After contemplating17 these stars awhile, Dante, turning to the north to get his bearings, perceives Virgil has been joined in this ante-purgatorial region by Cato, who wonderingly inquires how they escaped "the eternal prison-house."
Virgil's gesture and example have meantime forced Dante to his knees, so it is in this position that the Latin poet explains how a lady in heaven bade him rescue Dante—before it was too late—by guiding him through hell and showing him how sinners are cleansed18 in Purgatory19. The latter part of Virgil's task can, however, be accomplished20 only if Cato will allow them to enter the realm which he guards. Moved by so eloquent21 a plea, Cato directs Virgil to wash all traces of tears and of infernal mirk from Dante's face, girdle him with a reed in token of humility22, and then ascend23 the Mount of Purgatory,—formed of the earthy core ejected from Hades,—which he points out in the middle of a lake with reedy shores.
Leading his charge in the early dawn across a meadow, Virgil draws his hands first through the dewy grass and then over Dante's face, and, having thus removed all visible traces of the passage through Hades, takes him down to the shore to girdle him with a pliant24 reed, the emblem25 of humility.
Canto II. Against the whitening east they now behold10 a ghostly vessel26 advancing toward them, and when it approaches near enough they descry27 an angel standing28 at its prow29, his outspread wings serving as sails. While Dante again sinks upon his knees, he hears, faintly at first, the passengers in the boat singing the psalm30 "When Israel went out of Egypt."
Making a sign of the cross upon each passenger's brow, the angel allows his charges to land, and vanishes at sunrise, just as the new-comers, turning to Virgil, humbly31 inquire the way to the mountain. Virgil rejoins that he too is a recent arrival, although he and his companion travelled a far harder road than theirs. His words making them aware of the fact that Dante is a living man, the spirits crowd around him, eager to touch him. Among them he recognizes the musician Casella, his friend. Unable to embrace a spirit,—although he tries to do so,—Dante, after explaining his own presence here, begs Casella to comfort all present by singing of love. Just as this strain ends, Cato reappears, urging them to hasten to the mountain and there cast aside the scales which conceal32 God from their eyes. At these words all the souls present scatter33 like a covey of pigeons, and begin ascending34 the mountain, whither Virgil and Dante slowly follow them.
"As a wild flock of pigeons, to their food
Collected, blade or tares35, without their pride
Accustom'd, and in still and quiet sort,
If aught alarm them, suddenly desert
Their meal, assail'd by more important care;
So I that new-come troop beheld36, the song
Deserting, hasten to the mountain's side,
As one who goes, yet, where he tends, knows not."
Canto III. While painfully ascending the steep slope, Dante, seeing only his own shadow lengthening37 out before him, fears his guide has abandoned him, and is relieved to see Virgil close behind him and to hear him explain that disembodied spirits cast no shadow. While they are talking, they reach the foot of the mountain and are daunted38 by its steep and rocky sides. They are vainly searching for some crevice39 whereby they may hope to ascend, when they behold a slowly advancing procession of white-robed figures, from whom Virgil humbly inquires the way.
"As sheep, that step from forth40 their fold, by one,
Or pairs, or three at once; meanwhile the rest
Stand fearfully, bending the eye and nose
To ground, and what the foremost does, that do
The others, gathering41 round her if she stops,
Simple and quiet, nor the cause discern;
So saw I moving to advance the first,
Who of the fortunate crew were at the head,
Of modest mien42, and graceful43 in their gait.
When they before me had beheld the light
From my right side fall broken on the ground,
So that the shadow reach'd the cave; they stopp'd,
And somewhat back retired44: the same did all
Who follow'd, though unwitting of the cause."
These spirits too are startled at the sight of a living being, but, when Virgil assures them Dante is not here without warrant, they obligingly point out "the straight and narrow way" which serves as entrance to Purgatory. This done, one spirit, detaching itself from the rest, inquires whether Dante does not remember Manfred, King of Naples and Sicily, and whether he will not, on his return to earth, inform the princess that her father repented45 of his sins at the moment of death and now bespeaks46 her prayers to shorten his time of probation47.
Canto IV. Dazed by what he has just seen and heard, Dante becomes conscious of his surroundings once more, only when the sun stands considerably48 higher, and when he has arrived at the foot of a rocky pathway, up which he painfully follows Virgil, helping49 himself with his hands as well as his feet. Arrived at its top, both gaze wonderingly around them, and perceive by the position of the sun that they must be at the antipodes of Florence, where their journey began. Panting with the exertions50 he has just made, Dante expresses some fear lest his strength may fail him, whereupon Virgil kindly51 assures him the way, so arduous52 at first, will become easier and easier the higher they ascend.
Just then a voice, addressing them, advises them to rest, and Dante, turning, perceives, among other spirits, a sitting figure, in whom he recognizes a friend noted53 for his laziness. On questioning this spirit, Dante learns that this friend, Belacqua, instead of exerting himself to climb the mount of Purgatory, is idly waiting in hopes of being wafted54 upward by the prayers of some "heart which lives in grace." Such slothfulness irritates Virgil, who hurries Dante on, warning him the sun has already reached its meridian56 and night will all too soon overtake them.
Canto V. Heedless of the whispered comments behind him because he is opaque57 and not transparent58 like the other spirits, Dante follows Virgil, until they overtake a band of spirits chanting the Miserere. These too seem surprised at Dante's density59, and, when assured he is alive, eagerly inquire whether he can give them any tidings of friends and families left on earth. Although all present are sinners who died violent deaths, as they repented at the last minute they are not wholly excluded from hope of bliss60. Unable to recognize any of these, Dante nevertheless listens to their descriptions of their violent ends, and promises to enlighten their friends and kinsmen61 in regard to their fate.
Canto VI. Because Virgil moves on, Dante feels constrained62 to follow, although the spirits continue to pluck at his mantle63, imploring64 him to hear what they have to say. Touched by the sorrows of men of his own time or famous in history, Dante wistfully asks his guide whether prayers can ever change Heaven's decrees, and learns that true love can work miracles, as he will perceive when he beholds Beatrice. The hope of meeting his beloved face to face causes Dante to urge his guide to greater speed and almost gives wings to his feet. Presently Virgil directs his companion's attention to a spirit standing apart, in whom Dante recognizes the poet Sordello, who mourns because Mantua—his native city as well as Virgil's—drifts in these political upheavals65 like a pilotless vessel in the midst of a storm.
Canto VII. Virgil now informs Sordello that he, Virgil, is debarred from all hope of heaven through lack of faith. Thereupon Sordello reverently66 approaches him, calling him "Glory of Latium," and inquiring whence he comes. Virgil explains how, led by heavenly influence, he left the dim limbo67 of ante-hell, passed through all the stages of the Inferno68, and is now seeking the place "Where Purgatory its true beginning takes." Sordello rejoins that, while he will gladly serve as guide, the day is already so far gone that they had better spend the night in a neighboring dell. He then leads Virgil and Dante to a hollow, where, resting upon fragrant69 flowers, they prepare to spend the night, with a company of spirits who chant "Salve Regina." Among these the new-comers recognize with surprise sundry70 renowned71 monarchs72, whose doings are briefly73 described.
Canto VIII. Meantime the hour of rest has come, the hour described by the poet as—
Now was the hour that wakens fond desire
In men at sea, and melts their thoughtful heart
Who in the morn have bid sweet friends farewell,
And pilgrim newly on his road with love
Thrills, if he hear the vesper bell from far
That seems to mourn for the expiring day.
Dante and Virgil then witness the evening devotions of these spirits, which conclude with a hymn75 so soft, so devout76, that their senses are lost in ravishment. When it has ended, the spirits all gaze expectantly upward, and soon behold two green-clad angels, with flaming swords, who alight on eminences77 at either end of the glade78. These heavenly warriors79 are sent by Mary to mount guard during the hours of darkness so as to prevent the serpent from gliding80 unseen into their miniature Eden. Still led by Sordello, the poets withdraw to a leafy recess81, where Dante discovers a friend whom he had cause to believe detained in hell. This spirit explains he is not indeed languishing82 there simply because of the prayers of his daughter Giovanna, who has not forgotten him although his wife has married again.
Dante is just gazing with admiration83 at three stars (symbols of Faith, Hope, and Charity), when Sordello suddenly points out the serpent, who is no sooner descried84 by the angels than they swoop85 down and put him to flight.
"I saw not, nor can tell,
How those celestial86 falcons87 from their seat
Moved, but in motion each one well descried.
Hearing the air cut by their verdant88 plumes89,
The serpent fled; and, to their stations, back
The angels up return'd with equal flight."
Canto IX. Dante falls asleep in this valley, but, just as the first gleams of light appear, he is favored by a vision, wherein—like Ganymede—he is borne by a golden-feathered eagle into a glowing fire where both are consumed. Wakening with a start from this disquieting91 dream, Dante finds himself in a different spot, with no companion save Virgil, and notes the sun is at least two hours high.
Virgil now assures him that, thanks to Santa Lucia (type of God's grace), he has in sleep been conveyed to the very entrance of Purgatory. Gazing at the high cliffs which encircle the mountain, Dante now perceives a deep cleft92, through which he and Virgil arrive at a vast portal (the gate of penitence), to which three huge steps of varying color and size afford access. At the top of these steps, on a diamond threshold, sits the Angel of Absolution with his flashing sword. Challenged by this warder, Virgil explains that they have been guided hither by Santa Lucia, at whose name the angel bids them draw near. Up a polished step of white marble (which typifies sincerity), a dark step of cracked stone (symbol of contrition), and one of red porphyry (emblem of self-sacrifice), Dante arrives at the angel's feet and humbly begs him to unbar the door. In reply the angel inscribes93 upon the poet's brow, by means of his sword, seven P's, to represent the seven deadly sins (in Italian peccata), of which mortals must be purged ere they can enter Paradise.
After bidding Dante have these signs properly effaced94, the angel draws from beneath his ash-hued mantle the golden key of authority and the silver key of discernment, stating that when St. Peter entrusted95 them to his keeping he bade him err96 "rather in opening than in keeping fast." Then, the gate open, the angel bids them enter, adding the solemn warning "he forth again departs who looks behind."
Canto X. Mindful of this caution, Dante does not turn, although the gates close with a clash behind him, but follows his guide along a steep pathway. It is only after painful exertions they reach the first terrace of Purgatory, or place where the sin of pride is punished. They now pass along a white marble cornice,—some eighteen feet wide,—whose walls are decorated with sculptures which would not have shamed the best masters of Greek art. Here are represented such subjects as the Annunciation, David dancing before the Ark, and Trajan granting the petition of the unfortunate widow. Proceeding97 along this path, they soon see a procession of spirits approaching, all bent98 almost double beneath huge burdens. As they creep along, one or another gasps99 from time to time, "I can endure no more."
Canto XI. The oppressed spirits fervently101 pray for aid and forgiveness, while continuing their weary tramp around this cornice, where they do penance102 for undue103 pride. Praying they may soon be delivered, Virgil inquires of them where he can find means to ascend to the next circle, and is told to accompany the procession which will soon pass the place. The speaker, although unable to raise his head, confesses his arrogance104 while on earth so incensed105 his fellow-creatures that they finally rose up against him and murdered him. Stooping so as to catch a glimpse of the bent face, Dante realizes he is talking to a miniature painter who claimed to be without equal, and therefore has to do penance.
The noise
Of worldly fame is but a blast of wind,
That blows from diverse points, and shifts its name,
Shifting the point it blows from.
Canto XII. Journeying beside the bowed painter (who names some of his fellow-sufferers), Dante's attention is directed by Virgil to the pavement beneath his feet, where he sees carved Briareus, Nimrod, Niobe, Arachne, Saul, etc.,—in short, all those who dared measure themselves with the gods or who cherished overweening opinions of their attainments106. So absorbed is Dante in contemplation of these subjects that he starts when told an angel is coming to meet them, who, if entreated107 with sufficient humility, will doubtless help them reach the next level.
The radiant-faced angel, robed in dazzling white, instead of waiting to be implored108 to help the travellers, graciously points out steps where the rocks are sundered109 by a cleft, and, when Dante obediently climbs past him, a soft touch from his wings brushes away the P. which stands for pride, and thus frees our poet of all trace of this heinous110 sin. But it is only on reaching the top of the stairway that Dante becomes aware of this fact.
Canto XIII. The second ledge111 of purgatory, which they have now reached, is faced with plain gray stone, and Virgil leads his companion a full mile along it ere they become aware of a flight of invisible spirits, some of whom chant "They have no wine!" while the others respond "Love ye those who have wrong'd you." These are those who, having sinned through envy, can be freed only by the exercise of charity. Then, bidding Dante gaze fixedly112, Virgil points out this shadowy host, clothed in sackcloth, sitting back against the rocks, and Dante takes particular note of two figures supporting each other. He next discovers that one and all of these victims have their eyelids113 sewn so tightly together with wire that passage is left only for streams of penitential tears.
When allowed to address them, Dante, hoping to comfort them, offers to bear back to earth any message they wish to send. It is then that one of these spirits informs Dante that on earth she was Sapia, a learned Siennese, who, having rejoiced when her country was defeated, is obliged to do penance for heartlessness. Marvelling115 that any one should wander among them with eyes unclosed, she inquires by what means Dante has come here, bespeaks his prayers, and implores116 him to warn her countrymen not to cherish vain hopes of greatness or to sin through envy.
Canto XIV. The two spirits leaning close together, in their turn question who Virgil and Dante may be? When they hear mention of Rome and Florence, they hotly inveigh117 against the degeneracy of dwellers118 on the banks of the Tiber and Arno.
Shortly after leaving this place with his guide, Dante hears the wail119:
"Whosoever finds will slay120 me," a cry followed by a deafening121 crash.
Canto XV. Circling round the mountain, always in the same direction, Dante notes the sun is about to set, when another dazzling angel invites them up to the next level,—where anger is punished,—by means of a stairway less steep than any of the preceding. As they climb, the angel softly chants "Blessed the merciful" and "Happy thou that conquer'st," while he brushes aside the second P ., and thus cleanses122 Dante from envy. But, when Dante craves123 an explanation of what he has heard and seen, Virgil assures him that only when the five remaining "scars" have vanished from his brow, Beatrice herself can satisfy his curiosity.
On reaching the third level, they find themselves enveloped124 in a dense125 fog, through which Dante dimly beholds the twelve-year-old Christ in the Temple and overhears his mother chiding126 him. Next he sees a woman weeping, and lastly Stephen stoned to death.
Canto XVI. Urged by his guide to hasten through this bitter blinding fog—a symbol of anger which is punished here—Dante stumbles along, mindful of Virgil's caution, "Look that from me thou part not." Meanwhile voices on all sides invoke4 "the Lamb of God that taketh away the sins of the world." Then, all at once, a voice addresses Dante, who, prompted by Virgil, inquires where the next stairway may be? His interlocutor, after bespeaking127 Dante's prayers, holds forth against Rome, which, boasting of two suns,—the pope and the emperor,—has seen the one quench128 the other. But the arrival of an angel, sent to guide our travellers to the next level, soon ends this conversation.
Canto XVII. Out of the vapors129 of anger—as dense as any Alpine130 fog—Dante, who has caught glimpses of famous victims of anger, such as Haman and Lavinia, emerges with Virgil, only to be dazzled by the glorious light of the sun. Then, climbing the ladder the angel points out, Dante feels him brush away the third obnoxious131 P., while chanting, "Blessed are the peacemakers." They now reach the fourth ledge, where the sin of indifference132 or sloth55 is punished, and, as they trudge133 along it, Virgil explains that all indifference is due to a lack of love, a virtue15 on which he eloquently134 discourses135.
Canto XVIII. A multitude of spirits now interrupt Virgil, and, when he questions them, two, who lead the rest, volubly quote examples of fervent100 affection and zealous136 haste. They are closely followed by other spirits, the backsliders, who, not having had the strength or patience to endure, preferred inglorious ease to adventurous137 life and are now consumed with regret.
Canto XIX. In the midst of a trance which overtakes him, Dante next has a vision of the Siren which beguiled138 Ulysses and of Philosophy or Truth. Then, morning having dawned, Virgil leads him to the next stairway, up which an angel wafts139 them, chanting "Blessed are they that mourn, for they shall be comforted," while he brushes away another sin scar from our poet's forehead.
In this fifth circle those guilty of avarice140 undergo punishment by being chained fast to the earth to which they clung, and which they bedew with penitent114 tears. One of these, questioned by Dante, reveals he was Pope Adrian V., who, dying a month after his elevation141 to the papal chair, repented in time of his grasping past. When Dante kneels compassionately142 beside this august sufferer, he is implored to warn the pope's kinswoman to eschew143 the besetting144 sin of their house.
Canto XX. A little further on, among the grovelling145 figures which closely pave this fifth cornice, Dante beholds Hugues Capet, founder146 of the third dynasty of French kings, and stigmatized147 as "root of that ill plant," because this poem was composed only a few years after Philip IV's criminal attempt against Pope Boniface at Agnani. The poets also recognize there Pygmalion (brother of Dido), Midas, Achan, Heliodorus, and Crassus, [18] ere they are startled by feeling the whole mountain tremble beneath them and by hearing the spirits exultantly148 cry "Glory to God!"
Canto XXI. Clinging to Virgil in speechless terror, Dante hears his guide assure the spirit which suddenly appears before them that the Fates have not yet finished spinning the thread of his companion's life. When questioned by the travellers in regard to the noise and earthquake, this spirit informs them that the mountain quivers with joy whenever a sinner is released, and that, after undergoing a punishment of five hundred years, he—Statius—is now free to go in quest of his master Virgil, whom he has always longed to meet. Dante's smile at these words, together with his meaning glance at Virgil, suddenly reveal to the spirit that his dearest wish is granted, and Statius reverently does obeisance149 to the poet from whose fount he drew his inspiration.
Canto XXII. The three bards150 are next led by an angel up another staircase, to the sixth cornice (Dante losing another P. on the way), where the sins of gluttony and drunkenness are punished. As they circle around this ledge, Dante questions how Statius became guilty of the sin of covetousness151, for which he was doomed152 to tramp around the fifth circle. In reply Statius rejoins that it was not because of covetousness, but of its counterpart, over-lavishness, that he suffered so long, and principally because he was not brave enough to own himself a Christian153. Then he inquires of Virgil what have become of their fellow-countrymen Terence, Caecilius, Plautus, and Varro, only to learn that they too linger in the dark regions of ante-hell, where they hold sweet converse154 with other pagan poets.
Reverently listening to the conversation of his companions, Dante drinks in "mysterious lessons of sweet poesy" and silently follows them until they draw near a tree laden155 with fruit and growing beside a crystal stream. Issuing from this tree a voice warns them against the sin of gluttony—which is punished in this circle—and quotes such marked examples of abstinence as Daniel feeding on pulse and John the Baptist living on locusts156 and wild honey.
Canto XXIII. Dante is still dumbly staring at the mysterious tree when Virgil bids him follow, for they still have far to go. They next meet weeping, hollow-eyed spirits, so emaciated157 that their bones start through their skin. One of these recognizes Dante, who is aghast that his friend Forese should be in such a state and escorted by two skeleton spirits. Forese replies that he and his companions are consumed by endless hunger and thirst, although they eat and drink without ever being satisfied. When Dante expresses surprise because a man only five years dead should already be so high up the mount of Purgatory, Forese explains that his wife's constant prayers have successively freed him from detention158 in the other circles. In return Dante states why he is here and names his companions.
Canto XXIV. Escorting the three travellers on their way, Forese inquires what has become of his sister, Piccarda, ere he points out sundry spirits, with whom Dante converses159, and who predict the coming downfall of his political foes160. But these spirits suddenly leave Dante to dart161 toward trees, which tantalizingly162 withold their fruit from their eager hands, while hidden voices loudly extol163 temperance.
Canto XXV. In single file the three poets continue their tramp, commenting on what they have seen, and Statius expounds164 his theories of life. Then they ascend to the seventh ledge, where glowing fires purge2 mortals of all sensuality. Even as they toil165 toward this level, an angel voice extols166 chastity, and Dante once more feels the light touch which he now associates with the removal of one of the scars made by the angel at the entrance of Purgatory. Arrived above, the poets have to tread a narrow path between the roaring fires and the abyss. So narrow is the way, that Virgil bids Dante beware or he will be lost!
"Behoved us, one by one, along the side,
That border'd on the void, to pass; and I
Fear'd on one hand the fire, on the other fear'd
Headlong to fall: when thus the instructor167 warn'd:
'Strict rein90 must in this place direct the eyes.
A little swerving168 and the way is lost.'"
As all three warily169 proceed, Dante hears voices in the fiery170 furnace alternately imploring the mercy of God and quoting examples of chastity, such as Mary and Diana, and couples who proved chaste171 though married.
Canto XXVI. As the poets move along the rim74, Dante's shadow, cast upon the roaring flames, causes such wonder to the victims undergoing purification that one of them inquires who he may be. Just as Dante is about to answer, his attention is attracted by hosts of shadows, who, after exchanging hasty kisses, dash on, mentioning such famous examples of dissoluteness as Pasiphae, and the men who caused the destruction of Sodom and Gomorrah. Turning to his interlocutor, Dante then explains how he came hither and expresses a hope he may soon be received in bliss. The grateful spirit then gives his name, admits he sang too freely of carnal love, and adds that Dante would surely recognize many of his fellow-sufferers were he to point them out. Then, bespeaking Dante's prayers, he plunges172 back into the fiery element which is to make him fit for Paradise.
Canto XXVII. Just as the sun is about to set, an angel approaches them, chanting "Blessed are the pure in heart," and bids them fearlessly pass through the wall of fire which alone stands between them and Paradise. Seeing Dante hang back timorously173, Virgil reminds him he will find Beatrice on the other side, whereupon our poet plunges recklessly into the glowing furnace, where both his companions precede him, and whence all three issue on an upward path. There they make their couch on separate steps, and Dante gazes up at the stars until he falls asleep and dreams of a lovely lady, culling174 flowers in a meadow, singing she is Lea (the mediaeval type of active life), and stating that her sister Rachel (the emblem of contemplative life) spends the day gazing at herself in a mirror.
At dawn the pilgrims awake, and Virgil assures Dante before this day ends his hunger for a sight of Beatrice will be appeased175. This prospect176 so lightens Dante's heart that he almost soars to the top of the stairway. There Virgil, who has led him through temporal and eternal fires, bids him follow his pleasure, until he meets the fair lady who bade him undertake this journey.
"Till those bright eyes
With gladness come, which, weeping, made me haste
To succor177 thee, thou mayst or seat thee down
Or wander where thou wilt178. Expect no more
Sanction of warning voice or sign from me,
Free of thine own arbitrament to choose.
Discreet179, judicious180. To distrust thy sense
Were henceforth error. I invest thee then
With crown and mitre, sovereign o'er thyself."
Canto XXVIII. Through the Garden of Eden Dante now strolls with Statius and Virgil, until he beholds, on the other side of a pellucid181 stream (whose waters have the "power to take away remembrance of offence"), a beautiful lady (the countess Matilda), who smiles upon him. Then she informs Dante she has come to "answer every doubt" he cherishes, and, as they wander along on opposite sides of the stream, she expounds for his benefit the creation of man, the fall and its consequences, and informs him how all the plants that grow on earth originate here. The water at his feet issues from an unquenchable fountain, and divides into two streams, the first of which, Lethe, "chases from the mind the memory of sin," while the waters of the second, Eunoe, have the power to recall "good deeds to one's mind."
Canto XXIX. Suddenly the lady bids Dante pause, look, and hearken. Then he sees a great light on the opposite shore, hears a wonderful music, and soon beholds a procession of spirits, so bright that they leave behind them a trail of rainbow-colored light. First among them march the four and twenty elders of the Book of Revelations; they are followed by four beasts (the Evangelists), and a gryphon, drawing a chariot (the Christian Church or Papal chair), far grander than any that ever graced imperial triumph at Rome. Personifications of the three evangelical virtues (Charity, Faith, and Hope) and of the four moral virtues (Prudence, etc.), together with St. Luke and St. Paul, the four great Doctors of the Church, and the apostle St. John, serve as body-guard for this chariot, which comes to a stop opposite Dante with a noise like thunder.
Canto XXX. The wonderful light, our poet now perceives, emanates182 from a seven-branched candlestick, and illuminates183 all the heavens like an aurora184 borealis. Then, amid the chanting, and while angels shower flowers down upon her, he beholds in the chariot a lady veiled in white, in whom, although transfigured, he instinctively185 recognizes Beatrice (a personification of Heavenly Wisdom). In his surprise Dante impulsively186 turns toward Virgil, only to discover that he has vanished!
Beatrice comforts him, however, by promising187 to be his guide hereafter, and gently reproaches him for the past until he casts shamefaced glances at his feet. There, in the stream (which serves as nature's mirror), he catches a reflection of his utter loathsomeness188, and becomes so penitent, that Beatrice explains she purposely brought him hither by the awful road he has travelled to induce him to lead a changed life hereafter.
Canto XXXI. Beatrice then accuses him of yielding to the world's deceitful pleasures after she left him, and explains how he should, on the contrary, have striven to be virtuous189 so as to rejoin her. When she finally forgives him and bids him gaze into her face once more, he sees she surpasses her former self in loveliness as greatly as on earth she outshone all other women. Dante is so overcome by a sense of his utter unworthiness that he falls down unconscious, and on recovering his senses finds himself in the stream, upheld by the hand of a nymph (Matilda), who sweeps him along, "swift as a shuttle bounding o'er the wave," while angels chant "Thou shalt wash me" and "I shall be whiter than snow."
Freed from all haunting memories of past sins by Lethe's waters, Dante finally lands on the "blessed shore." There Beatrice's hand-maidens welcome him, and beseech190 her to complete her work by revealing her inner beauty to this mortal, so he can portray191 it for mankind. But, although Dante gazes at her in breathless admiration, words fail him to render what he sees.
"O splendor192!
O sacred light eternal! who is he,
So pale with musing193 in Pierian shades,
Or with that fount so lavishly194 imbued195,
Whose spirit should not fail him in the essay
To represent thee such as thou didst seem,
When under cope of the still-chiming heaven
Thou gavest to open air thy charms reveal'd?"
Canto XXXII. Dante is still quenching196 a "ten-years thirst" by staring at his beloved, when her attendants admonish197 him to desist. But, although he obediently turns aside his eyes, like a man who has gazed too long at the sun, he sees her image stamped on all he looks at. He and Statius now humbly follow the glorious procession, which enters a forest and circles gravely round a barren tree-trunk, to which the chariot is tethered. Immediately the dry branches burst into bud and leaf, and, soothed198 by angelic music, Dante falls asleep, only to be favored by a vision so startling, that on awakening199 he eagerly looks around for Beatrice. The nymph who bore him safely through the waters then points her out, resting beneath the mystic tree, and Beatrice, rousing too, bids Dante note the fate of her chariot. The poet then sees an eagle (the Empire), swoop down from heaven, tear the tree asunder200, and attack the Chariot (the Church), into which a fox (heresy) has sprung as if in quest of prey201. Although the fox is soon routed by Beatrice, the eagle makes its nest in the chariot, beneath which arises a seven-headed monster (the seven capital sins), bearing on its back a giant, who alternately caresses202 and chastises203 a whore.
Canto XXXIII. The seven Virtues having chanted a hymn, Beatrice motions to Statius and Dante to follow her, asking the latter why he is so mute? Rejoining she best knows what he needs, Dante receives from her lips an explanation of what he has just seen, which he is bidden reveal to mankind. Conversing204 thus, they reach the second stream, of whose waters Beatrice bids her friend drink, and after that renovating205 draught206 Dante realizes he has now been made pure and "apt for mounting to the stars."
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canto
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| n.长篇诗的章 | |
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purge
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| n.整肃，清除，泻药，净化；vt.净化，清除，摆脱；vi.清除，通便，腹泻，变得清洁 | |
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purged
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| 清除（政敌等）( purge的过去式和过去分词 )； 涤除（罪恶等）； 净化（心灵、风气等）； 消除（错事等）的不良影响 | |
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invoke
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| v.求助于(神、法律)；恳求，乞求 | |
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5
invokes
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| v.援引( invoke的第三人称单数 )；行使（权利等）；祈求救助；恳求 | |
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6
muses
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| v.沉思，冥想( muse的第三人称单数 )；沉思自语说（某事） | |
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7
sapphire
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| n.青玉，蓝宝石；adj.天蓝色的 | |
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8
hue
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| n.色度；色调；样子 | |
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9
beholds
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| v.看，注视( behold的第三人称单数 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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10
behold
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| v.看，注视，看到 | |
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11
awe
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| n.敬畏，惊惧；vt.使敬畏，使惊惧 | |
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12
symbolize
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| vt.作为...的象征，用符号代表 | |
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13
cardinal
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| n.(天主教的)红衣主教；adj.首要的，基本的 | |
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14
virtues
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| 美德( virtue的名词复数 )； 德行； 优点； 长处 | |
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15
virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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16
fortitude
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| n.坚忍不拔；刚毅 | |
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17
contemplating
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| 深思，细想，仔细考虑( contemplate的现在分词 )； 注视，凝视； 考虑接受（发生某事的可能性）； 深思熟虑，沉思，苦思冥想 | |
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18
cleansed
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| 弄干净，清洗( cleanse的过去式和过去分词 ) | |
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19
purgatory
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| n.炼狱；苦难；adj.净化的，清洗的 | |
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20
accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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21
eloquent
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| adj.雄辩的，口才流利的；明白显示出的 | |
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22
humility
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| n.谦逊，谦恭 | |
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23
ascend
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| vi.渐渐上升，升高；vt.攀登，登上 | |
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24
pliant
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| adj.顺从的；可弯曲的 | |
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25
emblem
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| n.象征，标志；徽章 | |
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26
vessel
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| n.船舶；容器，器皿；管，导管，血管 | |
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27
descry
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| v.远远看到；发现；责备 | |
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28
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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29
prow
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| n.(飞机)机头，船头 | |
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30
psalm
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| n.赞美诗，圣诗 | |
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31
humbly
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| adv. 恭顺地，谦卑地 | |
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32
conceal
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| v.隐藏，隐瞒，隐蔽 | |
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33
scatter
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| vt.撒，驱散，散开；散布/播；vi.分散，消散 | |
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34
ascending
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| adj.上升的，向上的 | |
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35
tares
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| 荑；稂莠；稗 | |
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36
beheld
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| v.看，注视( behold的过去式和过去分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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37
lengthening
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| （时间或空间）延长，伸长( lengthen的现在分词 )； 加长 | |
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38
daunted
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| 使（某人）气馁，威吓( daunt的过去式和过去分词 ) | |
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39
crevice
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| n.(岩石、墙等)裂缝；缺口 | |
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40
forth
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| adv.向前；向外，往外 | |
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41
gathering
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| n.集会，聚会，聚集 | |
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42
mien
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| n.风采；态度 | |
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43
graceful
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| adj.优美的，优雅的；得体的 | |
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44
retired
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| adj.隐退的，退休的，退役的 | |
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45
repented
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| 对（自己的所为）感到懊悔或忏悔( repent的过去式和过去分词 ) | |
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46
bespeaks
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| v.预定( bespeak的第三人称单数 )；订（货）；证明；预先请求 | |
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47
probation
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| n.缓刑(期)，(以观后效的)察看；试用(期) | |
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48
considerably
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| adv.极大地；相当大地；在很大程度上 | |
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49
helping
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| n.食物的一份&adj.帮助人的，辅助的 | |
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50
exertions
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| n.努力( exertion的名词复数 )；费力；（能力、权力等的）运用；行使 | |
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51
kindly
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| adj.和蔼的，温和的，爽快的；adv.温和地，亲切地 | |
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52
arduous
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| adj.艰苦的，费力的，陡峭的 | |
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53
noted
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| adj.著名的，知名的 | |
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54
wafted
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| v.吹送，飘送，（使）浮动( waft的过去式和过去分词 ) | |
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55
sloth
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| n.[动]树懒；懒惰，懒散 | |
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56
meridian
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| adj.子午线的；全盛期的 | |
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57
opaque
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| adj.不透光的；不反光的，不传导的；晦涩的 | |
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58
transparent
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| adj.明显的，无疑的；透明的 | |
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59
density
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| n.密集，密度，浓度 | |
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60
bliss
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| n.狂喜，福佑，天赐的福 | |
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61
kinsmen
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| n.家属，亲属( kinsman的名词复数 ) | |
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62
constrained
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| adj.束缚的,节制的 | |
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63
mantle
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| n.斗篷，覆罩之物，罩子；v.罩住，覆盖，脸红 | |
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64
imploring
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| 恳求的，哀求的 | |
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65
upheavals
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| 突然的巨变( upheaval的名词复数 )； 大动荡； 大变动； 胀起 | |
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66
reverently
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| adv.虔诚地 | |
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67
limbo
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| n.地狱的边缘；监狱 | |
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68
inferno
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| n.火海；地狱般的场所 | |
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69
fragrant
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| adj.芬香的，馥郁的，愉快的 | |
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70
sundry
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| adj.各式各样的，种种的 | |
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71
renowned
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| adj.著名的，有名望的，声誉鹊起的 | |
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72
monarchs
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| 君主，帝王( monarch的名词复数 ) | |
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73
briefly
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| adv.简单地，简短地 | |
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74
rim
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| n.(圆物的)边，轮缘；边界 | |
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75
hymn
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| n.赞美诗，圣歌，颂歌 | |
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76
devout
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| adj.虔诚的，虔敬的，衷心的 (n.devoutness) | |
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77
eminences
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| 卓越( eminence的名词复数 )； 著名； 高地； 山丘 | |
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78
glade
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| n.林间空地，一片表面有草的沼泽低地 | |
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79
warriors
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| 武士，勇士，战士( warrior的名词复数 ) | |
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80
gliding
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| v. 滑翔 adj. 滑动的 | |
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81
recess
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| n.短期休息，壁凹（墙上装架子，柜子等凹处） | |
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82
languishing
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| a. 衰弱下去的 | |
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83
admiration
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| n.钦佩，赞美，羡慕 | |
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84
descried
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| adj.被注意到的，被发现的，被看到的 | |
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85
swoop
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| n.俯冲，攫取；v.抓取，突然袭击 | |
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86
celestial
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| adj.天体的；天上的 | |
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87
falcons
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| n.猎鹰( falcon的名词复数 ) | |
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88
verdant
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| adj.翠绿的，青翠的，生疏的，不老练的 | |
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89
plumes
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| 羽毛( plume的名词复数 )； 羽毛饰； 羽毛状物； 升上空中的羽状物 | |
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90
rein
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| n.疆绳，统治，支配；vt.以僵绳控制，统治 | |
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91
disquieting
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| adj.令人不安的，令人不平静的v.使不安，使忧虑，使烦恼( disquiet的现在分词 ) | |
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92
cleft
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| n.裂缝；adj.裂开的 | |
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93
inscribes
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| v.写，刻( inscribe的第三人称单数 ) | |
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94
effaced
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| v.擦掉( efface的过去式和过去分词 )；抹去；超越；使黯然失色 | |
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95
entrusted
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| v.委托，托付( entrust的过去式和过去分词 ) | |
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96
err
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| vi.犯错误，出差错 | |
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97
proceeding
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| n.行动，进行，(pl.)会议录，学报 | |
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98
bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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99
gasps
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| v.喘气( gasp的第三人称单数 )；喘息；倒抽气；很想要 | |
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100
fervent
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| adj.热的，热烈的，热情的 | |
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101
fervently
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| adv.热烈地，热情地，强烈地 | |
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102
penance
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| n.（赎罪的）惩罪 | |
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103
undue
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| adj.过分的；不适当的；未到期的 | |
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104
arrogance
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| n.傲慢，自大 | |
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105
incensed
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| 盛怒的 | |
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106
attainments
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| 成就，造诣； 获得( attainment的名词复数 )； 达到； 造诣； 成就 | |
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107
entreated
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| 恳求，乞求( entreat的过去式和过去分词 ) | |
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108
implored
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| 恳求或乞求（某人）( implore的过去式和过去分词 ) | |
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109
sundered
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| v.隔开，分开( sunder的过去式和过去分词 ) | |
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110
heinous
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| adj.可憎的，十恶不赦的 | |
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111
ledge
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| n.壁架，架状突出物；岩架，岩礁 | |
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112
fixedly
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| adv.固定地；不屈地，坚定不移地 | |
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113
eyelids
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| n.眼睑( eyelid的名词复数 )；眼睛也不眨一下；不露声色；面不改色 | |
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114
penitent
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| adj.后悔的；n.后悔者；忏悔者 | |
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115
marvelling
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| v.惊奇，对…感到惊奇( marvel的现在分词 ) | |
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116
implores
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| 恳求或乞求（某人）( implore的第三人称单数 ) | |
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117
inveigh
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| v.痛骂 | |
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118
dwellers
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| n.居民，居住者( dweller的名词复数 ) | |
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119
wail
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| vt./vi.大声哀号，恸哭；呼啸，尖啸 | |
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120
slay
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| v.杀死，宰杀，杀戮 | |
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121
deafening
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| adj. 振耳欲聋的, 极喧闹的 动词deafen的现在分词形式 | |
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122
cleanses
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| 弄干净，清洗( cleanse的第三人称单数 ) | |
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123
craves
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| 渴望，热望( crave的第三人称单数 )； 恳求，请求 | |
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124
enveloped
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| v.包围，笼罩，包住( envelop的过去式和过去分词 ) | |
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125
dense
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| a.密集的，稠密的，浓密的；密度大的 | |
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126
chiding
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| v.责骂，责备( chide的现在分词 ) | |
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127
bespeaking
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| v.预定( bespeak的现在分词 )；订（货）；证明；预先请求 | |
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128
quench
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| vt.熄灭，扑灭；压制 | |
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129
vapors
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| n.水汽，水蒸气，无实质之物( vapor的名词复数 )；自夸者；幻想 [药]吸入剂 [古]忧郁（症）v.自夸，（使）蒸发( vapor的第三人称单数 ) | |
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130
alpine
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| adj.高山的；n.高山植物 | |
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131
obnoxious
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| adj.极恼人的，讨人厌的，可憎的 | |
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132
indifference
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| n.不感兴趣，不关心，冷淡，不在乎 | |
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133
trudge
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| v.步履艰难地走；n.跋涉，费力艰难的步行 | |
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134
eloquently
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| adv. 雄辩地(有口才地, 富于表情地) | |
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135
discourses
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| 论文( discourse的名词复数 )； 演说； 讲道； 话语 | |
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136
zealous
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| adj.狂热的，热心的 | |
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137
adventurous
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| adj.爱冒险的；惊心动魄的，惊险的，刺激的 | |
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138
beguiled
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| v.欺骗( beguile的过去式和过去分词 )；使陶醉；使高兴；消磨（时间等） | |
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139
wafts
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| n.空中飘来的气味，一阵气味( waft的名词复数 )；摇转风扇v.吹送，飘送，（使）浮动( waft的第三人称单数 ) | |
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140
avarice
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| n.贪婪；贪心 | |
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141
elevation
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| n.高度；海拔；高地；上升；提高 | |
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142
compassionately
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| adv.表示怜悯地，有同情心地 | |
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143
eschew
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| v.避开，戒绝 | |
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144
besetting
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| adj.不断攻击的v.困扰( beset的现在分词 )；不断围攻；镶；嵌 | |
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145
grovelling
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| adj.卑下的，奴颜婢膝的v.卑躬屈节，奴颜婢膝( grovel的现在分词 )；趴 | |
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146
Founder
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| n.创始者，缔造者 | |
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147
stigmatized
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| v.使受耻辱，指责，污辱( stigmatize的过去式和过去分词 ) | |
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148
exultantly
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| adv.狂欢地，欢欣鼓舞地 | |
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149
obeisance
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| n.鞠躬，敬礼 | |
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150
bards
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| n.诗人( bard的名词复数 ) | |
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151
covetousness
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152
doomed
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| 命定的 | |
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153
Christian
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| adj.基督教徒的；n.基督教徒 | |
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154
converse
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| vi.谈话，谈天，闲聊；adv.相反的，相反 | |
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laden
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| adj.装满了的；充满了的；负了重担的；苦恼的 | |
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156
locusts
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| n.蝗虫( locust的名词复数 )；贪吃的人；破坏者；槐树 | |
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157
emaciated
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| adj.衰弱的，消瘦的 | |
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158
detention
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| n.滞留，停留；拘留，扣留；(教育)留下 | |
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159
converses
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| v.交谈，谈话( converse的第三人称单数 ) | |
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160
foes
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| 敌人，仇敌( foe的名词复数 ) | |
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161
dart
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| v.猛冲，投掷；n.飞镖，猛冲 | |
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162
tantalizingly
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| adv.…得令人着急，…到令人着急的程度 | |
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163
extol
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| v.赞美，颂扬 | |
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164
expounds
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| 论述，详细讲解( expound的第三人称单数 ) | |
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165
toil
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| vi.辛劳工作，艰难地行动；n.苦工，难事 | |
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166
extols
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| v.赞颂，赞扬，赞美( extol的第三人称单数 ) | |
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167
instructor
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| n.指导者，教员，教练 | |
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168
swerving
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| v.（使）改变方向，改变目的( swerve的现在分词 ) | |
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169
warily
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| adv.留心地 | |
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170
fiery
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| adj.燃烧着的，火红的；暴躁的；激烈的 | |
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171
chaste
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| adj.贞洁的；有道德的；善良的；简朴的 | |
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172
plunges
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| n.跳进，投入vt.使投入，使插入，使陷入vi.投入，跳进，陷入v.颠簸( plunge的第三人称单数 )；暴跌；骤降；突降 | |
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173
timorously
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| adv.胆怯地，羞怯地 | |
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174
culling
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| n.选择，大批物品中剔出劣质货v.挑选，剔除( cull的现在分词 ) | |
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175
appeased
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| 安抚，抚慰( appease的过去式和过去分词 )； 绥靖（满足另一国的要求以避免战争） | |
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176
prospect
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| n.前景，前途；景色，视野 | |
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177
succor
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| n.援助，帮助；v.给予帮助 | |
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178
wilt
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| v.(使)植物凋谢或枯萎；(指人)疲倦，衰弱 | |
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179
discreet
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| adj.(言行)谨慎的；慎重的；有判断力的 | |
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180
judicious
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| adj.明智的，明断的，能作出明智决定的 | |
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181
pellucid
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| adj.透明的，简单的 | |
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182
emanates
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| v.从…处传出，传出( emanate的第三人称单数 )；产生，表现，显示 | |
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183
illuminates
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| v.使明亮( illuminate的第三人称单数 )；照亮；装饰；说明 | |
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184
aurora
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| n.极光 | |
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185
instinctively
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| adv.本能地 | |
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186
impulsively
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| adv.冲动地 | |
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187
promising
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| adj.有希望的，有前途的 | |
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188
loathsomeness
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189
virtuous
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| adj.有品德的，善良的，贞洁的，有效力的 | |
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190
beseech
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| v.祈求，恳求 | |
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191
portray
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| v.描写，描述；画(人物、景象等) | |
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192
splendor
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| n.光彩；壮丽，华丽；显赫，辉煌 | |
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193
musing
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| n. 沉思，冥想 adj. 沉思的, 冥想的 动词muse的现在分词形式 | |
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194
lavishly
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| adv.慷慨地，大方地 | |
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195
imbued
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| v.使（某人/某事）充满或激起（感情等）( imbue的过去式和过去分词 )；使充满；灌输；激发（强烈感情或品质等） | |
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196
quenching
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| 淬火，熄 | |
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197
admonish
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| v.训戒；警告；劝告 | |
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198
soothed
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| v.安慰( soothe的过去式和过去分词 )；抚慰；使舒服；减轻痛苦 | |
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199
awakening
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| n.觉醒，醒悟 adj.觉醒中的；唤醒的 | |
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200
asunder
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| adj.分离的，化为碎片 | |
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201
prey
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| n.被掠食者，牺牲者，掠食；v.捕食，掠夺，折磨 | |
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202
caresses
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| 爱抚，抚摸( caress的名词复数 ) | |
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203
chastises
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| v.严惩（某人）（尤指责打）( chastise的第三人称单数 ) | |
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204
conversing
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| v.交谈，谈话( converse的现在分词 ) | |
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205
renovating
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| 翻新，修复，整修( renovate的现在分词 ) | |
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206
draught
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| n.拉，牵引，拖；一网（饮，吸，阵)；顿服药量，通风；v.起草，设计 | |
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