F i x e d in t h e slime, t h e y say : ' S u l l e n w e r e w e in

t h e sweet air, t h a t is g l a d d e n e d b y t h e S u n , 1 c a r r y i n g lazy
s m o k e w i t h i n o u r h e a r t s : 2 n o w lie w e s u l l e n h e r e i n t h e
black mire.'3

T h i s h y m n t h e y g u r g l e in t h e i r t h r o a t s ,

for t h e y c a n n o t s p e a k i t in full w o r d s . "

Lo buon Maestro disse : Figlio, or vedi
L ' anime di color cui vinse V ira :
E d anche vo' che tu per certo credi,
Ohe sotto 1' acqua ha gente che sospira,
E fanno pullular quest' acqua al summo,
Come 1' occhio ti dice u' che s' aggira.
Fitti nel limo dicon : Tristi fummo
Neil' aer dolce che dal Sol s' allegra,
Portando dentro accidioso fummo :
Or ci attristiam nella belletta negra.
Quest' inno si gorgoglian nella strozza,
Che dir noi posson con parola integra.

115

120

125

124. Belletta, deposit, settlings of muddy water.
1
Some editions read: del Sol
«' allegra, " rejoices in the sun."
2
" Accidie, or slouth, maketh a
man hevy, thoughtful, and wrawe.
Envie and ire maken bitternesse
in herte, which bitternesse is
mother of accidie, and benimeth

him the love of all goodnesse ;
than is accidie the anguish of a
trouble herte." Chaucer, Persones
Tale.
3
" He hath cast me into the
mire." Job xxx. 19. " I sink in
deep mire." Ps. Ixix. 2.

80

INFERNO.

CANTO VII.

Thus, between the dry bank and the putrid fen,1 we
compassed a large arc of that loathly slough, with eyes
turned towards those that swallow of its filth. We came
to the foot of a tower at last.
Così girammo della lorda pozza
Grand' arco, tra la ripa secca e il mezzo,
Con gli occhi volti a chi del fango ingozza.
Venimmo al pie d' una torre al dassezzo.
1
Mezzo (with the e stretta, or
close e), a term applied to an apple when it is beginning to rot 5

130

and from that transferred to other
things in the same state. See Landino* Vellutello, &c.

ARGUMENT.
Before reaching the high tower, the Poets have observed two flamesignals rise from its summit, and another make answer at a great
distance ; and now they see Phlegyas, coming with angry rapidity
to ferry them over. They enter his bark ; and sail across the broad
marsh, or Fifth Circle. On the passage, a spirit, all covered with
mud, addresses Dante, and is recognised by him. It is Filippo
Argenti, of the old Adimari family ; who had been much noted for
his ostentation, arrogance, and brutal anger. After leaving him,
Dante begins to hear a sound of lamentation 5 and Virgil tells him
that the City of Dis (Satan, Lucifer) is getting near. He looks
forward, through the grim vapour ; and discerns its pinnacles, red,
as if they had come out of fire. Phlegyas lands them at the gates.
These they find occupied by a host of fallen angels, who deny them
admittance.

Q

82

INFERNO.

CANTO

CANTO VIIT.

Vili.

I SAT continuing, 1 t h a t , l o n g before w e r e a c h e d t h e foot
of t h e h i g h tower, o u r eyes w e n t u p w a r d s t o i t s s u m m i t ,
because of t w o

flamelets,2

t h a t w e saw p u t t h e r e , a n d

a n o t h e r from far give signal b a c k ; so far t h a t t h e eye
could scarcely c a t c h it.
intelligence, s a i d :
yon o t h e r fire ?

A n d I , t u r n i n g to t h e S e a 3 of all

" W h a t says t h i s ?

a n d w h a t replies

A n d who are they that made i t ? "

Io dico seguitando, eh' assai prima
Che noi fussimo al pie dell' alta torre,
Gli occhi nostri n ' andar suso alla cima,
Per due fi ammette che i vedemmo porre,
E u n ' altra da lungi render cenno,
Tanto, che a pena il potea 1' occhio torre.
E d io, rivolto al mar di tutto il senno,
Dissi : Questo che dice ? e che risponde
QueJT altro foco ? e chi son quei che il fenno ?
1

Continuing the account of the
Wrathful, &c, begun in the preceding canto ; which is the first
that ends without completing the
subject treated in it.
2
The two flames indicate that
two persons are come to be ferried over. The tower is an outpost of the city of Lucifer, separated from it by the wide marsh.

5

" The signal is made by the sentinels, just as in our watch-towers,
when the enemy is mounting or
preparing to mount : by night (as
here in Hell, where it is always
night) the fire is seen ; by day the
smoke." Ott. Com,
3
Virgil, " who knew all" (canto
vii. 3) ; who tl did honour to every
art and science.", Canto iv. 73.

CANTO vili.

INFERNO.

83

And he to me : " Over the squalid waves, already thou
mayest discern what is expected,1 if the vapour of the fen
conceal it not from thee."
Never did cord impel from itself an arrow, that ran
through the air so quickly, as a little bark which I sawcome towards us then, under the guidance of a single
steersman, who cried : " Now art thou arrived, fell
spirit?"
" Phlegyas, 2 Phlegyas," said my Lord, " this time thou
criest in vain. Thou shalt not have us longer than while
we pass the wash."
As one who listens to some great deceit which has been
done to him, and then sore resents it ; such grew
Ed egli a me : Su per le sucide onde
Già puoi scorgere quello che s' aspetta,
Se il fummo del pantan noi ti nasconde.
Corda non pinse mai da se saetta,
Che sì corresse via per V aer snella,
Com' io vidi una nave piccioletta
Venir per 1' acqua verso noi in quella,
Sotto il governo d'un sol galeoto,
Che gridava : Or se' giunta, anima fella?
Flegiàs, Flegiàs, tu gridi a vóto,
Disse lo mio Signore, a questa volta :
Più non ci avrai, se non passando il loto.
Quale colui, che grande inganno ascolta,
Che gli sia fatto, e poi se ne rammarca,
1
What the signals have been
made for.
2
Phlegyas, the angry ferryman
of the marsh, is he who burnt the

10

15

20

temple of Apollo. Fhlegyasgue
miserrimics omnes Admcmet, et
magna, testatur voce per umbras,
&c. Mn. vi. 618.

84

INFERNO.

P h l e g y a s in h i s g a t h e r e d r a g e .

1

CANTO Vili.

M y Guide descended into

t h e skiff, a n d t h e n m a d e m e e n t e r after h i m ; a n d n o t till
I w a s in, did i t seem laden. 2

Soon as m y G u i d e a n d I

•were in t h e boat, its a n c i e n t p r o w w e n t on, c u t t i n g m o r e
of t h e w a t e r t h a n i t is w o n t w i t h o t h e r s .
Whilst we were running through the

dead

channel,

t h e r e rose before m e one fall of m u d , a n d said : " W h o
a r t t h o u , t h a t com est before t h y t i m e ? "
A n d I to h i m : " I f I come, I r e m a i n n o t .

B u t thou,

w h o a r t t h o u , t h a t h a s t b e c o m e so foul ? "
He
weep."

answered:

" Thou

seest t h a t

I

am

one

who

3

Tal si fé' Flegiàs nelT ira accolta.
Lo Duca mio discese nella barca,
E poi mi fece entrare appresso lui,
E sol, quand' io fui dentro, parve carca.
Tosto che il Duca ed io nel legno fui,
Segando se ne va 1' antica prora
Dell' acqua più che non suol con altrui.
Mentre noi correvam la morta gora,
Dinanzi m i si fece u n pien di fango,
E disse : Chi se' tu, che vieni anzi ora ?
E d io a lui : S ' i o vegno, io non rimango ;
Ma tu chi $ei, che sì sei fatto brutto ?
Eispose : Vedi che son u n che piango.
1
The eager rage that had come
upon Phlegyas in his expectation
of prey, is changed into bitter sadness when he hears that the Poets
are not doomed to remain.
2
By the weight of his living

25

30

35

body. Gemuti sub pondero cymba
Butilis, &c. JEn. vi. 413.
3
Will not tell his name ; which
none but the basest spirits refuse
to do : such as Bocca degli Abbati. Canto xxxii. 76-112.

CANTO Vili.

INFERNO.

A n d I to him :

" With

85

weeping, and w i t h

sorrow,

accursed spirit, r e m a i n t h o u ! T o r I k n o w t h e e , all

filthy

as t h o u a r t . "
T h e n h e s t r e t c h e d b o t h h a n d s to t h e boat, w h e r e a t t h e
w a r y M a s t e r t h r u s t h i m off, s a y i n g : " A w a y t h e r e w i t h
the other d o g s ! "

A n d h e p u t his a r m s a b o u t m y neck,

kissed m y face, a n d said :
s h e t h a t bore thee. 1
personage.

" I n d i g n a n t soul ! blessed b e

I n y o u r world, t h a t was a n a r r o g a n t

Good t h e r e is n o n e t o o r n a m e n t t h e m e m o r y

of h i m : so is his s h a d o w h e r e in fury.

How many up

t h e r e 2 n o w t h i n k t h e m s e l v e s g r e a t k i n g s , 3 t h a t s h a l l lie
E d io a lui : Con piangere e con lutto,
Spirito maledetto, ti rimani ;
Ch' io ti conosco, ancor sie lordo tutto.
Allora stese al legno ambe le mani :
Per che il Maestro accorto lo sospinse,
Dicendo : Via costà con gli altri cani.
Lo collo poi con le braccia mi cinse,
Baciommi il volto, e disse : Alma sdegnosa,
Benedetta colei che in te s' incinse.
Quei fu al mondo persona orgogliosa :
Bontà non è che sua memoria fregi :
Così è 1' ombra sua qui furiosa.
Quanti si tengon or lassù gran regi,
1

Virgil commends Dante for
the high indignation and disgust
which he manifests on recognising this chief representative of
empty arrogance, rage, and disorder.
2
" There above ; " in your world.
3
Kings in a general sense :

40

45

men prominent for their great
qualities, and worthy to be kings.
See the comments of Boccaccio,
Landini, &c. Begem nonfaciunt
opes . . . . Non auro nitida fores :
Rex est, qui posuit metus, Et diri
mala, pectoris, &c. Seneca, ThyesteSy chorus, act ii.

86

INFERNO.

CANTO V i l i .

h e r e l i k e s w i n e 1 in m i r e , l e a v i n g b e h i n d t h e m horrible r e proaches ! "
A n d I : " M a s t e r , I s h o u l d be g l a d 2 t o see h i m dipped
in t h i s swill, ere w e q u i t t h e l a k e . "
A n d h e to me : " Before t h e s h o r e comes to t h y view,
t h o u shalt be satisfied.

I t is fitting t h a t t h o u s h o u l d s t b e

gratified i n s u c h a w i s h . , ,

A l i t t l e after this, I s a w t h e

m u d d y people m a k e s u c h r e n d i n g of h i m , t h a t even n o w I
praise a n d t h a n k God for it.
Argenti ! " 3

All cried : " A t

Filippo

T h e p a s s i o n a t e F l o r e n t i n e spirit t u r n e d w i t h

Che qui staranno come porci in brago,
D i se lasciando orribili dispregi !
E d io : Maestro, molto sarei vago
Di vederlo attuffare in questa broda,
Prima che noi uscissimo del lago.
E d egli a me : Avanti che la proda,
Ti si lasci veder, tu sarai sazio :
Di tal disio converrà che tu goda.
Dopo ciò poco, vidi quello strazio
F a r di costui alle fangose genti,
Che Dio ancor ne lodo e ne ringrazio.
Tutti gridavano : A Filippo Argenti.
1
" Note here, that the swine
rolls itself in mud, because it is
vile and impure and fastidious $
and thus those fastidious men, who
held every one in disdain and went
with nostrils turned up, are involved in mire, nevertheless leaving
behind them grievous infamy ; so
that they are punished among the
living, and also among the dead."
Ott. Com.

50

55

60

2
Glad to see his brutal rage
have its due consummation in the
vile mud, though infinitely above
caring for him personally.
3
Filippo Argenti was of the
Caviceiuli family — a branch of
the Adimari—and "was so rich
that he had the horse, on which
he used to ride, shod with Silver
(Argento)', and from this he derived his surname. He was a

CANTO Vili.

INFERNO»

87

his teeth upon himself. Here we left him, so that of him
I tell no more.
But in my ears a wailing smote me, whereat I bent my
eyes 1 intently forwards. And the kind Master said:
"Now, Son, the city that is named of Dis draws nigh,
with its grave citizens, with its great company.'' 2
And I : "Master, already I discern its mosques, distinctly there within the valley, red as if they had come
out of fire."
And to me he said: " The eternal fire, which causes
them to glow within, shows them red, as thou seest, in
this low 3 Hell."
Lo Fiorentino spirito bizzarro
In se medesmo si volgea co* denti.
Quivi il lasciammo, che più non ne narro :
Ma negli orecchi mi percosse un duolo,
Per eh' io avanti intento 1' occhio sbarro.
E il buon Maestro disse : Ornai, figliuolo,
S' appressa la città che ha nomò Dite,
Co' gravi cittadin, col grande stuolo.
Ed io : Maestro, già le sue mesciute
Là entro certo nella valle cerno
Vermiglie, come se di fuoco uscite
Fossero. Ed ei mi disse : IT foco eterno,
Ch' entro le affoca, le dimostra rosse,
Come tu vedi in questo basso infèrno.
man of large size, dark and sinewy, and of marvellous strength ;
and beyond all others choleric,
even on the slightest occasions.
And except this, there is no mention of any thing that he did."

65

70

75

Boccaccio Com. See also Decam.
G. ix. Nov. 8.
1
Lit. : " I unbar my eye," &c.
2
Or " heavy " with guilt (canto
vi. 86) 5 and very numerous.
3
" And we see it here with the

INFERNO.

CANTO V i l i .

We now arrived in the deep fosses, which moat that
joyless city. The walls seemed to me as if they were of
iron. Not before making a long circuit, did we come to a
place where the boatman loudly cried to us : " G o out :
here is the entrance." Above the gates I saw more than
a thousand spirits, rained from Heaven, 1 who angrily exclaimed : " Who is that, who, without death, goes through
the kingdom of the dead ? "
And my sage Master made a sign of wishing to speak
with them in secret. Then they somewhat shut up their
Noi pur giugnemmo dentro all' alte fosse,
Che vallan quella terra sconsolata :
Le mura mi parea, che ferro fosse.
Non senza prima far grande aggirata,
Venimmo in parte, dovè il nocchier, forte,
Uscite, ci gridò ; qui è 1' entrata.
Io vidi più di mille in sulle porte
Dal ciel piovuti, che stizzosamente
Dicean : Chi è costui, che senza morte
Va per lo regno della morta gente ?
E il savio mio Maestro fece segno
Di voler lor parlar segretaments,
Àllor chiusero un poco il gran disdegno,
eye, when smiths heat their iron
rightly ; 'for the redness shews
that there is fire. And as heretical sinners are here punished in
the flesh with fire ; so in Hell are
they with eternal fire punished in
soul." Ott. Com. Low, or deep
Hell; called the " bottom " (canto
yi. 86) ; the " bottom of the dismal shell." Canto ix. 16. The

80

85

whole of it is occupied by the
City to which the Poets are now
approaching. The upper Hell
consists of the Five Circles which
they have already passed. In
canto xi. 16, &c. this division of
Hell will be more fully explained
by the Poet himself.
1
Angels fallen from Heaven.

INFERNO.

CANTO V i l i .

89

g r e a t disdain, a n d said : " Come t h o u alone ; a n d let t h a t
one go, w h o h a s e n t e r e d so d a r i n g l y i n t o t h i s k i n g d o m .
L e t h i m r e t u r n alone his foolish w a y : t r y , if h e c a n ; for
' t h o u s h a l t s t a y h e r e , t h a t h a s t escorted h i m t h r o u g h so
dark a country."
J u d g e , R e a d e r , if I w a s d i s c o u r a g e d a t t h e s o u n d of
t h e a c c u r s e d w o r d s ; for I believed n o t t h a t I ever s h o u l d
r e t u r n b y it.

" O m y loved Guide, w h o m o r e t h a n s e v e n

t i m e s h a s t r e s t o r e d m e t o safety, 1 a n d r e s c u e d from deep
peril t h a t stood before m e , l e a v e m e n o t so u n d o n e , "

I

said : " a n d if t o g o f a r t h e r b e denied u s , let u s r e t r a c e
o u r steps t o g e t h e r r a p i d l y . "
E disser : Vier». tu solo, e quei sen vada,
Che sì ardito entrò per questo regno :
Sol si ritorni per la folle strada : %
Provi se sa ; che t u qui rimarrai,
Che scorto 1' hai per sì buia contrada.
Pensa, Lettor, s' io mi disconfortai
Nel suon delle parole maledette :
Ch' io non credetti ritornarci mai.
0 caro Duca mio, che più di sette
Volte m ' hai sicurtà renduta, e tratto
D ' alto periglio che incontra m i stette,
Non mi lasciar, diss' io, così disfatto :
E se 1' andar più oltre e' è negato,
Bitroviam 1' orme nostre insieme ratto.
1
Lit. : " Hast given back safety
to me." The expression " more
than seven times is put for any
indefinite number." Boccac. Com.
And there is no necessity for

90

95

109

painfully seeking, as some commentators have done, what seven
dangers these could be from which
Dante had been delivered by hia
Guide.

90

INFERNO.

CANTO Vili.

And that Lord, who had led me thither, said to me :
" Fear not ; for our passage none can take from us :
by Such has it been given to us. 1 But thou, wait here
for me ; and comfort and feed thy wearied spirit with
good hope ; for I will not forsake thee in the low
world."
Thus the gentle Father goes, and leaves me hero.
And I remain in doubt ; for yes and no contend within
my head. I could not hear that which he offered to
them. But he had not long stood with them, when they
all, vying with one another, rushed in again. 2 These
our adversaries closed the gates on the breast of my
Master, who remained without ; and turned to me with

*

E quel Signor, che lì m' avea menato,
Mi disse : Non temer, che il nostro passo
Non ci può torre alcun : da tal n* è dato.
Ma qui m' attendi ; e lo spirito lasso
Conforta e ciba di speranza buona,
Ch' io non ti lascerò nel mondo basso.
Così sen va, e quivi m' abbandona
Lo dolce padre, ed io rimango in forse ;
Che il sì, e il no nel capo mi tenzona.
Udir non potei quello che a lor porse :
Ma ei non stette là con essi guari,
Che ciascun dentro a pruova si ricorse.
Chiuser le porte quei nostri avversari
Nel petto al mio Signor, che fuor rimase,
E rivolsesi a me con passi rari.

105

110

115

1
By such high authority, i.e. i 2 A pruova. " Certatim." Or,
by Celestial Wisdom. Canto ii. trying who could get in first,
p. 17, &c
I Blind with rage.

CANTO V i l i .

INFERNO.

91

slow steps. He had his eyes upon the ground, and his
eyebrows shorn of all boldness, and said with sighs :
" W h o hath denied me the doleful h o u s e s ? " 1 And to
me he said : " Thou, be not dismayed, though I get
angry ; for I will master the trial, whatever be contrived
within for hindrance. This insolence of theirs is nothing
new ; for they shewed it once at a less secret gate,
which still is found unbarred. Over it thóu sa west the
dead inscription. 2 And already, on this side of it, comes
down the steep, passing the circles without escort, One by
whom the city shall be opened to us." 3
Gli occhi alla terra, e le ciglia avea rase
D' ogni baldanza, e dicea ne* sospiri :
Chi m' ha negate le dolenti case ?
Ed a me disse : Tu, perch' io m' adiri,
Non sbigottir, eh' io vincerò la pruova,
Qual eh' alla difension dentro s' aggiri.
Questa lor tracotanza non è nuova,
Che già T usaro a men segreta porta,
La qual senza serrarne ancor si trova.
Sovr' essa vedestù la scritta morta :
E già di qua da lei discende V erta,
Passando per li cerchi senza scorta
Tal, che per lui ne fia la terra aperta.

120

125

130

127. Vedestù, vedesti tu,
1

. . . Quels fortuna negdrat
In patriam reditus. JEn. x. 435.
2
The gate of entrance, over
which is seen the dark inscription. Virgil tells Dante that the
demons opposed the entrance of
Christ into Hell. In the service

of Easter eve (li sabbato sa?ito")
are these words : Sadie portas
mortis, et seras pariter Salvator
3

Lit. : " Such, that by him
the city shall be opened to us."
The Angel who is coming.

ARGUMENT.
Dante grows pale with fear when he sees his Guide come back from the
gate, repulsed by the Demons, and disturbed in countenance.
Virgil endeavours to encourage him, but in perplexed and broken
words, which only increase his fear. They cannot enter the City of
Lucifer in their own strength. The three Furies suddenly appear,
and threaten Dante with the head of Medusa. Virgil bids him turn
round ; and screens him from the sight of it. The Angel, whom
Virgil has been expecting, comes across the angry marsh ; puts all
the Demons to flight, and opens the gates. The Poets then go in,
without any opposition ; arid they find a wide plain, all covered with
burning sepulchres. It is the Sixth Circle ; and in the sepulchres
are punished the Heretics, with all their followers, of every sect. The
Poets turn to the right hand, and go on between the flaming tombs
and the high walls of the city.

94

INFERNO.

CANTO IX.

CANTO I X .
THAT colour which cowardice painted on my face, when
I saw my Guide turn back, repressed in him more
quickly his new colour} He stopped attentive, like one
who listens ; for his eye could not lead him far, through
the black air and the dense fog. " Yet it behoves us to
gain this battle," he began. " If not . . . . such help
was offered to us. 2 Oh ! how long to me it seems till some
one 3 come ! "
QUEL color che viltà di fuor mi pinse,
Veggendo il Duca mio tornare in volta,
Più tosto dentro il suo nuovo ristrinse.
Attento si fermò, com' uom che ascolta ;
Che 1' occhio noi potea menare a lunga
Per i' aer nero, e per la nebbia folta.
Pure a noi converrà vincer la punga,
Cominciò ei : se non . . . tal ne s' offerse.
Oh quanto tarda a me eh' altri qui giunga !

5

7. Punga, pugna ; as venga, vegna, &c.
1

The paleness " which cowardice painted outwardly on me,"
made my Guide, in order to restore my courage, " more quickly
repress within him the new colour/' which that repulse of the
Demons had given him. Pinse
also means " thrust, or urged."

2
Lit. : " Such (*. e. Beatrice, or
Divine Wisdom) offered herself to
us." If we are not to gain the
battle — but that is impossible,
considering the help that has been
promised to us.
3
Altri, some higher Power.
See verse 81 ; and note 1st, p. 54.

CANTO IX.

INFERNO.

95
1

I saw well how he covered the beginning with the
other that came after, which were words differing from
the first. But not the less his language gave me fear ;
for perhaps I drew his broken speech to a worse meaning than he held. " Into this bottom of the dreary shell, 2
does any ever descend from the first degree, whose only
punishment is hope cut off ? "
This question I made, and he replied to me : " Rarely
it occurs that any of us makes this journey on which I
go. I t is true, that once before I was down here, conio vidi ben, sì com' ei ricoperse
10
Lo cominciar con 1' altro, che poi venne,
Che fur parole alle prime diverse.
Ma nondimen paura il suo dir dienne,
Perch' io traeva la parola tronca
Forse a peggior sentenzia, eh' ei non tenne.
15
In questo fondo della trista conca
Discende mai alcun del primo grado,
Che sol per pena ha la speranza cionca ?
Questa question fee' io ; e quei : Di rado
Incontra, mi rispose, che di nui
20
Faccia il cammino alcun per quale io vado.
Vero è che altra fiata quaggiù fui
13. Bienne, ne diede.
1
The beginning : " I f not"—
with the : " Such help," &c.
2
" Shell, from the resemblance
that some shells have to the essential form of Hell; which, as
we have said, is broad above, and

20. Nìd, noi.
below grows narrower." Boccaccio
Com. Dante, in his terror, puts
this indirect question to ascertain
whether Virgil has been down
from Limbo (c. iv. 41-2) before,
and knows the way.

96

INFERNO.

CANTO IX.

j u r e d b y t h a t fell E r i c h t h o , 1 w h o recalled t h e
to t h e i r

bodies.

My

flesh

had been but

shadows

short

time

d i v e s t e d of m e , w h e n she m a d e m e e n t e r w i t h i n t h a t
wall, t o d r a w o u t a s p i r i t from

t h e Circle of J u d a s . 2

T h a t is t h e l o w e s t place, a n d t h e m o s t d a r k , a n d f a r t h e s t
from t h e H e a v e n , 3 w h i c h encircles all.
t h e w a y ; so r e a s s u r e thyself.

W e l l do I k n o w

This m a r s h , w h i c h b r e a t h e s

t h e m i g h t y stench, all r o u n d b e g i r d s t h e doleful

city,

where we cannot now enter without anger."
A n d m o r e h e said : b u t I h a v e it n o t in m e m o r y ; for
Congiurato da quella Eriton cruda,
Che richiamava 1' ombre a' corpi sui.
Di poco era di me la carne nuda,
Ch' ella m i fece entrar dentro a quel muro,
Per trarne u n spirto del cerchio di Giuda.
QuelT è il più basso loco, e il più oscuro,
E il più lontan dal Ciel che tutto gira :
Ben so il cammin ; però ti fa securo.
Questa palude, che il gran puzzo spira,
Cinge d' intorno la città dolente,
U' non potemo entrare ornai senz' ira.
E d altro disse, m a non 1' ho a mente ;
1
Erichtho, a famous sorceress
of Thessaly. See Lucan, vi. 508,
&c. And Ovid : Illuc mentis inops, ut quam ficrialis Erichtho
Impulìt. Epist. Sappho Phaoni,
v. 139. Veneficiis famosa fuìt
Thessala mulier; cujus nomen Me
pro qudlibet venefica ponitur. Crispin. Com. Ovid. Dante here
uses the name of Erichtho in the

25

80

same general sense ; and probably
takes some old tradition of the
middle ages respecting Virgil, who
was thought to have been a great
magician.
2
The Giudecca, where the worst
kind of traitors are placed. Vide
canto xxxiv. 117.
3
The Empyreal Heaven.

97

INFERNO.

CANTO I X .

m y eye h a d d r a w n m e w h o l l y to t h e h i g h t o w e r w i t h
g l o w i n g s u m m i t , w h e r e all a t

once I s a w e r e c t

three

H e l l i s h F u r i e s , ' stained w i t h blood ; w h o h a d t h e l i m b s
and attitude

of w o m e n , a n d w e r e

girt with

greenest

F o r hair, t h e y h a d l i t t l e s e r p e n t s a n d cerastes, 1

hydras.

wherewith their horrid temples were bound.
A n d h e , k n o w i n g w e l l t h e h a n d m a i d s of t h e Queen

2

of everlasting l a m e n t a t i o n , said t o m e : " M a r k t h e fierce
Erynnis !

T h i s is Meggera on t h e left h a n d ; she, t h a t

Perocché 1' occhio m ' avea tutto tratto
Vèr 1' alta torre alla cima rovente,
Ove in u n punto vidi dritte ratto
Tre furie infernal di sangue tinte,
Che membra femminili aveano, ed atto ;
E con idre verdissime eran cinte :
Serpentelli e ceraste avean per crine,
Onde le fiere tempie eran avvinte.
E quei, che ben conobbe le meschine
Della Eegina dell' eterno pianto,
Guarda, m i disse, le feroci Erine.
Questa è Megera dal sinistro canto :
Quella, che piange dal destro, è Aletto :

35

40

45

43. Meschine, serve, damigelle.
1

Cerastes horn'd, Hydrus,
and Elops drear,
And Dipsas; not so thick
swarm'd once the soil
Bedropt with blood of Gorgon."
Tar. Lost, x. 525.

Lucan. vi. 679, &c. The Furies
are placed here as emblems of
rebellion against God, and its results.
2
Proserpine. See Par. Lost,
iv. 269. Dominam JDitis. JEn. vi.
379.

98

INFERNO.

CANTO IX.

weeps upon the right, is Alecto. Tesiphone is in the
middle." And therewith he was silent.
With her claws each was rending her breast ; they
were smiting themselves with their palms, and crying
so loudly, that I pressed close to the Poet for fear.
" Let Medusa come, that we may change him into stone," l
they all cried, looking downwards. "Badly did we
avenge the assault of Theseus." 2
" Turn thee backwards, and keep thy eyes closed ;
for if the Gorgon shew herself, and thou shouldst see
her, there would be no returning up again." Thus said
the Master, and he himself turned me, and trusted not
to my hands, but closed me also with his own. 0 ye,
Tesifone è nel mezzo : e tacque a tanto.
Coll' unghie si fendea ciascuna il petto ;
Batteansi a palme, e gridavan sì alto,
Oh' io mi strinsi al Poeta per sospetto.
Venga Medusa, sì il farem di smalto :
Gridavan tutte riguardando in giuso :
Mal noi vengiammo in Teseo 1' assalto.
Volgiti indietro, e tien lo viso chiuso ;
Che se il Gorgon si mostra, e tu il vedessi,
Nulla sarebbe del tornar mai suso.
Così disse il Maestro ; ed egli stessi
Mi volse, e non si tenne alle mie mani,
Che con le sue ancor non mi chiudessi.

50

55

60

58. Stessi, stesso ; as etti for elio, egli.
1

tC

Lit. : Make him of enamel,"
change him into enamel.
2
Allusion to the descent of
Theseus and Pirithous into Hell ;
and the escape of Theseus, by aid

of Hercules. Other mortals venture down in consequence. The
Sedei, ceternumque sedebit Infelix
Theseus (iEn. vi. 617) does not
seem vengeance sufficient.

CANTO IX.

INFERNO.

99

w h o h a v e sane intellects, m a r k t h e doctrine, w h i c h conceals itself b e n e a t h t h e veil of t h e s t r a n g e verses !*
And now there came, upon the turbid waves, a crash
of fearful sound, a t w h i c h t h e shores b o t h t r e m b l e d : a
s o u n d as of a wind, i m p e t u o u s for t h e a d v e r s e h e a t s , 2
w h i c h s m i t e s t h e forest w i t h o u t a n y s t a y ; s h a t t e r s off
the boughs,

b e a t s down, a n d

sweeps a w a y : d u s t y

0 voi, che avete gì' intelletti sani,
Mirate la dottrina, che s' asconde
Sotto il velame degli versi strani.
E già venia su per le torbid' onde
Un fracasso d' u n suon pien di spavento,
Per cui tremavano ambedue le sponde ;
Non altrimenti fatto che d' u n vento
Impetuoso per gli avversi ardori,
Che fier la selva senza alcun rattento ;
Li rami schianta, abbatte, e porta fuori :

in

6£

70

69. Fier, ferisce ; lere in canto x. 69.
1

The very sight of hardened
rebellion against the Almighty—
against the Source of all light,
and peace, and joy—and its eternal consequences, is too terrible;
is a thing not to be realised or
endured without Divine assistance. Compare the fear that comes
over Dante, before and after entering the upper part of Hell, in cantos 2nd, 3rd, and 4th.
A careful perusal of what the
old and, new commentators say
concerning this passage, leads to |

the clear conviction that it is not
worth repeating. Eeaders, who
choose to satisfy themselves, may
consult Boccaccio, the Ottimo, Landino, Velutello, &c. ; and, amongst
the more modern, Volpi, Venturi,
Lombardi, &c. The Comento Analitico of Rossetti, tho' always acute
and ingenious, is far too wild and
absurd for any serious reader of
Dante.
2
Rushing towards the rarer,
heated air, as if it were a great
antagonist.

100

INFERNO.

CANTO I X .

front, it goes superb, and makes the wild beasts and the
shepherds flee.
He loosed my eyes, and said : " Now turn thy nerve
of vision on that ancient foam, there where the smoke is
harshest.'' x
As frogs, before their enemy the serpent, run all
asunder through the water, till each squats 2 upon the
bottom ; so I saw more than a thousand ruined spirits
flee before one, who passed the Stygian ferry with
soles unwet. 3 He waved that gross air from his countenance, often moving his left hand before Mm; and
only of that trouble seemed he weary. Well did I
Dinanzi polveroso va superbo,
E fa fuggir le fiere e li pastori.
Gli occhi mi sciolse, e disse : Or drizza il nerbo
Del viso su per quella schiuma antica,
Per indi ove quel fummo è più acerbo.
Come le rane innanzi alla nimica
Biscia per 1' acqua si dileguan tutte,
Fin eh' alla terra ciascuna s' abbica ;
Yid' io più di mille anime distrutte
Fuggir così dinanzi ad un, che al passo
Passava Stige colle piante asciutte.
Dal volto rimovea quell' aer grasso,
Menando la sinistra innanzi spesso ;
E sol di quell' angoscia parea lasso.

75

80

i Or densest: where the evil I sage"—by which Virgil and Dante
have just come, and at which the
spirits are getting out of sight.
2
spirits are ferried over—"was
" Makes a heap of itself," or
passing with feet dry," was coming
gathers itself up, on the bottom.
3
Or more lit.: " A t the pas- I with angel wings !

101

INFERNO.

CANTO IX.

perceive t h a t h e w a s a M e s s e n g e r
turned to the Master.

of H e a v e n ; a n d I

And h e m a d e a

s h o u l d s t a n d quiet, a n d b o w d o w n

sign t h a t

to h i m .

full h e seemed to m e of i n d i g n a t i o n !

Ah,

I

how

H e reached the

g a t e , a n d w i t h a w a n d opened i t ; for in i t t h e r e w a s n o
resistance.
" 0

outcasts of H e a v e n ! race despised ! " b e g a n h e ,

upon the horrid threshold.
in y o u ?

" W h y dwells this insolence

W h y spurn ye at that Will,1 whose

object

n e v e r can be f r u s t r a t e d , a n d w h i c h often h a s increased
y o u r pain ?

W h a t profits it to b u t t a g a i n s t t h e F a t e s ?

Ben m ' accorsi eh' egli era del Ciel messo,
E volsimi al Maestro : e quei fé' segno,
Ch' io stessi cheto, ed inchinassi ad esso.
Ahi quanto mi parea pien di disdegno !
Giunse alla porta, e con una verghetta
L ' aperse, che non v' ebbe alcun ritegno.
0 cacciati del ciel, gente dispetta,
Cominciò egli in su 1' orribil soglia,
Ond' està oltracotanza in voi s' alletta ?
Perchè ricalcitrate a quella voglia,
A cui non puote il fin mai esser mozzo,
E che più volte v' ha cresciuta doglia ?
Che giova nelle F a t a dar di cozzo ?
Cerbero vostro, se ben vi ricorda,

85

•• 90

95

95. Mozzo, mozzato, cut off.
1

The Angel avoids using the
name of God in addressing the
Demons; and takes their Fates

and their loud barking Cerberus,
in the verses that follow, as being
the only terms fit for them.

102

INFERNO.

CANTO IX.

Y o u r Cerberus, if y e r e m e m b e r , still b e a r s his c h i n a n d
h i s t h r o a t peeled for d o i n g s o . "
Then he returned by the
word to us ;

2

x

filthy

way, and spake no

b u t looked like one w h o m o t h e r care u r g e s

a n d incites t h a n t h a t of t h o s e w h o s t a n d

before h i m .

A n d w e m o v e d o u r feet t o w a r d s t h e city, secure after
t h e sacred w o r d s .

W e e n t e r e d i n t o i t w i t h o u t a n y strife.

A n d I, w h o w a s desirous t o behold t h e c o n d i t i o n 3 w h i c h
s u c h a fortress encloses, - as soon as I w a s in, s e n t m y
eyes a r o u n d ; a n d s a w , on either hand, a spacious p l a i n
full of sorrow a n d of evil t o r m e n t .

Ne porta ancor pelato il mento e il gozzo.
Poi si rivolse per la strada lorda,
E non fé' motto a noi : m a fé' sembiante
D ' uomo, cui altra cura stringa e morda,
Che quella di colui che gli è davante.
E noi movemmo i piedi in vèr la terra,
Sicuri appresso le parole sante.
Dentro v' entrammo senza alcuna guerra :
E d io, eh' avea di riguardar disio
L a condizion che tal fortezza serra,
Com' io fui dentro, 1' occhio intorno invio ;
E veggio ad ogni m a n grande campagna
Piena di duolo e di tormento rio.
1

Alluding to the old fable of
Hercules, and his dragging Cerberus with the threefold chain,
which has left its mark: Tar~
tareum Me {Hercules) manu custodem in vincici petivit, Ijpsius a
solio regis traxitque trementem.

JEn. vi. 395. See also iEn.
296.
2
Come to execute what
been willed in Heaven, and
to parley with us.
3
The condition of those
are within it.

100

105

110

viii.
has
not
that

CANTO IX.

INFERNO.

103

As at Aries, where the Ehone stagnates, as at Pola
near the Quarnaro gulf, which shuts up Italy and bathes
its confines, the sepulchres 3 make all the place uneven ;
so did they here on every side, only the manner here was
bitterer. For amongst the tombs were scattered flames,
whereby they were made all over so glowing-hot, that
iron more hot no craft requires. Their covers were all
raised up ; and out of them proceeded moans so grievous,
that they seemed indeed the moans of spirits sad and
wounded.
And I : " Master, what are these people who, buried

Sì come ad Arli, ove il Kodano stagna,
Sì com' a Pola presso del Quarnaro,
Che Italia chiude e i suoi termini bagna,
Fanno i sepolcri tutto il loco varo :
Così facevan quivi d' ogni parte,
Salvo che il modo v' era più amaro ;
Che tra gli avelli fiamme erano sparte,
Per le quali eran sì del tutto accesi,
Che ferro più non chiede verun' arte.
Tutti gli lor coperchi eran sospesi,
E fuor n' uscivan sì duri lamenti,
Che ben parean di miseri e d' offesi.
Ed io : Maestro, quai son quelle genti,

115

120

115. Varo, vario, diseguale.
1
At Aries, where the Rhone
stagnates before the sea ; and at
Pola, a city of Istria, near the gulf
of Quarnaro, there are numerous

mounds, which are supposed to
have been sepulchres. The old
legends respecting them are now
quite obsolete.

104

INFERNO.

CANTO I X .

within those chests, 1 make themselves heard by their
painful sighs ? "
And he to me : " These are the Arch-heretics with
their followers of every sect ; and much more, than thou
thinkest, the tombs are laden. Like with like is buried
here ; and the monuments are more and less hot."
Then, after turning to the right hand, we passed between the tortures and the high battlements.
Che seppellite dentro da quell' arche
Si fan sentir coi sospiri dolenti ?
Ed egli a me : Qui son gli eresiarche
Co' lor seguaci d' ogni setta, e molto
Più che non credi, son le tombe carene.
Simile qui con simile è sepolto :
E i monimenti son più, e men caldi.
E poi eh' alla man destra si fu vólto,
Passammo tra i martìri e gli alti spaldi.
1
Arche, arks, chests, coffers.
The term area is properly applied
to the part of a monument in

125

130

which the bodies are deposited,
and which, with its lid, resembles a
chest.
A

ARGUMENT.
The Poets go on, close by the wall of the city, with the fiery tombs on
their left ; and Dante, observing that the lids of these are all open,
inquires if it would be possible to see the spirits contained in them.
Virgil, understanding the full import and object of his question, tells
him that the Epicurean Heretics are all buried in the part through
which they are then passing ; and that he will therefore soon have
his wish gratified. Whilst they are speaking, the soul of Farinata, the
great" Ghibelline chief, of whom Dante has been thinking, addresses
him from one of the sepulchres. Farinata was the father-in-law of
Guido Cavalcanti, Dante's most intimate friend $ and Cavalcante de'
Cavalcanti, the father of Guido, rises up in the same sepulchre, when
he hears the living voice, and looks round to see if his son is there.
Amongst other things, Farinata foretells the duration of Dante's
exile ; and explains to him how the spirits in Hell ìiave of themselT ^s no knowledge concerning events that are actually passing on
earth, but only of things distant, either in the past or the future.

106

INFERNO.

CANTO X.

CANTO X.
ISTow b y a n a r r o w p a t h , b e t w e e n t h e city-wall a n d t h e
t o r m e n t s , m y M a s t e r goes on, a n d I b e h i n d h i m . 1

" 0

V i r t u e s u p r e m e ! w h o t h r o u g h t h e impious circles t h u s
wheel est m e , as i t pleases t h e e , " I b e g a n ; " s p e a k t o m e ,
and

satisfy

m y wishes.

Might

w i t h i n t h e s e p u l c h r e s , b e seen ?

t h o s e people, w h o lie

T h e covers all a r e raised,

and none keeps guard."
A n d h e t o m e : " A l l s h a l l b e closed u p , w h e n , from
Jehosaphat,2

they

r e t u r n h e r e w i t h t h e bodies w h i c h

ORA sen va per uno stretto calle,
Tra il muro della terra e li martìri,
Lo mio Maestro, ed io dopo le spalle.
0 virtù somma, che per gli empi giri
Mi volvi, cominciai, come a te piace ;
Parlami, e soddisfammi a' miei desiri.
L a gente, che per li sepolcri giace,
Potrebbesi veder ? già son levati
Tutti i coperchi, e nessun guardia face.
E d egli a me : Tutti saran serrati,
Quando di Iosaphat qui torneranno
1

Lit. : " Behind his shoulders."
From the valley of Jehosaphat, where, according to the general opinion of that time, the
last judgment is to be held. " I
will also gather all nations, and
will bring them down into the
2

5

10

valley of Jehosaphat, and will
plead with them there . . . . . . .
Let the heathen be awakened, and
come up to the valley of Jehosaphat : for there will I sit to judge
all the heathen round about."
Joel iii. 2, 12.

CANTO X.

INFERNO.

they have left above.

107

In this part are entombed with

Epicurus all his followers, who make the soul die with
the body.

Therefore to the question, which thou askest

me, thou shalt soon have satisfaction here within ; and
also to the wish 1 which thou holdest secret from me."
And I : " Kind Guide, I do not keep my heart concealed
from thee, except for brevity of speech, to which thou hast
ere now 2 disposed me."
" 0 Tuscan ! who through the city of fire goest alive,
speaking thus decorously ; may it please thee to stop in

Coi corpi, che lassù hanno lasciati.
Suo cimitero da questa parte hanno
Con Epicuro tutti 1 suoi seguaci,
Che 1' anima col corpo morta fanno.
Però alla dimanda che mi faci
Quinci entro soddisfatto sarai tosto,
E al disio ancor, che tu mi taci.
Ed io : Buon Duca, non tegno nascosto
A te mio cor, se non per dicer poco ;
E tu m' hai non pur ora a ciò disposto.
0 Tosco, che per la città del foco
Vivo ten vai così parlando onesto,
Piacciati di ristare in questo loco.

1
Probably the wish to see Farinata. Canto vi. 79, &c. Dante
has now reached the "bottom,"
where Ciacco told him he might
find Farinata ; and is reminded of
this by hearing Virgil speak of
Epicurus. See note, p. 108,

15

20

2
Lit. : " Not only now ; " not
only by the example and admonitions here (canto iii. 51, 76, and
ix. 86), but also by the old and
well-known brevity of thy style,
"hast thou disposed me to speak
little."

108

INFERNO.

t h i s place.

CANTO X.

T h y speech clearly shews t h e e a n a t i v e of t h a t

noble c o u n t r y , w h i c h p e r h a p s I vexed too m u c h . "
S u d d e n l y t h i s s o u n d issued from one of t h e

chests,

w h e r e a t i n fear I d r e w a l i t t l e closer to m y Guide.
A n d h e said to m e : " T u r n t h e e r o u n d .

What

art

t h o u doing ? L o t h e r e F a r i n a t a ! l w h o h a s raised h i m self erect.

F r o m t h e girdle u p w a r d s thou s h a l t see h i m

all."
A l r e a d y I h a d fixed m y look on his : a n d h e rose u p r i g h t w i t h b r e a s t a n d c o u n t e n a n c e , as if h e e n t e r t a i n e d

L a tua loquela ti fa manifesto
Di quella nobil patria natio,
Alla qual forse fui troppo molesto.
Subitamente questo suono uscio
D ' una dell' arche : però m ' accostai,
Temendo, un poco più al Duca mio.
E d ei mi disse : Volgiti : che fai ?
Vedi là Farinata, che s' è dritto :
Dalla cintola in su tutto il vedrai.
Io avea già il mio viso nel suo fìtto ;
E d ei s' ergea col petto e colla fronte,

1
Farinata degli Uberti, a famous leader of the Ghibellines in
the time of Frederick II. and of
Manfred. The family of the
Uberti was one of the oldest and
most powerful in Florence. In
the Chronicles of Malespini, Villani, &c. there is frequent mention made of Farinata and his
deeds and sayings. Daring, clear-

25

30

35

sighted, prudent, magnanimous,
he stood above all the other Florentines of his time ; and the
name he left seems to have produced a deep impression upon
Dante. Boccaccio, Landini, and
others, tell us that he denied the
immortality of the soul ; and belonged to the " sect of the Epicureans."

CANTO X .

109

INFERNO.

great scorn of Hell. And the bold and ready hands of my
Guide pushed me amongst the sepultures to I\im, saying :.
" Let thy words be numbered." l
As soon as I was at the foot of his tomb, he looked at
me a little ; and then, almost contemptuously, he asked
me : " Who were thy ancestors ? "
I, being desirous to obey, concealed it not ; but opened
the whole to him : whereupon he raised his brows a little.
Then he said : "Fiercely adverse were they to me, and t a
my progenitors, and to my party ; so that twice I scattered 2 them."
" If they were driven forth, they returned from every
Come avesse lo Inferno in gran dispitto :
E le animose man del Duca e pronte
Mi pinser tra le sepolture a lui,
Dicendo : Le parole tue sien conte.
Tosto che al pie della sua tomba fui,
Guardommi un poco, e poi quasi sdegnoso
Mi dimandò : Chi fur li maggior tui ?
Io, eh' era d' ubbedir disici eroso,
Non gliel celai, ma tutto gliel' apersi :
Ond' ei levò le ciglia un poco in soso ;
Poi disse : Fieramente furo avversi
A me ed a' miei primi, ed a mia parte,
Sì che per due fiate gli dispersi.
S' ei fur cacciati, ei tornar d' ogni parte,
36. Dispitto, dispetto.

40

45=

45. Soso, suso.

1
O r : " L e t thy words be clear, I 2 In the year 1248; and after/
compact, or brief."
I the battle of Montaperti in 1260.

110

INFERNO.

CANTO X.

quarter, both times," I answered him. " But yours have
not rightly learnt that art."
Then, beside him, there rose a shadow, visible to the
chin. 1 I t had raised itself, I think, upon its knees. It
looked around me, as if it had a wish to see whether some
one were with me. But when all its expectation was
quenched, it said, weeping : " If through this blind prison
thou goest by height of genius, where is my son ? And
why is he not with thee ?"
And I to him : " O f myself I come not. He, that waits
yonder, leads me through this place ; whom perhaps thy
Guido 2 held in disdain."
Kisposi io lui, 1' una e 1' altra fiata ;
Ma i vostri non appreser hen quell' arte.
Allor surse alla vista scoperchiata
Un' ombra lungo questa infìno al mento :
Credo che s' era inginocchion levata.
D'intorno mi guardò, come talento
Avesse di veder s' altri era meco ;
Ma poi che il sospicar fu tutto spento,
Piàngendo disse : Se per questo cieco
Carcere vai per altezza d' ingegno,
Mio figlio ov' è ? e perchè non è teco ?
Ed io a lui : Da me stesso non vegno :
Colui, che attende là, per qui mi mena,
Forse cui Guido vostro ebbe a disdegno.

50

55

60

1
Liit : " Rose discovered to I Guido. He was of the Guelph
view, down to the chin.5' This is party. Malesp. c. 105, 168.
>2
the shade of Cavalcante de' CavalGuido Cavalcanti, celebrated
canti, the father of Dante's friend j as a poet and philosopher in those

CANTO X.

INFERNO.

Ill

Already his words and the manner of his punishment
had read his name to me.

Hence my answer was so fall.

Rising instantly erect, he cried : " How saidst thou ?
had ? 1

Lives he not still ?

s t r i k e his eyes ? "

He

Does not the sweet light 2

W h e n h e perceived t h a t I m a d e some

d e l a y in a n s w e r i n g , s u p i n e h e fell a g a i n , a n d s h e w e d h i m self no m o r e .
B u t t h a t other, m a g n a n i m o u s , a t whose desire I h a d
Le sue parole, e il modo della pena
M' avevan di costui già letto il nome :
Però fu la risposta così piena.
Di subito drizzato gridò : Gome
Dicesti : egli ebbe ? non viv' egli ancora ?
Non fiere gli occhi suoi lo dolce lome ?
Quando s' accorse d' alcuna dimora
Oh' io faceva dinanzi alla risposta,
Supin ricadde, e più non parve fuora.
Ma quell' altro magnanimo, a cui posta
69. Fiere, ferisce.
times, and now chiefly remarkable
for his intimate friendship with
Dante, which continued till the
time of his death, in December
1300. He married the daughter
of Farinata in 1266 (Villani, vii.
15) ; so that he must have been
much older than Dante, who was
born in 1265. He took a zealous
and violent share in the partysquabbles of the time, and was
one of those that were banished
when Dante held the office of
chief Prior in 1300. Villani,
viii. 41, 42. In the Vita Nuova

65

70

73. Posta, istanza.
(p. 334) Dante speaks of Guido's
aversion to the Latin tongue. I t
must have been either for that
reason, or for his foolish partyviolence, with which Dante by
no means sympathised, that he
is here said to have held Virgil
(Poet, or emblem of Wisdom) in
disdain. Several of his poems
are still extant.
1
*' He had ; " as of a thing past.
2 «Truly the light is sweet,
and a pleasant thing it is for
the eyes to behold the sun."
Eccles. xi. 7.

112

INFERNO.

CANTO X.

stopped, c h a n g e d n o t his aspect, n o r m o v e d his n e c k , n o r
b e n t his side.

" A n d if," c o n t i n u i n g h i s former w o r d s , h e

said, " t h e y h a v e l e a r n t t h a t a r t badly, i t m o r e t o r m e n t s
m e t h a n t h i s bed.

B u t t h e face of t h e Queen, 1 w h o r e i g n s

h e r e , s h a l l n o t be fifty t i m e s r e k i n d l e d ere t h o u s h a l t k n o w
t h e h a r d n e s s of t h a t a r t . 2

A n d so m a y e s t t h o u once

r e t u r n to t h e s w e e t world, 3 t e l l m e w h y t h a t people is so
fierce a g a i n s t m y k i n d r e d in all its l a w s ? "

4

Eestato m ' era, non mutò aspetto,
Ne mosse collo, ne piegò sua costa.
E se, continuando al primo detto,
Egli han quell' arte, disse, male appresa,
Ciò mi tormenta più che questo letto.
Ma non cinquanta volte fìa raccesa
L a faccia della donna, che qui regge,
Che tu saprai quanto quell' arte pesa.
E se t u mai nel dolce mondo regge,
Dimmi, perchè quel popolo è sì empio
Incontro a' miei in ciascuna sua legge ?

75

80

82. Regge, rieda ; from an obsolete yerb.
1
Trìti Virginio ora Dionee. JEn.
iv. 511. Proserpine, Diana, or the
Moon.
2
Not fifty months snail pass
before thou know the whole
weight, or difficulty, of that art
of returning from exile. The
Cardinal da Prato, who had come
to make a last attempt at reconciling the two factions, quitted
Florence on the 4th of June, 1304.
Villani, viii. 69. And, from that

ttme, the party with which Dante
had been banished lost all hope.
3
J. adjure thee by thy wish
to return, tell me, &c. See also
v. 94.
4
" Whenever any law was
made for recalling the exiles, the
Uberti were always excepted.'*
Benv. da Imola, Boccaccio, &c.
And the bones of the family were
taken out of their tombs, and cast
into the Arno. Ibid.

Whereat

113

INFERNO.

CANTO X.

I

to

him :

" The

havoc,

and

the

great

s l a u g h t e r , w h i c h d y e d t h e A r b i a red, 1 causes s u c h orations
in o u r t e m p l e . "

2

A n d s i g h i n g , h e shook h i s h e a d ; t h e n said : " I n t h a t
I w a s n o t single ; n o r w i t h o u t cause, a s s u r e d l y , should I
have stirred with the others.

B u t I w a s single t h e r e ,

w h e r e all consented to e x t i r p a t e F l o r e n c e , 3 I alone w i t h
open face defended h e r . "
Ond' io a lui : Lo strazio e il grande scempio,
Che fece 1' Arbia colorata in rosso,
Tale orazion fa far nel nostro tempio.
Poi eh' ebbe 'sospirando il capo scosso ;
A-ciò non fui io sol, disse, né certo
Senza cagion sarei con gli altri mosso :
Ma fu' io sol colà, dove sofferto
F u per ciascuno di torre via Fiorenza,
Colui che la difese a viso aperto.
1

85

90

At the battle of Montaperti, I in his time, they frequently met
near the river Arbia, which took
in a church adjoining the Palace
place on Tuesday the 4th of of the Priors. Orazione means
September, 1260, and made that
also " prayer," as well as " oraday very memorable. The army
tion," or speech 5 and may here
of the Florentine Guelphs, with* be taken in either sense.
3
their allies, amounting to more
Lit. : " Where by every one
than thirty thousand foot and
it was suffered (voted) to take
three thousand horse, was de- away Florence," &c. A council
feated there, and trampled to of the Ghibellines was held at
pieces by Farinata with a much
Empoli, after the battle of Montsmaller force. Malesp. cap. 167;
aperti, in which it was proposed
Villani, vi. 78.
that Florence should be destroyed.
2
The Councils were held in Farinata alone opposed the meathe churches at Florence till the sure, and said : " I f there were
year 1281. Macchiav. lib. ii. And no other but himself, he would
Benv. da Imola says that, even I defend it with sword in hand, as
I

114

INFERNO.

CANTO x.

A h ! so m a y t h y seed s o m e t i m e h a v e r e s t , " I p r a y e d
h i m , " solve t h e k n o t w h i c h h a s h e r e i n v o l v e d m y j u d g ment.

I t seems t h a t y o u see b e f o r e h a n d w h a t t i m e b r i n g s

w i t h it, if I r i g h t l y h e a r ;

a n d h a v e a different m a n n e i

with the present."
" L i k e one w h o h a s imperfect vision, w e see t h e t h i n g s , "
h e said, " w h i c h a r e r e m o t e from u s : so m u c h l i g h t t h e
S u p r e m e R u l e r still gives t o u s . 1 - W h e n t h e y d r a w n i g h ,
or are, o u r i n t e l l e c t is a l t o g e t h e r v o i d ; 2 a n d except w h a t

Deh se riposi m a i vostra semenza,
Pregai io lui, solvetemi quel nodo,
Che qui h a inviluppata mia sentenza.
E ' par che voi veggiate, se ben odo,
Dinanzi quel, che il tempo seco adduce,
E nel presente tenete altro modo.
Noi veggiàm come quei, che h a mala luce,
Le cose, disse, che ne son lontano ;
Cotanto ancor ne splende il sommo Duce :
Quando s' appressano, o son, tutto è vano
Nostro intelletto; e, s' altri noi ci apporta,

iong as there was life in his
body." The rest, " seeing the
man they had to deal with, and
his authority, and followers, desisted. And thus our city escaped
from such fury, by the valour
of one citizen." Malesp. c. 170 ;
Villani, viii. 81.
1
Lit. : " So much does the
Supreme Ruler still shine to us."
2
They' see things distant,

95

100

whether past or future; but not
things at hand, or present. General opinion of the Fathers.
" The departed spirits know
things past and to come ; yet
are ignorant of things present.
Agamemnon foretells what should
happen unto Ulysses, yet ignorantly inquires what is become
of his own son." Browne, Urne
Burial, cap. iv.

€ANT0 X.

115

INFERNO.

o t h e r s b r i n g u s , w e k n o w n o t h i n g of y o u r h u m a n s t a t e .
T h e r e f o r e t h o u m a y e s t u n d e r s t a n d t h a t all o u r k n o w l e d g e
s h a l l be dead, from t h a t m o m e n t w h e n t h e p o r t a l of t h e
F u t u r e shall be closed." *
T h e n , as c o m p u n c t i o u s for m y fault, 2 I said : " N o w
will y o u therefore tell t h a t fallen one, t h a t h i s c h i l d is
still j o i n e d t o t h e living. 3

A n d if I w a s m u t e before, a t

t h e response, l e t h i m k n o w , i t w a s because m y t h o u g h t s
a l r e a d y w e r e in t h a t e r r o r 4 which y o u h a v e resolved for
me."
And now m y Master was recalling me.

Wherefore I,

Nulla sapem di vostro stato umano.
Però comprender puoi che tutta morta
Fia nostra conoscenza da quel punto,
Che del futuro fia chiusa la porta.
Allor, come di mia colpa compunto,
Dissi : Or direte dunque a quel caduto,
Che il suo nato è co' vivi ancor congiunto.
E s ' i o fui dianzi alla risposta muto,
F a t ' ei saper che il fei, perchè pensava
Già nell' error che m ' avete soluto.
E già il Maestro mio m i richiamava :
105. Sapem, sapiamo.
1

After the last judgment, when
there shall be time no longer ; "
when all the tombs shall be sealed
up. See v. 10, &c.
2
Fault of not having told Cavalcante that his son was alive;
=and thereby having given him
additional pain

<(

105

110

115

113. Ei} a lui.
3

" F o r to him that is joined
to all the living there is hope."
Eccles. ix. 4.
4
Error of believing that the
spirits in Hell, who could speak
so clearly of things past and
future, were likewise acquainted
with things present.

116

INFERNO.

CANTO X.

in more haste, besought the spirit to tell me who was
with him.
H e said to me : " With more than a thousand lie I
here.
dinal;

The second Frederick * is here within, and the Car2

and of the rest I speak not."

Therewith he hid

himself.
Per eh* io pregai lo spirito più avaccio,
Che mi dicesse, chi non lui si stava.
Dissemi : Qui con più di mille giaccio :
Qua entro è lo secondo Federico,
E il Cardinale, e degli altri mi taccio
Indi s' ascose : ed io in vèr 1' antico
1
The Emperor Frederick the
Second, who died on the 13th of
December, 1250, in the fifty-sixth
year of his age. As Emperor he
reigned thirty years, thirty-eight
as King of Germany, and fiftytwo as King of the Two Sicilies.
One learns fiom the old Chronicles, &c. that he spent his early
life in energetic studies, and made
his Court in Sicily very famous by
princely patronage of literature
and all that was highest in those
times. He "knew Latin, and
Greek, and Saracenic; was liberal, wise, and valiant in war. . . .
In every ckief city of Sicily and
Apulia he made a strong and rich
castle ; also the Capuan castle,
the towers of Naples, the bridges
ovei the river Volturno at Capua,"
&c. Ott. Com. In his later years
he seems to have moved in a very

120

turbid element, with armies of
Saracens, Papal excommunications, and universal suspicion of
his nearest friends. The fabulous
book Be Tribus Impostoribus was
imputed to him ; and he gave
cause enough besides for the
charge of heresy which Dante
here sanctions. In the treatise
Be Viclgari Eloquio (lib. i. cap.
12), Dante speaks of his literary
influence, &e. in high terms.
2
Ottaviano degli Ubaldini, a
Florentine, made Cardinal by
Innocent IV. in 1245 ; and distinguished from other Cardinals
by his talents, his great influ
enee, and vehement adherence ti
the Ghibelline party. (i If there
be any soul, I have lost mine
for the Ghibellines," is a profani
exclamation of his, reported b^
all the old commentators.

CANTO X .

INFERNO

117

And I towards the ancient Poet turned my steps, revolving that saying which seemed hostile to me.1
He
moved on ; and then, as we were going, he said to me :
" Why art thou so bewildered ? " And I satisfied him in
his question.
" Let thy memory retain what thou hast heard against
thee," that Sage exhorted me. "And now mark here,"
and he raised his finger. " W h e n thou shalt stand before the sweet ray of that Lady,2 whose bright eyo
seeth all, from her shalt thou know the journey of thy
life." 3
Then to the sinister h a n d 4 he turned his feet. We
Poeta volsi i passi, ripensando
A quel parlar che mi parea nemico.
Egli si mosse ; e poi così andando
Mi disse : Perchè sei tu sì smarrito ?
Ed io li soddisfeci al suo dimando.
La mente tua conservi quel che udito
Hai contra te, mi comandò quel Saggio,
Ed ora attendi qui : e drizzò il dito.
Quando sarai dinanzi al dolce raggio
Di quella, il cui beli' occhio tutto vede,
Da lei saprai di tua vita il viaggio.
Appresso volse a man sinistra il piede :
1
Pannata's prophecy about his
long and hard exile.
2
Beatrice, or Celestial Wisdom.
See canto ii.
3
Thy earthly joys and hopes
are gone. The gay Leopard will
never impede thee again. Thou^
shalt go through this dark Hell,
and see all its bitterness; and

125

130

then shalt thou come to that
heavenly Light which will teach
thee the journey of thy life, and
the eternal things that depend on
it.
4
The Poets always turn to the
left when going to a worse class
of sinners.

118

INFERNO.

CANTO X»

left the wall, a n d w e n t t o w a r d s t h e m i d d l e , b y a p a t h
t h a t s t r i k e s into a valley, w h i c h even u p t h e r e a n n o y e d u s
w i t h its fetor. 1

Lasciammo il muro, e gimmo in vèr lo mezzo
Per un sentier, che ad una valle
fìede,
Che in fin lassù facea spiacer suo lezzo.

135

1
Lit. : " Which made its fetor I are still far from the lowest part
displease even up there." They | of Hell.

ARGUMENT.
After crossing the Sixth Circle, the Poets come to a rocky precipice
which separates it from the circles beneath. They find a large
monument, standing on the very edge of the precipice, with an
inscription indicating that it contains a heretical Pope ; and are
forced to take shelter behind it, on account of the fetid exhalation
that is rising from the abyss. Virgil explains what kind of sinners
are punished in the three circles which they have still to see ; and
why the Carnal, the Gluttonous, the Avaricious and Prodigal, the
Wrathful and Gloomy-Sluggish, are not punished within the city of
Dis. Dante then inquires how Usury offends God; and Virgil
having answered him, they go on, towards the place at which a
passage leads down to the Seventh Circle

120

INFERNO.

CANTO

CANTO XT.

XI.

U P O N t h e e d g e of a h i g h b a n k , formed by large b r o k e n
stones i n a circle, w e c a m e above a
throng.1
stench

2

still

more

A n d here, because of t h e horrible

cruel

excess

of

w h i c h t h e deep abyss t h r o w s ont, we a p p r o a c h e d

i t u n d e r cover of a g r e a t m o n u m e n t , w h e r e o n I saw a
w r i t i n g t h a t said : " I hold P o p e A n a s t a s i u s , w h o m P h o t i n u s d r e w from t h e s t r a i g h t w a y . " 3

I N SII 1' estremità d' un' alta ripa,
Che facevan gran pietre rotte in cerchio,
Venimmo sopra più crudele stipa :
E quivi per 1' orribile soperchio
Del puzzo, che il profondo abisso gitta,
Ci raccostammo dietro ad u n coperchio
D ' u n grande avello, ov' io vidi una scritta
Che diceva : Anastasio papa guardo,
Lo qual trasse Fotin della via dritta.
1
Crowd of greater sinners in
greater punishment, below the
precipice to which the Poets hare
come.
2
Stench of murderers, &c. that
are below.

" Oh, my offence is rank ; it smells
to heaven."
Hamlet, act iii. scene 3.
3

It was a current belief in

5

Dante's time, and for two hundred years later, that a Pope
Anastasius had been drawn from
the straight way by Photinus, the
Heretic of Thessalonica ; and had
died a horrible death in consequence. See the comments of
Boccaccio, Landino, Vellutello,
Daniello, &c. The Jesuits Bellarmino, Venturi, &c. have endeavoured to shew that there

CANTO XI.

INFERNO.

121

" Our / descent we must delay, till sense be somewhat
used to the dismal blast, and then we shall not heed it."
Thus the Master.

And I said to him : " Find some com-

pensation, that the time may not be lost."

And he :

" Thou seest that I intend it."
"My Son, within these stones," he then began to say,
"are three circlets l i n g r a d a t i o n , like t h o s e t h o u leavest.
T h e y all a r e filled w i t h s p i r i t s a c c u r s t .

But, that the

s i g h t of these hereafter m a y of itself suffice t h e e , h e a r k e n
Lo nostro scender convien esser tardo,
Sì che s' ausi prima u n poco il senso
Al tristo fiato, e poi non fìa riguardo.
Così il Maestro. E d io : Alcun compenso,
Dissi lui, trova, che il tempo non passi
Perduto. E d egli : Vedi eh' a ciò penso.
Figliuol mio, dentro da cotesti sassi,
Cominciò poi a dir, son tre cerchietti
Di grado in grado, come quei che lassi.
Tutti son pien d i spirti maledetti :
Ma perchè poi ti basti pur la vista,
11. S'ausi, s' avezzL
was no sudi Pope in the time of
Photinus. The question, whether
any heretical Pope or Emperor
of that name ever existed, may
remain a matter of indifference
to us. The practical meaning of
the passage is very evident. Dante
wishes all men to know his opinion, that Popes are not exempt
from heresy, and that it deserves
greater punishment in them than
in other men. He finds an Em-

10

15

20

18. Lassi, lasci.
peror, a Ghibelline Cardinal, and
the greatest of the Ghibelline
chiefs, in the same circle. " This
cry of thine will do like wind,
which strikes with greatest force
the highest summits.'5 Paraci.
xvii. 133.
1
" Circlets," from the small*
ness of their size, compared with
those above. " In gradation,"
i.e. one after another, becoming
smaller.

122

INFERNO.

CANTO XI.

how and wherefore they are pent up. Of all malice,
which gains hatred in Heaven, the end is inju ry ; and
every such end, either by force or by fraud, aggrieveth
others. But because fraud is a vice peculiar to man, it
more displeases God ; and therefore the fraudulent) are
placed beneath, 1 and more pain assails them.
" All the first circle is for the violent. But as violence
may be done to three persons, it is formed and distinguished into three rounds. 2 To God, to one's self, and to
one's neighbour, may violence be done : I say in them
and in their things, as thou shalt hear with evident discourse.
" By force, death and painful wounds may be inflicted
Intendi come, e perchè son costretti.
D' ogni malizia eh' odio in Cielo acquista,
Ingiuria è il fine ; ed ogni fin cotale
0 con forza, o con frode altrui contrista.
Ma perchè frode è dell' uom proprio male,
Più spiace a Dio ; e però stan di sutto
Gli frodolenti, e più dolor gli assale.
De' violenti il primo cerchio è tutto,
Ma perchè si fa forza a tre persone,
In tre gironi è distinto e costrutto.
A Dio, a sé, al prossimo si puone
Far forza ; dico in loro, e in lor cose,
Come udirai con aperta ragione.
Morte per forza, e ferute dogliose

25

30

i Quiim autem duobus modis, id I homine est ; sed fraus odio digna
est, aut vi aut frande fiat injuria I madore. Cicero, de Offic. i. 13.
utrumque alienissimum ab \ 2 Concentric spaces, or rings.

CANTO XI.

INFERNO.

123

u p o n * one's n e i g h b o u r ; a n d u p o n his s u b s t a n c e , d e v a s t a tions, b u r n i n g s , a n d injurious extortions : w h e r e f o r e t h e
first

r o u n d t o r m e n t s all homicides a n d every one who.

s t r i k e s maliciously, all p l u n d e r e r s a n d r o b b e r s , in different
bands.
A m a n m a y l a y violent h a n d u p o n himself, a n d

upon

h i s p r o p e r t y : a n d therefore in t h e second r o u n d

must

every o n e r e p e n t in v a i n w h o deprives himself of y o u r
world, 2 g a m b l e s a w a y a n d dissipates his w e a l t h , a n d w e e p s
t h e r e w h e r e h e should b e j o y o u s . 3
Violence m a y be done a g a i n s t t h e D e i t y , in t h e h e a r t 4
Nel prossimo si danno, e nel suo avere
Buine, incendi e toilette dannose :
Onde omicidi, e ciascun che mal fiere,
Guastatori e predon, tutti tormenta
Lo giron primo per diverse schiere.
Puote uomo avere in sé m a n violenta
E n e ' suoi beni : e però nel secondo
Giron convien che senza pro si penta
Qualunque priva sé del vostro mondo,
Biscazza e fonde la sua facultade,
E piange là dove esser dee giocondo.
Puossi far forza nella Deitade,
Lit. : " Are given to the neigh- i
hour." Gatervatim dat straffem.
Georg, iii. 556. Ccecum dare vulnus. JEn. x. 733.
2
Commits self-murder.
,
3
Dante has an earnestness that I
is deep, nay infinite ; but this |
only makes him feel the beauty !
and bounty of God's creation with

3&

40

45

more clearness and intensity. To*
him moroseness seems a great
crime.
* " The fool hath said in his
heart, There is no God." Psalm
xiv. 1 ; liii. 1. " Out of the heart
of men proceed evil thoughts . . .
blasphemy, pride, foolishness.'*
Mark vii. 21, 22.

124

INFERNO.

CANTO XI.

denying and blaspheming Him ; and disdaining Nature
and her bounty : and hence the smallest x round seals with
its m a r k 2 both Sodom and Cahor«,3 and all who speak
with disparagement of God in their hearts.
"Fraud, which gnaws every conscience,4 a man may
practise upon those who confide in him ; and upon those
who repose no confidence. This- latter mode 5 seems only
to cut off the bond of love which Nature makes : hence
Col cor negando e bestemmiando quella,
E spregiando Natura, e sua bontade :
E però lo minor giron suggella
Del segno suo e Sodoma, e Caorsa,
E chi, spregiando Dio, col cor favella.
La frode, ond' ogni coscienza è morsa,
Può 1' uomo usare in quei, eh' in lui si fida,
E in quei che fidanza non imborsa.
Questo modo di retro par che uccida
Pur lo vincol d' amor che fa Natura :
Onde nel cerchio secondo s' annida
1
Included within the other two,
&nd therefore smallest.
2
" If any man worship the
beast and his image, and receive
his Mark in his forehead, or in
his hand, the same shall drink of
the wine of the wrath of God."
Rev. xiv. 9, 10.
3
Cahors, a city of Guienne 5 a
nest of usurers in Dante's time.
Boccaccio says that in Florence
(Jaorsino was synonymous with
usuraio, usurer. See Ducange,

50

55

Glossar, art. Caorcini> for soine
curious particulars respecting the
numbers and hateful woik of those
Usurers.
4
Gnaws every one conscious of
having practised it. Or : gnaws
the conscience of every one ; from
its being so common in those
times.
5
Fraud in general, without violation of any special confidence,
breaks only the common bond of
love that unites man to man.

CANTO xr.

INFERNO.

125

in t h e second circle n e s t s hypocrisy,

flattery,

sorcerers,

c h e a t i n g , theft a n d simony, p a n d e r s , b a r a t o r s , a n d l i k e
filth.

I n t h e o t h e r m o d e is f o r g o t t e n t h a t love w h i c h

N a t u r e m a k e s , a n d also t h a t w h i c h a f t e r w a r d s is added, 1
g i v i n g b i r t h to special t r u s t .
at the centre

H e n c e in t h e s m a l l e s t circle,

of t h e u n i v e r s e a n d

s e a t of

Dis, 2 e v e r y

t r a i t o r is e t e r n a l l y c o n s u m e d . ' '
A n d I : " M a s t e r , t h y discourse p r o c e e d s m o s t clearly,
a n d excellently d i s t i n g u i s h e s t h i s gulf, a n d t h e people
t h a t possess it.

B u t tell m e : T h o s e of t h e fat m a r s h ; 3

those w h o m t h e w i n d l e a d s , a n d w h o m t h e r a i n b e a t s ;.

Ipocrisia, lusinghe e chi affattura,
Falsità, ladroneccio e simonia,
Buffian, baratti, e simile lordura.
Per 1' altro modo quell' amor s' obblia
Che fa Natura, e quel eh' è poi aggiunto,
Di che la fede speziai si cria :
Onde nel cerchio minore, ov' è il punto
Dell' universo, in su che Dite siede,
Qualunque trade in eterno è consunto.
E d io : Maestro, assai chiaro procede
L a tua ragione, ed assai ben distingue
Questo baratro, e il popol che il possiede.
Ma dimmi : Quei della palude pingue,
Che mena il vento, e che batte la pioggia,
1

Fraud, or treachery, against
relations, benefactors, friends, &c.
breaks this additional bond of love.
See Mn. vi. 609.
2
Lit. : " Where is the point
(centre) of the universe, upon

60

65

70

which Dis sits."
See canto
xxxiv.
3
" Those of the fat marsh "
are the Wrathful, &c. Canto viil
" Those whom the wind leads,"
the Carnal sinners. Canto v.

126

INFERNO.

CANTO XI.

a n d those w h o m e e t w i t h t o n g u e s so s h a r p , — w h y a r e t h e y
n o t p u n i s h e d in t h e r e d city, if God's a n g e r be u p o n t h e m ?
A n d if n o t , w h y a r e t h e y in s u c h p l i g h t ? "
A n d h e to m e : " W h e r e f o r e
beyond its w o n t ?
else ?
Ethics

e r r s t h y m i n d so m u c h

Or a r e t h y t h o u g h t s t u r n e d s o m e w h e r e

Rememberest thou not the words wherewith thy
l

t r e a t of t h e t h r e e dispositions w h i c h H e a v e n wills

not, incontinence, m a l i c e , a n d m a d bestiality ?

A n d how

incontinence less offends God, a n d receives less b l a m e ?

E che s' incontran con sì aspre lingue,
Perchè non dentro della città roggia
Son ei puniti, se Dio gli ha in ira ?
E se non gli ha, perchè sono a tal foggia ?
E d egli a me : Perchè tanto delira,
Disse, lo ingegno tuo da quel oh* ei suole ?
Ovver la mente dove altrove mira ?
Non ti rimembra di quelle parole,
Con le quai la tua Etica pertratta
Le tre disposizion, che il Ciel non vuole ;
Incontinenza, malizia e la m a t t a
Bestialitade ? e come incontinenza
Men Dio offende, e men biasimo accatta ?

75

80

73. Boggia, rossa, red with fire
"•'Whom the rain beats," the
Gluttons and Epicures. Canto vi.
" Those with tongues so sharp,"
the Prodigal and Avaricious.
Canto vii. They of the confines,
<:
who never were alive" (canto
iii.), are not taken into account.

1
The Ethics of Aristotle, which
thou hast made thy own by study.
Lib. vii. cap. ] . « Respecting
morals, three things are to be
avoided : malice, incontinence, and
bestiality." See also Ibid. cap. 8,
&c.

CANTO XI.

INFERNO,

127

I f t h o u r i g h t l y considerest t h i s doctrine, a n d recallest to
t h y m e m o r y who t h e y are t h a t suffer p u n i s h m e n t above,
without, 1 t h o u easily wilt see w h y t h e y a r e s e p a r a t e d from
these fell spirits, a n d w h y , w i t h less anger, D i v i n e J u s t i c e
strikes them."
" O S u n ! 2 w h o healest all t r o u b l e d vision, t h o u m a k e s t
so glad w h e n t h o u resolvest m e , t h a t to d o u b t is n o t less
grateful t h a n to k n o w .

T u r n t h e e y e t a little b a c k , to

w h e r e t h o u sayest t h a t u s u r y offends t h e D i v i n e Goodness, 3
and unravel the knot."
Se tu riguardi ben questa sentenza.
E rechiti alla mente chi son quelli,
Ohe su di fuor sostengon penitenza,
Tu vedrai ben perchè da questi felli
Sien dipartiti, e perchè men crucciata
La divina giustizia gli martelli.
0 Sol, che sani ogni vista turbata,
Tu mi contenti sì, quando tu solvi,
Che, non men che saver, dubbiar m ' aggrata.
Ancora un poco indietro ti rivolvi,
Diss' io, la dove di' che usura offende
La divina bontade, e il groppo svolvi.
1

Incontinence is punished in
the five circles, which are above,
without the city of Dis ; and malice and bestiality, in the three
lowest circles within it. Heresy
lies between them in the Sixth
Circle, like a kind of connecting
link ; a praparation for the transition from incontinence to malice
and brutisliness. T h a t tomb of

85

90

95

the Pope is put on the verge of
the precipice, and exposed to the
blast of the abyss, in order to
shew, amongst other things, what
crimes heresy may lead to, especially in those of high station.
2
" L i g h t of the other P o e t s / '
Canto i. 82.
3
See verses 46-50, where this
is said in substance.

128

INFERNO.

H e said to m e :

CANTO XI.

" P h i l o s o p h y , to h i m who h e a r s it,

points out, n o t in one place alone, h o w N a t u r e t a k e s h e r
c o u r s e from t h e D i v i n e I n t e l l e c t , a n d from i t s a r t .

And,

if t h o u n o t e well t h y P h y s i c s , t h o u w i l t find, n o t m a n y
pages from t h e first, t h a t y o u r a r t , as far as it can, follows
her, 1 as t h e scholar does h i s m a s t e r ; so t h a t y o u r a r t is,
as i t w e r e , t h e g r a n d c h i l d 2 of t h e D e i t y .
if t h o u recai lest to t h y m e m o r y Genesis

4

B y these t w o , 3
at t h e b e g i n n i n g ,

Filosofìa, m i disse, a chi 1' attende,
Nota non pure in una sola parte,
Come Natura lo suo corso prende
Dal divino Intelletto e da sua arte :
E se tu ben la tua Fisica note,
Tu troverai non dopo molte carte,
Che 1' arte vostra quella, quanto puote,
Segue, come il maestro fa il discente,
Sì che vostr' arto a Dio quasi è nipote.
Da queste due, se tu ti rechi a mente
Lo Genesi dal principio, conviene

100

105

1
Follows nature. " Pkiloso- I of Nature, and Nature tlie daughpkus in secundo Physicorum dicìt, ter of the Deity.
3
quod ars imitatur naturami in
By Nature and Art ; by real
quantum potest, scilicet naturanti work agreeable to " these two."
4
qua a natura naturante, videlicet
Allusion to the labour apa Beo, descendit ut filia a maire, pointed for Adam and /all his poset per consequens ars descendens terity : " And the Loro1 jGod tóòk
ab ipsa natura naturante, ut filia the man, and put knv into the
Bei, dici potest verisimiliter neptis garden of Eden to drei>s it, and to
Bei; et sic dictam artem," &c. keep it." Genesis ii. 15. " I n the
sweat of thy face shalt thou eat
See note 2, p. 129.
2
Your art being the daughter I bread." Ibid. iii. 19.

CANTO XI.

INFERNO.

129

it behoves man to gain his bread, and multiply the people.1
And because the usurer takes another way, he contemns
Nature in herself and in her follower,2 placing elsewhere
his hope.
" But follow me now, as it pleases me to go ; for the
Fishes 3 glide on the horizon, and all the "Wain lies over
Caurus, and yonder far onwards we go down the cliff."
Prender sua vita, ed avanzar la gente.
E perchè 1' usuriere altra via tiene,
Per se Natura, e per la sua seguace
Dispregia, poiché in altro pon la spene.
Ma seguimi oramai, che il gir mi piace :
Che i Pesci guizzan su per V orizzonta,
E il Carro tutto sovra Coro giace,
E il balzo via là oltre si dismonta.
1
Lit. : " To take, or receh e,
his life (sustenance), and advance
the people." See the words in
the first chapter of Genesis, " Be
fruitful and multiply, and replenish the earth, and subdue
it," &c.
2
Art. See end of n. 1, p. 128.
u
Et sic dictam artem offendendo,
per quamdam consequentiam et
Deum offendimus. Quod autem
fcenerator dictam artem offendat
et destruat, ypatet quod, ù non
fceneraretur, artem exerceret aliquam secundum mum ingenium.
Item non est artificiale quod denarius faciat denarium, et per

110

115

consequens non naturale, et sic
contra Deum" &c. Pietro di
Dante. And the usurer trusts
in his gains by usury alone. Our
systems of Political Economy,
and our Money Market, lie very
far remote from those times of
Dante.
3
The Fishes, now above the
horizon, immediately precede
Aries; and, as the sun is in
Aries (note 1st, p. 5), the time
here indicated is some two hours
before sunrise. The position of
the Wain, or Great Bear {Caurus,
G. iii. 278, is Virgil's North-west
wind), indicates the same thing.

K

ARGUMENT.
The way down to the Seventh Circle commences in a wild chasm
of shattered rocks. Its entrance is occupied by the Minotaur,
horror of Crete, and emblem of the bloodthirsty violence and brutality that are punished below. The monster begins to gnaw
himself threateningly; but Virgil directs emphatic words to him,
which instantly make him plunge about in powerless fury, and leave
the passage free for some time. Dante is then led down amongst
loose stones, which are lying so steep, that they give way under the
weight of his feet. The river of Blood comes to view as they approach the bottom of the precipice. It goes round the whole of the
Seventh Circle, and forms the First of its three divisions. All who
have committed Violence against others are tormented in it ; some
being immersed to the eyebrows, some to the throat, &c, according
to the different degrees of guilt ; and troops of Centaurs are running
along its outer bank, keeping each sinner at his proper depth.
Nessus is appointed by Chiron, chief of the Centaurs, to guide
Dante to the shallowest part of the river, and carry him across it.
He names several of the tyrants, murderers, assassins, &c. that appear as they go along j and then repasses the river by himself to
rejoin his companions.

132

INFERNO.

CANTO XII.

CANTO X I I .
THE place to which we came, in order to descend the
bank, was alpine, and such, from what was there besides,
that every eye would shun 1 it. As is the ruin, which
struck the Adige in its flank, on this side Trent, 2 caused
by earthquake or by defective prop ; for from the
summit of the mountain, whence it moved, to the plain,
the rock is shattered so, that it might give some passage
to one that were above : such of that rocky steep was the
ERA lo loco, ove a scender la riva
Venimmo, alpestro ; e, per quel eh' ivi er' anco,
Tal, eh' ogni vista ne sarebbe schiva.
Qual è quella mina, che nel fianco
Di qua da Trento 1' Adice percosse
0 per tremuoto o per sostegno manco ;
Che da cima del monte, onde si mosse,
Al piano, è sì la roccia discoscesa,
Ch' alcuna via darebbe a chi su fosse :
Cotal di quel burraio era le scesa.
1
Such, from the Minotaur
which lay spread over it (ver. 11,
&c), that " every look would be
shy of it."
2
Dante had doubtless seen the
fall of the mountain, which he
here describes, as it could not
have been far from Verona. One
such fall took place near Rivoli

5

10

in 1310, when he was probably
staying with Bartolom. della Scala.
See the Paduan edition of Dante.
But the Adige is a rapid stream,
and seems to have been thus
il
struck in flank," or thrust out
of its course, at various places,
by the mountains it had undermined.

CANTO XII.
descent.

INFERNO.

A n d on t h e t o p of t h e b r o k e n cleft l a y s p r e a d

t h e infamy of Crete, 1 which w a s conceived in t h e
cow. 2

133

false

A n d w h e n h e saw n s h e g n a w e d himself, l i k e one

whom anger inwardly consumes.
M y S a g e cried t o w a r d s h i m : " P e r h a p s t h o u t h i n k e s t
t h e D u k e 3 of A t h e n s m a y b e h e r e , who, i n t h e w o r l d above,
gave thee t h y death ?

G e t t h e e gone, M o n s t e r ! F o r t h i s

one comes not, i n s t r u c t e d b y t h y sister ; 4 b u t passes on t o
see y o u r p u n i s h m e n t s . "
A s a b u l l , t h a t b r e a k s loose, in t h e m o m e n t w h e n h e
has received t h e fatal s t r o k e , a n d c a n n o t go, b u t p l u n g e s

E in su la punta della rotta lacca
L ' infamia di Creti era distesa,
Che fu concetta nella falsa vacca :
E quando vide noi, se stesso morse,
Sì come quei cui 1' ira dentro
fiacca.
Lo Savio mio in vèr lui gridò : Forse
Tu credi che qui sia il Duca d' Atene,
Che su nel mondo la morte ti porse ?
Partiti, bestia, che questi non viene
Ammaestrato dalla tua sorella,
Ma vassi per veder le vostre pene.
Qual è quel toro, che si slaccia in quella
Che ha ricevuto già '1 colpo mortale,
Che gir non sa, m a qua e là saltella ;
The Minotaur. Mn. vi. 26,
Ovid. Met. viii. 155, &c.
2
Pasiphaè ; suppostaque furto,
&c. JEn. vi. 26, &c.
3
Theseus. Shakespeare's li renowned Duke." The name makes

&c

15

20

the Minotaur spring up from its
lair, in blind fury.
4
Ariadne, by whose instructions Theseus was enabled to slay
the Minotaur, and make his escape
from its labyrinth.

134

INFERNO.

CANTO XII.

hither and thither ; so I saw the Minotaur do. And my
wary Guide cried : " Run to the passage. Whilst he is
in fury, it is good that thou descend."
Thus we took our way downwards on the ruin 1 of those
stones, which often moved beneath my feet, from the
unusual weight. 2 I went musing, and he said : " Perhaps
thou art thinking of this fallen mass, guarded by that
bestial rage, which I quelled just now. I would have
thee know, that, when I went the other time, down here
to the deep Hell, 3 this rock had not yet fallen. But certainly, if I distinguish rightly, short while before H e
came, who took from Dis the great prey of the upmost
Vid' io lo Minotauro far cotale.
E quegli accorto gridò : Corri al varco ;
Mentre eh' è in furia, è buon che tu ti cale.
Così prendemmo via giù per lo scarco
Di quelle pietre, che spesso moviensi
Sotto i miei piedi per lo nuovo carco.
Co già pensando ; e quei disse : Tu pensi
Forse a questa rovina, eh' è guardata
Da quell' ira bestiai, eh' io ora spensi.
Or vo' che sappi, che 1' altra fiata
Ch' io discesi quaggiù nel basso Inferno,
Questa roccia non era ancor cascata.
Ma certo, poco pria, se ben discerno,
Che venisse Colui, che la gran preda
Levò a Dite del cerchio superno,
1

25

30

35

Lit. : " Discharge," &c. Stones [ 2 Weight of his body ; on a way
lying as steep as when they were
frequented only by spirits,
first shattered and fell.
( 3 See canto ix. 25, &c.

CANTO XII.

INFERNO.

135

circle, 1 on all sides the deep loathsome valley trembled so,
that I thought the universe felt love, whereby, as some
believe, the world has oft-times been converted into chaos. 2
And in that moment, 3 here, and elsewhere, 4 this ancient
rock made such downfall.
" But fix thy eyes upon the valley ; 5 for the river of
blood draws nigh, in which boils every one who by violence
injures others. O blind cupidity ! O foolish anger ! which
so incites us in the short life ; and then, in the eternal,
steeps us so bitterly.''

Da tutte parti 1' alta valle feda
Tremò sì, eh' io pensai che V universo
Sentisse amor, per lo quale è chi creda
Più volte il mondo in caos converso :
E in quel punto questa vecchia roccia
Qui, e altrove, tal fece riverso.
Ma ficca gli occhi a valle ; che s' approccia
La riviera del sangue, in la qual bolle
Qual che per violenza in altrui noccia.
0 cieca cupidigia, o ira folle,
Ohe sì ci sproni nella vita corta,
E nel!' eterna poi sì mal e' immolle !

1

Took the Patriarchs (" great
prey " of Dis till then) from Limbo. Canto iv. 52, &c.
2
Opinion of Empedocles, and
other antique philosophers.
3
When Christ died. « And the
earth did quake, and the rocks
rent ; and the graves were opened :

40

45

50

and many bodies of the saints
which slept arose, and came out
of their graves, and went into the
holy city." Matt, xxvii. 51, &c.
4
In the place of the Hypocrites.
Canto-xxiii. 136, &c.
5
Look down ; t{ fix thy eyes (a
valle) valleywards."

136

INFERNO.

CANTO XII.

I saw a .wide fosse bent arcwise, as embracing all the
plain, according to what my Guide had told me. And
between it and the foot of the bank were Centaurs,
running one behind the other, armed with arrows, as
they were wont on earth to go in hunting. Perceiving
us descend, they all stood still ; and from the band three
came forth with bows and javelins chosen first. And one
of them cried from far : " To what torment come ye, ye
that descend the coast ? Tell from thence : if not, I draw
the bow."
My Master said : " Our answer we will make to Chiron,
there near at hand. Unhappily 1 thy will was always
thus rash."
Io vidi un' ampia fossa in arco torta,
Come quella che tutto il piano abbraccia,
Secondo eh' avea detto la mia scorta :
E tra il pie della ripa ed essa, in traccia
Correan Centauri armati di saette,
Come solean nel mondo andare a caccia.
Vedendoci calar ciascun ristette,
E della schiera tre si dipartirò
Con archi e asticciuole prima elette :
E 1' un gridò da lungi : A qual martiro
Venite voi, che scendete la costa ?
Ditel costinci, se non, 1' arco tiro.
Lo mio Maestro disse : La risposta
Farem noi a Chiron costà di presso :
Mal fu la voglia tua sempre sì tosta.

55

60

65

1
Unhappily for thyself. Her- I Virgil will explain his errand only
cules slew thee for thy rashness. | to Chiron, the sage physician.

137

INFERNO.

CANTO XII.

T h e n h e t o u c h e d m e a n d said : " T h a t is ISTessus, w h o
died for t h e fair Dejanira, a n d of himself took v e n g e a n c e
for himself. 1

H e in t h e m i d d l e , w h o is l o o k i n g

n p o n h i s b r e a s t , is t h e
Achilles.

great

Chiron, 2 h e w h o

down
nursed

T h a t o t h e r is P h o l u s , 3 w h o w a s so fall of r a g e .

A r o u n d t h e fosse t h e y g o b y t h o u s a n d s , p i e r c i n g w i t h t h e i r
a r r o w s w h a t e v e r spirit w r e n c h e s itself o u t of t h e blood
f a r t h e r t h a n its g u i l t h a s allotted for i t . "
We

drew near

those rapid beasts.

Chiron t o o k a n

arrow,, a n d w i t h t h e n o t c h p u t b a c k his b e a r d u p o n his
jaws.

W h e n h e h a d u n c o v e r e d h i s g r e a t m o u t h , h e said

t o his companions :

" H a v e y e perceived t h a t t h e

Poi mi tentò, e disse : Quegli è Nesso,
Che morì per la bella Deianira,
E fé' di se la vendetta egli stesso.
E quel di mezzo, che al petto si mira,
E v il gran Chirone, il qual nudrio Achille :
Quell' altro è Folo, che fu sì pien d' ira.
Dintorno al fosso vanno a mille a mille,
Saettando qual' anima si svelle
Del sangue più che sua colpa sortille.
Noi ci appressammo a quelle fiere snelle :
Chiron prese uno strale, e con la cocca
Fece la barba indietro alle mascelle.
Quando s' ebbe scoperta la gran bocca,
Disse ai compagni : Siete voi accorti,
1

By giving the robe tainted
with his own blood to Dejanira,
wife of Hercules : Nee wioriemur
inulti, &c. Ovid. Met. ix. 131.

2

one

70

75

80

Magistri, Phillyrides Chironì
&c. Georg, iii. 549.
3
Furente^ Centauros leto domuit,
Bhcetumque Pholuonque. Ib. ii.455.

138

INFERNO.

behind m o v e s w h a t h e touches ?

CANTO XII.

T h e feet of t h e dead a r e

n o t w o n t to do s o . "
A n d m y good Guide, w h o w a s a l r e a d y a t t h e b r e a s t of
h i m , w h e r e t h e t w o n a t u r e s a r e consorted, replied : " I n deed h e is alive, a n d solitary t h u s h a v e I t o s h e w h i m t h e
d a r k valley.

N e c e s s i t y b r i n g s h i m t o it, 1 a n d n o t s p o r t .

F r o m s i n g i n g Alleluiali, carne S h e 2 w h o g a v e m e t h i s n e w
office.

H e is n o robber, n o r I a t h i e v i s h spirit.

B u t by

t h a t v i r t u e 3 t h r o u g h w h i c h I move m y steps on s u c h a
woody w a y , 4 g i v e u s some one of t h i n e w h o m we m a y
Che quel di rietro move ciò eh' ei tocca ?
Così non soglion fare i pie de' morti.
E il mio buon Duca, che già gli era al petto,
Ove le due nature son consorti,
Rispose : Ben è vivo ; e sì soletto
Mostrarli mi convien la valle buia :
Necessita il e' induce, e non diletto.
Tal si parti da cantare alleluia,
Che mi commise quest' ufìcio nuovo ;
Non è ladron, ne io anima foia.
Ma per quella virtù, per cui io muovo
Li passi miei per sì selvaggia strada,
Danne un de' tuoi, a cui noi siamo a pruovo,
93. A pruovo, fro
1
" And there was no other
way," &c. JPwrg. canto i. 62.
2
Lit. : " Such (Beatrice, Celestial Wisdom) came from singing Alleluiane' and "gave me
(Human Wisdom) this new office." See note 2d, p. 17. See

85

90

Lat. prope, near.
also the " Great voice of much
people in Heaven, saying Alleluiali . . . as the voice of many
waters, and as the voice of many
thunderings," &c. Rev. xix. 1, 6.
3
That high Celestial mission.
4
Or : " wild," obstructed way

CANTO XII.

INFERNO.

139

1

follow, that he may shew us where the ford is, and carry
over him upon his back, for he is not a spirit to go through
the air."
Chiron bent round on his right breast, and said to
Nessus : " Turn, and guide them then ; and if another
troop encounter you, keep it off."
We moved onwards with our trusty guide, along the
border of the purple boiling, wherein the boiled were
making loud shrieks. I saw people down in it even t e
the eyebrows ; and the great Centaur said : " These are
tyrants who took to blood and plunder. Here they lament
their merciless offences. Here is Alexander ; 2 and fierce
Dionysius, who made Sicily have years of woe. And that
Che ne dimostri là ove si guada,
E che porti costui in su la groppa,
Che non è spirto che per 1' aer vada.
Chiron si volse in sulla destra poppa,
E disse a Nesso : Torna, e sì li guida ;
E fa cansar, s' altra schiera v' intoppa.
Noi ci movemmo colla scorta
fida
Lungo la proda del bollor vermiglio,
Ove i bolliti faceano alte strida.
Io vidi gente sotto infìno al ciglio ;
E il gran Centauro disse : Ei son tiranni,
Che dier nel sangue e nelT aver di piglio.
Quivi si piangon li spietati danni :
Quivi è Alessandro, e Dionisio fero,
1

95

100

105

2
Lit. : " To whom we may be I
Alexander the Great, accordnear," &c. Nessus adit, membris- ing to the earliest commentators,
gue valens, scitusque vadoncm. Ovid. Pietro (Dante's son), Boccaccio,
Met. ix. 108.
I Landino, &c. And their opinion

140

INFERNO.

b r o w which h a s t h e h a i r so b l a c k is Azzolino ;

CANTO XII.
l

and that

other, w h o is blonde, is Obizzo 2 of E s t e , w h o in v e r i t y w a s
q u e n c h e d b y his step-son u p in t h e w o r l d . "
T h e n I t u r n e d m e to t h e P o e t , a n d h e said : " L e t h i m
be chief g u i d e to t h e e now, 3 a n d m e s e c o n d . "
A l i t t l e f a r t h e r on, t h e C e n t a u r p a u s e d beside a people
Che fé' Cicilia aver dolorosi anni :
E quella fronte che ha il pel così nero
E ' Azzolino ; e quell' altro, eh' è biondo,
Ev Obizzo da Esti, il qual per vero
F u spento dal figliastro su nel mondo.
AUor m i volsi al Poeta ; e quei disse :
Questi ti sia or primo, ed io secondo.
Poco più oltre il Centauro s' affisse

110

115

is confirmed by the passage in I When weakened by disease, in
Lucan, beginning: lille Pell&i the year 1293, he was smothered
proles vesana Philippi, Felix gra- by his own son Azzo, who is here
do, jacet, &c. Phars. x. 21, &c.
called a step-son in consequence.
Alexander is praised, but only He was a Guelph, counterpart to
for his royal liberality, in the Con- Ezzelino the Ghibelline. Dante
had an equal hatred of both facvito, Tr. iv. c. 11.
1
Azzolino, or Ezzelino di Ro- tions. The Monarchy, for which
mano, Lieutenant of the Emperor he strove so zealously, was to be a
Frederick II. ; and afterwards thing infinitely above both. Azzo
Chief of the Ghibellines, in the is again alluded to in canto xviii.
56 ; and in Purg, v. 77.
Marca Trevigiana and great part
3
of Lombardy. He died in 1260 ;
Lit. : " Let him be first to
and was " the most cruel and thee," &c. Let him shew thee
formidable tyrant that ever lived these tyrants, assassins, and muramong Christians." Villani, vi. derers. Phlegyas, whom we saw
72. No exaggeration here in the on the angry marsh, is GrandGuelph historian.
father of the Centaurs, in the an2
Marquis of Ferrara, " a fu- I cient myths: and like him they
rious, cruel, rapacious tyrant." I are emblems of Violence.

CANTO XII.

INFERNO.

141

which, as far as t h e t h r o a t , seemed t o issue from
boiling s t r e a m .
saying :

that

H e s h e w e d u s a spirit b y itself a p a r t ,

" T h a t one, i n God's bosom, pierced t h e h e a r t

w h i c h still is v e n e r a t e d on t h e T h a m e s . " 1
T h e n some I saw, w h o k e p t t h e h e a d a n d l i k e w i s e all
t h e c h e s t ont of t h e r i v e r ; a n d of t h e s e I

recognised

many.
T h u s m o r e a n d m o r e t h a t blood g r e w shallow, u n t i l i t
covered t h e feet only : a n d h e r e was o u r p a s s a g e t h r o u g h
t h e fosse.
Sovra una gente, che infino alla gola
Parea che di quel bulicame uscisse.
Mostrocci u n ' ombra dall' u n canto sola,
Dicendo : Colui fesse, in grembo a Dio,
Lo cuor che in sul Tamigi ancor si cola.
Poi vidi genti, che di fuor del rio
Tenean la testa e ancor tutto il casso T
E di costoro assai riconobb' io.
Così a più a.più si facea hasso
Quel sangue sì, che copria pur li piedi :
E quivi fu del fosso il nostro passo.
1
Guy de Montfort, during mass
and the elevation of the host in a
church at Viterbo, stabbed Prince
Henry, the son of Richard of Cornwall, and nephew of Henry III.,
in revenge for the death of his
father Simon de Montfort, Earl of
Leicester. Villani (vii. 39) says,
" t h a t the heart of Henry, in a
golden cup, was placed on a pillar
at London bridge over the river

120

125

Thames, for a memorial to the
English of'the said outrage." Some
Italian commentators make ancor
si cola mean "still drips," as if
calling for vengeance : but that is
quite a modern interpretation, and
hardly deserves notice.
Guy is put apart from the rest,
on account of the circumstances and
the place where his crime was com
mitted.

142

INFERNO.

CANTO XII.

" As t h o u seest t h e boiling s t r e a m , on this side, cont i n u a l l y d i m i n i s h , " said t h e C e n t a u r , " so I w o u l d h a v e
t h e e to believe t h a t , on this o t h e r , 1 i t l o w e r s its b o t t o m
m o r e a n d m o r e , t i l l it comes a g a i n to w h e r e t y r a n n y is
doomed t o m o u r n .

Divine Justice here torments that

A t t i l a , who w a s a scourge on e a r t h ; a n d P y r r h u s a n d
S e x t u s ; 2 a n d t o e t e r n i t y m i l k s t e a r s , w h i c h b y t h e boiling
i t u n l o c k s , from R i n i e r of Corneto, from R i n i e r Pazzo, 3
who on t h e h i g h w a y s m a d e so m u c h w a r . "
T h e n h e t u r n e d back, a n d by himself repassed t h e ford.
Sì come tu da questa parte vedi
Lo bulicame che sempre si scema,
Disse il Centauro, voglio che tu credi,
Che da quest' altra a più a più giù prema
Lo fondo suo, infìn che si raggiunge
Ove la tirannia convien che gema.
L a divina giustizia di qua punge
Quell' Attila che fu flagello in terra,
E Pirro, e Sesto ; ed in eterno munge
Le lagrime, che col bollor disserra,
A Rinier da Corneto, a Rinier Pazzo,
Che fecero alle strade tanta guerra.
Poi si rivolse, e ripassossi il guazzo.
1
Nessus keeps wading across
the broad ford, at the same time
that he is telling Dante how, on
both sides of them, the stream
deepens.
2
Pyrrhus, King of Epirus.
Sextus the Pirate, son of Pompey.

130

135

Sextus eratì magno proles indigna
parente, &c. Lucan, vi. 420.
3
Two noted robbers and assassins, both on a great scale, in the
time of Frederick II. The latter
belonged to the noble family of the
Pazzi in Florence.

ARGUMENT.
The Second Bound, or ring, of the Seventh Circle ; the dismal mystic
Wood of Self-murderers. The souls of these have taken root in the
ground, and become stunted trees, with withered leaves and branches;
instead of fruit, producing poison. The obscene Harpies, insatiable
foreboders of misery and despair, sit wailing upon them and devouring them. Pietro delle Vigne, the great Chancellor of Frederick II.,
is one of the suicides 5 and he tells Dante what had made him destroy
himself, and also in what manner the souls are converted into those
uncouth trees. Their discourse is interrupted by the noise of two
spirits all naked and torn, who come rushing through the dense wood,
pursued by eager female hell-hounds. The first of them is Lano, a
Siennese ; the second, Jacopo da Sant' Andrea, a Paduan. Both had
violently wasted their substance, and thereby brought themselves to
an untimely end, and to this punishment. Dante finds a countryman, who, after squandering all his substance, had hanged himself; and hears him speak superstitiously about the calamitif3 of
Florence.

144

INFERNO.

CANTO XIII.

CANTO XIII.
NESSUS h a d n o t y e t r e a c h e d t h e o t h e r side, 1 w h e n we
moved

into

a wood, w h i c h b y

no p a t h w a s

marked*,

N o t g r e e n t h e foliage, b u t of colour d u s k y ; n o t s m o o t h
t h e b r a n c h e s , b u t g n a r l e d a n d w a r p e d ; apples n o n e w e r e
No holts2

there, b u t w i t h e r e d s t i c k s w i t h poison.

so

r o u g h or dense h a v e t h o s e w i l d b e a s t s , t h a t h a t e t h e c u l t i v a t e d t r a c t s , b e t w e e n Cecina a n d Corneto. 3
Here

the unseemly Harpies

make

their

nest, who

chased t h e T r o j a n s from t h e S t r o p h a d e s w i t h dismal n o t e
of future woe. 4

W i d e w i n g s t h e y h a v e , a n d n e c k s and

NON era ancor di là Nesso arrivato,
Quando noi ci mettemmo per u n bosco,
Che da nessun sentiero era segnato.
Non frondi verdi, m a di color fosco ;
Non rami schietti, m a nodosi e involti ;
Non pomi v' eran, m a stecchi con tosco.
Non han sì aspri sterpi né si folti
Quelle fiere selvagge, che in odio hanno
Tra Cecina e Cometo i luoghi colti.
Quivi le brutte Arpie lor nido fanno,
Che cacciar delle Strofade i Troiani
Con tristo annunzio di futuro danno.
1

Of the river of blood.
Lit. : " No roots, trunks, or
shoots so rough," &c.
3
Cecina, a small river to the
south of Leghorn ; Corneto, a town
in the Patrimony of the Church.
2

£~

10

The district between them is still
wild, and entangled with forests
and marshes.
4
See the prophecy of Coseno
the Harpy, &c. ; and its effect on
the Trojans. Mn. iii. 245-262.

faces

human,

feathered.

145

INFERNO.

CANTO XIII.

feet

w i t h claws, 1 a n d t h e i r

They make

rueful

cries

2

large

on t h e

belly

strange

trees.
A n d t h e k i n d M a s t e r b e g a n to say t o m e : " Before
t h o u goest f a r t h e r , k n o w

that

t h o u a r t in

the

second

r o u n d ; a n d s h a l t be, u n t i l t h o u c o m e s t t o t h e h o r r i d
sand.3

Therefore look well, a n d t h o u s h a l t see t h i n g s

t h a t will confirm m y s p e e c h . "

4

A l r e a d y I h e a r d wailings u t t e r e d on e v e r y side, a n d
s a w n o one to m a k e t h e m ; wherefore I , all bewildered,

Ale hanno late, e colli e visi umani,
Pie con artigli, e pennuto il gran ventre :
F a n n o lamenti in su gli alberi strani.
E il buon Maestro : Prima che più entre,
Sappi che sei nel secondo girone,
Mi cominciò a dire ; e sarai, mentre
Che t u verrai all' orribil sabbione.
Però riguarda bene, e sì vedrai
Cose, che daran fede al mio sermone.
Io sentia già d' ogni parte trar guai,
E non vedea persona che il facesse ;
Per eh' io tutto smarrito m ' arrestai.
1
Virginei volucrum vultus, fedissima ventris Proluvies, uncaqite
mamis, et pallida semper Ora fame.
JEn. iii. 2]6,&c.
2
Vox tetrum dira inter odor em.
Ibid. 228.
3
In the third round. See canto
xiv.
4
What I have said of Poly-

15

20

dorus. Mn. iii. 21-56. Some
editions read : Ohe torrien fede al
mio sermone, " which would take
away belief from my speech,"
i. e. which would be incredible if I
related them. The words in verse
48, &c, which made Foscolo adopt
this reading, ought to have made
him reject it.

146

INFERNO.

CANTO XIII.

stood still. I think he thought that I was thinking so
many voices came, amongst those stumps, from people
who hid themselves on our account. Therefore the
Master said : " If thou breakest off any little shoot from
one of these plants, the thoughts, which thou hast, will
all become defective."
Then I stretched my hand a little forward, and plucked
a branchlet from a great thorn; and the trunk of it
cried : " Why dost thou rend me ? " And when it had
grown dark with blood, it again began to cry: " W h y
dost thou tear me ? Hast thou no breath of pity ?
Men we were, and now are turned to trees. Truly thy
hand should be more merciful, had we been souls of
serpents."
As a green brand, that is burning at one end, at the
I' credo eh' ei credette eh' io credesse,
Che tante voci uscisser tra que' bronchi
Da gente che per noi si nascondesse.
Però disse il Maestro : Se tu tronchi
Qualche fraschetta d' una d' este piante,
Li pensier eh' hai si faran tutti monchi.
Allor porsi la mano un poco avante,
E colsi un ramuscel da un gran pruno,
E il tronco suo gridò : Perchè mi schiante ?
Da che fatto fu poi di sangue bruno,
Bicominciò a gridar : Perchè mi scerpi ?
Non hai tu spirto di pietate alcuno ?
Uomini fummo, ed or siam fatti sterpi :
Ben dovrebb' esser la tua man più pia,
Se state fossimo anime di serpi.
Come d' un stizzo verde, che arso sia

25

30

35

40

CANTO XIII.

INFERNO.

147

other drops, and hisses with the wind which is escaping ;
so from that broken splint, words and blood came forth
together : whereat I let fall the top, 1 and stood like one
who is afraid.
" I f he, 0 wounded s p i r i t ! " my Sage replied, "could
have believed before, what he has seen only in my
verse, 2 he would not have stretched forth his hand
against thee ; but the incredibility of the thing made me
prompt him to do what grieves myself. But tell him
who thou wast ; so that, to make thee some amends, he
may refresh thy fame up in the world, to which he is
permitted to return."
And the trunk : " Thou so allurest me with thy sweet
Dall' un de' capi, che dall' altro geme,
E cigola per vento che va via ;
Sì della scheggia rotta usciva insieme
Parole e sangue : ond' io lasciai la cima
Cadere, e stetti come 1' uom che teme.
S' egli avesse potuto creder prima,
Rispose il Savio mio, anima lesa,
Ciò che ha veduto pur con la mia rima,
"Non averebbe in te la man distesa ;
Ma la cosa incredibile mi fece
Indurlo ad ovra, eh' a me stesso pesa.
Ma dilli chi tu fosti, sì che, in vece
D' alcuna ammenda, tua fama rinfreschi
Nel mondo su, dove tornar gli lece.
E il tronco : Sì col dolce dir m' adeschi,
1
2

45

50

55

Which he had broken off.
I which he has already alluded. See
In the story of Polydorus, to I (p. 145) ver. 21, and note 4.

148

INFERNO.

CANTO XIII.

w o r d s , t h a t I c a n n o t k e e p silent ; a n d l e t i t n o t seem
b u r d e n s o m e t o you, if I e n l a r g e a little i n discourse. 1

I

a m h e , 2 w h o h e l d b o t h k e y s of E r e d e r i c k ' s h e a r t , and
t u r n e d t h e m , l o c k i n g a n d u n l o c k i n g so softly, t h a t from
his secrets I e x c l u d e d a l m o s t every other m a n .

So g r e a t

fidelity I b o r e to t h e glorious office, t h a t I lost t h e r e b y
b o t h sleep a n d life.

T h e h a r l o t , 3 t h a t n e v e r from Csssar's

Cli' io non posso tacere ; e voi non gravi
Perch' io u n poco a ragionar m'inveschi.
Io son colui, che tenni ambo le chiavi
Del cor di Federigo, e che le volsi
. Serrando e disserrando sì soavi,
Che dal segreto suo quasi ogni uom tolsi :
Fede portai al glorioso ufizio,
Tanto eh' io ne perdei lo sonno e i polsi.
L a meretrice, che mai dall' ospizio

1
Lit. : " If I am enticed, or
caught in the lure, to discourse
a while." Adescare and invescare
are both derived from esca, a bait
or lure.
2
Pietro delle Vigne (de Vineis),
secretary, protonotary, chancellor,
&c, of the Emperor Frederick II.
He was born of very poor parents,
at Capua, towards the end of the
twelfth century ; begged his way
to Bologna, and studied there with
great zeal and effect; attracted
the notice of the Emperor, and
stood in the highest favour with
him for many years, transacting

60

all his greatest affairs. In his
prosperity, he remembered his
poor mother and sister; and seems
to have been in every way a noble
and brave-hearted man, with whom
Dante could deeply sympathize. It
was not till after the Council of
Lyons, in 1245, when Frederick
became entangled with universal
suspicion, that he was accused of
treachery, and destroyed himself
in that bitter "sorrow and disdain." Six Books of his Latin
letters are still extant, and one
Canzone in Italian.
3
Envy. See ver. 78.

CANTO XIII.

INFERNO.

149
1

dwelling turned her adulterous eyes, common bane, and
vice of courts, inflamed all minds against m e ; and
these so inflamed Augustus, that my joyous honours
were changed to dismal sorrows. My soul, in its disdainful mood, thinking to escape disdain by death, made
me, tlwuglb just, unjust against myself. By the new roots
of this tree, I swear to you, never did I break faith to
my lord, who was so worthy of honour.
And if any
of you return to the world, strengthen the memory of
me, which still lies prostrate from the blow that envy
gave it."
The Poet listened a while, and then said to me : "Since
Di Cesare non torse gli occhi putti,
Morte comune, e delle corti vizio,
Infiammò contra me gli animi tutti,
E gì' infiammati infiammar sì Augusto,
Che i lieti onor tornaro in tristi lutti.
L' animo mio, per disdegnoso gusto,
Credendo col morir fuggir disdegno,
Ingiusto fece me contra me giusto.
Per le nuove radici d' esto legno
Vi giuro, che giammai non ruppi fede
Al mio signor, che fu d' onor sì degno.
E se di voi alcun nel mondo riede,
Conforti la memoria mia, che giace
Ancor del colpo che invidia la diede.
Un poco attese, e poi : Da eh' ei si tace,
1
By Caesar is meant the Emperor ; called also Augustus in
ver. 68. Adulterous, i.e. disloyal,
seducing eyes. Envy first set

65

70

75

loose the harlot Wolf. Canto i.
100-111. " Through Envy of the
Devil came death into the world."
Wisd. ii. 24.

150

INFERNO.

CANTO XIIÌ.

he is silent, lose not the hour ;* but speak, and ask him,
if thou wouldst know more."
Whereat I to him : " Do thou ask him farther, respecting what thou thinkest will satisfy me ; for I could not,
such pity is upon my heart." 2
He therefore resumed: " S o may the m a n 3 do freely
for thee what thy words entreat him, O imprisoned
spirit, please thee tell us farther, how the soul gets bound
up in these knots. And tell us, if thou may est, whether
any ever frees itself from such members." 4
Then the trunk blew strongly, and soon that wind
was changed into these words: "Briefly shall you be

Disse il Poeta a me, non perder 1' ora ;
Ma parla, e chiedi a lui, se più ti piace.
Ond' io a lui : Dimandai tu ancora
Di quel che credi eh' a me soddisfaccia ;
Ch' io non potrei : tanta pietà m' accora.
Però ricominciò : Se 1' uom ti faccia
Liberamente ciò che il tuo dir prega,
Spirito incarcerato, ancor ti piaccia
Di dirne come 1' anima si lega
In questi nocchi ; e dinne, se tu puoi,
S' alcuna mai da tai membra si spiega.
Allor soffiò lo tronco forte, e poi
Si convertì quel vento in cotal voce :
J

The moment, the occasion.
Dante well knew the great task
of Frederick's chief man ; and the
way in which he had endeavoured
to perform it.
2

3

80

85

90

" The man," i.e. Dante.
Lit. : "Unfolds itself from such
members;" escapes from those
knotty stunted forms, in which it
is kept imprisoned.
4

CANTO XIII.

INFERNO.

151

answered. When the fierce spirit quits the body, from
which it has torn itself, Minos sends it to the seventh
gulf. It falls into the wood, and no place is chosen for
it ; but wherever fortune flings it, there it sprouts, like
grain of spelt ; shoots up to a sapling, and to a savage
plant. The Harpies, feeding then upon its leaves, give
pain, and to the pain an outlet. 1 Like the others, we
shall go for our spoils ; 2 yet none shall thereby clothe
himself witnsthem again : for it is not just that a man
have what he takes from himself. Hither shall we drag
them, and through the mournful wood our bodies shall

Brevemente sarà risposto a voi.
Quando si parte 1' anima feroce
Dal corpo, ond' ella stèssa s' è disvelta,
Minos la manda alla settima foce.
Cade in la selva, e non 1' è parte scelta ;
Ma là dove fortuna la balestra.
Quivi germoglia come gran di spelta ;
Surge in vermena ed in pianta silvestra :
Le Arpie, pascendo poi delle sue foglie,
Fanno dolore, ed al dolor finestra.
Come 1' altre, verrem per nostre spoglie,
Ma non però eh' alcuna sen rivesta :
Che non è giusto aver ciò eh' uom si toglie.
Qui le strascineremo, e per la mesta
Selva saranno i nostri corpi appesi,
1
Lit. : " Give a window for the
pain." Thus Virgil: Ingcrdem
lato deàit ore fenestram, JEn. ii.

482.

95

100

105

3
Like the other souls, at the
last judgment, we shall go for our
bodies, &c.

152

INFERNO.

CANTO XIII.

b e s u s p e n d e d , each o n t h e t h o r n y t r e e of its t o r m e n t e d
shade."1
W e still w e r e l i s t e n i n g t o t h e t r u n k , t h i n k i n g i t w o u l d
tell u s m o r e , w h e n b y a noise w e w e r e s u r p r i s e d ; like one
w h o feels t h e b o a r a n d chase a p p r o a c h i n g t o h i s s t a n d ; a
who hears the beasts and the branches crashing.
lo ! on t h e
fleeing

left

hand,

3

two

spirits,

naked

And,

and

so violently t h a t t h e y b r o k e every f a n 4

torn,
of

the

wood.
The foremost:
the

other,

who

" C o m e now, come, O d e a t h ! " 5
thought

himself

too

slow,

Ciascuno al prun dell' ombra sua molesta.
Noi eravamo ancora al tronco attesi,
Credendo eh' altro ne volesse dire ;
Quando noi fummo d' u n romor sorpresi,
Similemente a colui, che venire
Sente il porco e la caccia alla sua posta,
Ch' ode le bestie e le frasche stormire.
E d ecco duo dalla sinistra costa,
Nudi e graffiati fuggendo sì forte,
Che della selva rompièno ogni rosta.
Quel dinanzi : Ora accorri, accorri, morte.
E T altro, a cui pareva tardar troppo,
1
Molesta is here taken for molestata, "afflicted, tormented/' that
being the plainest construction,
lombardi, and others before him,
make it mean " hostile, injurious,
or homicidal."
2
Boar and hounds, &c, coming to the place where he is stationed.

And
cried :

110

115

3
On the way to the next division, and to the greater sinners.
4
" Fan," for leaf or bough.
Others take it to mean " impediment." Milton, Par. Lost, y. 6 :

" Leaves and rills, Aurora's fan."
5

Or: "Help now, help," &c
Hasten to my relief.

CANTO XIII.

INFERNO.

" L a n o , 1 t h y legs w e r e n o t
Toppo.''

so r e a d y a t t h e j o u s t s

153
of

A n d t h e n , his b r e a t h p e r h a p s failing h i m , of

himself a n d of a b u s h h e m a d e one g r o u p . 2
B e h i n d t h e m , t h e wood w a s filled w i t h b l a c k b r a c h e s ,
eager and
leash.

fleet,

a s g r e y h o u n d s t h a t h a v e escaped

the

I n t o him, w h o s q u a t t e d , t h e y t h r u s t t h e i r t e e t h ,

a n d r e n t h i m piece b y piece ; t h e n c a r r i e d off h i s m i s e r a b l e
limbs.
M y Guide now t o o k m e b y t h e h a n d , and led m e to t h e
b u s h , w h i c h w&s l a m e n t i n g t h r o u g h its b l e e d i n g fractures,
in v a i n .

" 0 J a c o p o d a S a n t ' A n d r e a ! ' ' 3 i t cried, " w h a t
Gridava : Lano, sì non furo accorte
Le gambe tue alle giostre del Toppo.
E poi che forse gli fallia la lena,
Di se e d' u n cespuglio fé' u n groppo.
Dirietro a loro era la selva piena
Di nere cagne bramose e correnti,
Come veltri che uscisser di catena.
I n quel, che s' appiattò, miser li denti,
E quel dilaceraro a brano a brano ;
Poi sen portar quelle membra dolenti.
Presemi allor la mia scorta per mano,
E menommi al cespuglio che piangea
Per le rotture sanguinenti, invano.
0 Jacopo, dicea, da Sant' Andrea,

1
Lano, a rich Siennese of noble
family, who, after squandering his
property, and thereby reducing
himself to despair, sought death
in the "• jousts," or fight of Toppo
(in 1288), which is mentioned by
Villani, vii. 120.

120

125

180

2
Thrusting himself into the
bush. These plants are of a size
proportioned to the importance of
the spirits which they imprison.
3
A Paduan, "who had more
wealth than any of his countrymen," and wasted it in the in-

J 54

INFERNO.

CANTO XIII.

hast thou gained by making me thy screen ? What blame
hare I of thy sinful life ? "
When the Master had stopped beside it, he said : " Who
wast thou, who, through so many wounds, blowest forth
with blood thy dolorous speech ? "
And he to us : u Ye spirits, who are come to see the
ignominious mangling which has thus disjoined my leaves
from me, 0 gather them to the foot of the dismal shrub !
I was of the city that changed its first patron for the
Baptist, 1 on which account he with his art will always
Che t' è giovato di me fare schermo ?
Che colpa ho io della tua vita rea ?
Quando il Maestro fu sovr* esso fermo,
Disse : Chi fusti, che per tante punte
Soffi col sangue doloroso sermo ?
E quegli a noi : 0 anime, che giunte
Siete a veder lo strazio disonesto,
Che le mie frondi ha sì da me disgiunte,
[Raccoglietele al pie del tristo cesto :
Io fui della città, che nel Battista
Cangiò 1 primo padrone : ond' ei per questo
sanest fashion. " He was the
heir of very great riches, and he
wasted away the whole of his
wealth. Amongst other prodigalities of his it is told, that,
wishing to see a great and beautiful fire, he caused one of his
own villas to be burnt." OH. Com.
Lano and he represent the class
of sinners who have done violence
to their substance (canto xi. 41) ;
and the hell-hounds are to them

135

140

what the Harpies are to the selfmurderers.
1
Florence, according to the old
traditions given by Malespini,
Villani, &c, was founded by the
Romans, who chose Mars for their
patron or protector ; was destroyed
by Attila, and then rebuilt by
Charlemagne, with St. John the
Baptist for its patron. Hence
the vengeance of Mars, " with
his art ; " and the superstitious

CANTO XIII.

INFERNO.

155

m a k e i t sorrowful. A n d w e r e i t n o t t h a t a t t h e p a s s a g e
of t h e A r n o t h e r e j e t r e m a i n s some semblance of him,
t h o s e citizens, w h o a f t e r w a r d s r e b u i l t it on t h e ashes left
b y A t t i l a , w o u l d h a v e l a b o u r e d in vain.
" I m a d e a gibbet for myself of m y own d w e l l i n g . " *
Sempre con 1' arte sua la farà trista.
E se non fosse che in sul passo d' Arno
Bimane ancor di lui alcuna vista ;
Quei cittadin, che poi la rifondarno
Sovra il cener che d' Attila rimase,
Avrebber fatto lavorare indarno.
Io fei giubbetto a me delle mie case.
veneration (often mentioned by
the old chroniclers) for the remnant of his statue, which stood at
the end of the bridge over the
Arno, and was at last swept
away by a flood in 1333. See
Villani, xi. 1.
1
Who this was, that hung
himself in his own house, remains
unknown. Eocco de' Mozzi and
Lotto degli -Agli, both of noble
families in Florence, are mentioned by the oldest commentators, as having been driven by
the despair and poverty ("hell-

145

150

hounds "), which they had brought
upon themselves, to seek death in
this way. Boccaccio says : " In
those times, as if it had been a
curse sent by God upon our city,
many hanged themselves ; so that
every one can apply the words
to whomsoever he pleases." The
Ottimo remarks : " This spirit
speaks of his end, as they speak
in Paris, where perhaps he had
spent and consumed part of his
wealth. The place where men
are hanged is called a gibbet in
Paris, and through France."

ARGUMENT.
Dante cannot go on till he has collected the scattered leaves, and
restored them to that wretched shrub in which the soul of his
countryman is imprisoned. He is then led by Virgil, across the
remainder of the wood, to the edge of the Third Round, or ring,
of the Seventh Circle. It is a naked plain of burning Sand 5 the
place appointed for the punishment of those who have done Violence
against God, against Nature, and against Nature and Art. Canto
xi. 46, &c. The violent against God, the least numerous class, are
lying supine upon the sand, and in greater torment than the rest..
The violent against Nature and Art are sitting all crouched up ; and
the violent against Nature are moving about, in large troops, with a
speed p roportioned to their guilt. A slow eternal Shower of Fire is
falling upon them all. Capaneus is amongst the supine, unsubdued
by the flames, .blaspheming with his old decisiveness and fury.
After speaking with him, the poets go on, between the burning
sand and the wood of self-murderers, and soon come to a crimson
streamlet that gushes forth from the wood and crosses the sandy
plain. Virgil here explains the origin of all the rivers and marshes
of Hell.

158

INFERNO.

CANTO XIV.

CAKTO X I Y .
THE love of my native place constraining me, I gathered
up the scattered leaves ; and gave them back to him, who
was already hoarse. Then we came to the limit, where
the second round is separated from the third, and where is
seen the fearful a r t of justice. To make the new things
clear, I say we reached a plain which from its bed repels
all plants. The dolorous wood is a garland to it round
about, as to the wood the dismal fosse.1 Here we stayed
our feet close to its very edge. The ground was a sand,
POICHÉ la carità del natio IOJOO

Mi strinse, raunai le fronde sparte,
E rende' le a colui, eh' era già roco.
Indi venimmo al fine, ove si parte
Lo secondo giron dal terzo, e dove
Si vede di giustizia orribil' arte.
A ben manifestar le cose nuove,
Dico eh' arrivammo ad una landa,
Che dal suo letto ogni pianta rimuove.
La dolorosa selva 1 è ghirlanda
*
Intorno, come il fosso tristo ad essa :
Quivi fermammo i piedi a randa a randa.
Lo spazzo era una rena arida e spessa,

5

10

1
The wood of the suicides goes I the river of blood goes round the
all round the burning plain, as j wood. See Canto xi. 30.

CANTO XIV.

INFERNO.

159

dry and thick, not different in its fashion from that which
once was trodden by the feet of Cato.1
0 vengeance of God ! how shouldst thou be feared
by every one who reads what was revealed to my
eyes !
1 saw many herds of naked souls, who were all lamenting very miserably ; and there seemed imposed upon them
a diverse law : Some were lying supine upon the ground ;
some sitting all crouched up ; and others roaming incessantly* Those that moved about were much more numerous ; and those that were lying in the torment were
fewer, but uttered louder cries of pain. 2
Non d' altra foggia fatta che colei,
Che da' pie di Oaton già fu soppressa.
0 vendetta di Dio, quanto tu dei
Esser temuta da ciascun, che legge
Ciò che fu manifesto agli occhi miei !
D' anime nude vidi molte gregge,
Che piangean tutte assai miseramente,
E parea posta lor diversa legge.
Supin giaceva in terra alcuna gente ;
Alcuna si sedea tutta raccolta,
Ed altra andava continuamente.
Quella che giva intorno era più molta,
E quella men, che giaceva al tormento,
Ma più al duolo avea la lingua sciolta.
1
The Libyan desert, over which
Cato conducted the remains of
Pompey's army. See Lucan. ix.
375, &c.

15

20

25

2
Lit. : " Had the tongue more
let loose for the pain; , , were in
greater torment, and had to cry
louder.

160

INFERNO.

CANTO XIV.

Over all the great sand, falling slowly, rained dilated
flakes of fire, like those of snow in Alps without a wind.
As the flames which Alexander, in those hot regions of
India, saw fall upon his host, entire l to the ground ;
whereat he with his legions took care to tramp the soil,
for the fire was more easily extinguished while alone : so
fell the eternal heat, by which the sand was kindled, like
tinder under flint and steel, redoubling the pain. Ever
restless was the dance 2 of miserable hands, now here,
now there, shaking off the fresh burning.
#
Sovra tutto il sabbion d' un cader lento
Piovean di fuoco dilatate falde,
Come di neve in alpe senza vento.
Quali Alessandro in quelle parti calde
D' India vide sovra lo suo stuolo
Fiamme cadere infìno a terra salde ;
Per eh' ei provvide a scalpitar lo suolo
Con le sue schiere, perciocché il vapore
Me' si stiogueva mentre eh' era solo :
Tale scendeva 1' eternale ardore ;
Onde 1' arena s' accendea, coni' esca
Sotto il focile, a doppiar lo dolore,
Senza riposo mai era la tresca
Delle misere mani, or quindi or quinci
Iscotendo da se Y arsura fresca.
1
" Whole," unchanged to the
ground. This tradition about
Alexander is said to be taken
from some supposed letter of his
to Aristotle. See Landino, Com

30

35

40

2
The Tresca was a sort of Neapolitan dance, consisting mainly
of rapid complicated gestures, and
movements of the hands. See
Benv. da Imola, Com.

.CANTO XIV.

INFERNO.

161

I began : " Master, thou who conquerest all things,
save the hard Demons, that came forth against ns at the
entrance of the gate : who is that great spirit, who seems
to care not for the fire, and lies disdainful and contorted,
so that the rain seems not to ripen him ? "
And he himself, remarking that I asked my Guide concerning him, exclaimed : " What I was living, that am I
dead. Though Jove weary out his smith, from whom in
anger he took the sharp bolt with which on my last day I
was transfixed ; and though he weary out the others, one
by one, at the black forge in Mongibello, 1 crying : ' Help,
help, good Yulcan ! ' as he did at the strife of Phlegra ;

Io cominciai : Maestro, tu che vinci
Tutte le cose, fuor che i Dimon duri,
Ch' all' entrar della porta incontro uscinci,
Chi è quel grande, che non par che curi
Lo incendio, e giace dispettoso e torto,
Sì che la pioggia non par che il maturi ?
E quel medesmo, che si fue accorto
Ch' io dimandava il mio Duca di lui,
Gridò : Qual fui vivo, tal son morto.
Se Giove stanchi il suo fabbro, da cui
Crucciato prese la folgore acuta,
Onde 1' ultimo dì percosso fui ;
E s' egli stanchi gli altri a muta a muta
In Mongibello alla fucina negra,
Gridando : Buon Vulcano, aiuta, aiuta,

45

50

55

1
iEtna, in which Yulcan and I forged the thunderbolts of Jupihis Cyclops {Mtncei Cyclopes) \ ter. See ffln. viii. 419, &c.

M

162

INFERNO.

CANTO XIV.

and hurl at me with all his might, yet should he not
thereby have joyful vengeance." l
Then my Guide spake with a force such as I had not
heard before : " 0 Capaneus ! 2 in that thy pride remains
unquenched, thou art punished more. No torture, except
thy own raving, would be pain proportioned to thy
fury."
Then to me he turned with gentler lip, saying : " That
was the one of the seven kings who laid siege to Thebes '•>
and he held, and seems to hold, God in defiance and prize
him lightly, But, as I told him, his revilings are ornaments that well befit his breast. Now follow me, and see

Si com' ei fece alla pugna di Flegra ;
E me saetti di tutta sua forza,
Non ne potrebbe aver vendetta allegra.
Allora il Duca mio parlò di forza
Tanto, eh' io non V avea sì forte udito :
O Capaneo, in ciò che non s' ammorza
La tua superbia, sei tu più punito :
Nullo martirio, fuor che la tua rabbia,
Sarebbe al tuo furor dolor compito.
Poi si rivolse a me con miglior labbia,
Dicendo : Quel fu 1' un de* sette regi
Oh' assiser Tebe ; ed ebbe, e par eh' egli abbia
Dio in disdegno, e poco par che il pregi :
Ma, come io dissi lui, li suoi dispetti

1

See Statius, Theb. iii. 598,
&c. 5 and x. 828, &c.
2
Capaneus is the representa-

60

65

70

tive of blasphemy and arrogance,
in the Canzone of Dante which
begins : 0 patria degna, &c.

CANTO XIV.

INFERNO.

163

thou place not yet thy feet upon the burning sand ; but
always keep them back close to the wood."
I n silence we came to where there gushes forth from
the wood a little rivulet, the redness of which still makes
me shudder. As from the Bulicame* issues the streamlet,
which the sinful women share amongst themselves; so
this ran down across the sand. Its bottom and both its
shelving banks were petrified, and also the margins near
it ; whereby I discerned that our. passage lay there.
" Amidst all the rest that I have shown thee, since
we entered by the gate whose threshold is denied to

Sono al suo petto assai debiti fregi.
Or mi vien dietro, e guarda che non metti
Ancor li piedi nelT arena arsiccia ;
Ma sempre al bosco gli ritieni stretti.
Tacendo divenimmo là ove spiccia
Fuor della selva un picciol numicello,
Lo cui rossore ancor mi raccapriccia.
Quale del Bulicame esce il ruscello,
Ghe parton poi tra lor le peccatrici ;
Tal per 1' arena giù sen giva quello.
Lo fondo suo ed ambo le pendici
Fatt' eran pietra, e i margini da lato :
Per eh' io m' accorsi che il passo era liei.
Tra tutto 1' altro eh' io t' ho dimostrato,
Poscia che noi entrammo per la porta,
Lo cui sogliare a nessuno è negato,

75

80

85

1
The Bulicame, here alluded to, I Land., &c, speak of "the sinful
is a hot spring near Viterbo. Bocc, | women " that lived near it.

164

INFERNO.

CANTO XIV,

1

none, t h y eyes h a v e discerned n o t h i n g so n o t a b l e as t h e
p r e s e n t s t r e a m , w h i c h quenches all t h e flames above i t . "
These w e r e w o r d s of m y Guide.

Wherefore I prayed him

to b e s t o w on m e t h e food, 2 for w h i c h h e h a d bestowed t h e
appetite.
" I n t h e m i d d l e of t h e sea lies a w a s t e c o u n t r y , " h e
t h e n said, " w h i c h is n a m e d C r e t e , 3 u n d e r w h o s e K i n g t h e
world

once w a s chaste. 4

A m o u n t a i n is t h e r e , called

Ida, w h i c h once was g l a d w i t h w a t e r s a n d w i t h foliage :
Cosa non fu dagli tuoi occhi scorta
Notabile, com' è il presente rio,
Che sopra se tutte fiammelle ammorta.
Queste parole fur del Duca mio :
Per eh' io pregai, che mi largisse il pasto,
Di cui largito m ' aveva il disio.
I n mezzo il m a r siede un paese guasto,
Diss' egli allora, che s' appella Creta,
Sotto il cui -Bege fu già il mondo casto.
Una montagna v' è, che già fu lieta
D ' acque e di fronde, che si chiama I d a ;
Ora è deserta come cosa vieta.

90

95

99. Vieta, grown old, or stale ; dim with age.
1

" Gate, that still is found unbarred." See p. 91, and note 2d.
2
To explain why that stream is
so notable.
3
Creta Jovis magni medio jacet
instila ponto, Mons Idceus ubi, et
gentis cunabida nostra. JEn. iii.
104. "Cradle" of the Trojans;
and of Rome and its Empire, &c.
4
Dante, quoting the redit et

Virgo, redeunt Saturnia regna of
Virgil, says : Virgo vocabatur Justitia, quam et Astream voeabant.
Saturnia regna dicebantur optima
tempora, qua et Aurea nuncupabant, Justitia potissima est solum
sub Monarcka* Ergo ad optimam
mundi dispositionem requiritur, esse
Monarchiam, &c. Monarch, lib. i.
p. 28.

CANTO XIY. "

INFERNO.

165
1

now it is deserted like an antiquated thing. Rhea of
old chose it for the faithful cradle of her son; and the
better to conceal him, when he wept, caused cries to be
made on it.
•
" Within the mountain stands erect 2 a great Old Man,
who keeps his shoulders turned towards Damietta, and
looks at Rome as if it were his mirror. His head is
shapen of fine gold, his arms and his breast are pure
silver ; then he is of brass to the cleft : from thence downwards he is all of chosen iron, save that the right foot is
Eea la scelse già per cuna
fida
Del suo figliuolo, e per celarlo meglio,
Quando piangea, vi facea far le grida.
Dentro dal monte sta dritto un gran veglio,
Che tien volte le spalle invèr Damiata,
E Roma guarda sì come suo speglio.
La sua testa è di fino oro formata,
E puro argento son le braccia e il petto ;
Poi è di rame infine alla forcata :
Da indi in giuso è tutto ferro eletto,
Salvo che il destro piede è terra cotta,
• Rhea, or Cybele, &c, daughter
of Heaven and Earth, and wife of
Saturn, or Chronos, concealing her
son Jupiter. Bino mater cultrix
Cybele, Corybantique cera, Idceumque nemus: hincfida silentia sacris,
&c. JEn. iii. 111.
2
With his golden head towards
Heaven j and the poor foot of
clay, on which he chiefly stands,
towards Dis. Looking sadly at

100

105

110

Rome, the centre of temporal and
spiritual government, as the mirror of his condition. This image of
the generations of men and their
monarchies is taken from Daniel
(ii. 31, & c ) ; and its associations
from the old poetic traditions. A
new life and significancy is given
to both. The tears of Sin and
Misery, returning to Satan, make
the image complete.

166

INFERNO.

j f b a k e d clay ; and h e r e s t s m o r e on t h i s
other.
fissure

CANTO XIV.
l

t h a n on t h e

E v e r y p a r t , except t h e gold, is b r o k e n w i t h a
that

grotto.2

d r o p s t e a r s , w h i c h collected perforate

that

T h e i r c o u r s e descends from r o c k to r o c k i n t o

t h i s valley.

They

3

form A c h e r o n , S t y x , a n d P h l e g e t h o n ;

t h e n , b y t h i s n a r r o w conduit, go d o w n t o w h e r e t h e r e is
n o m o r e descent. 4

T h e y form Cocytus ; a n d t h o u s h a l t see

w h a t k i n d of l a k e t h a t i s ; h e r e t h e r e f o r e I describe it
not."
A n d I to him : " If t h e present rill t h u s

flows

down

from o u r world, w h y does i t a p p e a r t o u s o n l y 5 on this
bank ? "
E sta in su quel, più che in su 1' altro, eretto.
Ciascuna parte, fuor che 1' oro, è rotta
D ' una fessura che lagrime goccia,
Le quali accolte foran quella grotta.
Lor corso in questa valle si diroccia :
F a n n o Acheronte, Stige, e Flegetonta ;
Poi sen van giù per questa stretta doccia
Infìn là, ove più non si dismonta :
F a n n o Oocito ; e qual sia quello stagno,
Tu il vederai ; però qui non si conta.
E d io a lui : Se il presente rigagno
Si deriva così dal nostro mondo,
Perchè ci appar pure a questo vivagno ?

115

1£0

115. Si diroccia, from roccia, rock.
1

Lit. : " Stands more erect on
this" clay foot; supports himself
more with it.
2 i(
Bore," or work through, that
cavern in which the Image stands;

and then in Hell flow down from
circle to circle.
3
Those tears of Sin and Misery.
4
To the Centre of the Earth. '
5
If it thus descends from circle

CANTO XTV.

INFERNO.

167

And he to me : " Thou knowest that the place is round :
and though thou hast come far, always to the left, descending towards the bottom ; thou hast not yet turned
through the entire circle. Wherefore if aught new
appears to us, it ought not to bring wonder on thy countenance."
And I again : " Master, where is Phlegethon and Lethe
found ; for thou speakest not of the one, and sayest the
other is formed by this rain ? " x
" I n all thy questions truly thou pleasest me," he
answered ; " but the boiling of the red water might well
resolve one 2 of those thou askest. Lethe thou shalt see,
Ed egli a me : Tu sai che il luogo è tondo,
E tutto che tu sii venuto molto
Pur a sinistra giù calando al fondo,
Non se' ancor per tutto il cerchio vólto ;
Perchè, se cosa n' apparisce nuova,
Non dee addur maraviglia al tuo volto.
Ed io ancor : Maestro, ove si trova
Flegetonte e Letéo, che dell' un taci,
E 1' altro di' che si fa d' està piova ?
In tutte tue question certo mi piaci,
Eispose ; ma il bollor dell' acqua rossa
Dovea ben solver V una che tu faci.
to circle, why have we not seen it
before ? Does not at first conceive
that the river of blood (canto ?ii.
46, &c.) can be Phlegethon ; Virgil himself having described it as
a river of flame : Qua rapidus
flammis ambit torrentibus amnis,

125

130

135

Tartarem Phlegethon. Mn. vi.
550, &c.
1
The rain of tears. See ver.
113.
2
Thou mightest have known
that the river of blood was Phlegethon.

168

INFERNO.

CANTO XIV.

1

but out of this abyss, there where the spirits go to wash
themselves, when their guilt is taken off by penitence."
Then he said : " Now it is time to quit the wood. See
that thou follow me. The margins, which are not burning, form a path; and over them all fire is quenched.'' 2
Lete vedrai, ma fuor di questa fossa,
Là ove vanno 1' anime a lavarsi,
Quando la colpa pentuta è rimossa.
Poi disse : Ornai è tempo da scostarsi
Dal bosco : fa che diretro a me vegne.
Li margini fan via, che non son arsi,
E sopra loro ogni vapor si spegne.

140

1
Not in Hell, but in Purgatory. I used in the Latin sense of " heat,
"Burg, canto xxviii. 25-130.
or fire." Bemusta madescunt Ro~
2
See next canto, ver. 1-2. Va- bora; restinctiis donee vapor omnis,
por, both here and at ver. 35, is | &c. JEn. v. 697.

ARGUMENT.
The crimson stream—whose course is straight across the ring of burning sand, towards the ring of Hell—sends forth a dark exhalation
that quenches all the flames over itself and its elevated margins.
Upon one of these Dante continues to follow his Guide, in silence, till
they have got far from the wood, • when they meet a troop of spirits
coming along the sand by the side of the bank. Dante is recognized
by one of them, who takes him by the skirt; and, on fixing his
eyes over the baked and withered figure, he finds it is Brunetto
Latini, his old master. They speak to each other with great respect
and affection, recalling the past, and looking forward to the future
under the pressure of separate eternities. Their colloquy has a dark
background, which could not be altered ; and it stands there in deep
perennial warmth and beauty.

170

INFERNO.

CANTO XV.

CANTO XV.
]STow one of the hard margins bears us on, and the
smoke of the rivulet makes shade above, so that from the
fire it shelters the water and the banks. 1 As the Flemings between Bruges and Cadsand, dreading the flood that
rushes towards them, make their bulwark 2 to repel the
sea; and as the Paduans, along the Brenta, to defend
their towns and villages, ere Chiarentana feels the heat : 3
in like fashion those banks were formed, though not so
ORA cen porta 1' un de* duri margini,
E il fummo del ruscel di sopra aduggia,
Sì che dal fuoco salva 1' acqua e gli argini.
Quale i Fiamminghi, tra Guzzante e Bruggia,
Temendo il fiotto che in vèr lor s' avventa,
Fanno lo schermo, perchè il mar si fuggia ;
E quale i Padovan, lungo la Brenta,
Per difender lor ville e lor castelli,
Anzi che Chiarentana il caldo senta ;
A tale imagine eran fatti quelli,
Tutto che ne sì alti ne sì grossi,

5

10

2. Aduggia^ from uggia, shade or shadow.
1
The exhalation of the rivulet
" quenches all the flames above it."
Canto xiv. 90.
2
The dyke here alluded to is
said to be still kept up. Cadsand
is some twenty miles north-east
from Bruges.

3
Before the snow begins to melt
on the Carinthian Alps, and swell
the Brenta. It flows between
strong embankments, on a bed
raised by its sediment above the
level of the plains like other rivers
in that part of Italy.

CANTO XV.

INFERNO.

171

high nor so large, the master, whoever it might be, made
them.
Already we were so far removed from the wood, that
I should not have seen where it was, had I turned
back, when we met a troop of spirits, who were coming
alongside the bank ; and each looked at us, as in the
evening men are wont to look at one another under a new
moon ; x and towards us sharpened their vision, 2 as an
aged tailor does at the eye of his needle.
Thus eyed by that family, I was recognized by one
who took me by the skirt, and said : " What a wonder ! " 3

Qual che si fosse, lo maestro felli.
Già eravam dalla selva rimossi
Tanto, eh' io non avrei visto dóv' era,
Perch' io indietro rivolto mi fossi,
Quando incontrammo d' anime una schiera,
Che venia lungo 1' argine, e ciascuna
Gi riguardava, come suol da sera
Guardar 1' un 1' altro sotto nuova luna ;
E sì ver noi aguzzavan le ciglia,
Come vecchio sartor fa nella cruna.
Così adocchiato da cotal famiglia,
Fui conosciuto da un, che mi prese
Per lo lembo, e gridò : Qual maraviglia !

1
Lit. ; " The one is wont to look
at the other under a new moon ; "
which gives a feeble light, so as to
make recognition difficult.

15

20

2
Lit. : " Sharpened their eyebrows," &c. ; puckered them, as if
frowning, at us.
3
To see thee here in the body.

172

INFERNO.

CANTO XV.

A n d I , w h e n h e s t r e t c h e d o u t his a r m t o me, fixed m y
eyes on h i s b a k e d aspect, so t h a t t h e scorching of his
visage h i n d e r e d n o t m y m i n d from k n o w i n g h i m .

And

b e n d i n g m y face to h i s , I a n s w e r e d : " A r e y o n here, S e r
Brunetto ? "

1

A n d h e : " O m y son ! l e t i t n o t displease t h e e , if B r u E d io, quando il suo braccio a me distese,
Ficcai gli occhi per lo cotto aspetto
Sì, che il viso abbruciato non difese
L a conoscenza sua al mio intelletto ;
E chinando la mia alla sua faccia,
Risposi : Siete voi qui, Ser Brunetto ?
E quegli : 0 fìgliuol mio, non ti dispiaccia,
1

Brunetto Latini, of the Porta
del Duomo in Florence, Dante's
teacher; a man noted for his
learning in those times, and for
his politeness and manifold dexterity. The Florentine Guelphs
sent him as their ambassador to
Alonzo X., King of Spain, in
1260 (Malesjoini, c. 162); and he
was afterwards appointed secretary and notary of the city. Villani
(viii. 10) calls him " a great philosopher, and supreme master of
rhetoric, as well in speaking as in
writing," &c. ; but adds that " he
was a worldly man." The early
commentators (Boccaccio, Benv.
da Imola, &c.) mention that,
having made an error in some
contract drawn up by him in his
capacity of notary, and being too
proud to acknowledge the possi-

25

80

bility of it, he was accused of
fraud, and left Florence in high
disdain. He died in 1294. Two
works of his still remain. One of
these is the Tesoretto (little Treasure), in short, jingling, quaint
rhymes—too feeble and empty for
any serious perusal ; but curious
as a specimen of old Italian, and
as bearing a faint outward resemblance in some phrases and incidents to the Commedia. The
other, Le Trésor or Tesoro, is a
kind of encyclopedia, written in
the French of those times, or, as
Brunetto himself says, en romans,
selon le patois de France. It had
never been printed till 1863. In
that year a most elaborate edition,
by P. ChahaUle, consisting of 736
pages large 4to, with 36 of Introduction, came out in Paris, entitled:

CANTO XV.

INFERNO.

173

netto Latini turn back with thee a little, and let go his.
train." l
I said : " With all my power I do beseech it of you.
And if you wish me to sit down with you, I will do so, if
ib pleases him there, for I go with him."
" O my son," he said, l( whoever of this flock stops one
instant, lies a hundred years thereafter, without fanning
himself 2 when the fire strikes him. Therefore go on : I
will follow at thy skirts ; 3 and then will I rejoin my band,
that go lamenting their eternal losses."
I durst not descend from the road to go level with him ;,
but kept my head bent down, like one who walks in
Se Brunetto Latini un poco teco
Ritorna indietro, e lascia andar la traccia.
Io dissi lui : Quanto posso ven preco ;
E se volete che con vpi m' asseggia,
Faròl, se piace a costui, che vo/aeco.
0 fìgliuol, disse, qual di questa greggia
S' arresta punto, giace poi cent' anni
Senza arrostarsi quando il fuoco il feggia.
Però va oltre : io ti verrò a' panni,
E poi rigiugnerò la mia masnada,
Che va piangendo i suoi eterni danni.
Io non osava scender della strada
Per andar par di lui ; ma il capo chino

35

40

Li livres doio Tresor par Brunetto I a Lies prostrate like the contuLatini. Many MSS, of it are still macious blasphemers (canto xiv.
22, &c.), without power to defend
extant—one in the British Museum,
himself from the flames.
and one at Oxford.
3
1
Lit. : " I will come at thy
Let his train, or companions in
J clothes." On a lower level.
file, go on without him.

174

INFERNO.

CANTO XV.

reverence. He began : " What chance, or destiny, brings
thee, ere thy last day, down here ? And who is this that
shows the way ? "
" There above, up in the clear life, I lost myself,"
replied I, " i n a valley, before my age was fulL1 Only
yes ter morn I turned my back to it. He appeared to me,
as I was returning into it, and guides me home again 2 by
this path."
And he to me : " If thou follow thy star, thou canst not
fail of glorious heaven, if I discerned rightly in the fair
life.3 And if I had not died so early, seeing heaven so
Tenea, com' uom che riverente vada.
Ei cominciò : Qual fortuna, o destino,
Anzi 1' ultimo dì quaggiù ti mena ?
E chi è questi, che mostra il cammino ?
Lassù di sopra in la vita serena,
Eispos' io lui, mi smarrì' in una valle,
Avanti che 1' età mia fosse piena.
Pur ier mattina le volsi le spalle :
Questi m' apparve, ritornando in quella,
E riducemi a ca' per questo calle.
Ed egli a me : Se tu segui tua stella,
Non puoi fallire a glorioso porto,
Se ben m' accorsi nella vita bella.
E s'io non fossi sì per tempo morto,
1
Lost " the straight way " before I had come to the full maturity, i.e. to the 35th year of my
age ; but did not till then feel
that I had lost it, or begin to see
the full misery and darkness of
the "valley" into which I had

45

50

55

fallen. Spent a long night of sorrow, and did not awake from it till
yester morn. See canto i.
2
Or: "Brings me back to a
home." Cai for casa,
3
Our earthly life; " beautiful"
to him in that eternal gloom.

CANTO XV.

INFERNO.

175

k i n d t o thee, I w o u l d h a v e c h e e r e d t h e e i n t h e work.
B u t t h a t u n g r a t e f u l , m a l i g n a n t people, w h o of old c a m e
d o w n from Fiesole, 1 a n d still s a v o u r s of t h e m o u n t a i n a n d
t h e r o c k , will m a k e itself a n e n e m y t o t h e e for t h y good
deeds.

A n d t h e r e is c a u s e : for a m o n g s t t h e t a r t s o r b -

t r e e s , i t befits n o t t h e s w e e t fig
e a r t h proclaims t h e m b l i n d ,

3

Q

t o fructify.

Old report on

a people avaricious, envious,

Veggendo il cielo a te così benigno, Dato t' avrei all' opera conforto.
Ma quell' ingrato popolo maligno,
Che discese di Fiesole ab antico,
E tiene ancor del- monte e del macigno,
T i si farà, per tuo ben far, nimico :
E d è ragion •; che tra gli lazzi sorbi
Si disconvien fruttare -al dolce fico.
Vecchia fama nel mondo li chiama orbi,
Gente avara, invidiosa, a superba :

a

The old chronicles say that
Florence was first founded by
Romans, whose descendants, after
many centuries of perpetual contention with the city of Fiesole,
made its inhabitants come down
and mix with them. To this double origin of the Florentines Villani frequently attributes all their
intestine wars. 2
Boccaccio and others say that
the family of the Elisei, of which
Dante's was a branch, had its origin from the Frangipani of Rome.
And the "sweet fig" alludes to

60

65

the " noble and virtuous Romans \*
the " t a r t sorbs," to the "rude
and harsh Fiesolans." These are
terms used by Villani in speaking
of the Romans and Fiesolans.
3
Villani (ii. 1) says the Florentines "were called blind eyer
after," from having foolishly opened their gates to Attila, who put
many of them to death, and " commanded that the city should be
destroyed* burnt, and laid waste ;
so that one .stone might not be
left upon another,, .... in the year
450."

176

INFERNO.

CANTO XV.

a n d p r o u d : look t h a t t h o u cleanse t h y s e l f of t h e i r c u s toms.

T h y fortune r e s e r v e s s u c h h o n o u r for t h e e , t h a t

b o t h p a r t i e s will h a v e a h u n g e r of t h e e ; b u t far from t h e
goat shall be t h e g r a s s . 1

L e t t h e b e a s t s of Fiesole m a k e

l i t t e r of t h e m s e l v e s , a n d n o t t o u c h t h e p l a n t , if a n y y e t
s p r i n g s u p a m i d t h e i r r a n k n e s s , in w h i c h t h e h o l y seed
revives of t h o s e R o m a n s w h o r e m a i n e d t h e r e w h e n i t b e came t h e n e s t of so m u c h m a l i c e . "
"Were

my

desire

all

2

fulfilled/'

I

answered

him,

" y o u h a d n o t y e t b e e n b a n i s h e d from h u m a n n a t u r e ;
for in m y m e m o r y is fixed, a n d n o w goes t o m y h e a r t , t h e
Dai lor costumi fa che tu ti forbì.
L a tua fortuna tanto onor ti serba,
Che 1' una parte e 1' altra avranno fame
Di te ; m a lungi fi a dal becco 1' erba.
Faccian le bestie Fiesolane strame
Di lor medesme, e non tocchin la pianta,
S' alcuna surge ancor nel lor letame,
I n cui riviva la sementa santa
Di quei Boman, che vi rimaser quando
F u fatto il nido di malizia tanta.
Se fosse pieno tutto il mio dimando,
Bisposi lui, voi non sareste ancora
Dell' u m a n a natura posto in bando :
Che in la mente m ' è fìtta, ed or m ' accuora
1
The Neri and Bianchi (note
2d, p. 64) will both hunger after
thee; but neither will get thee to
take part with them. Thou shalt
stand thyself alone. Par. xvii. 69.
Becco means " beak " as well as

70

75

80

" he-goat : " and the passage may
be translated : " Far from the beak
shall be the grass ; " far from its
poisonous teeth.
2
When the Fiesolans came down
to dwell in it.

CANTO XT.

INFERNO.

177

dear, kind, paternal image of you/ when in the world, hour
by hour, you taught me how man makes himself eternal.
And whilst I live, beseems my tongue should shew what
gratitude I have for it. That which you relate about my
course, I write ; 1 and keep it, with another text, for a
Lady to comment, 2 who will be able if I get to her. Thus
much I would have you know : So conscience chide me
not, I am prepared for Fortune as she wills. JSTot new to
my ears is such earnest. 3 Therefore, let Fortune turn her
wheeias pleases her, and the boor his mattock." 4
La cara "buona imagine paterna
Di voi, quando nel mondo ad ora ad ora
M'insegnavate come 1' uom s' eterna :
E quant' io 1' abbo in grado, mentr' io vivo
Convien, che nella mia lingua si scema.
Ciò che narrate di mio corso, scrivo,
E serbolo a chiosar con altro testo
A donna che il saprà, s' a lei arrivo.
Tanto vogT io che vi sia manifesto,
Pur che mia coscienza non mi garra,
Che alla fortuna, come vùolj son presto.
Non è,nuova agli orecchi miei tale arra:
Però giri Fortuna la sua rota,
Come le piace, e il villan la sua marra.
1
Inscribe it in my memory.
See canto ii/8.
2
The « other text " is the prophecy of Ciacco and Farinata, regarding Dante's exile ; and the
Lady, able to explain both, is
Beatrice, or Celestial Wisdom.

85

90

95

3
"Such earnest" of what is
coming. The date of 1300 (note
1st, p. 2) must be constantly held
in mind.
4
" Let the boor of Fiesole dig
and sow what he chooses." Ottimo Com. Let him do his worst.

178

INFERNO,

CANTO XV.

Thereupon my Master turned backward on his right, 1
and looked at me, then said : " He listens well who notes
it." 2
Not the less I go on speaking with Ser Brunetto,
and ask who are the most noted and highest of his companions.
And he to me : " I t is good to know of some. Of the
rest it will be laudable that we keep silence, as the time
would be too short for so much talk. In brief, know
that all were clerks, and great scholars, and of great renown ; by one same crime on earth defiled. Priscian 3
Lo mio Maestro allora in sulla gota
Destra si volse indietro, e riguardommi ;
Poi disse : Bene ascolta chi la nota.
Ne per tanto di men parlando vommi
Con Ser Brunetto, e dimando chi sono
Li suoi compagni più noti e più sommi.
Ed egli a me : Saper d' alcuno è buono :
Degli altri fìa laudabile il tacerci,
Che il tempo saria corto a tanto suono.
In somma sappi, che tutti fur cherci,
E letterati grandi e di gran fama ;
D' un medesmo peccato al mondo lerci.
Priscian sen va con quella turba grama,
1

Lit. : " On his right cheek
turned himself back/' &c. Delicately indicates that Brunetto is
on the right hand ; and their way
on the right bank of the streamlet.
See canto xvii. 31.
2
Or : <{ Marks that " sentence,

100

105

alluding perhaps to his Quicquid
erit, superando, omnis fortuna
ferendo est (JEn. y. 710); which
Dante has marked with effect.
3
Priscian, the grammarian of
Csesarea, and teacher of grammar; understood by Dante's son

CANTO XV*

INFERNO.

179

goes with that wretched crowd, and Francesco d' Accorso ;
also, if thou hadst had any longing for such scurf, thou
mightest have seen h i m 2 there, who by the Servant of
servants was translated from the Arno to the Bacchiglione,
where he left his ill-strained nerves. I would say more,
but my going and my speech must not be longer ; for
there I see new smoke arising from the great sand.?
People are coming with whom I may not be. Let my
Treasure, 4 in which I still live, be commended to thee.
And more I ask not."
E Francesco d' Accórso ; anco vedervi,
&' avessi avuto di tal tigna brama,
Colui potei, che dal Servo de' sèrvi
Fu trasmutato à' Arno in Bacchigliene,
Ove lasciò li mal pròtesi nervi.Di più direi ; ma il venir, e il sermone
Più lungo esser non può, però eh' io veggio
Là surger nuovo fummo dal sabbione.
Gente vien con la quale esser non deggio.
Sieti raccomandato il mio Tesoro
Nel quale io vivo ancora ; e più non cheggio.
111. Tigna, Lat. tinea.
Pietro, and the other old com- .
mentators, to be put here as a representative of the class, i. e. the
teachers of youth.
1
Francesco, son of Accorso (Aomrsins) the celebrated Florentine
interpreter of Roman law 5 and like
him, professor at Bologna. See
the comment of Benv. da Imola ;
and the account he there gives of
his visit to Bologna in 1375.
I

110

115

120

112. Potei, potevi.
2

Andrea de' Mozzi, of the rich
Florentine family of that name,
Bishop of Florence in Dante's
time 5 and, on account of his
scandalous habits, translated by
the Pope (" Servant of servants ")
to Vicenza, on the river Bacchiglione, where he died.
3
Smoke raised by a new crowd
of spirits.
4
Le Trésor, or Tesoro, men-

180

,

INFERNO.

CANTO XT.

Then he turned Back, and seemed like one of those who
run for the green cloth at Verona through the open field ;
and of them seemed he who gains, not he who loses. 1

Poi si rivolse, e parve di coloro
Che corrono a Verona il drappo verde
Per la campagna ; e parve di costoro
Quegli che vince, e non colui che perde.
tioned in note, p. 172. In the
Italian version (lib. vi. cap. '31)
of this work, Brunetto calls the
sin. for which he is here punished,
" una dilettazione secolare? And
in the Tesoretto he says of himself :
Sai che siam tenuti mi poco mondanetti, " thou knowest that we
are held to be a little worldly."
Another work, called II Pataffio,

a collection of profane Jests and
Proverbs in terze rime, now happily almost unintelligible, has long
been attributed to him.
1
In Dante's time, at Verona,
there was an annual race of the
kind here alluded to. The runners were all stript j and " none
but the quickest competed for the
prize," or palio, as it was called.

ARGUMENT.
Dante keeps following his Guide on the same path, and has already got
so far as to hear the crimson stream falling into the next circle,
when another troop of spirits presents itself under the burning rain.
They are the souls of men distinguished in war and council, suffering punishment for the same crime as Brunetto and-his companions.
Three of them, seeing Dante to be their countryman by his dress,
quit the troop and run towards him, entreating him to stop.
They allude to their wretched condition, as if under a sense of
shame ; and make their names known in order to induce him to
listen to their eager inquiries. Two of them, Tegghiaio and
Rusticueci, are mentioned before (cantori. 79) : all three were noted
for their talents and patriotism ; and the zeal they still have for
Florence suspends " their ancient wail ? of torment. He answers
them with great respect ; and, in brief emphatic words, declares the
condition of the "perverse city." Virgil then leads him to the
place where the water descends 5 makes him unloose a cord wherewith he had girded himself; and casts it down into the abyss, on
which a strange and monstrous shape comes swimming up through
the dark air.

182

INFERNO.

CANTO XVI,

CANTO X V I .
ALREADY I was in a place where the resounding of the
w^ater, that fell into the other circle, 1 was heard like the
hum which bee-hives make ; when three shades together,
running, quitted a troop that passed beneath the rain of
the sharp torment. They came towards us, and each
cried : " Stay thee, thou who by thy dress to us appearest
to be some one from our perverse country."
Ah me ! what wounds I saw upon their limbs, recent
and old, kindled 2 by the flames. I t pains me yet, when I
but think thereof.
To their cries my Teacher listened ; turned his face
GIAV era in loco, ove s' udia il rimbombo
Dell' acqua, che cadea neh" altro giro,
Simile a quel, che 1' arnie fanno, rombo ;
Quando tre ombre insieme si partirò,
Correndo, d 'una torma che passava
Sotto la pioggia dell' aspro martiro.
Venien vèr noi ; e ciascuna gridava :
Sostati tu, che all' abito ne sembri
Essere alcun di nostra terra prava.
Aiinè, che piaghe vidi ne' lor membri
Eecenti e vecchie dalle fiamme incese !
Ancor men duol, pur eh' io me ne rimembri.
Alle lor grida il mio Dottor s' attese,

5

10

1
2
Into the eighth circle; place j
Or: "By the flames burnt in,"
of punishment for the fraudulent. | and scorched anew !

CANTO XYI.

INFERNO.

183

toward me, and said : " Now wait : to these courtesy is
due. And were there not the fire, which the nature of
the place darts, I should say the haste befitted thee more
than them."
They recommenced, as we stood still, their ancient
wail ; and when they had reached us, all the three made
of themselyes a wheel. 1 As champions, naked and
anointed, were wont to do, spying their grasp and vantage,
ere they came to blows and thrusts at one another ; thus,
wheeling, each directed his visage toward me, so that
the neck kept travelling in a direction contrary to the
feet.2
Volse il viso vèr me, e : Ora aspetta,
Disse ; a costor si vuole esser cortese :
E se non fosse il fuoco che saetta
La natura del luogo, io dicerei,
Che meglio stesse a te, eh' a lor, la fretta.
Bicominciar, come noi ristemmo, ei
L' antico verso ; e quando a noi fur giunti,
•Fenno una ruota di se tutti e trei.
Qual soleano i campion far nudi ed unti,
Avvisando lor presa e lor vantaggio,
Prima che sien tra lor battuti e punti :
Così, rotando, ciascuna il visaggio
Drizzava a me, sì che in contrario il collo
Faceva a' pie continuo viaggio.
1

Began to wheel round, one following the other. The next circle
is so near, that they cannot turn
back with Dante, as Brunetto did ;
and they dare not stand still. See
canto xv. 37-39.

15

20

25

2
Lit. : " The neck made continuous journey in contrary direction (senso) to the feet." They kept
turning round in their circle, and
looking with their faces constantly
towards Dante.

184

INFERNO.

CANTO XVI.

A n d one of t h e m b e g a n : " I f t h e misery of t h i s loose
place, 1 a n d o u r d r e a r y a n d scorched aspect, 2 b r i n g u s
a n d o u r p r a y e r s into contempt, let our fame incline t h y
m i n d t o t e l l u s w h o t h o u art, t h a t t h u s securely mo v e s t
t h y l i v i n g f e e t 3 t h r o u g h H e l l . H e in whose footsteps t h o u
seest m e t r e a d , all n a k e d a n d peeled t h o u g h h e be, w a s
h i g h e r i n degree t h a n t h o u believest.

Grrandson of t h e

good Grualdrada, 4 his n a m e w a s G u i d o g u e r r a ; a n d in his
E se miseria d' esto loco sollo
Bende in dispetto noi e nostri preghi,
Cominciò 1' uno, e il tristo aspetto e brollo ;
L a fama nostra il tuo animo pieghi
A dirne chi tu se', che i vivi piedi
Così sicuro per lo Inferno freghi.
Questi, V orme di cui pestar mi vedi,
Tutto che nudo e dipelato vada,
F u di grado maggior che tu non credi.
Nepote fu della buona Grualdrada :
Guidoguerra ebbe nome, ed in sua vita
1

30

35

" Loose," sandy plain, which
ness. See Villani, v. 37 ; Boccac" from its bedNrepels all plants."
' ciò, Landino, &c. The incident
2
Or : " Sad and peeled aspect."
connected with her marriage, reBrollo, or brullo, means ie naked," lated by them all, will not bear
or "burnt naked." See also canto
the test of dates, or of what
xxxiv. 60.
| Dante himself says elsewhere
3
Lit. : " Rubbest thy living feet
(Parad. xv. and xvi.) $ but it at
through Hell ; " with louder step
least shews her fame. Guidothan spirits.
j guerra led the Guelph cavalry
4
Gualdrada, daughter of Be]- of Florence at the battle of Benelincione Berti, "the greatest
vento, on the last of February,
and most honoured cavalier of
1265-6, and signally contributed
Florence," long famous for her
to the victory of Charles of Anjou
beauty, modesty, and noble frank
over Manfred. Landino, &c.

CANTO XYI.
lifetime

INFERNO.

h e did m u c h w i t h

185

counsel a n d

with

sword.

T h e other, t h a t t r e a d s t h e s a n d b e h i n d m e , is Tegghiaio
A l d o b r a n d i , 1 whose fame s h o u l d b e grateful
world.

up in the

A n d T, w h o am, placed w i t h t h e m in t o r m e n t ,

w a s Jaco]30 R u s t i c u c c i ; 2 a n d c e r t a i n l y , m o r e t h a n aughfc
else, m y s a v a g e wife injures m e , "
H a d I b e e n s h e l t e r e d from
thrown

myself

amid them

t h e fire, I s h o u l d

below, a n d

I

believe

have
my

T e a c h e r would h a v e p e r m i t t e d it ; b u t as I should h a v e
b u r n t a n d b a k e d myself, fear o v e r c a m e t h e good will w h i c h
m a d e m e greedy to embrace t h e m .
Fece col senno assai e con la spada.
L' altro, che appresso me 1' arena trita,
E' Tegghiaio Aldobrandi, la cui voce
Nel mondo su dovrebbe esser gradita.
E d io, che posto son con loro in croce,
Iacopo Eusticucci fui ; e certo'
La fiera moglie più eh' altro m i nuoce.
S ' i o fussi stato dal fuoco coverto,
Gittato m i sarei tra lor disotto,
E credo che il Dottor 1' avria sofferto.
Ma perch' io m i sarei bruciato e cotto,
Vinse paura la mia buona voglia,
Che di loro abbracciar mi facea ghiotto.
1
Tegghiaio (pronounced Tegghìa? here and at ver. 79, canto
vi.), of the Adimari family, distinguished as a statesman and
soldier. Amongst other things,
he zealously attempted to dissuade
the Florentines from the expedition
which ended in the, disastrous

40

45

50

battle of Montaperto.
Villani,
vi. 77, &c.
2
A rich Florentine, of i{ plebeian family," famous for his
talents and generosity. Had to
separate himself from that " savage wife," to whom he owes his
miserable punishment.

186

'

INFERNO.

CANTO XVL •

T h e n I b e g a n : " N o t c o n t e m p t , b u t sorrow, y o u r condition fixed w i t h i n m e , so deeply t h a t it will n o t leave
m e soon, 1 w h e n t h i s m y L o r d s p a k e w o r d s t o m e , Jby
w h i c h I felt t h a t s u c h m e n as y o u a r e m i g h t be coming.
Of y o u r city a m I, a n d a l w a y s w i t h affection h a v e I r e h e a r s e d a n d h e a r d y o u r deeds a n d h o n o u r e d names.leave t h e gall, a n d go for t h e sweet apples
b y m y veracious G u i d e .
first to fall."

2

I

promised m e

B u i t o t h e c e n t r e i t behoves m e

3

" So m a y t h e .soul l o n g a n i m a t e t h y m e m b e r s , " h e t h e n

Poi Gominciai : Non dispetto, m a doglia
L a vostra condizion dentro m i fisse
Tanto, che tardi tutta si dispoglia,
Tosto che questo mio Signor, m i disse
Parole, per le quali io m i pensai,
Che, qual voi siete, tal gente venisse.
Di vostra terra sono ; e sempre mai
L ' ovra di voi e gli onorati nomi
Con affezion ritrassi ed ascoltai.
Lascio lo fele, e vo pei dolci pomi
Promessi a me per lo verace Duca ;
Ma fino al centro pria convien eh* io tomi.
Se lungamente 1' anima conduca
Le membra tue, rispose quegli allora,
1
Lit. : " Fixed sorrow within
me so much, to such a degree,
that late, or slowly, it is all divested ; " it will cling to me long.
Real and deep sadness.
2
" Gall of bitterness, and the
bond of iniquity." Acts viii. 33.

55

60

65

<c
Sweet apples " of Faith and
everlasting Freedom 5 fruits of
heavenly Mercy, Grace, and Wisdom. See canto ii. p. 23.
3
Must go down to the very
centre of Hell, before he can be»
gin to ascend.

CANTO XVI.

INFERNO.

18?

replied, " and so thy fame shine after thee ; tell, if courtesy and valour abide within our city as they were wont,
or have gone quite out of it ?

For Guglielmo Borsiere *

—who has been short time in pain with us, and yonder
goes with our companions—greatly torments us with his
words."
" The upstart people2 and the sudden gains, O Florence*
have engendered in thee pride and excess, so that thou
already weepest thereat."
Thus I cried with face uplifted; and the three, who
understood this as an answer, looked at one another as
men look when truth is told.

" If otherwhile it costs.

E se la fama tua dopo te luca,
Cortesia e valor, di', se dimora
Nella nostra città sì come suole,
0 se del tutto se n' è gito mora ?
Che Guglielmo Borsiere, il qual si duole
Con noi per poco, e va là coi compagni,
Assai ne cruccia con le sue parole.
La gente nuova, e i subiti guadagni,
Orgoglio e dismisura han generata,
Fiorenza, in te, sì che tu già ten piagni.
Così gridai colla faccia levata :
E i tre, che ciò inteser per risposta,
Guatar l'un 1' altro, come al ver si guata.

1

A Florentine, distinguished
for his "courteous and elegant
manners, and great readiness and
wit in conversation." Boccaccio,
Com., and Dec. i. 8.

2

70

75

Or : " New people," such as
the Cerchi, &c. Nearly all of the
White party, which Dante joined
in resisting the coming of Charleis.
See note, p. 64.

188

INFERNO.

t h e e so l i t t l e to satisfy o t h e r s , "

l

CANTO XVI.
t h e y all replied, " h a p p y

t h o u , w h o t h u s s p e a k e s t a t t h y will !

Therefore, if t h o u

escape o u t of t h e s e g l o o m y r e g i o n s , a n d r e t u r n t o see
a g a i n t h e b e a u t e o u s s t a r s ; w h e n t h o u s h a l t rejoice t o say,
* I w a s , ' 2 see t h a t t h o u s p e a k of u s t o m e n . "
T h e n t h e y b r o k e t h e i r w h e e l ; and, as t h e y fled, t h e i r
n i m b l e l e g s seemed w i n g s .

A n " A m e n " could n o t h a v e

been s a i d so q u i c k l y as t h e y v a n i s h e d .
pleased m y M a s t e r t o d e p a r t .

Wherefore

it

I followed h i m ; a n d w e

h a d gone b u t l i t t l e , w h e n t h e s o u n d of t h e w a t e r w a s so
n e a r u s , t h a t i n .speaking w e s h o u l d scarce h a v e h e a r d
each o t h e r .
Se 1' altre volte sì poco ti costa,
Risposer tutti, il soddisfare altrui,
Felice te, che sì parli a tua posta !
Però, se campi d' esti luoghi bui,
E torni a riveder le belle stelle,
Quando ti gioverà dicere : Io fui,
F a che di noi alla gente favelle.
I n d i rupper la ruota, ed a fuggirsi
Ale sembiaron le lor gambe snelle.
Un amen non saria potuto dirsi
Tosto così, com' ei furo spariti :
Perchè al Maestro parve di partirsi.
Io lo seguiva, e poco eravam iti,
Che il suon dell' acqua n ' era sì vicino,
Che per parlar saremmo appena uditi.
1
They hint at his freedom in
speaking the truth, and the exile
&c. which it is to cost him.
2 (
I was ' in those t( gloomy re-

80

85

90

gions." Et h(sc olim meminissk
juvabit. Mn, i. 103. Ut tristes
sine sole domost loca turbida, adires,
Ibid. vi. 534.

CANIO XVI.

INFERNO.

189

A s t h a t r i v e r 3 — w h i c h h a s a p a t h of its own, first2 from
M o n t e Y i s o t o w a r d t h e east, on t h e left s k i r t of
Apennine;

which is

called A c q u a c h e t a

the

above, ere it

descends t o its low bed, a n d is vacant* of t h a t n a m e 3 a t
Forli—resounds

from

the mountain,

there

above

San

B e n e d e t t o , i n falling a t a descent, w h e r e for a t h o u s a n d
t h e r e s h o u l d be refuge : 4 t h u s d o w n from a s t e e p b a n k w e
found t h a t t a i n t e d w a t e r r e - e c h o i n g , so t h a t in little t i m e
i t w o u l d h a v e s t u n n e d t h e ear.
Come quel fiume, eh' ha proprio cammino
Prima da monte Veso in vèr levante,
Dalla sinistra costa d' Apennino,
Che si chiama Acquacheta suso, avante
Che si divalli giù nel basso letto,
E a Forlì di quel nome è vacante,
Bimbomba lk sovra San Benedetto
Dall' alpe, per cadere ad una scesa,
Dove dovria per mille esser ricetto ;
Così, giù d ' u n a ripa discoscesa,
Trovammo risonar quell' acqua tinta,
Sì che in poc' ora avria l'orecchia offesa.
1
The Montone, which passes
the Abbey of St. Benedict; and
there descends into the plain of
Komagna, "its low bed." It is
the first of the rivers, on the left
(northern) skirts of the Apennines,
that has a course of its own to the
sea, near Ravenna. All the rest
before it, from Monte Viso eastwards, are tributaries or "attendants" of the Po

2

95

100

105

Or : " Before any other river."
Has lost the name of Acquacheta {cheta, still, quiet), and taken
that of Montone before reaching
Forli.
* The Abbey being rich enough
to shelter thousands, instead of
the few that are in it. Dove pep
haps refers to scesa ; and there is
a story told about some village
{castello), " capable of containing
3

190

INFERNO,

I had a cord

1

CANTO XVI.

girt round m e ; and with it I thought

s o m e t i m e t o catch t h e L e o p a r d of t h e p a i n t e d
After

I h a d q u i t e u n l o o s e d it from me, as m y
Io aveva una corda intorno cinta,
E con essa pensai alcuna volta
Prender la lonza alla pelle dipinta.
Poscia che 1' ebbi tutta da me sciolta,
Sì come il Duca m ' avea comandato,
Porsila a lui aggroppata e ravvolta.

many people," which was to have
been built " very near the place
where this water falls.5' Bocc.
Com. Those who adopt this latter
meaning read dovea, instead of dovria} in line 102.
1
In the Bible, the expressions,
to " gird," to have the " loins
girded about," to "gird with
strength," &c, always denote
preparation for some work of a
serious kind; and Dante himself
{Purg. vii. 114) speaks of one
who "wore the cord of every
virtue girded" round him. The
painted Leopard represents Florence, or Worldly Pleasure ; and
the cord with which he had once
hoped to catch her (in many
senses) has become a thing that he
requires to get rid of. He quite
unlooses it, and rolls it up in his
brief way; and Virgil (Wisdom)
casts it with energy and decision
into the deep abyss, as a fit lure
for the monster that is to appear.
The plain solution, if we err

skin.
Guide

110

not, lies in taking the mystic cord
as an emblem of the mere human
" righteousnesses," the semblances
of strength, with which he had
once girt himself to do his lifebattle. Beaders, who desire to fill
up the details, will turn back to
Canto First, and see how he attempts to ascend the bright Hill
unaided and alone ; how the sight
of the Leopard on the way to it
strongly attracts his attention,
pleases and encourages him ; and
how he gets the first lesson of his
weakness from the Lion and the
Wolf. In the cantos that follow,
he gets many lessons of the same
kind. The prophecies of his separation from the Leopard (exile,
poverty, &c.) thicken on him. He
sees Farinata, Brunetto, Guidoguerra, &c. The necessity of casting off all shams and semblances,
and seeking firm footing in the
Infinitudes and Eternities, becomes
more and more apparent and press
ing.

CANTO XVI.

INFERNO.

191

commanded me, I held it out to him coiled and wound
up. Then he bent himself toward the right side,1 and
threw it, some distance from the edge, down into that deep
abyss.
" Surely," said I within myself, " something new must
answer this new signal, which my Master thus follows with
his eye."
Ah ! how cautious ought men to be with those who see
not only the deed, but with their sense look through into
the thoughts ! He said to me : " What I expect will soon
come up ; and what thy thought dreams of, soon must be
discovered to thy view."
Always to that truth which has an air of falsehood, a
man should close his lips, if possible ; for, though blameless, he incurs reproach. 2 But here keep silent I cannot ;
Ond' ei si volse inver lo destro lato,
E alquanto di lungi dalla sponda
La gittò giuso in quell' alto burrato.
E pur convien che novità risponda,
Dicea fra me medesmo* al nuovo cenno
Che il Maestro con 1' occhio sì seconda.
Ahi quanto cauti gli uomini esser denno
Presso a color, che non veggon pur V opra,
Ma per entro i pensier miran col senno !
Ei disse a me : Tosto verrà di sopra
Ciò eh' io attendo ; e che il tuo pensier sogna,
Tosto convien eh' al tuo viso si scopra.
Sempre a quel ver, eh' ha faccia di menzogna,
De' 1' uom chiuder le labbra quant' ei puote,
Però che senza colpa fa vergogna ;

115

120

125

1
Like one who is going to throw I 2 " Causes shame" to himself,
with his right hand.
| by relating wThat seems unlikely.

192

INFERNO.

CANTO XVI.

a n d , R e a d e r , I swear t o thee, b y t h e n o t e s * of t h i s m y
C o m e d y — s o m a y t h e y n o t be void of l a s t i n g f a v o u r — t h a t
I saw, t h r o u g h t h a t a i r gross a n d d a r k , come s w i m m i n g
upwards, a

figure2

m a r v e l l o u s t o every stedfast h e a r t ; 3

l i k e as h e r e t u r n s , w h o on a t i m e goes d o w n t o loose t h e
a n c h o r , w h i c h g r a p p l e s a r o c k or o t h e r t h i n g t h a t i n t h e
sea is hid, w h o spreads t h e a r m s a n d g a t h e r s u p t h e feet. 4
Ma qui tacer noi posso : e per le note
Di questa Commedia, lettor, ti giuro,
S' elle non sien di lunga grazia vote,
Ch' io vidi per quell' aer grosso e scuro
Venir notando una figura in suso,
Meravigliosa ad ogni cor sicuro,
Sì come torna colui che va giuso
Talvolta a solver l'àncora, eh' aggrappa
0 scoglio, od altro, che nel mare è chiuso,
Che in su si stende, e da pie si rattrappa.
1 u

With other Notes than to the
Orphean lyre
I sung of Chaos and eternal
Night."
Par, Lost, iii. 17.
2
Forma tricorporis umbrce. iEn.
vi. 289. " The beast that ascendeth out of the bottomless pit."
Uev, xi. 17.

130

135

3
" The beast shall ascend," &c.,
" and they that dwell on the earth
shall wonder." Eev. xvii. 8.
4
Lit.: " W h o above" (in the
upper part of his body) " spreads,
himself, and at the feet draws himself together," as he is swimming
up from the anchor.

ARGUMENT.
The monster Geryon is described ; and the Poets leave the rocky margin
of the streamlet, and go down, on the right hand, to the place where
he has landed himself. Virgil remains with him, and sends Dante,
by himself alone (not without significance), to see the last class or
sinners that are punished on the burning sand,—the Usurers who
have done Violence to Nature and Art. Canto xi. 94, &c. They
are sitting all crouched up, tears gushing from their eyes ; and each
of them has a Purse, stamped with armorial bearings, hanging from
his neck. Dante looks into the faces of some ;, but finds it quite impossible to recognize any one of them. He briefly examines their
condition, in the way of duty ; listens to a few words that make him
understand it completely ; and then turns away without speaking at
all to them. He goes back to his Guide ; and Geryon conveys them
down to the Eighth Circle.

0

194

INFERNO.

CANTO XVII.

CANTO X V I I .
"BEHOLD

the

savage beast w i t h

the

pointed

t h a t passes m o u n t a i n s , a n d b r e a k s t h r o u g h walls
weapons !

tail,
and

B e h o l d him t h a t pollutes t h e w h o l e world." 1

T h u s b e g a n m y Guide t o speak to m e ; a n d beckoned h i m
to come ashore, n e a r t h e e n d of our r o c k y path. 2

And

t h a t uncleanly image of F r a u d came onward, a n d landed
his h e a d a n d bust, b u t

d r e w n o t his

tail

upon

the

bank.
H i s face was t h e face of a j u s t m a n , so mild an aspect
h a d ifc o u t w a r d l y ; 3 a n d t h e r e s t w a s all a reptile's body.
Ecco la fiera con la coda aguzza,
Che passa i monti, e rompe mura ed armi ;
Ecco colei che tutto il mondo appuzza :
Sì cominciò lo mio Duca a parlarmi ;
E d accennolle che venisse a proda,
Vicino al fin de' passeggiati marmi :
E quella sozza imagine di froda,
Sen venne, ed arrivò la testa e il busto ;
Ma in su la riva non trasse la coda.
La faccia sua era faccia d' uom giusto,
Tanto benigna avea di fuor la pelle ;
E d' un serpente tutto l'altro fusto.
Duo branche avea pilose infìn 1* ascelle :
1

" Diseases all the world with
stench ;" fills it with Shams of every
sort and their ìesults. Canto xi.
2
Lit. : " Near the end of the

5

10

marbles " (stony margins of the
streamlet) " walked on" by us.
3
Lit. : " It had the skin out
wardly so mild."

CANTO XVII.

195

INFERMÒ.

H e h a d two p a w s , h a i r y to t h e «armpits; t h e neck, a n d t h e
breast, a n d b o t h t h e flanks, w e r e p a i n t e d w i t h k n o t s a n d
circlets.

Never

did T a r t a r s or T u r k s w i t h m o r e colours

m a k e g r o u n d or b r o i d e r y

1

i n cloth ; n o r b y A r a c h n e w e r e

s u c h webs laid on her loom.
A s a t t i m e s t h e w h e r r i e s lie on shore, t h a t a r e p a r t in
w a t e r a n d p a r t on l a n d ; a n d as t h e r e a m o n g s t t h e guzzling
G e r m a n s , t h e b e a v e r adjusts himself t o w a g e h i s w a r ; 2 so
lay t h a t w o r s t of s a v a g e beasts u p o n t h e b r i m
closes t h e g r e a t s a n d w i t h stone.

I n t h e void

4

3

which

glanced all

his tail, t w i s t i n g u p w a r d s t h e v e n o m e d fork, w h i c h , as in
scorpions, a r m e d t h e p o i n t .

Lo dosso, e il petto, ed ambedue le coste
Dipinte avea di nodi e di rotelle.
Con più color, sommesse e soprapposte
Non fer mai in drappo Tartari ne Turchi,
Né fur tai tele per Aragne imposte.
Come tal volta stanno a riva i burchi,
Che parte sono in acqua e parte in terra,
E come là tra li Tedeschi lurchi
Lo bevero s' assetta a far sua guerra ;
Così la fiera pessima si stava
Su T orlo, che di pietra il sabbion serra.
Nel vano tutta sua coda guizzava,
Torcendo in su la venenosa forca,
Che, a guisa di scorpion, la punta armava.
1

15

20

25

Sommesse, the groundwork of I 3 King of rock between the sand
the cloth ; and sovrapposte, the
and the deep central (l void."
4
raised work, or broidery.
The empty space over the
2
i.e. to catch his prey.
J abyss.

196

INFERNO.

My

Guide

said :

a l i t t l e , to t h a t

" N"ow m u s t

CANTO XVII.
we

bend

our

w i c k e d b r u t e w h i c h couches

T h e n w e descended on t h e r i g h t , 1 a n d m a d e t e n

way

there."
paces

t o w a r d s t h e edge, 2 t h a t w e m i g h t quite avoid t h e sand
and

flames.

A n d w h e n we c a m e t o him, I saw u p o n t h e sand, a
little f a r t h e r o n w a r d s , people s i t t i n g 3 n e a r
space.

the

empty

H e r e m y M a s t e r said t o m e : " T h a t t h o u m a y e s t

c a r r y full experience of t h i s r o u n d , g o n o w a n d see t h e
s t a t e of t h e s e . L e t t h y t a l k w i t h t h e m b e brief. Till t h o u

Lo Duca disse : Or convien che si torca
La nostra via u n poco, infino a quella
Bestia malvagia, che colà si corca.
Però scendemmo alla destra mammella,
E dieci passi femmo in sullo stremo,
Per ben cessar la rena e la fiammella :
E quando noi a lei venuti semo,
Poco più oltre veggio in su la rena
«
Gente seder propinqua al luogo scemo.
Quivi il Maestro : Acciocché tutta piena
Esperienza d' esto giron porti,
Mi disse, or va, e vedi la lor mena.
Li tuoi ragionamenti sien là corti :

80

35

40

33. Cessar, evitare. Farad, xxv. 133.
1
" On the right breast." Down
from the elevated margin of the
streamlet.
2
Edge of the abyss. Went ten
paces from the sand.

3
Usurers^ " sitting all crouched
up." Canto xiv. 23. They are
near the end of the sand ; close to
the rim of stone, or inaer boundary
of the circle. Ver. 25.

OANTO XYII.

INFERNO.

197

returnest, I will speak with this "beast, that he may lend
us his strong shoulders.
Thus also, on the utmost limit T of that seventh circle,
all alone I went to where the woful folk were seated.
Through the eyes their grief was bursting forth; on
this side, on that, they with their hands kept warding
off,2 sometimes the flames, sometimes the burning ' soil.
Not otherwise the dogs in summer do, now with snout,
now with paw, when they are bitten by fleas, or flies, or
breeses.
After I had set my eyes upon the visages of several on
whom the dolorous fire falls, I knew not any of them ; ?
Mentre che torni, parlerò con questa,
Che ne conceda i suoi omeri forti.
Così ancor, su per la strema testa
Di quel settimo cerchio, tutto solo
Andai ove sedéa la gente mesta,
Per gli occhi fuori scoppiava lor duolo :
Di qua, di là soccorrien con le mani,
Quando a' vapori, e quando al calcio suolo.
Non altrimenti fan di state i cani,
, Or col ceffo or col pie, quando son morsi
O da pulci o da mosche o da tafani.
Poi che nel viso a certi gli occhi porsi,
Ne' quali il doloroso fuoco casca,
Non ne conobbi alcun ; ma io m' accorsi
1
Along the il extreme head," or
stony border, of that seventh circle,
went also to see the third class of
sinners, having already seen the
other two.

45

50

2
Or, "made help, sometimes,
against the flames," &c,
3
They are all of them "too
obscure for any recognition"
(canto vii. 53) ; too despicable for

198

INFERNO.

CANTO XVII.

but I observed that from the neck of each there hung a
pouch, which had a certain colour and a certain impress^
and thereon it seems their eye is feasting.
And as I came amongst them looking, on a yellow
purse I saw azure, that had the semblance and gesture
of a lion. 1 Then, my look continuing its course, I saw
-another of them, redder than blood, display a goose more
white than butter. 2 And one who, with a sow azure and
pregnant, had his argent sacklet stamped, 3 said to me :
" What art thou doing in this pit ? Get thee gone : and,
Che dal collo a ciascun pendea una tasca,
Oh' avea certo colore e certo segno,
E quindi par che il loro occhio si pasca.
E com' io riguardando tra lor vegno,
In una borsa gialla vidi azzurro,
Che di hone avea faccia e contegno.
Poi procedendo di mio sguardo il curro,
Vidine un' altra più che sangue rossa
Mostrare un' oca bianca più che burro.
Ed un, che d' una scrofa azzurra e grossa
Segnato avea lo suo sacchetto bianco,
Mi disse : Che fai tu in questa fossa ?
Or te ne va : e perchè se' vivo anco,
being named. Have nothing left
for eternity but those purses and
emblems of nobility, on which their
eye seems to feed. Animum picturd pascti inani, . . . largoque
humectat flumine vultum. JE»n. i.
464. Congestis tmdique saccis, &c.
Hor. Serm.i. 70, &c.
1
Arms of the Gianfigliazzi,

55

60

65

Florentines of the Guelph party.
Malesp. e. 168.
2
Arms of the Ubbriachi, an
ancient family of distinction in
Florence, and of the Ghibelline
party. Malesp. c. 137, &c. 5 Villani, vi. 33, &c.
3
The arms of the Scrovigui
(Scrofa) of Padua.

CANTO XVII.

INFERNO.

199

as t h o u a r t still alive, k n o w t h a t m y n e i g h b o u r
liano * shall sit h e r e a t m y left side.
tines a m I , a P a d u a n .
shouting :

;

bring the

Vita-

W i t h these Floren-

M a n y a t i m e t h e y din m y ears,

L e t t h e sovereign c a v a l i e r a come, w h o will
pouch

with

the

three goats ! ' "

Then

he

w r i t h e d his m o u t h , a n d t h r u s t his t o n g u e out, 3 l i k e a n
ox t h a t licks his nose.
stay might

anger

him

And
who

I, dreading lest longer
had

s t a y s h o r t time, t u r n e d b a c k from

admonished
those

me

to

fore-wearied

souls.
I found m y Guide, w h o h a d a l r e a d y m o u n t e d on t h e
Sappi che il mio vicin Vitaliano
Sederà qui dal mio sinistro fianco.
Con questi Fiorentin son Padovano ;
Spesse fiate m ' intruonan gli orecchi,
Gridando : Vegna il cavalier sovrano,
Che recherà la tasca coi tre becchi.
Quindi storse la bocca, e di fuor trasse
L a lingua, come bue che il naso lecchi.
E d io, temendo noi più star crucciasse
Lui che di poco star m ' avea ammonito,
Tornai indietro dall' anime lasse.
Trovai lo Duca mio eh' era salito
1
Vitaliano del Dente, a rich
Paduan nobleman. Dante, being
still alive, can report what he hears
about him, &c.
2
Messer Giovanni Buiamonte,
" the most infamous usurer of those
times," a Florentine of the Bicci
family, whose arms were three
((
he-goats ; " not" beaks," as some
have thought. Ille cum iribus hir-

70

75

qicis, &c., is the expression of
Pietro, Dante's son.
3
Mark of the heartiest, and the
meanest contempt ; indicating the
real rank of those noble usurers.
One sees it yet, with its old accompaniments, amongst the lowest
classes in Italy; and it comes to
them from the Eomans. See Pers.
Sat. i. 58-60.

200

INFERNO,

CANTO XVII.

haunch of the dreadful animal ; and he said to me : " Now
be stout and bold ! Now by such stairs must we descend.
Mount thou in front ; for I wish to be in the middle, that
the tail may not do hurt to thee."
As one who has the shivering of the quartan so near,
that he has his nails already pale, and trembles all, still
keeping the shade ;* such I became when these words
were uttered. 2 But his threats 3 excited in me shame,
which makes a servant brave in presence of a worthy
master.
Già sulla groppa del fiero animale,
E disse a me : Or sie forte e ardito.
Ornai si scende per sì fatte scale :
Monta dinanzi, eh' io voglio esser mezzo,
Sì che la coda non possa far male.
'
Qual è colui, eh' ha sì presso il ribrezzo
Della quartana, eh' ha già 1' unghie smorte,
E trema tutto, pur guardando il rezzo ;
Tal divenn' io alle parole porte :
Ma vergogna mi fer le sue minacce,
Che innanzi a buon signor fa servo forte.

1
Continuing, unnerved and discouraged, in the shade which is
cold and hurtful to him. With a
frightful Italian ague coming upon
him ; trembling all over, and without heart to move till some one
force him.
2
Or, more lit. : <( At the words
directed " to me.
3
These "threats" of Virgil,

80

85

90

looks of highest calmness and security (mere visible presence of
Wisdom), which make Dante
ashamed of his trembling, and give
him strength to mount, recall the
expression (JEn. iv. 88), Minaque
Murorum ingentes, so much tortured by commentators. The reading followed by Cary is without
any good authority.

201

INFERNO.

CANTO XVII.

I placed myself on t h o s e h u g e s h o u l d e r s , a n d w i s h e d to
say, only t h e voice c a m e n o t 1 as I t h o u g h t : " See t h a t t h o u
embrace m e . "
But

he, who at

other times

difficulties, 2 soon as

I

arms, and held me up.

assisted

m o u n t e d , clasped

m e in
me

other

with

his

T h e n h e said : " G e r y o n , n o w

move t h e e . B e t h y circles l a r g e , a n d g r a d u a l t h y descent :
t h i n k of t h e u n u s u a l b u r d e n t h a t t h o u h a s t . "
A s t h e b a r k 3 goes from i t s station b a c k w a r d s , backw a r d s , so tlie monster

took

himself

from t h e n c e ;

Io m ' assettai in su quelle spallacce :
Sì volli dir, m a la voce non venne
Com* io credetti : F a che tu m ' abbracce.
Ma esso che altra volta mi sovvenne
Ad altro forte, tosto eh' io mont&l,
Con le braccia m ' avvinse e mi sostenne :
E disse : Gerion, moviti ornai :
L e ruote larghe, e lo scender sia poco :
Pensa la nuova soma che tu hai.
Come la navicella esce di loco
I n dietro in dietro, sì quindi si tolse :
1

Still unable to speak from fear.
Inceptus clamor frustratur Mantes,
JEn. vi. 493.
2
Lit. : " Who other time assisted me at other difficult encounter;" the word rincontro,
passo, or some such, being understood after forte. Many editions
have Ad alto forte, or Ad alto,
forte, in line 95 ; and the commentators say Ad alto means

and

'

95

100

" above, or in one of the higher
circles ; " and that forte is used
adverbially, and refers to WL avvinse. Foscolo gives the explanation wrong; but succeeds in
shewing that the Ad altro forte of
Torelli, &c, makes a somewhat
better reading.
3
Recalls the wherries, or barks
(burchi), of verse 19.

202
when

INFERNO.
he

felt

himself

quite

loose, 1

CANTO XVIT.
there

where

his

b r e a s t h a d b e e n h e t u r n e d h i s tail, a n d s t r e t c h i n g moved
it, l i k e a n eel, a n d w i t h his p a w s g a t h e r e d t h e air

to

him.
G r e a t e r fear t h e r e w a s n o t , I believe, w h e n

Phaeton

l e t loose t h e reins, 2 w h e r e b y t h e s k y , as y e t a p p e a r s , 3 was
b u r n t ;—nor w h e n poor I c a r u s felt his loins u n f e a t h e r i n g
b y t h e h e a t i n g of t h e wax, 4 h i s father c r y i n g to h i m , " A n
ill w a y t h o u goest ! " 5 — t h a n w a s m i n e , w h e n I saw m y self i n t h e a i r on all sides, a n d s a w e x t i n g u i s h e d e v e r y
s i g h t , save of t h e beast. 6

H e goes on s w i m m i n g slowly,

È poi eh' al tutto si sentì a giuoco,
Là ov' era il petto, la coda rivolse ;
E quella tesa, come anguilla, mosse ;
E con le branche V aere a se raccolse.
Maggior paura non credo che fosse,
Quando Fetonte abbandonò li freni,
Per che il ciel, come appare ancor, si cosse ;
Né quando Icaro misero le reni
Sentì spennar per la scaldata cera,
Gridando il padre a lui : Mala via tieni ;
Che fu la mia, quando vidi eh' io era
Neil' aer d' ogni parte, e vidi spenta
Ogni veduta, fuor che della fiera.
1
Or : " Quite at play ; " at full
play in the void.
2
Gelida formìdim loro, remisit.
Metam. ii. 200.
3
In the Milky Way, according
to the Pythagoreans. Compare
Convito, Tr. ii. cap. 15 and Parad. xiv. 99.

105

110

4
Bajpidi vicinia solis Mollit odoratas, pennarum vincula, ceras.
Tabuerant ceree : midos quatit ille
lacertos, &c. Metam. viii. 225.
5
Lit.: "111 way thou keepest."
6
" Saw every sight quenched
except that of the beast j " saw
nothing but the beast.

CANTO XVII.

203

INFERNO.

slowly ; w h e e l s a n d descends ;

but I

perceive

i t not,

o t h e r w i s e t h a n b y a wind u p o n m y face a n d from below. 1
A l r e a d y , on t h e r i g h t h a n d , I h e a r d t h e w h i r l p o o l 2 m a k e
a h i d e o u s r o a r i n g u n d e r us ; w h e r e a t , w i t h eyes d o w n wards, m y head I stretched.

T h e n w a s I m o r e timorous»

a t t h e precipice ; for I s a w fires a n d h e a r d l a m e n t i n g s ,
so t h a t I cowered all t r e m b l i n g .

A n d then I

saw—

w h a t I h a d n o t seen before—the s i n k i n g a n d t h e wheeling, 3 t h r o u g h t h e g r e a t evils w h i c h d r e w n e a r on d i v e r s e
sides.
Ella sen va notando lenta lenta ;
Euota, e discende ; m a non me n' accorgo,
Se non eh' al viso e disotto m i venta.
Io sentia già dalla m a n destra il gorgo
F a r sotto noi u n orribile stroscio ;
Per che con gli occhi in giù la testa sporgo.
Àllor fu' io più timido allo scoscio :
Però eh' io vidi fuochi, e sentii pianti ;
Ond' io tremando tutto m i raccoscio.
E vidi poi, che noi vedea davanti,
Lo scendere e il girar, per li gran mali
Che s' appressavan da diversi canti.

115

120

**
125

121. Scoscio, descent, precipice.
123. Raccosciare, coxendices deflectere. See next canto, v. 132.
1
" It blows on his face," from
the circling ; and " beneath," or
on his feet, from the sinking.
2
Into which the red stream is
falling. " On the right hand, ' indicating that Geryon had turned
to the right, and keeps circling

down with the rocky precipice on
that hand.
3
The descending and circling,
which only the wind on his face
and feet had made him feel before, he now sees by the succession of horrors {gran mali) that

204

INFERNO.

CANTO XVII.

A s t h e falcon, t h a t h a s been l o n g u p o n his w i n g s —
t h a t , w i t h o u t seeing b i r d or l u r e , m a k e s t h e falconer cry,
" A h , a h ! t h o u stoopest " — d e s c e n d s w e a r y ; x t h e n swiftly
m o v e s h i m s e l f w i t h m a n y a circle, a n d far from his m a s t e r
sets himself

disdainful

and

sullen ; so a t

the

bottom

G e r y o n s e t u s , close to t h e foot of t h e r a g g e d r o c k ; and,
from o u r w e i g h t relieved, h e b o u n d e d off l i k e a n a r r o w
from t h e string. 2
Come il falcon eh' è stato assai su 1' ali,
Che, senza veder logoro o uccello, '
F a dire al falconiere : Oimè tu cali !
Discende lasso, onde si muove snello
Per cento ruote, e da lungi si pone
Dal suo maestro, disdegnoso e fello ;
Così ne pose al fondo G-erione
A piede a pie della stagliata rocca :
E, discarcàte le nostre persone,
Si dileguò, come da corda cocca.

130

135

134. A piede a pie, " a t foot, at foot." Iteration
like a randa a randa (canto xiv. 12), vicin vicino, &c.
present themselves. The reading
of this passage given in the (1842)
edition of Foscolo seems quite
unintelligible. E udi' poi, che non
V udia davante is the Cruscan
reading of ver. 124. It is less
simple than the one we have
adopted ; and rests on inferior
authority.

1

. . . " Satan . . . ready now
To stoop with wearied wings,"
&c.
Par, Lost, iii. 70.
2
" A s notch of arrow from
cord." Geryon has been disappointed of the prey he expected;
and is angry, like the falcon.

ARGUMENT.
During the "circling and sinking," on the back of Geryon, Dante has
observed the outlines of the lowest Hell, and here briefly describes
them. He is now far beneath the circles of Violence, &c. ; and has
to see the punishment of far graver sins. Every thing around him
is made of dark solid rock. The high wall of the great circular shaft,
in which he has descended with Geryon, forms the outer barrier of
the Eighth Circle, where he and his Guide have just been landed.
The circle itself ocpupies the whole of a shelving space, which lies
between the foot of the high wall and the brim of another (lower)
shaft or " well" that is exactly in the centre ; and it is divided (in
successive rings) into ten deep fosses or chasms, resembling the
trenches which begird a fortress, and each containing a different
class of sinners. Across these chasms, and the banks which separate
them from one another, run cliffs from the outer border of the circle
down to the central well, forming lines of roads and bridges that also
resemble those by which a fortress is entered from different sides.
The well contains the Traitors, and Satan, " Emperor of the dolorous
kingdom," in the middle of them. Virgil turns to the left, and conducts Dante along the outer edge of the first chasm, till they come to
one of the cliffs. This they ascend ; and, turning to the right, pass
two of the bridges, and examine the chasms beneath them. In the
Eirst are Panders (Bvffiani) ana lying Seducers, hurrying along in
two separate crowds—meeting one another ^-all naked and scourged
by Horned Demons. In the Second, Elatterers immersed in tilth.

206

INFERNO.

CANTO XVITI.

CANTO X V I I I .
THERE is a place in Hell called Malebolge, 1 all of stone,

and of an iron colour, like the barrier 2 which winds
round it. Right in the middle of the malignant field
yawns a well exceeding wide and deep, whose structure
its own place shall tell. 3 The border 4 therefore that
remains, between the well and the foot of the high rocky
bank, is round ; and it has its bottom divided into ten
LUOGO è in inferno, detto Malebolge,

Tutto di pietra e di color ferrigno,
Come la cerchia che d' intorno il volge.
Nel dritto mezzo del campo maligno
Vaneggia un pozzo assai largo e profondo,
Di cui suo luogo conterà 1' ordigno.
Quel cinghio, che rimane, adunque è tondo,
Tra il pozzo e il pie dell' alta ripa dura,
E ha distinto in dieci valli il fondo.
1
Name given to this Eighth
Circle, on account of the ten
" Evil " Bolgie or Bolge, which it
contains. Bolgia (Lat. bulga), in
its original signification, " a bag,
budget, valise, or portmanteau,"
came afterwards to mean " a n y
dark hole, nest, repository, chasm,
or gulf." Botige, its derivative in
French, has something of the latter sense ; while its diminutive
bongetie (budget) still retains the
original meaning. Pietro di Dante

5

says : Per bolgias, id est, vestibula
("porches" or "courts"), &c. The
place of Satan is getting near 3
and all these meanings suggest
ideas.
2
The "high bank of rock"
(ver. 8) which divides it from the
Seventh Circle.
3
Will be described in its place
4
Eing of space, or " belt,'
between the brim of the lower
(central) well and the foot of the
high bank.

CANTO XVIII.
valleys.

INFERNO.

207

A s is t h e form t h a t g r o u n d p r e s e n t s , 1 w h e r e to

defend t h e walls successive ditches b e g i r d a c a s t l e ; s u c h
image these m a d e here.

A n d as, from t h e t h r e s h o l d s of

t h e fortress, t h e r e a r e b r i d g e s to t h e o u t w a r d b a n k ; so
from t h e basis of t h e r o c k proceeded cliffs t h a t crossed t h e
e m b a n k m e n t s a n d t h e ditches, d o w n to t h e w e l l w h i c h
t r u n c a t e s a n d collects t h e m . 2
I n t h i s place, s h a k e n from t h e b a c k of Geryon, 3 w e
found ourselves ; a n d t h e P o e t k e p t t o t h e left, a n d
moved behind.

Quale, dove per guardia delle m u r a
Più e più fossi cingon li castelli,
L a parte dov' ei son rende figura ;
Tale immagine quivi facean quelli :
E come a tai fortezze da' lor sogli
Alla ripa di fuor son ponticelli ;
Così da imo della roccia scogli
Movien, che ricidean gli argini e i fossi,
Infino al pozzo che i tronca e raccogli.
I n questo luogo, dalla schiena scossi
Di Gerion, trovammoci : e il Poèta
Tenne a sinistra, ed io dietro mi mossi.
Alla m a n destra vidi nuova pietà ;
1

I

On the right hand I saw new misery,

Quale figura la parie rende,
&c. The whole round of Malebolge presents the same aspect
as " the part " on which numerous
fosses are made for defence of a
castle or fortress.
2
These flinty cliffs that rivet
the dark chasms together, and

10

15

20

give them communication with
Satan and his emissaries, proceed
from " the basis of the rock," or
outer margin of Malebolge ; and
converge as they descend towards
the central well which terminates
and collects them in its ring.
3
Set down by him in anger.

208

INFERNO.

CANTO XVIU.

new t o r m e n t s , a n d n e w t o r m e n t o r s , w h e r e w i t h t h e
c h a s m was

filled.

first

I n its bottom the sinners were naked :

from t h e m i d d l e , on o u r side, 1 t h e y came facing us ; a n d ,
on t h e o t h e r side, a l o n g w i t h us, b u t w i t h l a r g e r steps. 12
T h u s t h e E o m a n s , because of t h e g r e a t t h r o n g , in t h e y e a r
of J u b i l e e , u p o n t h e b r i d g e h a v e t a k e n m e a n s to p a s s t h e
people over ; so t h a t , on t h e one side, all h a v e t h e i r faces
t o w a r d t h e Castle, a n d g o t o S t . P e t e r ' s ; a t t h e other
ledge, t h e y go t o w a r d s t h e M o u n t . 3
On this side, on t h a t , a l o n g t h e hideous stone, I s a w
Nuovi tormenti e nuovi frustatori,
Di che la prima bolgia era repleta.
Nel fondo erano ignudi i peccatori :
Dal mezzo in qua ci venian verso il volto ;
Di là con noi, m a con passi maggiori :
Come i Eoman, per 1' esercito molto,
L ' anno del Giubbileo, su per lo ponte
H a n n o a passar la gente modo tolto ;
Che dall' u n lato tutti hanno la fronte
Verso il castello, e vanno a santo Pietro,
Dall' altra sponda vanno verso il monte.
Di qua, di là, su per lo sasso tetro
1
In the half of the chasm next
to us. Taken lengthwise.
2
"Larger steps than ours.11
Chased by Demons, ver. 35.
3
In the year 1300 (date of the
Vision of Dante), when Boniface
VIII. proclaimed the first Jubilee, the concourse of pilgrims
was so great that it became necessary to divide the bridge of

25

80

St. Angelo lengthwise, and makeall those who were going towards
the Castle (of St. Angelo) and
St. Peter's keep on one side ; and
those who were returning from it»
on the other side. The * ' mount "
is Monte Giordano, or more probably that part of the Janiculum
on which the church of St. Pietroin Montorio stands.

CANTO XVIII.

209

INFERNO.

horned Demons 1 with large scourges, who smote them
fiercely from behind. Ah ! how they made them lift their
legs afc the first strokes ! And truly none waited for the
second or the third.
As I went on, my eyes were met by one, and instantly
I said : " This one I have seen before." 2 I therefore
stayed my feet to recognize him ; and the kind Guide
stood still with me, #nd allowed me to go back a little.
And that scourged spirit thought to hide himself, lowering
his face ; but little it availed him, for I said : " Thou, that
dost cast thy eye upon the ground ! If the features
Vidi Dimon cornuti con gran ferze,
Che li battean crudelmente di retro.
Alii come facean lor levar le berze
Alle prime percosse ! E già nessuno
Le seconde aspettava ne le terze.
Mentr' io andava, gli occhi miei in uno
Furo scontrati ; ed io sì tosto dissi :
Già di veder costui non son digiuno.
Perciò a figurarlo i piedi affissi ;
E il dolce Duca meco si ristette,
E assentì eh' alquanto indietro gissi.
E quel frustato celar si credette
Bassando il viso ; ma poco gli valse,
Ch' io dissi : Tu che 1' occhio a terra gette,
Se le fazion che porti non son false,

,

35

40

45

1
Horned here only. And kin- I giuno from Lat. jejunus " empty,
dred sinners meeting, as in canto void of: " as, jejunas hujus orationis aures. Cic. Ofat. 30. Used
vii.
5
4
Lit. : " Already I am not again in the same sense, canto
without having seen him." Di- \ xxviii. 87.

P

210

INFERNO,

CANTO XVIIt.

w h i c h t h o u w e a r e s t b e n o t false, t h o u a r t Y e n e d i c o Caccianimico. 1 B u t w h a t b r i n g s t h e e to s u c h a b i t i n g p i c k l e ? " 2
A n d h e t o m e , " U n w i l l i n g l y I tell i t ; b u t t h y clear
speech, 3 t h a t m a k e s m e recollect t h e former w o r l d , compels
m e . I t w a s I w h o l e d t h e fair Ghisola t o do t h e M a r q u i s '
will, h o w e v e r t h e u n s e e m l y t a l e m a y sound. 4 A n d I a m
n o t t h e only Bolognese t h a t weeps h e r e : n a y , t h i s place is
so filled w i t h u s , t h a t as m a n y t o n g u e s a r e n o t n o w t a u g h t

Venedico sei tu Caccianimico.
Ma che ti mena a sì pungenti salse ?
E d egli a m e : Mal volentier lo dico ;
Ma sforzami la tua chiara favella,
Che mi fa sovvenir del mondo antico.
Io fui colui, che la Ghisola bella
Condussi a far la voglia del Marchese,
Come che suoni la sconcia novella,
E non pur io qui piango Bolognese ;
Anzi n ' è questo luogo tanto pieno,
Che tante lingue non son ora apprese

A Bolognese (if those features of his be real) of distinguished family, who persuaded
his beautiful sister Ghisola, under
false pretences, to do the will of,
Azzo III., Marquis of Ferrara,
that "step-son" of canto xii. 112.
See Ottimo Com.; and that of
Benv. da Imola, who was at Bologna in 1375, and knew the family.
2
Salse (" sauces," seasoning of
the lash) was also the name of i( a

50

55

60

very steep and hollow place" near
Bologna, into which the bodies of
those who were deemed unworthy
of Christian burial used to be
thrown. Benv. da Imola Com.
3
«' Clear " living voice, that reminds him of old things on earth.
The shadows have hoarse, faint
voices. See canto i. 63 ; and other
passages.
* Whatever reports there may
be of the vile tale.

CAXTO XVIII.

INFERNO.

to say Sijpa b e t w e e n S a v e n a a n d t h e R e n o . 1

211
A n d if t h o u

d e s i r e s t a s s u r a n c e a n d t e s t i m o n y thereof, r e c a l l t o t h y
m e m o r y o u r avaricious h e a r t . " 2
A n d as h e t h u s spake, a D e m o n s m o t e h i m w i t h his
l a s h , a n d said : " A w a y ! Ruffian, t h e r e a r e n o w o m e n
h e r e to c o i n . " 3
I rejoined m y E s c o r t .

T h e n , w i t h a few steps, w e

c a m e t o w h e r e a cliff proceeded from t h e b a n k .

This we

v e r y easily a s c e n d e d ; a n d , t u r n i n g t o t h e r i g h t u p o n its
j a g g e d r i d g e , 4 w e q u i t t e d those e t e r n a l circles. 5
A dicer svpa tra Savena e il Eeno :
E se di ciò vuoi fede o testimonio,
Eecati a mente il nostro avaro seno.
Così parlando il percosse un Demonio
Della sua scuriada, e disse : Via,
Euffian, qui non son femmine da conio.
Io mi raggiunsi con la Scorta mia :
Poscia con pochi passi divenimmo,
Dove uno scoglio della ripa uscia.
Assai leggieramente quel salimmo,
E volti a destra su per la sua scheggia,
Da quelle cerchie eterne ci partimmo.
1

65

70

Bologna lies between the ri- splintered part" taking scheggia
vers Savena and Eeno. Svpa (or for scheggiata.
5
si po) is the cheerful "yes," or
Circles of the violent, &c, or
" truly," of the Bolognese to the those guilty of direct sins. The
present time.
Poets take a different way, in this
2
Dante had studied in Bologna. circle of the Fraudulent, from what
3
Or : " for coin 5 " to make they have taken in the circles
money of, as the Ottimo Commento above. They " held to the left"
suggests.
(ver. 21) after Geryon quitted
4
Lit : " Its splinter." Or " its them ; and now they turn " to

212

INFERNO.

CANTO XVIII.

W h e n w e r e a c h e d t h e p a r t w h e r e i t y a w n s b e n e a t h 1 to
leave a p a s s a g e for t h e scourged, m y Guide said : " S t a y ,
a n d let t h e look s t r i k e o n t h e e 2 of t h e s e o t h e r ill-born
spirits,

w h o s e faces t h o u h a s t n o t y e t seen, for t h e y h a v e

gone along with u s . "
E r o m t h e a n c i e n t b r i d g e w e viewed t h e t r a i n , w h o w e r e
c o m i n g t o w a r d s u s , on t h e other side, chased likewise b y
the scourge.

T h e k i n d M a s t e r , w i t h o u t m y a s k i n g , said

t o m e : " L o o k a t t h a t g r e a t soul w h o comes, a n d seems t o
s h e d n o t e a r for p a i n .

W h a t a r e g a l aspect h e y e t r e -

Quando noi fummo là, dov' ei vaneggia
Di sotto, per dar passo agli sferzati,
Lo Duca disse : Attienti, e fa che feggia
Lo viso in te di questi altri mal nati,
A' quali ancor non vedesti la faccia,
Perocché son con noi insieme andati.
Dal vecchio ponte guardavam la traccia,
Che venia verso noi dall' altra banda,
E che la ferza similmente scaccia.
I l buon Maestro, senza mia dimanda,
Mi disse : Guarda quel grande che viene,
E per dolor non par lagrima spanda.
Quanto aspetto reale ancor ritiene !

75

80

85

75. Feggia, from Jledere. Canto x. 135.
the right" in going towards the i
centre of Hell, instead of turning
to the left as heretofore. Compare
cantos ix. 3 32 ; x. 133 5 xiii. 115,
130 ; xiv. 126, &c. We shall also --J
find that the way (like that of I

Fraud or sham goodness) leads
more directly to Satan.
1
Where the cliff forms a bridge
over the first chasm.
2
Take a direct, and painful,
view of them too. See ver. 27.

CANTO XVIII.
tains !

INFERNO.

213

T h a t is J a s o n , who, b y c o u r a g e a n d b y counsel,

bereft t h e Colchians of t h e r a m .

H e passed, 1 by t h e isle

of L e m n o s , after t h e bold merciless w o m e n h a d g i v e n all
t h e i r males to death.

T h e r e , w i t h t o k e n s 2 a n d fair w o r d s ,

did h e deceive t h e y o u n g H y p s i p y l e , w h o h a d before deceived all t h e rest. 3
lorn.

H e left h e r t h e r e p r e g n a n t a n d for-

S u c h g u i l t condemns h i m to s u c h t o r m e n t ;

also for M e d e a 4 vengeance is t a k e n .
practise t h e like deceit. 5

and

W i t h him go all w h o

A n d let t h i s suffice t o k n o w

r e s p e c t i n g t h e first valley, a n d t h o s e w h o m i t d e v o u r s . " 6

Quelli è Jason, che per cuore e per senno
Li Oolchi del monton privati fene.
Elio passò per 1' isola di Lenno,
Poi che le ardite femmine spietate
Tutti li maschi loro a morte dienno.
Ivi, con segni e con parole ornate,
Isifìle ingannò la giovinetta,
Che prima 1' altre avea tutte ingannate.
Lasciolla quivi gravida e soletta :
Tal colpa a tal martiro lui condanna ;
E anche di Medea si fa vendetta.
Con lui sen va chi da tal parte inganna :
E questo basti della prima valle
Sapere, e di color che in se assanna.

1

On his way to Colchis.
Tokens of marriage.
3
By saving the life of her father
'hoas. See her story in Stat.
%eb. v. 49, &c.
4
For having forsaken Medea.
2

90

95

5
" I n such relation deceive5"
cheat with similar promises.
6
" Seizes with its tusks 5 " secures for the eternal scourging.
Compare the assanna in canto
xxx. 29 ; and Purg. xiv. 19.

214

INFERNO.

CANTO XYIII.

W e h a d already come t o w h e r e the n a r r o w p a t h w a y 1
crosses t h e second b a n k , a n d m a k e s of it a b u t t r e s s for
a n o t h e r arch.

H e r e w e h e a r d people w h i n i n g in

the

other c h a s m , a n d puffing w i t h m o u t h a n d nostrils, a n d
k n o c k i n g on themselves w i t h t h e i r p a l m s .

The banks

w e r e c r u s t e d over w i t h a m o u l d from t h e v a p o u r below,
w h i c h concretes u p o n t h e m , w h i c h did b a t t l e 2 w i t h t h e
eyes a n d w i t h t h e nose.
T h e b o t t o m is so deep, t h a t w e could see it

nowhere

w i t h o u t m o u n t i n g to t h e r i d g e of t h e arch, w h e r e t h e cliff
stands highest.3

W e got u p o n i t ; a n d t h e n , in t h e d i t c h

Già eravam là 've lo stretto calle
Con 1' argine secondo s' incrocicchia,
E fa di quello ad u n altr' arco spalle.
Quindi sentimmo gente che si nicchia
Neil' altra bolgia, e che col muso sbuffa,
E se medesma con le palme picchia.
Le ripe eran grommate d' una muffa,
Per 1' alito di giù che vi si appasta,
Che con gli occhi e col naso facea zuffa.
Lo fondo è cupo sì, che non ci basta
Luogo a veder senza montare al dosso
Dell' arco, ove lo scoglio più sovrasta.
Quivi venimmo, e quindi giù nel fosso
Vidi gente attuffata in uno sterco,

100

105

11(

1
The flinty " cliff" which goes I 2 " Made strife ;" assailed wi1
straight down to the central well,
pungent stench both the eyes ai
and rises into an arch at every
the nostrils,
3
successive chasm.
At the centre of the arch.

CANTO XVIII.

INFERNO.

215

beneath, I saw a people dipped in excrement, that seemed
as it had flowed from human privies.
And whilst I was searching with my eyes, down
amongst it, I beheld one with a head so smeared in
filth, that it did not appear whether he was layman or
clerk. 1 He bawled to me : " Why art thon so eager in
gazing at me, more than the others in their nastiness ? "
And I to him : " Because, if I rightly recollect, I have
seen thee before with thy hair dry : and thou art Alessio
Interminei 2 of Lucca. Therefore do I eye thee more than
all the rest."
And he then, beating his p a t e : 3 " D o w n to this, the
Che dagli uman privati parea mosso :
E mentre eh' io là giù con V occhio cerco,
Vidi un col capo sì di merda lordo,
Che non parea s' er laico ò cherco.
Quei mi sgridò : Perchè sei tu sì ingordo
Di riguardar più me che gli altri brutti ?
Ed io a lui : Perchè, se ben ricordo,
Già t' ho veduto coi capelli asciutti,
E sei Alessio Interminei da Lucca :
Però t' adocchio più che gli altri tutti.
Ed egli allor, battendosi la zucca :
1
There was no seeing whether
he had the tonsure of a priest or
not.
2
The Interminelli (in 1301)
were at the head of the Ghibellines and Whites in Lucca (Villani, viii. 46); and the great
Ghibelline chief, Castruccio Cas-

115

120

tracani, was of their family. Vili.
ix. 68, &c. Alessio "besmeared
every one with flattery, even the
meanest of the populace." Omnes
unguébàty omnes lingebat, etiam
vilissìmos. Benv. da Imola Com.
3
Zucca, u gourd or pumpkin,"
in its original meaning : still a

216

INFERNO.

CANTO XVIII.

flatteries wherewith my tongue was never weary have
sunk m e ! "
Thereupon my Guide said to me : " Stretch thy face a
little forwards, that thy eyes may fully reach the visage of
that unclean, dishevelled strumpet, 1 who yonder with her
filthy nails scratches herself, now cowering low, now
standing on her feet. It is Thais, the harlot, who answered
her paramour, when he said : ' Dost thou thank me much ? '
' Nay, wondrously.' 2 And herewith let our view rest
sated." 3
Quaggiù m' hanno sommerso le lusinghe,
Ond' io non ebbi mai la lingua stucca.
Appresso ciò lo Duca : Fa che pinghe, ,
Mi disse, un poco il viso più avante,
Sì che la faccia ben con gli occhi attingile
Di quella sozzo scapigliata fante,
Che là si graffia con 1' unghie merdose,
Ed or s' accoscia, ed ora è in piede stante.
Taida è, la puttana che rispose
Al drudo suo, quando disse : Ho io grazie
Grandi appo te? Anzi meravigliose.
E quinci sien le nostre viste sazie.
'favourite name, amongst the Italians, for heads of a certain description.
1
Omnis mulier, quce est fornicaria, quasi stercus in via, &c.
Eccles. (Vulgate) ix. 10.
2
In the Eunuchus of Terence

125

130

135

(act iii. scene 1), it is Gnatho,
and not Thais herself, who uses
the expression alluded to. THR.
Magnas vero agere gratias Thais
mihi Ì GN. Ingentes.
3
"And now, enough of this
vile place."

ARGUMENT.
In the Third chasm are the Simonists. The heart of Dante seems
almost too fall for utterance when he comes in sight of them. To
him they are, as it were, a more hateful species of panders and seducers than those he has just left ; and they lie beneath the vile
flatterers " that call evil good, and good evil ; that put darkness for
light, and light for darkness." It is they who have prostituted the
things of God for gold and silver, and made li His house a den of
thieves." They are all fixed one by one in narrow round holes,
along the sides and bottom of the rock, with the head downwards,
so that nothing more than the feet and part of the legs stands out.
The soles of them are tormented with flames, which keep flickering
from the heels to the toes, and burn with a brightness and intensity
proportioned to the different degrees of guilt. Dante is carried down
by his Guide to the bottom of the chasm; and there finds Pope
Nicholas the Third, who, with a weeping voice, declares his own evil
ways, and those of his successors Boniface the Eighth and Clement
the Pifth. The Poet answers with a sorrow and indignation proportionate to his reverence for the Mystic Keys, speaking as if under
the pressure of it. Virgil then lifts him up again, and lightly carries
him to the rough summit of the arch which forms a passage over the
next chasm.

218

INFERNO.

CANTO XIX

CANTO X I X .
0

SIMON MAGUS! 1

O wretched followers of his and

robbers ye, 2 who for gold and silyer prostitute the things
of God, that should be wedded unto righteousness ! Now
must the trumpet 3 sound for you ; for ye are in the third
chasm.
Already we had mounted to the following grave, on
that part of the cliff which hangs r i g h t 4 over the middle
0 SIMON mago, o miseri seguaci,

Che le cose di Dio, che di bontate
Deono essere spose, e voi rapaci
Per oro e per argento adulterate :
Or convien che per voi suoni la tromba,
Perocché nella terza bolgia state.
Già eravamo alla seguente tomba
Montati, delle scoglio in quella parte
Che appunto sovra mezzo il fosso piomba.
1
" And when Simon saw . . .
he offered them money, saying,
Give me also this power . . . .
But Peter said unto him, Thy
money perish with thee, because
thou hast thought the gift of God
may be purchased for money."
Acts viii. 18.
2
" And ye rapacious " followers. The e before voi (v. 3)
cannot well be left out. It occurs
in too many of the best MSS. and
editions ; and, though it inter-

5

rupts the strict grammatical sense,
it increases the force and fire of
the passage. Pietro di Dante, by
way of comment, quotes John x. 1 :
" H e that entereth not by the
door into the sheepfold, but climbeth up some other way, the same
is a thief and a robber."
3
" Cry aloud, spare not : lift
up thy voice like a trumpet/' &c.
Isaiah lviii. 1.
4
Lit. : " Plumbs exactly," or
hangs plumb, &c.

CANTO XIX.
of the foss.

INFERNO.

219

O Wisdom Supreme, what art thou she west

in heaven, on earth and in the evil world, and how justly
thy Goodness dispenses ! 1
I saw the livid stone, on the sides and on the bottom,,
full of holes, all of one breadth ; and each was round.
Kot less wide they seemed to me, nor larger, than those
that are in my beauteous San Giovanni made for stands
0 Somma Sapiènza, quanta è l' arte
Che mostri in cielo, in terra e nel mal mondo,
E quanto giusto tua Virtù comparte !
Io vidi, per le coste e per lo fondo,
Piena la pietra livida di fori
D' un largo tutti, e ciascuno era tondo.
Non mi parean meno ampi né maggiori,
Che quei che son nel mio bel San Giovanni
Fatti per luogo de' battezzatori ;
1

Throughout the Universe,
Dante finds that every one is
rewarded and punished exactly
according to his deserts, with an
infinite Goodness and infinite
Justice inseparable from it. He
is now in view of the Simonists,
and observes that their heads are
turned downwards and fixed in
the ground, as befits their avarice
and low desires. Compare Purg.
xix. 115-124.
2
Round the old font in the
Baptistery of St. John—where
great numbers of the Florentines
used to assemble on stated days
for baptism—Landino says, " lit-

a

10

15

tle wells" (or narrow circular
holes, called pozzetti from their
shape) "were made for the priests,
to stand in, when baptizing ; that
they might be nearer to the water '*
of the font, and free from the
pressure of the crowd. Dante
broke one of these to save the*
life of a boy who had got into
it in sport, apparently with head
downwards, and could not be extricated, but was " drowning " or
u
suffocating " in it ; and he wants,
to set all men right in regard tohis real motive for breaking it.
See Com. of Benv. da Imola, Tellutello, Ottimo, &c. Judging by

220

INFERNO.

CANTO XIX.

to the baptizers ; one of which, not many years ago, I
broke to save one that was drowning in it : and be this a
seal to undeceive all men. From the mouth of each
emerged a sinner's feet, and legs up to the calf; and the
rest remained within. The soles of all were both on fire ;
wherefore the joints quivered so strongly, that they would
have snapped in pieces withes and grass-ropes. As the
flaming of things oiled moves only on their outer surface ;
so was it there, from the heels to the points.
" Master ! who is that who writhes himself, quivering
more than all his fellows," I said, " and sacked by ruddier
flame?"1
L' un degli quali, ancor non è molt' anni,
Kupp' io per un che dentro vi annegava ;
E questo sia suggel eh' ogni uomo sganni.
Fuor della bocca a ciascun soperchiava
D' un peccator li piedi, e delle gambe
Infìno al grosso ; e 1' altro dentro stava.
Le piante erano accese a tutti intrambe ;
Perchè sì forte guizzavan le giunte,
Che spezzate averian ritorte e strambe.
Qual suole il fiammeggiar delle cose unte
Muoversi pur su per 1' estrema buccia,
Tal era lì da' calcagni alle punte.
Chi è colui, Maestro, che si cruccia,
Guizzando più che gli altri suoi consorti,
Diss' io, e cui più rossa fiamma succia ?
the old prints (edition of 1507)*
these 'pozzetti must have been
made at the tops of short pillars.

1

20

25

30

* ' Whom a ruddier (stronger)
flame sucks," or dries up, flickering on the soles of him.

221

INFERNO.

CANTO XIX.

A n d h e to me :

u

I f t h o u w i l t h a v e m e c a r r y t h e e down

t h e r e , b y t h a t l o w e r b a n k , 1 t h o u s h a l t l e a r n from h i m a b o u t
h i m s e l f a n d a b o u t his w r o n g s . "
A n d I : " W h a t e v e r pleases thee, to m e is

grateful.

T h o u a r t m y L o r d ; and k n o w e s t t h a t I d e p a r t n o t from
t h y w i l l : also t h o u k n o w e s t w h a t is n o t s p o k e n . "
T h e n w e came u p o n t h e f o u r t h b u l w a r k . 2

W e turned

a n d descended, on t h e left h a n d , d o w n t h e r e i n t o t h e
perforated and narrow bottom.

And the kind

Master

d i d n o t y e t depose m e from h i s side, till h e b r o u g h t m e t o
t h e cleft of h i m w h o so l a m e n t e d w i t h h i s l e g s .

" O

w h o e ' e r t h o u be t h a t h a s t t h y u p p e r p a r t b e n e a t h ,

un-

E d egli a me : Se t u vuoi d i ' io ti porti
Laggiù per quella ripa che più giace,
D a lui saprai di se e de' suoi torti.
E d io : Tanto m ' è bel, quanto a te piace :
Tu se' Signore, e sai eh' io non m i parto
Dal tuo volere, e sai quel che si tace.
Allor venimmo in su 1' argine quarto ;
Volgemmo, e discendemmo a mano stanca
Laggiù nel fondo foracchiato ed arto.
E il buon Maestro ancor dalla sua anca
Non m i dipose, sin m i giunse al rotto
Di quei che sì piangeva con la zanca.
0 qual che sei, che 1 di su tien di sotto,
j 41. Stanca, sinistra.
1
" That bank which lies lower/'
or is nearer to the central well.
The whole of Malebolge descends
sloping towards the centre; and

35

40

45

See note, p. 4.
hence the inner margin of each
chasm is lower than the outer.
2
Went down from the bridge to
the fourth bank.

222

INFERNO,

CANTO XIX.

h a p p y spirit, p l a n t e d like a s t a k e ! " I b e g a n t o s a y ; " if
t h o u a r t able, s p e a k . "
I stood, l i k e t h e friar w h o is confessing a t r e a c h e r o u s
•assassin t h a t , after b e i n g fixed, recalls h i m t o delay t h e
death.1

A n d h e cried : " A r t t h o u t h e r e a l r e a d y s t a n d i n g ,

Boniface ? 2

A r t t h o u t h e r e a l r e a d y s t a n d i n g ? B y several

y e a r s t h e w r i t 3 h a s lied to m e . A r t t h o u so q u i c k l y sated
w i t h t h a t w e a l t h , for w h i c h t h o u d i d s t n o t fear t o seize
t h e comely L a d y 4 b y deceit, a n d t h e n m a k e h a v o c of
her ? "
Anima trista, come pal commessa,
Comincia' io a dir, se puoi, fa motto.
Io stava come il frate che confessa
Lo perfido assassin che, poi eh' è
fìtto,
Bichiama lui, perchè la morte cessa.
E d ei gridò : Sei tu già costì ritto,
Sei tu già costì ritto, Bonifazio ?
Di parecchi anni mi mentì lo scritto.
Sei tu sì tosto di quell' aver sazio,
Per lo qual non temesti torre a inganno
L a bella Donna, e di poi farne strazio ?
1
" For he delays, or avoids the
death " a few moments longer, by
pretending that he has something
more to confess. In Dante's time
assassins were " put into a deep hole
in the ground, with their heads
downwards, and buried alive."
This horrid kind of punishment
was called propagginare or propaggine, from the manner of planting vines.
2
Takes Dante for Boniface

50

55

VIII., who did not die till 1303;
and is surprised to find him
" standing" erect, instead of being
instantly planted (as a Simonist)
with feet upwards in that hole
which he himself fills.
3
" Writ," i. e. text or scripture
of future events, which the spirits
in Hell are permitted to read with
their " imperfect vision," Canto x.
100, &c.
4
The beautiful Lady is the

INFERNO.

223

I became l i k e t h o s e w h o s t a n d as if bemocked,

not

CANTO XIX.

c o m p r e h e n d i n g w h a t is a n s w e r e d t o t h e m , a n d u n a b l e t o
reply.

T h e n Y i r g i l said : " S a y t o h i m quickly, ' I a m

not h e , I a m n o t h e w h o m t h o u t h i n k e s t . ' "
A n d I replied as w a s enjoined m e ; w h e r e a t t h e s p i r i t
q u i t e w r e n c h e d his feet.

Thereafter, s i g h i n g a n d w i t h

voice of w e e p i n g , h e said to m e : " T h e n w h a t a s k e s t
t h o u of m e ?

I f t o k n o w w h o I a m c o n c e r n e t h t h e e so

m u c h , t h a t t h o u h a s t therefore passed t h e b a n k , l e a r n t h a t
I w a s clothed w i t h t h e G r e a t M a n t l e .

A n d verily I w a s

a s o n 1 of t h e She-bear, so e a g e r t o a d v a n c e t h e W h e l p s ,
Tal m i fee' io, quai son color che stanno,
Per non intender ciò eh' è lor risposto,
Quasi scornati, e risponder non sanno.
Allor Virgilio disse : Dilli tosto,
Non son colui, non son colui che credi.
E d io risposi come a me fu imposto :
Perchè lo spirto tutti storse i piedi :
Poi sospirando, e con voce di pianto,
Mi disse : Dunque che a me richiedi ?
Se di saper eh' io sia ti cai cotanto,
Che t u abbi però la ripa scorsa,
Sappi eh' io fui vestito del gran manto :
E veramente fui fìgliuol dell' Orsa,
Church, which Boniface (in 1294)
had dared to seize by fraud. He
first induced Celestine to resign,
and got himself elected by secret
agreement with Charles II. of
Sicily; then secured Celestine in
prison, and began like a perfect
hero in Simony. Vili. viii. 6.

60

65

70

1
Nicholas III. of the Orsini
{Bears) family. He was made
Pope in 1277 ; and died in August
1281, after having enriched all his
nephews ("the cubs or whelps")
by " open Simony," and every
other means in his power. Till.
vii. 54, &c.

224

INFERNO.

CANTO XIX.

t h a t I p u r s e d w e a l t h above, a n d h e r e myself.
my

head

1

Beneath

a r e d r a g g e d t h e others w h o p r e c e d e d m e i n

s i m o n y , c o w e r i n g a l o n g t h e fissure of t h e s t o n e . 2

I too

s h a l l fall d o w n t h i t h e r , w h e n h e comes for w h o m I t o o k
t h e e w h e n I p u t t h e s u d d e n question.

B u t l o n g e r is t h e

t i m e already, t h a t I h a v e b a k e d m y feet a n d stood i n v e r t e d
t h u s , t h a n h e shall s t a n d p l a n t e d w i t h

glowing

feet. 3

F o r after him, from w e s t w a r d , t h e r e shall come a l a w l e s s
S h e p h e r d , 4 of u g l i e r deeds, fit t o cover h i m a n d m e .

Cupido sì, per avanzar gli Orsatti,
Che su 1' avere, e qui me misi in borsa.
Di sotto al capo mio son gli altri tratti,
Che precedetter me simoneggiando,
Per la fessura della pietra piatti.
Laggiù cascherò io altresì, quando
Verrà colui eh' io credea che tu fossi,
Allor eh' io feci il subito dimando.
Ma più è il tempo già che i pie mi cossi,
E eh' io son stato così sottosopra,
Ch' ei non starà piantato coi pie rossi :
Che dopo lui verrà, di più laid' opra,
Di vèr ponente u n Pastor senza legge,
Tal che convien che lui e me ricopra.

1

" Above (on earth) put wealth,
and here put myself in purse."
2
Are dragged, or sucked in, as
it were through the neck of that
Hell-purse ; and lie " squat " or
cowering in it.
3
Nicholas died in 1281, so that

A

75

80

he had "already" (in 1300) been
there 19 years : whereas Boniface
would have to " stand planted with
his feet red" only 11 years; or
from his death in 1303 to that of
Clement in 1314.
4
Bertrand de Gotte, Archbishop

225

INFERNO.

CANTO XIX.

n e w J a s o n * will it be, of w h o m w e r e a d i n Maccabees : a n d
as to t h a t high priest

his k i n g w a s p l i a n t ; so t o t h i s shall

be h e w h o g o v e r n s F r a n c e . ' '

2

I k n o w n o t if h e r e I w a s too h a r d y , for I a n s w e r e d h i m
in t h i s s t r a i n : " A h ! N o w t e l l m e h o w m u c h t r e a s u r e
our L o r d r e q u i r e d of S t . P e t e r , before h e p u t t h e k e y s
into his k e e p i n g ?
* Follow m e ! '

Surely

he

demanded

nought

N o r did P e t e r , n o r t h e others, a s k

Nuovo Iason sarà, di cui si legge
Ne' Maccabei : e come a quel fu molle
Suo Re, cosi fìa a lui chi Francia regge.
Io non so s' io m i fui qui troppo follò,
Ch' io pur risposi lui a questo metro :
Deh or mi di' quanto tesoro volle
Nostro Signore in prima da San Pietro,
Che ponesse le chiavi in sua balìa ?
Certo non chiese se non, Viemmi dietro.
Né Pier ne gli altri chiesero a Mattia
Oro o argento, quando fu sortito

of Bordeaux $ made Pope in 1305,
under very shameful conditions,
through the influence of Philip the
Pair, of Prance. Villani, viii. 80.
He took the the title of Clement V. ; and it was he who transferred the holy see to Avignon.
He favoured the Ghibellines, and
the Emperor (Henry VII.), in
whom Dante took so lively an
interest; but that does not help
him here.

1

but
of

85

90

95

Jason, " that ungodly wretch/'
who purchased the office of high
priest, from king Antiochus, with
his (i three hundred and threescore talents ; " and degraded it
by the introduction of heathenish customs. 2 Maccab. iv. 7*13,
&c.
2
King Philip IV. (note 4,
p. 224) ; the " Pest' of France.»
JPurg. vii. 109. He reigned from
1285 to 1814. Vili. ix. 66

x

226
Matthias gold

INFERNO.

CANTO XIX.

or silver, w h e n h e w a s c h o s e n 1 for t h e

office w h i c h t h e g u i l t y soul h a d lost.

Therefore

stay

t h o u here, for t h o u a r t j u s t l y p u n i s h e d : 2 a n d k e e p well
t h e ill-got m o n e y , 3 w h i c h a g a i n s t C h a r l e s m a d e t h e e b e
bold.

A n d w e r e i t n o t t h a t r e v e r e n c e for t h e G r e a t K e y s

t h o u h e l d e s t i n t h e g l a d life y e t 4 h i n d e r s m e , I
use

still h e a v i e r w o r d s ; for y o u r

Nel luogo, che perde 1' anima ria.
Però ti sta, che t u seJ ben punito ;
E guarda ben la mal tolta moneta
Ch' esser ti fece contra Carlo ardito.
E se non fosse eh' ancor lo m i vieta
L a riverenza delle somme Chiavi,
Che t u tenesti nella vita lieta,
Io userei parole ancor più gravi ;
Che la vostra avarizia il mondo attrista,
Calcando i buoni e sollevando i pravi.
1
When chosen by lot, " to take
p$rt of the ministry and apostleship, from which Judas " (Traitor
and blackest of Simonists) i( by
transgression fell." Acts i. 25.
2
Però ti sta &c. may also be
rendered : " Therefore it befits
thee, that thou art well punished."
3
" Thy money perish with
thee." Acts viii. 20. Villani (vii.
57) relates how John of Procida
gave largely of the money of the
Emperor Palseologus to Nicholas
and his nephew, and thereby obtained his sanction for the revolt
against Charles I. of Sicily, which

should

avarice grieves

the

100

105

began (the year after Nicholas's
death) with the Sicilian Vespers. " Ill-got money " also before
this had made him bold against
Charles, who contemptuously refused alliance with his family.
Villani, vii. 54.
4
" Yet," * e. though thou art in
Hell. Dante reverenced the great
keys, and detested the avarice
and baseness of those who abused
them ; as he well might, considering what they represented. Unhappily for itself, the Inquisition of
Spain prohibited and suppressed
this whole passage.

CANTO XIX.

227

INFERNO.

w o r l d , t r a m p l i n g on t h e good, and raising u p t h e wicked. 1
Shepherds

s u c h as ye t h e E v a n g e l i s t perceived, w h e n

she, t h a t sitteth on t h e waters, 2 w a s seen b y h i m committ i n g fornication w i t h t h e k i n g s ; she t h a t w a s b o r n w i t h
seven h e a d s , a n d in h e r t e n h o r n s
as v i r t u e pleased h e r spouse.

3

h a d a w i t n e s s so l o n g

Y e h a v e m a d e y o u a g o d of

gold a n d silver ; a n d w h e r e i n do y e

differ from

Di voi pastor s' accorse il Vangelista,
Quando colei, che siede sovra V acque,
Puttaneggiar co' regi a lui fu vista :
Quella che con le sette teste nacque,
E dalle diece corna ebbe argomento,
F i n che virtute al suo marito piacque.
Fatto v' avete Dio d' oro e d' argento :
E che altro è da voi all' idolatre,
1

Compare Convito, Tr. iv. e. 1.
Or: "You Shepherds the
Evangelist discerned," &c 3 when
the angel said to him, " Come
hither ; I will shew unto thee the
judgment of the great whore that
sitteth upon many waters : with
whom the kings of the earth have
committed fornication, and the
inhabitants of the earth have
been drunk with the wine of her
fornication
The waters,
which thou sawest, where the
whore sitteth, are peoples, and
multitudes, and nations, and
xmgues." Rev, xvii. 1-15.
In Purg. xxxii. 143-9, the " Sabred Edifice, transformed" by its
>rofane alliance with temporal
2

the

110

things, is described as putting
forth seven heads and ten horns ;
and the Church of Rome under
Boniface is spoken of as " a loose
harlot " gazing round with wanton
eyes.
3
" The Church that was born
with seven virtues, Faith, Hope,
and Charity, Prudence, Justice,
Fortitude, and Temperance; or
with the seven gifts of the Holy
Spirit. The ten horns, that is,
the ten commandments of the
Law which God gave to Moses."
Ottimo Com. Also Pietro di Dante,
after speaking of these seven virtues or gifts, and ten commandments, adds : " A quibus cornibus
donee -pastor Ecclesia habuit ar-

228

INFERNO.

CANTO XIX.

idolater, save t h a t h e worships one, a n d ye a h u n d r e d ? x
A h Oonstantine ! to how m u c h ill gave birth, n o t t h y
conversion, b u t t h a t d o w e r 2 w h i c h t h e first r i c h F a t h e r
t o o k from t h e e ! "
A n d whilst I s u n g t h e s e notes t o h i m , w h e t h e r it was
r a g e or conscience g n a w e d h i m , h e violently
w i t h b o t h his feet.

sprawled

A n d indeed I t h i n k i t pleased m y

Guide, w i t h so satisfied a look did h e k e e p listening to
t h e s o u n d of t h e t r u e w o r d s u t t e r e d .

Thert "ore w i t h

b o t h his a r m s h e t o o k m e ; and, w h e n h e h a d m e quite
Se non eh' egli uno, e voi n ' orate cento ?
Ahi Costantin, di quanto mal fu matr-,
Non la tua conversion, m a quella dote
Che da te prese il primo ricco patre !
E mentre io gli cantava cotai note,
O ira o coscienza che il mordesse,
Forte spingava con ambo le piote.
Io credo ben eh' al mio Duca piacesse,
Con sì contenta labbia sempre attese
Lo suon delle parole vere espresse.
Però con ambo le braccia mi prese,
gumentum, id est normam et modum gubemandi, placuit ei virtus? &c.
1
Ye make an idol of every piece
of silver and gold, of every species
of gain.
2
Dante again alludes to this
pretended gift of Constantine in
Purg. xxxii. 125; in Parad. xx.
55 ; and in his treatise Be Monarchia (lib. iii.) he speaks of it as
a thing that is doubtful, a gift that

115

120

the emperor could not lawfully
make, if he ever did make it.
Milton (Prose Works) has translated the passage in the text :
" Ah Constantine I of how much
ill was cause,
Not thy conversion, but those
rich domains
That the first wealthy pope
received of thee ! "
Reform, book i.

CANTO XIX.

INFERNO.

229

upon his b r e a s t , r e m o u n t e d b y t h e p a t h w h e r e h e h a d
descended.

N o r did h e w e a r y i n h o l d i n g m e clasped to

him, till h e bore m e a w a y t o t h e s u m m i t of t h e a r c h w h i c h
is a crossway from t h e f o u r t h to t h e fifth r a m p a r t .

Here1

h e placidly set d o w n t h e b u r d e n , p l e a s i n g to Mm o n t h e
r o u g h steep cliff, w h i c h t o t h e g o a t s w o u l d be a painful
passage.
T h e n c e a n o t h e r valley was discovered t o m e .

E poi che tutto su m i s' ebbe al petto,
Rimontò per la via onde discese ;
Ne si stancò d' avermi a se ristretto,
Sì men portò sovra il colmo dell' arco,
Che dal quarto al quinto argine è tragetto.
Quivi soavemente spose il carco,
Soave per lo scoglio sconcio ed erto,
Ohe sarebbe alle capre duro varco,
i n d i u n altro vallon mi fu scoverto.

125

130

128. Sì for sinché {Purg. xxi. 12) 5 men, me ne.
130. Spose, from sporre, to lay down, &c.
1u
Here," i. e. on the summit of
the arch, he sweetly or gently laici
down the burden, which had been
a burden sweet to him along the
ugly cliff. In such way is Dante
lifted up and carried by his mystic

Guide from that den of the Simon
ists. The "true words wrung"
{espresse, ver. 123) from him are
brief, and entangled with infinite
disdain and hatred.

ARGUMENT.
From the arch of the bridge, to which his Guide has carried him, Dante
now sees the Diviners, Augurs, Sorcerers, &c. coming slowly along
the bottom of the Fourth Chasm. By help of their incantations and
evil agents, they had endeavoured to pry into the Future which
belongs to the Almighty alone, interfering with His secret decrees ;
and now their faces are painfully twisted the contrary way ; and,
being unable to look before them, they are forced to walk backwards.
The first that Virgil names is Amphiaraiis ; then Tiresias the Theban prophet, Aruns the Tuscan. Next comes Manto, daughter of
Tiresias ; on seeing whom, Virgil relates the origin of Mantua his
native city. Afterwards he rapidly points out Eurypylus, the
Grecian augur ; Michael Scot, the great magician, with slender loins
(possibly from his northern dress) 5 Guido Bonatti of Forli ;
Asdente, shoemaker of Parma, who left his leather and his awls to
practise divination ; and the wretched women who wrought malicious
witchcraft with their herbs and waxen images. And now the Moon
is setting in the western sea ; time presses, and the Poets hasten to
the next chasm*

232

INFERNO.

CANTO XX.

CANTO XX.
O F new punishment behooves me to make verses, and
give matter for the twentieth canto of the first canzone,
which concerns the sunken. 1
I now was all prepared to look into the depth discovered to me, which was bathed with tears of anguish ;
and through the circular valley I saw a people coming
silent and weeping, at the pace which the Litanies 2 make
in this world.
When my sight descended lower on
them, 3 each seemed wondrously distorted, from the chin
Di nuova pena mi convieh far versi,
E dar materia al ventesimo canto
Della prima canzon, eh' è de' sommersi.
Io era già disposto tutto quanto
A risguardar nello scoverto fondò,
Che si bagnava d' angoscioso pianto :
E vidi gente per lo vallon tondo
Venir, tacendo e lagrimando, al passo
Che fanno le letame in questo mondo.
Come il viso mi scese in lor più basso,
Mirabilmente apparve esser travolto
Ciascun dal mento al principio del casso,
1
The spirits sunk in Hell.
panzone here, and Cantica in
Purg. xxxiii. 140, are the terms
applied by Dante to the three
great Parts of his Poem.
2
At the slow and mournful

5

10

pace of them that in long procession chant the solemn litanies.
Vili. ii. 15.
3
When they came nearer the
bridge, so that I saw farther down
amongst them.

CANTO XX.

233

INFERNO.

t o t h e c o m m e n c e m e n t of t h e chest,

1

so t h a t t h e face w a s

t u r n e d t o w a r d s t h e loins ; a n d t h e y h a d t o come
w a r d , for t o look before t h e m w a s denied. 2

back-

P e r h a p s by

force of p a l s y some h a v e been t h u s q u i t e distorted ; b u t I
h a v e n o t seen, nor do believe i t t o be so.
R e a d e r , so God g r a n t t h e e t o t a k e profit of t h y r e a d i n g , n o w t h i n k for thyself h o w I could k e e p m y v i s a g e dry, 3 w h e n near a t h a n d I saw o u r i m a g e so cont o r t e d , t h a t t h e w e e p i n g of t h e eyes b a t h e d t h e h i n d e r
parts at their division?

Certainly I w e p t , l e a n i n g on

one of t h e r o c k s of t h e h a r d cliff, so t h a t m y E s c o r t
Che dalle reni era tomato il volto ;
E indietro venir gli convenia,
Perchè il veder dinanzi era lor tolto.
Forse per forza già di parlasìa
Si travolse così alcun del tutto ;
Ma io noi vidi, ne credo che sia.
Se Dio ti lasci, Lettor, prender frutto
Di tua lezione, or penza per te stesso,
Com' io potea tener lo viso asciutto,
Quando la nostra imagine da presso
Vidi sì torta, che il pianto degli occhi
Le natiche bagnava per lo fesso.
Certo io piangea, poggiato ad u n de' rocchi
Del duro scoglio, sì che la mia Scorta
1

Or : "Distorted" in the neck.
Lit. : " To look forward was
taken away from, them."
3c
' Sight so deform what heart
of rock could long
Dry- eyed behold ? Adam
could not, but wept.
2

15

20

25

Though not of woman born ; compassion quelled
His best of man, and gave him ir{)
to tears
A space, till firmer thoughts restrained excess."
Par. Lost, xi. 494.

234

INFERNO.

CANTO XX.

said to m e : " A r t t h o u , too, like t h e o t h e r fools ?
p i t y lives w h e n i t is a l t o g e t h e r dead. J

pious t h a n h e t h a t s o r r o w s a t God's j u d g m e n t ? 2
up

t h y head,

raise

up,

and

see

him

Here

W h o more imfor w h o m

e a r t h opened herself before t h e eyes of t h e

Raise
the

Thebans,

w h e n t h e y all cried, ' W h i t h e r r u s h e s t t h o u , A m p h i a r a u s ? 3
W h y leavest t h o u t h e w a r ? '

A n d h e ceased n o t r u s h -

i n g h e a d l o n g d o w n to Minos, w h o l a y s hold on every
sinner.

M a r k h o w h e h a s m a d e a b r e a s t of his s h o u l d e r s :

Mi disse : Ancor se' tu degli altri sciocchi ?
Qui vive la pietà quand' è ben morta.
Chi è più scellerato di colui,
Ch' al giudicio divin passi'on porta ?
Drizza la testa, drizza, e vedi a cui
S' aperse agli occhi de' Teban la terra,
Quando gridavan tutti : Dove rui,
Anfìarao ? perchè lasci la guerra ?
E non restò di minare a valle
Fino a Minòs, che ciascheduno afferra.
Mira, eh' ha fatto petto delle spalle :

1
The " Tiresias and Phineus
prophets old," &c. comes upon
Dante too, and makes him weep
bitterly; but his Bible, in many
places, speaks clearly of those
diviners, sorcerers, "wise men,"
&c, and he does not doubt of
their existence. Pietà means
* piety' (Lat. pietas) as well as
' pity ' in the old Italian.
2
Or perhaps, alluding to the

30

35

crime here punished : " Who
more wicked than he that bears a
passion for the decrees of God"
—that seeks to look into the
Future which belongs to Him
alone ? This meaning agrees best
with the comment of Pietro di
Dante.
3
One of the seven kings that
besieged Thebes. Qui prcsceps per
inane mis ? Stat. Theb. viii. 84.

CANTO XX.

INFERNO.

235

because h e w i s h e d t o see too far before

him, he now

looks b e h i n d a n d goes b a c k w a r d . 1
" B e h o l d T i r e s i a s 2 w h o c h a n g e d h i s aspect, w h e n of
m a l e h e w a s m a d e w o m a n , all h i s l i m b s t r a n s f o r m i n g :
a n d a f t e r w a r d s h e h a d a g a i n t o s t r i k e t h e t w o involved
s e r p e n t s w i t h his rod, before h e conld r e s u m e his m a n l y
plumes.
" T h a t is A r u n s 3 c o m i n g b a c k

before h i m , w h o

t h e m o u n t a i n s of L u n i , w h e r e hoes 4 t h e C a r r a r e s e
Perchè volle veder troppo davante,
Dirietro guarda, e fa ritroso calle.
Yedi Tiresia, che mutò sembiante,
Quando di maschio femmina divenne,
Cangiandosi le membra tutte quante ;
E prima poi ribatter le convenne
Li duo serpenti avvolti con la verga,
Che riavesse le maschili penne.
Aronta è quei eh' al ventre gli s' atterga,
Che ne' monti di Luni, dove ronca
1

Compare Vulgate of Isaiah
xliv. 24-5 : Ego sum Dominus
faciens omnia, extendens ccelos
solus, stdbiliens terram, et nullus
mecum. Irrita faciens sìgna divinoritm, et ariolos in furorem
vertens. Convertens sapientes retrorsum: et scientiam eorum stuliam faciens.
2
Tiresias, the prophet of Thebes,
according to the ancient mystic
fable, was changed into a woman
when he struck the two great
serpents ; and on seeing them

in
that

40

45

again, at the end of seven years,
and striking them in the same
way, he recovered his original sex
and form. Nam duo, &c. Ovid.
Met. iii. 324.
3
An Etruscan soothsayer, who
predicted to the Komans their
civil wars and the victory of Caesar. Aruns incoluit deserta mania
Lztncs, &c. Lucan. i. 586. The
mountains of Luni are above Carrara, still famous for marbles.
4
Or " weeds out " (Lat. runcare).
Cleans and cultivates the soil.

236

INFERNO.

CANTO XX.

dwells beneath, amongst white marbles had the cave for
his abode ; from which he could observe the stars and the
sea with unobstructed view.
" And she that covers her bosom, which thou seest
not, with her flowing tresses, and has all her hair on the
other side, was Manto, 1 who searched through many
lands, then settled there where I was born : whence it
pleases me a little to have thee listen to me. After her
father went out of life, and the city of Bacchus came to
be enslaved, she for a long time roamed the world. Up
in beautiful Italy there lies a lake, at the foot of the
Alps which shut in Germany above the Tyrol, and it

Lo Carrarese che di sotto alberga,
Ebbe tra bianchi marmi la spelonca
Per sua dimora ; onde a guardar le stelle
E il mar non gli era la veduta tronca.
E quella che ricopre le mammelle,
Che tu non vedi, con le trecce sciolte,
E ha di là ogni pilosa pelle,
Manto fu, che cercò per terre molte,
Poscia si pose là dove nacqu' io :
Onde un poco mi piace che m' ascolte.
Poscia che il padre suo di vita uscio,
E venne serva la città di Baco,
Questa gran tempo per lo mondo gìo.
Suso in Italia bella giace un laco
Appiè dell' Alpe, che serra Lamagna
i Manto, daughter of Tiresias,
quitted Thebes (native city of
Bacchus), when it was " enslaved "

50

55

60

by the tyrant Creon, uncle of
Eteocles and Polynices.

CANTO XX.

INFERNO.

is called Bènacus.

1

Through

237

a t h o u s a n d fountains,

I

believe, a n d m o r e , t h e P e n n i n e , b e t w e e n G a r d a a n d Y a l
Camonica, is i r r i g a t e d b y t h e w a t e r w h i c h s t a g n a t e s in
that lake.

A t t h e m i d d l e t h e r e is a p l a c e 2 w h e r e t h e

T r e n t i n e p a s t o r , a n d h e of Brescia, a n d

the

Veronese

m i g h t bless, if t h e y w e n t t h a t w a y . P e s c h i e r a , 3 a fortress
beautiful

and

s t r o n g t o front

the Brescians

B e r g a m e s e , sits w h e r e t h e shore a r o u n d is lowest.

and

the

There

all t h a t in t h e bosom of B e n a c u s c a n n o t stay, h a s

to

descend a n d m a k e itself a river, down t h r o u g h t h e g r e e n
Sovra Tiralli, ed h a nome Benaco.
Per mille fonti, credo, e più si bagna,
Tra Garda e Val Camonica, Pennino
Dell' acqua che nel detto lago stagna.
Luogo è nel mezzo là, dove il Trentino
Pastore, e quel di Brescia, e il Veronese
Segnar porìa, se fesse quel cammino.
Siede Peschiera, bello e forte arnese
Da fronteggiar Bresciani e Bergamaschi,
Ove la riva intorno più discese.
Ivi convien che tutto quanto caschi
Ciò che in grembo a Benaco star non può,
E fassi fiume giù pe' verdi paschi.
1

65

70

75

Now Lago di Garda. That Brescia and Verona meet; and
part of the Alps, from which its the three bishops might " cross,"
waters flow down (l in more than
or give the sign of benediction to
a thousand streams," were for- their flocks.
merly called Aljpes PCBUCB (Pennine 3 Peschiera still " sits a forAlps). Tiralli, or Tiralla, also tress," at the head of the Mincio.
the name of a town there in Dante's The water is rapid and beautifully
time. Vili, xii. 85.
clear as it flows from the Lake.
2
Where the dioceses of Trent,

238

INFERNO.

pastures.

CANTO XX.

Soon as t h e w a t e r sets h e a d t o r u n , i t is n o

longer named Benacus, b u t Mincio,—to Governo where
i t falls into t h e P o .

N o t far h a s i t flowed, w h e n i t finds

a level, on w h i c h i t s p r e a d s a n d m a k e s a m a r s h thereof,
a n d is w o n t in s u m m e r to b e a t t i m e s

unwholesome.1

T h e c r u e l 2 virgin, p a s s i n g t h a t w a y , s a w l a n d a m i d s t t h e
fen, u n c u l t i v a t e d a n d n a k e d of i n h a b i t a n t s .

There,

to

s h u n all h u m a n i n t e r c o u r s e , s h e h a l t e d w i t h h e r m i n i s t e r s to do h e r a r t s ; a n d t h e r e she lived a n d left h e r body
vacant. 3

A f t e r w a r d s t h e men, t h a t w e r e s c a t t e r e d r o u n d ,
Tosto che l' acqua a correr mette co',
Non più Benaco, m a Mincio si chiama
Fino a Governo, dove cade in Po.
Non molto h a corso, che trova una lama,
Nella qual si distende e la impaluda,
E suol di state talora esser grama.
Quindi passando la vergine cruda
Vide terra nel mezzo del pantano,
Senza cultura, e d' abitanti nuda.
Lì, per fuggire ogni consorzio umano,
Eistette co' suoi servi a far sue arti,
E visse, e vi lasciò suo corpo vano.
Gli uomini poi, che intorno erano sparti,

80

85

76. Mette co\ mette capo; sbocca.
Lit.: "Afflictive, or sorrowful," on account of the malaria
and fever it produces.
2
" Cruel " or fell, like Erichtho
(canto ix. 23), from the bloody
accompaniments of her conjurations. - Tunc innuba Mantho Ex~

cejptum pateris pralibat sanguinem,
et, omnes Ter tir cum acta /pyras)
sancii de more parentis, Semineces
fibras, et adhuc spirantia reddit
Viscera, &c. Stat. Theb. iv. 463.
3
Left her body void of life.

CAltTO XX.

INFERNO.

239

g a t h e r e d t o g e t h e r on t h a t spot ; for it w a s s t r o n g b y
r e a s o n of t h e m a r s h it h a d on e v e r y side.

They built the

c i t y over t h o s e dead bones ; a n d for h e r w h o first chose
t h e place, t h e y called it M a n t u a 1 w i t h o u t o t h e r a u g u r y .
O n c e t h e i n h a b i t a n t s w e r e denser in it, ere t h e folly of
Casalodi was cheated b y P i n a m o n t e . 2

Therefore I c h a r g e

t h e e , if t h o u ever h e a r e s t other origin g i v e n t o m y city,
Let no falsehood defraud t h e t r u t h . ' '

S' accolsero a quel luogo, eh' era forte
Per lo pantan eh' avea da tutte parti.
F e r la città sovra quell' ossa morte ;
E per colei, che il luogo prima elesse,
Mantova V appellar senz' altra sorte.
Già fur le genti sue dentro più spesse.
Prima che la mattia di Casalodi,
D a Pinamonte inganno ricevesse.
Però t' assenno, che se tu mai odi
Originar la mia terra altrimenti,
L a verità nulla menzogna frodi.

i Compare Mn. x. 199, &c.
Fatidica Mantus et Tusci filius
amnis, Qui muros matrisque dedit
Ubi, Mantua, nomen ; Mantua
dives avis, sed non genus omnibus
unum: Gens UH triplex, &c.
2
Pinamonte de' Buonacossi,
who (about 1276) craftily persuaded Alberto de' Casalodi,
Lord of Mantua, and chief of the
nobility, that he might pacify
the people by banishing the most

90

95

odious and powerful of the nobles
for a time to their own castles.
" This being done, Pinamonte
himself seized the government,
with great tumult and applause
of the people ; and forthwith
cruelly exterminated nearly all
the noble and renowned families,
with sword and fire laying waste
their houses," &c. Benv. da Imola
Com. Other less sure details in
Muratori, Ber. Ital. t. xx.

240

INFERNO,

CANTO j&X.

A n d I : " M a s t e r , t h y w o r d s are t o m e so c e r t a i n , a n d
so t a k e h o l d of m y belief, t h a t all o t h e r s w o u l d be to m e
e x t i n g u i s h e d coals. 1

B u t tei] m e of t h e people t h a t p r e

passing, 2 if t h o u seest a n y of t h e m w o r t h y of n o t e ; for t o
t h a t alone m y m i n d r e c u r s . "
Then he

said

to

3

me : " That

one,

who

from

the

c h e e k s t r e t c h e s forth his b e a r d u p o n his d u s k y s h o u l d e r s ,
w a s a n a u g u r , w h e n Greece w a s so e m p t y of males, t h a t
h a r d l y t h e y r e m a i n e d even i n t h e cradles ; 4 a n d in A u l i s
h e , w i t h Calchas, g a v e t h e t i m e for
cable.

cutting

the

first

E u r y p y l u s his n a m e ; a n d m y h i g h T r a g e d y t h u s

E d io : Maestro, i tuoi ragionamenti
Mi son sì certi, e prendon sì mia fede,
Che gli altri m i sarien carboni spenti.
Ma dimmi della gente che procede,
Se tu ne vedi alcun degno di nota ;
Che solo a ciò la mia mente rifìede.
Allor mi disse : Quel, che dalla gota
Porge la barba in su le spalle brune,
F u , quando Grecia fu di maschi vota
Si eh' appena rimaser per le cune,
Augure, e diede il punto con Calcanta
I n Aulide a tagliar la prima fune.

1
Would have neither light nor
heat for me.
2
Lit. : " That proceed," or go
on like those " processions of the
litanies." See note, p. 232.

1Q0

105

110

3
" Strikes back ; " impetuously
returns. Compare canto xyiii. 75
and Purg. xvi. 101.
4
When Greece sent its " thousand ships " to Troy.

CANTO XX.

INFERNO.

sings h i m i n some place :

1

241

well knowest it thou, who

kno J vest t h e whole.
"That

o t h e r w h o is

so small

about the

flanks

was

Michael Scot ; 2 a n d of a t r u t h h e k n e w t h e p l a y of m a g i c
frauds.
" See Guido B o n a t t i ; 3 see A s d e n t e , 4 who n o w w o u l d

Euripilo ebbe nome, e così il canta
L ' alta mia Tragedia in alcun loco ;
Ben lo sai tu che la sai tutta quanta.
Quell' altro che ne' fianchi è così poco,
Michele Scotto fu, che veramente
Delle magiche frode seppe il giuoco.
Vedi Guido Bonatti, vedi Asdente,
1

Suspensi Eury^ylum scitatum
ora'mla JPkcebi Mittimus, &c. JEn.
ii, 114. The iEneid is called a
Tragedy on account of its elevated style. See the reasons
which Dante gives, in his Letter
to Can Grande, for calling his
own Poem a Comedy. Also De
Vulg. Eloq. ii. 4.
2
Our own Sir Michael Scot of
Bai wear ie, whose " memory still
survives in many a legend." He
was physician and astrologer to
the Emperor Frederick II., who
died in 1250; and not less famous in Italy than in Scotland.
Villani (x. 101, 137 ; xii. 19, &c.)
mentions some of his prophecies
as having been fulfilled in the
next century ; and with awe calls

115

him the " great philosopher," &c.
Boccaccio says: "Not long since
there wras in this city (of Florence)
a great master in necromancy,
who was called Michele Scotto,
because he was of Scotland ; and
from many noble people he received very great honour," &c.
Deo. (xiorn. viii. 9.
3
Astrologer of Forlì : stood in
high favour with Guido da Montefeltro, and was present at his
memorable defeat of the French
before that city on the 1st of May
1282. See canto xxvii. 44; and
Vili. vii. 81.
4
"Asdente the shoemaker of
Parma," Dante elsewhere disdainfully says, ''would be more
noble than any of his fellow-

242

INFERNO.

wish h e h a d a t t e n d e d to his l e a t h e r
too l a t e r e p e n t s .

CANTO XX.
a n d his cord,/ b u t

See t h e w r e t c h e d women w h o lef

the

needle, t h e s h u t t l e , a n d t h e spindle, a n d m a d e t h e m s e l v e s
divineresses.

T h e y w r o u g h t witchcraft w i t h h e r b s a n d

images.
" B u t n o w come ! for Cain a n d t h e t h o r n s

l

already

holds t h e confine of b o t h h e m i s p h e r e s , a n d u n d e r Seville
t o u c h e s t h e wave ; a n d a l r e a d y y e s t e r n i g h t t h e M o o n w a s
r o u n d : well m u s t t h o u r e m e m b e r ; for she did n o t h u r t

Ch' avere inteso al cuoio ed allo spago
Ora vorrebbe, m a tardi si pente.
Vedi le triste che lasciaron 1' ago,
L a spola e il fuso, e fecersi indovine ;
Fecer malìe con erbe e con imago.
Ma vienne ornai ; che già- tiene il confine
D ' amenduo gli emisperi, e tocca 1' onda
Sotto Sibilia, Caino e le spine.
E già iernotte fu la Luna tonda :
Ben ten dee ricordar, che non ti nocque
Alcuna volta per la selva fonda.

citizens," if nobleness consisted
merely in being much known and
talked of. Convito, Tr. iv. cap.
16.
1
The Man i' the Moon of Italian
children in those old times : here
put for the Moon itself. " Round "
or full "yesternight ; " and consequently exactly opposite to the

120

125

sun—setting as he rises. Now on
the wane, and farther east; so
that the time here indicated by
the Moon's being on the " confine
of both hemispheres," or touching
the wave beyond Seville on the
western horizon, is about an hour
after sunrise on the Saturday
morning.

CANTO XX.

243

INFERNO.

thee, a n y t i m e in t h e deep w o o d . "

1

T h u s h e s p a k e to m e ,

a n d w e w e n t on m e a n w h i l e .
Sì mi parlava, ed andavamo introcque.

130

130, Introcque, frattanto ; Lat. inter hoc.
1

Somewhat helped tliee in the
Dark Wood, before thou sawest the
Hill " clothed with the rays of the
Sun." Canto i.
'The Moon is " the lesser light "

(Philosophy in the n^stic sense,
or mere human Knowledge, pure
but cold and feeble reflex of the
Sun), " made to rule the Night."
Gen. i. 16.

ARGUMENT.
The Poets come to the arch of the Fifth Chasm or Budget which holds
the Barterers or Barrators, the malefactors who made secret and vile
traffic of their Public offices and authority, in order to gain money.
And as the Tyrants and Assassins (canto xii.) are steeped in boiling
Blood, and have the Centaurs (emblems of Violence) watching them
with arrows, and keeping each at his proper depth ; so here the Barterers lie covered with filthy Pitch which clings to them, and get
themselves rent in pieces by horrid Demons—Shadows of their sins—
whenever they appear above its surface. The chasm is very dark,
and at first Dante can see nothing but the pitch boiling in it. A
Demon arrives with one of the Senators of Lucca on his shoulders,
throws him down from the bridge, tells what a harvest of Barrators
there is in that city, and hastens away for more. Other Demons,
hitherto concealed beneath the bridge (like secret sins), rush out and
fiercely teach the poor sneaking senator under what conditions he has
to swim in the pitch. After, some parley with Malacoda, chief of the
Fiends, the poets are sent on, along the edge of the chasm, with an
ugly and questionable escort of Ten.

246

INFERNO.

CANTO XXI.

CANTO X X I .
THUS from b r i d g e to b r i d g e we came, w i t h other t a l k
w h i c h m y Comedy cares n o t t o recite ; a n d h e l d t h e s u m mit, 1 w h e n w e stood still t o see t h e o t h e r cleft of M a l e bolge a n d other v a i n l a m e n t i n g s : a n d I found i t m a r v e l lously d a r k .
A s in t h e a r s e n a l 2 of t h e V e n e t i a n s boils t h e c l a m m y
pitch, t o

caulk their damaged

ships, i n w i n t e r

when

t h e y c a n n o t n a v i g a t e ; and, i n s t e a d thereof, 3 one builds
his ship a n e w , one p l u g s t h e r i b s of t h a t w h i c h h a t h
m a d e m a n y voyages ; some h a m m e r a t t h e p r o w , some a t
Cosi di ponte in ponte, altro parlando
Che la mia Commedia cantar non cura,
Venimmo ; e tenevamo il colmo, quando
Bistemmo per veder 1' altra fessura
Li Malebolge, e gli altri pianti vani :
E vidila mirabilmente oscura.
Quale neh" Arzanà de' Viniziani
Bolle l ' i n v e r n o la tenace pece
A l'impalmar li legni lor non sani,
Che navicar non ponno ; e in quella vece
Chi fa suo legno nuovo, e chi ristoppa
Le coste a quel che più viaggi fece ;
Chi ribatte da proda, e chi da poppa ;
1

Of the fifth arch. So Milton :
" The star that bids the shepherd
fold,
Now the top of Heaven doth hold. "

2

5

10

Busiest of Arsenals in those
times, when Dante saw it. Ar~
zana is the Venetian name.
3
Instead of voyaging.

CANTO XXI.

INFERNO.

247

the sfcern ; some make oars, and sosie twist ropes ; one
mends the jib, and one the mainsail : So, not by fire but
by art Divine, a dense pitch boiled down there, and
overglued the banks on every side. I t I saw ; but saw
nought therein, except the bubbles which the boiling
raised, and the heaving and compressed subsiding of the
whole. 1
Whilst I was gazing fixtly down on it, my Guide,
saying, " Take care, take care ! " drew 2 me to him from
the place where I was standing. Then I turned round,
like one who longs to see what he must shun, and who
is dashed with sudden fear, so that he puts not off his
Altri fa remi, ed altri volge sarte ;
Chi terzeruolo, ed artimon rintoppa :
Tal, non per fuoco, ma per divina arte
Bollia laggiuso una pegola spessa,
Che inviscava la ripa d' ogni parte.
Io vedea lei, ma non vedeva in essa
Ma' che le bolle che il bollor levava,
E gonfiar tutta, e riseder compressa.
Mentri io laggiù fisamente mirava,
Lo Duca mio dicendo : Guarda, guarda !
Mi trasse a se del luogo dov' io stava.
Àllor mi volsi come 1' uom, cui tarda
Di veder quel che gli convien fuggire,
E cui paura subita sgagliarda,
Che, per veder, non indugia il partire :
1
Lit. : t{ And saw the whole
swell, and subside compressed."
2
" Drew me " with that cry of
his; made me rush to him, like

15

20

25

one who is so daunted by a sudden fear that " he delays not his
departing " to look—runs first and
then looks round

248
flight

INFERNO.
t o look ; a n d b e h i n d u s I

come r u n n i n g u p t h e cliff.
aspect !

CASTO XXI.
saw a black

Demon

A h , h o w ferocious way h i s

A n d h o w b i t t e r h e seemed to m e in

gesture,

w i t h h i s w i n g s o u t s p r e a d , a n d l i g h t of foot ! 1

His shoul-

ders t h a t w e r e s h a r p a n d

with

haunches laded;
grasped.

high, a

" Ye Malebranche

3

Thrust him

1

under,

I r e t u r n for, o t h e r s 5 t o t h a t city w h i c h is well
E vidi dietro a noi un Diavol nero
Correndo su per lo scoglio venire.
Ahi quanto egli era neh" aspetto fiero !
E quanto mi parea nell' atto acerbo,
Con 1' ale aperte, e sovra i pie leggiero !
L' omero suo, eh' era acuto e superbo,
Carcava u n peccator con ambo 1' anche,
E d ei tenea de' piò ghermito il nerbo.
Del nostro ponte, disse, o Malebranche,
Ecco u n degli Anzian di Santa Zita :
Mettetel sotto, eh' io torno per anche
A quella terra che n' è ben fornito. "'

Or : " Light upon his feet."
A sinner laded the gibbous
shoulders of him; and he held
the " sinew " (tendon of Achilles
that lifts the heel) grasped in his
clutches.
3
Malebranche, i. e. Evil clutches
or talons. Name of the Fiends in
this chasm.
4
Elders or chief magistrates of
Lucca, where Santa Zita is still
venerated. Tradition says she
2

both
sinew2

of our b r i d g e ! " h e said,

" lo ! one of S a n t a Z i t a ' s E l d e r s . 4
while

sinner

a n d of each foot h e h e l d t h e

30

85

40

was a simple maid-servant of the
Fatinelli family, and for her holy
life canonized in the time of Dante.
The Elder here meant is probably
one Martino Bottajo, who "was
in office at that time (1300), and
died suddenly." Buti, and Ottimo
Com.
5
Other barterers. The adverbs
anche, anco, are often used for
altri, altro. See Cinonio Particelle, xxv. 8.

CANTO XXI. '

INFERNO.

provided w i t h t h e m .

E v e r y m a n t h e r e is a

except B o n t u r o : 1 t h e r e t h e y m a k e

249

' A y * of

barrator,
'No'

for

money."
Down he threw him, then wheeled along the

flinty

cliff; a n d n e v e r w a s mastiff loosed w i t h s u c h a h a s t e to
follow thief. 2
a g a i n writhing

The

sinner plunged in, and came

convolved. 3

up

B u t the Demons, who were

u n d e r cover of t h e b r i d g e , cried : " H e r e t h e Sacred F a c e
besteads n o t ; 4 h e r e swim y e o t h e r w i s e t h a n i n t h e
Ogni uom v' è barattier, fuor che Bonturo :
Del no per li denar vi si fa ita.
Laggiù il buttò, e per lo scoglio duro
, Si volse ; e mai non fu mastino sciolto
Con tanta fretta a seguitar lo furo.
Quei s' attuffò, e tornò su convolto ;
Ma i Demon, che del ponte avean coverchio,
Gridar : Qui non ha luogo il Santo Volto ;
1

Ironically, Bonturo de' Dati
being the greatest of all barrators
or corrupters of Lucca, and well
known as such. Beny. da Imola
Com.; and Muratori Ber. Ital.
torn. xv.
2
" Loosed and set to follow
with such haste the thief."
3 <f
. . . Then Satan first knew
pain,
And writhed him to and fro
convolved."
Par. Lost, vi. 327.
Lombardi, Biagioli, &c. somewhat
arbitrarily make convolto mean
*' turned with head and feet
downward? ; " and Lombardi says,

Ser-

45

" this posture, similar to that of
one who is in fervent prayer, may
be the object of the Diabolic sarcasm which follows" in verse 48.
The sense of " besmeared, rolled
in the pitch" has an air of platitude here, in spite of all the
irrelevant examples cited by the
Cruscans. The nearest and plainest meaning is obviously that of
the Lat. convolutus, from which
the word is immediately derived.
4
No hypocritical prayers can
help thee here. The " Folto
Santo? a very ancient Crucifix,
still standing in the Cathedral of
Lucca, and venerated there.

250

" CANTO XXI.

INFERNO.

chio. 1 Therefore, u n l e s s t h o u wishest t o m a k e t r i a l of our
d r a g s , come n o t out above t h e pitch.''
him

with

more

than

a

hundred

Then they struck
prongs,

and

said :

" Covered t h o u m u s t dance t h e e h e r e ; 2 so t h a t , if t h o u
c a n s t , t h o u m a y est pilfer p r i v a t e l y . "
the

cooks m a k e t h e i r

vassals

N o t otherwise do

dip t h e

flesh

into

the

m i d d l e of t h e boiler w i t h t h e i r h o o k s , t o h i n d e r it from
floating.
T h e k i n d M a s t e r said to m e : " T h a t i t m a y n o t b e
seen t h a t t h o u a r t h e r e , cower d o w n b e h i n d a j a g g w h i c h
h a s some screen for t h e e ; 3 a n d w h a t e v e r o u t r a g e m a y b e
done to m e , fear n o t t h o u ; for I k n o w t h e s e m a t t e r s ,

Qui si nuota altrimenti che nel Serchio :
Però se tu non vuoi de' nostri grani,
Non far sovra la pegola soverchio.
Poi T addentar con più di cento raffi,
Disser : Coverto convien che qui balli,
Sì che, se puoi, nascosamente accani.
Non altrimenti i cuochi a' lor vassalli
F a n n o attuffare in mezzo la caldaia
L a carne cogli uncin, perchè non galli.
Lo buon Maestro : Acciocché non si paia
Che t u ci sii, m i disse, giù t' acquatta
Dopo uno scheggio, che alcun schermo t' haia ;
E per nulla offension, che a me sia fatta,
Non temer tu, eh* io ho le cose conte,
1

50

55

60

River that passes near Lucca, i 3 Or : " So that thou mayest
Must have thy sport here
have some screen for thyself." Tu
under cover of the boiling pitch ; post (" dopo ") carecta latebas.
and barter in it if thou canst.
I Eclog. iii. 20.
2

CANTO XXI.

INFERNO.

251
l

having once before been in the like affray."
Then hepassed beyond the head of the bridge ; and when he
arrived on the sixth bank, it was needful for him to have
a stedfast front. With that fury and that storm, wherewith the dogs rush forth upon the poor man who where
he stops suddenly seeks alms, rushed those Demons from
beneath the bridge, and turned against him all their
crooks. But he cried : " Be none of ye outrageous.
Before ye touch me with your forks, let one of you comeforth to hear me, and then take counsel about hooking1
me."
All cried : " Let Malacoda 2 go." Thereat one moved

Perch' altra volta fui a tal baratta.
Poscia passò di là dal co del ponte,
E com' ei giunse in su la ripa sesta,
Mestier gli fu d' aver sicura fronte.
Con quel furore, e con quella tempesta, '
Ch' escono i cani addosso al poverello,
Che di subito chiede ove s' arresta ;
Usciron quei di sotto al ponticello,
E volser contra lui tutti i roncigli ;
Ma ei gridò : Nessun di voi sia fello.
Innanzi che 1' uncin vostro mi pigli,
Traggasi avanti 1' un di voi che m' oda,
E poi di roncigliarmi si consigli.
Tutti gridaron : Vada Malacoda ;

1

65.

70

75

" Once before I was down i 2 Or : " Evil-tail," their Chief.
here
Well do I know the Smooth at first like Eraud (canto
way." See canto ix. 22-30.
I xviii.), and ending badly.

252

INFERNO.

CANTO XXI.

himself, t h e o t h e r s s t a n d i n g firm, a n d came to h i m , sayi n g : " W h a t will t h i s avail h i m ? "
" D o s t t h o u expect, M a l a c o d a , " said m y M a s t e r , " to
find I h a v e come h e r e , secure a l r e a d y a g a i n s t all y o u r
w e a p o n s , 1 w i t h o u t will D i v i n e a n d fate propitious ?

Let

m e p a s s on ; for i t is willed in H e a v e n t h a t I shew a n o t h e r
this savage way."2
T h e n w a s his p r i d e so fallen, t h a t h e let t h e h o o k d r o p
a t his feet, a n d said to t h e o t h e r s : " N o w s t r i k e h i m n o t ! "
A n d m y Guide t o m e : " 0

t h o u t h a t s i t t e s t cowering,

c o w e r i n g a m o n g s t t h e g r e a t splinters of t h e b r i d g e , securely
n o w r e t u r n to m e ! "

W h e r e a t I moved, a n d quickly c a m e

t o h i m ; a n d t h e D e v i l s all p r e s s e d forward, so t h a t

Perch' un si mosse, e gli altri stetter fermi ;
E venne a lui dicendo : Che gli approda ?
Credi tu, Malacoda, qui vedermi
Esser venuto, disse il mio Maestro,
Securo già da tutti i vostri schernii,
Senza voler divino e fato destro ?
Lasciami andar, che nel Cielo è voluto
Ch' io mostri altrui questo cammin Silvestro.
Allor gli fu 1' orgoglio sì caduto,
Che si lasciò cascar V uncino ai piedi,
E disse agli altri : Ornai non sia feruto.
E il Duca mio a me : 0 tu, che siedi
Tra gli scheggion del ponte quatto quatto,
Sicuramente ornai a me ti
riedi.
Perch' io mi mossi, ed a lui venni ratto ;

I

80

85

90

1
Or : Against all your defences, I 3 Or : "Woody" way ; always
hindrances.
| with allusion to the Dark Wood.

CANTO XXI.

INFERNO.

feared t h e y m i g h t not hold t h e compact.

253
A n d thus once

I s a w t h e footmen, w h o m a r c h e d o u t u n d e r t r e a t y from
Caprona, 1 fear

at

seeing t h e m s e l v e s

among- so

many

enemies.
I d r e w n e a r m y G u i d e w i t h m y w h o l e body, a n d t u r n e d
n o t a w a y m y eyes from t h e look of t h e m , w h i c h w a s n o t
good.

T h e y lowered t h e i r d r a g - h o o k s , a n d k e p t s a y i n g

t o one a n o t h e r : " Shall I t o u c h h i m on t h e r u m p ? "
a n d a n s w e r i n g : " Y e s , see t h o u nick h i m . "

2

But

E i Diavoli si fecer tutti avanti,
Sì eh' io temetti non tenesser patto.
E così vid' io già temer li fanti
Ch' uscivan patteggiati di Caprona,
Veggendo se tra nemici cotanti.
Io ni' accostai con tutta la persona
Lungo il mio Duca, e non torceva gli occhi
Dalla sembianza lor, eh' era non buona.
E i chinavan gli raffi, e : Vuoi eh' io '1 tocchi,
Diceva 1' un con 1' altro, in sul groppone ?
E rispondean : Sì, fa che gliele accocchi.
Ma quel Demonio, che tenea sermone
1
The fortress of Caprona on
the Arno, belonging to the Pisans
(Ghibellines), was taken by the
Guelphs of Lucca and Florence
in August, 1289. Vili. vii. 137.
Dante, at that time 24 years of
age, was present (probably as one
of the " 400 gentlemen troopers
from Florence ") during the brief
and furious siege. Crowds of the
common people, it is said, had

that

95

100

come to see the garrison march
out, and terrified them by shouting : Appicca, appicca ! " Hang,
hang! " See Com. of Beny. da
Imola, Ottimo, &c.
2
Properly, "nick it for him."
Gliele, in all the older authors, is
indeclinable, standing equally for
glielo (as here), gliela, glieli. Cinon.
Partic. c. 119. Compare cantos x.
44, xxxiii. 149, &c.

254

INFERNO.

CANTO XXI.

D e m o n , w h o h a d s p o k e n w i t h m y Guide, t u r n e d i n s t a n t
r o u n d , a n d said : " Quiet, quiet, S c a r a m i g l i o n e I " 1
T h e n h e said to u s : " To g o f a r t h e r b y t h i s cliff will
n o t foe possible : for t h e s i x t h a r c h lies all in f r a g m e n t s a t
the bottom.

A n d if i t please y o u still to g o o n w a r d , g o

a l o n g t h i s c a v e r n : 2 n e a r a t h a n d is a n o t h e r cliff w h i c h
forms a p a t h .

Y e s t e r d a y , five h o u r s later t h a n t h i s h o u r ,

a t h o u s a n d t w o h u n d r e d a n d sixty-six y e a r s w e r e fulfilled
s i n c e t h e w a y h e r e was broken. 3

T h i t h e r w a r d 4 I send

Col Duca mio, si volse tutto presto
E disse : Posa, posa, Scarmiglione.
Poi disse a noi : Più oltre andar per questo
Scoglio non si potrà; perocché giace
Tutto spezzato al fondo 1' arco sesto :
E se 1' andare avanti pur vi piace,
Andatevene su per questa grotta :
Prèsso è u n altro scoglio che via face.
Ier, più oltre cinqu' ore che quest' otta,
Mille dugento con sessanta sei
Anni compier, che qui la via fu rotta.

105

110

112. Otta for ora; st ill used in Tuscany.
1

" Great Unkempt," or " Tow- I
zer" {scarmigliare) ; shadowy representative of the disorder and j
foul practice of barratry.
2
" Grotto," chasm of the pitch.
3
This passage (like verse 1st, I
•canto i.) indicates the time of
Dante's descent. The (i way here
was broken " after the Crucifixion
{canto xii. 40), when " the earth
did quake and the rocks rent." To
J 266 add 34 (the number of years |

from the Nativity to the Crucifixion), and it gives 1300.
Hell " trembled in every part "
at the great even t, whereby "Death
was swallowed up in Victory;"
but the shook was most felt in the
circles of the Violent (canto xii.)
and of the Hypocrites (can. xxiii.)
—-"hateful accusers and crucifiers
of the Meek and Spotless.
4
Toward that " other cliff which
forms a path," verse 111.

CANTO XXI.
some of

INFERNO.
these

airing himself.

my men, to look if any one

255
be out

Go with them ; for they will not be

treacherous.
" D r a w forward, Alienino 1 and Calcabrina," he then
began to say, " and thou, Cagnazzo ; and let Barbariccia
lead the ten.

Let Libicocco come besides, and Draghig-

nazzo, tusked Oiriatto, and Grafhacane, and Farfarello,
and furious Iiubicante.

Search around the boiling glue.

Io mando verso là di questi miei
A riguardar s' alcun se ne sciorina :
Gite con lor, eh' ei non saranno rei.
Tratti avanti, Ahchino e. Calcabrina,
Cominciò egli a dire, e tu, Cagnazzo,
E Barbariccia guidi la decina.
Libicocco vegna oltre, e Draghignazzo,
Ciriatto sannuto, e Graffiacane,
E Farfarello, e Eubicante pazzo.
1
In the names of these ten
Fiends thus mustered by Malacoda, Landino and others find
that Dante tl expresses the passions, habits,' and deeds of Barrators."
The derivations are
partly fanciful, yet not without
some shadow of real significance.
Thus : Alichino (ali china),"bends
his wings," ready to " stoop," and
pounce. Calcabrina is " Tramplegrace," or Barratry doing its
work ; Cagnazzo {pane, canto
xxxii. 70), "Dogface." Barbariccia {barba arricciata), " Crisp-

115

120

beard ; " for, " according to physiognomists, the crisped or curled
beard denotes fraudulency." Libicocco (Libia cocco), " Blackred "
or " Scarletmoor 5 " wearing the
livery of Hell. Draghignazzo
(dragò), " Dragonface ; " Ciriatto
(xoipog, ciro still vulgarly used
for porco), " Swiny ;" Graffiacane,
" Dogscratcher ;" Farfarello (farfalla, butterfly, or farfarone),
"Hellbat" or "Babbler;" Rubicante, " Ruby " or " Blazer," redhot and mad with barratry. See
them in action, canto xxii.

256

INFERNO.

CANTO XXI.

B e t h e s e two guided safe t o t h e o t h e r c r a g , w h i c h all u n b r o k e n goes across t h e d e n s . "

1

" Oh me ! Master, what is this that I see ? " said I :
" Ah, without escort let us go alone, if thou knowest
the way ; for as to me, I seek it not !

If thou beest so

wary, as thou art wont, dost thou not see how they grin
their teeth, and with their brows threaten mischief to
us?,?
And he to me : " I would not have thee be afraid.

Let

them grin on at their will ; for they do it at the boiled
wretches." 2

Cercate intorno le bollenti pane ;
Costor sien salvi insino all' altro scheggio,
Che tutto intero va sovra le tane.
0 me I Maestro, che è quel che io veggio ?
Diss' io : deh senza scorta andiamci soli,
Se t u sa' ir, eh' io per m e non la cheggio.
Se t u sei sì accorto come suoli,
Non vedi t u eh' ex digrignan li denti,
E con le ciglia ne minaccian duoli ?
E d egli a me : Non vo' che t u paventi :
Lasciali digrignar pure a lor senno,
Ch' ei fanno ciò per li lessi dolenti.

125

130

135

124. Pane, panie, birdlime, pitch.
1

Other cliff (verse 111) or line
of bridges, which crosses the
" dens " or chasms ; but is not
"unbroken," as lying Malacoda
asserts. See canto xxiii. 136.

2

Lit. : " They do this for the
boiled doleful," i.e. for the sinners
boiled in the pitch. Some good
editions read lesi, instead of lessi, inverse 135.

CANTO XXI.

INFERNO.

B y t h e sinister b a n k t h e y t u r n e d ;

257
x

but

first,

each of

them h a d p r e s s e d h i s t o n g u e b e t w e e n t h e teeth, 2 t o w a r d
t h e i r C a p t a i n as a signal ; a n d h e of his

had made a

trumpet.3

Per 1' argine sinistro volta dienno ;
Ma prima avea ciascun la lingua stretta
Co' denti verso lor duca per cenno :
E d egli avea del cui fatto trombetta.
13G. Dienno, dieder< 5 asfenno, fecero,
1

Along the part of the bank I
which lies on the left hand in descending from the bridge.
2
The Demons think that Virgil
and Dante are caught by the lies
of Malaeoda ; and here among
Barrators they make the same base
signal, with their tongues, as the
Usurer in canto xvii. 74.
The Poet mentions these things,
says Pietro di Dante, ut osten- \
dab turves mores et actus horum \

talmm, " in order to show the vite
habits and acts of such people."'
The Avaricious and Prodigal
(canto viL), the Usurers (canto
xvii.), and the Barrators, descend in regular degradation. All
of them have "lost the bright
life " through worship of Money,
which is with Dante the basest of
idols.
3
2aX7riy£ b irpioKTOg iariv, &c„
Aristoph. Nubes, 165,

S

ARGUMENT.
The Demons, under their " great Marshal " Barbariccia, lead the way,
' along the edge of the boiling Pitch ; and Dante, who keeps looking
sharply, relates how he saw the Barrators lying in it, like frogs in
ditch-water, with nothing but their " muzzles " out, and instantly
vanishing at sight of Barbariccia 5 and how Graffiacane hooked one
of them and hauled him up like a fresh-speared otter, all the other
Demons gathering round and tarring on Rubicante to mangle the unlucky wretch. At Dante's request, Virgil goes forward, and asks
him who he is 5 and no sooner does the pitchy thief mention how he
took to barratry in the service of worthy King Thibault of Navarre,
than he is made to feel the bitter force of Ciriatto's tusks. Barbariccia now clasps him with both arms, and orders the rest to be quiet,
till Virgil has done with questioning. But " Scarletmoor " loses
patience ; * Dragon face " too will have a clutch at the legs ; Farfa*
rella, a wicked Hell-bird" that he is, glares ready to strike; and
their " Decurion " has difficulty in keeping them off. At last the
cunning barrator, though Cagnazzo raises his dog-face in scornful
opposition, plays off a trick by which he contrives to escape. Thereupon Calcabrina and Alichino fall to quarrelling, seize each other like
two mad vultures, and drop into the burning pitch ; and the whole
troop is left in fitting disorder.

260

INFERNO.

CANTO XXH.

CANTO X X I I .
I HAYB ere n o w

seen h o r s e m e n

m o v i n g camp, and

c o m m e n c i n g t h o assault, a n d h o l d i n g t h e i r m u s t e r , a n d
a t t i m e s r e t i r i n g to escape : coursers h a v e I seen u p o n
y o u r land, O A r e t i n e s ! x a n d seen t h e m a r c h of foragers,
t h e shock of t o u r n a m e n t s a n d r a c e of j o u s t s , n o w w i t h
t r u m p e t s , a n d now w i t h bells, 2 w i t h d r u m s a n d castleIo vidi già cavalier muover campo,
E cominciare stormo, e far lor mostra,
E talvolta partir per loro scampo :
Corridor vidi per la terra vostra,
0 Aretini ; e vidi gir gualdane,
Ferir torneamenti, e correr giostra,
Quando con trombe, e quando con campane,
Con tamburi e con cenni di castella,
1

The people of Arezzo, chiefly
Ghibelline, were almost continually at war with the Florentines.
They and their allies were sorely
defeated in the memorable battle
of Campaldino, on Saturday, 1st
June 1289. Vill.yii.l2il.
Dante
was there, as he says, "no child
in arms (non fanciullo nelV armi) ;
and had much dread, and in the
end great joy, through the various
chances of that battle." See extract from a Letter (written in his
exile). L. Aretino, Vita di Dante.

2

5

Such as the " Martinella,"
the bell " to sound of which the
Florentines used to march" in
Dante's boyhood ; and which they
haughtily " rung day and night "
before marching, in order " to
give the enemy due warning to
prepare." See the curious description of their old Carroccio, " all
painted vermilion, and drawn by
a large pair of oxen, destined
solely for that purpose," &c. Malespini, c. 164 ; copied by Vili. vi.
75.

CANTO XXII.

INFERNO.

261

signals, a n d w i t h n a t i v e t h i n g s a n d foreign ; b u t n e v e r
y e t t o so u n c o u t h a c o r n e t s a w I cavaliers n o r footmen
m o v e , n o r s h i p b y m a r k of l a n d or star.
W e w e n t w i t h t h e t e n D e m o n s : A h , h i d e o u s company ! but,

6

In church

i n t h e tavern,'*•

w i t h saints, a n d w i t h g u z z l e r s

Y e t m y i n t e n t w a s on t h e p i t c h , t o see

e a c h h a b i t of t h e c h a s m

and

of t h e people t h a t were

b u r n i n g in i t .
As

dolphins, w h e n w i t h t h e a r c h

of t h e b a c k t h e y

m a k e s i g n 2 to m a r i n e r s t h a t t h e y m a y p r e p a r e t o save
t h e i r ship ; so n o w a n d t h e n , t o ease t h e p u n i s h m e n t ,
E con cose nostrali, e con istrane ;
Ne già con sì diversa cennamella
Cavalier vidi mover, ne pedoni,
Ne nave a segno di terra o di stella.
Noi andavam con li dieci Dimoni :
Ahi fiera compagnia ! m a nella chiesa
Co' santi, ed in taverna co' ghiottoni.
Pure alla pegola era la mia intesa,
Per veder della bolgia ogni contegno,
E della gente eh' entro v' era incesa.
Come i delfini, quando fanno segno
Ai marinar con 1' arco della schiena,
Che s' argomentin di campar lor legno ;
Talor così ad alleggiar la pena
1
And, in this chasm of the Barrators, with low savage Demons ;
whose company, though extremely
detestable, must be endured for a
time.
3
When the dolphins (" bended

10

15

20

dolphins" of Milton) rise above the
water with their arched backs, it is
a sign of approaching storm. Pliny
says : Delphini tranquillo mari lascivientes flatum proesagiimt, &c.
Hist. Nat. xviii. 35.

2G2

INFERNO»

CANTO XXII.

some sinner s h o w e d h i s b a c k a n d h i d i n less time
it lightens.

than

A n d as a t t h e edge of t h e w a t e r of a d i t c h ,

t h e frogs stan d only w i t h t h e i r muzzles out, so t h a t t h e y
h i d e their feet a n d
h a n d t h e sinners.

other b u l k ; t h u s stood on

every

B u t as Barbariccia approached, t h e y

i n s t a n t l y r e t i r e d b e n e a t h t h e seething. 1

I saw, a n d m y

h e a r t still s h u d d e r s

so, as it

happen
away.

thereat,

one l i n g e r

t h a t one frog r e m a i n s w h i l e t h e o t h e r

will

spouts

A n d Graffiacane, w h o w a s n e a r e s t to him, 2 h o o k e d

his p i t c h y locks a n d h a l e d h i m u p , so t h a t to m e h e
seemed a n otter. 3
I a l r e a d y k n e w t h e n a m e of e v e r y one, so well I n o t e d

Mostrava alcun de' peccatori il dosso,
E nascondeva in men che non balena.
E come all' orlo dell' acqua d' un fosso
Stan li ranocchi pur col muso fuori,
Sì che celano i piedi e 1' altro grosso ;
Sì stavan d' ogni parte i peccatori :
Ma come s' appressava Barbariccia,
Così si ritraean sotto i bollori.
Io vidi, ed anche il cuor mi s' accaglicela,
Uno aspettar così, com' egli incontra
Che u n a rana rimane, e 1' altra spiccia.
E Graffiacan, che gli era più di contra,
Gli arroncigliò le impegolate chiome,
E trassel su, che m i parve una lontra.
Io sapea già di tutti quanti il nome,
1

25

30'

35

" Boilings " of the pitch.
I 3 Glittering with pitch, and
Lit : (< Was most opposite to i writhing, like an otter newly
him," and therefore nearest.
| speared and dragged out of water.
2

CANTO XXII.

INFERNO.

263

them as they were chosen, and when they called each
other, listened how. " 0 Rubicante, see thou plant thy
clutches on him, and flay him ! " shouted together all the
accursed crew.
And I : " Master, learn if thou canst, who is that
piteous iviglit,1 fallen into the hand of his adversaries.''
My Guide drew close to him, and asked him whence he
came ; and he replied : " I was born in the kingdom of
Navarre. My mother placed me as servant of a lord ;
for she had borne me to a ribald waster of himself and
of his substance. Then I was domestic 2 with the good

Sì li notai quando furono eletti,
E poi che si chiamaro, attesi come.
0 Kubicante, fa che tu gli metti
Gli unghioni addosso sì che tu lo scuoi,
Gridavan tutti insieme i maladetti.
Ed io : Maestro mio, fa, se tu puoi,
Che tu sappi chi è lo sciagurato
Venuto a man degli avversarj suoi..
Lo Duca mio gli s' accostò a lato,
Domandollo ond' ei fosse ; e quei rispose :
Io fui del regno di Navarca nato.
Mia madre a servo d' un signor mi pose,
Che m' avea generato d' un ribaldo
Distruggitor di sé e di sue cose.
Poi fui famiglia del buon re Tebaldo ;

40

45

50

1
The commentators call this j 2 Or : " Servant in the housebar terer Ciampolo or Giampolo, hold of." Famiglia means all the
i,e. John Paul.
I servants of a house, or one only.

264

INFERNO.

CANTO XXII.

king Thibault: 1 bere I set myself to doing barratry, of
which I render reckoning in this beat."
And Oiriatto, from whose mouth on either side came
forth a tusk as from a bog, made him feel how one of
thorn did rip. Amongst evil cats the mouse had ; come.;
but Barbariccia locked bim in his arms, and said : " Stand
off whilst I enfork him ! " 2 And turning his face to my
Master : u Ask on," he said, " if thou wouldst learn more
from him, before some other undo him."
The Guide therefore : " "Now say, of the other sinners
knowest thou any that is a Latian, 3 beneath the pitch ? "
Quivi mi misi a far baratteria,
Di che rendo ragione in questo caldo.
E Chiatto, a cui di bocca uscia
D' ogni parte una sanna, come a porco,
Gli fé' sentir come V una sdrucìa.
Tra male gatte era venuto il sorco ;
Ma Barbariccia il chiuse con le braccia,
E disse : State in là, mentr' io lo inforco.
E al Maestro mio volse la faccia :
Dimanda, disse, ancor, se più disii
Saper da lui, prima eh' altri il disfaccia.
Lo Duca dunque : Or di', degli altri rii
Conosci tu alcun che sia Latino,

55

60

65

1
2
Thibault II. of Navarre, born
Hold him securely, clasp hjm
in 1240, and made king at 13 years with arms and legs.
3
of age 5 was at Tunis with St.
An Italian, Latino being used
Louis, and saw him die in 1270. by Virgil in this sense, as cantos
Son of the Thibault whose verses xxvii. 33, xxix. 88, &c.
Dante quotes in the Treatise De
Vulg. Eloq. i. 29 ; ii. 5,6.

CANTO XXII.

INFERNO.

265

And he : " I parted just now from one who was a
neighbour of theirs. 1 Would I still were covered with
him, for I should not fear claw nor hook ! "
And Libicocco cried : " T o o much have we endured!"
and with the hook seized his arm, and mangling carried
off a part of brawn. Draghignazzo, he too, wished to
have a catch at the legs below ; whereat their Decurion 2
wheeled around around with evil aspect.
When they were somewhat pacified, my Guide without
delay asked him that still kept gazing on his wound :
>" Who was he, from whom thou sayest that thou madest
an ill departure to come ashore ? "

Sotto la pece ? E quegli : Io mi partii
Poeo è, da un che fu di là vicino :
Così foss' io ancor con lui coverto,
Ch' io non temerei unghia, ne uncino.
E Libicocco : Troppo avem sofferto,
Disse ; e presegli il braccio col ronciglio,
Sì che, stracciando, ne portò un lacerto.
Draghignazzo anch' ei volle dar di piglio
Giù dalle gambe ; onde il decurio loro
Si volse intorno intorno con mal piglio.
Quand' elli un poco rappaciati foro,
A lui eh' ancor mirava sua ferita,
Dimandò il Duca mio senza dimoro :
Chi fu colui, da cui mala partita
Di' che facesti per venire a proda ?

70

75

80

1
Lit. : " Neighbour beyond " I 2 Barbariccia, captain of Ten ;
them, or in Sardinia. See ver. 82. | " provost" or marshal, verse 94.

266

INFERNO.

CANTO XXII.

And he answered : " I t was Friar Gomita, he of
Gallura, 1 vessel of every fraud, who had his master's
enemies in hand, and did so to them that they all praise
him for it. Money took he for himself, and dismissed
them smoothly, 2 as he says ; and in his other offices
besides, he was no petty but a sovereign barrator. With
him keeps company Don Michel Zanche of Logodoro ; and in speaking of Sardinia the tongues of them do
not feel weary. Oh me ! see that other grinning : I
would say more ; but fear he is preparing to claw my
scurf."
And their great Marshal, turning to Farfarello, who
Ed ex rispose : Fu frate Gomita,
Quel di Gallura, vasel d' ogni froda,
Ch' ebbe i nimici di suo donno in mano,
E fé' lor sì, che ciascun se ne loda :
Denar si tolse, e lasciolli di piano,
Sì com' ei dice : e negli altri uficj anche
Barattier fu non picciol, ma sovrano.
Usa con esso donno Michel Zanche
Di Logodoro ; e a dir di Sardigna
Le lingue lor non si sentono stanche.
O me ! vedete 1' altro che digrigna :
Io direi anche ; 'ma io temo eh' elio
Non s' apparecchi a grattarmi la tigna.
E il gran proposto, volto a Farfarello
1
The government of Gallura,
one of the four Jurisdictions of
Sardinia, was given to this Gomita
by Nino de' Visconti of Pisa.
2
Took a bribe, and let them go.

90

Di piano, (Lat. de plano, Span.
de llano,) then a legal, or perhaps
Sardinian phrase.
3
Logodoro, another of the Jurisdictions of Sardinia.

CANTO XXII.

INFERNO.

267

rolled his eyes to strike, said : " Off with thee, villanous
bird ! "
" If you wish to see or hear Tuscans or Lombards,' 3
the frightened sinner then resumed, " I will make them
come. But let the Malebranche stand a little back, that
they may not fear their vengeance ; 1 and I, sitting in
this same place, for one that I am, will make seven come,
on whistling as is our wont to do when any of us gets
out."
Cagnazzo at these words raised his snout, shaking his
head, and said : " Hear the malice he has contrived, to
throw himself down ! "
Whereat he, who had artifices in great store, replied :
Che stralunava gli occhi per ferire,
Disse : Fatti in costà, malvagio uccello.
Sé voi volete vedere o udire,
Bicominciò lo spaurato appresso,
Toschi o Lombardi, io ne farò venire.
Ma stien le Malebranche un poco in cesso,
Sì che non teman delle lor vendette ;
Ed io, seggendo in questo luogo stesso,
Per un eh' io son, ne farò venir sette,
Quando sufolerò, com' è nostr' uso
Di fare allor che fuori alcun si mette.
Cagnazzo a cotal motto levò il muso,
Crollando il capo, e disse : Odi malizia
Ch' egli ha pensato per gittarsi giuso.
Ond' ei, eh' avea lacciuoli a gran divizia,
1

95

100

105

Let the Demons with their I that my fellows may not fear their
" evil clutches give way a little," | vengeance.

268

INFERNO.

CANTO XXII.

" T o o malicious i n d e e d ! w h e n I c o n t r i v e for m y companions g r e a t e r s o r r o w . "
Alichino held in no l o n g e r , a n d in opposition t o t h e
o t h e r s said to h i m : " I f t h o u stoop, I will n o t follow t h e e
a t gallop, 1 b u t b e a t m y w i n g s above t h e p i t c h . L e t t h e
h e i g h t be left, a n d be t h e b a n k a screen ; 2 to see if t h o u
alone p r e v a i l e s t over u s . "
O R e a d e r , t h o u s h a l t h e a r n e w sport. A l l t u r n e d
t h e i r eyes t o w a r d t h e o t h e r side, h e first w h o h a d b e e n
m o s t u n r i p e 3 for doing i t . T h e JSTavarrese chose well his
t i m e ; p l a n t e d his soles u p o n t h e g r o u n d , a n d in a n
i n s t a n t l e a p t a n d from t h e i r p u r p o s e freed himself.
Bispose : Malizioso son io troppo,
Quando procuro a' miei maggior tristizia !
Alichin non si tenne, e di rintoppo
Agli altri, disse a lui : Se tu ti cali,
Io non ti verrò dietro di galoppo,
Ma batterò sovra la pece 1' ali :
Lascisi il colle, e sia la ripa scudo,
A veder se tu sol più di noi vali.
0 tu, che leggi, udirai nuovo ludo :
Ciascun dall' altra costa gli occhi volse ;
Quel prima, eh' a ciò fare era più crudo.
Lo Navarrese ben suo tempo colse ;
Fermò le piante a terra, e in un punto
Saltò, e dal proposto lor si sciolse :
1
Will not run, but fly after
thee ; have wings as well as feet.
2
Banks high in the middle,
and capable of being a screen or
" shield " to hide the demons.

110

115

120

3
Cagnazzo (verse 106), who
had been hardest to persuade,
who turned up his snout, smelling the trick at once. Crudo from
Lat. crudus.

269

INFERNO.

CANTO XXII.

T h e r e a t each s u d d e n l y was s t u n g with rage ; b u t he m o s t
who had

been cause

of

the mistake.1

s t a r t e d forth, a n d s h o u t e d :

"Thou'rt

He

therefore

caught ! "

But

little it availed ; for w i n g s could n o t o u t s p e e d t h e t e r r o r .
The sinner went under ; and
breast. 2

he,

flying,

raised u p his

N o t otherwise t h e d u c k s u d d e n l y dives d o w n ,

w h e n t h e falcon approaches ; a n d h e r e t u r n s u p a n g r y and
defeated.
Calcabrina, furious a t t h e t r i c k , k e p t flying after him-,
desirous t h a t t h e sinner m i g h t escape, to h a v e a q u a r r e l ;
a n d , w h e n t h e b a r r a t o r h a d disappeared, h e t u r n e d his
talons, on his fellow, a n d w a s c l u t c h e d w i t h h i m above
the ditch.

B u t t h e o t h e r w a s i n d e e d a s p a r r o w h a w k to

Di che ciascun di colpo fu compunto,
Ma quei più, che cagion fu del difetto.
Però si mosse, e gridò : Tu se' giunto.
Ma poco valse ; che 1' ale al sospetto
Non poterò avanzar : quegli andò sotto,
E quei drizzò, volando, suso il petto.
Non altrimenti V anitra di botto,
Quando il falcon s' appressa, giù s' attuffa,
E d ei ritorna su crucciato e rotto.
Irato Calcabrina della buffa,
Yolando dietro gli tenne, invaghito
Che quei campasse, per aver la zuffa.
E come il barattier fu disparito,
Così volse gli artigli al suo compagno,
E fu con lui sovra il fosso ghermito.

125

130

135

1
Alienino (see verse 112, &c), I 2 Wheeled upwards again, like
who made the rest retire.
J an angry falcon.

270

INFERNO.

CANTO XXII.

c l a w h i m well ; a n d b o t h d r o p t d o w n i n t o t h e m i d d l e of
t h e b o i l i n g pond.

T h e h e a t a t once u n c l u t c h e d 1 t h e m ;

b u t rise t h e y could not, t h e i r wings w e r e so b e g l u e d .
Barbariccia w i t h t h e r e s t l a m e n t i n g , m a d e four of t h e m
fly over to t h e other coast w i t h all t h e i r d r a g s : a n d m o s t
r a p i d l y , on t h i s side, on t h a t , t h e y descended to t h e s t a n d .
T h e y s t r e t c h e d t h e i r h o o k s t o w a r d s t h e l i m e d pair,
w e r e a l r e a d y scalded w i t h i n

t h e crust. 2

And we

who
left

t h e m t h u s embroiled. 3
*

Ma 1' altro fu bene sparvier grifagno
Ad artigliar ben lui ; e ambedue
Cadder nel mezzo del bollente stagno.
Lo caldo sghermitor subito fue :
Ma però di levarsi era niente,
Sì ave ano inviscate 1' ale sue.
Barbariccia con gli altri suoi d'olente,
Quattro ne fé' volar dall' altra costa
Con tutti i raffi : e assai prestamente
Di qua di là discesero alla posta ;
Porser gli uncini verso gì* impaniati,
Ch' eran già cotti dentro dalla crosta.
E noi lasciammo lor così impacciati.

1
The word sghermitor (unclutcher, separator) comes from
ghermire, to gripe, clutch. Some
editions have schermitor,.instead
of sghermitor, in verse 142.
2
Of boiling pitch that was clinging to them. Verses 141-4.

140

145

150

3
The simile of the frog and
mouse, in next canto, will be
Dante's last parting stroke. He
himself was exiled, as we know,
under a miserable charge of " barr a t r y " which he never took the
trouble of denying.

ARGUMENT.
Dante keeps following his Guide in silence, with head bent down,
meditating on the things he has had to witness in that chasm of the
pitch. The fable of the Frog and the Mouse comes into his mind ;
then fear that the ugly Demons may seek vengeance for their misfortune. He sees them coming with outstretched wings, when Virgil
takes him in his arms, and rapidly glides down with him into the
next chasm. Here they find the Hypocrites walking along the
narrow bottom in slow procession, heavy-laden with cloaks of lead,
which are gilded and of dazzling brightness on the outside. Dante
speaks with Catalano and Loderingo, two Friars of Bologna, who
had been appointed chief magistrates of Florence under trying circumstances, and brought memorable disasters on that city by their
hypocrisy and corruption ; and has j ust begun to tell them what he
thinks of their evil deeds, when he observes Caiaphas stretched
across the narrow road, and fixed to it, in such a way that all the
other Hypocrites have to trample on him as they pass. The sight
of that High Priest and his ignominious punishment is enough.
Hypocrisy did its very utmost, in him and "the others of that
Council," for which the Jews still suffer. The Poets hasten away to
another class of sinners.

272

INFERNO.

CANTO

CANTO XXIII.

XXIII.

SILENT, a p a r t , and w i t h o u t escort we w e n t on, t h e one
before a n d t h e o t h e r after ; as t h e Minor F r i a r s 1
their w a y .

go

M y t h o u g h t w a s t u r n e d , b y t h e p r e s e n t strife,

to i E s o p ' s fable w h e r e h e s p e a k s of t h e frog a n d m o u s e ; 2
for A y a n d Y e a pair n o t b e t t e r , 3 t h a n does t h e one case
w i t h t h e other, if w i t h a t t e n t i v e m i n d t h e b e g i n n i n g a n d
end of each be well accoupled. 4

A n d as one t h o u g h t from

<
*
TACITI, soli, e senza compagnia
W andavam V u n dinanzi e Y altro dopo,
Come i frati Minor vanno per via.
Volto era in su la favola d' Isopo
Lo mio pensier per la presente rissa,
Dov' ei parlò della rana e del topo :
Che più non si pareggia mo ed issa,
Che 1' un coli' altro fa, se ben s' accoppia
Principio e fine con la mente fìssa :
E come l ' u n pensier dell' altro scoppia,
1

Silent and bent like humble
Friars; thoughtful.
2
In the fab^e (here attributed
to JEsop), a country mouse makes
friendship with a treacherous frog.
They spend some time pleasantly
and dine together, and the frog
gets the foot of the mouse tied to
his own : then, coming to a lake
and croaking joyfully, he takes
the water with his friend 5 but a
kite sees the mouse on the surface,

5

10

pounces on him, pulls out the frog
too, and devours both.
3
Or : " are not more alike," &c.
The words in the original both
mean " now," and they often occur in Dante. Mo (Lat. modo) is
still used in Lombardy, and issa
(hàc i'psà horà) in Tuscany.
4
" Brought together and compared.'5 The one Demon gladly
seeks to injure the other, and both
fall into the pitch.

CANTO XXIII.

273

INFERNO.

the o t h e r s p r i n g s , so arose from t h a t a n o t h e r t h e n , w h i c h
m a d e m y first fear double.
through

I t h u s bethought me : " These

u s a r e p u t to scorn, a n d

with

damage

and

m o c k e r y of s u c h sort, as I believe m u s t g r e a t l y v e x t h e m .
I f r a g e be a d d e d t o their malice, t h e y will p u r s u e u s ,
fiercer

t h a n a dog t h a t l e v e r e t w h i c h h e s n a p s ! "

A l r e a d y I felt m y h a i r all rise w i t h fear ; a n d

was

l o o k i n g b a c k i n t e n t l y , 1 as I said : " M a s t e r , if t h o u do n o t
h i d e thyself a n d m e speedily, I d r e a d t h e M a l e b r a n c h e :
t h e y a r e a l r e a d y after u s .

I so i m a g i n e t h e m t h a t I h e a r

them now."
A n d he : " I f
draw thy

*
I w e r e of l e a d e d glass, 2 I should

outward image more

q u i c k l y to m e , t h a n

Così nacque di quello u n altro poi,
Che la prima paura mi fé' doppia.
Io pensava così : Questi per noi
Sono scherniti, e con danno e con beffa
Sì fatta, eh' assai credo che lor nói.
Se 1* ira sovra il mal voler s' aggueffa,
E i ne verranno dietro più crudeli,
Che cane a quella levre eh' egli acceffa.
Già m i sentia tutto arricciar li peli
Della paura, e stava indietro intento,
Quando io dissi : Maestro, se non celi
Te e me tostamente, io pavento
Di Malebranche : noi gli avena già dietro :
I o gli immagino sì, che già gli sento.
E quei : S' io fossi d' impiombato vetro,
« L ' i m m a g i n e di fuor tua non trarrei
1

" Was backwards intent."

|
T

2

If I were a mirror-glass.

not
I

15

20

2c

274
impress

INFERNO.
l

t h a t from w i t h i n .

CANTO XXIIT.

E v e n now t h y t h o u g h t s h a v e

entered a m o n g mine, w i t h similar act a n d similar face ;
so t h a t of b o t h I h a v e m a d e one resolve.

I n caso t h e

r i g h t coast so slopes, t h a t w e m a y descend i n t o t h e o t h e r
c h a s m , w e shall escape t h e i m a g i n e d c h a s e . "
H e had not ended giving this resolve, when I saw
t h e m come w i t h w i n g s e x t e n d e d , n o t far off, i n will t o
seize u s .

M y Guide s u d d e n l y t o o k m o ; as a m o t h e r —

t h a t is a w a k e n e d b y t h e noise, a n d n e a r h e r sees t h e
kindled

flames—who

t a k e s h e r child a n d flies, a n d c a r i n g

m o r e for h i m t h a n for herself, p a u s e s n o t so l o n g as even
to c a s t a shift a b o u t h e r .

A n d d o w n from t h e r i d g e of

Più tosto a me, che quella dentro impetro.
Pur mo venieno i tuoi pensier tra i miei
Con simile atto e con simile faccia,
Sì che d' entrambi u n sol consiglio fei.
S' egli è, che sì la destra costa giaccia,
Che noi possiam nell' altra bolgia scendere,
Noi fuggirem 1' immaginata caccia,
Già non compio di tal consiglio rendere,
Ch' io gli vidi venir con 1' ale tese,
Non molto lungi, per volerne prendere.
Lo Duca mio di subito m i prese,
Come la madre eh' al roniore è desta,
E vede presso a se le fiamme accese,
Che prende il figlio, e fugge, e non s' arresta,
Avendo più di lui che di se cura,
Tanto che solo una camicia vesta :
1

30

35

40

Receive and imprint in me, I thine which thou hast described,
as in stone, that inward image of | See verse 21, &c.

CANTO XXIII.

275

INFERNO.

t h e h a r d bank, supine h e g a v e himself to t h e p e n d e n t
r o c k , 1 w h i c h d a m s u p one side of t h e o t h e r c h a s m .
N e v e r did w a t e r r u n so fast t h r o u g h s p o u t to t u r n a
l a n d - m i l l ' s 2 wheel, w h e n i t

approaches

nearest

to

the

ladies, as m y M a s t e r d o w n t h a t b a n k , c a r r y i n g m e a w a y
u p o n h i s b r e a s t , as his son a n d n o t as his companion.
S c a r c e l y h a d his feet reached t h e bed of t h e d e p t h below,
w h e n t h e y r e a c h e d t h e h e i g h t above u s : b u t n o fear

it

g a v e h i m ; for t h e h i g h P r o v i d e n c e , t h a t willed to place
t h e m m i n i s t e r s of t h e fifth ditch, t a k e s t h e power of leavi n g i t from all.
E giù dal collo della ripa dura
Supin si diede alla pendente roccia,
Che 1' un de' lati all' altra bolgia tura.
Non corse mai sì tosto acqua per doccia
A volger ruota di mulin terragno,
Quand' ella più verso le pale approccia,
Come il Maestro mio per quel vivagno,
Portandosene me sovra il suo petto,
Come suo figlio, e non come compagno.
Appena furo i pie suoi giunti al letto
Del fondo giù eh' ei giunsero in sul colle
Sovresso noi : m a non gli era sospetto ;
Che 1' alta Providenza, che lor volle
Porre ministri della fossa quinta,
Potere indi partirsi a tutti tolle.
1
Placed himself supine, and
shot down the steep rock, or outer
boundary of next chasm.
2
Mill on land $ where water is
scarce, and led to the wheel in

45

50

55

a trough or spout. Dante here
takes his image from the poorest
kind of mills ; as he took that of
the mother from some humble
Italian cottage on fire.

276

INFERNO.

CANTO XXIII.

T h e r e b e n e a t h w e found a p a i n t e d people, w h o w e r e
g o i n g r o u n d w i t h steps exceeding slow, w e e p i n g , a n d in
t h e i r l o o k t i r e d a n d overcome.

T h e y h a d cloaks on, with

deep h o o d s before t h e i r eyes, m a d e in t h e s h a p e
t h e y m a k e for t h e m o n k s in Cologne.

x

that

Outward they are

gilded, 2 so t h a t it dazzles ; b u t w i t h i n all lead, a n d so
h e a v y , t h a t F r e d e r i c k ' s c o m p a r e d to t h e m w e r e s t r a w . 3
O w e a r y m a n t l e for e t e r n i t y !
W e t u r n e d a g a i n t o t h e left h a n d , 4 a l o n g w i t h
i n t e n t u p o n t h e i r d r e a r y weeping.

Laggiù trovammo una gente dipinta,
Che giva intorno assai con lenti passi,
Piangendo, e nel sembiante stanca e vinta.
Egli avean cappe con cappucci bassi
Dinanzi agli occhi, fatte della taglia
Che per li monaci in Cologna fassi.
Dì fuor dorate son, sì eh' egli abbaglia ;
Ma dentro tutte piombo, e gravi tanto,
Che Federigo le mettea di paglia.
0 in eterno faticoso manto !
Noi ci volgemmo ancor pure a m a n manca
Con loro insieme, intenti al tristo pianto :
1

i. e. with large hoods or cowls.
" Woe unto you, Scribes and
Pharisees, hypocrites! for ye are
like unto whited sepulchres, which
indeed appear beautiful outward,
but are within full of dead men's
bones and all uneleanness." Matt.
xxiii. 27. " God shall smite thee,
thou whited wall." Acts xxiii. 3.
2

them,

B u t t h a t people, t i r e d

60

65

3
Lit. : " That Frederick put
them of straw," light as straw.
Frederick II. is said to have burnt
in leaden cloaks those who were
guilty of high treason ; and some
of the Popes are said to have followed his example. See Ducange,
Glos. v. Capa or cappa plumbea.
4
As before. Canto xxi. 137.

CANTO XXIII.

INFERNO.

277

hy their burden, came so tìlowly that our company was
new at every movement of the hip. Wherefore I to my
Guide : " See that thou find some one who may by deed
or name be known ; and move thy eyes around as we go
on."
And one, who understood the Tuscan speech, cried
after us : " Stay your fee*., ye who run so fast through
the brown air. Perhaps thou shalt obtain from me that
which thou askest." Whereat my Guide turned round
and said : " Wait, and then at his pace proceed."
I stood still, and saw two, showing by their look great
haste of mind to be with me ; but the load and the
narrow way retarded them. When they came up, long
with eye askance they viewed me, without uttering a

Ma per lo peso quella gente stanca
Venia sì pian, che noi eravam nuovi
Di compagnia ad ogni muover d' anca.
Per eh' io al Duca mio : Fa che tu trovi
Alcun, eh' al fatto o al nome si conosca ;
E gli occhi, sì andando, intorno muovi.
Ed un, che intese la parola Tosca,
Dirietro a noi gridò : Tenete i piedi,
Voi, che correte sì per 1' aura fosca :
Forse eh' avrai da me quel che tu chiedi.
Onde il Duca si volse, e disse : Aspetta,
E poi secondo il suo passo procedi.
Eistetti, e vidi duo mostrar gran fretta
Dell' animo, col viso, d' esser meco ;
Ma tardavagli il carco e la via stretta.
Quando far giunti, assai con 1' occhio bieco

70

75

80

85

278
word.

INFERNO,

CANTO XXIII.

T h e n t h e y t u r n e d to one a n o t h e r , a n d said b e -

ifrween t h e m : " T h i s one seems alive b y t h e action of h i s
throat !

A n d if t h e y a r e dead, b y w h a t p r i v i l e g e go t h e y

d i v e s t e d of t h e h e a v y stole ? "

T h e n t h e y said t o ine :

" O T u s c a n , t h a t a r t come t o t h e c o l l e g e x of t h e sad
h y p o c r i t e s ! to tell u s w h o t h o u a r t disdain n o t . "
A n d I to t h e m : " O n A r n o ' s b e a u t e o u s river, in t h e
g r e a t c i t y 2 I w a s b o r n a n d g r e w ; a n d I am w i t h t h e
body that I have always had.

B u t you, w h o a r e y e from

w h o m distils s u c h s o r r o w as I see, down y o u r c h e e k s ?
A n d w h a t p u n i s h m e n t is on y e t h a t g l i t t e r s so ? "

Mi rimiraron senza far parola ;
Poi si volsero in sé, e dicean seco :
Costui par vivo all' atto della gola.
E s' ei son morti, per qual privilegio
Vanno scoverti della grave stola ?
Poi disserrai : 0 Tosco, eh' al collegio
Degl' ipocriti tristi se' venuto,
Dir chi tu se' non avere in dispregio.
E d io a loro : I ' fui nato e cresciuto
Sovra il bel fiume d' Arno alla gran villa,
E son col corpo eh' i' ho sempre avuto.
Ma voi chi siete, a cui tanto distilla,
Quant' io veggio, dolor giù per le guance ?
E che pena è in voi, che sì sfavilla ?

1

"Congregation of hypocrites."
Job xv. 34. " Hypocrites, of a sad
countenance " (hypocrites tristes
Vulcr.). Matt vi. 16.
2
" The fairest and most famous

90

95

daughter of Home, Florence . . . in
which I was born, and nourished
even to the summit of my life,"
&c. See Convito (Tr. i. 3), where
he speaks of his exile.

CANTO XXIII.

INFERNO.

A n d one of t h e m replied to m e : " O u r o r a n g e

279
l

mantles

a r e of lead so thick, t h a t t h e w e i g h t s t h u s c a u s e
scales to c r e a k .

their

W e w e r e J o y i a l F r i a r s , 2 a n d Bolognese :

I n a m e d Catalano, a n d L o d e r i n g o h e ; a n d b y t h y city
c h o s e n t o g e t h e r , as u s u a l l y one solitary m a n is chosen, t o
maintain
appears

its peace.

3

A n d w e w e r e such, t h a t it

yet

round the Gar dingo."

E 1' un rispose a me : L e cappe rance
Son di piombo sì grosse, che li pesi
F a n così cigolar le lor bilance.
Frati Godenti fummo, e Bolognesi,
Io Catalano, e costui Loderingo
Nomati ; e da tua terra insieme presi,
Come suole esser tolto u n uom solingo
Per conservar sua pace : e fummo tali,
Ch' ancor si pare intorno dal Gardingo.
1
" Gilded" (ver. 64); and of a
weight to make us tremble like an
overcharged balance.
2
Friars or il Knights of St.
Mary," instituted by Urban IV. ;
and allowed to retain their worldly
goods, under a solemn vow of becoming " Peacemakers, defenders
of all orphans and widows," &c.
Nicknamed Frati Godenti (jovial
friars) from their actual life. See
Benv. da Imola Com.
In 1266, the news of the defeat
and death of Manfred caused great
agitation in Florence ; and the
Ghibellines (at that time masters
of the city), " i n order to satisfy
the people," chose both Catalano
and Loderingo (one a Guelph and

100

105

iI the other a Ghibelline) to be chief
II magistrates, instead of choosing
Ji in the usual way only one chief
magistrate or Podestà—one stranger (" solitary " or party-free), as
the law required. il These two
jj friars under cover of false hypo| crisy were in concord, more for
ji their own gain than for the pubI lie good." Malespini, c. 183; Vii
lani, vii. 13.
3 li
\|
It yet appears what we
iI were/' Barrators and hypocrites
II at the same time, we took a bribe
. from the Guelphs who burnt and
laid waste all the houses of the
Uberti, &c, in the street called
Gardingo. Benv. da Imola Com.
ii See also note, p. 108.

280

INFERNO.

CANTO XXII t.

I b e g a n : " 0 F r i a r s , y o u r evil " — B u t said n o more,
for to m y eyes c a m e one, cross-fixed i n t h e g r o u n d w i t h
three stakes.

W h e n he saw me, he writhed

b l o w i n g i n t o h i s b e a r d w i t h sighs.

all

over,

A n d F r i a r Catalano,

w h o perceived t h i s , said to m e : " T h a t confixed one, on
w h o m t h o u gazest, counselled t h e P h a r i s e e s t h a t i t w a s
e x p e d i e n t t o p u t one m a n to t o r t u r e s for t h e people. 1
T r a v e r s e a n d n a k e d h e is u p o n t h e road, as t h o u s e e s t ;
a n d h a s to feel t h e w e i g h t of e v e r y one t h a t passes. 2
after t h e l i k e fashion h i s f a t h e r - i n - l a w

3

And

is r a c k e d in this

Io cominciai : 0 Frati, i vostri m a h . . . .
Ma più non dissi, eh' agli occhi m i corse
U n crocifìsso in terra con tre pali.
Quando m i vide, tutto si distorse,
Soffiando nella barba co' sospiri.
E il frate Catalan, eh' a ciò s' accorse,
Mi disse : Quel confitto, che tu miri,
Consigliò i Farisei, che convenia
Porre u n uom per lo popolo a' martiri.
Attraversato e nudo è per la via,
Come tu vedi ; ed è mestier che senta,
Qualunque passa, com' ei pesa pria.
E a tal modo il suocero si stenta

110

115

120

121. Si stenta is stretched or racked. Stentare
now means to toil, suffer, lack, be stinted of, &c.
1
Caiaphas, who said : " It is
expedient for us that one man
should die for the people." John
xi. 50.
2
Lit. : " It is necessary that he

feel how whoever passes weighs
before " passing. The hypocrites,
with their heavy loads and short
steps, have all to trample on him.
3
Annas. John xviii. 13, 24.

CANTO XXIII.

INFERNO.

281

ditch, and the others of that Council, which was a seed of
evil for the Jews."
Then I saw Yirgil wonder over him that was distended
on the cross so ignominiously in the eternal exile. Afterwards he to the Friar addressed these words : " Let it not
displease you, so it be lawful for you, to tell us if on the
right hand lies any gap by which we both may go out hence,
without constraining any of the Black Angels to come and
extricate us from this bottom.''
So he answered : " Nearer than thou dost hope, there
is a stone that moves from the Great Barrier, 1 and bridges
«ill the cruel valleys, save that in this 'tis broken and

In questa fossa, e gli altri del Concilio,
Che fu per li Giudei mala sementa.
Allor vid' io maravigliar Virgilio
Sopra colui, eh' era distèso in croce
Tanto vilmente nell' eterno esilio.
Poscia drizzò al Frate cotal voce :
Non dispiaccia, se vi lece, dirci
Se alla man destra giace alcuna foce,
Onde noi ambedue possiamo uscirci
Senza costringer degli angeli neri,
Che vegnan d' esto fondo a dipartirci.
Rispose adunque : Più che tu non speri
S' appressa un sasso, che dalla gran cerchia
Si muove, e varca tutti i vallon feri,
Salvo eh' a questo è rotto, e noi coperchia.
1

125

130

135

Or circular wall of the great I where Geryon had landed the
shaft ; the iron-coloured rock I Poets. Canto xviii. 3.

282

INFERNO.

covers i t not.

CANTO XXIII.

Y e m a y m o n n t n p b y its r n i n s , w h i c h

slope d o w n t h e side, a n d on t h e b o t t o m m a k e a h e a p . "

l

T h e G n i d e stood still a w h i l e w i t h h e a d b e n t down,
t h e n said : " F a l s e l y did h e 2 tell t h e w a y , w h o h o o k s t h e
sinners yonder."
A n d t h e F r i a r : " I h e a r d once a t B o l o g n a 3 m a n y of t h e
D e v i l ' s vices t o l d ; a m o n g s t w h i c h , I h e a r d t h a t h e is a
liar a n d t h e father of l i e s . "
T h e n w i t h l a r g e steps m y G u i d e w e n t on,

somewhat

d i s t u r b e d w i t h a n g e r i n h i s look : w h e r e a t I from
laden spirits

the

p a r t e d , following t h e p r i n t s of his beloved

feet.

Montar potrete su per la ruma,
Che giace in costa e nel fondo soperchia.
Lo Duca stette u n poco a testa china,
Poi disse : Mal contava la bisogna
Colui, che i peccator di là uncina.
E il Frate : Io udi' già dire a Bologna
Del Diavol vizj assai, tra i quali udi',
Ch' egli è bugiardo e padre di menzogna.
Appresso il Duca a gran passi sen gì,
Turbato un poco d ' i r a nel sembiante :
Ond' io dagl' incarcati m i parti'
Dietro alle poste delle care piante.

1
Fragments of the bridge,
which still "lie on the side, and
rise above the bottom" of the
chasm, as when they fell.
2
Lit.: " Badly told he the matter." Malacoda, canto xxi. 106.

140

145

3
Bologna more noted for telling
the Devil's vices than for avoiding
them ? " College " of hypocrites
(verse 91), with their scriptural
phrases and grand theology ?
Comp. canto xviii. 58, &c.

ARGUMENT.
In this canto, the vehement despair of the poor Italian peasant, who has
no food for his sheep, and thinks he is going to lose them, gives a
lively image of Dante's dependence on his mystic Guide ; while the
Sun with freshened hair (Crinitus Apollo, JEn. ix. 638) points to the
real Virgil. Here too on the shattered bridge, as at the foot of
the Hill in canto first, help in many senses is necessary ; and
Dante, put quite out of breath by climbing from the den of the
Hypocrites, sits down exhausted. Virgil reminds him of their Errand
—of the great things which lie beyond this painful journey through
Hell—and he rises instantly ; and " keeps speaking," as they go on,
i(
that he may not seem faint." In the Seventh Chasm, which is
very dark and filled with hideous serpents, they find the Thieves ;
and get speech of Vanni Fucci, who pillaged the sacristy of St. James
in Pistoia, though another was hanged for it. He is ashamed at
being found amongst the Thieves, and recognised by Dante, who
had " seen him a man of blood and brutal passions ; " and he foretels
the disasters that will lead to the Poet's exile.

284

INFERNO.

CANTO
IN that part

CANTO XXTT.

XXIV.

of t h e y o u t h f u l

year, 1 w h e n t h e

Sun

t e m p e r s his locks b e n e a t h A q u a r i u s , a n d t h e n i g h t s a l r e a d y
w a n e t o w a r d s half t h e d a y ;

w h e n t h e hoar-frost copies

his w h i t e sister's i m a g e on t h e g r o u n d , b u t s h o r t w h i l e
lasts t h e t e m p e r of h i s p l u m e s : 2 t h e p e a s a n t , 'whose fodder
fails, rises, a n d

looks, a n d

sees t h e

fields

all w h i t e ;

w h e r e a t h e s m i t e s his t h i g h , 3 goes b a c k i n t o t h e h o u s e ,
a n d to a n d fro l a m e n t s l i k e a poor w i g h t w h o k n o w s n o t
I N quella parte del giovinetto anno,
Che il Sole i crin sotto V Aquario tempra,
E già le notti al mezzo dì sen vanno ;
Quando la brina in su la terra assempra
L ' i m m a g i n e di sua sorella bianca,
Ma poco dura alla sua penna tempra ;
Lo villanello, a cui la roba manca,
Si leva e guarda, e vede la campagna
Biancheggiar tutta, ond' ei si batte 1' anca ;
Ritorna a casa, e qua e là si lagna,
Come il tapin che non sa che si faccia ;
1
In February, when the Sun
freshens his hair " (gives warmer
rays) under the sign of Aquarius ;
when the nights " go away," grow
shorter towards the equinox ; and
the hoar-frosts look like snow,
but are soon melted. In Italy
the day is reckoned from sunset
il

5

10

to sunset; so that the mezzo dì
is twelve hours after sunset
2
Or : " Eashion of his pen."
3
" Cry and howl . . . . smite
therefore upon thy thigh." EzeJc.
x x . 1 2 . AJJ p a TOT (pjJLwZzv rs
Kal a> 7r6Tr\r]y6TQ fi7}p6).
Iliad.

xii. 162.

CANTO XXIV.

285

INFERNO.

what to do ; then comes out again, and recovers hope,
observing how the world has changed its face in little
time ; and takes his staff, and chases forth his lambs to
feed. Thus the Master made me despond, when I saw
his brow so troubled ; 1 and thus quickly to the sore the
plaster came. For when we reached the shattered bridge,
my Guide turned to me with that sweet aspect which I
saw before at the foot of the mountain. 2 He opened his
arms after having chosen some plan within himself, first
looking well at the ruin, and took hold of me. And as
one who works, and calculates, always seeming to provide
beforehand ; so, lifting me up towards the top of one big

Poi riede, e la speranza ringavagna,
Veggendo il mondo aver cangiata faccia
In poco d' ora : e prende suo vincastro,
E fuor le pecorelle a pascer caccia :
Così mi fece sbigottir lo Mastro,
Quand' io gli vidi sì turbar la fronte,
E così tosto al mal giunse lo impiastro.
Che come noi venimmo al guasto ponte,
Lo Duca a me si volse con quel piglio
Dolce, eh' io vidi in prima a pie del monte.
Le braccia aperse, dopo alcun consiglio
Eletto seco, riguardando prima
Ben la ruina, e diedemi di piglio.
E come quei che adopera ed istima,
Che sempre par che innanzi si provveggia ;
Così, levando me su vèr la cima

1

See canto xxiii. 146.

|

2

Recalls cantc i. 64, &c.

15

20

25

286

INFERNO.

CANTO XXIV,

block, he looked out another splinter, saying : " Now
clamber over that, but try first if it will carry thee."
I t was no way for one clad with cloak of lead; for
scarcely we, he light and I pushed on, could mount up
from jagg to jagg. And were it not that on that precinct l
the ascent was shorter than on the other, I know not
about him, but I certainly had been defeated. But as
Malebolge all hangs towards the entrance of the lowest
well, the site of every valley imports that one side rises
and the other descends. 2 We, however, came at length to
the pomt from which the last stone 3 breaks off The

D' un ronchione, avvisava un' altra scheggia,
Dicendo : Sovra quella poi f aggrappa ;
Ma tenta pria s' è tal eh' ella ti reggia.
Non era via da vestito di cappa,
Che noi a pena, ei lieve ed io sospinto,
Potevano, su montar di chiappa in chiappa.
E se non fosse, che da quel precinto,
Più che dall' altro, era la costa corta,
Non so di lui, ma io sarei ben vinto.
Ma perchè Malebolge in vèr la porta
Del bassissimo pozzo tutta pende,
Lo sito di ciascuna valle porta,
Che 1' una costa surge e 1' altra scende :
Noi pur venimmo al fine in su la punta
Onde 1' ultima pietra si scoscende.
1

That inner boundary.
The whole place tends downwards to Satan ; and the valleys,
lying like successive rings on the
2

30

35

40

steep hanging ground, have th«
outer side high and the inner low,
Compare canto xviii.
3
Last stone of the ruin.

CANTO XXIV.

287

INFERNO.

b r e a t h w a s so e x h a u s t e d from m y l u n g s , 1 w h e n I w a s u p ,
that

I could n o f a r t h e r ; n a y , s e a t e d m e a t m y

first

arrival.
" N o w i t behooves t h e e t h u s t o free

thyself2

from

s l o t h , " said t h e M a s t e r ; " f o r s i t t i n g on d o w n , or u n d e r
coverlet, m e n come n o t i n t o fame ; w i t h o u t w h i c h w h o s o
c o n s u m e s h i s life, leaves s u c h vestige of h i m s e l f on earth,
as s m o k e in air or foam in w a t e r .

A n d therefore r i s e !

C o n q u e r t h y p a n t i n g w i t h t h e soul, t h a t c o n q u e r s every
b a t t l e , if w i t h its h e a v y b o d y it s i n k s n o t d o w n . 3 A longer
l a d d e r m u s t b e climbed. 4

To h a v e q u i t t e d t h e s e is n o t

L a lena m ' era del polmon sì munta
Quando fui su, eh' io non potea più oltre,
Anzi m ' assisi nella prima giunta.
Ornai convien che tu così ti spoltre,
Disse il Maestro ; che, seggendo in piuma,
I n fama non si vien, né sotto coltre :
Sanza la qual chi sua vita consuma,
Cotal vestigio in terra di se lascia,
Qual fummo in aere, o in acqua la schiuma :
E però leva su, vinci 1' ambascia
Con 1' animo che vince ogni battaglia,
Se col suo grave corpo non s' accascia.
Più lunga scala convien che si saglia :
1
Lit. : " So milked from my
lungs.55
'* Thus, by this hard and toilsome journey, hast thou to rouse
thyself to gast off all sloth and
all poltroonery for ever. Spoltre
(spoltrare or spoltrire) from poltrire, " to lie idle, inert." Hence

45

50

55

also poltrone, " a do-nothing, an
idler or poltroon.55
3
" The corruptible body presseth down the soul, and the earthly
tabernacle weigheth down the
mind that museth upon many
things.55 Wisd. ix. 15.
4
Compare canto i. 118, &c.

28^

INFERNO.

enough.

CANTO XXIV.

I f t h o u u n d e r s t a n d e s t m e , n o w act so t h a t ifc

m a y profit t h e e . "
I

then

rose, s h o w i n g myself b e t t e r furnished

with

b r e a t h t h a n I felt, a n d said : " G o on ; for I a m s t r o n g
a n d confident.''
was rugged,

W e t o o k o u r w a y u p t h e cliff,

narrow, and

t h a n t h e former.

which

difficult, a n d g r e a t l y steeper

Speaking I went,1 t h a t I might not

seem faint ; w h e r e a t a voice c a m e from t h e o t h e r fosse,
u n s u i t a b l e for f o r m i n g w o r d s . 2

I k n o w n o t w h a t it said,

t h o u g h I a l r e a d y w a s on t h e r i d g e of t h e a r c h w h i c h
crosses t h e r e ; b u t h e w h o s p a k e seemed m o v e d to a n g e r .
I had

t u r n e d myself

downwards ; but

m y l i v i n g eyes

could n o t r e a c h t h e b o t t o m for t h e d a r k n e s s .

Wherefore

Non basta da costoro esser partito :
Se tu m ' i n t e n d i , or fa sì che ti vaglia.
Levami allor, mostrandomi fornito
M.eglio di lena eh' io non mi sentia ;
E dissi : Ya, eh' io son forte e ardito.
Su per lo scoglio prendemmo la via,
Ch' era ronchioso, stretto e malagevole,
E d erto più assai che quel di pria.
Parlando andava per non parer fievole,
Onde u n a voce uscio dall' altro fosso,
A parole formar disconvenevole.
Non so che disse, ancor che sovra il dosso
Fossi dell' arco già, che varca quivi ;
Ma chi parlava ad ira parea mosso.
Io era volto in giù ; m a gli occhi vivi
Non potean ire al fondo per 1' oscuro :
1

Spoke as I went on.

|

2

Confused with rage.

60

65

70

CANTO XXIV.

INFERNO.

289
1

I : " Master, see thou get to the other boundary, and let
us dismount the wall ; for as I hear from hence and do not
understand, so I see down and distinguish nothing."
" Other answer I give thee not," he said " than the deed :
for a fit request should be followed with the work 2 in
silence."
"We went down the bridge, at the head where it joins
with the eighth bank ; and then the chasm was manifest
to me. And I saw within it a fearful throng of serpents,
and of so strange a look, that even now the recollection
scares 3 my blood. Let Libya boast no longer with its
sand; for, though it engenders Chelydri, Jaculi and

Perch* io : Maestro, fa che tu arrivi
Dall' altro cinghio, e dismontiam lo muro ;
Che com* io odo quinci, e non intendo,
Così giù veggio, e niente afnguro.
Altra risposta, disse, non ti rendo,
Se non lo far : che la dimanda onesta
Si dee seguir con 1' opera tacendo.
Noi discendemmo il ponte dalla testa,
Ove s' aggiunge con V ottava ripa,
E poi mi fu la bolgia manifesta :
È vidivì entro terribile stipa
Di serpenti, e di sì diversa mena,
Che la memoria il sangue ancor mi scipa.
Più non si vanti Libia con sua rena ;
Che se Chelidri, Iaculi e Faree
1
2

75

80

85

The next " belt " or ring-wall. | 3 Lit. : " Dissipates ; " drives
The work which it asks.
j back with horror.
U

290
Parese,

INFERNO.
and Cenchres with

CANTO XXIV.

Amphisbaena, 1

plagues

so

numerous or so dire it neyer shewed, with all Ethiopia,
nor with the land that lies by the Eed Sea.2
Amid this cruel and most dismal swarm were people
running, naked and terrified, without hope of

lurking

hole or heliotrope. 3 They had their hands tied behind with
serpents : these through their loins fixed the tail and the
head, and were coiled in knots before.

And lo ! at one, who

was near our shore, sprang up a serpent, which transfixed
Produce, e Ceneri con Anfesibena,
Non tante pestilenze, ne sì ree
Mostrò giammai con tutta Y Etiopia,
Ne con ciò che di sopra il mar Eosso èe.
Tra questa cruda e tristissima copia
Correvan genti nude e spaventate,
Senza sperar pertugio o eutropia.
Con serpi le m a n dietro avean legate :
Quelle fìccavan per le ren la coda
E il capo, ed eran dinanzi aggroppate.
E d ecco ad un, eh' era da nostra proda,
S' avventò un serpente, che il trafìsse
1
Some of Lucan's serpents.
Phars. ix. 711, &c. Chelydrus
(xskvdpoo), a water-snake, that
leaves a hideous smell on its
track. JaculiiS) dart-serpent " two
cubits in length," and so called
because it throws itself on its prey
stretched out, like a dart. Pareas
(Trapelag), copper-snake, " that
marches on its tail;" or cobra
de capello. Cencìirìs (tceyxpig),

90

95

stiff speckled snake; and " A m phisbaena dire" (àfupì and /3aiVw),
which " has a head at each end,"
and goes either way.
2
Lit. : " With that which is
(èe for è) on the Red Sea : " the
land of Egypt with its mud-river
and " Serbonian bog."
3
A green stone or gem with red
spots, "said to render its bearer
invisible."

CANTO XXIV.

INFERNO.

291

h i m t h e r e w h e r e t h e n e c k is b o u n d u p o n t h e s h o u l d e r s .
N e i t h e r ' O ' n o r ' I ' w a s ever w r i t t e n so q u i c k l y as h e
t o o k fire, a n d b u r n t , a n d dropfc d o w n all c h a n g e d
ashes. 1

to

A n d after h e w a s t h u s dissolved u p o n t h e g r o u n d ,

t h e ashes r e u n i t e d , a n d of t h e m s e l v e s a t once r e s u m e d
t h e former shape. 2

T h u s b y g r e a t s a g e s 'tis confest t h e

Phoenix dies, a n d t h e n is b o r n again, w h e n i t a p p r o a c h e s
the

five-hundredth

year.

I n i t s life i t eats no h e r b or

g r a i n , b u t only t e a r s of incense a n d a m o m u m : a n d n a r d
a n d m y r r h a r e its l a s t s w a t h i n g s . 3
A n d as one w h o falls, a n d k n o w s n o t how, t h r o u g h
force of D e m o n w h i c h d r a g s h i m t o t h e g r o u n d , or of

Là dove il collo alle spalle s' annoda.
Ne 0 sì tosto mai, n e I si scrisse,
Com' ei s' accese, e arse, e cener tutto
Convenne che cascando divenisse.
E poi che fu a terra sì distrutto,
L a cener si raccolse, e per se stessa
I n quel medesmo ritornò di butto.
Così per li gran savi si confessa,
Che la Fenice muore, e poi rinasce,
Quando al cinquecentesimo anno appressa.
Erba né biada in sua vita non pasce,
Ma sol d' incenso lagrime e d' amomo ;
E nardo e mirra s o n T ultime fasce.
E quale è quei che cade, e non sa corno,
Per forza di Demon eh' a terra il tira,
1
Lit. : " And all ashes it behooved him falling to become."
2
Lit. : " Returned to that same

109

105

110

one (verse 97) at a blow," or instantly. Butto for botto,
3
Compare Metam. xv. 392, &c.

292

INFERNO.

other oppilation
looks

fixtlj

1

CANTO XXIV.

t h a t f e t t e r s m e n ; w h o , w h e n h e rises,

r o u n d h i m , all

bewildered

by the

great

a n g u i s h h e h a s u n d e r g o n e , a n d l o o k i n g sighs : s u c h w a s
t h e s i n n e r w h e n h e rose.

J u s t i c e of God ! 0 h o w severe,

t h a t s h o w e r s s u c h blows i n v e n g e a n c e !
T h e Guide then asked him who he was.

Whereupon

h e a n s w e r e d : " I r a i n e d from T u s c a n y , s h o r t w h i l e ago,
i n t o t h i s fierce gullet.
me, m u l e t h a t I w a s .

B e s t i a l life, n o t h u m a n , pleased
I a m Y a n n i F u c c i , 2 s a v a g e beast ;

a n d Pistoia w a s a fitting d e n for m e . "

0 d' altra oppilazion che lega l' uomo,
Quando si leva, che intorno si mira,
Tutto smarrito dalla grande angoscia
Ch' egli h a sofferta, e guardando sospira ;
Tal era il peccator levato pòscia.
0 Giustizia di Dio, quant' è severa !
Che cotai colpi per vendetta croscia.
Lo Duca il dimandò poi chi egli era :
Perch' ei rispose : I o piovvi di Toscana,
Poco tempo è, in questa gola fera.
Vita bestiai mi piacque, e non umana,
Sì come a m u l eh' io fui : son Vanni Fucci
Bestia, e Pistoia m i fu degna tana.

1
" Obstruction " of the vital
spirits, " that binds a man" in
fits, like those of Epilepsy or
" possession of a devil."
2
Vanni (Giovanni) Fucci, bastard son of M. Fucci de' Lazari
of Pistoia. " A most villanous

115

120

125

man," says Benv. da Imola, " and
most daring in every kind of
wickedness. And because he was
of noble family, he often committed many excesses with impunity. And though frequently
banished for enormous crimes,"

CANTO XXIY.

293

INFERNO.

A n d I t o t h e G u i d e : " Tell h i m n o t t o b u d g e ; a n d a s k
w h a t c r i m e t h r u s t h i m d o w n h e r e , for I saw h i m once a
m a n of r a g e a n d blood.'* L
A n d t h e sinner w h o h e a r d , feigned n o t ; b u t directed
t o w a r d s m e his m i n d a n d face, w i t h a look of dismal
shame.2

T h e n h e said : " I t pains m e m o r e t h a t

thou

h a s t c a u g h t m e in t h e m i s e r y w h e r e i n t h o u seest me, t h a n
w h e n I w a s t a k e n from t h e other life.

I cannot deny

t h e e w h a t t h o u a s k e s t : I a m p u t d o w n so far, because I
r o b b e d t h e sacristy of its goodly f u r n i t u r e ; a n d

E d io al Duca : Dilli che non mucci,
E dimanda qual colpa quaggiù il pinse ;
Ch' io il vidi uom già di sangue e di corrucci.
E il peccator, che intese, non s' infìnse,
Ma drizzò verso me 1' animo e il volto,
E di trista vergogna si dipinse.
Poi disse : Più mi duol che tu m ' hai colto
Nella miseria, dove tu m i vedi,
Che quand' io fui dell' altra vita tolto.
Io non posso negar quel che tu chiedi :
I n giù son messo tanto, perch' io fui
Ladro alla sagrestia de' belli arredi ;
E falsamente già fuo apposto altrui.

&c, he always contrived to return. He was of the Neri faction, at the time when Dante took
part with the Bianchi (see canto
vi.) ; but no injustice is here done
to him or his "den." See Landino, Vellut., Ottimo, &c. ; and
Murat. JRer. Ital. torn. xi.

falsely

130

135

1
His "bestial rage" might
have brought him to the marsh
with Filippo Argenti, or down to
Phlegethon as " a murderer and
assassin ; " but he robbed the Cathedral besides.
2
Lit. : " And painted himself
with dismal shame."

294

INFERNO.

CANTO XXIV.

once it w a s i m p u t e d to o t h e r s . 1

B u t that thou mayest

not j o y i n t h i s s i g h t , if ever t h o u escape t h e d a r k abodes,
open t h y e a r s a n d h e a r w h a t I a n n o u n c e .

P i s t o i a first is

t h i n n e d of N e r i ; 2 t h e n F l o r e n c e r e n o v a t e s h e r people a n d
her laws.3

M a r s b r i n g s from Y a l d i m a g r a a fiery v a p o u r , 4

w h i c h is w r a p t i n t u r b i d clouds, a n d on P i c e n o ' s

field

s h a l l b e assailed w i t h a n g r y a n d i m p e t u o u s s t o r m ; w h e n c e
i t s u d d e n l y shall r e n d t h e m i s t , so t h a t every B i a n c o shall
be w o u n d e d b y it.

A n d I h a v e said t h i s , for it m u s t

grieve thee."
Ma perchè di tal vista tu non godi,
Se mai sarai di fuor de' luoghi bui,
Apri gli orecchi al mio annunzio, e odi :
Pistoia in pria di Neri si dimagra,
Poi Firenze rinnova genti e modi.
Tragge Marte vapor di vai di Magra,
Ch' è di torbidi nuvoli involuto,
E con tempesta impetuosa ed agra
Sopra campo Picen fìa combattuto :
Ond' ei repente spezzerà la nebbia,
Sì eh' ogni Bianco ne sarà feruto :
E detto 1' ho, perchè doler ten debbia.
1
To Kampino who was put to
the torture, and to Vanni della
Nona who was hanged for it.
2
" I n May 1301, the Bianchi
party of Pistoia, with aid and
favour of the Bianchi who ruled
Florence, drove out the Neri, and
destroyed their houses, palaces,"
&c. Vili. viii. 45.
3
The Bianchi will lose their
power in Florence when Charles

140

145

150

de Yalois comes (Nov. 1301), and
be expelled in April 1302. Ibid.
viii. 49.
4
The lightning-vapour which
Mars brings, is Morello Malaspina, who shall come (in 1304)
from his Magra valley, gathering the Neri (" turbid clouds ") ;
and utterly defeat the angry
Bianchi on Campo Piceno near
Pistoia.

ARGUMENT.
At the end of his angry prophecy, Eucci rises into a boundless pale
rage, such as is hardly known in northern countries 5 and like the
sacrilegious thief and brute that he is, gives vent to it in the wildest
blasphemy. The serpents instantly set upon him, and inflict such
punishment, that Dante regards them as friends ever after. Cacus
too, with a load of serpents on his haunch and a fiery dragon on his
shoulders, comes shouting in pursuit of him. Dante afterwards finds
five of his own countrymen—first three in human shape, then two
changed into reptiles—and by dint of great attention learns the
names of them all, and very accurately sees the unheard-of transformations they have to undergo. The reptiles are Cianfa de' Donati
and Guercio de' Cavalcanti 5 the three in human shape are Agnello
de' Brunelleschi, Buoso degli Abati, and Puccio de' Galigai—all five
of very noble kindred, " all from Florence, and great thieves in their
time" {omnes de Florentia, et magni fures suo tempore. Pietro).
Cianfa, and Agnello whom he attacks, are of families that sided with
the Neri ; Guercio and Buoso, who exchange shapes, are of families
that belonged to the Bianchi, or opposite party. Vili. viii. 39. Our
Poet equally recognises the base materials of both factions. The
party of Puccio is unknown, and he is the only one of the three, in,
human shape, who remains unchanged.

296

INFERNO.

CANTO XXV.

CANTO X X V .
AT the conclusion of his words, the thief raised up his
hands with both the figs,1 shouting : " Take them, God,
for at thee I aim them ! "
From this time forth the serpents were ray friends ;
for one of them then coiled itself about his neck, as if
saying, ' Thou shalt speak no farther ! ' 2 and another
about his arms ; and it tied him again, 3 rivefcting itself in
front so firmly, that he could not give a jog with them.
Ah, Pistoia ! Pistoia ! why dost thou not decree to turn
AL fine delle sue parole il ladro
Le mani alzò con ambeduo le fiche,
Gridando : Togli, Dio, che a te le squadro.
Da indi in qua mi fur le serpi amiche,
Perch' una gli s' avvolse allora al collo,
Come dicesse : Io non vo' che più diche ;
E un* altra alle braccia, e rilegollo
v
Bibadendo se stessa sì dinanzi,
Che non potea con esse dare un crollo.
Ah Pistoia, Pistoia ! che non stanzi
1
Clenching both his fists, and
thrusting the thumbs between the
fore and middle fingers ; ' making
the fig' with both, like the filthy
senseless mule that he was. His
townsmen (in 1228) had i( a tower
seventy cubits high, on the rock
of Carmignano 5 and at the top
of it were two arms of marble

5

10

with hands that made the figs at
Florence." Malesp. c. 116; Vili.
vi. 5.
2
Lit.. " I will not that thou
say more." Diche for dica.
3
With head and tail through
his body, tied his arms again so
that he could not stir them. Compare canto xxiv. 94.

CANTO XXV.

INFERNO.

297

1

t h y s e l f to ashes, t h a t t h o u m a y e s t e n d u r e n o l o n g e r
t h o u outgoest t h y seed

2

i n evil-doing ?

since

T h r o u g h all t h e

d a r k circles of H e l l , I saw no spirit a g a i n s t God so p r o u d ,
n o t even h i m

3

w h o fell a t T h e b e s d o w n from t h e walls !

H e fled, s p e a k i n g n o t a n o t h e r w o r d .

And

I saw a

C e n t a u r , full of rage, come c r y i n g : " W h e r e i s , w h e r e is
the surly4 o n e ? "

M a r e m m a , 5 I do believe, h a s n o t so

m a n y s n a k e s as h e h a d on his h a u n c h , t o w h e r e
human

form

6

begins.

Over his shoulders, behind

our
the

h e a d , a d r a g o n lay w i t h o u t s t r e t c h e d w i n g s ; a n d ifc -sets

D'incenerarti, sì che più non duri,
Poi che in mal far lo seme tuo avanzi ?
Per tutti i cerchi dello Inferno oscuri
Spirto non vidi in Dio tanto superbo,
Non quel che cadde a Tebe giù de' muri.
E i si fuggì, che non parlò più verbo :
E d io vidi un Centauro pien di rabbia
Venir gridando : Ov' è, ov' è 1' acerbo ?
Maremma non cred' io che tante n' abbia,
Quante bisce egli avea su per la groppa,
Infino ove comincia nostra labbia.
Sopra le spalle, dietro dalla coppa,
Con 1' ale aperte gli giaceva u n draco,

i
To burn thyself to ashes at
once. The factions of Pistoia, as
they alternately prevailed, used to
burn each other's houses.
2
Thy ancestors, the " hacked
and maimed" refuse of Catiline's
followers. See Vili. i. 32.

15

20

3
The heathenish blasphemer
Capaneus. Canto xiv. 46-65.
4
Lit.: "The acerb ; " sour, and
unripe like Capaneus.
5
A fenny tract in Tuscany,
swarming with reptiles.
6
Compare Mn. viii. 194.

298

INFERNO.

on fire every one h e m e e t s .

1

CANTO XXV.

M y M a s t e r s a i d : " T h a t is

Cacus, w h o , b e n e a t h t h e r o c k of M o u n t A v e n t i n e , full
often

made

a l a k e of

blood.

H e goes n o t w i t h

his

b r e t h r e n on one same road, 2 because of t h e c u n n i n g t h e f t
h e m a d e from t h e g r e a t h e r d t h a t l a y n e a r h i m : w h e n c e
his c r o o k e d actions ceased b e n e a t h t h e club of H e r c u l e s ,
w h o g a v e h i m p e r h a p s a h u n d r e d Mows w i t h it ; and h e
felt n o t t h e first t e n . "
W h i l s t h e t h u s s p a k e , t h e C e n t a u r r a n past, a n d also
u n d e r u s t h e r e c a m e t h r e e spirits, w h o m n e i t h e r I nor m y
Guide perceived, u n t i l t h e y cried : " W h o a r e y e ? "

E quello affuoca qualunque s' intoppa.
Lo mio Maestro disse : Quegli è Caco,
Che sotto il sasso di monte Aventino
Di sangue fece spesse volte laco.
Non va co' suoi fratei per un cammino,
Por lo furar frodolente eh' ei fece
Del grande armento eh' egli ebbe a vicino ;
Onde cessar le sue opere biece
Sotto la mazza d' Ercole, che forse
Gliene die cento, e non sentì le diece.
Mentre che sì parlava, ed ei trascorse,
E tre spiriti venner sotto noi,
De' quai ne io, né il Duca mio s' accorse,
Se non quando gridar : Chi siete voi ?

Our

25

30

35

31. Biece for bieche ; Lat. obliques.
1
Lit. : " And whoever is met,
kiin (quello) it sets on fire." See
Mn. viii. 199, &c.
2
Goes not along the river of

blood (canto xii. 55) with the other
Centaurs 5 because, like Yanni
Fucci, he was a thief besides being
what they were.

CANTO XXV.

INFERNO.

299

story therefore paused, and we then gave heed to them
alone. I knew them not ; but it happened, as usually it
happens by some chance, that one had to name another,
saying : " Where has Cianfa l stopt ? " Whereat I, in
order that my Guide might stand attentive, placed my
finger upwards from the chin to the nose. 2
If thou art now, O Header, slow to credit what I have
to tell, it will be no wonder ; for I who saw it, scarce
allow it to myself. Whilst I kept gazing on them, lo ! 3 a
serpent with six feet darts up in front of one, and fastens

Per che nostra novella si ristette,
E intendemmo pure ad essi poi.
Io non gli conoscea ; ma ei seguette,
Come suol seguitar per alcun caso,
Che 1' un nomare all' altro convenette,
Dicendo : Cianfa dove fìa rimaso ?
Perch' io, acciocché il Duca stesse attento,
Mi posi il dito su dal mento al naso.
Se tu sei or, Lettore, a creder lento
Ciò eh' io dirò, non sarà maraviglia,
Che io, che il vidi, appena il mi consento.
Com' io tenea levate in lor le ciglia,
Ed un serpente con sei pie si lancia
Dinanzi all' uno, e tutto a lui s' appiglia.

40. Seguette, seguì.
1
Cianfa de' Donati, who has
been coming with the other three ;
and is here transformed, as we
shall see, into a six-footed serpent.

40

45

50

42. Convenette, convenne.
2

Signal for silence.
Lit. : " Kept my eyebrows
raised at them, lo ! " Ed for ecco.
Cinon. Particelle*
3

SOO

INFERNO.

itself all u p o n h i m .

CANTO XXV3

W i t h i t s m i d d l e feet it clasped h i s

belly, w i t h t h e a n t e r i o r it seized his a r m s ; t h e n fixed i t s
t e e t h in b o t h h i s cheeks.

T h e h i n d e r feet

it

stretched

a l o n g h i s t h i g h s ; a n d p u t i t s tail b e t w e e n t h e t w o , a n d
b e n t i t u p w a r d s on his loins behind.

I v y w a s n e v e r so

r o o t e d to a t r e e , as r o u n d t h e o t h e r ' s limbs t h e hideous
m o n s t e r e n t w i n e d its own.

Then they stuck

together,

a s if t h e y h a d been of h e a t e d w a x , a n d m i n g l e d t h e i r
colours : n e i t h e r t h e one, n o r t h e other, 1 n o w

seemed

w h a t i t w a s at first ; as u p before t h e flame on paper, goes
a b r o w n colour w h i c h is n o t y e t black, a n d t h e w h i t e dies
away.
Co' pie di mezzo gli avvinse la pancia,
E con gli anterior le braccia prese ;
Poi gli addentò e V una e 1' altra guancia.
Gli diretani alle cosce distese,
E miseli la coda tr' amendue,
E dietro per le ren su lo ritese.
Ellera abbarbicata mai non fue
Ad alber sì, come 1' orribil fiera
Per 1' altrui membra avviticchiò le sue.
Poi s' appiccar, come di calda cera
Fossero stati, e mischiar lor colore ;
Ne 1' un, ne 1' altro già parea quel eh' era ;
Come procede innanzi dall' ardore
Per lo papiro suso un color bruno,
Che non è nero ancora, e il bianco muore.
1

55

60

65

Neither the one colour (the | paper, the brown shade, that goes
before the flame, makes the white
man's) nor the other (the reptile's)
rapidly vanish in its transition to
remained what it had been ; as
when you kindle a piece of white | black.

CANTO XXV.

INFERITO.

301

The other two looked on, and each cried : " O me !
Agnello,1 how

thou

neither two nor one ! "

changest !

Lo, thou art already

The two heads had now become

one, when two shapes appeared to us mixed in one face,
where both were lost.
lists.2

Two arms were made of the four

The thighs with the legs, the belly, and the chest,

became such members as were never seen.

The former

shape was all extinct in them : 3 both, and neither, the
perverse image seemed ; and such it went away with
languid step.
As the lizard,

beneath the mighty scourge of the

canicular days, going from hedge to hedge,4 appears a
Gli altri duo riguardavano, e ciascuno
Gridava : O me, Agnèl, come ti muti !
Vedi che già non se' ne duo ne uno.
Già eran li duo capi un divenuti,
Quando n' apparver duo figure miste
In una faccia, ov' eran duo perduti.
Fersi le braccia duo di quattro liste ;
Le cosce con le gambe, il ventre, e il casso
Divenner membra che non fur mai viste.
Ogni prunaio aspetto ivi era casso :
Due e nessun 1' immagine perversa
Parea, e tal sen già con lento passo.
Come il ramarro, sotto la gran fersa
Dei dì canicular, cangiando siepe,
1

Agnello Brunelleschi.
Lit. : " The arms, from being
four lists, were made two." Liste
(lists, bands, or fillets) is the name
here given to the serpent's forefeet
and the sinner s arms.
2

70

75

80

3
Lit. : " All former aspect here
(in them) was quashed."
4
" Changing hedge," lit. The
image will be a lively one to those
who have seen Italian lizards thus
moving under the hot scourge of

302

INFERNO.

CANTO XXV.

flash of lightning, if it cross the way ; so, coming towards
the bowels of the other two, appeared a little reptile 1
burning luith rage, livid and black as pepper corn. And
it pierced that part, 2 in one of them, at which we first
receive our nourishment ; then fell down stretched out
before him. The pierced thief gazed on it, but said
nothing ; nay, with his feet motionless, yawned only as if
sleep or fever had come upon him. He eyed the reptile,
the reptile him : the one from his wound, the other from
its mouth, smoked violently, and their smoke met. Let
Lucan now be silent, where he tells of poor Sabellus and
Folgore par, se la via attraversa :
Così parea venendo verso 1' epe
Degli altri due un serpentello acceso,
Livido e nero come gran di pepe.
E quella parte, donde prima è preso
Nostro alimento, all' un di lor trafisse ;
Poi cadde giuso innanzi lui disteso.
Lo trafìtto il mirò, ma nulla disse ;
Anzi co' pie fermati sbadigliava,
Pur come sonno o febbre 1' assalisse.
Egli il serpente, e quei lui riguardava :
L' un per la piaga, e 1' altro per la bocca
Fumavan forte, e il fumo s' incontrava.
Taccia Lucano ornai, là dove tocca
Del misero Sabello e di Nassidio,

85

90

95

the sun in July and August. " The . x Guercio Cavalcante,
living creatures ran and returned I 2 The navel ; which here gets a
as the appearance of aflashof light- I mystic nourishment—"poison of
ning" (fulguris corziscantis Vulg.). conscious Theft, that makes the
Ezek. i. 14.
] man a serpent."

CANTO XXV.
Nasidius ;
forth.

INFERNO.
x

a n d w a i t to h e a r

303
t h a t which is now sent

Of C a d m u s a n d of A r e t h u s a 2 be O v i d silent ; for

if h e , poetizing, converts t h e one i n t o a s e r p e n t a n d t h e
o t h e r i n t o a fount, I envy h i m not.

F o r n e v e r did h e so

t r a n s m u t e t w o n a t u r e s front t o front, t h a t b o t h forms
were ready to exchange their substance.

3

They mutually

r e s p o n d e d in s u c h a w a y , 4 t h a t t h e reptile cleft its tail
into a

fork,

together.

and

the wounded

spirit

d r e w his

steps

T h e legs a n d t h e t h i g h s a l o n g w i t h t h e m so

s t u c k to one a n o t h e r , t h a t soon t h e i r j u n c t u r e left no m a r k
E attenda a udir quel ch'or si scocca.
Taccia di Cadmo e d' Aretusa Ovidio :
Che se quello in serpente, e quella in fonte
Converte poetando, io non 1' invidio :
Che duo nature mai a fronte a fronte
Non trasmutò, sì eh' amendue le forme
A cambiar lor materie fosser pronte.
Insieme si risposero a tai norme,
Che il serpente la coda in forca fesse,
E il feruto ristrinse insieme 1' orme.
Le gambe con le cosce seco stesse
S' appiccar sì, che in poco la giuntura
Non facea segno alcun che si paresse.
1

Sabellus, who melts away like
" snow under a hot south-wind ; "
find Nasidius, who swells so as to
burst his armour, on being stung
by serpents in the Libyan desert.
Phars. ix. 763, &c.
a
See Metam. iv. 562 ; Y. 572.
3
Or formative powers. "Every
essential Form proceeds from its

100

105

first cause, which is God." Conv.
Tr. iii. 2, &c. " The human soul,
which is the noblest of all JForms
that are made under heaven."
Ibid.
4
Lit. : " They corresponded to
each other by such rules or models," that they exchanged their
parts as follows in verse 104, &c.

304

INFERNO.

CANTO XXV.

that was discernible. The cloven tail ' assumed the figure
that was lost in the other ; and its skin grew soft, the
other's hard. I saw the arms enter at the armpits, and
the two feet of the brute, which were short, lengthen
themselves as much as those arms were shortened. Then
the two hinder feet, twisted together, became the member
which man conceals ; and the wretch from his had two l
thrust forth.
Whilst the smoke with a new colour veils them both, 2
and generates on one part hair, and strips it from another ;
the one rose upright, and prostrate the other fell, not
therefore turning the impious lights, 3 under which they
Togliea la coda fessa la figura,
Che si perdeva là ; e la sua pelle
Si facea molle, e quella di là dura.
Io vidi entrar le braccia per 1' ascelle,
E i duo pie della fiera, eh* eran corti,
Tanto allungar, quanto accorciavan quelle.
Poscia li pie dirietro insieme attorti
Diventaron lo membro che 1' uom cela,
E il misero del suo n' avea duo porti.
Mentre che il fummo 1' uno e 1' altro vela
Di color nuovo, e genera il pel suso
Per 1' una parte, e dall' altra il dipela,
L' un si levò, e 1' altro cadde giuso,
Non torcendo però le lucerne empie,
1
Two hinder feet. Porti from
porgere, Lat. porrecti.
2
The angry smoke speedily
gives the man a reptile's colour,
the reptile a man's.
3
"The light (lucerna) of the

110

115

120

body is the eye." Matt. vi. 22,
They did not shift their glaring
eyes—pregnant with thievishness
—from one another, for that change
of posture, till the transformation
was completed.

CANTO XXV.

INFERNO.

305

mutually exchanged visages : l he that was erect, draw his
towards the temples ; and from the too much matter that
went thither, ears came out of the smooth 2 cheeks.
That which went not back, but was retained, of its superfluity formed a nose, and enlarged the lips to a fit size.
He that lay prone, thrusts forward his sharpened visage,
and draws back his ears into the head, as the snail does
its horns ; and his tongue, which was before united and
apt for speech, oleaves itself ; and in the other the forked
tongue recloses : and the smoke now rests.
The soul that had become a brute, flies hissing along
the valley, and after it the other talking and sputtering.
Sotto le quai ciascun cambiava muso.
Quel eh' era dritto, il trasse in vèr le tempie ;
E di troppa materia, che in là venne,
Uscir gli orecchi delle gote scempie :
Ciò che non corse in dietro, e si ritenne,
Di quel soverchio fé' naso alla faccia,
E le labbra ingrossò quanto convenne.
Quel, che giaceva, il muso innanzi caccia,
E gli orecchi ritira per la testa,
Come face le corna la minaccia :
E la lingua, che aveva unita e presta
Prima a parlar, si fende ; e la forcuta
Neil' altro si richiude, e il fummo resta.
L* anima, eh' era fiera divenuta,
Si fugge sufolando per la valle,
E 1' altro dietro a lui parlando sputa.

125

130

135

1
Lit. : " Each exchanged muz- I 2 " Smooth" (scempie, I at. simile or visage with the other?
| plices), or serpent cheeks.

X

306

INFERNO.

CANTO XXV.

T h e n h e t u r n e d his novel s h o u l d e r s t o w a r d s it, a n d said
to t h e other : " B u o s o x shall r u n

c r a w l i n g , as I

have

done, a l o n g t h i s road ! "
Thus
change;

I beheld t h e s e v e n t h
and

here

ballast2

change and re-

let t h e n o v e l t y excuse m e , if

t o n g u e goes a u g h t astray. 3

my

A n d t h o u g h m y eyes w e r e

s o m e w h a t perplexed, a n d m y m i n d d i s m a y e d , t h e y could
n o t flee so covertly, b u t t h a t I well d i s t i n g u i s h e d P u c c i o

4

S c i a n c a t o : a n d it w a s h e alone, of t h e t h r e e companions
t h a t first came, w h o w a s n o t c h a n g e d .

The other5 was

he whom thou, Gaville, lamentest.

Poscia gli volse le novelle spalle,
E disse all' altro : I ' vo' che Buoso corra,
Com' ho fatt' io, carpon per questo calle.
Così vid' io la settima zavorra
Mutare e trasmutare ; e qui m i scusi
L a novità, se fior la lingua abborra.
E avvegnaché gli occhi miei confusi
Fossero alquanto, e 1* animo smagato,
Hon poter quei fuggirsi tanto chiusi,
Ch' io non scorgessi ben Puccio Sciancato :
E d era quei che sol, de* tre compagni
Che venner prima, non era mutato :
L ' altro era quel che tu, Gaville, piagni.
1

Buoso degli Abati.
The off-scourings, despicable
coil of thieves and serpents at the
bottom. Zavorraj Lat. saburra.
Georg, iv. 195.
8
Or 'goes into too great details. Fior or fiore, adverb ; aba

140

145

150

borra (Lat. aberrare), "swerves,
deviates."
4
Puccio de' Galigai.
5
Guercio de' Cavalcanti, killed
at the village of Gaville in Valdarno, which " weeps " for the sore
vengeance that was taken.

ARGUMENT.
Dante, after having seen and recognised the five Noble Thieves, addresses his native city in bitter concentrated sorrow and shame,
mingled with heart-felt longings and affection. The calamities which
misgovernment, faction, and crime had been preparing for many
years before the date of his mystic Vision, and which he himself as
Chief Magistrate in 1300 had done his utmost to prevent, are notified
in form of prophecy. His own exile, though not directly alluded to,
and his hopes of "morning"—of deliverance for Florence and himself, and of justice on their enemies—were nearly connected with
those calamities. And when he sees the fate of Evil Counsellors in
the Eighth Chasm, to which his Guide now leads him, he "curbs his
genius," and deeply feels he has not to seek that deliverance and
justice by fraud. The arts of the fox, on however great a scale, are
extremely hateful to him. To employ that superior wisdom, which
is the good gift of the Almighty, in deceiving others, for any purpose,
is a Spiritual Theft of the most fearful kind ; and the sinners, who
have been guilty of it, are running along the narrow chasm, each
u
stolen" from view, wrapt in the Flame of his own Consciousness,
and tormented by its burning. Ulysses and Diomed, who went
together by night, cheated and slew Dolon, and stole the mythic
Palladium of Troy, are also here united in punishment. The former,
«peaking through *he Flame, relates the manner and place of his
death.

308

INFERNO.

CANTO XXVI.

CANTO XXYI.
J O T , F l o r e n c e , since t h o u a r t so g r e a t t h a t over l a n d
a n d sea t h o u beatest t h y w i n g s , a n d t h y n a m e t h r o u g h
H e l l e x p a n d s itself ! l

A m o n g t h e t h i e v e s I found

s u c h , t h y citizens ; w h e r e a t s h a m e comes
t h o u to g r e a t h o n o u r m o u n t e s t n o t t h e r e b y .

on me,

five
and

B u t if t h e

t r u t h is d r e a m e d of n e a r t h e m o r n i n g , 2 t h o u s h a l t feel ere
l o n g w h a t P r a t o , n o t to s p e a k of o t h e r s , c r a v e s for t h e e . 3
GODI, Firenze, poi che sei sì grande,
Che per mare e per terra batti 1' ali,
E per lo Inferno il tuo nome si spande.
Tra li ladron trovai cinque cotali
Tuoi cittadini, onde mi vien vergogna,
E tu in grande onranza non ne sali.
Ma se presso al mattin del ver si sogna,
Tu sentirai di qua da picciol tempo
Di quel che Prato, non eh' altri, t' agogna.
1
True, thy energies, arts, and
wealth carry thee triumphant far
and wide ; but mark the fame thou
hast in Hell too !
2
If morning dreams are true.
Namque sub Auroram, jam dormitante lucerna, Somnia quo cerni
tempore vera sclent. Ovid. Heroid.
xix. The same ancient belief is
spoken of, Purg. ix. 13.
3
"What, not only others, but
even Prato," the nearest town,
" eagerly wishes thee." The Poet

5

here announces, with manifold
emotion and brevity, the evil that
awaits his native city—due already, as the inevitable consequence of folly and crime—and
wishes it were come, as Time will
make him less able to bear it than
now (in 1300), " at the summit of
his life-arch." See note 1st, p. 2.
The disasters of 1304, in some
of which Prato was concerned,
are more especially alluded to.
In February of that year, the long

CAUTO XXVI.

INFERNO.

809

And if it were already come, it would not be too early.
So were it ! since indeed it must be ; for it will weigh the
heavier on me as I grow older.
We departed thence ; and, by the stairs which the
bourns 1 h a d g i v e n u s t o descend before, m y G u i d e r e m o u n t e d a n d d r e w m e u p . A n d p u r s u i n g o u r solitary
w a y a m o n g t h e j a g g s a n d b r a n c h e s of t h e cliff,2 t h e foot
w i t h o u t t h e h a n d sped not.
E se già fosse, non saria per tempo.
Così foss' ei, da che pure esser dee !
Che più mi graverà com' più m ' attempo.
Noi ci partimmo ; e su per le scalee,
Ohe n ' avean fatte i borni a scender pria,
Bimontò il Duca mio, e trasse mee.
E proseguendo la solinga via
Tra le schegge e tra' rocchi dello scoglio,
Lo pie senza la m a n non si spedia.
and bloody contests of the Neri
aiid Bianchi had brought Florence to a state of anarchy ; and
the Cardinal da Prato was sent
by Benedict XL, and remained
till the 4th of June (see note 2d,
p. 112), vainly trying to make
p^ace between the adherents of
tHe two factions. On the 10th of
Jpne, a fire, lighted by a priest
of noble family and of the Neri
faction, destroyed more than 1700
of the finest houses, towers, and
palaces, " and, in short/' as Villani says, " burnt all the marrow,
anjd yolk, and costly places of the
cifjy." The same historian tells

10

15

how, in that year, on the first of
May, a festive representation of
Hell and its torments was given
on the Arno ; and how the Carraia bridge (then of wood) broke
down under the throng of spectators, " so that many were drowned,
and the show became a reality."
Vili. viii. 68-72.
1
Or, " curbstones " {borni, Fr.
homes) ; jagged rocks that formed
the inner boundary of the chasm,
and made " s t a i r s " for the Poets
to descend in canto xxiv. 79.
2
"Cliff," or next bridge ; which
is so steep that it requires both
hands and feet.

310

INFERNO.

CANTO XXVI.

I s o r r o w e d t h e n , 1 a n d sorrow n o w a g a i n w h e n I d i r e c t
m y m e m o r y t o w h a t I saw ; a n d c u r b m y g e n i u s m o r e
than I am wont, lest it r u n where V i r t u e guides it not ;
so t h a t , if k i n d l y s t a r or s o m e t h i n g b e t t e r h a v e g i v e n t o
m e t h e good, I m a y n o t g r u d g e myself t h a t gift. 2
A s m a n y fireflies3 as t h e p e a s a n t w h o is r e s t i n g on t h e
h i l l — a t t h e time t h a t h e w h o l i g h t s t h e w o r l d least h i d e s
his face from u s , w h e n as t h e fly yields t o t h e g n a t — s e e s
d o w n a l o n g t h e valley, t h e r e p e r c h a n c e w h e r e h e g a t h e r s

Allor m i dolsi, e ora m i ridoglio,
Quando drizzo la mente a ciò eh' io vidi ;
E più lo ingegno affreno eh' io non soglio,
Perchè non corra, che virtù n o n guidi ;
Sì che, se stella buona o miglior cosa
M' h a dato il ben, eh' io stesso noi m ' invidi.
Quante il villan eh' al poggio si riposa,
Nel tempo che colui, che il mondo schiara,
L a faccia sua a noi tien meno ascosa,
Come la mosca cede alla zanzara,
Vede lucciole giù per la vallea,
Forse colà dove vendemmia ed ara :

1
At sight of the Evil Counsellors and their fate.
2
Lit. : " I may not myself envy
me it," may not enviously withhold from myself the good of that
genius or talent, which happy star
or Providence has given me.
3
Lit. : " How many fireflies
{quante lucciole) the peasant sees "
in summer-time. The Italian

20

25

30

gnats swarm forth in the evenings (when the common fly disappears), with far more vigour
than our own; and the peasant
"rests on the hill"—the air of
his valleys being dangerous after
sunset — and sees the fireflies
dancing in the vineyards anòi
fields where he has been labouring.

CANTO XXVI.

INFERNO.

311

g r a p e s a n d tills : with flames t h u s n u m e r o u s t h e e i g h t h
chasm w a s all g l e a m i n g , as I perceived, so soon as I c a m e
to where t h e b o t t o m s h e w e d itself.

A n d as h e , 1 w h o w a s

a v e n g e d b y t h e bears, s a w E l i j a h ' s chariot a t its d e p a r t u r e ,
w h e n t h e horses rose erect t o h e a v e n ; for h e could n o t
so follow i t w i t h his eyes as t o see o t h e r t h a n t h e flame
alone, l i k e a little cloud, a s c e n d i n g u p : t h u s m o v e d each
of those flames along t h e g u l l e t of t h e foss, for n o n e of them
s h e w s t h e theft, 2 a n d e v e r y flame s t e a l s a s i n n e r .
I stood u p o n t h e b r i d g e , having r i s e n s o 3 to look, t h a t ,
if I h a d n o t c a u g h t a rock, I should h a v e fallen d o w n
Di tante fiamme tutta risplendea
L ' ottava bolgia, sì com' io m ' accorsi,
Tosto che fui là 've il fondo parea.
E qual colui, che si vengiò con gli orsi,
Vide il carro d' Elia al dipartire,
Quand i cavalli al Cielo erti levorsi ;
Che noi potea sì con gli occhi seguire,
Che vedesse altro che la fiamma sola,
Sì come nuvoletta, in su salire :
Tal si movea ciascuna per la gola
Del fosso, che nessuna mostra il furto,,
'
E d ogni fiamma un peccatore invola.
Io stava sovra il ponte a veder surto,
Sì che s' io non avessi u n ronchion preso,
Caduto sarei giù senza esser urto.

85

40

45

36. Levwsi, si levoro or levaronsi.
' Elisha. 2 Kings ii. 9-24.
The sinner it steals.
3
Lit. : " Stood so risen {surto
sì)y that," &c. Had scrambled up
2

with both hands and feet (v. 18),
and now rises and eagerly leans
forward to see from the bridge, as
in verse 69.

312

INFERNO.

CANTO XXVI.

without being pushed. And the Guide, who saw me thus
attent, said : " Within those fires are the spirits : each
swathes himself with that which burns him.' ,
" Master," I replied, " from hearing thee I feel more
certain ; but had already discerned it to be so, and already
wished to say to thee : Who is in that fire, which comes
so parted at the top, as if it rose from the pyre i where
Eteocles with his brother was placed ? "
He answered me : " Within it there, Ulysses is tortured,
and Diomed ; and thus they run together in punishment,
as erst in wrath. And in their flame they groan for the

E il Duca, che mi vide tanto atteso,
Disse : Dentro da' fuochi son gli spirti :
Ciascun si fascia di quel eh' egli è inceso.
Maestro mio, risposi, per udirti
Son io più certo ; ma già m' era avviso
Che così fusse, e già voleva dirti:
Chi è in quel fuoco, che vien sì diviso
Di sopra, che par surger della pira,
Ov' Eteòcle col fratel fu miso ?
Risposerai : Là entro si martira
Ulisse e Diomede, e così insieme
Alla vendetta corron, com' all' ira :
E dentro dalla lor fiamma si geme

50. Avviso, avvisato.

50

55

54. Miso, messo.

1
The flame of the funeral pile, | have divided itself in token of
on which Eteocles was laid with
their enmity. Lucan. i. 550 5 Stat,
his brother Polynices, is said to I Theb. xii. 431.

CANTO XXVI.

INFERNO.

313

ambush of the horse, 1 that made the door by which the
noble seed of the Romans came forth. Within it they
lament the artifice,2 whereby Deidamia in death still sorrows for Achilles ; and there for the Palladium they suffer
punishment." 3
" If they within those sparks can speak," said I,
u
Master ! I pray thee much, and repray that my prayer
may equal a thousand, deny me not to wait until the
horned jQame comes hither. Thou seest how with desire
I bend me towards it."
And he to me : " Thy request is worthy of much praise,
and therefore I accept it. But do thou refrain thy tongue.
L'aguato del cavai, che fé' la porta
Ond' uscì de' Komani il gentil seme.
Piangevisi entro 1' arte, per che morta
Deidamia ancor sì duol d' Achille ;
E del Palladio pena vi si porta.
S' ei posson dentro da quelle faville
Parlar, diss' io, Maestro, assai ten priego,
E ripriego che il priego vaglia mille,
Che non mi facci dell' attender niego,
Finche la fiamma cornuta qua vegna :
Vedi che del disio vèr lei mi piego.
Ed egli a me : La tua preghiera è degna
Di molta lode ; ed io però 1' accetto :
1
The wooden horse, by means
of which Troy was taken, and
JEneas, the* founder of Rome,
driven forth to Italy,
2
Ulysses induced Achilles to

60

65

70

forsake Deidamia; telling him that
Troy could not be taken without
him, but deceitfully concealing the
prediction of his death.
3
Which they carried off.

314

INFERNO.

CANTO XXVI.

Let me speak, for I have conceived what thou wishest;
and they, perhaps, because they were Greeks, might disdain
thy words." 1
After the flame had come where time and place seemed
fitting to my Guide, I heard him speak in this manner :
" O ye, two in one fire ! If I merited of you whilst I
lived, if I merited of you much or little, when on earth I
wrote the High Verses, 2 move ye not ; but let the one of
you tell where he wandering 3 went to die."
The greater horn of the ancient flame began to shake

Ma fa che la tua lingua si sostegna.
Lascia parlare a me, eh' io ho concetto
Ciò che tu vuoi ; eh' ei sarebbero schivi,
Perch' ei fur Greci, forse del tuo detto.
Foichè la fiamma fu venuta quivi,
Ove parve al mio Duca tempo e loco,
In questa forma lui parlare audivi :
0 voi, che siete duo dentro ad un fuoco,
S' io meritai di voi mentre eh' io vissi,
S' io meritai di voi assai o poco,
Quando nel mondo gli alti versi scrissi,
Non vi movete ; ma 1' un di voi dica
Dove per lui perduto a morir gissi.
Lo maggior corno della fiamma antica
Cominciò a crollarsi, mormorando,
1

Or : " Might be shy of speaking to thee 5 " but why their having
been Greeks could make them so,
is not satisfactorily explained by
any of the commentators.

75

80

85

2
The JEneid (in which Ulysses
and Diomed are often spoken of) :
written in the high or tragic style.
Compare note 1st, p. 241.
3
Or : " Having lost himself."

CANTO XXVI.

INFERNO

31*

itself, murmuring, just like a flame that struggles with the
wind. 1 Then carrying to and fro the top, as if it were
the tongue that spake, 2 threw forth a voice, and said :
" When I departed from Circe, who beyond a year detained
me there 3 near Gaeta, ere iEneas thus had named it,
neither fondness for my son, nor reverence for my aged
father, nor the due love that should have cheered Penelope, could conquer in me the ardour that I had to gain
experience of the world, and of human vice and worth : I
put forth on the deep open sea, with but one ship, and

Pur come quella cui vento affatica.
Indi la cima qua e là menando,
Come fosse la lingua che parlasse,
Gittò voce di fuori, e disse : Quando
Mi diparti' da Circe, che sottrasse
Me più d' un anno Ih presso a Gaeta,
Prima che sì Enea la nominasse ;
Ne dolcezza di figlio, ne la pietà
Del vecchio padre, né il debito amore,
Lo qual dovea Penelope far lieta,
Vincer poterò dentro a me 1' ardore
Ch' io ebbi a divenir del mondo esperto,
E degli vizj umani, e del valore :
Ma misi me per 1' alto mare aperto
Sol con un legno, e con quella compagna
1

Lit. : a Just like that flame
which wind torments," or lashes
to and fro. The words have no
outlet at first.
2
" The tongue is afire,a world

90

95

100

of iniquity : . . . it is set onfireof
hell." James iii. 6.
3
At Monte Circello, or Circe's
Promontory : near Gaeta, which is
named after ^Eneas' nurse.

316

INFERNO.

CANTO XXYI.

with that small company, which had not deserted me.
Both the shores 1 I saw as far as Spain, far as Morocco ;
and saw Sardinia and the other isles which that sea bathes
round.
" I and my companions were old and tardy, when we
came to that narrow pass, 2 where Hercules assigned his
landmarks to hinder man from venturing farther. On the
right hand, I left Seville ; on the other, had already left
Ceuta. ' O brothers ! ' I said, * who through a hundred
thousand dangers have reached the West, deny not, to this
the brief vigil of your senses that remains, experience of

Picciola, dalla qual non fui deserto.
L' un lito e 1' altro vidi infìn la Spagna,
Fin nel Marrocco, e 1' isola de' Sardi,
E T altre che quel mare intorno bagna.
Io e i compagni eravam vecchi e tardi,
Quando venimmo a quella foce stretta,
Ov' Ercole segnò li suoi riguardi,
Acciocché T uom più oltre non si metta :
Dalla man destra mi lasciai Sibilia,
Dall' altra già m' avea lasciata Setta.
O frati, dissi, che per cento milia
Perigli siete giunti all' Occidente,
A questa tanto picciola vigilia
De' vostri sensi, eh' è del rimanente,
Non vogliate negar 1' esperienza,
1

105

110

115

European and African.
I ture beyond." In Romagna the
Strait of Gibraltar, with its landmarks and the road-poles are
Columns of Hercules : " Marks or still called riguardi. Here used
warnings, that one must not ven- J in the sense of Sacred Limits.
2

CANTO XXVI.

INFERNO.

317

the unpeopled world behind the Sun.1

Consider

your

origin : ye w e r e n o t formed t o live l i k e b r u t e s , b u t to
follow v i r t u e a n d k n o w l e d g e . '

W i t h t h i s brief speech I

m a d e m y companions so eager for t h e v o y a g e , t h a t I could
h a r d l y t h e n h a v e checked t h e m .

A n d , t u r n i n g t h e poop

t o w a r d s m o r n i n g , w e of o u r oars m a d e w i n g s for
foolish flight, always g a i n i n g on t h e left. 2

the

Night already

saw t h e other pole, w i t h all its s t a r s ; and ours so l o w ,
t h a t i t rose n o t from t h e ocean

floor.3

Five times t h e

4

l i g h t b e n e a t h t h e M o o n h a d been r e k i n d l e d a n d quenched

Dietro al Sol, del mondo senza gente.
Considerate la vostra semenza :
F a t t i non foste a viver come bruti,
Ma per seguir virtute e conoscenza.
Li miei compagni fee* io sì acuti,
Con questa orazion picciola, al cammino,
Che appena poscia gli avrei ritenuti.
E , volta nostra poppa nel mattino,
De' remi facemmo ale al folle volo,
Sempre acquistando del lato mancino.
Tutte le stelle già dell' altro polo.
Vedea la notte, e il nostro tanto basso,
Che non surgeva fuor del marin suolo.
Cinque volte racceso, e tante casso
Lo lume era di sotto dalla Luna,

1
Or westward. The Western
Hemisphere, in Dante's time, was
supposed to be all covered with
water. Conv. Tr. iii. 5.
2
Rowed west by south. See

120

125

130

the svrjpe sperfià rà re nrepà vnvm,
&c. Odyss. Xi. 124.
3
They had now reached the
Equator.
4
Five changes of the Moon.

318

INFERNO.

CANTO XXVI.

as oft, since w e h a d entered on t h e a r d u o u s passage, w h e n
t h e r e a p p e a r e d t o u s a M o u n t a i n , 1 dim w i t h distance ; a n d
to m e i t seemed t h e h i g h e s t I h a d ever seen. 2

W e joyed,

a n d soon o u r j o y w a s t u r n e d to grief ; for a t e m p e s t rose
from t h e n e w l a n d , a n d s t r u c k t h e f o r e p a r t of o u r ship.
T h r e e t i m e s i t m a d e h e r w h i r l r o u n d w i t h all t h e w a t e r s ;
a t t h e fourth, made t h e poop rise u p and p r o w g o down,
a s pleased A n o t h e r , 3 till t h e sea w a s closed above u s . "

Poi eh' entrati eravam nelT alto passo,
Quando n ' apparve una montagna, bruna
Per la distanza, e parvemi alta tanto,
Quanto veduta non n' aveva alcuna.
Noi ci allegrammo, e tosto tornò in pianto ;
Che dalla nuova terra un turbo nacque,
JEÙ percosse del legno il primo canto.
Tre volte il fé' girar con tutte V acque,
Alla quarta levar la poppa in suso,
E la prora ire in giù, com' altrui piacque,
Infìn che il m a r fu sopra noi richiuso.
1
Mountain of Purgatory : situated, according to Dante, on the
other side of the globe, in the
Southern Hemisphere, and exactly
opposite to Jerusalem. Canto

135

140

xxxiv. 125 ; and Purg. canto i.
24, &c.
2
Lit. : " Seemed so high, as I
had not seen any."
3
God. Compare note, p. 54.

ARGUMENT.
The Flame of Ulysses, having told its story, departs with permission of
Virgil ; and is immediately followed by another, which contains the
spirit of Count Guido da Montefeltro, a Ghibelline of high fame in
war and counsel. It comes moaning at the top, and sends forth
eager inquiries about the people of Romagna, Guido's countrymen.
Dante describes their condition, under various petty Tyrants, in
1300. His words are brief, precise, and beautiful ; and have a tone
of large and deep sadness. Guido, at his request, relates who he is,
and why condemned to such torment; after which, the Poets pass
onwards to the bridge of the Ninth Chasm.

INFERNO.

CANTO

CANTO XXVII.

XXVII.

T H E flame w a s n o w erect a n d q u i e t , 1 h a v i n g ceased t o
speak, a n d n o w w e n t a w a y from u s w i t h license of t h e
sweet P o e t ; w h e n a n o t h e r , t h a t c a m e b e h i n d it, m a d e u s
t u r n o u r eyes t o i t s top, for a confused s o u n d t h a t issued
therefrom.

A s t h e Sicilian b u l l 2 (which bellowed

first

w i t h t h e l a m e n t of h i m — a n d t h a t w a s r i g h t — w h o h a d
t u n e d i t w i t h his file) k e p t b e l l o w i n g w i t h t h e sufferer's
voice ; so t h a t , a l t h o u g h i t w a s of b r a s s , i t s e e m e d t r a n s GiÀ era dritta insù la fiamma, e queta
Per non dir più ; e già da noi sen già
Con la licenzia del dolce Poeta :
Quando un' altra, che dietro a lei venia,
Ne fece volger gli occhi alla sua cima,
Per un.confuso suon che fuor n ' uscia.
Come il bue Cicilian, che mugghiò prima
Col pianto di colui, e ciò fu dritto,
Che 1' avea temperato con sua lima,
Mugghiava con la voce dell' afflitto,
Sì che, con tutto eh' e' fosse di rame,
1

No longer moved its sharp
point to and fro like a tongue.
Canto xxvi. 85.
2
The brazen bull which Perillus invented for the Sicilian
tyrant Phalaris. It was constructed with such art, that the
cries of those burning within it

5

10

resembled the bellowing of a real
bull; and Phalaris, very justly,
made the first experiment on the
artist himself. The sinners here
too are tortured within the flames
they have prepared for themselves
by applying their talents to wicked
counsels.

CANTO XXVII.

INFERNO.

321

fixed with pain : thus, having at their commencement no
way or outlet from the fire, the dismal words were changed
into its language. 1 But after they had found their road
up through the point, giving to it the vibration which the
tongue had given in their passage, we heard it say: " 0
thou, at whom I aim my voice ! and who just now wast
speaking Lombard, 2 saying, 'Now go, no more I urge
thee ; ' 3 though I have come perhaps a little late, let it
not irk thee to pause and speak with me : thou seest it
irks not me, although I burn. If thou art but now fallen
into this blind world from that sweet Latian land, whence
Pure el pareva dal dolor trafìtto :
Così, per non aver via ne forame
Dal principio del fuoco, in suo linguaggio
Si convertivan le parole grame.
Ma poscia eh' ebber colto lor viaggio
Su per la punta, dandole quel guizzo
Che dato avea la lingua in lor passaggio,
Udimmo dire : 0 tu, a cui io drizzo
La voce, e che parlavi mo Lombardo,
Dicendo : Issa ten va, più non t' aizzo ;
Perch' io sia giunto forse alquanto tardo,
Non t'incresca restare a parlar meco :
Vedi che non incresce a me, e ardo.
Se tu pur mo in questo mondo cieco
Caduto se* di quella dolce terra
1
Into a painful murmuring
sound at first, till they got way.
See canto xxyi. 86, &c.
2
"Lombard" for Italian; or
perhaps because issa (now) and

15

20

25

aizzo were Lombard words, and
Virgil himself of Lombardy.
3 iC
No more I stimulate or fan
thyflame; " ask no farther speech
of thee, Ulysses.

322

INFERNO.

CANTO XXVII.

I bring all my guilt, tell me if the Romagnuols have peace
or war ; for I was of the mountains there, 1 between
Urbino and the yoke from which the Tiber springs."
I still was eager downwards and bent, when my Leader
touched me on the side, saying : " Speak thou ; this is a
Latian."
And I, who had my answer ready then, began without
delay to speak : " 0 soul, that there below art hidden !
Thy Romagna is not, and never was, without war in the
hearts of her tyrants ; but open war just now I there left
none. 2 Ravenna stands, as it has stood for many years.

Latina, onde mia colpa tutta reco ;
Dimmi se i Romagnuoli han pace o guerra ;
Ch' io fui de' monti là intra Urbino
E il giogo di che Tever si disserra.
Io era ingiuso ancora attento e chino,
Quando il mio Duca mi tentò di costa,
Dicendo : Parla tu, questi è Latino.
Ed io eh' àvea già pronta la risposta,
Senza indugio a parlare incominciai :
0 ànima, che sei laggiù nascosta,
Romagna tua non è, e non fu mai
Senza guerra ne' cuor de' suoi tiranni j
Ma palese nessuna or ven lasciai.
Ravenna sta, come stata è molti anni :
1

Of Montefeltro, between Urbino and that part of the Apennine chain from which " Tiber unlocks himself."
5
In the spring of 1300, the

30

35

40

year of Jubilee and of Dante's
vision, there was no open war in
Romagna, but abundant materials for it in the hearts of many
wretched Tyrants.

CANTO XXVII.

The Eagle

l

323

INFERNO.

of P o l e n t a b r o o d s over it, so t h a t h e covers

C e r v i a w i t h his pinions.

T h e cifcy,2 w h i c h m a d e erewhile

t h e l o n g probation, a n d s a n g u i n a r y h e a p of F r e n c h m e n ,
finds itself a g a i n u n d e r t h e G r e e n C l u t c h e s .

A n d t h e old

Mastiff of Y e r r u c c h i o a n d t h e y o u n g , 3 w h o of M o n t a g n a
m a d e evil g o v e r n a n c e , t h e r e w h e r e t h e y a r e w o n t to p l y

L ' aquila da Polenta la si cova,
Sì che Cervia ricuopre co' suoi vanni.
L a terra che fé' già la lunga prova,
E di Franceschi sanguinoso mucchio,
Sotto le branche verdi si ritrova.
E il Mastin vecchio, e il nuovo da Verrucchio,
Che fecer di Montagna il mal governo,
Là, dove soglion, fan de' denti succhio.
1
Guido Novello da Polenta,
Lord of Ravenna, and then of
Cervia too, who had an eagle on
his coat of arms. He was Dante's
best friend, a Poet himself, and
Nephew of Francesca (see canto
v.) ; and ruled his little territory
well and peacefully for many
years. " A s an eagle stirreth up
her nest, fluttereth over her young,
spreadeth abroad her wings," &c.
Deut. xxxii. 11.
2
Porli, which stood out a long
siege in 1282. The Guido who is
here listening was at that time
its ruler y and by means of a
stratagem, he made great slaughter of the besieging army, which
consisted mainly of Frenchmen.

45

Dante tells him that Porli is now
" again under the green clutches,"
or the Ordelaffi family, whose coat
of arms was a lion vert.
3
Malatesta Vecchio, and Maltestino dell' Occhio (one-eyed) his
son, " mastiffs of Verrucchio " (a
castle of theirs) 5 who imprisoned
and then treacherously murdered
Montagna de' Parcitati, leader of
the Ghibellines at Rimini, where
they still exercise ferocious tyranny ; or lit. " make a borer, auger,
or gimlet of their teeth." Mal testino was the brother of Giovanni
and Paolo (canto v.) ; and is again
alluded to in canto xxviii. 85. See
Benv. da Imola Com. ; and Marat.
Ber. Ital. torn. XT.

324

INFERNO.

CANTO XXVII.

their teeth. The cities of Lamone and Santerno 1 guides
Lioncel of the white lair, who changes faction from the
summer to the winter. And that 2 whose flank the Savio
bathes, as it lies between the plain and mount, so lives it
between tyranny and freedom.
" Now I pray thee, tell lis who thou art. Be not more
hard than one has been 3 to iliee : so may thy name on
earth maintain its front."
After the flame had roared awhile as usual, it moved
the sharp point to and fro, and then gave forth this
breath : 4 " If I thought my answer were to one who ever
Le città di Lamone e di Santerno
»
Conduce il leoncel dal nido bianco,
Che muta parte dalla state al verno :
E quella, a cui il Savio bagna il fianco,
Così com' ella s' è tra il piano e il monte,
Tra tirannia si vive e stato franco.
Ora chi sei ti prego che ne conte :
Non esser duro più eh' altri sia stato,
Se il nome tuo nel mondo tegna fronte,
Poscia che il fuoco alquanto ebbe rugghiato
Al modo suo, V aguta punta mosse
Di qua, di là, e poi die cotal fiato :
S' io credessi che mia risposta fosse
1
Faenza, near the river Lamone, and Imolo near the Santerno : under the rule of Machinardo Pagani, surnamed " Il Diavolo," whose arms were a lioncel
on a field argent, and who kept
continually changing party, " facing both ways," all his life.

50

55

60

2
Cesena on the Savio; now
ruled by tyrants, now by the citizens themselves.
3
Lit. : tC Than other has been,"
meaning, "than I have been to
thee." He speaks to Guido with
a childlike kindness and pity.
4
Pound this utterance.

CANTO XXVII.

INFERNO.

325

could return to the world, this flame should shake no
more. 1 But since none ever did return alive from this
depth, if what I hear be true, without fear of infamy I
answer thee.
" I was a man of arms ; and then became a Cordelier, 2
hoping, thus girt, tò make amends. And certainly my
hope were come in full,3 but for the Great Priest, 4 may ill
befall him ! who brought me back to my first sins : and
how and why, I wish thee to hear from me. Whilst I
was the form of bones and pulp, which my mother gave
me, my deeds were not those of the lion, but of the fox.

A persona che mai tornasse al mondo,
Questa fiamma staria senza più scosse :
Ma perciocché giammai di questo fondo
Non tornò vivo alcun, s'io odo il vero,
Senza tema d' infamia ti rispondo.
Io fui uom d' arme, e poi fui Cordigliero,
Credendomi, sì cinto, fare ammenda :
E certo il creder mio veniva intero,
Se non fosse il Gran Prete, a cui mal prenda,
Che mi rimise nelle prime colpe :
E come, e quare voglio che m'intenda.
Mentre eh' io forma fui d' ossa e ai polpe,
Che la madre mi die, 1' opere mie
Non furon leonine, ma di volpe.

65

70

75

' Lit. : " Should stand without I 3 Or, " had been fulfilled : " 1
more shakes/' or speak no more.
should have been in Heaven instead
2
" Cordelier : '* or monk, girt of here.
*vith the Cord of St. Prancis.
| * Pope Boniface VIII.

326

INFERNO.

CANTO XXVII.

A l l wiles a n d covert ways I k n e w ; a n d u s e d t h e a r t of
t h e m so well, t h a t to t h e e n d s of t h e e a r t h t h e s o u n d w e n t
forth.

W h e n I s a w myself come t o t h a t p e r i o d of m y a g e

a t w h i c h e v e r y one s h o u l d lower sails a n d g a t h e r in his
ropes, 1 t h a t w h i c h before
then ;

and with

had pleased me, grieved m e

repentance

a n d confession

2

I

yielded

myself, a h w o e alas ! a n d i t w o u l d h a v e availed me.

The

P r i n c e of t h e n e w P h a r i s e e s 3 — w a g i n g w a r n e a r t o t h e
Gli accorgimenti e le coperte vie
Io seppi tutte ; e sì menai lor arte,
d i ' al fine della terra il suono uscie.
Quando m i vidi giunto in quella parte
Di mia età, dove ciascun dovrebbe
Calar le vele e raccoglier le sarte,
Ciò che pria m i piaceva, allor m'increbbe ;
E pentuto e confesso m i rendei,
Ahi miser lasso ! e giovato sarebbe.
Lo Principe de' nuovi Farisei
1
In the Convito (Trat. iv. 28)
Dante, speaking of Old Age, and
the " sea of this life " on which our
Soul has its voyage of trial, says :
" Natural death is as it were a
haven and a rest to us after long
navigation. And the noble Soul
is like a good mariner; for he,
when he draws near the port,
lowers his sails, and enters it
softly with feeble steerage : even
so ought we to lower the sails of
our worldly operations, and turn
to God with all our understanding
and heart, that we may reach this
haven with all suavity and with

80

85

all peace. And herein we have
from our own nature a great lesson
of suavity ; for in such a death as
this there is no grief nor any bitterness: but as a ripe apple is
lightly and without violence
losened from its branch, so our
soul without grieving departs
from the body in which it hath
been," &c.
The rest of this passage is still
higher. Guido is praised in it.
2
" Yield yourselves unto God,
as those that are alive from the
dead," &c. Rom. vi. 13.
3
Boniface VIII., at war with

CANTO XXVII.

327

INFERNO.

Lateran, and not with Saracens or Jews ; for every enemy >
of his was Christian, and none had been to conquer Acre, 1 '
nor "been a merchant in the Soldan's land—-regarded not
the Highest Office nor Holy Orders in himself, nor in me
that Cord which used to make those whom it girded
leaner; but as Constantino called Silvestro out of Soracte 2
to cure his leprosy, so this man called me as an adept to
cure the fever of his pride. He demanded counsel of me ;
Avendo guerra presso a Laterano,
E non con Saracin, né con Giudei ;
Che ciascun suo nemico era Cristiano,
E nessuno era stato a vincer Acri,
Ne mercatante in terra di Soldano :
Ne sommo ufìcio, né ordini sacri
Guardò in se, ne in me quel capestro
Che solea far li suoi cinti più macri.
Ma come Costantin chiese Silvestro
Dentro Siratti a guarir della lebbre,
Così mi chiese questi per maestro
A guarir della sua superba febbre.
the Colonna family in Eome, who
had opposed his election. He
laid waste their palaces " near the
Lateran," in May 1297 ; and then,
in September 1298, demolished
their fortresses of Penestrino (Palestrina), which he had been unable to take by force, and gained
possession of by " promising much
and performing nothing," as Guido
advised. Vili* yiii. 21, 23 ; Benv.
da Imola Com.

1

90

95

Acre, the last stronghold of
the Christians after all their crusades, was in April 1291 retaken
by the Sultan, who received advice
and aid from the renegades and
Christian merchants here alluded
to. Vili, vii, 145.
2
"Called Silvestro from within"
the cave where he lay hid in Mount
Soracte, according to the old tradition ; and made him the " first
rich Father." Canto xix. 117.

328

INFERNO.

CANTO XXVIL

and I kept silent, for his words seemed drunken. 1 And
then he said to me: { Let not thy heart misdoubt : even
now I do absolve thee, and do thou teach me so to act,
that I may cast Penestrino to the ground. Heaven I can
shut and open, as thou knowest ; for two are the keys that
my predecessor 2 held not dear/ Then the weighty arguments impelled me to think silence worst ; 3 and I said :
c
Father ! since thou cleansest me from that guilt into
which I now must fall, large promise, with small observance of it, will make thee triumph in thy High Seat.'

Domandommi consiglio ; ed io tacetti,
Perchè le sue parole parvero ebbre.
E poi mi disse : Tuo cor non sospetti :
Fin or ti assolvo, e tu m'insegna fare
Sì come Penestrino in terra getti.
Lo Ciel poss' io serrare e disserrare,
Come tu sai ; però son duo le chiavi,
Che il mio antecessor non ebbe care.
Allor mi pinser gli argomenti gravi
Là 've il tacer mi fu avviso il peggio,
E dissi : Padre, da che tu mi lavi
Di quel peccato, ove mo cader deggio,
Lunga promessa con 1' attender corto
Ti farà trionfar nell' alto seggio.
J

With high rage and pride.
Celestine V. who resigned the
Keys : which no threats or vior
lence could make Boniface himself
resign.. Vili» viii. 63.
3
Lit. : "Drove me there where
?

100
*

105

110

keeping silence seemed to me the
worst" plan; i.e. by his drunken
words, haughty rage, and sudden
absolution, made me think it safest
to speak. Compare Vili. viii. 23 ;
Benv. da Imola Com.. &c.

CANTO XXVII.

INFERNO,

329

" Saint Francis afterwards, when I was dead, came for
me ; but one of the Black Cherubim x said to him : * Do
not take him ; wrong me not. He must come down
amongst mj menials; because he gave the fraudulent
counsel, since which I have kept fast b j h i s hair. For he
who repents not, cannot be absolved ; nor is it possible to
repent and will a thing at the same time, the contradiction
not permitting it.' O wretched me ! how I started when
he seized me, saying to me : ' May be thou didst not think
that I was a logician ! '
" To Minos he bore me, who twined his tail eight times
round his fearful back, and then biting it in great rage,

Francesco venne poi, com' io fu' mòrto,
Per me ; ma un de' neri Cherubini
Gli disse : Noi portar ; non mi far torto.
Venir se ne dee giù tra' miei meschini,
Perchè diede il consiglio frodolente,
Dal quale in qua stato gli sono a' crini :
Ch' assolver non si può chi non si pente ;
Ne pentere e volere insieme puossi,
Per la contraddizion che noi consente.
0 me dolente ! come mi riscossi
Quando mi prese, dicendomi : Forse
Tu non pensavi eh' io loico fossi !
A Minos mi portò : e quegli attorse
Otto volte la coda al dosso duro ;
E poi che per gran rabbia la si morse,
Disse : Questi è de' rei del fuoco furo :

1

Compare cauto xxiii. 131 ; and Matt. xxv. 41.

115

120

125

330

INFERNO.

CANTO XXVII.
1

said : ' This is a sinner for the thievish fire.' Therefore
I, where thou seest, am lost ; and going thus clothed, in
heart I grieve."
"When he his words had ended thus, the flame, sorrowing, departed, writhing and tossing its sharp horn. We
passed on, I and my Guide, along the cliff up to the other
arch that covers the foss, in which their fee is paid to
those who, sowing discord, gather guilt. 2
Per eh' io là, dove vedi, son perduto ;
E sì vestito andando mi rancuro.
Quand' egli ebbe il suo dir così compiuto,
La fiamma dolorando si partio,
Torcendo e dibattendo il corno aguto.
Noi passammo oltre, ed io e il Duca mio,
Su per lo scoglio infino in su 1' altr' arco
Che copre il fosso, in che si paga il
fio
A quei che, scommettendo, acquistan carco.
1
The fire that " steals the sinners." Canto xxvi. 42.
2
Lit. : " Who, by disjoining or
unbinding" those whom Nature

130

135

ties together with her "bond of
love " (canto xi. 56), " accumulate
a burden or load" of guilt for
themselves.

ARGUMENT.
Our Pilgrim—more and more heavy-laden, yet rapid and unconquerable
—is now with his Guide looking down into the Ninth Chasm ; and
briefly describes the hideous condition of the " sowers of Scandal and
Schism " that are punished in it. First comes Mahomet : in Dante's
view, a mere Sectarian who had taken up Christianity and perverted
its meaning. The shadow of him, rent asunder from the chin downwards, displays the conscious vileness and corruption of his doctrines.
He tells how Ali—his nephew, his earliest and bravest disciple and
son-in-law 5 who, as Caliph, had battles with the Prophet's own
faithful followers, in which more than seventy thousand fell ; and
who was himself assassinated by one of them—" goes weeping before
him, cleft from chin to forelock." He then asks what Dante is doing
there ; and on learning his errand and the likelihood of his return to
earth, bids him give due warning to " Brother Dolcino," a Schismatic
and Communist, who is stirring up strife in Piedmont and Lornbardy. Next comes Pier da Medicina,, who, with a fair face and a
shew of friendship, fomented dissensions amongst the small Princes
of Romagna ; Curio, who urged Caesar to cross the Rubicon and
begin the civil war ; Mosca de' Lamberti of Florence, who counselled
and took part in the murder of Buondelmonti, by which the factions
of Guelphs and Ghibellines were introduced ; and lastly, Bertrand
de Born, who divided father and son. All of them have punishments
representing their crimes.

332

INFERNO.

CANTO XXVIIi.

CANTO X X V I I I .
W H O , even w i t h w o r d s set free, 1 could ever fully tell, by
oft r e l a t i n g , t h e blood a n d t h e w o u n d s t h a t I n o w saw ?
E v e r y t o n g u e a s s u r e d l y w o u l d fail, because of o u r speech
a n d o u r m e m o r y 2 t h a t h a v e s m a l l capacity to c o m p r e h e n d
so m u c h .
I f all t h e people too w e r e g a t h e r e d , w h o of old u p o n
A p u l i a ' s f a t e f u l 3 l a n d wailed for t h e i r blood, shed b y t h e
C H I porla mai, pur con parole sciolte,
Dicer del sangue e delle piaghe appieno,
Ch' i' ora vidi, per narrar più volte ?
Ogni lingua per certo verria meno
Per lo nostro sermone e per la mente,
Ch' hanno a tanto comprender poco seno.
Se s' adunasse ancor tutta la gente,
Che già in su la fortunata terra
Di Puglia fu del suo sangue dolente
i Free from verse or rhyme.
Verso sciolto, blank verse ; parole
sciolte, prose.
2
Multa namque per intellectum
videmus, quihus Signa Vocalia
deswrit, &c. Intellectus humanus
in Jiac vita . . . . quando elevatur,
in tantum elevatur ut Memoria
post reditum deficiat.
Dante
(Epist. vi. 27, 28) to Can Grande.
3
Lit. : " Fortuned," or eventful
land: scene of many changes.
The Poet first alludes to the thousands of Apulians slain by the

5

ilomans under P. Decius (Liv.
x. 15, & c ) ; then to the second
Punic war, which lasted upwards
of 15 years, and gave Hannibal
the booty of "more than three
bushels and a half" of rings at
Cannae, in Apulia. See Liv. xxiii.
12; and Convito (Tr. iv. 4, 5),
where this war is spoken of, as
well as the other sore trials which
the "sacred people," who came
from Troy, had to go through in
establishing their Monarchy.
If we read Trqjani with the

CANTO XXYITJ.

INFERNO.

333

Eomans ; and in that long war which made so vast a spoil
of rings, as Livy writes, who errs n o t ; with those 1 who,
by withstanding Eobert Guiscard, felt the pains of blows ;
and the rest 2 whose bones are gathered still at Ceperano,
where each Apulian proved false ; and there at Tagliacozzo, 3
where old Alardo conquered without weapons : and one

Per li Komani, e per la lunga guerra
Che dell' anelia fé' sì alte spoglie,
Come Livio scrive, che non erra ;
Con quella, che sentio di colpi doglie
Per contrastare a Buberto Guiscardo ;
E 1' altra, il cui ossame ancor s' accoglie
A Ceperan, là dove fu bugiardo
Ciascun Pugliese ; e là da Tagliacozzo,
Ove senz' arme vinse il vecchio Alardo :
old editions, instead of Romani in
verse 10, we must adopt the comment (geographically incorrect)
of Pietro di Dante 5 and make
the passage refer, as he does, to
the people slain by JEneas and
the Trojans in ea parte Apulia
qua dicitur Laurentia. The exaggerations of Foscolo certainly
cannot help us.
1
" The schismatic Greeks and
unbelieving Saracens " (Gibbon,
Hist. cap. Ivi.), with their adherents in Apulia ; so rapidly defeated by the famous Guiscard,
son of Tancred de Hauteville, and
Duke of Apulia, &c. They got
nothing but " painful blows " by

IO

15

resisting him. He is again named
in Farad, xviii. 48.
2
Manfred, with his Germans
and Tuscans, through treachery
of the Apulians at Ceperano and
Benevento, defeated and slain by
Charles of Anjou, in February
1265-6. Vili. vii. 5-10.
3
On Tagliacozzo plain, August
1268, Charles gained an easy and
sudden victory over Conradin's
superior forces, by the stratagem
of Alardo (Ehrhard) de Vallery—
lying in wait till the Germans
had defeated part of his army,
and then falling upon them when
they were scattered for plunder.
Vili. vii. 26-7.

334

INFERNO.

CANTO XXVIII.

should shew his limbs transpierced, and another his cut
off ; it were nought to equal the hideous mode of the ninth
chasm.
Even a cask, through loss of middle-piece or cant,
yawns not so wide x as one I saw, ripped from the chin
down to the part that utters vilest sound. Between his
legs the entrails hung ; the pluck appeared, and the
wretched sack that makes excrement of what it swallowed.
"Whilst I stood all occupied in seeing him, he looked at
me, and with his hands opened his breast, saying : " !N"ow
see how I dilacerate myself ! See how Mahomet 2 is
E qual forato suo membro, e qual mozzo
Mostrasse, d' agguagliar sarebbe nulla
Il modo della nona bolgia sozzo.
Già veggia, per mezzul perdere o lulla,
Com' io vidi un, così non si pertugia,
Botto dal mento insin dove si trulla.
Tra le gambe pendevan le minugia ;
La corata pareva, e il tristo sacco
Che merda fa di quel che si trangugia.
Mentre che tutto in lui veder m' attacco,
Guardommi, e con le man s' aperse il petto,
Dicendo : Or vedi come io mi dilacco :
Vedi come storpiato è Maometto.
1

Lit. : " Is not so holed." The
staves of a cask fall open when
it loses the middle or the sidepiece ("cant") of its bottom.
Lulla perhaps from lunula, the
cant having the shape of a half
or " little moon."

2

20

25

30

Dante's son Pietro tells how
Mahomet " went with his master's camels, always inquiring of
Christians and Jews, and learning
about the Old Testament and the
New," &c.

CANTO XXVIII.

INFERNO.

335

mangled ! Before me Ali weeping goes, cleft in the face
from chin to forelock. And all the others, whom thou
seest here, were in their lifetime sowers of scandal and of
schism ; and therefore are they thus cleft. A Devil is
here behind, who splits us thus cruelly, reapplying each of
this class to his sword's edge, when we have wandered
round the doleful road ; for the wounds heal up ere any
goes again before hiniv But who art thou, that musest on
the cliff, perhaps in or^ar to delay thy going to the punishment, adjudged upon thy accusations ? " l
" Not yet has death come to him ; nor does guilt lead
Dinanzi a me sen va piangendo Ali
Fesso nel volto dal mento al ciuffetto.
E tutti gli altri, che tu vedi qui,
Seminator di scandalo e di scisma
Fur vivi ; e però son fessi così.
Un Diavolo è qua dietro, che n' accisma
Sì crudelmente, al taglio della spada
Rimettendo ciascun di questa risma,
Quando avem volta la dolente strada ;
Perocché le ferite son richiuse
Prima eh* altri dinanzi li rivada.
Ma tu chi sei, che in su lo scoglio muse,
Forse per indugiar d'ire alla pena,
Ch' è giudicata in su le tue accuse ?
Ne morte il giunse ancor, ne colpa il mena,
1
In presence of Minos. Canto
v. 7, &c. It is their own guilt that
accuses, condemns, and torments
the sinners. IH scirent quia per
qua peccai quis, per hcec et tor-

85

40

45

quetu/r (" That they might know,
that wherewithal a man sinneth, by the same also shall
he be punished"). Sapientiae
xi. 17.

336

INFERNO.

h i m , " replied m y M a s t e r , " t o t o r m e n t h i m .

CANTO XXVIII.
B u t t o give

h i m full experience, i t behooves me, w h o am dead, to lead
h i m t h r o u g h t h e H e l l d o w n here, from r o u n d to r o u n d ?
a n d t h i s is t r u e as t h a t I speak to t h e e . "
M o r e t h a n a h u n d r e d , w h e n t h e y h e a r d h i m , s t o p p e d in
t h e fosse to look a t m e , t h r o u g h w o n d e r f o r g e t t i n g t h e i r
torment.

" W e l l , t h e n , t h o u w h o p e r h a p s s h a l t see t h e

S u n e r e l o n g , t e l l F r a Dolcino, 1 if h e w i s h n o t speedily to
follow m e down h e r e , so to a r m himself w i t h victuals, t h a t
Eispose il mio Maestro, a tormentarlo ;
Ma per dar lui esperienza piena,
A me, che morto son, convien menarlo
Per lo Inferno quaggiù di giro in giro :
E questo è ver così, com' io ti parlo.
Più fur di cento, che quando 1' udirò,
S' arréstaron nel fosso a riguardarmi^
Per maraviglia obliando il martiro.
Or di' a F r a Dolchi dunque che s' armi,
Tu che forse vedrai il Sole in breve,
S' egli non vuol qui tosto seguitarmi,
1
Fra Dolcino
man of great talent, and learning, and singular eloquence," who
preached Community of goods and
(as is said) of wives, at the time
of Dante's vision ; and " censured
the Pope, Cardinals, and other
Dignitaries of the Holy Church,
for not doing their duty, nor
leading the angelic life," &c. In
1305 he had several thousands of
followers, " some of whom were

50

55

noble and wealthy ; " and, being
pursued and attacked by the Inquisition, stoutly defended himself, "the women fighting too,"
on Monte Sebello, near Novara
in Piedmont; and could not be
taken till his provisions were cut
off (in 1307) by a snow-storm.
He and " Sister Margaret " of
Trent, his wife, were mangled
with red-hot pincers, and then
burnt with what remains of life

CANTO XXVIII.

INFERNO.

337

s t r e s s of s n o w m a y n o t b r i n g v i c t o r y t o t h e N o v a r e s e ,
w h i c h o t h e r w i s e would n o t h e easy t o a t t a i n . "

After

lifting u p one foot to go a w a y , M a h o m e t said t h i s t o m e ;
t h e n on t h e g r o u n d h e s t r e t c h e d it t o d e p a r t .
A n o t h e r , w h o h a d his t h r o a t pierced t h r o u g h , a n d nose
c u t off u p to t h e e y e b r o w s , a n d h a d b u t one s i n g l e ear,
s t a n d i n g to gaze in w o n d e r w i t h t h e rest, before t h e r e s t
opened his weasand, w h i c h o u t w a r d l y w a s r e d on every
p a r t , a n d said : " 0 t h o u ! w h o m g u i l t c o n d e m n s n o t , a n d
w h o m I h a v e seen above on L a t i a n g r o u n d ere now, unless

Sì di vivanda, che stretta di neve
Non rechi la vittoria al Noarese,
Ch' altrimenti acquistar non saria lieve.
Poi che 1' u n pie per girsene sospese,
Maometto mi disse està parola ;
Indi a partirsi in terra lo distese.
Un altro, che forata avea la gola
E tronco il naso infìn sotto le ciglia,
E non avea ma' eh' u n ' orecchia sola,
Eestato a riguardar per maraviglia
Con gli altri, innanzi agli altri aprì la canna,
Oh' era di fuor d' ogni parte vermiglia ;
E disse : 0 tu, cui colpa non condanna,
E cui già vidi su in terra Latina,

60

65

70

66. Ma? cli\ more tliaii. Lat. rnagis qùam.
they had in them, entirely refusing to abjure their doctrines.
See Benv. da Imola, and Land.
Com. ; Vili. viii. 14 5 and Murat.
Her. Ital. torn, ix., where a fuller

but very partial account of them
is given, in which they are called
Gtazzarì (Gei*. Ketzet) vulgar for
Cathari, Puritans), like the Albigenses and Waldenses.

338

INFERNO.

CANTO XXVIII.

fcoo m n c b r e s e m b l a n c e deceive m e ; r e m e m b e r P i e r d a
Medicina, 1 if ever t h o u r e t u r n t o see t h e g e n t l e p l a i n 2
t h a t from Y e r c e l l i slopes t o M a r c a b ò ; a n d m a k e k n o w n to
the w o r t h i e s t

t w o 3 of F a n o , t o M e s s e r Guido a n d t o

Angiolello likewise, t h a t , u n l e s s o u r foresight h e r e be
vain, t h e y s h a l l b e cast o u t of t h e i r ship, a n d d r o w n e d
Se troppa simiglianza non m ' i n g a n n a ,
Eimembriti di Pier da Medicina,
Se m a i torni a veder lo dolce piano,
Che da Vercello a Marcabò dichina ;
E fa saper a' duo miglior di Fano,
A messer Guido, e anche ad Angiolello,
Che, se 1' antiveder qui non è vano,
Gittati saran fuor di lor vasello,
E mazzerati presso alla Cattolica,
1
Of Medicina, a little town between Bologna and Imola. Piero,
amongst other things, hindered
Guido of Kavenna and Malatesta
of Rimini from " contracting affinity and alliance," and set them
at variance, by secretly and officiously informing each, that the
other was going to cheat him ;
and got large presents from both
for his confidential falsehoods.
Dante is said to have been a
frequent visitor in the house of
the Capitani or Cattani at Medicina, and Piero might have seen
him there. Benv. da Imola Com.
2
Plain of Lombardy, gently
descending for more than 200
miles, from Vercelli to Marcabò,

75

80

a castle built by the Venetians on
the southmost branch of the Po,
near Ravenna, to obstruct its navigation ; and entirely demolished
after their defeat at Ferrara, in
1308. Ibid.
3
Guido del Cassero and Angiolello da Cagnano, two noble
citizens of Fano : invited by Maltestino, the " One-eyed Traitor,"
to friendly parley or dinner with
him on an appointed day, at Cattolica, a seaport between Fano and
Rimini ; and there, by his orders,
mazzerati, or "thrown into the
sea, in sacks and with stones tied
round their necks." Ibid, and
Vellut. Com. Happily we have no
word in English for mazzerare.

CANTO XXVIII.

INFERNO.

339

near the Cattolica, by a fell tyrant's treachery. Between
the isles of Cyprus and Majorca, Neptune never saw so
great a crime—not even with ^ Pirates, not even with
Argives. That traitor who sees with but one eye, and
holds the land which one who is here with me would wish
that he had never seen, will make them come to parley
with him ; then act so, that they shall need no vow nor
prayer for Focara's 1 wind."
And I to him : " Shew me and explain, so thou wouldst
have me carry tidings up of thee, who he is that rues that
sight. ,, 2
Then he laid his hand upon the jaw of one of his comPer tradimento d' un tiranno fello.
Tra 1' isola di Cipri e di Maiolica
Non vide mai sì gran fallo Nettuno,
Non da Pirati, non da gente Argolica.
Quel traditor che vede pur con V uno,
E tien la terra, che tal è qui meco
Vorrebbe di vedere esser digiuno,
Farà venirli a parlamento seco ;
Poi farà sì, che al vento di Focara
Non farà lor mestier voto ne preco.
Ed io a lui : Dimostrami e dichiara,
Se vuoi eh' io porti su di te novella,
Chi è colui dalla veduta amara.
Allor pose la mano alla mascella
1
Focara, a mountain near Cattolica; so noted for its perilous
squalls, that ' God keep thee from
the wind of Focara ! ' became a
proverb. Benv. da Imola Com.

85

90

2
Lit. : *' He of the bitter sight 5"
the one who wishes that he had
never seen the Young Mastiff's
land of Rimini. Comp. canto xviii.
42, note 2d, p. 209.

340

INFERNO.

CANTO XXVIII.

p a n ì o n s ; a n d opened t h e m o n t h of him, s a y i n g : " T h i s is
he, a n d h e s p e a k s not.

This outcastx quenched the doubt

in Cassar, affirming t h a t ^ to men p r e p a r e d delay is a l w a y s
hurtful."2

O h , h o w dejected, w i t h t o n g u e slit in

his

g o r g e , s e e m e d Curio to m e , w h o w a s so d a r i n g i n h i s
speech !
A n d one w h o h a d b o t h h a n d s c u t off, r a i s i n g t h e s t u m p s
t h r o u g h t h e dim air so t h a t t h e i r blood d e n i e d h i s face,
said : " T h o u wilt recollect t h e M o s c a 3 too, ah m e ! w h o
D' u n suo compagno, e la bocca gli aperse,
Gridando : Questi è desso, e non favella :
Questi scacciato il dubitar sommerse
I n Cesare, affermando che il fornito
Sempre con danno 1' attender sofferse.
0 quanto mi pareva sbigottito,
Con la lingua tagliata nella strazza,
Curio, eh' a dicer fu così ardito I
E d un, eh' avea 1' una e 1' altra m a n mozza,
Levando i moncherin per 1' aura fosca,
Sì che il sangue facea la faccia sozza,
Gridò : Eicorderaiti anche de>M )sca,
1

Curio, banished from Rome :
who found Caesar at Rimini (Ariminum) hesitating to pass the Rubicon, and daringly with " venal
tongue " incensed him to it. Lucan.
i. 269, &c.
2
Lit. : " That the man prepared
always with injury endured delay ." Semper nocuit differre paratis. lb. i. 281.
3
In the year 1215, the Buondelmonte (Farad, xvi. 140, &c.) who

95

100

105

was engaged to wed a lady of the
Amidei family, broke his promise,
and betrothed himself to one of
the Donati. The relations of the
former met to consult how they
might avenge the affront : and by
advice of this Mosca, a noble and
famous Ghibelline of that time,
who assisted them with his own
hands, they dragged the young
bridegroom from his' horse in open
day, and slew him at the foot of

CANTO XXVIII.
said,

c

INFERNO.

341

A t h i n g done h a s a n e n d ! ' w h i c h w a s t h e seed of

evil t o t h e T u s c a n p e o p l e . "
" A n d d e a t h to t h y k i n d r e d ! "

x

I added here.

W h e r e f o r e h e , a c c u m u l a t i n g pain on pain, w e n t a w a y as
one distressed and mad.

B u t I remained to view the

t r o o p , a n d s a w a t h i n g w h i c h I s h o u l d b e afraid e v e n t o
r e l a t e , w i t h o u t m o r e proof ; b u t t h a t conscience r e a s s u r e s
m e , t h a t good c o m p a n i o n w h i c h fortifies a m a n b e n e a t h t h e
h a u b e r k of h i s self-felt purity. 2

C e r t a i n l y I saw, a n d still

Che dissi, lasso ! Capo h a cosa fatta :
Che fu il mal seme della gente Tosca.
E d io v' aggiunsi : E morte di t u a schiatta ;
Per eh' egli, accumulando duol con duolo,
Sen gìo come persona trista e matta.
Ma io rimasi a riguardar lo stuolo,
E vidi cosa eh' io avrei paura,
Senza più prova, di contarla solo ;
Se non che conscienzia m ' assicura,
L a buona compagnia che 1' uom francheggia
Sotto 1' osber^o del sentirsi pura.
Io vidi certo, ed ancor par eh' io il veggia,
the " ominous " statue of Mars.
" This murder was the cause and
commencement of the accursed
Ouelph and Ghibelline parties in
Florence." Malesp. c. 104 $ Vili.
v. 38.
The il Cosa fatta, capo ha" as
all the old Chroniclers have it,
is still in use as a proverb ; and
here means 'Kill him first, and
then consult,' It might be ren-

110

115

dered, c Done deed will speed ; '
will contrive to assert and justify
itself: or, ' A thing done is soon
settled.'
1
Or : " Thy race : " the great
Lamberti family. Par. xvi. 110.
2
Lit : " Conscience . . . . the
good companion that emboldens
or frees a man from fear, under
the hauberk of his feeling himself
pure."

342

INFERNO

CANTO XXVIII.

seem to see a trunk going without a head, as the others of
that dismal herd were going. And it was holding by the
hair the severed head, swinging in his hand like a lantern ;
and that looked at us, and said : " O m e ! "
Of itself it
made for itself a lamp : l and they were two in one,
and one in two. How this can be, he knows who so
ordains.
When it was just at the foot of our bridge, it raised its
arm high up, with all the head, 2 to bring near to us its
words, which were : " Now see the grievous penalty, thou,
who breathing goest to view the dead ; see if any be as
great as this ! And that thou mayest carry tidings of

Un busto senza capo andar, sì come
Andavan gli altri della trista greggia.
E il capo tronco tenea per le chiome
Pesol con mano, a guisa di lanterna ;
E quei mirava noi, e dicea : 0 me I
Di se faceva a se stesso lucerna ;
Ed eran due in uno, ed uno in due :
Com' esser può, quei sa che sì governa.
Quando diritto appiè del ponte fue,
Levò il braccio alto con tutta la testa
Per appressarne le parole sue,
Che furo : Or vedi la pena molesta
Tu che, spirando, vai veggendo i morti :
Vedi s' alcuna è grande come questa.
E perchè tu di me novella porti,

1

120

125

130

The eternal recognition of his I 2 Or : " And the head withal : "
hideous crime.
I the head too. Cinon. Part., 147.

CANTO XXVIII.

INFERNO.

343

me, know, that I am B e r t r a m 1 de Born, he who
to the Yonng King gave the evil counsels. I made the
father and the son rebels to each other. Ahithophel did
not do more with Absalom and David by his malicious
instigations. Because I parted persons thus united, I
carry my brain, ah me ! parted from its source 2 which is
in this trunk. Thus the law of retribution 3 is observed in
me."
Sappi eh' io son Bertram dal Bornio, quelli
Che al Ee Giovane diedi i mal conforti.
Io feci il padre e il figlio in sé ribelli :
Achitòfel non fé' più d' Absalone
E di David co' malvagi pungelli.
Perch' io partii così giunte persone,
Partito porto il mio cerebro, lasso !
Dal suo principio eh' è in questo troncone.
Così s' osserva in me lo contrappasso.
1

Lord Bertrand de Born ("En
Bertram," &c), the great Troubadour, turbulent statesman and
warrior, of Hautefort in Guienne :
he who made the Young King
(" el rei jove") y Prince Henry, rebel against his own father Henry
II., and lent his aid in that rebellion till the Prince was killed.
See Raynouard, Poesies des Troubadours, torn. v. 76, &c.
The old reading of line 135 is
Be Giovannij " King John ; " and
certainly, after the murder of
Becket, all the sons of Henry
successively rebelled against him,

135

140

John among the rest. But even
Villani himself (lib. v. c. 4) loosely
writes " il re Giovane," so that the
error is easily accounted for : and
Dante, who knew the Poems of
Bertrand (see Vulg, Eloq. ii. 2, 3,
&c), and is more accurate than
any of the historians, could not
make such a mistake. Foscolo
reads Be Giovine for Giovane ; but
without any authority.
2
Or from its root or germ, the
spinal cord, which is in this headless trunk or stock.
3
The àvmreTTOvOòg (cofitra-passus) of Aristotle.

ARGUMENT.
The numberless Shadows of discord and bloody strife have filled the
Poet's eyes with tears ; and he still keeps gazing down, expecting to
find his own father's cousin, Gerì del Bello, among them. Virgil
makes him quit the miserable spectacle ; and tells, as they go on,
how he had seen Geri, at the foot of the bridge, pointing with angry
gesture, and then departing in the crowd. From the arch of the
Tenth Chasm, Dante now hears the wailings of a new class of sinners,
the last in Malebolge. They are the Falsifiers of every sort :
punished with innumerable diseases, in impure air and darkness.
Pietro di Dante enumerates three classes of Falsifiers : in things, in
deeds, and in words. Of the first class are the Alchemists, Forgers,
&c, such as Griffolino of Arezzo, and Capocchio of Siena, in the
present canto, and Adamo da Brescia in the next,—where we shall
also find the other two classes.

346

INFERNO.

CANTO XXIX.

CANTO X X I X .
THE many people and the diverse wounds had made
ray eyes so drunken 1 that they longed to stay and weep.
But Yirgil said to me : " Why art thou gazing still ?
Wherefore does thy sight still rest, down there, among the
dismal mutilated shadows ? Thou hast not done so at the
other chasms. Consider, if thou thinkest to number them,
that the valley goes round two-and-twenty miles ; 2 and
LA molta gente e le diverse piaghe
Àvean le luci mie sì inebriate,
Che dello stare a piangere eran vaghe.
Ma Virgilio mi disse : Che pur guate ?
Perchè la vista tua pur si soffolge
Laggiù tra V ombre triste smozzicate ?
Tu non hai fatto sì all' altre bolge :
Pensa, se tu annoverar le credi,
Che miglia ventiduo la valle volge ;
1 Cc
f
Their land shall be drunken
(inébriabitur) with blood." Isaiah
xxxiv. 7. Reader! mark the true
pathos, dignity, and justice of
this scene, where the Poet has to
speak of a worthless relation of
his own.
2
Dante here gives the measurement of this Ninth ring of Malebolge—last but one, with shadows
not to be numbered—and, in next
canto, that of the innermost or

5

smallest ring, which is eleven
miles round ; and so leaves us to
imagine the vast dimensions and
population of all the Hell above.
The ingenious Dialogo di Antonio Monetti (Giunta, Fior. 1506)v
with curious plates and calculations, now before me, attempts—
not very poetically or successfully
—to reduce the " Site, Porm, and
Size of the Hell" to a kind of
architectural reality.

CANTO XXIX.

34/

INFERNO.

t h e M o o n already is b e n e a t h o u r feet. 1

T h e t i m e is now-

short, t h a t is conceded to n s ; a n d far o t h e r tilings are to
be s e e n t h a n t h o u dost s e e . "
" H a d s t t h o u , " I t h e r e u p o n r e p l i e d , " a t t e n d e d to t h e
fiausefor

w h i c h I looked, p e r h a p s t h o u m i g h t e s t h a v e vouch-

safed m e y e t to s t a y . " 2

M e a n t i m e t h e Guide w a s

going

on ; a n d I w e n t behind h i m , n o w m a k i n g m y reply, a n d
a d d i n g : " W i t h i n t h a t c a v e r n w h e r e I k e p t m y eyes so
fixed,3 I believe t h a t a spirit, of m y o w n blood, l a m e n t s t h e
g u i l t w h i c h costs so m u c h d o w n t h e r e . "
T h e n t h e M a s t e r said : " L e t n o t t h y t h o u g h t h e n c e forth d i s t r a c t itself on h i m . 4

A t t e n d t o s o m e w h a t else,

E già la Luna è sotto i nostri piedi :
Lo tempo è poco ornai, che n ' è concesso ;
E d altro è da veder, che tu non vedi.
Se tu avessi, rispos' io appresso.
Atteso alla cagion per eh' io guardava,
Forse m ' avresti ancor lo star dimesso.
Parte sen già, ed io retro gli andava,
Lo Duca, già facendo la risposta,
E soggiungendo : Dentro a quella cava,
Dov' io teneva gli occhi sì a posta,
Credo eh' u n spirto del mio sangue pianga
L a colpa, che laggiù cotanto costa.
Allor disse il Maestro : Non si franga
Lo tuo pensier da qui innanzi sov' elio :
1

It is past mid-day : six hours
later than the time given by the
Moon in canto xx. 124, &c.
2
Or : " To stay yet longer?
8
Lit. : " So at stand : " so ea-

10

15

20

gerly and painfully looking for
one of my own kindred.
4
Virgil, or mere Human Wisdom, not to speak of Divine, bids
Dante waste no farther thought

848

INFERNO.

CANTO XXIX.

a n d l e t h i m s t a y t h e r e ; for I saw h i m , a t t h e foot of t h e
little bridge, point to thee, and vehemently threaten with
his finger ; a n d h e a r d them call h i m G e r i del Bello. 1

Thou

w a s t t h e n so totally e n t a n g l e d u p o n h i m w h o once held
Altaforte, 2 t h a t t h o u d i d s t n o t look t h a t w a y ; so he d e parted."

3

f; O m y G u i d e ! h i s v i o l e n t d e a t h , w h i c h is n o t y e t
a v e n g e d for h i m , " said I , " by a n y t h a t is a p a r t n e r of his
s h a m e , m a d e h i m i n d i g n a n t : therefore, as I suppose, h e
Attendi ad altro, ed ei là si rimanga ;
Oh' io vidi lui a pie del ponticello
Mostrarti, e minacciar forte col dito,
E d udii nominar Geri del Bello.
Tu eri allor sì del tutto impedito
Sovra colui che già tenne Altaforte,
Che non guardasti in là ; sì fu partito.
0 Duca mio ! lo violenta morte
Ohe non gli è vendicata ancor, diss' io,
Per alcun che dell' onta sia consorte,
Fece lui disdegnoso ; onde sen gìo
on that miserable kinsman of his,
who even in Hell thinks of nothing
but vengeance and bloodshed.
1
This Geri was the son of
Dante's granduncle (Allighieri il
Bello, " the Fair ") ; and, being a
stirrer-up of strife, was slain by
one of the Sacchetti in some
wretched squabble. The Ottimo
Com, says he " was a coiner too ;
but as his death was caused by
sowing of tares " (strife), " he is
placed in the Ninth Budget ; and

25

30

for having been a forger, he is
spoken of in the present chapter,"
&c. The forgery was probably
a mere partial report, known to
Dante and this commentator ; for
we find no hint of it in other
comments.
2
Or: "So wholly occupied
with him," i.e. with Bertrand of
Hautefort, or te Altaforte."
3
Or perhaps : " Till he departed : " si for sinché, as in canto
xix. 128.

CANTO XXIX.

INFERNO.

349

went away without speaking to me ; and in that has made
me pity him the more." x Thus we spake, up to the first
place of the cliff, which shews the other valley, if more
light were there, quite to the bottom.
When we were above the last cloister of Malebolge, so
that its lay-brethren 2 could appear to our view, lamentations pierced me, manifold, which had their arrows
barbed with pity ; whereat I covered my ears with my
hands.
Senza parlarmi, sì com' io stimo ;
E in ciò m' ha fatto egli a sé più pio.
Così parlammo insino al luogo primo,
Che dello scoglio 1' altra valle mostra,
Se più lume vi fosse, tutto ad imo.
Quando noi fummo in su 1' ultima chiostra
Di Malebolge, sì che i suoi conversi
Potean parere alla veduta nostra,
Lamenti saettaron me diversi,
Che di pietà ferrati avean gli strali ;
Ond' io gli orecchi con le man copersi.
1

That rage for vengeance, vivid
image of his former life, which
still adds to his torments in Hell,
makes me pity him the more.
" Here the Author reprehends
the wickedness of Geri and of his
associates" (nephews who took
vengeance on the Sacchetti thirty
years after his death), " and tacitly
blames the pestilential spirit of the
Florentines, who never forget an
injury, nor without vengeance for-

35

40

45

give any offence : whence there is
amongst us a saying that 'Vengeance a hundred years old has
milk-teeth' (is only cutting its
teeth), Vendetta di cento anni tiene
lattaiuoli ! " Ottimo Com. See also
Benv. da Imola, who gives the same
explanation of this passage.
2
The sinners are "lay-bro
thers" in these cloisters, or enclosed rings, where Demons are
the Monks.

350

INFERNO.

CANTO XXIX.

S u c h grief a s t h e r e w o u l d be, if t h e diseases in t h e
hospitals of Y a l d i c h i a n a , 1 b e t w e e n J u l y a n d

September,

a n d of M a r e m m a a n d Sardinia, w e r e all t o g e t h e r in one
ditch : s u c h w a s t h e r e h e r e ; a n d s u c h s t e n c h issued thence,
ns is w o n t to issue from p u t r i d limbs.
W e descended on t h e last b a n k of t h e l o n g 2 cliff, a g a i n
t o t h e left h a n d ; 3 a n d t h e n m y s i g h t w a s m o r e vivid,
d o w n t o w a r d s t h e d e p t h i n w h i c h t h e m i n i s t r e s s of t h e
G r e a t Sire, infallible J u s t i c e , p u n i s h e s t h e falsifiers

Qual dolor fora, se degli spedali
Di Valdichiana tra il luglio e il settembre,
E di Maremma, e di Sardigna i mali
Fossere in una fossa tutti insemhre.
Tal era quivi ; e tal puzzo n ' usciva,
Qual suole uscir dalle marcite memhre.
Noi discendemmo in su 1' ultima riva
Del lungo scoglio, pur da m a n sinistra,
E d allor fu la mia vista più viva
Giù vèr lo fondo, dove la ministra
Dell' alto Sire, infallibii Giustizia,

that

50

55

49. Insemhre (Fr. ensemble), insieme.
1

In the Valley of the sluggish
yiver Chiana, near Arezzo, which
is now thoroughly drained, deadly
marsh-fevers were frequent, especially during the hot months of
July, August, and September.
The drainage of the Maremma, or
marshy sea-coast south of the
Arno, was also undertaken by the
Tuscan Government some twenty

years ago; and much excellent
land has already been gained for
cultivation, and rendered quite
healthy. Compare canto xxv. 19.
2
" Long," for it crosses all the
chasms of Malebolge, from the
Great Barrier downwards. Canto
xviii. 16, &c.
3
As in cantos xviii. 21, xix. 41,
xxi. 136, &c.

CANTO XXIX.

INFERNO.

351

1

she here registers.
I do not think it was a greater
sorrow to see the people in JEgina all infirm ; 2 when the
air was so malignant, that every animal, even to the little
worm, dropt down—and afterwards, as Poets hold for sure,
the ancient peoples were restored from seed of ants—
than it was to see, through that dim valley, the spirits
languishing in diverse heaps. This upon the belly, and
that upon the shoulders of the other lay ; and some were
crawling o n 3 along the dismal path. Step by step we

Punisce i falsator che qui registra.
Non credo eh' a veder maggior tristizia
Fosse in Egina il popol tutto infermo,
Quando fu 1' aer sì pien di malizia,
Che gli animali, infìno al picciol vermo,
Cascaron tutti, e poi le genti antiche,
Secondo che i poeti hanno per fermo,
Si ristorar di seme di formiche ;
Ch' era a veder per quella oscura valle
Languir gli spirti per diverse biche.
Qual sovra il ventre, e qua! sovra le spalle
U un dell' altro giacea ; e qual carpone
Si trasmutava per lo tristo calle.
Passo passo ahdavam senza sermone,

1

Here on earth registers. As
in the hymn, Dies ira, dies ilia :
Liber scriptus proferetur,
In quo totum continetur,
JJnde ntundus judicetur.
2

Allusion to the pestilence of

60

65

70

JEgina, and mythic re-peopling of
it by the ant-born Myrmidons.
Ovid. Met. vii. 523-657.
8
Lit. : " This, or some, crawling changed from place to place
along the dismal path."

352

INFERNO.

CANTO XXIX.

went, w i t h o u t speech, l o o k i n g a t a n d l i s t e n i n g t o t h e sick
w h o could n o t raise their bodies.
I saw t w o sit l e a n i n g on each other, as p a n is l e a n t on
p a n 1 to w a r m :

from h e a d to foot s p o t t e d w i t h

scabs.

A n d n e v e r did I see c u r r y c o m b plied b y stable-boy for
w h o m h i s m a s t e r w a i t s , n o r b y one w h o stays u n w i l l i n g l y
a w a k e ; 2 as each of these plied t h i c k t h e c l a w i n g of his
nails u p o n himself, for t h e g r e a t fury of t h e i r i t c h w h i c h
h a s n o other succour.

A n d so t h e nails d r e w d o w n t h e

Guardando ed ascoltando gli ammalati,
Che non potean levar le lor persone.
Io vidi duo sedere a se appoggiati,
Come a scaldar, s' appoggia tegghia a tegghia,
Dal capo ai pie di schianze maculati :
E non vidi giammai menare stregghia
A ragazzo aspettato dal signorso,
Ne a colui che m a l volentier vegghia ;
Come ciascun menava spesso il morso
Dell' unghie sovra se per la gran rabbia
Del pizzicor, che non h a più soccorso :
E si traevan giù 1' unghie la scabbia,

75

80

77. Signorso, signor suo : as in Boccac. Signora?
—tuo, mogliema—mia, fratello—mio, &c.
1

" Pan or cover " for household
uses, says the Vocab. della Crusca.
The warming of which, before
hearth-fires, without fenders or
other apparatus, in those old days,

would give a familiar homely illustration of the attitude, back to
back, of these two helpless sinners
leaning against each other.
2
Who is eager for bed.

CANTO XXIX.

INFERNO.

353

scurf, as does a knife the scales from bream or other fish
that has them larger.
" 0 thou ! " began my Guide to one of them, " who
with thy fingers dismailest x thyself, and sometimes makest
pincers of them ; tell me if there be any Latian among
these who are here within: so may thy nails eternally
suffice thee for that work."
"Latians are we, whom thou seest so disfigured here,
both of us," replied the one weeping ; " b u t who art thou
that hast inquired of us ? "
And the Guide said : " I am one, who with this living
man descend from steep to steep, and mean to shew him
Hell." Then they sprang asunder, 2 and each turned
Come coltel di scardova le scaglie,
O d' altro pesce che più larghe 1' abbia.
0 tu, che colle dita ti dismaghe,
Cominciò il Duca mio a un di loro,
E che fai d' esse tal volta tanaglie ;
Dimmi s' alcun Latino è tra costoro
Che son quinc' entro, se Y unghia ti basti
Eternalmente a cotesto lavoro.
Latin sem noi, che tu vedi sì guasti
Qui ambodue, rispose 1' un piangendo ;
Ma tu chi sei, che di noi dimandasti ?
E il Duca disse : Io son un, che discendo
Con questo vivo giù di balzo in balzo,
E di mostrar 1' Inferno a lui intendo.
A11 or si ruppe lo comun rincalzo,

85

90

95

1
Kcepest rending and some- I 2 Lit. : " Then the mutual proptimes picking off thy mail of scurf, j ping broke," &c. They ceased to

A À

354

INFERNO.

CANTO XXIX.

trembling towards me, with others that by echo heard
him.
The kind Master to me directed himself wholly, 1 saying :
" Tell them what thou wishest."
And I began, as he desired : " So may your memory
not fade 2 away from human minds in the first world, but
may it live under many suns : tell me who ye are,
and of what people. Let not your ugly and disgusting
punishment frighten you from revealing yourselves to
me."
" I was of Arezzo," 3 replied the one, " and Albert of
E tremando ciascuno a me si volse
Con altri che l' udiron di rimbalzo.
Lo buon Maestro a me tutto s' accolse,
Dicendo : Di' a lor ciò che tu vuoli.
Ed io incominciai, poscia eh' ei volse :
Se la vostra memoria non s' imboli
Nel primo mondo dall' umane menti,
Ma s' ella viva sotto molti soli ;
Ditemi chi voi siete, e di che genti :
La vostra sconcia e fastidiosa pena •
Di palesarvi a me non vi spaventi.
Io fui à! Arezzo, e Albero da Siena,
lean on one another, and turned to
me, "the living man," trembling
in their weakness and surprise :
along with others, who indirectly
(" by rebound ") heard the words
of Virgil.
1
Or: "Gathered himself all
to me ; " bent his head, arms, &c,
towards me: as a kind Italian
would still do.

100

105

2
Lit. : " Not steal itself away,"
&c. ; but live " under many suns,"
or for many years. Boli (solar
years), as in canto vi, 68.
3
" Master GrifFolino of Arezzo,
a great Alchemist," &c, who,
under pretence of teaching Albert
—real or adopted son of the
Bishop or Inquisitor of Siena—the
art of flying, got much money

355

INFERNO.

CANTO XXIX.

Siena h a d m e b u r n e d ; b u t w h a t I died for does n o t b r i n g
me here.

' Tis t r u e , I said t o h i m , s p e a k i n g in j e s t : ' I

conld r a i s e m y s e l f t h r o u g h t h e air in

flight.'

A n d he, w h o

h a d a fond desire a n d l i t t l e wit, willed t h a t I s h o u l d shew
h i m t h e a r t ; a n d only because I m a d e h i m n o t a Dasdalus,
h e m a d e m e b e b u r n e d b y one w h o h a d h i m for a son.
B u t to t h e l a s t b u d g e t of t h e ten, for t h e a l c h e m y t h a t I
practised i n t h e world, M i n o s , w h o m a y n o t err, c o n d e m n e d
me."
A n d I said to t h e P o e t : " N o w w a s t h e r e e v e r people so
vain a s t h e S i e n e s e ?

C e r t a i n l y t h e F r e n c h 1 n o t so b y

far."
Rispose 1' un, m i fé' mettere al fuoco ;
Ma quel, per eh' io mori', qui non m i mena.
Ver è, eh' io dissi a lui, parlando a giuoco :
Io m i saprei levar per 1' aere a volo :
E quei che avea vaghezza e senno poco,
Volle eh' io gli mostrassi V arte ; e solo
Perch' io noi feci Dedalo, m i fece
Ardere a tal, che 1' avea per figliuolo.
Ma nelT ultima bolgia delle diece
Me per alchimia, che nel mondo usai,
Dannò Minos, a cui fallir non lece.
E d io dissi al Poeta : Or fu giammai
Gente sì vana come la Sanese ?
Certo non la Francesca sì d' assai.

from the witless youth ; and then
was denounced and burnt alive as
a dealer in the Black Art. Benv.
da Imola, Pietro, &c. The Ottimo
bids us note, that " almost none of

110

115

120

the Alchemists dared to practise
in their own country, more especially in public."
1
Boccaccio, speaking of this
passage, says, " The whole world

356

INFERNO.

CANTO XXIX.

W h e r e a t t h e o t h e r leper, 1 w h o h e a r d me, r e s p o n d e d t o
m y w o r d s : " E x c e p t t h e Stricca w h o contrived t o s p e n d
so m o d e r a t e l y ; a n d

Niccolò,

w h o first discovered

the

c o s t l y n s a g e of t h e clove, in t h e g a r d e n 2 w h e r e s u c h seed
t a k e s r o o t ; a n d except t h e company in w h i c h Caccia of
A s c i a n o 3 s q u a n d e r e d his v i n e y a r d a n d his g r e a t forest,
Onde 1' altro lebbroso, che m ' intese,
Eispose al detto mio : Tranne lo Stricca,
Che seppe far le temperate spese ;
E Niccolò, che la costuma ricca
Del garofano prima discoperse
Neil' orto, dove tal seme s' appicca;
E tranne la brigata, in che disperse
Caccia d' Àscian la vigna e la gran fronda,

125

130

125. Tranne, tra ne, ne tra.
is aware that there is no vainer
people than the French," &c. ; and
then goes on to shew that the
Sienese are descended from them
—apparently confounding Siena
with Sena Gallica or Sinigaglia,
which was indeed founded by the
Gauls. The Sienese again called
" quella gente vana" Purg. xiii.
151.
1
The other scabbed leper is
Capocchio, a Florentine who is
said to have studied natural philosophy along with Dante; and
was burnt at Siena for Alchemy.
He ironically bids Dante " except
the Stricca," vainest of all the
Sienese, who spent his whole for-

tune in follies; and Niccolò de*
Bonsignori of Siena, who invented
the " costly mode of roasting
pheasants and capons at fires
made with cloves" (Benv. da Imola
and Pietro) ; and the company or
club, called "Brigata Spendereccia or Godereccia (Spendthrift or
Jolly Club)," consisting of twelve
young noblemen who squandered
more than two hundred thousand
florens in ten months. See Benv.
da Imola, Landino, &c.
2
In Sieno, where such follies
take root or " fasten."
3
Caccia sold his vineyards and
forests of Asciano, near Siena t
and spent them in his club.

CANTO XXIX.
and

INFÈRNO.

t h e A b b a g l i a t o x s h e w e d his w i t .

367
But that

thon

m a y e s t k n o w w h o t h u s seconds t h e e a g a i n s t t h e Sienese,
s h a r p e n t h i n e eye t o w a r d s m e , t h a t m y face m a y g i v e
t h e e r i g h t response ; 2 so s h a l t t h o u see I a m t h e s h a d o w
of Capocchio, who falsified t h e m e t a l s b y alchemy.

And

t h o u m u s t recollect, if I r i g h t l y eye thee, 3 h o w good a n
a p e I w a s of N a t u r e . "

E 1' Abbagliato il suo senno proferse.
Ma perchè sappi chi sì ti seconda
Contra i Sanesi, aguzza ver me 1' occhio,
Sì che la faccia mia ben ti risponda ;
Sì vedrai eh' io son l ' o m b r a di Capocchio,
Che falsai li metalli con alchimia,
E ten dee ricordar, se ben t' adocchio,
Com' io fui di natura buona scinda.
1
Who "was poor" (Ottimo),
and contributed his wit, instead
of the "twenty thousand florens"
that each of the others contributed. Some few commentators,
as Benv. da Imola and Lombardi,
make abbagliato an adjective, and
epithet of Asciano, or of senno;
but without necessity or profit.
2
May enable thee to distin-

135

guish me through the scurf. " Capocchio was a most subtle alchemist, and having been burnt at
Siena, for practising this alchemy,
he shows his hatred against the
Sienese ; and gives to understand
that the author knew him." Ott.
Com. See note first p. 356, and
next canto v. 25.
3
Rightly recognise thee.

ARGUMENT.
Still on the brim of the Tenth Chasm, in which new horrors await us.
" Here," says the Ottimo Com., " all the senses are assailed : the
sight, by murky air (se più lume vi fosse, &c.) ; the ear, by lamentations that 'have arrows shod with pity5' the smell, by stench of
' putrid limbs ;' the touch, by hideous scurf, and by the sinners lying
on one another ; and the taste, by thirst that * craves one little drop
of water,' " &c. Here Gianni Schicchi of Elorence, and Myrrha, who
counterfeited the persons of others for wicked purposes, represent the
Falsifiers "in deeds5" Sinon and Potiphar's wife, the Falsifiers " i n
words." The canto ends with a dialogue between Master Adam of
Brescia aod Sinon, who strike and abuse each other with a grim
scorn and zeal. Dante gets a sharp and memorable reproof from
Virgil, for listening too eagerly to their base conversation.

360

INFERNO.

CANTO

CANTO XXX.

XXX.

A T t h e t i m e t h a t J u n o was incensed for Semele a g a i n s t
t h e T h e b a n blood, as s h e already m o r e t h a n once
shewn, Àthamas

l

had

g r e w so insane, t h a t he, seeing his wife,

w i t h t h e t w o sons, come l a d e n

o n either h a n d ,

cried:

" S p r e a d 2 w e t h e nets, t h a t I m a y t a k e t h e lioness a n d
h e r y o u n g lions a t t h e pass ; " a n d t h e n s t r e t c h e d o u t his
pitiless talons, g r a s p i n g t h e one w h o
Learchus ;

and

whirled

him,

and

had

dashed

N E L tempo che Giunone era crucciata
Per Sernele contra il sangue Tebano,
Come mostrò già una ed altra fiata,
Atamante divenne tanto insano,
Che veggendo la moglie co' duo
Venir carcata di ciascuna mano,
Gridò : Tendi&m le reti, sì eh' io pigli
L a lionessa e i lioncini al varco ;
E poi distese i dispietati artigli,
Prendendo V u n che avea nome Learco,
E rotollo, e percosselo ad un sasso ;
1
Compare Ovid. Metam. iv.
416-561 ; and note the brevity of
Dante, and the fresh touches by
which he shews the very heart of
the story, here as elsewhere.
2
Éis retia Undite sìlvis: Hie
modo cum gemina visa est mihi
prole lecena . . • • Deque sinu matris

the
him

figli

name
on

a

5

10

ridentem, et parva Learchum Brachici, tendentem, rapii, et bis terqiie
per auras More rotai ftenda, rigidoque infantia saxo Discittit ossa
ferox, &c. And then Ino, the
mother : Seque super pontum, nullo tardata timore, Mittit, onusqice
suum, &c. Ibid. iv. 512, &c.

361

INFERNO.

CANTO XXX.

rock : a n d she w i t h h e r other b u r d e n d r o w n e d herself.
A n d w h e n F o r t u n e b r o u g h t low t h e a l l - d a r i n g * p r i d e of
t h e Trojans, so t h a t t h e K i n g t o g e t h e r w i t h h i s k i n g d o m
w a s b l o t t e d o u t ; H e c u b a , sad, miserable, a n d captive,
after she h a d seen P o l y x e n a her daughter
sea-strand,

forlorn, 2

slain, a n d on t h e

discerned the mangled

hody of h e r

P o l y d o r u s : she, o u t of h e r senses, b a r k e d like a dog ; t o
s u c h a d e g r e e h a d sorrow w r u n g h e r soul.

B a t neither

T h e b a n F u r i e s n o r Trojan w e r e ever seen in a u g h t so
c r u e l 3 — n o t in stinging

brutes, and

m u c h less

E quella s' annegò con 1' altro incarco.
E quando la fortuna volse in basso
L ' altezza de' Troian, che tutto ardiva,
Sì che insieme col regno il Ee fu casso ;
E cuba trista, misera e cattiva,
Poscia che vide Polisena morta,
E del suo Polidoro, in su la riva
Del mar, si fu la dolorosa accorta,
Forsennata latrò sì come cane ;
Tanto dolor le fé' la mente torta.
Ma né Ai Tebe furie, né Troiane
Si vider mai in alcun tanto crude,
Non punger bestie, non che membra umane,
1
Lit.: " The highness, or pride,
of the Trojans, which dared all.5'
2
Lit. : " And she the doleful,
on the sea - strand discerned."
Troja simul Priamusque e aduni ;
Priameiaque conjux . . . . novo latratu terruit auras, &c. Metam.
xiii. 404-535, &c.
3
Or, " ever seen so fierce or

human

15

20

cruel in any person or thing: not
so cruel in stinging even brutes
to rage—not to speak of human
limbs," or human bodies—" as
I saw two shadows," &c. Some
good editions read, in verse 25,
Quantf io vidi in due, &c. (" as
I saw them, the Furies, fierce or
cruel in two shadows," &c.). This

362

CANTO XXX.

INFERNO.

limbs ; as. I saw t w o s h a d o w s , pale a n d n a k e d , which r a n
b i t i n g in t h e m a n n e r t h a t a hungry
is t h r u s t o u t from his s t y .
a n d fixed i t s t u s k s

s w i n e 1 does w h e n h e

T h e one c a m e to Capocchio,

on h i s neck-joint, so t h a t ,

Mm, i t m a d e t h e solid b o t t o m claw his belly.

dragging
And the

A r e t i n e , 2 w h o r e m a i n e d t r e m b l i n g , said to m e : " T h a t
goblin is

G i a n n i Schicchi ; 3

and, rabid, h e goes

thus

mangling others."
" O h ! " said I to h i m , " so m a y t h e other not p l a n t its
Quant' io vidi due ombre smorte e nude,
Che mordendo correvan di quel modo
Che il porco, quando del porcil si schiudo.
L' una giunse a Capocchio, ed in sul nodo
Del collo V assannò, sì che tirando
Grattar gli fece il ventre al fondo sodo.
E 1' Aretin, che rimase tremando,
Mi disse : Quel folletto è Gianni Schicchi,
E va rabbioso altrui così conciando.
Oh, diss' io lui, se V altro non ti ficchi
reading is adopted by Foscolo,
who does not mention that the
Aldine, Cruscan, Giunta, &c, are
against it.
1
He compares those fierce unclean spirits to rwine, devil-possest on a memorable occasion.
2
Grufolino, vid. note 3, p. 354.
3
Gianni (Johnny) Schicchi de'
Cavalcanti of Florence, a kinsman
of Dante's friend Guido, and a
soldier. Simon Donati, having
privately smothered his sick uncle
Buoso Donati, who meant to leave

25

30

" his ill-got money for charitable
purposes," persuaded this Gianni
to put himself in the uncle's bed,
sssume the voice and features of
a dying man, and dictate a will
in due form. Gianni made over
the whole property to Simon,
reserving for himself the uncle's
best mare—"Lady, or Queen of
the troop"—worth 1,000 gold florens. See Pietro di Dante, Benv.
da Imola, and Ottimo. The two
last do not mention the murder
of Buoso.

CANTO XXX.

INFERNO.

363

t e e t h on thee, be pleased to tell n s w h o it is, ere it s n a t c h
itself a w a y . "
A n d h e t o m e : " T h a t is t h e ancient spirit of

flagitious

M y r r h a , w h o loved h e r father w i t h m o r e t h a n r i g h t f n l
love.

S h e came to sin w i t h h i m

disguised

in

alien

form ; l e v e n as t h e other w h o t h e r e is g o i n g away, u n d e r took, t h a t h e m i g h t g a i n t h e L a d y of t h e t r o o p , to d i s g u i s e
himself as B u o s o D o n a t i , m a k i n g a t e s t a m e n t a n d g i v i n g
to it legal form."
A n d w h e n t h e furious t w o , 2 on w h o m I h a d k e p t

my

eye, w e r e passed, I t u r n e d i t t o observe t h e o t h e r ill-born
spirits.

I saw one s h a p e n like a l u t e , if h e h a d only had
Li denti addosso, non ti sia fatica
A dir chi è, pria che di qui si spicchi.
E d egli a me : Quell' è 1' anima antica
Di Mirra scellerata, che divenne
Al padre fuor del dritto amore amica.
Questa a peccar con esso così venne,
Falsificando sé in altrui forma,
Come 1' altro, che in là sen va, sostenne,
Per guadagnar la donna della torma,
Falsificare in se Buoso Donati,
Testando, e dando al testamento norma.
E poi che i duo rabbiosi fur passati,
Sovra i quali io avea 1' occhio tenuto,
Eivolsilo a guardar gli altri m a l nati.
Io vidi u n fatto a guisa di liuto,

1
Lit. : " Falsifying herself into
other's form," into the form of
a stranger [Aliena pote?itior, &e.
Metam. iv. 350) ; as Gianni undertakes "to falsify Buoso into

35

40

45

himself:" to represent Buoso in
his own person. Some say it is
the same Buoso who is put among
the thieves in canto xxv.
2
Gianni and Myrrha.

364

INFERNO.

CANTO XXX.

his g r o i n c u t s h o r t a t t h e p a r t w h e r e man is forked.

The

h e a v y dropsy, w h i c h w i t h i t s ill-digested h u m o u r so disproportions t h e limbs, t h a t t h e visage corresponds n o t to
t h e p a u n c h , m a d e h i m h o l d h i s lips a p a r t , as does t h e
h e c t i c patient,

w h o for t h i r s t curls t h e one lip t o w a r d s t h e

chin, a n d t h e other u p w a r d s .
" O ye ! w h o a r e e x e m p t from every p u n i s h m e n t , a n d
w h y I k n o w not, in t h i s g r i m w o r l d , " said h e to us, " look
a n d a t t e n d to t h e m i s e r y of M a s t e r A d a m . 1

W h e n alive,

I h a d e n o u g h of w h a t I wished ; a n d n o w , alas ! I c r a v e
o n e little drop of w a t e r .

T h e r i v u l e t s t h a t from t h e v e r -

Pur eh' egli avesse avuta 1' anguinaia
Tronca dal lato che 1' uomo h a forcuto.
La grave idropisia, che sì dispaia
Le membra con Y umor che mal converte,
Che il viso non risponde alla ventraia,
Faceva lui tener le labbra aperte,
Come T etico fa, che per la sete
L' u n verso il mento, e 1' altro in su riverte.
0 voi, che senza alcuna pena siete,
E non so io perchè, nel mondo gramo,
Diss' egli a noi, guardate e attendete
Alla miseria del maestro Adamo :
Io ebbi vivo assai di quel eh' io volli,
E ora, lasso ! un gocciol d' acqua bramo.
1

Adam of Brescia, " a coiner
and perfect master in his a r t ; "
rich, and extremely greedy of
gain, says Landino. " B y desire
of Guido, Alessandro, and Aghinolfo, brothers, and Counts of

50

55

60

Romena, he coined and made
false florens of gold; for which
crime he was at last burnt in
Florence. In him is shown the
immoderate desire and thirst of
money." Ottimo.

CANTO XXX.

INFERNO.

d a n t hills of Casentino

1

365

descend i n t o t h e A r n o , m a k i n g

their channels cool a n d moist, s t a n d

c o n s t a n t l y before

me, a n d n o t in vain ; for t h e i m a g e of t h e m dries m e u p
far m o r e t h a n t h e disease w h i c h from m y visage w e a r s
the

flesh.2

T h è rigid J u s t i c e , w h i c h searches m e , t a k e s

occasion from t h e place at w h i c h I sinned, t o give m y
s i g h s a quicker

flight.

T h e r e is R o m e n a w h e r e I falsi-

fied t h e alloy, sealed with t h e B a p t i s t ' s image;*

for w h i c h

Li ruscelletti, che de' verdi colli
Del Casentin discendon giuso in Arno,
Facendo i lor canali e freddi e molli,
Sempre m i stanno innanzi, e non indarno ;
Che 1' imagine lor via più m ' asciuga,
Che il male, ond' io nel volto mi discarno.
L a rigida giustizia, che m i fruga,
Tragge cagion del luogo, ov' io peccai,
A metter più gli miei sospiri in fuga.
Ivi è Eomena, là dov' io falsai
L a lega suggellata del Batista,
1
Casentino, the upper Valley
of the Arno above Arezzo, is noted
for its beauty and the clearness
of its mountain streams. li There
is Romena," seat of the Guidos, a
few miles below the sources of the
Arno, and a little to the west of
the Camaldoli.
2
Or : " Whereby I get lean or
lose flesh in the face."
3
The florens, with the Lily
{giglio) on one side and St. John
on the other, were first coined in

65

70

the year 1252, and each of them
contained 24 carats of pure gold
(Villani, vi. 54), like the modern
Zecchino. They soon circulated
everywhere ; and " Genuine as
the yellow floren " became a proverb. "Floreins fine of gold
ycoined round . . . so faire and
bright," says our own Chaucer in
his Pardonere's Tale. Guido had
the Baptist's image stamped on his
base coin, which contained three
carats of alloy.

INFERNO.

866

on e a r t h I left m y body b u r n t .

CANTO XXX.

B u t if I could see t h e

m i s e r a b l e soul of Guido h e r e , or of A l e s s a n d r o , or t h e i r
b r o t h e r , for B r a n d a ' s f o u n t 1 1 would n o t give t h e sight. O n e
is i n already, if t h e m a d shadows t h a t a r e g o i n g r o u n d
speak true.

B u t w h a t avails it m e whose-limbs a r e tied ?

W e r e I only still so l i g h t , t h a t I could m o v e one i n c h
•in a h u n d r e d years, I h a d already p u t myself u p o n t h e
r o a d , to seek h i m a m o n g t h i s disfigured

2

people, t h o u g h

it w i n d s r o u n d eleven miles, a n d is n o t less t h a n half
a mile across.

T h r o u g h t h e m a m I in s u c h a c r e w : t h e y

i n d u c e d me to s t a m p t h e florens t h a t h a d t h r e e carats of
alloy."
Per eh' io il corpo suso arso lasciai.
Ma s' io vedessi qui 1' anima trista
Di Guido, o d'Alessandro, o di lor frate,
Per fonte Branda non darei la vista.
Dentro c'è l ' u n a già, se 1' arrabbiate
Ombre, che vanno intorno, dicon vero :
Ma che mi vai, eh' ho le membra legate ?
S' io fossi pur di tanto ancor leggiero,
Oh' io potessi in cent' anni andare un' oncia,
Io sarei messo già per lo sentiero,
Cercando lui tra questa gente sconcia,—
Con tutto eh' ella volge undici miglia,
E men d' un mezzo di traverso non ci ha.
I o son per lor tra sì fatta famiglia :
E i m ' indussero a battere i fiorini,
Ch' avevan tre carati di mondiglia.

1

75

80

85

90

" The fountain to which all Si- I 2 Disfigured by diseases. The
-ena goes for water." Ottimo Com. \ crowd of them extends round the

CANTO XXX.

INFERNO.

36?

And I to him : " Who are the abject 1 two, lying close to
thy right confines,2 and smoking like a hand bathed in
winter-time ? "
" Here I found them, when I rained into this pinfold,"
he answered ; " a n d since then they have not given a turn,
and may not give, I think, to all eternity. One is the
false ivife3 who accused Joseph ; the other is false Sinon,
the Greek from Troy. Burning fever makes them reek so
strongly." 4
And one of them, who took offence perhaps at being
named thus darkly, 5 smote the rigid belly of him with his
Ed io a lui : Chi son li duo tapini,
Che fuman come man bagnata il verno,
Giacendo stretti a' tuoi destri confini ?
Qui li trovai, e poi volta non dierno,
Rispose, quando piovvi in questo greppo,
E non credo che dieno in sempiterno.
L' una è la falsa, che accusò Giuseppo ;
L' altro è il falso Sinon Greco da Troia :
Per febbre acuta gittan tanto leppo.
E 1' un di lor, che si recò a noia
Forse d' esser nomato sì oscuro,
94. Dierno, dettero, diedero.
96. Dieno, deano or diano.
whole of this last chasm, which
is eleven miles in circumference,
and not less than half a mile in
breadth.
1

2

Or low, humble, TCLTTSIVOÌ.

Right side : u confines " of his
wide dropsy.
3
Potiphars wife, and the false

95

100

, •

Trojan Greek, lie roasting together.
4
Lit. : " Because of acute fever
they throw out such a smoking
stench." L&ppo properly signifies
the stifling smoke of greasy matter burning without flame.
5
" Named so obscurely 5 " and

368

INFERNO.

CANTO XXX.

fist : i t s o u n d e d l i k e a d r u m ; a n d M a s t e r A d a m

smote

h i m in t h e face w i t h h i s a r m , t h a t did n o t seem less h a r d , 1
s a y i n g to h i m : " T h o u g h I a m k e p t from m o v i n g b y m y
w e i g h t y limbs, 2 I h a v e a n a r m free for s u c h necessity*"
T h e r e a t h e a n s w e r e d : " W h e n t h o u w a s t g o i n g to t h e fire,
t h o u h a d s t i t n o t so r e a d y ; b u t as ready, a n d m o r e , w h e n
t h o u w a s t coining."

3

A n d h e of t h e dropsy : " I n t h i s t h o u s a y e s t t r u e ; b u t
t h o u w a s t n o t so t r u e a w i t n e s s t h e r e , w h e n questioned of
t h e t r u t h at Troy."
" I f I spoke false, t h o u too didst falsify t h e coin," said

Col pugno gli percosse 1' epa croia.
Quella sonò, come fosse u n tamburo :
E mastro Adamo gli percosse il volto
Col braccio suo, che non parve men duro,
Dicendo a lui : Ancor che mi sia tolto
Lo muover, per le membra che son gravi,
H o io il braccio a tal mestier disciolto.
Ond' ei rispose : Quando tu andavi
Al fuoco, non 1' avei tu così presto ;
Ma sì e più 1' avei quando coniavi.
E 1' idropico : Tu di' ver di questo ;
Ma tu non fosti sì ver testimonio,
Là 've del ver fosti a Troia richiesto.
S' io dissi falso, e tu falsasti il conio,

that, too, by such a despicable
hireling coiner.
1
"Not less hard" and swollen
than his rigid pauncb.
2
Lit. : " Though to move is

105

110

115

taken away from me, by the limbs
that are heavy," &c.
3
Thou hadst a ready arm for
coining, indeed 5 and wast bound
and burnt for it.

CANTO XXX.

INFERNO.

369

Sinon ; " and I am bere for one crime, and thou for more
than any other Demon." 1
"Bethink thee, perjurer, of the horse," answered he who
had the inflated paunch ; " and be it a torture to thee that
all the world knows thereof." 2
" To thee be torture the thirst that cracks thy tongue,"
replied the Greek, "and the foni water which makes that
belly such a hedge before thy eyes."
Then the coiner : " Thus thy jaw gapes wide, as "usual,
to speak ill ; for if I have thirst, and moisture stuffs me,
thou hast the burning, and the head that pains thee : and
to moke thee lap the mirror of Narcissus thou wouldst not
require many words of invitation." 3
Disse Sinone ; e son qui per un fallo,
E tu per più che alcun altro Dimonio.
Bicorditi, spergiuro, del cavallo,
Eispose quei eh' aveva enfiata 1' epa :
E sieti reo che tutto il mondo sallo.
A te sia rea la sete onde ti crepa,
Disse il Greco, la lingua, e 1' acqua marcia
Che il ventre innanzi agli occhi sì t' assiepa.
Allora il monetier : Così si squarcia
La bocca tua per dir mal come suole ;
Che s' i' ho sete, ed umor mi rinfarcia,
Tu hai 1' arsura, e il capo che ti duole :
E per leccar lo specchio di Nareisso,
Non vorresti a invitar molte parole.
1

120

125

Counts every coin a crime.
I how thou didst lie about the
Lit. : " Be it evil or afflictive
wooden horse.
3
to thee, that all the world knows" |
Thou hast the parching fever
2

B B

370

INFERNO.

CANTO XXX.

I was standing all intent to hear them, when the Master
said to me : " Now keep looking, a little longer and I
quarrel with thee ! " When I heard him speak to me in
anger, I turned towards him with such shame, that it
comes over me again as I but think of it. 1
And as one who dreams of something hurtful to him,
and dreaming wishes it a dream, so that he longs for
that which is, as if it were not ; such grew I, who, without power to speak, wished to excuse myself and all the
while excused, and did not think that I was doing it.2
Ad ascoltarli er' io del tutto
fisso,
Quando il Maestro mi disse : Or pur mira,
Che per poco è che teco non mi risso !
Quand' io il senti' a me parlar con ira,
Volsimi verso lui con tal vergogna,
Ch' ancor per la memoria mi si gira.
E "quale è quei, che suo dannaggio sogna,
Che sognando desidera sognare,
Sì che quel eh' è, come non fosse9 agogna ;
Tal mi fee' io, non potendo parlare,
Che disiava scusarmi, e scusava
Me tuttavia, e noi mi credea fare.
and the headache; and, ugly as
thou art, wouldst full eagerly apply
thyself to the clear mirror-fountain
of Narcissus.
1
Or : (t Even yet turns itself,
or circles, through my memory."
Boccaccio has : " S' egli vi venisse, ella gli farebbe si fatta vergogna, che, sempre eh' e^li alcuna

180

135

140

donna vedesse, gli si girerebbe per
capo."
2
In another very beautiful
passage [Tivrg. v. 10-21), Dante,
blushing at a gentler reproof of
the same sort, is again "somewhat tinged with the colour which
at times makes a man worthy of
pardon."

CANTO XXX.

INFUl^JSrO.

371

" L e s s s h a m e w a s h e s off a g r e a t e r fault t h a n t h i n e h a s
been,*' said t h e M a s t e r : " therefore u n l o a d t h e e of all
sorrow.

A n d c o u n t t h a t I x a m always a t t h y side, s h o u l d

it a g a i n fall o u t t h a t F o r t u n e b r i n g s t h e e w h e r e people
a r e in similar contests ; for t h e wish to h e a r i t is a v u l g a r
wish."
Maggior difetto men vergogna lava,
Disse il Maestro, che il tuo non è stato ;
Però d' ogni tristizia ti disgrava :
E fa ragion eh' io ti sia sempre allato,
Se più a w i e n che fortuna t' accoglia,
Dove sien genti in simigliante piato ;
Che voler ciò udire è basso voglia.
1
I, the Poet Virgil and emblem of Wisdom : to whom alike
such contest, such mean jangling,
is foreign. li Thou art my master
and my author. Thou alone," &c.

145

Canto i. 85. Honor est homini
qui separai se a contentìonìbus :
omnes autem stulti miscentur contumeliis. Prov. xx. 3. Quoted by
Pietro di Dante.

ARGUMENT.
The Poets *iow mount up, and cross the bank which separates the last
chasm of the Malebolge from the Central Pit, or Ninth Circle,
wherein Satan himself is placed. The air is thick and gloomy
(Zech. xiv. 6, 7 ; Bev. ix. 2) ; so that Dante can see but little way
before him. The sound of a horn, louder than any thunder, suddenly
attracts all his attention ; and, looking in the direction from which
it comes, he dimly discerns the figures of huge Giants standing
round the edge of the Pit. These are the proud rebellious Nephilim and "mighty men which were of old," &c. {Gen. vi. 4);
" giants groaning under the waters " {Job xxvi. 5, Vulg.) ; " sons of
earth " who made open war against Heaven. The first of them is
Nimrod of Babel, who shouts in perplexed unintelligible speech, and
is himself a mass of stupidity and confusion : for Dante elsewhere
{Vulg. Eloq. i. 7) tells how "man, under persuasion of the Giant,
took upon him to surpass Nature and the Author of Nature " on the
plain of Shinar, and was baffled and confounded. After seeing him,
the Poets turn to the left hand, and go along the brim of the Pit till
they come to Ephialtes ; and then to Antaeus, who takes them in his
arms and sets them down " into the bottom of all guilt," or lowest
part of Hell, where eternal cold freezes and locks up Cocytus, the
marsh (canto xiv. 119) that receives all its rivers.

374

INFERNO.

CANTO XXXI.

CANTO X X X I .
ONE and the same tongue first wounded me so that it
tinged with blushes both my cheeks, and then held forth
the medicine to me. Thus I have heard that the lance of
Achilles, and of his father, used to be occasion first of sad
and then of healing gift.1
We turned our back to the wretched valley, up by the
bank that girds it round, crossing without any speech.
Here was less than night and less than day, so that my
sight went little way before m e ; but I heard a h i g h 2 horn
UNA medesma lingua pria mi morse,
Sì che mi tinse 1' una e 1' altra guancia,
E poi la medicina mi riporse.
Così od' io che soleva la lancia
D' Achille, e del suo padre, esser cagione
Prima di trista e poi di buona mancia.
Noi demmo il dosso al misero vallone,
Su per la ripa che il cinge dintorno,
Attraversando senza alcun sermone.
Quivi era men che notte e men che giorno,
Sì che il viso m' andava innanzi poco :
Ma io senti' sonare un alto corno
1
As the rust of Achilles' spear
alone could heal the wounds that
weapon had inflicted, so Virgil's
tongue in last canto, 131, &c.
Thus Chaucer in his Squier's Tale :
" And fell in speech of Telephus

5

ÌG

the king, And of Achilles for his
queint spere; For he couth with
it both heale and dere." And
Shakspear, 2 Hen. VI. act v. sc. 1.
2
" High up," v. 19, &c. Or
" large, mighty," v. 75.

CANTO XXXI.

INFERNO.

375

sound so loudly, that it would have made any thunder
weak : which, towards it following its way, directed my
eyes all to one place. After the dolorous rout, when
Charlemain had lost the holy emprise, 2 Orlando did not
sound with his so terribly. Short while had I kept looking
u p 3 in that direction, when I seemed to see many lofty
towers ; whereat I : " Master ! say, what town is this ? "
And he to me : " Because thou traversest the darkness
too far off,4 it follows that thou errest in thy imagining.
Tanto, eh' avrebbe ogni tuon fatto fioco ;
Che, contra se la sua via seguitando,
Dirizzò gli occhi miei tutti ad un loco.
Dopo la dolorosa rotta, quando
Carlo Magno perde la santa gesta,
Non sonò sì terribilmente Orlando.
Poco portai in là alta la testa,
Che mi parve veder molte alte torri ;
Ond' io ; Maestro, di', che terra è questa ?
Ed egli a me : Però che tu trascorri
Per le tenebre troppo dalla lungi,
Avvien che poi nel maginare aborri.

15

20

24. Aborri, aberri, erri.
1

The sound made my eyes follow its course " against or towards
itself/ or up meeting it.
2
Failed in the enterprise against
the Saracens " whom Biserta sent
from Afric shore," at Roncesvalles : when Orlando, in despair,
blew so terrible a blast that he
rent his horn and the veins and
sinews of his neck ; and Charles,

who heard it eight miles off, according to Turpin {Vita Caroli
Magni, e. xxiii.), was hindered by
the traitor Ganellon from coming
to his assistance.
3
Lit. : " Carried my head high
thitherward," &c.
4
Thou art walking, or looking,
through the darkness at too great
a distance from them.

376

INFERNO.

CANTO XXXI.

T h o u s h a l t see r i g h t well, w h e n t h o u a r r i v e s t t h e r e , how
m u c h t h e sense a t distance is deceived : therefore s p u r t h e e
somewhat more.',

T h e n l o v i n g l y x h e took m e by t h e h a n d ,

a n d said : " E r e w e go f a r t h e r , t h a t t h e r e a l i t y m a y seem
less s t r a n g e to t h e e , k n o w , t h e y a r e not t o w e r s , b u t Giants ;
a n d a r e in t h e well, 2 a r o u n d its b a n k , from t h e n a v e l
d o w n w a r d s all of t h e m . "
A s w h e n a m i s t is v a n i s h i n g , t h e eye b y little a n d l i t t l e
reshapes

3

t h a t w h i c h t h e a i r - c r o w d i n g v a p o u r hides ; so

wliilsi piercing t h r o u g h t h a t gross a n d d a r k s o m e air, m o r e

Tu vedrai ben, se t u là ti eongiungi,
Quanto il senso s' inganna di lontano :
Però alquanto più te stesso pungi.
Poi caramente mi prese per mano,
E disse : Pria che noi siam più avanti,
Acciocché il fatto men ti paia strano,
Sappi che non son torri, m a giganti,
E son nel pozzo, intorno dalla ripa,
Dall' ombelico in giuso tutti quanti.
Come quando la nebbia si dissipa,
Lo sguardo a poco a poco raffigura
Ciò che cela il vapor, che 1' aere stipa ;
Così forando 1' aura grossa e scura,
Più e più appressando in vèr la sponda,

25

30

35

1
Mindful of his sharp rebuke,
Gigantes, et in profundis inferni
and its effect on me.
convives ejus. Prov. ix. 18. ,Gri2
"Well or Pit of canto xviii. 5. gantes non resurgemt, &c. Isaise
Et wperuit pittetcm abyssi . . . . et xx vi. 14.
3
óbscuratus est sol et aer de fumo
Gradually gets the real outputei. Bev. ix. 2. Quod ibi sint lines of things from the vapour.

CANTO XXXI.

INFERNO.

377

a n d m o r e a p p r o a c h i n g t o w a r d s t h e b r i n k , e r r o r flees from
m e , a n d fear comes over me : for as on i t s r o u n d wall M o n t e r e g g i o n e l crowns itself w i t h t o w e r s ; so w i t h half t h e i r
bodies

2

the horrible g i a n t s , w h o m J o v e from h e a v e n still

threatens when he thunders, turreted

the brow

which

compasses t h e p i t : a n d a l r e a d y I discerned t h e face of one,
t h e s h o u l d e r s a n d t h e breast, a n d g r e a t p a r t of t h e belly,
a n d d o w n a l o n g his sides b o t h a r m s .
w h e n she left off t h e a r t of making

N a t u r e certainly,

a n i m a l s like these, did

v e r y well, in t a k i n g a w a y s u c h executioners from M a r s .
A n d if s h e r e p e n t s h e r n o t of E l e p h a n t s a n d

Whales,

Fuggenti errore, e giungenti paura :
Perocché come in su la cerchia tonda
Montereggion di torri si corona ;
Cosi la proda, che il pozzo circonda,
Torreggiavan di mezza la persona
Gli orribili giganti, cui minaccia
Giove del cielo ancora, quando tuona :
E d io scorgeva già d' alcun la faccia,
Le spalle, e il petto, e del ventre gran parte,
E per le coste giù ambo le braccia.
Natura certo, quando lasciò 1' arte
Di sì fatti animali, assai fé' bene,
Per tor cotali esecutori a Marte.
E s' ella d' elefanti e di balene
Non si pente, chi guarda sottilmente,
1

A castle near Siena : " which
on the circuit of its walls," says
the Ottimo, " has about one tower
for every 50 braccia (or 94 feet),
having none in the middle/* or

40

45

50

centre of the fortress. The ruins
of them are still visible.
2
The giants, standing half out
of the pit, were as towers or. its
brim.

378

INFERNO.

CANTO XXXI.

whoso subtly looks, therein regards her as more just and
prudent ; for where argument* of mind is joined to evil
will and potency, men can make no defence against it.
His face seemed to me as long and large as the pine 2
of St. Peter's at Rome, and his other bones were in proportion to i t ; so that the bank, which was an apron 3
from his middle downwards, shewed us certainly so much
of him above, that three Friezelanders 4 had vainly boasted
to have reached his hair : for downwards from the place
where a man buckles on his mantle, I saw thirty large
spans of him.

"RAAFEL MAAEE AAMECH ZAABEE ALMEE,"

Più giusta e più discreta la ne tiene ;
Che dove 1' argomento della mente
S' aggiunge al mal volere ed alla possa,
Nessun riparo vi può far la gente.
La faccia sua mi parea lunga e grossa,
Come la pina di San Pietro a Roma ;
E a sua proporzione eran le altr' ossa ;
Sì che la ripa, eh' era perizoma
Dal mezzo in giù, ne mostrava ben tanto
Di sopra, che di giungere alla chioma
Tre Frison s' averian dato mal vanto ;
Perocch' io ne vedea trenta gran palmi
Dal luogo in giù, dov' uom s' affibbia il manto.
Eafel mai amech zabì almi,
1

Force of mind : arma rationis.
See Aristotle, Polii, i. 2.
2
The colossal pine of bronze,
from the monument of Hadrian,
which now stands in the garden
of the Belvedere.J In Dante's time

»

5

55

60

65

it stood in front of the old Church
of St. Peter.
3
Consuerunt folia ficus, et fecerunt sibiperizomata. Gen. iii. 7.
4
Standing one upon another.
5
Shadowy words from his old

CANTO XXXI.

INFERNO.

3"$

b e g a n to s h o u t t h e s a v a g e m o u t h , for w h i c h n o s w e e t e r
p s a l m o d y is fit.

A n d t o w a r d s h i m my Guide : " S t u p i d

soul ! k e e p to t h y h o r n ; a n d v e n t thyself w i t h t h a t , w h e n
r a g e or other passion touches t h e e .

S e a r c h on t h y n e c k ,

a n d t h o u w i l t find t h e belt t h a t h o l d s i t tied, O soul
confused, a n d see itself t h a t girdles

1

thy huge breast."

T h e n h e said to m e : " H e accuses himself. 2

T h i s is N i m -

rod, t h r o u g h whose ill device one l a n g u a g e is n o t still
u s e d in t h e world.

L e t u s leave h i m s t a n d i n g , and not.

Cominciò a gridar la fiera bocca,
Cui non si convenien più dolci salmi.
E il Duca mio vèr lui : Anima sciocca,
Tienti col corno, e con quel ti disfoga,
Quand' ira o altra passi'on ti tocca.
Cercati al collo, e troverai la soga
Che il tien legato, o anima confusa,
E vedi lai che il gran petto ti doga.
Poi disse a me : Egli stesso s' accusa.
Questi è Nembrotto, per lo cui m a l coto
Pure un linguaggio nel mondo non s' usa.
Lasciamlo stare, e non parliamo a voto ;
Babel. See v. 76-81. Ecce gigantes gemunt sub aquis, et qui
Jiabitant cum eis. Nudus est infernus coram ilio. Job xxvi. Virgil speaks " towards" not to him.
1
Or lies across the whole of
thy large breast. Boga, " stave "
of a cask, as in Purg. xii. 105 5
then " stripe ^ of colour, as " doghe
bianche e bigie" in Vili. vii. 109.
Whence dogare, to ^ird, &c.

70

75

2
His own jargon tells his guilt»
It is the mighty Nimrod; "and!
the beginning of his kingdom was
Babel," &c. Gen. x. 10. Brunetto (Trésor, liv. i. c. 24, Paris,
1863) says : " Cil Nembrot edifia
la tor Babel en Babiloine, oh avint
la diversité des parleures et la
confusion des lengaiges. Nembrot
meismes mua sa langue ebreu 211
caldeu," &c.

380

INFERNO.

CANTO XXXI.

s p e a k in vain ; for every l a n g u a g e is to h i m , as to o t h e r s
his w h i c h n o one u n d e r s t a n d s . "
W e therefore j o u r n e y e d on, t u r n i n g to t h e left ; and, a
«crossbow-shot off, we found a n o t h e r far m o r e fierce a n d
large.

W h o a n d w h a t t h e m a s t e r could be t h a t g i r t h i m

t h u s , I c a n n o t t e l l ; b u t h e h a d his r i g h t a r m pinioned
d o w n behind, a n d t h e other before, w i t h a c h a i n w h i c h
h e l d him clasped from t h e n e c k d o w n w a r d s , a n d on t h e
uncovered part

went round to the

fifth

turn.1

"This

p r o u d spirit willed to t r y h i s p o w e r a g a i n s t h i g h J o v e , "
said m y Guide ; " w h e n c e h e h a s s u c h r e w a r d .

Ephialtes

is his n a m e ; a n d h e m a d e t h e g r e a t e n d e a v o u r s , 2 w h e n
Che così è a lui ciascun linguaggio,
Come il suo ad altrui, eh' a nullo è noto.Facemmo adunque più lungo viaggio
Volti a sinistra ; ed al trar d' un balestro
Trovammo 1' altro assai più fiero e maggio.
A cinger lui, qual che fosse il maestro,,
Non so io dir ; m a ei tenea succinto
Dinanzi 1' altro, e dietro il braccio destro,
D ' una catena, che il teneva avvinto
Dal collo in giù, sì che in su lo scoperto
Si ravvolgeva infìno al giro quinto.
Questo superbo voli' essere esperto
Di sua potenza contra il sommo Giove,
Disse il mio Duca, ond' egli ha cotal merto.
Fialte h a nome ; e fece le gran prove,
1
Made five turns on the A ^sible
part of his body.
2
Ter sunt conati invponere falio
Osstmi Scilicet, atonie Ossee frondo-

80

85

90

sum involgere Olympum. Georg, i.
281. The size of Ephialtes corresponds with that which Homer
gives him. Odyss. xi. 307, &e.

CANTO XXXI.

INFERNO.

381

t h e g i a n t s m a d e t h e gods a f r a i d : t h e a r m s h e a g i t a t e d
then, h e n e v e r m o v e s . "
A n d I to h i m : " I f i t w e r e possible, I s h o u l d w i s h
m y eyes m i g h t h a v e experience of t h e i m m e n s e B r i a r e u s . "
W h e r e a t he a n s w e r e d : " T h o u s h a l t see Antoaus n e a r a t
h a n d , w h o s p e a k s / a n d is unfettered, 1 w h o will pufc u s i n t o
t h e b o t t o m of all guilt.

H e w h o m t h o u desiresfc to see is

far beyond ; a n d is tied a n d s h a p e d like t h i s one, save t h a t
h e seems i n aspect m o r e ferocious."

No mighty earth-

q u a k e ever shook a t o w e r so violently, as E p h i a l t e s f o r t h w i t h shook himself. 2

T h e n m o r e t h a n ever I

dreaded

Quando i giganti fer paura ai Dei :
Le braccia, eh' ei menò, giammai non muove.
E d io a lui : S' esser puote, io vorrei
Che dello smisurato Briareo
Esperienza avesser gli occhi miei.
Ond' ei rispose : Tu vedrai Anteo
Presso di qui, che parla, ed è disciolto,
Che ne porrà nel fondo d' ogni reo.
Quel che tu vuoi veder, più là è molto,
E d è legato, e fatto come questo,
Salvo che più feroce par nel volto.
Non fu tremuoto già tanto rubesto,
Che scotesse una torre così forte,
Come Eialte a scuotersi fu presto.
Allor temetti più che m a i la morte,
1
For Antaeus did not join his
brothers in war against the gods,
verse 119, &c.
2
Lit. : " Not yet has there been
an earthquake so mighty or im-

95

100

105

petuous (rubesto, ' robustious/ and
like it antiquated) that it could
shake a tower so violently, as
Ephialtes was ready or qiiiek to
shake himself."

•382

INFERNO.

CANTO XXXI.

d e a t h ; a n d n o t h i n g else w a s w a n t e d for it b u t t h e fear,
h a d I n o t seen h i s b a n d s .
W e t h e n p r o c e e d e d f a r t h e r on, a n d r e a c h e d Antaeus,
w h o full five ells, besides t h e head, forth issued from t h e
oavern.

" O t h o u ! w h o in t h e fateful valley, 1 w h i c h m a d e

Scipio h e i r of g l o r y w h e n H a n n i b a l r e t r e a t e d w i t h his
hosts, d i d s t t a k e of old a t h o u s a n d lions for t h y p r e y ; a n d
•through whom, 2 h a d s t t h o u b e e n a t t h e h i g h w a r of t h y
b r e t h r e n , i t seems y e t t o b e believed t h a t t h e sons of eartb
h a d conquered : set u s d o w n — a n d be not shy t o do it—

E non v* era mestier più che la dotta,
S' io non avessi viste le ritorte.
Noi procedemmo più avanti allotta,
E venimmo ad Anteo, che ben cinqu' alle,
Senza la testa, uscia fuor della grotta.
0 tu, che nella fortunata valle,
Che fece Scipi'on di gloria ereda,
Quando Annibal co' suoi diede le spalle,
Kecasti già mille lion per preda,
E che se fossi stato all' alta guerra
De' tuoi fratelli, ancor par eh' ei si creda,
Che avrebber vinto i figli della terra ;
Mettine giuso, e non ten venga schifo,
Dove Cocito la freddura serra.
1

Near Carthage, where " more
than 20,000 Carthaginians were
slain ; " and the fate of Carthage
and Kome, and " all the world,"
was decided. Liv. xxx. 32, &c.
—Valley of the Bagrada, where
Antseus had his cave and prey of

110

115

120

lions and combat with Hercules
qua se Bagrada lentus agit sicca
sulcator arena, &c. Lucan. iv. 588.
2
Lit. : " And that if thou hadst
been," &c. Cceloque pepercit, quad
non JPklegrcsis Antceum sustidit
arvis. Ibid 596.

CANTO XXXI.

INFERNO.

383

w h e r e t h e cold locks u p Cocytus.

D o n o t m a k e u s go

to T i t y o s n o r T y p h o n : 1 t h i s man can g i v e of t h a t w h i c h
h e r e is l o n g e d for.

Therefor© b e n d t h e e , a n d c u r l n o t thy

l i p in scorn : h e can r e s t o r e t h y fame on e a r t h ; for h e
lives, a n d still a w a i t s l o n g life, 2 so G r a c e before t h e t i m e
call h i m n o t u n t o herself."

Thus spake t h e Master ; and

h e in h a s t e s t r e t c h e d forth t h e h a n d s , whence

Hercules

of old did feel g r e a t stress, a n d took m y Guide.

Yirgil,

w h e n h e felt their g r a s p , said to m e : " Come h e r e , t h a t
I may take thee."
one bundle.

T h e n of himself

S u c h as t h e Carisenda

3

and me

he made

seems to one's view,

Non ci far ire a Tizio, ne a Tifo :
Questi può dar di quel che qui si brama :
Però ti china, e non torcer lo grifo.
Ancor ti può nel mondo render fama ;
Ch' ei vive, e lunga vita ancor aspetta,
Se innanzi tempo grazia a se noi chiama.
Così disse il Maestro : e quegli in fretta
Le m a n distese, e prese il Duca mio,
Ond' Ercole sentì già grande stretta.
Virgilio, quando prender si sentio,
Disse a me : F a t t i in qua, sì eh' io ti prenda.
Poi fece sì, che un fascio er' egli ed io.
Qual pare a riguardar la Carisenda
1
1

Two other giants, iC sons of
Earth," in Lucan. Ibid.
2
Still has to descend the whole
•" arch of his life." See note, p. 2.
3
The thick leaning tower of
Bologna; which, to one who is
toeneath, seems itself to stoop

125

130

185

when a cloud, against which it
hangs, is passing over it. The
other (Asinelli) tower is higher,
but leans far less than the Carisenda, and not so strikingly with
corner foremost. The Carisenda
has its name from the Garisendi

384

INFERNO.

CANTO XXXI.

b e n e a t h t h e l e a n i n g side, w h e n a cloud is g o i n g over i t
so, t h a t i t h a n g s opposed ; s u c h AntaBus seemed to m e w h o
stood w a t c h i n g to see h i m b e n d : a n d a t t h e t i m e 1 I should
h a v e w i s h e d to g o b y o t h e r road.
B u t g e n t l y on t h e
deep, w h i c h s w a l l o w s 2 Lucifer w i t h J u d a s , h e placed u s ;
n o r l i n g e r e d t h e r e t h u s bent, b u t raised himself as in a
ship the mast.

Sotto il chinato, quando un nuvol vada
Sovr' essa sì, eh' ella in contrario penda ;
Tal parve Anteo a me che stava a bada
Di vederlo chinare, e fu tal ora
Ch' io avrei voluto ir per altra strada :
Ma lievemente al fondo, che divora
Lucifero con Giuda, ci posò :
Ne sì chinato lì fece dimora,
E come albero in nave si levò.
family ; and was much higher in
Dante's time than it is now. Benv.
da Imola.
1
Lit. : " It was such hour,"
or moment then, that I should
have wished to get down by some
other way.

2

140

145

. . . " Neither let the deep
swallow me up, and let not the
pit shut her mouth upon me."
Ps. lxix. 15. " Swallow them up
alive, as the grave ; and whole, as
those that go down into the pit5*
Prov. i. 12,

ARGUMENT.
This Ninth and Last, or frozen Circle, lowest part of the Universe, and
farthest remote from the Source of all light and heat, divides itself
into four concentric Rings. The First or outermost is the Ca'ina,
which has its name from Cain who slew his brother Abel, and contains the sinners who have done violence to their own kindred. The
Second or Antenora, so called " from Antenor the Trojan, betrajer
of his country " (Pietro di Dante, &c), is filled with those who have
been guilty of treachery against their native land. Dante finds many
of his own countrymen, both Guelphs and Ghibellines, in these two
rings ; and learns the names of those in the First from Camiccion de'
Pazzi, and of those in the Second from Bocca degli Abati. He has
a very special detestation of Bocca, through whose treachery so many
of the Guelphs were slaughtered, and " every family in Florence
thrown into mourning ; " and, as the Ottimo remarks, " falls into a
very rude method, that he has used to no other spirit." The canto
leaves him in the Antenora beside two sinners that are frozen close
together in the same hole.

CC

336

INFERNO.

CANTO XXXII.

CANTO X X X I I .
I F I had rhymes both rough and hoarse, as would befit
the dismal hole, on which all the other rocky steeps converge and weigh, 1 I should press out the juice of my conception more fully : but since I have them not, not without fear I bring myself to tell thereof ; for to describe the
bottom of all the Universe is not an enterprise for being
taken up in sport, nor for a tongue that cries mamma and
papa. But may those Ladies 2 help my verse, who helped
Amphion with walls to close in Thebes ; so that my words
may not be diverse from the fact.
0 ye, beyond all others, miscreated rabble, who are in
S'io avessi le rime e aspre e chiocce,
Gome si converrebbe al tristo buco,
Sovra il qua! pontan tutte 1' altre rocce,
Io premerei di mio concetto il suco
Più pienamente ; ma perch' io non 1' abbo,
Non senza tema a dicer mi conduco :
Che non è imprésa da pigliare a gabbo,
Descriver fondo a tutto 1' universo,
Ne da lingua che chiami mamma e babbo.
Ma quelle Donne aiutino il mio verso,
Oh' aiutaro Annone a chiuder Tebe,
Sì che dal fatto il dir non sia diverso.
Oh sovra tutte mal creata plebe,

5

10

1
Meeting as at the keystone of I 2 Muses, by whose aid Amphion
a bridge or vault. Bocce for roccìe. J reared the walls of Thebes.

CANTO XXXII.

387

INFERNO.

t h e place, t o s p e a k of w h i c h is h a r d , b e t t e r h a d y e h e r e on
earth b e e n sheep or goats !
W h e n w e were d o w n in t h e d a r k pit, u n d e r t h e Giant's
feet, m u c h lower, 1 a n d I still w a s g a z i n g a t t h e h i g h w a l l ,
I h e a r d a voice say to m e : " L o o k h o w t h o u passest :
t a k e care t h a t w i t h t h y soles t h o u t r e a d n o t on t h e h e a d s
of t h e w e a r y w r e t c h e d b r o t h e r s . " 2

Whereat I turned

myself, a n d saw before m e a n d benoath m y feet a l a k e ,
w h i c h t h r o u g h frost h a d t h e semblance of glass a n d n o t
of w a t e r .

N e v e r did t h e D a n u b e of A u s t r i a m a k e sp t h i c k

a veil for his course i n w i n t e r , n o r t h e D o n afar b e n e a t h
t h e frigid sky, 3 as t h e r e w a s h e r e ; for if T a b e r n i c c h 4 h a d

Che stai nel loco, onde parlare è duro !
Me' foste state qui pecore o zebe.
Come noi fummo giù nel pozzo scuro
Sotto i piò del Gigante, assai più bassi,
E d io mirava ancora all' alto muro,
Dicere udimmi : Guarda come passi ;
F a sì, che tu non calchi con le piante
Le teste de' fratei miseri lassi.
Per eh' io m i volsi, e vidimi davante
E sotto i piqdi un lago, che per gielo
Avea di vetro, e non d' acqua sembiante.
Non fece al corso suo sì grosso velo
Di verno la Danoia in Austericchf
Ne il Tanai là sotto il freddo cielo,
Com' era quivi : che se Tabemicch

15

20

25

1
3
This last circle, like Malebolge, j
Hyperboreas glacies, Tanaimslopes towards Satan.
quenivalem. Georg, iv. 517.
2
Two brothers of verse 55, &c. I 4 Probably the Frusta Gora, a

388

INFERNO.

CANTO XXXII.

fallen on it, or P i e t r a p a n a , i t w o u l d n o t even a t t h e e d g e
h a v e given a c r e a k .

A n d as t h e frog t o croak, sits w i t h

h i s m u z z l e o u t of t h e w a t e r , 1 w h e n t h e villager oft d r e a m s
t h a t she is g l e a n i n g ; so, livid, u p t o w h e r e the hue of
s h a m e appears, 2 t h e doleful shades w e r e i n t h e ice, sounding with their teeth like storks.3
turned downwards : by the

E a c h h e l d h i s face

m o u t h t h e i r cold, a n d

t h e eyes t h e sorrow of t h e i r h e a r t s is testified

by

amongst

them.4
W h e n I h a d looked r o u n d a w h i l e , I t u r n e d t o w a r d s m y
Vi fosse su caduto, o Pietrapana,
Non avria pur dall' orlo fatto cricch.
E come a gracidar si sta la rana
Col muso fuor dell' acqua, quando sogna
Di spigolar sovente la villana ;
Livide insin là, dove appar vergogna,
E r a n 1' ombre dolenti nella ghiaccia,
Mettendo i denti in nota di cicogna.
Ognuna in giù tenea volta la faccia :
Da bocca il freddo, e dagli occhi il cor tristo
Tra lor testimonianza si procaccia.
Quand' io ebbi d' intorno alquanto visto,
solitary mountain, the only one in
the district of Tovarnich in Sclavonia. Pietrapana is another high
mountain near Lucca.
1
In the warm summer nights,
during the Italian harvest, when
the village gleaner dreams of her
day-work. Image of heat, contrasting with the eternal winter :
like the peaceful touches in Homer's wildest battle-scenes.

2

30

35

40

Up to their necks in ice.
Lit. : " Putting their teeth
into the note of the stork ; "
rattling with them, as the stork
does with her bill. Ipsa sibi
plaudat crepitante ciconia, rostro.
Metam. vi. 97.
4
By their chattering teeth and
eyes glazed with tears, i( testimony
is given " of their cold and the sadness of their hearts.
3

CANTO XXXII.

INFERNO.

389

feet ; and saw two so pressed against each other, that they
had the hair of their heads intermixed. " Tell me, ye
who thus together press your bosoms,'' said I, " who are
ye?"
And they bended their necks; and when they had
raised their faces towards me, their eyes, which only
inwardly were moist before,1 gushed at the lids, and the
frost bound fast the tears between them, and closed them
up again: wood with wood no cramp did ever gird so
strongly. Wherefore they, like two he-goats, butted one
another ; such rage came over them.
And one, who had lost both ears by the cold, with his
face still downwards said : " Why art thou looking so

Volsiini a' piedi, e vidi due sì stretti,
Che il pel del capo aveano insieme misto.
Ditemi voi, che sì stringete i petti,
Diss' io, chi siete ? E quei piegaro li colli ;
E poi eh' ehbèr li visi a me eretti,
$ Gli occhi lor, eh' eran pria pur dentro molli,
Gocciar su per le labbra, e il gielo strinse
Le lagrime tra essi, e riserrolli.
Legno con legno spranga mai non cinse
Forte così : ond' ei, come duo becchi,
Cozzaro insieme, tant' ira li vinse.
Ed un, eh' avea perduti ambo gli orecchi
Per la freddura, pur col viso in giue
Disse : Perchè cotanto in noi ti specchi ?

1

45

50

Tbfiir brotherly love all frozen I their hatred for an instant, and
up. When spoken to, they forget | bend their necks with effort.

390

INFERNO.

much at us ?

1

CANTO XXXII.

If thou desirest to know who are these

two, 2 the valley whence the Bisenzio descends was theirs
and their father Albert's.

They issued from one body ; 3

and thou mayest search the whole Cama, and shalt not
find a shade more worthy to be fixed in gelatine : 4 not
him, 5 whose breast and shadow at one blow were pierced
by Arthur's hand ; not Focaccia ; 6 not this one, who so
Se vuoi saper chi son cotesti due,
La valle, onde Bisenzio si dichina,
Del padre loro Alberto e di lor fue.
D' un corpo uscirò : e tutta la Caina
Potrai cercare, e non troverai ombra
Degna più d' esser fitta in gelatina :
Non quelli a cui fu rotto il petto e 1' ombra
Con esso un colpo per la man d' Artù :
Non Focaccia ; non questi, che m'ingombra
1
Or, staring over our icy forms,
as over a mirror.
2
Napoleone and Alessandro,
sons of Count Alberto, whose
possessions lay in the upper valley of the Bisenzio, a small river
that flows into the Arno some
six miles below Florence. After
many other acts of treachery,
they betrayed and murdered each
other.
3
They were sons of one mother.
4
Fixed in this frozen marsh.
5
Mordrec or Modred, bastard
son of King Arthur. By his
treachery many Knights of the
Bound Table were slain. Arthur
pierced the traitor with such a

55

60

stroke of his lance, that the sun
shone through the wound; and
afterwards died of a blow that
Modred gave him in falling, as
is related in the old Romance of
Lancelot du Lao (Paris, 1513 ;
P. iii. fol. 197, & c ) : " E t dit
l'histoire qu'après l'ouverture de
la lance passa parmi la plaie ung
ray de soleil," &c.
6
Focaccia de' Cancellieri of
Pistoia, who, for a silly,boyish offence, cut off his young cousin's
hand, and murdered his uncle :
thereby giving rise to the factions
of the Bianchi and Neri in Pistoia
and Florence. JBenv. da Imola, Vili.
vili. 38.

391

INFERNO.

CANTO XXXII.

o b s t r u c t s m e w i t h his h e a d t h a t I see no farther, a n d wJio
w a s n a m e d S a s s o l 1 Mascheroni : if t h o u b e e s t a T u s c a n ,
well k n o w e s t t h o u n o w w h o h e w a s .

And that

thou

m a y e s t n o t p u t m e to further speech, k n o w t h a t I was
C a m i c c i o n 2 d e ' Pazzi, a n d a m w a i t i n g for Carlino t o excuse
me."
A f t e r w a r d s I saw a t h o u s a n d visages, m a d e d o g g i s h by
t h e cold ; w h e n c e s h u d d e r i n g comes over m e , a n d always
will come, when I tliiiik of t h e frozen fords. 3
Col capo sì, eh' io non veggio oltre più,
E fu nomato Sassol Mascheroni :
Se Tosco sei, ben sa' ornai chi fu.
E perchè non mi metti in più sermoni,
Sappi eh' io fu' il Camicion de' Pazzi,
E d aspetto Carlin che m i scagioni.
Poscia vid' io mille visi cagnazzi
F a t t i per freddo : onde m i vien ribrezzo,
E verrà sempre, de' gelati guazzi.
E mentre eh' andavamo in vèr lo mezzo,

A n d as w e

65

70

70. Cagnazzi^ cagneschi, paonazzi.
1

Sassol de' Toschi of Florence,
guardian of his brother's only son,
whom he murdered for the sake of
his inheritance : and was notoriously carried, " nailed in a cask "
(clavatus in una vegete), through
the whole city 5 and then beheaded.
JBenv. da Imola, &c.
2
Of Valdarno : who treacherously slew his kinsman Ubertino
de' Pazzi. He says, the treacheries of Carlino de' Pazzi, who is

still living, will be great enough to
11
excuse," or make his own seem
trifling. Carlino (in 1302) betrayed the castle of Piantrevigne
in Valdarno for money, to the
Florentines, after the exiled Whites
or Ghibellines had defended it
twenty-nine days : " whence many,
even of the best exiles of Florence,
were slain or taken," &c. Vili,
viii. 53.
3
Those ice-fords of the Pit.

392

INFERNO.

CASTO XXXII.

were going towards the middle l at which all weight unites,
and I was shivering in the eternal shade, whether it was
will, or destiny or chance, I know not ; but, walking amid
the heads, I hit my foot violently against the face of one.
Weeping it cried out to me : " Why tramplest thou on me?
If thou comest not to increase the vengeance for Montaperti, 2 why dost thou molest me ? "
And I : " My Master ! now wait me here, that I may
rid me of a doubt respecting him : then shalt thou, however
much thou pleasest, make me haste/' The Master stood.
And to that shade, which still kept bitterly reviling, I
said: " What art thou, who thus reproachest others ? "

Al quale ogni gravezza si rauna,
Ed io tremava nelT eterno rezzo,
Se voler fu, o destino, o fortuna,
Non so ; ma passeggiando tra le teste,
Forte percossi il pie nel viso ad una.
Piangendo mi sgridò : Perchè mi peste ?
Se tu non vieni a crescer la vendetta
Di Mont' Aperti, perchè mi moleste ?
Ed io : Maestro mio, or qui m' aspetta,
Sì eh' io esca d' un dubbio per costui :
Poi mi farai, quantunque vorrai, fretta.
Lo Duca stette ; ed io dissi a colui,
Che bestemmiava duramente ancora :
Qual sei tu, che così rampogni altrui ?
1

75

80

85

" Middle " of Hell, and of the I 2 The great .defeat of the Guelpha
Earth, and all the Universe : centre at Montaperti (see canto x. 86)
of all gravity, physical and moral. was completed by the treachery
Convito, Tr. ii. c. 3, &c.
| of-Bocca degli Abati, who here

CANTO XXXII.

INFERNO.

393

" N a y , w h o a r t t h o u , " h e a n s w e r e d , " t h a t t h r o u g h the
A n t e n o r a goest, s m i t i n g t h e c h e e k s of o t h e r s ; so t h a t , if
t h o u w e r t alive, i t w e r e too m u c h ? "
" I a m a l i v e , " w a s m y r e p l y ; " a n d if t h o u

seekest

fame, i t m a y be precious to thee, t h a t I p u t t h y n a m e
a m o n g t h e other n o t e s . "
A n d h e t o m e : " T h e c o n t r a r y is what

I l o n g for.

T a k e thyself a w a y ! a n d p e s t e r m e n o m o r e ; for t h o u ill
k n o w e s t how to flatter on t h i s icy s l o p e . "
T h e n I seized h i m b y t h e afterscalp, a n d said : " I t will
b e necessary t h a t t h o u n a m e thyself, or t h a t n o t a h a i r
remain upon thee h e r e ! "

W h e n c e h e t o m e : " E v e n if

t h o u u n h a i r me, I will n o t telL thee w h o I a m ; n o r shew
Or tu chi sei, che vai per 1' Antenora
Percotendo, rispose, altrui le gote,
Si che, se vivo fossi, troppo fora ?
Vivo son io ; e caro esser ti puote,
F u mia risposta, se domandi fama,
Oh' io metta il nome tuo tra 1' altre note.
E d egli a me : Del contrario ho io brama :
Levati quinci, e non m i dar più lagna ;
Che mal sai lusingar per questa lama.
Allor lo presi per la cuticagna,
E dissi: E ' converrà che tu ti nomi,
0 che capei qui su non ti rimagna.
Ond' egli a me : Perchè tu m i dischiomi,
Nò ti dirò eh' io sia, n e mostrerolti,

90

95

100

95. Lagna, cause of complaint.
speaks ; who cut off the hand of
Jacopo del Vacca de' Pazzi, standard-bearer of the Florentine ca-

valry, who was near him, during
the " ruinous " assault of Farinata's
German troops. Vili. vi. 78, 79.

394

INFERNO.

CANTO XXXII.

it thee, though thou fall foul upon my head a thousand
times." I already had his hair coiled on my hand, and
had plucked off more than one tuft of it, he barking and
keeping down his eyes, when another cried : " What ails
thee, Bocca ? Is it not enough for thee to chatter with
thy jaws, but thou must bark too ? What Devil is upon
thee?"
"Now," said I, " accursed traitor ! I do not want thee
to speak ; for to thy shame I will bear true tidings of
thee."
" Go away ! " he answered ; " and tell what pleases
thee. But be not silent, if thou gettest out from hence,
respecting him, 1 who now had his tongue so ready. Here

\

Se mille fiate in sul cai^o mi tomi.
Io avea già i capelli in mano avvolti,
E tratto glien avea più d' una ciocca,
Latrando lui con gli occhi in giù raccolti ;
Quando un altro gridò : Che hai tu, Bocca ?
Non ti basta sonar con le mascelle,
Se tu non latri? qual Diavol ti tocca ?
Ornai, diss' io, non vo' che tu favelle,
Malvagio traditor; eh' alla tua onta
Io porterò di te vere novelle.
Va via, rispose, e ciò che tu vuoi, conta ;
Ma non tacer, se tu di qUa entro eschi,
Di quel eh' ebbe or così la lingua pronta.

1
Buoso da Duera of Cremona,
who for money betrayed the Ghibellines, allowing Guy de Montfort to pass the Oglio, with the
French armj of Charles of Anjou,

105

110

in 1265; at which the people of
Cremona were so enraged, that
they extirpated his whole race.
Buoso himself " carried off much
money," but died at last in miser-

CANTO XXXII.

395

INFERNO.

he laments the Frenchmen's silver.

' H i m of D u e r a , ' t h o u

c a n s t say,

i

in ice.'1

S h o n l d s t t h o u be a s k e d w h o

I s a w t h e r e , w h e r e t h e s i n n e r s s t a n d pinched

t h o u h a s t beside t h e e t h e Beccaria
by Florence.

2

else w a s t h e r e ,

w h o s e g o r g e w a s slit

G i a n n i del Soldanier, 3 I t h i n k , is f a r t h e r

on, w i t h Ganellone, 4 a n d Tribaldello

5

who unbarred Faenza

w h e n it s l e p t . "
E i piange qui 1' argento de' Franceschi :
Io vidi, potrai dir, quel da Duera
Là, dove i peccatori stanno freschi.
Se fossi dimandato, altri chi v' era ;
T u hai da lato quel di Beccaria,
Di cui segò Fiorenza la gorgiera.
Gianni del Soldanier credo che sia
Più là con Ganellone, e Tribaldello
Ch' aprì Faenza quando si dormia.
able poverty and exile. Ben v. da
Imola ; Vili. vii. 4 ; Murat. Ber.
Bai. t. ix. p. 709.
1
The phrase star fresco, " to be
in a fix or pucker," is said to be
derived from y. 117.
2
Tesauro Beccaria of Pavia,
Abbot of Vallombrosa and Legate
of Pope Alexander IV. at Florence, was accused of treacherously plotting to bring back the
exiled Ghibellines, and beheaded
in 1258. JBenv. da Imola; Vili.
vi. 65.
3
This Gianni was of Ghibelline family ; and in 1266, after the
defeat of Manfred, " put himself

115

120

at the head of the populace in order
to rise into power, not regarding
the issue, which was to hurt the
Ghibellines and ruin himself," &c.
Vili. vii. 14.
4
Ganellone or Gano, the traitor
at Roncesvalles : celebrated in the
old poets. " O new Scariot and
new Ganillion," &c. Chaucer,
Nonnes Trieste's Tale.
5
Tribaldello de' Manfredi of
Faenza, who for money opened his
native city at dead of night to the
French in 1282 ; and that same
year was slain with them, in the
'Bloody heap' (canto xxvii. 44)
atForli. Vili. vii. 80, 81.

396

INFERNO.

CANTO XXXII.

We had already left him, when I saw two frozen in one
hole so closely, that the one head was a cap to the other.
And as bread is chewed for hunger, so the uppermost put
his teeth into the other there where the brain joins with
the nape. Not otherwise did Tydeus 3 gnaw the temples
of Menalippus fo^ rage, than he the skull and the other
parts.
" 0 thou ! who by such brutal token showest thy hate
on him whom thou devourest, tell me why," I said : " on
this condition, that if thou with reason complainest of
him, I, knowing who ye are and his offence, may yet repay
thee in the world above, if that, wherewith I speak, be
not dried up."
Noi eravam partiti già da elio,
Ch' io vidi duo ghiacciati in una buca
Sì, che 1' un capo all' altro era cappello :
E come il pan per fame si manduca,
Così il sovran li denti all' altro pose
Là, 've il cervel s' aggiunge con la nuca.
Non altrimenti Tideo si rose
Le tempie a Menalippo per disdegno,
Che quei faceva il teschio e 1' altre cose.
0 tu, che mostri per sì bestiai segno
Odio sovra colui che tu ti mangi,
Dimmi il perchè, diss' io : per tal convegno,
Ohe se tu a ragion di lui ti piangi,
Sappiendo chi voi siete, e la sua pecca,
Nel mondo suso ancor io te ne cangi,
Se quella, con eh' io parlo, non si secca.

125

130

135

1
See Statius, Theo. viii. 740, I quìs Apportet, Menalippe, tuum !
&c. : Caput, o ! caput, o ! mihi si j nam volveris arvis ; &c.

ARGUMENT.
" Wherewithal a man sinneth, by the same also shall he be punished "
{quìa per qua peccai quis,per IMBG et tcrquetur), is the unalterable law
which Dante sees written—not only in the ancient Hebrew records,
but in every part of the Universe. The sinners whom he here finds
frozen together in one hole are Count Ugolino and Archbishop Euggieri(Eoger) of Pisa, traitors both ; and Euggieri has the Shadow of
Ugolino's hunger gnawing upon him in the eternal ice, while Ugolino
has the image of his own base treachery and hideous death continually before him. He lifts up his head from the horrid meal, and
pauses, when Dante recalls to him his early life, in the same way as
the storm paused for Francesca; and the Archbishop is silent as
Paolo. See canto v.
The two tragedies occurred about the very same time—when Dante was
nearly twenty-four years of age 5 ajid, so far as we have the means of
ascertaining, he seems to have been accurately acquainted with the
circumstances of both, and to have taken them exactly as they occurred. The Archbishop was summoned to Eome, to account for the
murder of Ugolino—with what result is not known : perhaps because
the Eomish clergy, when found guilty of great crimes, are usually
suppressed and taken out of sight. The Pisans never recovered their
ancient state and power, after the disasters and crimes of 1284-9 ;
but lost their islands of Sardinia and Corsica ; were seized with
cowardice ("viltà" in Vili. vii. 154), so that Guido di Montefeltro,
the best general of the time, whom they had appointed Lord of
their city, " durst not shew himself " with them when the Florentines were laying waste and burning its suburbs. They and it
rapidly became insignificant in the affairs of Italy. Vili. vii. 137 ;
viii. 2, 30, &c.
After leaving Ugolino, the Poets go on to the Third Eing or Ptolomsea,
which takes its name from the Ptolom8eus(l Maccab. xvi. 11, &c.)
who " had abundance of silver and gold," and " made a great banquet " for his father-in-law Simon the high priest and his two sons 5
and, " when Simon and his sons had drunk largely," treacherously
slew them " in the banqueting place." Friar Alberigo and Branca d*
Oria are found in it.

398

INFERNO.

CANTO
FROM t h e fell

CANTO XXXIII

XXXIII.

repast that

sinner raised his

mouth,

w i p i n g i t u p o n t h e h a i r of t h e h e a d h e h a d l a i d w a s t e
behind.

T h e n h e b e g a n : " T h o u wiliest t h a t I r e n e w

d e s p e r a t e grief, w h i c h w r i n g s m y h e a r t , even a t t h e v e r y
t h o u g h t , before I tell thereof.

B u t if m y w o r d s a r e to b e

a seed, t h a t m a y bear fruit of infamy to t h e t r a i t o r w h o m
I g n a w , t h o u s h a l t see m e s p e a k a n d w e e p a t t h e s a m e
time.

I k n o w n o t w h o t h o u m a y e s t be, n o r by w h a t m o d e

t h o u h a s t come d o w n h e r e ; b u t , w h e n I h e a r t h e e , in
t r u t h t h o u seemest to m e a F l o r e n t i n e .

Thou hast to

k n o w t h a t I w a s C o u n t Ugolino, a n d t h i s t h e A r c h b i s h o p

L A bocca sollevò dal fiero pasto
Quel peccator, forbendola a' capelli
Del capo eh' egli avea diretro guasto.
Poi cominciò : Tu vuoi eh' io rinnovelli
Disperato dolor, che il cor m i preme,
Già pur pensando, pria eh' io ne favelli.
Ma se le mie parole esser den seme,
Che frutti infamia al traditor eh' io rodo,
Parlare e lagrimar vedrai insieme.
Io non so chi tu sie, ne per che modo
Tenuto sei quaggiù ; m a Fiorentino
Mi sembri veramente, quand' io t' odo.
Tu dei saper eh' io fui il Conte Ugolino,
E questi 1' Arcivescovo Ruggieri :

5

10

CANTO XXXIII.

INFERNO.

399

l

B u g g i e r i : n o w I will tell t h e e w h y I a m s u c h a neighb o u r to Mm.
T h a t b y t h e effect of h i s ill devices I ,
confiding in h i m , w a s t a k e n a n d thereafter p u t t o d e a t h ,
Or ti dirò perch' io son tal vicino.
Che per 1' effetto de' suoi mal pensieri,
Fidandomi di lui, io fossi preso
1

15

Count Ugolino de' Gherar- 92, 98. See also Annal. Genuens.
deschi, chief of the Guelphs in p. 58 7 ; Chronica di Pisa, in Tartin.
Pisa; and Archbishop Ruggieri Supp. Per. Ital. t. i. p. 564.
degli Ubaldini, chief of the GhiAgain, in July 1288, when
bellines. In the year 1284, Pisa three parties were competing jfor
was the only city of Tuscany that
the mastery in Pisa, viz., Nino de'
adhered to the Ghibelline party; Visconti, Judge of Gallura, with
and Ugolino himself was of a certain Guelphs; Ugolino, with
Ghibelline feaiily, but quite un- the rest of the Guelphs ; and, in
scrupulous, and eager for power. opposition to both, "Archbishop
In that same year, after the disas- Ruggieri degli Ubaldini, with the
trous sea-fight with the Genoese, Lanfranchi, and Gualandi, and
on Sunday, 6th August, in which
Sismondi and other Ghibelline
the Pisans lost many of their gal- houses: the said Count Ugolino,
leys, and had 16,000 of their best in order to make himself master,
men killed or taken prisoners, united with the Archbishop and
4;
the Florentines (in September) his party, and betrayed Judge
formed a league with the Luc- Nino, not considering that he
chese, Sienese, &c, together with was his own grandson, son of his
the Genoese to make war on own daughter ; and they arranged
Pisa : the Florentines and other that he should be expelled from
Tuscans by land, and the Genoese Pisa with his followers, or seized
by sea." Ugolino, who had fled in person. Nino hearing this,
from the battle before it was fully and not finding himself able to
decided, now by bribery and other make defence, left the city and
unfair means, induced the Flo- went to Calci, his castle; and
rentines to withdraw secretly leagued with the Florentines and
from the league ; and by their aid Lucchese, to make war on the
*c expelled the Ghibellines from Pisans. The Count, befcre Nine
Pisa, and made himself master of was gone, in ort*er the better to
at with the Guelphs." Vili. vii.
conceal his treachery, when every-

400

INFERNO.

CANTO XXXIII.

it is not necessary to say : but that which thou canst not
have learnt, that is, how cruel was my death, thou shalt
hear—and know if he has offended me.
E poscia morto, dir non è mestieri.
Però quel che non puoi avere inteso,
Cioè, come la morte mia fu cruda,
Udirai ; e saprai se m' ha offeso.
thing was arranged for the expulsion of the Judge, went out of
Pisa to a manor of his called Settimo. As soon as he was informed
of Nino's departure, he returned
to Pisa with great joy, and was
made Lord of the city amid great
rejoicing and festivity. But his
lordliness was of brief duration.
Fortune turned against him, as
it pleased God, because of his
treacheries and sins ; for with
truth, it was said he had caused
Anselmo da Capraia, his sister's
son, to be poisoned, out of envy
and fear, lest Anselmo, who was
much esteemed in Pisa, might
take his place. . . . The force of
the Guelphs being thus impaired,
the Archbishop took means to betray Count Ugolino, and caused
him to be suddenly attacked in
his palace by the fury of the
people, telling them that he had
betrayed Pisa, and given up their
Castles to the Florentines and
Lucchese ; and the people having
come upon him without any defence, he surrendered. And in

20

this assault, a bastard son and a
grandson of Count Ugolino's were
killed ; and he himself taken, with
two of his sons and three (or two ?
as below) of his grandchildren,
sons of his son, and put in prison."
Vili vii. 121.
" I n the following March, the
Pisans, who had imprisoned Count
Ugolino with two of his sons, and
two sons of his son Count Guelfo
(as we have mentioned above),
in a tower on the Piazza degli
Anziani, caused the door of that
tower to be locked up, the keys
to be thrown into the Arno, and
all food withheld from the said
prisoners, who died of hunger in
a few days. But the Count had
previously kept demanding penitence with loud cries, and yet they
permitted no friar or priest to confess him. All the five, when dead,
were dragged together from the
tower and meanly interred; and
from thenceforward the said prison was called the Tower of Famine, and always will be. For this
cruelty the Pisans throughout the

CANTO XXXIII.

401

INFERNO.

" A n a r r o w hole w i t h i n t h e m e w , w h i c h from m e h a s
t h e t i t l e of F a m i n e , a n d in w h i c h o t h e r s y e t m u s t b e s h u t
u p , h a d t h r o u g h i t s o p e n i n g a l r e a d y s h e w n m e several
moons, 1 w h e n I slept t h e evil sleep t h a t r e n t for m e t h e
c u r t a i n of t h e f u t u r e .

T h i s man s e e m e d t o m e l o r d a n d

m a s t e r , c h a s i n g t h e wolf a n d h i s w h e l p s , u p o n t h e m o u n tain2

for which t h e

P i s a n s c a n n o t see L u c c a .

With

h o u n d s m e a g r e , k e e n , a n d d e x t r o u s , h e h a d p u t i n front
of h i m G u a l a n d i w i t h Sismondi, a n d w i t h

Lanfranchi. 3

Breve pertugio dentro dalla muda,
La qual per me h a il titol della fame,
E in che conviene ancor eh' altri si chiuda,
M' avea mostrato per lo suo forame
Più lune già, quand' io feci il mal sonno,
Ohe del futuro mi squarciò il velame.
Questi pareva a me maestro e donno,
Cacciando il lupo e i lupicini al monte,
Per che i Pisan veder Lucca non ponno.
Con cagne magre, studiose e conte,
Gualandi con Sismondi, e con Lanfranchi
S' avea messi dinanzi dalla fronte.
wliole world, wherever it became
known, were greatly blamed 5 not
so much for the Count himself,
who by l'eason of his crimes and
treachery was perhaps worthy of
such a death, but for his sons and
grandsons who were young boys
and innocent, cti erano giovani
garzoni e innocenti" Vili. vii. 128.
Por further details see Cronica
di Fisa, in Murat. Ber. It al. t. xv.

25

p. 979, &c. ; Annales Genuen. ibid,
t. vi. p. 908, &c. ; Fragm. Hist.
Pis. ibid. t. xxiv.p. 648, &c. ; and
the other Cron. di Pisa, in Tartin.
Supplem. Rer. Ital. t. i. p. 564,
&c.
1
From July to March.
2
Monte St. Giuliano between
Pisa and Lucca, which are some
twelve miles apart.
3
Ruggieri, Lord and Master of
DD

402

INFERNO.

CANTO XXXIII.

After short course, the father and his sons seemed to me
weary; and methought I saw their flanks torn by the
sharp teeth. When I awoke before the dawn, I heard
my sons asking for bread. Thou art right cruel, if thou
dost not grieve already at the thought of what my heart
foreboded ; and if thou weepest not, at what art thou used
to weep ? They were now awake, and the hour approaching at which our food used to be brought us, and each
was anxious from his dream, and below I heard the outlet
of the horrible tower locked up : whereat I looked into
the faces of my sons, without uttering a word. I did not
weep : so stony grew I within. They wept ; and my little
In picciol corso mi pareano stanchi
Lo padre e i figli, e con 1' agute scane
Mi parea lor veder fender li fianchi.
Quando fui desto innanzi la dimane,
Pianger senti' fra '1 sonno i miei figliuoli,
Ch' erano meco, e dimandar del pane*
Ben sei crudel, se tu già non ti duoli,
Pensando ciò eh' il mio cor s' annunziava :
E se non piangi, di che pianger suoli ?
Già eran desti, e 1' ora s' appressava
Che il cibo ne soleva essere addotto,
E per suo sogno ciascun dubitava,
Ed io sentii chiavar 1' uscio di sotto
All' orribile torre : ond' io guardai
Nel viso a' miei fìgliuoi senza far motto.
Io non piangeva, sì dentro impietrai :
Piangevan elli ; e Anselmuccio mio

35

40

45

50

the chase ; the Ghibelline nobles, I populace ; Ugolino, the father
leaders of the keen Hounds or j Wolf with sons.

CANTO XXXIII.

INFERNO.

403

Anselm said : Thou lookest so ! Father, what ails
thee ? ' But I shed no tear, nor answered all that day,
nor the next night, till another sun came forth upon the
world. When a small ray was sent into the doleful
prison, and I discerned in their four faces the aspect of
my own, I bit on both mj hands for grief: and they,
thinking that I did it from desire of eating, of a sudden
rose up, and said : ' Father, it will give us much less pain,
if thou wilt eat of us : thou didst put upon us this
miserable flesh, and do thou strip it off.' Then I calmed
myself, in order not to make them more unhappy. That
day and the next we all were mute. Ah, hard earth !
why didst thou not open ? When we had come to the
fourth day, Gaddo threw himself stretched out at my feet,
Disse : Tu guardi sì ! Padre, che hai ?
Però non lagrimai, né rispos' io
Tutto quel giorno, ne la notte appresso,
Infìn che 1' altro sol nel mondo uscio.
Come un poco di raggio si fu messo
Nel doloroso carcere, ed io scorsi
Per quattro visi il mio aspetto stesso,
Ambo le mani per dolor mi morsi ;
E quei, pensando eh' io il fessi per voglia
Di manicar, di subito levorsi,
E disser : Padre, assai ci fìa men doglia,
Se tu mangi di noi : tu ne vestisti
Queste misere carni, e tu le spoglia.
<Juetaimi allor, per non farli più tristi :
Quel dì, e 1' altro stemmo tutti muti :
Ahi dura terra, perchè non t' apristi ?
Poscia che fummo al quarto dì venuti,

55

60

65

404

INFERNO.

CANTO XXXIII.

saying : ' My father ! why don't you help me ? '

There he

died ; a n d e v e n as t h o u seest m e , saw I t h e t h r e e fall o n e
b y one, b e t w e e n t h e fifth d a y a n d t h e sixths w h e n c e I b e t o o k m e , a l r e a d y blind, t o g r o p i n g over each ; a n d for
three

d a y s called t h e m ,

after

they

were

dead.

Then

fasting h a d m o r e p o w e r t h a n grief." x
W h e n h e h a d s p o k e n t h i s , w i t h eyes d i s t o r t e d h e seized
t h e m i s e r a b l e s k u l l a g a i n w i t h h i s t e e t h , w h i c h as a d o g ' s
w e r e s t r o n g u p o n t h e bone.

A h , P i s a ! scandal t o t h e

people of t h e b e a u t e o u s l a n d w h e r e " S i " is h e a r d ! 2
Since t h y n e i g h b o u r s a r e

slow t o p u n i s h t h e e , let

Gaddo m i si gittò disteso a' piedi,
Dicendo : Padre mio, che non m ' aiuti ?
Quivi morì ; e come tu m i vedi,
Vid' io cascar li tre ad uno ad uno,
Tra il quinto dì e il sesto, ond' io mi diedi
Già cieco a brancolar sovra ciascuno ;
E tre dì li chiamai, poi eh' ei fur morti :
Poscia, più che il dolor, potè il digiuno.
Quand' ebbe detto ciò, con gli occhi torti
Riprese il teschio misero co' denti,
Che furo all' osso, come d' u n can, forti.
Ahi Pisa, vituperio delle genti
Del bel paese là dove il sì suona ;
1

So that Ugolino died on the
ninth day : and theo.ldPisan commentator Buti says the tower was
opened after eight days, "dopo
li otto giorni" Many volumes
have been written about verse 75.
Does the più potè ("was more

the

70

75

80

powerful ") indicate only that
hunger killed Ugolino ? Or that
fasting overcame his senses, and
made him die eating as his poor
children had invited? The words
admit of either meaning.
2
Italy, where Si is the word

«3ANT0 XXXIII.
Capraia and Gorgona

INFERNO.
x

405

move, and hedge u p the Arno at

i t s m o u t h , t h a t i t m a y d r o w n in t h e e e v e r y living soul.
F o r if C o u n t U g o l i n o h a d t h e fame of h a v i n g b e t r a y e d
t h e e in t h y castles, t h o u o u g h t e s t n o t t o h a v e p u t his
sons into such torture.

T h e i r youthful a g e , t h o u m o d e r n

Thebes ! made innocent Uguccione and Brigata, and the
o t h e r t w o w h o m m y s o n g above h a s named. 2
W e w e n t f a r t h e r on, w h e r e t h e frost r u g g e d l y i n w r a p s

Poi che i vicini a te punir son lenti,
Muovasi la Capraia e la Gorgona,
E faccian siepe ad Arno in su la foce,
Sì eh' egli annieghi in te ogni persona.
Che se il Conte Ugolino aveva voce
D' aver tradita te delle castella,
Non dovei t u i fìgliuoi porre a tal croce.
Innocenti facea V età novella,
Novella Tebe ! Uguccione e il Brigata,
E gli altri duo che il canto suso appella.
Noi passamm' oltre, dove la gelata

for yes. Dante ( Vulg. Eloq. i. 8)
gives Jò or ja as characteristic of
the Germans, Saxons, &c. ; Oc
of the " Spaniardsw (the Langue
d'Oc, used at the Court of Castile ;
as well as in Provence, to part of
which it gave name) ; Oil or oui of
the French, and Si of the Italians.
1
Small islands, not far from the
mouth of the Arno.
2
Troya in his Veltro Allegorico
(Plor. 1826, p. 28, &c.) asserts, in
opposition to Villani and other

85

90

contemporary historians, that Ugolino's sons and grandsons were
not innocent, the Archbishop not
guilty, &c. i but the Veltro still
seems much more like a romance
than a piece of sober history. One
is led to expect speedy proofs of
many hazardous assertions in it,
and they have now been due for
twenty-two years. Such books
darken every part of the subjects
on which they treat, and are inex
ctisable among serious men.

406

INFERNO.

CANTO XXXIII'.

a n o t h e r people, n o t b e n t forwards, b u t all reversed. 1
v e r y w e e p i n g t h e r e allows them
grief, w h i c h

finds

impediment

n o t to w e e p ; a n d
upon their

The
the

eyes, t u r n s

i n w a r d to increase t h e a g o n y : for t h e i r first t e a r s form a
k n o t , and, like c r y s t a l vizors, fill u p all t h e cavity b e n e a t h
t h e i r e y e b r o w s . A n d a l t h o u g h , a s from a callous, t h r o u g h
t h e cold all feeling h a d d e p a r t e d from mj

face, 2 i t n o w

seemed to m e as if I

Whereat I :

felt

" Master, who moves this ?
h e r e below ? "

some w i n d .

I s n o t all h e a t e x t i n g u i s h e d

W h e n c e h e t o m e : " Soon s h a l t t h o u b e

Kuvidamente un' altra gente fascia,
Non volta in giù, m a tutta riversata.
Lo pianto stesso lì pianger non lascia,
E il duol, che truova in su gli occhi rintoppo,
Si volve in entro a far crescer 1* ambascia ;
Che le lacrime prime fanno groppo,
E , sì come visiere di cristallo,
Biempion sotto il ciglio tutto il coppo.
E a w e g n a che, sì come d' un callo,
Per la freddura ciascun sentimento
Cessato avesse del mio viso stallo,
Già mi parea sentire alquanto vento ;
Per eh' io : Maestro mio, questo chi muove ?
Non è quaggiuso ogni vapore spento ?
Ond' egli a m e : Avaccio sarai dove

1
The Poets have now come to
the Third King, or Ptolomsea.
The spirits in it have their heads
turned backwards, and not down,
like those in the Caina and An-

95

10O

105

tenora. They show no feeling of
shame, or desire to conceal themselves : " all heat is extinguished"
among them.
2
" Left the abode of mv face."

CANTO XXXIII.

INFERNO.

407

where thine eye itself, seeing the cause which rains the
blast,1 shall

answer

thee in

this."

And one of the

wretched shadows of the icy crust cried out to us : " 0
souls, so cruel that the last post of all is given to you !
Remove the hard veils from my face, that I may vent the
grief, which stuffs my heart, a little ere the weeping
freeze again.''

Wherefore I to him : " If thou wouldst

have me aid thee, tell me who thou art ; and if I do not
extricate thee, may I have to go to the bottom of the
ice."
He answered: "Then I am Friar Alberigo,2 I am he of
Di ciò ti farà 1' occhio la risposta,
Veggendo la cagion che il fiato piove.
E un de' tristi della fredda crosta
Gridò a noi : 0 anime crudeli
110
Tanto, che data v' è 1' ultima posta,
Levatemi dal viso i duri veli,
Sì eh' io sfóghi il dolor che il cor m'impregna,
Un poco pria che il pianto si raggeli.
Per eh' io a lui : Se vuoi eh' io ti sovvegna,
115
Dimmi chi sei, e s' io non ti disbrigo,
Al fondo della ghiaccia ir mi convegna.
Kispose : Adunque io son Frate Alberigo,
1
The wind here comes down.
See next canto, verses 8, 50, &c.
2
Old Alberigo de' Manfredi,
another of the Jovial Friars (see
their profession, canto xxiii. 103).
His kindred were Guelphs and
Lords of Faenza; and one of
them, the "young and fiery"
Manfredo de' Manfredi, in afitof

passion, gave him a slap on the
face. Alberic " dissembled and
quietly bore the affront for a
long time. And at last, when
he thought the other might have
forgotten it, pretended that he
wished to be reconciled. Then
Manfred begged pardon for his
youthful heat; and, the peace

408

INFERNO.

CANTO XXXIII.

t h e fruits from t h e ill g a r d e n , w h o h e r e receive dates for
my figs."

3

" H a h ! " said I t o h i m , " t h e n a r t t h o u dead too ? "
A n d h e t o m e : " H o w m y b o d y s t a n d s in t h e w o r l d
above, I h a v e n o k n o w l e d g e .

S u c h privilege h a s t h i s

Ptolomaea, t h a t oftentimes t h e soul falls d o w n h i t h e r , ere
A t r o p o s i m p e l s it. 2

A n d that thou more willingly mayest

rid t h e glazen t e a r s from off m y face, k n o w t h a t f o r t h w i t h ,
Io son quel delle frutte del m a l orto,
Che qui riprendo dattero per
figo.
Oh, dissi lui, or sei t u ancor morto ?
E d egli a me : Come il mio corpo stea
Nel mondo su, nulla scienzia porto.
Cotal vantaggio h a questa Tolomea,
Che spesse volte 1' anima ci cade
Innanzi eh' Atropòs mossa le dea.
E perchè tu più volentier mi rade
Le invetriate lagrime dal volto,
Sappi, che tosto che 1' anima trade,
being made up between them,
Alberic gave a banquet, to which
Manfred and his son (Alberghetto, or " little Alberic ") were
invited. The supper over, with
great alacrity old Alberic cried,
*' Now bring the fruit ! " And suddenly his servants, who had been
concealed behind a screen, rushed
forth armed, and slew both the
father and the son, Alberic meanwhile looking on and rejoicing."
Benv. da Imola. See also Pietro
di Dante. The " Fruit of Friar

120

125

Alberic" thenceforth became a
proverb. The "ill garden" is
Faenza, from which Tribaldello
(canto xxxii. 122), a Ghibelline
of the same Manfredi family, also
came. Ibid.
1
Or, get full repayment.
2
Ere ^Atropos cuts the lifethread, or " gives signal to move."
Veniat mors super illos : et descendant in Infemum viventes, " let
them go down quick (or living)
into Hell" Ps. liv. 16; lv. 15.
Quoted by Pietro, &c.

INFERNO.

CANTO XXXIII.

409

w h e n t h e soul b e t r a y s , as I did, h e r b o d y is t a k e n

from

h e r b y a D e m o n w h o thereafter r u l e s i t , till its t i m e h a s
all revolved.

S h e falls r u s h i n g to t h i s cistern ; a n d p e r -

h a p s t h e b o d y of t h i s other s h a d e , w h i c h w i n t e r s h e r e
b e h i n d m e , is still a p p a r e n t on the earth above.

Thou

m u s t k n o w , if t h o u a r t b u t n o w come d o w n : i t is S e r
B r a n c a d' Oria ; l a n d m a n y y e a r s h a v e passed since h e
was thus shut up."
" I b e l i e v e , " said I to h i m , " t h a t t h o u deceivest m e ;
for B r a n c a d' Oria n e v e r died ; a n d eats, a n d d r i n k s , a n d
sleeps, a n d p u t s on clothes.''
" I n t h e ditch above, of t h e M a l e b r a n c h e , "
" there

where

the

tenacious p i t c h 2 is boiling,

Come fee' io, il corpo suo 1' è tolto
Da u n Dimonio, che poscia il governa,
Mentre che il tempo suo tutto sia volto.
Ella m i n a in sì fatta cisterna ;
E forse pare ancor lo corpo suso
Dell' ombra, che di qua dietro mi verna.
Tu il dei saper, se tu vien pur mo giuso :
Egli è Ser Branca d' Oria, e son più anni
Poscia passati eh' ei fu sì racchiuso.
Io credo, dissi a lui, che tu m ' inganni ;
Che Branca d' Oria non morì unquanche,
E mangia, e bee, e dorme, e veste panni.
Nel fosso su, diss' ei, di Malebranche,
Là dove bolle la tenace pece,
1
Of the great Doria family,
Ghibellines of Genoa. In conjunction with his nephew, he invited to a banquet, and there
treacherously murdered, his own

said

he,

Michel
130

135

140

father-in-law, Michel panche of
Logodoro, " in order to' get possession of his immense wealth."
Benv. da Imola; Pìetrol
2
See canto xxi. 7, &c.

410

INFERNO.

CANTO XXXIII.

Z a n c h e 1 h a d n o t y e t a r r i v e d , w h e n t h i s man

left a D e v i l

in his s t e a d i n t h e b o d y of himself, a n d of one of h i s
kindred

who

did t h e

treachery along with him.

r e a c h h i t h e r t h y h a n d : open m y e y e s . "

But

A n d I opened

t h e m n o t for h i m : a n d t o b e r u d e to h i m w a s courtesy. 2
A h , G e n o e s e ! m e n e s t r a n g e d from all morality,

and

full of all c o r r u p t i o n , 3 w h y a r e y e n o t s c a t t e r e d from t h e
earth ?
I

F o r w i t h t h e w o r s t s p i r i t 4 of R o m a g n a , f o u n d

one of ye,

who

for

his

deeds

even

b a t h e s in C o c y t u s , a n d above on earth

now in

soul

still seems alive

in body.
Non era giunto ancora Michel Zanche,
Che questi lasciò u n Diavolo in sua vece
Nel corpo suo, e d' u n suo prossimano,
Che il tradimento insieme con lui fece.
Ma distendi oramai in qua la mano,
Aprimi gli occhi ; ed io non gliele apersi :
E cortesia fu lui esser villano.
Ahi Genovesi, uomini diversi
D ' ogni costume, e pien d' ogni magagna,
Perchè non siete voi del mondo spersi ?
Che col peggiore spirto di Komagna
Trovai u n tal di voi, che per sua opra
I n anima in Cocito già si bagna,
E in corpo par vivo ancor di sopra.
1

The barterer of canto xxii.
So Ariosto {Ori. Fur. xxvii.
77): Gli è teco cortesia V esser
villano, " 'tis a charity to be rude
to thee."
3
Compare Annal. Gen. (Murat.
2

145

150

155

Eer. Ital. vi. 608) for 1294, written
at the time by Jacopo Doria (Jacobus de Auria), in which quite
as bad an account is given of the
Genoese.
4
With the Friar Alberigo.

ARGUMENT
The Judecca, or Last Circlet of Cocytus, take? its name from Judas
Iscariot, and contains the souls of those 'who betrayed their
masters and benefactors.' The Arch Traitor Satan, " Emperor
of the Realm of Sorrow," stands fixed in the Centre of it 5 and
he too is punished by his own Sin. All the streams of Guilt
keep flowing back to him, as their source ; and from beneath his
three Faces (Shadows of his consciousness) issue forth the mighty
wings with which he struggles, as it were, to raise himself 5 and
sends out winds that freeze him only the more firmly in his everswelling Marsh. Dante has to take a full view of him too ; and
then is carried through the Centre by his Mystic Guide—" grappling
on the hair of Satan," not without significance ; and set down on
" the other face of the Judecca." And now the bitter journey of
our Pilgrim is over ; aiid a tone of gladness goes through the remaining verses. Hell is now behind him, and the Stars of Heaven
above: he has got beyond the 'Everlasting No,' and is "sore
travailled," and the " way is long and difficult," but it leads from
Darkness to the t( bright world." After some brief inquiries, " without caring for any repose," by aid of the heaven-sent Wisdom he
*c plucks himself from the Abyss ; " and follows climbing, till they
see the Stars in the opposite hemisphere.

412

INFERNO.

CANTO
"VEXILLA

Regis

prodeunt

XXXIY.
Inferni

fore look i n front of t h e e , , ,
discernest him."

CANTO XXXIV.

As, when

l

towards us :

there-

m y M a s t e r said, " if t h o u
a t h i c k m i s t b r e a t h e s , or

w h e n t h e n i g h t comes on o u r h e m i s p h e r e , a mill, t u r n i n g w i t h t h e w i n d , a p p e a r s a t distance : such a n edifice
did I now

seem to

s e e ; a n d , for

the wind,2

shrunk

b a c k b e h i n d m y Guide, because no o t h e r shed was t h e r e .
A l r e a d y I h a d come ( a n d w i t h fear I p u t i t into verse)
w h e r e all t h e souls w e r e covered, 3 a n d shone t h r o u g h l i k e
VEXILLA Regis prodeunt Inferni
Verso di noi : però dinanzi mira,
Disse il Maestro mio, se t u il discernì.
Come quando u n a grossa nebbia spira,
O quando 1' emisperio nostro annotta
Par da lungi un mulin che al vento gira ;
Veder mi parve u n tal difìcio allotta :
Poi per lo vento m i ristrinsi retro
Al Duca mio ; che non v' era altra grotta.
Già era (e con paura il metto in metro)
Là, dove 1' ombre tutte eran coverte,
E trasparean come festuca in vetro.
1
" The banners of the King of
Hell come forth/' Vexilla Regis
prodeunt : Fidget Crucis mysterittm, Qua vita mortem pertulit,
Ft morte vitam protulit, &c, is
an ancient hymn of triumph, on

5

10

the mystery of the Cross. It is
solemnly chanted on the Eriday of
Holy Week.
2
" The wind." See v. 51, &c.
3
In the last or central ring of
Cocytus.

CANTO XXXIV.

INFERNO.

413

straw in glass. Some keep lying ; some stand upright,
this on its head, and that upon its soles ; another, like a
bow, bendg face to feet.
When we had proceeded on so far, that it pleased my
Guide to show to me the Creature which was once so fair,1
he took himself from before me, and made me stop, saying : " Lo Dis ! and lo the place where it behoves thee
arm thyself with fortitude."
How icy chill and hoarse I then became, ask not, O
Reader ! for I write it not, because all speech would fail
to tell. 2 I did not die, and did not remain alive: now
think for thyself, if thou hast any grain of ingenuity,
Altre stanno a giacere, altre stanno erte,
Quella col capo, e quella con le piante ;
Altra, com' arco, il volto a' piedi inverte.
Quando noi fummo fatti tanto avante,
Oh' al mio Maestro piacque di mostrarmi
La creatura eh' ebbe il bel sembiante,
Dinanzi mi si tolse, e fé' restarmi,
Ecco Dite, dicendo, ed ecco il loco
Ove convien che di fortezza t' armi.
Com' io divenni allor gelato e fioco,
Noi dimandar, Lettor, eh' io non lo scrivo,
Però eh' ogni parlar sarebbe poco.
Io non morii, e non rimasi vivo :
Pensa oramai per te, s' hai fior d'ingegno,
1
Lit.: "Which had the beauteous semblance : " fairest of the
Angels once. "How art thou
fallen from heaven, O Lucifer,
son of the morning ! . . . . yet
thou shalt be brought down to

15

20

25

hell, to the sides of the pit" (ad
infernum, in profmdum loci),
Isaiah xiv. 12-15.
2
Lit. : "Would be little;"
would go short way to tell the state
in which I was at sight of Dis.

414

INFERNO»

CANTO XXXIV.

w h a t I became, deprived òf b o t h death

and

life.

The

E m p e r o r of t h e dolorous r e a l m , from m i d b r e a s t stood
forth o u t of t h e ice ; a n d I m size a m l i k e r to a g i a n t ,
t h a n t h e g i a n t s a r e t o his a r m s . 1

M a r k now h o w g r e a t

t h a t w h o l e m u s t be, w h i c h c o r r e s p o n d s to s u c h a p a r t .

If

h e w a s once as beautiful as h e is u g l y n o w , a n d lifted u p
his b r o w s against h i s M a k e r , well m a y all affliction come
from h i m .

Oh

h o w g r e a t a m a r v e l seemed i t t o m e ,

w h e n I saw t h r e e f a c e s 2 on h i s head !

T h e one in front,

Qual io divenni, d' uno e d' altro privo.
Lo Imperador del doloroso regno
Da mezzo il petto useia fuor della ghiaccia ;
E più con u n gigante io m i convegno,
Che i giganti non fan con le sue braccia :
Vedi oggimai quant' esser dee quel tutto,
Ch' a così fatta parte si confaccia.
S' ei fu sì bel, com' egli è ora brutto,
E contra il suo Fattore alzò le ciglia,
Ben dee da lui procedere ogni lutto.
O quanto parve a me gran meraviglia,
Quando vidi tre facce alla sua testa !
1
Or, I " agree better," in size
and stature, with one of the giants,
than they do with one of Satan's
arms.
. . . " His other parts besides
Prone on the flood, extended
long and large,
Lay floating many a rood. . .
Forthwith upright he rears
from off the pool
His mighty stature."
Par Lost, i. 194, &c.
2
The three faces are emblem-

30

35

atical of conscious opposition to
the Power, and Wisdom, and
Love, in canto iii. 5, &c. : hopeless Impotence, glowing with
rage, in the scarlet or vermilion ;
darkest Ignorance in the black;
and envious Hatred in the paleyellow face. Hence Milton (Par.
Lost, iv. 114):
. . . "Each passion dimm'd
his face,
Thrice changed with pale, ire,
envy, and despair."

415

INFERNO*

CANTO XXXIV.

a n d i t w a s fiery r e d : t h e o t h e r s w e r e t w o , t h a t w e r e adj o i n e d t o this, above t h e v e r y m i d d l e of each s h o u l d e r ;
a n d t h e y w e r e j o i n e d u p to h i s c r e s t ; 1 a n d t h e r i g h t
s e e m e d b e t w e e n w h i t e a n d yellow ; t h e left w a s s u c h to
look on, as t h e y w h o come from w h e r e t h e N i l e begins
h i s valley. 2
w i n g s , of

U n d e r each t h e r e i s s u e d forth t w o m i g h t y
size befitting

s a w so b r o a d . 3

s u c h a b i r d : sea-sails I n e v e r

ISTo p l u m e s h a d t h e y ; b u t w e r e i n form

and texture like a bat's : 4 and he was

flapping

t h e m , so

t h a t t h r e e w i n d s w e n t forth from h i m , w h e r e b y C o c y t u s
L ' una dinanzi, e quella era vermiglia :
L ' altre eran due, che s' aggiungeano a questa
Sovr' esso il mezzo di ciascuna spalla,
E si giungeano al luogo della cresta.
E la destra parea tra bianca e gialla':
L a sinistra a vedere era tal, quali
Vengon di là, ove il Nilo s' avvalla.
Sotto ciascuna uscivan duo grand' ali,
Quanto si conveniva a tanto uccello :
Vele di m a r non vid' io mai cotali.
Non avean penne, m a di vispistrello
E r a lor modo : e quelle svolazzava,
Sì, che tre venti si movean da elio.
1
Lit. : " Up to the place of his
crest." The three faces unite their
qualities to form the Crest of him,
emblem of his Pride.
2
. . "Under the Ethiop line
By Nilus' head."
Par. Lost, iv. 282.
* . . "At last his sail-broad vans
He spreads for flight."
Ibid. ii. 927.

40

45

50

Has wings like a huge vampire ;
and, flapping them, sends forth
the blasts of Impotency, Ignorance, and Hatred, which freeze
all the Marsh of Sin — thereby
fixing himself only the more
strongly in it.
4
Lit. : " But as a bat's was
their mode," or fashion.

416

INFERNO.

CANTO XXXIV

all was frozen. With six eyes he wept ; and down three
chins gushed tears and bloody foam.
In every mouth
he champed a sinner with his teeth, like a brake ; so
that he thus kept three of them in torment. To the
one in front, the biting was nought, compared with the
tearing ; for at times the back of him remained quite
sfcript of skin.
" That soul up there, which suffers greatest punishishment," said the Master, " i s Judas Iscariot, he who has
his head within, and outside plies his legs. Of the other
two, who have their heads beneath, that one, who hangs
from the black visage, is Brutus : 1 see how he writhes
himself, and utters not a word. And the other is CasQuindi Oocito tutto s' aggelava.
Con sei occhi piangeva, e per tre menti
Gocciava il pianto e sanguinosa bava.
Da ogni bocca dirompea co' denti
Un peccatore, a guisa di maciulla ;
Sì che tre ne facea così dolenti.
À quel dinanzi il mordere era nulla
Verso il graffiar, che tal volta la schiena
Rimanea della pelle tutta brulla.
Quell' anima lassù, eh' ha maggior pena,
Disse il Maestro, è Giuda Scariotto,
Ohe il capo ha dentro, e fuor le gambe mena.
De gli altri duo, eh' hanno il capo di sotto,
Quei, che pende dal nero ceffo, è Bruto :
Vedi come si storce, e non fa motto ;

55

60

65

1
In the Monarchia and Convito, alludes to Csesar as the appointed
and also in many passages of the Founder of that Universal MonPurgatorio and Paradiso, Dante archy by which the temporal go-

CANTO XXXIV.

INFERNO,

417

sius, who seems so stark of limb. But night is reascending :x and now must we depart ; for we have seen
the whole."
As he desired, I clasped his neck : and he took opportunity of time and place ; and when the wings were
opened far, applied him to the shaggy sides, and then
from shag to shag descended down, between the tangled
hair and frozen crusts.
When we had come to where the thigh revolves just on
the swelling of the haunch, 2 my Guide with labour and
E 1' altro è Cassio, che par sì membruto.
Ma la notte risurge ; ed oramai
E* da partir, che tutto avèm veduto.
Come a lui piacque, il collo gli avvinghiai ;
Ed ei prese di tempo e luogo poste :
E, quando 1' ale furo aperte assai,
Appigliò se alle vellute coste.
Di vello in vello giù discese poscia,
Tra il folto pelo e le gelate croste.
Quando noi fummo là dove la coscia
Si volge appunto in sul grosso dell' anche,
vernment of the whole world was
to be provided for; and Brutus
is regarded as the treacherous
murderer of Caesar : his good qualities, and the fortitude which he
here continues to shew, only make
his guilt seem blacker. The Kal
aò, r'wvov {Sueton. Vit. Cess. i. 82),
and the 'Eralpf, k<p' $ vrapei ;
(Matt. xxvi. 50), might be connected in Dante's mind.
1
Night is coming (it " ascends "

70

16

with Dante, for to him our Earth
is fixed in the centre, and the
Heavens revolve, Conv. Tr. iii. c.
5) 5 and here the old commentators
find mystic allusion to the " Night
of Sin." The Poets have now been
twenty-four hours, or one night and
one day, in Hell. See cantos ii. 1 ;
vii. 98; xi. 113; xx. 124; xxi.
112, &c. ; xxix. 10.
2
Come to the hip-joint of him,
which is exactly at the middle.
E

418

INFERNO.

CANTO XXXIV.

with difficulty turned his head where he had had his feet
before, and grappled on the hair, as one who mounts ; so
that I thought we were returning into Hell again. " Hold
thee fast ! for by such stairs," said my Guide, panting
like a man forespent, " must we depart from so much ill."
Thereafter through the opening of a rock he issued forth,
and put me on its brim to sit ; then towards me he
stretched his wary step.
I raised my eyes, and thought to see Lucifer as I had
left him ; and saw him with the legs turned upwards/
And the gross people who see not what a point 2 it
was that I had passed, even they may judge if I grew
Lo Dùca con fatica e con angoscia
Volse la testa ov' egli avea le zanche,
Ed aggrappossi al pel, come uom che sale,
Sì che in Inferno io credea tornar anche.
Attienti ben, che per cotali scale,
Disse il Maestro, ansando com' uom lasso,
Conviensi dipartir da tanto male.
Poi uscì fuor per lo foro d' un sasso,
E pose me in su V orlo a sedere :
Appresso porse a me 1' accorto passo.
Io levai gli occhi, e credetti vedere
Lucifero, com' i' 1' avea lasciato,
E vidili le gambe in su tenere.
E s'io divenni allora travagliato,
La gente grossa il pensi, che non vede
Qual era il punto eh' io avea passato.
1

80

85

90

Lit. : " Saw him holding the I 2 Centre of the Universe and of
legs upwards," as in verse 104.
| all gravity.

CANTO XXXIV.
toil-worn then.

INFERNO.

410

" R i s e u p ! " said t h e M a s t e r , " u p o n thy

feet : t h e w a y is l o n g , a n d difficult t h e r o a d ; x a n d n o w to
middle tierce2 the Sun returns."
I t w a s no palace-hall, t h e r e w h e r e w e stood, b u t n a t u r a l
d u n g e o n w i t h an evil floor a n d w a n t of l i g h t .

" Before I

p l u c k myself from t h e A b y s s , " said I w h e n r i s e n u p , " 0
M a s t e r ! s p e a k to m e a little, t o d r a w m e o u t of e r r o r .
W h e r e is t h e ice ?
down ?

A n d t h i s , h o w is h e fixed t h u s u p s i d e

A n d how, i n so s h o r t a t i m e , h a s t h e S u n from

e v e to m o r n m a d e t r a n s i t ? "

Levati su, disse il Maestro, in piede :
L a via è lunga, e il cammino è malvagio,
E già il Sole a mezza terza riede.
Non era camminata dì palagio
Là ov' eravàm, m a naturai burella
Ch' avea mal suolo, e di lume disagioPrima eh' io dell' Abisso m i divella,
Maestro mio, diss' io quando fui dritto,
A trarrai d? erro u n poco m i favella.
Ov' è la ghiaccia ? e questi com' è fitto
Sì sottosopra ? e come in sì poc' ora
D a sera a mane ha fatto il Sol tragitto ?

1

. . . . " Long is the way
And hard, that out of Hell
leads up to light."
Par. Lost, ii. 432.
2
The mezza Terza or " middle
Tierce" of Dante, as explained
by himself {Convito, Tr. iv. 23),
means the time immediately be-

95

100

105

fore the stroke of three, the Third
morning-hour : or with us nine
o'clock, at the season when days
and nights are of equal length.
The Poets have now got into the
opposite hemisphere ; and left the
night (v. 68) on this side of the
centre.

420

INFERNO,

CANTO XXXIV.

A n d h e t o "me : " T h o u i m a g i n e s t t h a t t h o u a r t still
upon t h e o t h e r side of t h e centre, w h e r e I c a u g h t hold on t h e
h a i r of t h e evil W o r m 1 w h i c h pierces t h r o u g h t h e w o r l d .
T h o u w a s t on t h a t side, so l o n g as I descended : w h e n I
t u r n e d myself, t h o u then didst pass t h e p o i n t 2 to w h i c h all
gravities from every p a r t a r e d r a w n ; a n d n o w t h o u a r t
a r r i v e d b e n e a t h t h e h e m i s p h e r e opposed t o t h a t 3 w h i c h
canopies t h e g r e a t d r y land, a n d u n d e r n e a t h whose s u m m i t 4 w a s consumed t h e Man, w h o w i t h o u t sin w a s b o r n

E d egli a me : Tu immagini ancora
D' esser di là dal centro, ov' io mi presi
Al pel del vermo reo che il mondo fora.
Di là fosti cotanto, quant' io scesi :
Quando m i volsi, tu passasti il punto
Al qual si traggon d' ogni parte i pesi :
E sei or sotto 1* emisperio giunto,
Che è opposto a quel, che la gran secca
Coverchia, e sotto il cui colmo consunto
F u 1' uom che nacque e visse senza pecca :
1
"The piercing Serpent, even
Leviathan that crooked Serpent."
Isaiah, xxvii. 1. " And he laid
hold on the Dragon, that old Serpent, which is the Devil and Satan
. . . . and cast him into the bottomless Pit." Bev. xx. 2. Our
earth gnawed through by Satan,
as an apple by a worm.
2
Lowest point of the Universe,
Centre of all Gravity.
3
The Poets are now in the
Hemisphere, placed opposite to

110

115

our Northern Hemisphere which
canopies the li dry land" (Gen. i.
9,10), or stands over that northern
part of the globe which, in Dante's
time, was supposed to be the only
part uncovered by sea. The North
Pole " is manifest to nearly all the
uncovered part of the Earth ; " and
the South Pole " i s hidden from
nearly all the uncovered part."
Convito, Tr. iii. c. 5.
4
The highest or culminating
point, above Jerusalem where the

CANTO XXXIV.

INFERNO.

421

and lived. Thou hast thy feet upon a little sphere, which
forms the other face 3 of the Judecca. Here it is morn,
when it is evening there: and this Fiend, who made a
ladder for us with his hair, is still fixed as he was before.
On this side fell he down from Heaven ; and here the
land, which erst stood out, through fear of him veiled
itself with sea, and came to our hemisphere : and perhaps, in order to escape from him, that which on this
side appears, 2 left here the empty space, and upwards
rushed."
Down there, from Beelzebub as far removed as his
tomb extends, is a space, 3 not known by sight but by the
Tu hai i piedi in su picciola spera,
Che 1' altra faccia fa della Giudecca.
Qui è da man, quando di là è sera :
E questi, che ne fé' scala col pelo,
Fitto è ancora, sì come prima era.
Da questa parte cadde giù dal Cielo :
E la terra, che pria di qua si sporse,
Per paura di lui fé' del mar velo,
E venne all' emisperio nostro ; e forse
Per fuggir lui lasciò qui il luogo voto
Quella che appar di qua, e su ricorse.
Luogo è laggiù da Belzebù rimoto
Tanto, quanto la tomba si distende,

120

125

Divine Man " was consumed " or II x The face which looks towards
died for our transgressions. " This Heaven and not towards Hell.
2
is Jerusalem : I have set it in the
Or the Mount of Purgatory :
midst of the nations," &c. Istaest antipodes of Jerusalem.
3
Jerusalem : in medio gentium pomi
An open space, which goes
earn, &c. Ezek. v. 5.
II from Beelzebub, " Prince of De-

422

INFERNO.

CANTO XXXIV.

sound of a rivulet descending in it, along the hollow of a
rock which it has eaten out with tortuous course and slow
declivity. 1 The Guide and I entered by that hidden road,
to return into the bright world : and, without caring for
any rest, we mounted up, he first and I second, so far that
I distinguished through a round opening the beauteous
things which Heaven bears ; and thence we issued out,
again to see the Stars.
Che non per vista, ma per suono è noto
D' un ruscelletto, che quivi discende
Per la buca d' un sasso, eh' egli ha roso
Col corso eh' égli avvolge e poco pende.
Lo Duca ed io per quel cammino ascoso
Entrammo a ritornar nel chiaro mondo ;
E senza cura aver d' alcun
riposo
Salimmo su, ei primo ed io secondo,
Tanto eh' io vidi delle cose belle
Che porta il Ciel, per un pertugio tondo :
E quindi uscimmo a riveder le stelle.
vils," to the opposite surface of the
earth : or as far as his tomb of Hell
goes on the other side.
1
Lit. : " Has gnawed out with
the course which it winds and

130

135

bends little " or gently downwards.
It flows in a spiral direction and
by slow degrees. It is the streamlet of Sin from Purgatory, which
alsoflowsback to Satan.

END OF THE INFERNO.

INDEX OF PROPER NAMES.

INDEX OF PROPER NAMES.
ABATI degli, Bocca, xxxii. 106.
Buoso, xxv. 140.
Abbagliato, xxix. 132.
Abel, iv. 56.
Abraham, iv. 58.
Absalom, xxviii. 137.
Accorso, Francesco, xv. 110.
Acheron, iii. 78 ; xiv. 116.
Achilles, v. 65 ; xii. 71 ; xxvi. 62 ;
xxxi. 5.
Acquacheta, xvi. 97.
Acre, xxvii. 89.
Adam, iii. 115 5 iv. 55.
Master, xxx. 61, &c,
Adige, river, xii. 5.
Aegina xxix. 59.
AEneas,ii. 32; iv. 122 ; xxvi. 93.
AEsop, fable of, xxiii. 4.
JEtna (Mongibello), xiv. 56.
Aghinolfo de' Gnidi, xxx. 77.
Agnello Brunelleschi, xxv. 63.
Alardo, xxviii. 18.
Ahithophel, xxviii. 137.
Alberigo, Friar, xxxiii. 118.
Alberto da Siena, xxix. 109.
degli Alberti, xxxii. 57.
Aldobrandi, Tegghiaio, vi. 79;
xvi. 41.
Alessandro de' Guidi, xxx. 77.
degli Alberti, xxxii. 55.
Alexander, xii. 107 ; xiv. 31.

Alessio Interminei, xviii. 122.
Alecto, ix. 47.
Ali, xxviii. 32.
Alichino, xxi. 118; xxii. 112.
Alps, xx. 62.
Pennine, xx. 65.
Altaforte (Hautefort), xxix. 29.
Amphiaraus, xx. 34.
Amphion, xxxii. 11.
Anastasius, Pope, xi. 8.
Anaxagoras, iv. 137.
Anchises, i. 74.
Andrea, St., Jacopo da, xiii. 133.
Angiolello, Cagnano, xxviii. 133.
Annas, xxiii. 121.
Anselmuccio, xxxiii, 50.
Antaeus, xxxi. 100.
Antenora, xxxii. 88.
Antiochus, xix. 87.
Apennines, xvi. 96 ; xxvii. 29.
Apuglia, xxviii. 9.
Arachne, xvii. 18.
Arbia, river, x. 86.
Aretines, xxii. 5 ; xxx. 31.
Arethusa, xxv. 97.
Arezzo, xxix. 109.
Argenti, Filippo, viii. 61.
Argives, xxviii. 84.
Ariadne, xii. 20.
Aristotle, iv. 131; xi. 101.
Aries, ix. 112.

426

INDEX

OF PROPER

Arno, xiii. 146; xv. 113; xxiii.
95 ; xxx. 65 ; xxxiii. 83.
Arrigo de' Fifanti, vi. 80.
Arthur, King, xxxii. 62.
Aruns, xx. 46.
Asciano, Caccia d', xxix. 131.
Asdente of Parma, xx. 118.
Athamas, xxx. 4.
Athens, xii. 17.
Atropos, xxxiii. 126.
Attila, xii. 134 ; xiii. 149.
Augustus, i. 71.
Aulis, xx. 111.
Aventine, mount, xxv. 26,
Averrhoes, iv. 144.
Avicenna, iv. 143.
Azzolino da Este, xii. 110.
Bacchiglione, river, xv. 113.
Bacchus, city of, xx. 59.
Beatrice, ii. 70; x. 131; xii. 88;
xv. 90.
Beccaria, xxxii. 119.
Beelzebub, xxxiv. 127.
Bello, Gerì del, xxix. 27.
Benacus, lake, xx. 63, &c.
Benedict, St., Abbey of, xvi. 100.
Bergamese, xx. 71.
Bertrand de Born, xxviii. 134.
Bianchi, xxiv. 150.
Bisenzio, river, xxxii. 56.
Bocca degli Abati, xxxii. 106.
Bologna, xxiii. 142.
Bolognese, xi. 83 ; xviii. 58 ; xxiii.
103.
Bonatti, Guido, xx. 118.
Boniface VIII., xix, 53 ; xxvii.
70, 85.
Borsieri, Guglielmp, xvi. 70.
Branca Doria, xxxiii. 137, 140.
Branda, fount, xxx. 78.

NAMES.

Brenta, river, xv. 5.
Brescia, xx. 68.
Brescians, xx. 71.
Briareus, xxxi. 98.
Brigata, xxxiii. 89.
Bruges, xv. 4.
Brunelleschi, Agnello, xxv. 63.
Brunetto Latini, xv. 30, &c.
Brutus, Lucius Junius, iv. 127.
Marcus Junius, xxxiv. 65.
Buiamonte, xvii. 72.
Bulicame, xiv. 79.
Buonacossi, Pinamonte, xx. 96.
Buonturo, de' Dati, xxi. 41.
Buoso da Duera, xxxii. 116.
degli Abati, xxv. 140.
de5 Donati, xxx. 44.
Caccia d' Asciano, xxix. 131.
Caccianemico, xviii. 50.
Cacus, xxv. 25.
Cadmus, xxv. 97.
Cadsand, xv. 4.
Caesar, Julius, i. 70 ; iv. 123 ;
xxviii. 98.
Cagnano, Angiolello, xxviii. 77.
Cahors, xi. 50.
Caiaphas, xxiii. 115.
Cain, xx. 126.
Caina, v. 107 ; xxxii. 58.
Calcabrina, xxi. 118 ; xxii. 133.
Calchas, xx. 110.
Camiccion de' Pazzi, xxxii. 68.
Camilla, i. 107 ; iv. 124.
Camonica, Val, xx. 65.
Cancellieri, xxxii. 63.
Capaneus, xiv. 62 ; xxv. 15.
Capocchio, xxix. 136 ; xxx. 28.
Capraia, isle, xxxiii. 82.
Caprona, xxi. 95.
Cardinal degli Ubaldini, x. 120.

INDEX

OF PROPER

Carisenda, tower, xxxi. 136.
Carlino de' Pazzi, xxxii. 69.
Carrarese, xx. 48.
Casalodi, xx. 95.
Casentino, valley, xxx. 65.
Cassero, Guido del, xxviii. 77.
Cassius, xxxiv. 67.
Castel St. Angelo, xviii. 32.
Catalano, Friar, xxiii. 104, 114.
Cato, xiv. 15.
Cattolica, xxviii. 80.
Cavalcanti, Cavalcante, de', :
60.
Francesco, xxv. 151.
Gianni, xxx. 32, 44.
Guido, x. 63.
Caurus, xi. 114.
Cecina, river, xiii. 9.
Celestine V. ? iii. 59, xxvii. 105.
Centaurs, xii. 56 &c; xxv. 17.
Ceperano, xxviii. 16.
Cerberus, vi. 13 ; ix. 98.
Cervia, xxvii. 42.
Cesena, xxvii. 52.
Ceuta, xx vi. 11.
Chaos, xii. 43.
Charlemain, xxxi. 17.
Charon, iii. 94, 109, 128.
Charybdis, vii. 22.
Chiana, Val. di, xxix. 47.
Chiarentana, xv. 9.
Chiron, xii. 65 &c.
Christians, xxvii. 88.
Ciacco, vi. 52, 58 &c.
Ciampolo, xxii. 48.
Cianfa de' Donati, xxv. 43.
Circe, xxvi. 91.
Ciriatto, xxi. 122 ; xxii. 55.
Clement V., xix. 83.
Cleopatra, v. 63.

NAMES.

427

CocytuS, xiv. 119; xxxi. 123;,
xxxiii. 156; xxxiv. 52.
Colchis, xviii. 87.
Cologne, monks of, xxiii. 63.
Colonna, family, xxvii. 86.
Constantine, xix. 115 ; xxvii 94.
Cornelia, iv. 128.
Corneto, city, xiii. 9.
Rinier da, xii. 137.
Crete, xii. 12 ; xiv. 95.
Curio, xxviii. 93, 102.
Cyclopes, xiv. 55.
Cyprus, xxviii. 82.
Daedalus, xvii. 111; xxix. 116.
Damietta, xiv. 104.
Danube, xxxii. 27.
David, iv. 58; xxviii. 138.
Deidamia, xxvi. 62.
Dejanira, xii. 68.
Democritus, iv. 136.
Dido, v. 61,85.
'
Diogenes, iv. 137.
Diomede, xxvi. 56.
Dionysius, tyrant, xii. 107.
Dioscorides, iv. 140.
, Dis (Satan), viii. 68 ; x. 65 ; xii.
39 ; xxxiv. 20.
Dolcino, Fra', xxviii. 55.
Don, river, xxxii. 27.
Donati, de', Buoso, xxx. 44.
Cianfa, xxv. 43.
Doria, Branca, xxxiii. 137, 140.
Duera, Buoso da, xxxii. 116.
Electra, iv. 121.
Elijah, xxvi. 35.
Elisha, xxvi. 34.
Empedocles, iv. 138.
Ephialtes, xxxi. 84.
Epicurus, x. 14.
Erichtho, ix. 23.

428

INDEX

OF PROPER

Erinnys, ix. 45.
Este, Azaolino da, xii. 110.
Obizzo, xii. 111 xviii. 56.
Eteocles, xxvi. 54.
Ethiopia, xxiv. 89 ; xxxiv. 45.
Euclid, iv. 142.
Euryalus, i. 108.
Eurypylus, xx. 112.
Faenza, xxvii. 49 ; xxxii. 123.
Fano, xxviii. 76.
Farinata, vi. 79 ; x. 32.
Feltro, i. 105.
Fiesole, brutes of, xv. 62.
Filippo Argenti, viii. 61.
Fishes, sign of, xi. 113.
Flemings, xxv. 4.
Florence, x. 92; xiii. 143; xvi.
75; xxiii. 95 ; xxiv. 144; xxvi.
1 ; xxxii. 120.
Florentines, viii. 62 ; xv. 61 ; xvi.
73 ; xvii. 70; xxxiii. 12.
Focaccia Cancellieri, xxxii. 63.
Focara, mount, xxviii. 89.
Forli, xvi. 99 ; xxvii. 43.
Fortune, vii. 78, &c.
France, xix. 87.
Francesca, v. 74 &e.
Francesco d' Accorso, xv. 110.
Francis, Saint, xxvii. 112.
French, xxvii. 44; xxix. 123;
xxxii. 115.
Frederick II., Emperor, x. 121 ;
xiii. 59, 68 ; xxiii. 66.
Frieselanders, xxxi. 64.
Fucci, Vanni, xxiv. 125.
Furies, ix. 38, &c.
Gaddo, xxxiii. 68.
Gaeta, xxvi. 92.
Galen, iv. 143.
Gallura, xxii. 82.

NAMES.

Ganellone, xxxii. 122.
Garda, lake, xx. 65.
Gardingo, xxiii. 108.
Gavillé, xxv. 151.
Genoese, xxxiii. 151.
Geri del Bello, xxix. 27.
Germans, xvii» 21.
Geryon, xvii. 97, &c.
Gbisola, xviii. 55.
Gianfigliazzi, xvii. 59.
Gianni del Soldanier, xxxii. 121.
Gianni Schicchi, xxx, 32, 44.
Giovanni, St., church, xix. 17.
Godenti, Frati, xxiii. 103.
Gomita, Fra', xxii. 81.
Gorgon, ix. 56.
Gorgona, isle, xxxiii. 82.
Governo, xx. 78.
Greece, xx. C8, 108.
Greeks, xxvi. 75 ; xxx. 98,122.
Griffolino, xxix. 109 ; xxx. 31.
Gualandi, xxxiii. 32.
Gualdrada, xvi. 37.
Guidi, Counts, xxx. 77.
Guido Bonatti, xx. 118.
Cavalcante, x. 63.
del Cassero, xxviii. 77.
de' Guidi, xxx. 77.
da Montefeltro,xxvii. 67, &c.
Guidoguerra, xvi. 38.
Guglielmo Borsieri, xvi. 70.
Guiscard, Robert, xxviii. 14.
Hannibal, xxxi. 117.
Harpies, xiii. 10, &c.
Hector, iv. 122.
Hecuba, xxx. 16.
Helena, v. 64.
Heraclitus, iv. 138.
Hercules, xxv. 32 ; xxvi. 108 ;
xxxi. 132.

INDEX

OF

PROPER

NAMES.

420

Hippocrates, iv. 143.
• Latium, xxvii. 27 ; xxviii. 71.
Homer, iv. 88.
Lavinia, iv. 126.
Horace, iv. 89.
Learchus, x x x . 5, 10.
Hyps:pyle, xviii. 92.
Lemnos, isle, xviii. 88.
Jacob, Patriarch, iv. 59.
Lethe, xiv. 131, 136.
Jacopo da St. Andrea, xiii. 133.
Libicocco, xxi. 121 ; xxii. 70.
Libya, xxiv. 85.
Eusticucci, vi. 80 ; xvi. 44.
Limbo, iv. 45, &c.
Jason, Argonaut, xviii. 86.
Livy, iv. 141 ; xxviii. 12.
Hebrew, xix. 85.
Icarus, xvii. 109.
Loderingo, F r i a r , xxiii. 104.
Logodoro, xxii. 89.
Ida, mount, xiv. 98.
Jeliosaphat, valley of, x. 11.
Lombards, i. 68 ; xxii. 99.
Lombardy, plain, xxviii. 74.
Jerusalem, xxxiv. 114.
Lotto degli Agli, xiii. 151.
Jesus Christ alluded to, iv. 53 ;
Lucan, iv. 90 ; x x v . 94.
xxxiv. 115.
Lucca, xviii. 122 ; xxi. 38 ; xxxiii»
J e w s , xxiii. 123 ; xxvii. 87.
30.
Ilium, i. 75.
Lucia, ii. 97, 100.
India, xiv. 32.
Lucifer, x x x i . 143 ; xxxiv. 89.
Interminei, Alessio, xviii. 122.
J o h n , Evangelist, xix. 106.
Lucretia, iv. 128.
Luni Mountains, x x . 47.
—:— Baptist, xiii. 143 ; x x x . 74.
Maccabees, xix. 86.
Joseph, x x x . 97.
Machinardo Pagani, xxvii. 50»
Jove, xiv. 52 ; xxxi. 45, 92.
Magra, V a l di, xxiv. 145.
Isaac, Patriarch, iv. 59.
Mahomet, xxviii. 3 1 , &c.
Italy, i. 106 ; ix. 1 1 4 ; x x . 6 1 .
Majorca, xxviii. 82.
J u d a s Iscariot, ix. 27 ; x i x . 96 ;
Malacoda, x x i . 76, &c.
x x x i . 143 ; xxxiv. 62.
Malatesta di Rimini, xxvii. 46.
Judecca, xxxiv. 117.
Gianciotti and Paolo, v.
Julia, iv. 128.
—— Maltestino, xxviii. 85.
J u n o , x x x . 1.
Malebolge, xviii. 1 ; x x i v . 37
Lamberti de', Mosca, xxviii. 106.
x x v . 5 ; xxix. 41.
Lamone, river, xxvii. 49.
Malebranche, xxiii. 23, &e.
Lancelot, v. 128.
Manfredi, Alberigo, xxxiii. 118,,
Lanfranchi, xxxiii. 32.
Tribaldello, xxxii. 122.
Lano, xiii. 120.
Manto, x x . 55 &c.
Lateran, xxvii. 86.
Mantua, x x . 93.
Latians (Italians), xxii. 65 ; xxvii.
Mantuans, i. 69 ; ii. 58.
3 3 ; x x i x . 88, 9 1 .
Marcabò, castle, xxviii. 75.
Latini, Brunetto, xv. 30, &c.
Maremma, xxv. 19 ; x x i x . 48
Latinus, King, iv. 125.

430

INDEX

OF

PR 1PER

Mars, xiii. 144; xxiv. 145 ; xxxi.
51.
Martia, iv. 128.
Mascheroni, Sassolo, xxxii. 65.
Matthew, Apostle, xix. 94.
Medea, xviii. 96.
Medicina, Piero da, xxviii. 73.
Medusa, ix. 52.
Megsera, ix. 46.
Menalippus, xxxii. 131.
Michael, Archangel, vii. 11.
Michael Scot, xx. 116.
Michele Zanche, xxii. 88 ; xxxiii.
144.
Mincio, river, xx. 77.
Minos, v. 4 ; xiii. 96; xx. 36;
xxvii. 124 ; xxix. 120.
Minotaur, xii. 12, 25.
Mongibello, xiv. 56.
Montagna Parcitati, xxvii. 47.
Montaperti, xxxii. 81.
Montereggione, xxxi. 41.
Montone, river, xvi. 94.
Mordrec, xxxii. 61.
Mosca de5 Lamberti, xxviii. 106.
Moses, iv. 57.
Mozzi de', Andrea, xv. 112.
-—— Rocco, xiii. 143.
Myrrha, xxx. 38.
Napoleone degli Alberti, xxxii. 55.
Narcissus, xxx. 128.
Nasidius, xxv. 95.
Navarre, xxii. 48.
Neptune, xxviii. 83.
Neri, xxiv. 143.
Nessus, Centaur, xii. 67, &c.
Niccolò de' Bonsignori, xxix. 127.
Nicholas III., Pope, xix. 31, &c.
Nile, xxxiv. 45.
Nimrod, xxxi. 77.

NAMES.

Ninus, v. 59.
Nisus, i. 108.
Novarese, xxviii. 59.
Obizzo d5 Este, xii. 117 ; xviii.
56.
Ordelaffi, xxvii. 45.
Orlando, xxxi. 17.
Orpheus, iv. 140.
Orsini, xix. 70.
Ovid, iv. 90 ; xxv. 97.
Paduans, xv. 7 ; xviii. 67.
Pagano, Machinardo, xxvii. 50.
Palladium, xxvi. 63.
Paris, v. 67.
Pasiphae, xii. 13.
Paul, Apostle, ii. 32.
Pazzi, xii. 137 ; xxxii. 68.
Peleus, xxxi. 5.
Penelope, xxvi. 96.
Penestrino, xxvii. 102.
Penthesilea, iv. 124.
Perillus, xxvii. 7.
Peschiera, xx. 70.
Peter, Saint, i. 134 ; ii. 24 ; xix.
91, 94.
Phaeton, xxvii. 107.
Phalaris, xxvii. 7.
Pharisees, xxiii. 116; xxvii. 85.
Philip the Pair, xix. 85.
Phlegethon, xiv. 116.
Phlegyas, viii. 19, 24.
Phoenix, xxiv. 107.
Pholus, Centaur, xii. 72.
Photinus, ix. 8.
Piceno's field, xxiv. 128.
Pier da Medicina, xxviii. 73.
delle Vigne, xiii. 128.
Pietrapana, mount, xxxii. 29.
Pinamonte, xx. 96.
Pisa, xxxiii. 79.

INDEX

OF

PROPER

Pisans, xxxiii. 30.
Pistoia, xxiv. 126, 143 ; xxv. 10.
Plato, iv. 134.
Plutus, vi. 115 ; vii. 2.
Po, v. 98 ; x x . 78.
Pola, city, ix. 113.
Polenta, v. 116 5 xxvii. 41.
Polydorus, x x x . 17.
Polynices, xxvi. 54.
Polyxena, x x x . 17.
P r a t o , town, xvi. 9.
P r i a m , x x x . 15.
Priscian, xv. 109.
Proserpine, ix. 44 ; x. 80.
Ptoiomsea, xxxiii. 124.
Ptolomseus, Claudius, iv. 142.
P y r r h u s , xii. 135.
Quarnaro, gulf, ix. 113.
Rachel, ii. 1 0 2 ; iv. 60.
Ravenna, v. 97 ; xxvii. 40.
Red Sea, xxiv. 90.
Reno, river, xviii. 61.
Rhea, xiv. 100.
Rhone, xxviii. 86.
Rinier da Corneto, xii. 137.
Pazzo, xii. 137.
Robert Guiscard, xxviii. 114.
Romagna, xxvii. 37 ; xxxiii. 154.
Romagnuols, xxvii. 28.
Romans, xv. 77 ; xviii. 28 ; xxvi..
v
6 0 ; xxviii. 10.
Rome, i. 71 5 ii. 2 0 ; xiv. 1 0 5 ;
xxxi. 59.
Romena, castle, x x x . 73.
Ruggieri, Archbishop, xxxiii. 14.
Rusticucci, vi. 8 0 ; xvi. 44.
Sabellus, x x v . 95.
Saladin, iv. 129.
Santerno, river, xxvii. 49.
Saracens, xxvii. 87.

NAMES.

431

Sardinians, xxii. 89 ; xxix. 48.
Sassol Mascheroni, xxxii. 65.
Satan, vii. 1. See Dis.
Saturn, xiv. 96.
Savena, river, xviii. 51.
Savio, river, xxvii. 52.
Scaramiglione, x x i . 103.
Schicchi, Gianni, x x x . 32, 44.
Scipio, x x x i . 116.
Scot, Michael, x x . 116.
Semele, x x x . 2.
Semiramis, v. 58.
Seneca, iv. 141.
Serchio, river, xxi. 49.
Seville, x x . 126 ; xxvi. 110.
Sichseus, v. 62.
Sicilian Bull, xxvii. 7.
Sicily, xii. 108.
Siena, xxix. 109, 129.
Sienese, x x i x . 122.
Silvestro, Pope, xix. 1 1 7 ; xxvii.
94.
Simon Magus, xix. 1.
Sinon, xxx. 98, &c.
Sismondi, xxxiii. 32.
Socrates, iv. 134.
Sodom, xi. 50.
Soldanier, Gianni del, xxxii. 121.
Soracte, mount, xxvii. 95.
Stricca, xxix. 125.
Strophades, xiii. 11.
S t y x , vii. 1 0 6 ; ix. 8 1 ; xiv. 116.
Tabernicch, xxxii. 28.
Tagliacozzo, plain, xxviii. 18.
Tarquin, iv. 127.
T a r t a r s , xvii. 17.
Tegghiaio, vi. 79 ; xvi. 41.
Thais, xxviii. 133.
Thales, iv. 137.
Thames, xii. 120.

432

INDEX

OF PROPER

Thebans, x x . 32 5 x x x . 2.
Thebes, xiv. 69 ; x x . 59 ; x x v .
15 ; x x x . 22 ; xxxii. 11 ; xxxiii.
89.
Theseus, ix. 54.
Thibault, King, xxii. 52.
Tiber, xxvii. 30.
Tiresias, x x . 40.
Tisiphone, ix. 48.
Tityos, xxxi. 124.
Toppo, jousts of, xiii. 121.
Trent, xii. 5 ; x x . 67.
Tribaldello, xxxii. 122.
Tristan, v. 67.
Troy, i. 74 ; x x x . 98, &c.
Tully, iv. 141.
T u r k s , xvii. 17.
T u r n u s , i. 109.
Tuscan, xxii. 9 9 ; xxiii. 76, 915
xxviii. 1 0 8 ; xxxii. 66.
Tuscany, xxiv. 122.
Tydeus, xxxii. 130.
Typhon, xxxi. 124.
Tyrol, x x . 63.
Ubaldini degli, Ottaviano, x. 120.

NAMES,

Ubaldini degli, Ruggieri, xxxiiL
14.
Ubbriachi, xvii. 62.
Uberti, xxiii. 108.
Farinata, vi. 79 ; x. 32.
Ugolino, xxxii. 1 2 5 ; x x x . 1, &c.
Uguccione, xxxiii. 89.
Ulysses, xxvi. 56, &c.
Urbino, xxvii. 29.
Y a l Camonica, x x . 65.
Valdichiana, x x i x . 47.
Valdimagra, xxiy. 145.
Vanni della Nona, xxiv. 139.
V a n n i Fucci, xxiv. 125.
Venetians, xxi. 7.
Vercelli, xxviii. 75.
Verona, xv. 122.
Veronese, x x . 68.
Verucchio, castle, xxvii. 46.
Viso, mount, xvi. 95.
Vigne, Pier delle, xiii. 58.
Zanche, Michele, xxii. 88 ; xxxiii.
144.
Zeno, iv. 138.
Zita, Santa, x x i . 38.

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