I L P A R A D I S O

D A N T E
D R A M A T I S E D
3
I L P A R A D I S O
D A N T E
D R A M M A T I Z Z A T O

1. CONTENTS
p. 1  1. CONTENTS
p. 2  2. TITLE PAGE
p. 3  3. THE DIVINE COMEDY
p. 6  4. STAGING
p. 9  5. CAST & DURATION
p. 12  6. CHARACTERS
p. 15  7. MUSIC & ACTION
p. 28 8. IL PARADISO
p. 214  9. PICTURES
p. 218  10. PROGRAMME

2. TITLE PAGE
DANTE
DRAMATISED
DANTE
DRAMMATIZZATO
1 L’Inferno
2 Il Purgatorio
3 Il Paradiso
G. P. KENNEDY
For Elzio Bini, my teacher.
SUMMARY
Dante’s great work is introduced to a wider audience with music and humour.
Dante Dramatised combines much of the DIVINE COMEDY’s poetry with English prose. Prose in any language or
dialect, including those of Italy, could be substituted for English with little or no alteration of the poetry or action.
Very many people know of Dante but not so many non-Italians know his works beyond a few quotes.
The dramatisation shows Dante, the man, in his world and in the act of composition. The poetry gets into the head
as verbal music and as words with meaning attached. Some heads will turn to the original poem for more.
The dramatisation gets non-Italian speakers closer to Dante, and allows Italians (in Italy and overseas) who have a
dialect or another language to connect with their heritage in a new way.
Ask a poet to translate a well-known English poem into an English poem and you will be told that the poem is
unique, no other words will do etc. Ask him/her to translate from another language – less possible one would think
– and he/she will not be so inhibited. As Dante knew, poetry can never be more than part-translated. The best verse
translation of the DIVINE COMEDY can contain very few of Dante’s words. It is accepted because it tells the story,
has its own literary excellences, and leaves the body of the poem intact.
Lettor…Reader…You must decide how well the story is told.
An old Christian drama in a new form.
Boccaccio brought La Divina Commedia to Florence’s church of San Stefano in 1373. DANTE DRAMATISED might
be presented over a few days around Easter.
Requirements
A choir (15?) and a few instrumentalists (wind - perhaps not string).
A composer. An arranger of mostly ecclesiastical music.
Actors: some Italian-speaking, most playing multiple roles.
© G.P.Kennedy © A.S.Kline © G Petrocchi
2

3. THE DIVINE COMEDY
Only when I saw LA DIVINA COMMEDIA in prose translation did it begin to work on me, first on the level of the literary
device: As…so figures occur constantly, not always using those words.
The As and the so are very far apart in some instances but they are not extended metaphors in the usual sense.
I went through the COMMEDIA, colouring frequent figures and other recurrences – THE BOAT, THE BOW/ARROW,
FOOD/EATING, LIGHT, FLAME etc.
Purgatory is in the Southern Hemisphere. Dante might be presented as a notable visitor to modern Australia, in
company with Beatrice and Virgil. They could move in public, quoting in Italian and English from Dante’s great
works. Think how many places Abandon all hope… could be used.
Dante and Beatrice could lecture on physics at a University and present a defence of the Monarchy at the National
Press Club in Canberra. They could give prepared answers to questions asked by guests, including the Italian
Ambassador.
A living Dante would bring his world to life in a way that no reading could. The idea could still be realised in
conjunction with the dramatisation of the entire DIVINA COMMEDIA, which it suddenly occurred to me was possible. I
removed the colours.
DIFFICULTIES:
Impenetrable politics & theology without action; action & actors too monstrous or sublime to show.
No clear progression: Dante called it a Comedy as it begins among the damned & ends among the blessed, but he
damns Pope Boniface in Canto 97 of the 100.
The poem may be picked up and put down at intervals. Its dramatisation may be altogether too much of an often
grim thing.
SOLUTIONS: Music…Muse…Amuse
Music (much of it listed by Dante). Muses to leaven the masculine mass, to support & subvert: the feminine roles.
Counterpoise of poetry & prose, Italian & English.
Conventional devices: cutting, stylising, humanising of the main characters through humour.
Gifts:
(1) The unconscious humour of Beatrice as Dante’s mouthpiece & chastiser in the tradition of courtly love.
(Who would not have wished to meet the woman in the flesh?)
(2) I gave Dante a book & everybody wanted one.
As a character in the drama, Dante is reduced to a man. but his work, the 14,233 hendecasyllable tower, still stands
magnificent. The vision of Heaven and Hell I once experienced is a few monosyllables high.
DRAMATISATION & TRANSLATION
This dramatisation is for English speakers but will serve for a mixed English-Italian audience.
As much Dante is included as possible because his poetry has no substitute. It introduces and signs off sections. (See
7 below). It occurs where the passage is particularly well-known; where the action gives the meaning to English-only
speakers; where the meaning is not apparent to English-only speakers but can be done without. (A little magic is no
bad thing – one reason why film-dubbers omit bits.)
In many cases it is desirable to provide both Dante’s Italian and the English prose. This can be done in various ways,
not exclusive of each other:
1. INTERPRETING / TRANSLATING (very common): by the original speaker or another character.
Action between the 2 deliveries makes it more natural. Where the audience is addressed, the character
feigns that the Italian-speakers are in one section, the English-speakers in another.
2. REDUNDANT (common): using one language for a passage and the other for a passage near it in the
poem and near it in content.
3. ECHOING / QUESTIONING / CONFIRMING (rare): repeating a passage by another character.
4. ELLIPTICAL (common): delivering in one language with key words in the other.
5. (NEAR-)SIMULTANEOUS: delivering in English and Italian at (almost) the same time.
6. SPEAKING - WRITING/READING: speaking one language & writing/reading the other, or vice versa.
7. SECTIONING (common): beginning and (particularly) ending sections - Cantos etc.- with Italian as a
kind of homage to the original work. This ceremony may strike the drama director as artificial.
8. DANTE VERSIFIES or NOTES (common): following prose delivered by another character, Dante sometimes
thinks aloud or addresses the audience. All DANTE VERSIFIES is optional (but not noted as such). Dante’s
versification naturally enriches or alters the prose. The note or versification occasionally even anticipates
what a character says.
9. DESCRIBING SEPARATELY: 2 characters describing the same scene, in Italian and English.
10. PRESENT & PAST (occasional): A character, usually Dante, describes a scene in English as it happens, then
Dante versifies it as having happened.
3

Greyed words interpret/translate for the benefit of the actors but are not spoken. They also show sections of the LA
DIVINA COMMEDIA – English-only for reasons of space – which are omitted from the dramatisation. Future versions of
the dramatisation might omit included passages/characters and restore greyed ones.
There are many passages included which a director might cut, starting with those which are shown this way.
The dramatisation presents Dante’s lines in his order (with very few exceptions.). A handful of them are spoken by a
person other than the one nominated by Dante.
Only about 2,100 lines of Dante’s 14,233 lines are not quoted or used for the scene, music and action. Approximately
2575 of the spoken lines or part-lines are Italian.
LA DIVINA COMMEDIA is the Giorgio Petrocchi edition. (Permission may need to be obtained.)
The English prose used is mostly from the translation by A.S.Kline. In some places it is abridged, or, for the sake of
natural speech, freed from his adherence to Dante’s phrasing. Underlined words replace Kline’s. Underlining also
marks words based on Notes, and works not by Dante. Longer segments not by Dante are not underlined. There are
approximately 700 lines or part –lines added to Dante’s in the dramatisations.
Most of the Notes are by Kline.
DIALECTS
The characters should be individualised with accents or an occasional word or phrase appropriate to to their region,
time and status; firstly because regionality was very marked in Dante’s time and work; secondly because modern
Italians viewing the dramatisation would feel a closer connection to it.
See L’INFERNO SCHEME: CHARACTERS BY PLACE.
Other characters may contribute Italian words, phrases or lines to the dramatisation, but not completed verses, the only
exceptions being Beatrice (who knows everything), and Guinicelli [PUR C26 73].
Consequently, most of the non-English is spoken by Dante and Beatrice. Some words of the other characters could be
composed in prose – Dantean Italian or dialect – for versification by Dante and interpretation into English.
STAGES & SETS
The motif of each dramatisation is 3 sets of 3 steps: 3 for its beginning, middle & end; 3 for the Trinity; 3 for Faith,
Hope & Love; 3 for the groups of planetary orbits; 3 for the Hierarchies of Angels; 3 for the orders within each hiera
rchy; 3 for musica mundana, humana & instrumentalis; 3 for the Graces; 3 for 1/3 or √ of 9, Beatrice’s number; 3 for
terza rima; 3 for the canticles of the DIVINE COMEDY and their 33 Cantos (+ 1 Canto introduction for L’INFERNO) etc.
IL PARADISO has a triptych as well.
Three steps means the lower level, 1 step and the upper level, as shown in the introduction to each canticle. Each step
is identified by a rectangle above it.
Characters speaking terza rima may sometimes fit it to their passage up or down steps. For example, one line or one
verse per step.
CHARACTERS AND DRESS
The spirits of L’INFERNO and IL PURGATORIO are prisoners, and dressed anonymously. Those in IL PARADISO are free
and have been given back their clothes.
Dante is dressed as in the familiar pictures. He has a very long, tasselled cord wrapped round his waist most of the
time, but he does not get his laurel wreath until the end of the COMMEDIA.
He carries a book, not his DIVINE COMEDY but a workbook for it, probably composed of wax tablets or slates. The
stylus is kept in the spine.
Virgil is also dressed as in the pictures, including the laurel, and his book is the Aeneid and other works.
Beatrice’s book is a Bible. Her small role in L’INFERNO expands in the later canticles. Beatrice’s smile devastates
Dante. He and the audience should not be exposed to it (i.e. .shown it in full face) unecessarily.
All characters with books have a holder on their chests and/or backs to free their hands if necessary.
We are so used to pictures of the grand Dante we forget that he was not quite 35 years old when the action of the
Commedia took place, in 1300.
See L’INFERNO SCHEME: CHARACTERS BY PLACE.
THE MUSES See SCHEME: PROGRAMME mock-ups for Muse table.
Different accounts of the Muses assign them different symbols, domain & dress (including crowns).
The audience does not hear their domains named in the dramatisation so there is no problem with who is who.
Each Muse carries a white book with her symbol on it. The masks may be found by research or designed. Naturally,
they are not the Tragedy / Comedy clichés of so many playbills. The Muses are dressed identically, in white, to let
them serve in both pagan and Christian capacities. Calliope, the eldest sister, may be distinguished by her height
and/or a gold band on her head. Terpsichore is the smallest Muse and Euterpe, perhaps, the 2 nd smallest. Polyhymnia
(nearly?) always wears her pensive look and has a finger at the mouth. When the Muses sing Christian music on stage
they show the back of their books.
All the Muses’ props (bows, arrows, boats etc.) are imaginary – of course. The only exceptions are the books they
carry and and Euterpe’s flute in L’INFERNO.
4

MUSIC
See SCHEME: MUSIC AND ACTION for each Canticle’s music summary.
(The symbol ♫ on the Programmes is, presumably, an anachronism and needs substituting)
It is natural for spirits to have voices and in a shorter work the music could be entirely a cappella. Here, a few wind
instruments are required. Strings might be avoided. The only non-vocal notes to issue from the stage should come
from Euterpe’s flute [INF C32 12].
Offstage singers may be joined by those on stage. The Muses must be good actresses first and may only mime singing.
ALREADY WRITTEN
The ecclesiastical music has been programmed by Dante and should be in period. Because there is sometimes
confusion about the names of pieces – for example with Beatitude and Psalm Nos. - I have supplied actual words
where I could find them.
TO BE COMPOSED
Some music needs composing, mostly based on Dante’s description. I have described what I hear in my limited
mind’s-ear. The composer/arranger might hear it very differently.
Motifs or themes which may be used in all three Canticles are
Invocation Response (by Muses)
Be-a-tri-ce
Prophecy
Dream
Some music is beyond mortal voices.
5

FLOOR
W
I
N
D
O
W
SAN DAMIANO
LEFT
WINDOW
STEPS
4. STAGING
SIDE VIEW
STAGE FRONT
PLAN VIEW
STEP MARKERS
REMOVABLE WINDOW DIVIDERS
CENTRE WINDOW
STEPS
THE TRIPTYCH
STAGE
W
I
N
D
O
W
STEPS
RIGHT
WINDOW
6

SAN DAMIANO
VIEW FROM AUDIENCE
STAGE & LIGHTING:
A triptych is the only scene. The panels of the triptych are windows onto the blessed souls in Paradise.
They are raised on 3 sets of 3 steps, the sets being angled as in an amphitheatre.
The 3 windows may reach higher than the audience can see, suggesting that they extend to the Empyrean.
Alternatively, the top members of the wooden window frames may be just in view, or only 4 or 5 metres
above the stage.
The ends of the triptych and the walls separating the centre window from the others may be of wood.
The windows may be open, or glazed with a a very thin, almost transparent material – some kind of silk?
– that would add a slight shimmer to the blessed souls manifestations as lights or figures and a soft filter
or flutter to their speech.
The glazing may extend above the top members of the window frames, or only begin there.
Above the heads of the players is a large stylised rose (the Rose – Love and Desire). It may be drawn at
the back of the stage, or appear as a kind of watermark in the glazing. In either case it is colourless. The
heavenward gaze is much higher – towards the real, but invisible, coloured rose.
In the poem, Dante enters Heaven at midday and it remains that time throughout. The dramatisation gives
variety by mixing darkness and various colours coming from overhead and through the windows.
Some of the overhead colours represent the spheres into which the characters rise. Dante nominates
sphere colours for the Moon (pearl), Mars (red), Jupiter (white) and Saturn (gold) and I have
provisionally assigned the other 5. Ptolemy, the source of Dante’s cosmology, did not, apparently, name
the colours and the lighting designer will decide which are appropriate.
The ‘Empyrean’ means ‘flaming’ or ‘luminous’. Since it cannot be represented as that, it appears as its
negation.
There may be a single tone for a few seconds before the end of the action in a sphere (unless other music
ends that action). When the colour changes, the note rises and stops. The sphere colour may begin as a
single pulse of light, followed by a faint glow in that colour, or a return to a neutral colour.
SAN DAMIANO & CLARE PICTURES:
A stylised representation of San Damiano (SCHEME: PARADISO PICTURES 14, 13, 15), restored by St
Francis and occupied by the Poor Clares, sits behind the windows. The building appears to be an
embroidery or tapestry of Clare’s manufacture. Actually, like the Clare Pictures, it is painted on cloth.
Clare Pictures appear at intervals on the left, centre and right of San Damiano. They may have curved
tops and leave very little of the building showing. After Clare is seen ‘spinning’, the centre third of San
Damiano is always covered with a Picture if the centre window is not dark, until Clare is seen for the 2 nd
and last time. The large Clare Pictures backdrop various Souls/Souls and episodes, avoiding most other
props.
The Clare Pictures are (apparently) embroideries, tapestries or silk collages – clever-naïve, humoroussombre.
Her style is of the age but owes nothing to its masters. The life of St Francis is the subject of
many of her pieces, based on history and the Fioretti (The Little Flowers of St Francis) first published in
1476.
7

CHARACTERS & ACTION:
The Blessed Souls/Souls are confined behind the triptych. Dante and the Muses move only in front of it.
Beatrice appears in both areas.
The Souls/Souls communicate only with Dante and Beatrice outside the windows, not with the Muses.
The preponderance of words in the Paradiso means the Muses must work harder to supply action in its
dramatisation. They begin with 3 of Dante’s favourite figures: THE BOW/ARROW, THE BOAT and FOOD.
Unfortunately, the Muses have grown complacent and facetious. They are, I am forced to say it, out of their
depth in Heaven.
At [C12 7-9] their singing is casually slurred by Dante and they attempt to destroy him from that point.
Beatrice is their real rival but she is too high in heaven to be attacked directly.
The Muses’ actions still leave tracts of words. In the dramatisations of the earlier Canticles, variety is given
by the verbal interaction of Dante, Virgil and other characters. Il Paradiso’s Blessed Ones are barely
engaged that way: Dante represents them as whirling lights which sometimes stop to speak. To make the
words live, the dramatisation needs the Blessed at times to appear as human figures, acting much as they
might have done on earth. (This curiously inverts the dramatisation procedure sometimes used in the first 2
Canticles.)
Each Blessed Soul (except Beatrice) first appears as a light in one of the windows. The light may change its
quality to reveal the figure. Or, the light may flash through the window and the figure step into place while
the audience is recovering its vision. Again, the light may shine brightly from behind a figure moving
towards the front of the window. The light may also come from above the window.
The colour of the light which a Blessed Soul manifests itself is the same as the colour of its sphere.
Each Blessed Soul manifests itself first as a light, then as a person. It becomes a light again only when
disappearing for the last time. In between it appears and disappears as a man or woman.
The CHARACTER AGE of the Blessed Souls/Souls is often less than the age at which the persons died. They
are justly restored to the most active/important time of their lives.
MONASTIC CLOTHING:
Benedictine monks (Black Monks): tunic & surcoat – black + hood.
Other description: Middle Ages: wool shirt, hooded pelerine tapering in front and behind (the scapular), over
these a habit or frock , lastly a cowl (cuculla). By 13 th c cowl had become a narrow frock left free on both sides
to reveal garments under it.
Camaldolese monks: tunic & hood & scapular ( outer garment – strips of cloth hanging down front and back, joined
across shoulders (formerly monastic working dress)
Cistercian monks (White Monks): tunic & surcoat – white + hood
Augustinian canons: tunic & surcoat – white + hood
Dominican friars (Order of Preachers, Dominicani): white tunic (& hood), black surcoat
Franciscan friars (Franciscani, Friars Minor, Frati Minori, Greyfriars, Cordeliers): tunic, surcoat and hood of
unbleached dark wool – brown cord with 3 knots (Largest of all religious orders)
Poor Clares (2 nd Order of St Francis): dark brown habit, Franciscan cord girdle, no scapular, (black veil), cloth sandals
on bare feet
8

5. CAST & DURATION
Male characters requiring their own actors are 15: DANTE, JUSTINIAN, CHARLES MARTEL D’ANJOU,
FOLCO, AQUINAS, ALBERTUS MAGNUS, PETER LOMBARD, SOLOMON, OROSIUS, BOËTHIUS, ST ISIDORE,
BEDE, SIGIER, BONAVENTURA & CACCIAGUIDA. The rest – PETER DAMIAN, BENEDICT , PETER, JAMES, JOHN &
VIRGIL – can be played by some of the above actors.
***************Those in the first group………………………..
Females are 15: BEATRICE, 9 MUSES, PICCARDA, CUNIZZA, CLARE, CONSTANCE and RAHAB.
DURATION
177 mins.
****************Add Ch / Ch nos.
SECTION
DURATION
Inc. Music
INTRODUCTION 9.30 C1 1
- C2 45
THE SHADOWS ON THE MOON 5.30 C2 46-148
PICCARDA, ST CLARE, CONSTANCE 5.30 C3 1-120
DOUBTS, ERRORS ETC. 11.15 C4 1
- C5 84
JUSTINIAN 8.00 C5 91
JUSTINIAN - C7 3
CHARLES MARTEL D’ANJOU
CUNIZZA
FOLCO
RAHAB
AQUINAS
ALBERTUS MAGNUS
PETER LOMBARD
SOLOMON
OROSIUS
BOËTHIUS
ST ISIDORE
BEDE
SIGIER
VARIOUS 7.45 C7 10-147
CHARLES MARTEL D’ANJOU 5.30 C18 13-148
CUNIZZA 1.45 C19 19-63
FOLCO 3.45 C9 73-142
CELESTIAL 1 2.30 C10 1-54
AQUINAS 1 5.30 C10 37-138
CELESTIAL 2 1.00 C10 145
9

ST BONAVENTURA
AQUINAS 2
CHESS / CHANSON DE ROLAND 1
8.15
- C11 12
C10 139
- C11 28
AQUINAS 3 4.35 C11 28-117
AQUINAS 4
CHESS / CHANSON DE ROLAND 2
3.45 C11 118-120
CELESTIAL 3 2.00 C12 1-21
ST BONAVENTURA 4.20 C12 22-145
CELESTIAL 4 1.20 C13 1-27
AQUINAS 5
CHESS / CHANSON DE ROLAND 3
2.20 C13 34-51
AQUINAS 6 2.10 C13 52-90
CHESS / CHANSON DE ROLAND 4 2.40 C13 90
AQUINAS 7 2.15 C13 91
- C14 9
CELESTIAL 5 2.00 C14 19-62
CELESTIAL 6 4.15 C4 104
- C15 27
CACCIAGUIDA 1 18.40 C15 28
CACCIAGUIDA - C17 135
ST PETER DAMIAN
CELESTIAL 7 .05 C18 1-21
CELESTIAL 8 1.45 C18 58-87
CHESS / CHANSON DE ROLAND 5 2.10 C18 87
CELESTIAL 9 .40 C18 88-99
CELESTIAL 10 1.30 C21 5-42
ST PETER DAMIAN
CHESS / CHANSON DE ROLAND 6
6.00 C21 34-135
10

ST BENEDICT
ST PETER
ST JAMES
ST JOHN
CACCIAGUIDA 2 .05 C21 135
CELESTIAL 11 .50 C22 7-21
ST BENEDICT 1.05 C22 1-69
LOOKING DOWN 1 1.15 C22 109
CELESTIAL 12 1.50 C23 1-60
CHESS / CHANSON DE ROLAND 7 1.15 C23 60-61
CELESTIAL 13 4.45 C23 61
ST PETER 4.20 C24 28
- C25 18
ST JAMES 2.15 C25 34-93
ST JOHN 2.00 C25 103
- C26 66
CELESTIAL 14 1.00 C26 66
LOOKING DOWN 2 .55 C27 77-96
THE PRIMUM MOBILE 7.30 C27 106
- C30 30
CELESTIAL 15 2.15 C30 8-81
CELESTIAL 16 3.45 C30 97
- C31 64
THE FINAL VISION 1.45 C33 55-145
FINALE 2.00 C33 145
11

V Voice only
NAME SEEN
FIRST
6. CHARACTERS
SEEN
LAST HEARD
FIRST HEARD
LAST
12
Italian English ? Total
DANTE C1 1 C33 145 C1 1 C33 145 566 886 43 886
BEATRICE 284 396 19 699
Not DANTE, BEATRICE 50 1247 8 1305
MUSES ALL C1 1 C33 145 C2 12 C33 145 ? ? ? ?
♫ Invocation? & response C2 9 C2 9 C2 12 C2 ? - - - ?
look / shoot up C2 15 C2 63 - - - - - -
prepare to sing C11 111 C11 111 - - - - - -
♫ singing with BEATRICE C12 1 C12 1 C12 1 C12 1 - - - -
alter D’s book C30 36 C30 36 - - - - - -
? finale: laurel C33 145 C33 145 C33 145 C33 145 - - - -
ERATO
arrows – 2 C1 114 C1 123 - - - - - -
arrow: shoots C2 21 C2 105 - - - - - -
Mirrors C2 97 C2 105 - - - - - -
arrow: straightens C4 63 C4 114 - - - - - -
looking for feather C5 37 C5 84 - - - - - -
hunts eagle C6 1 C6 93 - - - - - -
forms C13 100 C13 100 - - - - - -
flees C15 27 C15 27 - - - - - -
EUTERPE
little boat C1 135 C1 142 - - - - - -
little boat food C2 9 C2 9 - - - - - -
little boat C8 76 C8 76 - - - - - -
CALLIOPE
little boat C1 135 C1 142 - - - - - -
little boat food C2 9 C2 9 - - - - - -
CLIO slapped C15 27 C15 27 - - - - - -
POLYHYMNIA slapped C23 55 C23 55 - - - - - -
Amends D’s book all? C30 45 C30 45 - - - - - -
CLIO
slapped by CALLIOPE C15 27 C15 27 - - - - - -
alters D’s book all? C30 45 C30 45 - - - - - -
MELPOMENE
forms C13 100 C13 100 - - - - - -
flees C15 27 C15 27 - - - - - -
D’s book no joke C30 45 C30 45 - - - - - -
POLYHYMNIA
Mirrors C2 97 C2 105 - - - - - -
lamb food C4 1 C4 1 - - - - - -
looking for feather C5 37 C5 84 - - - - - -
forms C13 100 C13 100 - - - - - -
flees C15 27 C15 27 - - - - - -
slapped by CALLIOPE C23 55 C23 55 - - - - - -
D’s book uninterested all? C30 45 C30 45 - - - - - -
TERPSICHORE
food lamb C4 1 C4 1 - - - - - -
looking for feather C5 69 C5 84 - - - - - -
boat: steadies takes off C8 51 C8 81 - - - - - -
skips: takes D’s book all? C30 45 C30 45 - - - - - -
finale – laurel C33 145 C33 145 - - - - - -
THALIA
Mirrors C2 97 C2 105 - - - - - -
joke in D’s book all? C30 45 C30 45 - - - - - -
URANIA
Mirrors C2 97 C2 105 - - - - - -
food lamb C4 1 C4 1 - - - - - -
bow: shoots up C5 88 C5 88 - - - - - -
boat steadies takes off C8 51 C8 81 - - - - - -
MUSE prophecy? C9 1 C9 1 - - - - - -
MUSE astronomy? C10 6 C10 - - - - - -
arrow in advance, D’s exile C17 25 C17 25 - - - - - -
invoked: breaks arrows C18 82 C18 82 - - - - - -

NAME SEEN
FIRST
SEEN
LAST HEARD
FIRST HEARD
LAST
13
Italian English ? Total
BEATRICE. C1 60 C33 145 C1 88 C30 81 284 396 19 699
♫ spotlit? C1 46 C1 64 - -
stagelight? Universal order
bow: ERATO boat: EUTERPE+
food: CALLIOPE
shadows on moon – mirrors
bow: ERATO POLYHYMN.
URANIA
the spirits Plato’s error
arrow: BEATRICE strips
ERATO straightens
free will vows dispensations
feather : ERATO POLYHYMNIA
URANIA; TERPSICHORE skips
C1 88 C1 141 C1 88 C1 142
C2 49 C2 147 C2 49 C2 147
C4 16 C4 114 C4 16 C4 114
C5 1 C5 84 C5 1 C5 84
The Fall Crucifixion C7 19 C7 54 C7 19 C7 54
Redemption Incarnation C7 55 C7 120 C7 55 C7 120
Creation resurrection C7 121 C7 147 C7 121 C7 147
Venus: more beautiful
CHARLES MARTEL
C8 1
♫ sings MUSES outraged C12 1 C12 ? ? ? - ?
AQUINAS C14 1 C14 ? C14 1 C?
Change your thoughts… C18 4 C18 C18 4 C18
Were I to smile… C21 4 C21 18 C21 4 C21 18
do you not know? (ST BENED) C22 7 C22 21 C22 7 C22 21
you are so near… C22 124 C22 132 C22 124 C22 132
See the procession…way
taken
C23 19 C23 75 C23 19 C23 75
the Primum Mobile C27 106 C27 148 C27 106 C27 148
Heaven & all Nature… C28 40 C28 129 C28 40 C28 129
I do not ask, I say… C29 10 C29 126 C29 10 C29 126
Empyrean: kisses D’s book C30 81 C30 81 - -
Finale BEATRICE spotlight C33 145 C33 145 - -
♫ PICCARDA C3 1 C3 121 C3 43 C3 121 1 67 - 68
/ FRANK
ST CLARE
CONSTANCE
Ch/Ch 1
C3 98
C3 118
Ch/Ch 7
C3 120
C3 120
Ch/Ch 5
-
-
Ch/Ch 5
-
-
-
-
-
4
-
-
-
-
-
4
-
-
/ QUEEN BRAMIMOUND
ST BERNARD
JUSTINIAN
Ch/Ch 1
C3 121
Ch/Ch 7
C3 121
Ch/Ch 2
C3 121
Ch/Ch 5
C3 121
-
-
5
1
-
-
5
1
Appears C5 102 C5 139 - - - 3 - 3
Empire ERATO hunts eagle C6 1 C6 93 C6 1 C6 93 - 94 - 94
Guelphs etc C6 73 C6 111 C6 73 C6 111 - 15 - 15
This little planet… Romeo C6 112 C6 142 C6 112 C6 142 - 31 - 31
/ CHARLEMAGNE
CHARLES MARTEL D’ANJOU
AQUINAS
Ch/Ch 1 Ch/Ch 7 Ch/Ch 1 Ch/Ch 5 - 26 - 26
appears, speaks, stands
Bio Heredity & Heavens
C5 102 C8 21 C5 102 C5 102 - 1 - 1
C8 31 C8 31 C8 148 C8 148 -
boat: EUTERPE TERP URANIA
/ K. MARSILIES VALDABRUN
♫ CUNIZZA
Ch/Ch 1
C9 25
Ch/Ch 7
C9 72
Ch/Ch 1
C9 25
Ch/Ch X
C9 63
-
- 41
-
- 41
/ FRANK
FOLCO biog etc Florence
Ch/Ch 1
C9 72
Ch/Ch 7
C9 142
Ch/Ch 1
C9 82
Ch/Ch 7
C9 142
-
- 60 - 60
/ ROLAND
RAHAB
Ch/Ch 1
C9 115
Ch/Ch 7
C9 118
Ch/Ch 1
-
Ch/Ch 7
-
-
-
67
-
-
-
67
-
/ FRANK
ALBERTUS MAGNUS
Ch/Ch 1
C10 99
Ch/Ch 7 Ch/Ch 1
C10 129 -
Ch/Ch 5
-
-
-
4
-
-
-
4
-
/ GUENELON
AQUINAS
GRATIANUS
Ch/Ch 1 Ch/Ch 7 Ch/Ch 1
C10 99 C13 120 C10 82
C10 103 C10 129 -
Ch/Ch 5
C13 120
-
-
4
-
26
240
-
-
-
-
26
244
-
/ CH/CH
PETER LOMBARD
Ch/Ch 1 Ch/Ch 7 Ch/Ch 1
C10 106 C10 129 -
Ch/Ch 7
-
-
-
92
-
-
-
92
-
/ BLANCANDRINS Ch/Ch 1 Ch/Ch 7 Ch/Ch 1 Ch/Ch 5 - 37 - 37

NAME SEEN
FIRST
SEEN
LAST HEARD
FIRST HEARD
LAST
14
Italian English ? Total
SOLOMON C10 109 C10 129 - - - - - -
/ FRANK Ch/Ch 1 Ch/Ch 7 Ch/Ch 5 Ch/Ch 5 - 4 - 4
OROSIUS C10 118 C10 129 - - - - - -
/ MARSILIES’ NEPHEW Ch/Ch 1 Ch/Ch 7 Ch/Ch 4 Ch/Ch 5 - 3 - 3
BOËTHIUS C10 124 C10 129 - - - -
/ OLIVER Ch/Ch 1 Ch/Ch 7 Ch/Ch 1 Ch/Ch 5 - 27 - 27
ST ISIDORE C10 130 C10 129 - - - - - -
/ ARCHBISHOP TURPIN Ch/Ch 1 Ch/Ch 7 Ch/Ch 1 Ch/Ch 5 - 9 - 9
BEDE C10 131 C10 129 - - - - - -
/ CLIMORINS TURGIS OF TURT. Ch/Ch 1 Ch/Ch 7 Ch/Ch 2 Ch/Ch 5 5 - 5
RICHARD OF ST VICTOR C10 131 C10 129 - - - - - -
/ FRANK Ch/Ch 1 Ch/Ch 7 Ch/Ch 1 Ch/Ch 5 3 - 3
SIGIER C10 136 C10 129 - - - - - -
/ CH/CH Ch/Ch 1 Ch/Ch 7 Ch/Ch 1 Ch/Ch 5 8 27 - 35
ST FRANCIS C28 93 C28 93 C27 148 C28 93 33 - - 33
ST DOMINIC C28 93 C28 93 - - - - - -
ST BONAVENTURA C12 127 C - - - - - -
/ ADMIRAL OF BALAGUET Ch/Ch 4 Ch/Ch 7 Ch/Ch 4 Ch/Ch 5
? V MODEST VOICE: - - C14 37 C14 60 - 4 - 4
♫ V SOULS Amen! - - C14 62 C14 62 - - - -
CACCIAGUIDA 3 226 - 229
Biog Ancestry C15 ? C15 45 C15 45 C15 45
Florence growth, families C16 34 C16 154 C16 34 C16 154
Prophecy: D’s exile URANIA C16 155 C17 135 C17 37 C17 135
PETER DAMIAN C21 82 C21 135 C21 61 C21 135 - 52 - 52
ST BENEDICT C22 40 C22 105 C22 37 C22 69 - 21 - 21
♫ V GABRIEL - - C23 103 C23 110 - - 7 7
HEAVENLY VOICES - - C23 111 C23 111 1 - 1 2
ST PETER C24 33 C26 66 C24 28 C24 123 - 23 - 23
ST JAMES C25 18 C26 66 C25 37 C25 87 - 18 - 18
ST JOHN C26 8 C26 66 C26 8 C26 51 - 11 - 11
♫ ST FRANCIS C28 93 C28 93 C27 148 C28 93 33 - - 33
ST DOMINIC C28 93 C28 93 - - - - - -
Lines of IL PARADISO not quoted,
or used for scene / music / action
1376
Lines added to Dante’s 468

* TO COMPOSE
7. MUSIC & ACTION
MALE FEMALE TRIPTYCH: [S. DAM.]-[CL P]-■ (RIGHT WINDOW DARK)
MUSIC ACTION
* OVERTURE ? INTRODUCTION
*
*
*
BE-A-TRI-CE MOTIF
SEE L’INFERNO
BASED ON THE 4 SYLL-
ABLES OF HER NAME,
PERHAPS CORRESPONDING
TO THE PITCH OF THEIR
VOWELS:
-- --
THE MOTIF MAY BE
DEVELOPED IN LATER
SEGMENTS.
RESPONSE TO
INVOCATION
APOLLONIAN HYMN?
SEE L’INFERNO
NOTE?
A SHORT SINGLE TONE BEFORE
THE END OF THE ACTION IN A
SPHERE (UNLESS OTHER MUSIC
ENDS THAT ACTION). WHEN
THE SPHERE COLOUR
CHANGES, THE NOTE RISES
AND STOPS. THE COLOUR MAY
BE A SINGLE PULSE
(FOLLOWED BY A FAINT GLOW
IN THAT COLOUR?)
▀
■-■-■
MUSES ALL in background
SUN spotlight DANTE: looks up: The glory of Him…2 nd sun
SUN spotlight BEATRICE:
B: You make yourself stupid with false imaginings and do not see…
C1 1-63
C1 60
C1 88-
BOATS & ARROWS C1 88-
SUN yellow pale
B: …You are no longer on earth…
ERATO 2 arrows EUTERPE little boat
…would be marvellous, on earth in a living flame
D: O you in your little boat…Muses…You other few…as much as
you will.
MUSES little boat EUTERPE food from CALLIOPE
MUSES ALL
ERATO shoots upward stage black for an instant
THE 7 PLANETARY SPHERES
THE MOON pearl (colour nominated by Dante)
C2
C1 89
C1 91
C2 1-141
C2 1-18
C2 12
C2 18
25-
15

AVE MARIA
sample from
SOCIETÀ DANTESCA:
http://www.danteonline.it/
english/risorse.htm
* NOTE
THE SHADOWS ON THE MOON C2 46-148
D: BEA:…what are those dark marks?...senses cannot unlock it.
MUSES ALL look & shoot up
D: BEA:…arrows of amazement…argument I will make against it
POLYHYMNIA, URANIA, ERATO stay, other Muses go
BEA: The 8th sphere…take 3 mirrrors…between the other two.
POLYHYMNIA, URANIA, ERATO carry mirrors.
BEA: Now, I wish to illuminate you…from that forms the seal.
[S. DAM.]-[PEARL ☼ ☼ ☼]-[S. DAM.] 1 st Blessed Souls in triptych
BEA: And as the soul…not from density or rarity.
PICCARDA, ST CLARE, CONSTANCE
P: Our love no more closes the gate…know me..as Piccarda.
[S. DAM.]-[PEARL ☼ ☼ P]-[S. DAM.] ☼ → woman PICCARDA.
P: …who am blessed…St Clare,higher in heaven
[S. DAM.]-[PEARL ☼ CL P]-[S. DAM.] ☼ → ST CLARE.
P: …and there are those…the great Constance…Costanza
[S. DAM.]-[CO CL P S. DAM.]-[S. DAM.] ☼ → CONSTANCE.
P: …who by Henry…stormwind of Suabia…final power
[CP 1]-[CP 2]-■ 1st 2 CLARE Pictures at San Damiano.
CLARE Pictures 1: Francis the blade
CLARE Pictures 2: Francis to battle
[CP 1]-[CP 2]-[WHITE ☼ ]
[CP 1]-[CP 2]-[BE]
ST BERNARD gazes up: I am her loyal Bernard.
[CP 1]-[CP 2]-■
[CP 1]-[CP 2]-[CP 3]
CLARE Pictures 3: Francis in prison
■-■-■
DOUBTS, ERRORS ETC.
BEA: D: D paces and debates: Death from starvation…
TERPSICHORE skips after him…then squeezes between URANIA &
POLYHYMNIA and nuzzles… suspended between doubts.
[CP 4]-■-[CP 5]
CLARE Pictures 4: St Bernard’s white dog
CLARE Pictures 5: Clare’s cat
BEA: I can see…throws arrow…ERATO starts straightening
it…speak the truth.
D: Such was the flow, from that holy stream…short on your scales
BEA: If I flame at you…lamb…sporting…for pleasure.
ERATO; POLYHYMNIA, URANIA search for feather
TERPSICHORE skips again – silly lamb
URANIA shoots arrow up
■-■-■
▀ MERCURY silver
JUSTINIAN
[SILVER ☼ ☼ ☼ ☼ ☼]-[CP 7]-[CP 6]
CP 6: Francis preaches to brigands
CP 7: Francis, cloak stolen, in snow
BLESSED SOULS: Behold someone who will increase our love.
[SILVER ☼]-[CP 7]-[CP 6]
JU: O fortunately-born one…BEA: D: …in the sun’s rays
[JU]-[CP 7]-[CP 6]
JU: The Empire: …the imperial eagle… afterwards, under Titus.
16
C2 49-54
C2 54
C2 55-63
C2 63
C2 64
C2 97-105
C2 106-132
C2 132
C2 133-148
C3 43-49
C3 49
C3 50-98
C3 98
C3 99-118
C3 118
C3 119-120
C3 121
C4 1-9
C4 16 114
C4 115-138
C5 1-84
C5 37-84
C5 88
C5 91-
C5 105
C5 115-131
C6 1-93

*
*
*
*
SOARING EAGLE /
IMPERIAL ROMAN
HOSANNA
See IL PURGATORIO
sample from
SOCIETÀ DANTESCA:
http://www.danteonline.it/
english/risorse.htm
BE-A-TRI-CE MOTIF?
DEVELOPED?
DREAM
DREAM?
HOSANNA
* NOTE?
*
HOSANNA CONTD.
HOSANNA
MUSIC ?
DREAM
ERATO hunts eagle, shoots it, begins fletching arrow.
■-[CP 7]- [CP 6]
JU: Guelphs, Ghibellines etc
JU: This little planet…Romeo of Villeneuve…praise him more.
ERATO departs.
[CP 8]-[CP 7]-[CP 6]
CP 8: Francis home, pelted with mud
■-■-■
VARIOUS
[CP 10]-[CP 9]-[CP 11]
CLARE Pictures 9: Francis begs loaves
CLARE Picture 10: Francis rebuilds San Damiano
CLARE Pictures 11: Francis works on Porziuncola
D: Speak to her I said…her smile…would make a man happy in the
flames
BEA: According to my unerring perception…revenge was taken by
the court of justice.
■-■-■
BEA: But now I see your mind tangled in knots…to become
incarnate…satisfaction for his foolishness.
[CP 12]-[CP 12]-[CP 12] (windows undivided)
CLARE Pictures 12: Francis dreams of Bethlehem
BEA: Now fix your eyes…to become incarnate.
BEA: Now to answer all your longings…were first made.
■-■-■
▀ VENUS rose
CHARLES MARTEL D’ANJOU
[CP 13]-[ROSE ☼ ☼ ☼ ☼]-[CP 14]
CLARE Pictures 13: Francis recruits ‘oxen’
CLARE Pictures 14: Francis & recruits go to Rome
D: I had no sense of rising…I saw her grow more beautiful.
CM: We are all…Voi che ’ntendendo il terzo ciel movete (D:’s
canzone) D: Say who you are.
[CP 13]-[ROSE ☼]-[CP 14]
…The world held me…Charles Martel d’Anjou….
■-[CM]-■
…below…(bodies of water)…already laden boat.
EUTERPE, TERPSICHORE, URANIA set up boat figure
CM: His nature…born from the sweet.
[CP 15]-[CM]-[CP 16]
CLARE Pictures 15: Francis puts case to Pope
CLARE Pictures 16: Pope listens to Francis
If I can show you….so that your path cuts across the road.
■-■-■
[CP 17]-■-[CP 18]
CLARE Pictures 17: Francis dreams of Porziuncola
CLARE Pictures 18: Pope dreams of Basilica
■-■-■
C6 3
17
C6 97-111
C6 112-142
C6 142
C7 10-18
C7 19-51
C7 51
C7 52-93
C7 93
C7 94-120
C7 121-147
C7 147
C8 13-15
C8 32-45
C8 45-81
C8 81
C8 82-93
C8 93
C8 93
C8 94-148
C8 148

*
*
*
*
MUSIC?
SINGING?
PROPHECY MOTIF
See L’Inferno.
MAY OCCUR WHEN A
CHARACTER TALKS OF THE
SUPPOSED FUTURE.
SHOULD BE SHORT, PERHAPS A
SINGLE CHORD OR ARPEGGIO,
AND SOFT ENOUGH TO AVOID
THE BAD FILM-MUSIC DOOM
CLICHÉ.
PROPHECY MOTIF
CELESTIAL
* NOTE
* CELESTIAL CONTD. CELESTIAL 1 C9 142
*
▀
CUNIZZA
[CP 19]-[ROSE ☼ ☼ ☼]-[CP 20] light whirls, steadies, sings.
CLARE Pictures 19: Clare hears Francis preach
CLARE Pictures 20: Clare gets her palm
CU: In that region of Italy…Cunizza I am called.
[CP 19]-[ROSE ☼ ☼ CUNIZZA]-[CP 20] light whirls, steadies, sings.
CU: I shine here…our Heaven, Folco of Marseilles
[CP 19]-[ROSE ☼ FOLCO CUNIZZA]-[CP 20]
CU: …my nearest neighbour remains.
CU: and before it dies…
…these words prove good to us
[CP 19]-[ROSE ☼ FOLCO CUNIZZA disappears?]-[CP 20].
FOLCO
[CP 19]-[ROSE ☼ FOLCO]-[CP 20]
D : God sees it all…for your request till now.
FO: The Mediterranean…heart enclosed Iole.
FO pauses wistfully: But this is not a place of repentance…sun’s
rays in pure water. know now that Rahab…
[CP 19]-[RAHAB FOLCO]-[CP 20]
or [CP 19]-[RAHAB FO (VOICE)]-[CP 20]
…the prostitute finds peace there… Before any other soul…Joshua
…scarcely touches this Pope’s memory
FO: Florence…made a wolf of the shepherd…freed from the bond
of adultery.
[CP 19]-■-[CP 20]
[CP 19]-[CP 21]-[CP 20]
CLARE Pictures 21: Clare’s hair
SUN orange
■-■-■
D: …Reader, raise your eyes…URANIA
…stay on your bench…the Sun…Beatrice Heaven’s lights
BEA: Give thanks…to…Sun of the Angels…raised to this visible
sun.
C9 25-31
C9 32-38
C9 38-39
C9 39
C9 61
18
C9 73-81
C9 82-102
C9 103-114
C9 115-126
C9 127-142
C9 142
CELESTIAL – SOFT?
AQUINAS 1
D: …E Beatrice…veder si brami.
[ORANGE ☼ ☼ ☼]-[ORANGE ☼ ☼ ☼]-[ORANGE ☼ ☼ ☼ AQ VOICE]
(windows undivided)
AQ: Since the light of grace…if we do not stray.
AQ introduces BLESSED SOULS – all with books – starting with
ALBERTUS MAGNUS and finishing with himself.
[ORANGE ☼☼]-[AM etc ORANGE ☼☼]-[ORANGE ☼☼ AQ VOICE]
GRATIANUS, PETER LOMBARD, OROSIUS, BOËTHIUS, ISIDORE
OF SEVILLE, BEDE, SIGIER OF BRABANT
OPTIONAL RICHARD OF ST VICTOR, SOLOMON
AQ:…and I, Thomas Aquinas
[BS]-[BS]-[BS] or ■-■-[AQ]
C10 7-21
C10 22-51
C10 52-54
(C10 37-45)
C10 54
C10 83-96
C10 97-138
(C10 99)

* CELESTIAL CONTINUES D: I see the glorious wheel revolve…am received, with Beatrice, so
D: BEA: AQ: straw and chaff …there starts the song, exultation of
the mind bursting forth in the voice.
■-■-■
CELESTIAL 2
gloriously in Heaven
CHANSON MUSIC ?
AQUINAS 2
CHESS / CHANSON DE ROLAND 1 1-404
[CP 22 / crowned BS]-[CP 23 / table BS]-[CP 24 / library BS]
BLESSED SOULS (windows undivided)
CLARE Pictures 22: Castle Roccasecca
CLARE Pictures 23: Jerusalem
CLARE Pictures 24: Castle Hohenstaufen
GRATIANUS & SIGIER begin setting up game of chess.
○ WHITE
FRANKS
● BLACK
PAGANS
PLAYER GRATIANUS SIGIER
KING/EMPEROR JUSTINIAN
CHARLES MARTEL D’ANJOU
CHARLEMAGNE CARLUN ETC. KING MARSILIES -LIE ETC
VALDABRON -BRUN
QUEEN/EMPRESS RAHAB CONSTANCE
QUEEN BRAMIMOUND
BISHOPS FOLCO
PETER LOMBARD
(AND ROLAND)
BLANCANDRINS
ISIDORE OF SEVILLE BONAVENTURA FROM C12 127
ARCHBISHOP TURPIN ADMIRAL OF BALAGUET
KNIGHTS FOLCO
ROLAND -LLANT -LLANZ
BOËTHIUS
OLIVER
OTHERS
CACCIAGUIDA FROM C18 84
○●ALBERTUS MAGNUS / GUENELON GUENES ETC.
CUNIZZA BEDE
CLIMORINS
TURGIS OF TURTELOSE
OROSIUS
MARSILIES’S NEPHEW
PICCARDA
OPTIONAL RICHARD OF ST VICTOR SOLOMON
AQ continues to study in the library throughout.
Carles li reis, nostre emperere magnes…
And sought a plan, how Rollant might be slain.
■-■-[AQ]
19
C10 145
- C11 12
C11 12
CH/CH 1
CH/CH 404

* ?
ST FRANCIS MUSIC
BIRDS?
* CELESTIAL:
2-VOICED POLYPHONY
OR SILENCE
MUSIC: DOMINICAN?
MILITANT?
MUSIC ?
AQUINAS 3
AQ stands up.
AQ: The Providence…sun was born into this world.
AQ: So that whoever…by humbling himself.
MUSES cross stage and sit on steps in front of window
AQ: …he commended his Lady…no other deathbed for his body
AQ exits.
■-■-■
CHESS / CHANSON DE ROLAND 2 428-694
AQUINAS 4
[CP 25 / BS]-[CP 26 / table BS]-[CP 27 / library BS]
CLARE Pictures 25: Cat takes figurine to Porziuncola
CLARE Pictures 26: Francis finds figurine in nest
CLARE Pictures 27: Franciscans around Christmas crib
May God preserve you safe…
He’ll follow you to France, to your Empire.
AQ re-enters:
N ow think what he must be, who was a worthy colleague to
maintain the course of Peter’s boat in the right direction. Such was
our founder, Dominic…freights himself with good cargoes.
■-■-■?
20
C11 28-50
C11 52-111
C11 109
C11 112-114
C11 118
CH/CH 428
CH/CH 694
CELESTIAL 3 THE TURNING OF THE MUSES C12 1
■-[BEA]-■
MUSES sing, BEATRICE obscured by Calliope.
D: …The sacred mill begins to turn… song which is as far beyond
our Muses…as the first glory in its reflection.
MUSES outraged (B revealed) and leave to plot D’s destruction
B goes on singing D goes on describing: As 2 rainbows …the
outer answered the inner.
B goes backstage or comes through window onto stage. (see end)
■-■-■
ST BONAVENTURA
■-[CP 28]- [CP 29]
CLARE Pictures 28: Birds take off
CLARE Pictures 29: Francis & cat pursue
[ORANGE ☼ ]-[CP 28]- [CP 29]
Bo: Sono la vita di Bonaventura
[BO]-[CP 28]- [CP 29]
Biographer of St Francis, looks at the other windows.
Bo: The Love that adorns me, brings me to speak of the other
leader, on whose behalf such noble words are spoken. It is
right that…they shine together.
[BO]-■-■
Bo: Christ’s army…Dominic he was named.
[BO]-[CP 30]-[CP 31]
CLARE Pictures 30: St Dominic
CLARE Pictures 31: St Dominic’s dog
Bo: He showed himself truly a companion and messenger of
Christ…It was for this I came .
[BO]-■-■
Bo: Illuminato and…Pietro Mangiadore…company with me.
■-■-■
C11 118-120
C12 1
C12 3-9
C12 9
C12 9
C12 10-21
(C12 127)
C12 31-36
C12 37-69
C12 73-78
C12 133
C12 145

*
*
*
MUSIC ?
MUSIC ?
MUSIC ?
MUSIC ?
* CELESTIAL
SONG:
LOVE, BRIGHTNESS…
AMEN
CELESTIAL 4
[CP 32]-[CP 30]-[CP 31]
CLARE Pictures 32: Clare follows cat & Francis
BEA: Fifteen…stars...Ursa Major
D: Imagini…nostra usanza Bea: …in one Person.
■-■-■
AQUINAS 5
CHESS / CHANSON DE ROLAND 3 706-838
[CP 33 / BS]-[CP 34 / table BS Aquinas]-[CP 35 / library BS]
CLARE Pictures 33: Gubbio in fear
CLARE Pictures 34: Giant Wolf faces Francis
CLARE Pictures 35: Giant Wolf submits to Francis
AQ stands in front of table. Chansonniers are silent.
AQ: Since the one sheaf has been threshed…Solomon never had an
equal…centre of a target.
The game is well under way.
Towards Douce France that Emperour…
Great fear I have, since Rollant must remain.
■-■-■
AQUINAS 6 (VOICE)
[CP 36]-[CP 37]-[CP 38]
CLARE Pictures 36: Francis preaches to silent swallows
CLARE Pictures 37, 38: Francis preaches to many birds
AQ: That which does not die…would still be your first words.
Interpreted / versified by D and B.
C13 1-27
C13 4-9
C13 1-27
21
C13 34-51
CH/CH 706
CH/CH 838
C13 52-90
CHESS / CHANSON DE ROLAND 4 851-1336
■-■-■
[CP 39 / BS]-[CP 40 / table BS]-[CP 41 / library BS]
CLARE Pictures 39: Francis sets off in boat to Egypt
CLARE Pictures 40: Francis preaches to Sultan
CLARE Pictures 41: Francis returns to Italy
C13 90
Within three days come hundreds thousands four… CH/CH 851
■-■-■
From Mahumet your help will not come soon. CH/CH 1336
AQUINAS 7
■-[AQ]-■
AQ: But so that you now see…think who Solomon was…nor C13 91-102
whether a without a right angle in it can be constructed in
a semicircle…
ERATO, MELPOMENE, POLYHYMNIA form round D.
AQ: So, if you note…our Delight, Christ…entangles the intellect. C13 103-120
6 OTHER MUSES gather with boat to assault D.
AQ: …and before now I have seen, a ship…sink in the end,
entering the harbour mouth…AQ leaves? 6 MUSES disappear. C13 120
D: The water in a rounded dish…that sprang from his discourse. C13 136-138
POLYHYMNIA spills it.
C14 1-9
■-■-■
CELESTIAL 5
D:…As if pierced, and drawn out circle in the dance…
MODEST VOICE
SOULS/SOULS (CHORUS) Amen! BEA leaves stage until C18 3.
C14 19-33
C14 37-42
C14 62

*
*
*
*
*
CELESTIAL
CELESTIAL /
BE-A-TRI-CE
PROPHECY MOTIF:
SOFT
PROPHECY MOTIF
MUSIC?
* NOTE
* NOTE
▀
▀
MARS red (colour nominated by Dante)
C14
■-■-■
CELESTIAL 6
D: Look around! A shining dawn…my eyes cannot withstand
it…Christ on the cross…Here my memory outruns my
ability…con tutto ‘l core…Qui vince la memoria …Cristo…
Cristo…Cristo…
D: Perhaps it may be too bold to say so, as if it slighted the joy of
those lovely eyes…but he who recognises how those lovely seals
of all beauty have ever greater effect the higher the region…
■-[RED ☼]-■ CACCIAGUIDA’S light begins to glow?
D: The Benign Will…fire shining through alabaster…if our
greatest Muse is to be believed.
CALLIOPE walks menacingly towards D. CLIO passes her.
CALLIOPE slaps her and punches D.
POLYHYMNIA ERATO MELPOMENE vanish at CALLIOPE’s glare.
CACCIAGUIDA 1
CA: O sanguis meus, o superinfusa…I was your root…while only
anticipating you: Cacciaguida.
[CP 42]-[CP 43 / CACCIAGUIDA]-[CP 44]
CLARE Pictures 42: Francis pursues B & W dog
CLARE Pictures 43: White dog & bees pursue Crusad er
CLARE Pictures 44: Crusader pursues Saracen
D: He, the first Aligieri…from martyrdom to this peace.
D: Tell me then, dear source of me…the lily dyed red by division.
D: Dear ground of myself…you see contingent things…my
future…though I feel well set to resist Fortune’s blows.
URANIA (Prophecy) enters.
D: …my mind would be content to hear what fate comes to me,
since the arrow seen in advance arrives less suddenly
CA: You must be exiled from Florence… D transfixed… that is the
arrow that Exile’s bow will fire.
URANIA transfixes D again, with arrow & leaves. D falls to knees.
CA: You will prove how bitter the taste… …the wind strikes the
highest summits hardest…no small cause of honour.
■-■-■
CELESTIAL 7
BEA enters (from C14 135). D overjoyed, rises and gazes.
BEA: Change your thoughts…Turn now and listen, for not only in
my eyes is Paradise.
JUPITER white (colour nominated by Dante)
CELESTIAL 8
■-■-■
D looks & listens: As a man…as birds rising…letters…stay silent.
D: O Muse, Goddess of…illuminate me…brief words.
URANIA, invoked, finds D alive, breaks arrows and departs.
67-
22
C4 104
C14 67-108
C14 108
C14 130-135
C15 1-27
C15 27
C15 28-90
C15 91-148
C16 16-154
C17 13-24
C17 24
C17 25-27
C17 45
C17 46-57
C17 57
C17 58-135
C18 1
C18 5-21
C18 21-
C18 58-81
C18 82-87
C18 87

* MUSIC?
CELESTIAL?
* NOTE
SILENCE
▀
CHESS / CHANSON DE ROLAND 5 1526-1760
[CP 45 / BS]-[CP 46 / table BS]-[CP 47 / library BS]
CLARE Pictures 45: Francis on horseback
CLARE Pictures 46: Leper flees Francis
CLARE Pictures 47: Francis embraces leper
A Sarrazin was there of Sarraguce…
That were a lie, in any other mouth.
■-■-■
CELESTIAL 9
■-■-■
D: Then they showed themselves in 35 vowels…towards Himself
SATURN gold (colour nominated by Dante) par.16
C21-
CELESTIAL 10
[CP 48]-[CP 49]-[CP 50] 6 CP s in 3 windows.
[CP 51]-[CP 53]-[CP 52]
CLARE PICTURES: THE PICNIC
CLARE Pictures 48: Clare writes note, cat waits
CLARE Pictures 49: Cat carries note to Porziuncola
CLARE Pictures 50: Francis writes reply – cat & wolf
CLARE Pictures 51: Clare and sisters to glade
CLARE Pictures 52: Francis and brothers to glade
CLARE Pictures 53: Sisters and brothers picnic – cat & wolf
Unregarded by D and BEA.
BEA: Were I to smile, you would be turned to ashes…Saturn…in
this mirror.
D: Whoever knows…my sight is fed by her blessed aspect…joy of
obedience.
■-■-■
D: I see a ladder…splendours descending…rooks…particular
rung...glittering of spirits.
ST PETER DAMIAN
CHESS / CHANSON DE ROLAND 6 NO LINES
[CP 54]-[GOLD ☼]-[CP 55]
CLARE Pictures 54: Francis in snow with hamper
CLARE Pictures 55: Starving brigands
D: O come, per lo…why…silent…so devotedly.
PD: You have mortal hearing…I, Peter Damian…does not smile.
[CP 54]-[PD]-[CP 55]
…have descended…wisdom…assigns me here, as you see.
■-[PD]-■
D: Yes I see ..PD: Heaven takes it to itself.
[CP 56 / BS]-[PD]-[CP 57 / library BS]
CLARE Pictures 56, 57: Crusaders watch chess
PD is flanked by silent chansonniers as he speaks.
PD: Between Italy’s two coasts…. O patience that endures so
much!
CACCIAGUIDA looks and departs.
[CP 56 / BS]-■-[CP 57 / library BS]
■-■-■
23
CH/CH 1526
CH/CH 1760
C18 88-99
C21 5-18
C21 19-24
C21 29-42
C21 34
C21 55-60
C21 61-63
C21 64-72
C21 73-102
C21 106-135
C21 135

* CELESTIAL
DEEP FLAME SOUND
*
CELESTIAL
* NOTE
*
HORN TRIUMPHANT
* NOTE
CACCIAGUIDA 2 C21 135
[CP 56]- [CA CP 58]- [CP 57]
CLARE Pictures 58: Chess board
CACCIAGUIDA hangs from his horse’s neck to study chess board.
■-■-■
CELESTIAL 11
D startled.
BEA: …You are in Heaven?...Do you not know…l’aspetto redui
C22 7-21
ST BENEDICT
■-■-■ and stage dark?
[CP 59]-■-[CP 60]
CLARE Pictures 59, 60: Ravens & bread
[CP 59]-[GOLD ☼]-[CP 60]
BE: That mountain…Pagan gods. And I am Benedict
[CP 59]-[BE]-[CP 60]
C22 1
C22 37-40
who first carried…and I vanishing out of sight.
■-[BE]-■
■-■-■ and stage dark?
C22 40-69
THE FIXED STARS
GEMINI brighter sun, from above par.16 C22 106-
LOOKING DOWN 1 + . into faces of audience
■-■-■
D: You would not…to see the sign of Gemini…and to be inside it…
B: You are so near the highest blessedness…look down…
D: moon…Helios…Jupiter…Mars…
24
C22 109-111
C22 124-132
C22 133-154
CELESTIAL 12 C22 154
B: See the procession of Christ’s triumph… B: D: ……
B: Open your eyes…made you strong enough to endure my smile
D: That gift…If all of those tongues that Polyhymnia and her sister
Muses, enriched with their sweetest milk, sounded, the sound
would not reach…her sacred face.
Offstage slap. POLYHYMNIA crosses the stage, still with finger at
mouth, holding her other hand to the other side of her face.
CALLIOPE , the slapper, watches her go.
■-■-■
C23 1-10
C23 19-20
C23 49-60
C23-60
CHESS / CHANSON DE ROLAND 7 1913-2396 + 1406-1411 C23 60
[CP 61 / BS]-[CP 62 / table BS]-[ CP 63 / library BS]
CLARE Pictures 61: Clare, ciborium & armed devils
CLARE Pictures 62: Devils rising out of blackness
CLARE Pictures 63: Porziuncola besieged by devils
Although fled be Marsilies…
Were hanged, a thing they never did expect. Final
■-■-■
CH/CH 1913
CH/CH 1411

*
*
*
*
I AM GABRIEL
CIRCLING MELODY
REGINA COELI
sample from
SOCIETÀ DANTESCA:
http://www.danteonline.it/
english/risorse.htm
DIO LAUDAMO
CELESTIAL
PROPHECY MOTIF
CELESTIAL?
THEY HOPE IN YOU?
* CELESTIAL
ENDS HOLY! HOLY!
HOLY!
GLORY TO THE FATHER
CELESTIAL 13
[CP 64]- [CP 65]-[CP 66]
CLARE Pictures 64: Francis’s halo of swallows
CLARE Pictures 65, 66: Birds fly as cross
D: And so the sacred poem must take a leap…it is not a path for a
little boat that my bold keel cuts as it goes…
BEA: Why does my face so entrance you that you do not turn to
the lovely Garden that flowers below the rays of Christ…the
good way was taken.
D: As I have seen, before now, a meadow…I saw many crowds of
splendours…the brightest Heaven.
GABRIEL: (Spoken or sung): I am Gabriel…by entering it.
D: She climbs after her own child.
■-[BE]-■ ST BERNARD (2) watches.
BEA: O company, elected…on which his thought is fixed.
D: …those joyful spheres…my pen passes on, and I do not write…
■-[WHIRLING YELLOW? ☼ ☼ ☼]-■
ST PETER Faith
■-[STEADY YELLOW? ☼]-■
PE: O my holy sister…you free me from this lovely sphere
BEA: ST PETER!
■-[SEA PE & bow of boat]-■
or [SEA]-[ SEA PE & bow of boat]-[SEA] windows undivided
ST PETER in rowing boat on Sea of Galilee:
PE: Speak, good Christian…what is Faith? PE: D:.hundredth of it.
P: D: Say what you believe…One essence,and Threefold.
BEA faces boat, hiding it.
D: If it should ever come to pass, that the sacred poem, to which
Heaven and Earth have set their hand, so that it has made me
lean through many a year…I will return a poet…and assume the
wreath at my baptismal font…
BEA: See! See! Behold James… D: BEA: …..
ST JAMES Hope
■-[SEA JA & stern of boat to audience]-■ or
[SEA]- [SEA JA & stern of boat to audience]-[SEA]
JA: Lift your head…say what Hope is… D: B: …in its own land,
and its own land is this sweet life.
ST JOHN Love
Light flashes D: come surge e lo schiarato splendore D: blinded
[SEA]-[JA, JO, PE boat at right angles]-[SEA] windows undivided
BEA: This is John…Mary to his care…
JO: …your vision is…not destroyed JO: D: …offered… by Him.
■-■-■
CELESTIAL 14
[CP 67]- [CP 68]-[CP 69]
CLARE Pictures 67, 68, 69: Francis in tree at Porziuncola
25
CH/CH 1411
C23 61
C23 61-69
C23 70-75
C23 79-102
C23 103
C23 102
C23 120
C24 1-9
C24 10-27
C24 28-51
C24 52-108
C24 108
C24 108-140
C2 140
C25 1-9
C25 17-18
C25 34-93
C25 93
C25 103-106
C25 112 114
C26 8-66
C26 66

?
?
?
*
*
*
CANTICLE OF THE
CREATURES
CANTICLE OF THE
CREATURES
CANTICLE OF THE
CREATURES
HOSANNA
BE-A-TRI-CE MOTIF
/ CELESTIAL ?
BE-A-TRI-CE MOTIF
BE-A-TRI-CE MOTIF
AVE MARIA
LOOKING DOWN (2) . into faces of audience
BEA: leads D: to stagefront, restores his sight. BEA: Look down…
D: …Ulysses…nothing compared to the divine delight…when I
turned towards her smiling face.
THE PRIMUM MOBILE
BEA gazes up. The nature of the universe…its leaves in the rest.
ST FRANCIS sings as if from a long way off:
PART 1: Altissimu, onnipotente bon signore…fior et herba.
BEA: …before January is…un-wintered…ripe fruit will follow the
flower.
PART 2: Laudati si’, mi signore…incoronati.
BEA: D: Heaven and all Nature hangs…pierced by.
D: The truth is seen…chessboard at every square.
PART 3: Laudato s’ mi Signore…cum grande humilitate.
[CP 70]-[ CP 71]-[CP 72]
CLARE Pictures 70, 71, 72: Dove rises from Porziuncola
■-■-■
[CP 73]-[ CP 74]-[CP 75]
CLARE Pictures 73, 74, 75: Dove above Assisi
■-■-■
[CP 76]-[ CP 77]-[CP 78]
CLARE Pictures 76, 77, 78: Dove above Umbria, or in Heaven
■-■-■
[CP 79]-[CL]-[CP 80]
CLARE Pictures 79: Francis’s hand with stigma
CLARE Pictures 80: Francis’s dead face
ST CLARE veiled outside San Damiano.
The song ceases. ST CLARE turns.
■-■-■ almost immediately to:
[SUN]-[CL,18, in plaits & dress, with FRANCIS ]-[SUN]
■-■-■
BEA: I have seen the point of Creation… a separate beginning
D focuses on BEA, interpolates BEA: Concreato…l’è aperto.
D: If that which is said of her…artist must at his furthest reach.
THE EMPYREAN near-darkness
CELESTIAL 15
D B gaze up.
D: Heaven quenches star after star…transcends every sweetness
TERPSICHORE takes D’s book from his back. MUSES ALL alter,
return it.
D: B: …..… B kisses D’s book, removing the alterations.
CELESTIAL 16
THE ROSE .D: O splendour of God…eternal Spring.
D: The sacred army… the whiteness of snow.
D raises his eyes a little & looks for B’s face. Where is she?
He sees her crowned.
D raises his eyes as high as he can and is transfixed.
The music fades to nothing. D continues to watch for an eternity –
1 minute of ordinary time? – then turns to audience and opens book.
26
C27 77
C27 78-96
C27 106-120
C27 120
C27 142-148
C28 42-45
C28 86-93
C28 93
C29 11-30
C29 31-66
(C30 16-30)
C30 8-42
C30 42
C30 42-81
C30 97-128
C31 1-27
C31 64

*
ANTHEM
THE FINAL VISION
D: My vision then…O Supreme Light…lend to my mind again a C33 55-69
little of what you seemed then...
SUN yellow spotlight from above, returns
C33 69
D: …give my tongue such power…Love that moves the Sun and the C33 70-145
other stars.
◘ FINALE
Singers, director, musical director etc. join D on stage.
[BS]-[BS]-[BS] (windows undivided)
The BLESSED SOULS crowd to bless the audience. The MUSES trot
on stage, alarmingly, and push TERPSICHORE forward, a ‘shy
child’ holding something behind her back. D prepares to defend
himself. TERPSICHORE whips out a laurel wreath.
[BS]-[BEA]-[BS] (windows undivided)
B appears in a window, blesses the audience and smiles.
Demanifestation of BS in whirl of colours.
C33 145
27

DANTE DRAMATISED
DANTE DRAMMATIZZATO
8. IL PARADISO
CHARACTER -1321 + = -1321 or later 1283↔1300 = between 1283 and 1300 ?? = a guess
PLACE./.LANGUAGE ETC given when the character is first seen or heard by the audience
MALE FEMALE FEMALE optional words added to Dante’s & Kline’s
INTRODUCTION
♫OVERTURE * * * * * * * * * *
CANTO 1
Triptych dark
■ - ■ - ■
yellow SUN spotlight
THE SPOTLIGHT, REPRESENTING THE SUN, PICKS OUT DANTE. HE STANDS NEAR THE FRONT OF THE STAGE,
HOLDING HIS BOOK. HE LOOKS UPWARD.
28

DANTE ALIGHIERI 1265 - 1321 AGE : 34 (ABOUT 2 MONTHS SHORT OF 35)
PLACE./.LANGUAGE ETC
FLORENCE.
DESCRIPTION
AS HE IS ORDINARILY SHOWN BUT WITHOUT THE LAUREL WREATH, WHICH HE EARNS AT THE END OF THE
COMMEDIA. HIS GARMENT IS WRAPPED MANY TIMES AROUND WITH A THIN, TASSELLED WAIST-CORD, WHICH HE
USED IN DANTE DRAMATISED: L’INFERNO.
HE CARRIES A BOOK, NOT HIS DIVINE COMEDY BUT A WORKBOOK FOR IT, PROBABLY COMPOSED OF WAX TABLETS
OR SLATES WITH THE STYLUS KEPT IN THE SPINE. ON HIS CHEST IS A BOOKHOLDER WHICH HE USES AT HIS
CONVENIENCE THROUGHOUT THE DRAMATISATION. THERE IS A SIMILAR ONE ON HIS BACK. OTHER MAJOR
CHARACTERS WITH BOOKS HAVE SIMILAR HOLDERS.
THE MUSES SIT STILL ON THE SHALLOW STEPS LEADING UP ONE OF THE WINDOWS. EACH HOLDS A BOOK
INSCRIBED WITH THE SYMBOL OF THEIR DOMAIN:
THE MUSES MYTHICAL AGE : YOUNG
LE MUSE
PLACE./.LANGUAGE ETC
GREECE.
DESCRIPTION
THE 9 GODDESSES WHO INSPIRE HUMANITY, AND MAIM, DESTROY OR TRANSFORM INTO BIRDS ANY HUMAN WHO
CHALLENGES THEIR SUPREMACY.
EACH MUSE CARRIES A WHITE BOOK WITH HER SYMBOL ON IT. THE MUSES ARE DRESSED IDENTICALLY, IN WHITE,
TO LET THEM SERVE IN BOTH PAGAN AND CHRISTIAN CAPACITIES. CALLIOPE, THE ELDEST SISTER, MAY BE
DISTINGUISHED BY HER HEIGHT AND/OR A GOLD BAND ON HER HEAD. TERPSICHORE IS THE SMALLEST MUSE AND
EUTERPE, PERHAPS, THE 2 ND SMALLEST. POLYHYMNIA (NEARLY?) ALWAYS WEARS HER PENSIVE LOOK AND HAS A
FINGER AT THE MOUTH. WHEN THE MUSES SING CHRISTIAN MUSIC ON STAGE THEY SHOW THE BACK OF THEIR
BOOKS. ALL THE MUSES’ PROPS ARE IMAGINARY EXCEPT FOR THEIR BOOKS AND EUTERPE’S FLUTE IN DANTE
DRAMATISED:L’INFERNO.
NAME SYMBOL DOMAIN INTEREST
CALLIOPE (CALLIOPEIA) Writing tablet Epic Poetry Philosophy
CLIO Scroll History the Alphabet
ERATO Lyre Love Poetry
EUTERPE Double flute Music
MELPOMENE Tragic mask Tragedy Chanting
POLY(HY)MNIA Pensive mask; finger at mouth Sacred Poetry Geometry
TERPSICHORE Dancing figure Dancing
THALIA (THALEIA) Comic mask Comedy
URANIA (OURANIA) [Staff points to] globe or stars Astronomy Prophecy
DANTE OPENS HIS BOOK, RAISES HIS ARM AND PROCLAIMS [PUR C1 1-12] IN ITALIAN TO ONE SIDE OF THE
AUDIENCE. HE HAS BEEN IN PARADISE.
DANTE:
PAR C1 1-3 / DANTE PAR C1 1-12 / KLINE
La gloria di colui che tutto move The glory of Him, who moves all things,
per l'universo penetra, e risplende penetrates the universe, and glows
in una parte più e meno altrove. in one region more, in another less.
PAR C1 4-6 / DANTE
Nel ciel che più de la sua luce prende I have been in that Heaven that knows his light most,
fu' io, e vidi cose che ridire and have seen things, which whoever descends from
né sa né può chi di là sù discende; there has neither power, nor knowledge, to relate:
PAR C1 7-9 / DANTE
perché appressando sé al suo disire, because as our intellect draws near to its desire,
nostro intelletto si profonda tanto, it reaches such depths that memory
che dietro la memoria non può ire. cannot go back along the track.
29

PAR C1 10-12 / DANTE
Veramente quant' io del regno santo Nevertheless, whatever, of the sacred regions,
ne la mia mente potei far tesoro, I had power to treasure in my mind,
sarà ora materia del mio canto. will now be the subject of my labour.
DANTE TURNS TO THE OTHER SIDE AND REPEATS THE LINES IN ENGLISH.
DANTE:
PAR C1 1-3 / DANTE PAR C1 1-12 / KLINE
La gloria di colui che tutto move The glory of Him, who moves all things,
per l'universo penetra, e risplende penetrates the universe, and glows
in una parte più e meno altrove. in one region more, in another less.
PAR C1 4-6 / DANTE
Nel ciel che più de la sua luce prende I have been in that Heaven that knows his light most,
fu' io, e vidi cose che ridire and have seen things, which whoever descends from
né sa né può chi di là sù discende; there has neither power, nor knowledge, to relate:
PAR C1 7-9 / DANTE
perché appressando sé al suo disire, because as our intellect draws near to its desire,
nostro intelletto si profonda tanto, it reaches such depths that memory
che dietro la memoria non può ire. cannot go back along the track.
PAR C1 10-12 / DANTE
Veramente quant' io del regno santo Nevertheless, whatever, of the sacred regions,
ne la mia mente potei far tesoro, I had power to treasure in my mind,
sarà ora materia del mio canto. will now be the subject of my labour.
PAR C1 13-15 / DANTE PAR C1 13-15 / KLINE
O buono Appollo, a l'ultimo lavoro O good Apollo for the final effort,
fammi del tuo valor sì fatto vaso, make me such a vessel of your genius,
come dimandi a dar l'amato alloro. as you demand for the gift of your beloved laurel.
APOLLO, GOD OF THE SUN ETC. IS EQUATED TO CHRIST, GOD.
PAR C1 16-18 / DANTE
Infino a qui l'un giogo di Parnaso Till now, one peak of Parnassus was enough,
assai mi fu; ma or con amendue but now inspired by both
m'è uopo intrar ne l'aringo rimaso. I must enter this remaining ring.
PAR C1 19-21 / DANTE
Entra nel petto mio, e spira tue Enter my chest, and breathe.
sì come quando Marsïa traesti as you did when you drew Marsyas out
de la vagina de le membra sue. of the sheath that covered his limbs.
DANTE:
PAR C1 19 / DANTE PAR C1 19 / KLINE
Entra nel petto mio, e spira tue Enter my chest, and breathe.
DANTE:
PAR C1 22-24 / DANTE PAR C1 22-24 / KLINE
O divina virtù, se mi ti presti O Divine Virtue if you lend me your help, so
tanto che l'ombra del beato regno that I can reveal that shadow of the kingdom
segnata nel mio capo io manifesti, of the Blessed, stamped on my brain,
PAR C1 25-27 / DANTE
vedra'mi al piè del tuo diletto legno you will see me come to your chosen bough,
venire, e coronarmi de le foglie and there crown myself with the leaves, that
che la materia e tu mi farai degno. you, and the subject, will make me worthy of.
30

PAR C1 28-30 / DANTE
Sì rade volte, padre, se ne coglie Father, they are gathered, infrequently from it,
per trïunfare o cesare o poeta, for a Caesar’s or a Poet’s Triumph, through
colpa e vergogna de l'umane voglie, the fault, and to the shame, of human will:
DANTE TRIES ON AN IMAGINED LAUREL WREATH…
DANTE:
PAR C1 31-33 / DANTE PAR C1 31-33 / KLINE
che parturir letizia in su la lieta so the leaves of Daphne’s tree, the Peneian
delfica deïtà dovria la fronda frond, should light joy in the joyful Delphic
peneia, quando alcun di sé asseta. god, when it makes someone long for them.
DAPHNE: DAUGHTER OF THE RIVER-GOD, PENEUS, PURSUED BY APOLLO AND CHANGED TO THE LAUREL.
PAR C1 34-36 / DANTE PAR C1 34-36 / KLINE
Poca favilla gran fiamma seconda: A great flame follows a tiny spark:
forse di retro a me con miglior voci perhaps, after me, better voices
si pregherà perché Cirra risponda. will pray, and Parnassus will respond.
…AND VERSIFIES.
DANTE:
PAR C1 31-33 / DANTE PAR C1 31-33 / KLINE
che parturir letizia in su la lieta so the leaves of Daphne’s tree,
delfica deïtà dovria la fronda the Peneian frond, should light joy in the joyful
peneia, quando alcun di sé asseta. Delphic god, when it makes someone long for them.
PAR C1 34-36 / DANTE PAR C1 34-36 / KLINE
Poca favilla gran fiamma seconda: A great flame follows a tiny spark:
forse di retro a me con miglior voci perhaps, after me, better voices
si pregherà perché Cirra risponda. will pray, and Parnassus will respond.
DANTE HAS RETURNED TO THE BEGINNING OF HIS VISIT TO PARADISE. HE GAZES UP.
DANTE:
PAR C1 37-39 / DANTE PAR C1 37-39 / KLINE
Surge ai mortali per diverse foci The Light of the World rises, for mortals,
la lucerna del mondo; ma da quella through different gates: but he issues
che quattro cerchi giugne con tre croci, on a happier course, and is joined
PAR C1 40-42 / DANTE
con miglior corso e con migliore stella to happier stars, and moulds and stamps the earthly
esce congiunta, e la mondana cera wax more in his manner, when his rising
più a suo modo tempera e suggella. joins four circles in three crosses.
AT THE EQUINOX, AT SUNRISE, THE CELESTIAL CIRCLES OF THE ECLIPTIC & THE EQUINOCTIAL & EQUATORIAL COLURES, CROSS
THE CELESTIAL CIRCLE OF THE HORIZON AT THE SAME POINT. EACH OF THE 3 THEN FORMS A CROSS WITH THE HORIZON.
ALLEGORICALLY, GOD MOST INFLUENCES THE WORLD THROUGH THE 4 CARDINAL VIRTUES (TEMPERANCE, FORTITUDE, JUSTICE
& PRUDENCE) WHEN THEY ARE JOINED TO FORM THE 3 THEOLOGICAL VIRTUES (FAITH, HOPE & CHARITY). THE HAPPIEST
CONSTELLATION IS ARIES, THE SIGN IN WHICH THE SUN WAS AT THE CREATION.
PAR C1 43-51 / KLINE
It had made it morning there, when it was evening here: and now that hemisphere was all bright, at noon, and this one
dark, when I saw Beatrice, turned towards her left, gazing at the sun. No eagle ever fixed its eyes on it so intently. And
even as the reflected ray always issues from the first, and rises back upwards, like a pilgrim wishing to return,
DANTE, UNABLE TO ENDURE THE LIGHT, LOWERS HIS GAZE AND ADDRESSES THE AUDIENCE.
31

PAR C1 52-54 / KLINE
so my stance took its form from hers, infused through the eyes into my imagination, and I fixed my eyes on the sun,
beyond our custom.
DANTE or DANTE:
PAR C1 55-57 / DANTE PAR C1 55-57 / KLINE
Molto è licito là, che qui non lece Much is allowed to our powers there, which is not
a le nostre virtù, mercé del loco allowed, through the gift of that place,
fatto per proprio de l'umana spece. made to fit the human species.
PAR C1 58-60 / DANTE
Io nol soffersi molto, né sì poco, I could not endure it long, but enough to see
ch'io nol vedessi sfavillar dintorno, him sparkle all round, like iron poured,
com' ferro che bogliente esce del foco; molten, from the furnace.
A SUN SPOTLIGHT FROM THE SAME SOURCE PICKS OUT BEATRICE, GAZING UPWARD.
DANTE TURNS TOWARDS HER.
BEATRICE (BICE DI FOLCO PORTINARI) 1266 - 1290 AGE : 24
PLACE./.LANGUAGE ETC
BORN IN FLORENCE, BICE DI FOLCO PORTINARI (BEATRICE) WAS FIRST SEEN BY DANTE WHEN SHE WAS 8 YEARS OLD &
HE WAS 9. HIS LOVE FOR HER INSPIRED THE VITA NUOVA & THE DIVINE COMEDY, IN WHICH SHE REPRESENTS DIVINE
PHILOSOPHY.
DESCRIPTION
HER DRESS IS APPROPRIATE FOR HER ERA. SHE HOLDS A BIBLE.
♫BE-A-TRI-CE MOTIF DEVELOPED? * * * * * * * * * *
PAR C1 60
See L’Inferno.
Four notes, representing the syllables of the name in Italian: Be – a – tri – ce.
In some segments the motif may be developed.
DANTE:
PAR C1 61-63 / DANTE PAR C1 61-63 / KLINE
e di sùbito parve giorno a giorno And suddenly, it seemed that day was Day is
essere aggiunto, come quei che puote added to day, as though He who has the power,
avesse il ciel d'un altro sole addorno. had has equipped Heaven with a second sun.
PAR C1 64-72 / KLINE
Beatrice was standing, with her gaze fixed on the eternal spheres, and I, removing my sight from above, fixed it on her.
In that aspect I became, inwardly, like Glaucus eating the grass that made him one with the gods of the sea. To go
beyond Humanity is not to be told in words: so let the analogy serve for those to whom grace, alone, may allow the
experience.
DANTE LOOKS AT BEATRICE, THEN ABOVE.
DANTE:
PAR C1 73-75 / DANTE PAR C1 73-75 / KLINE
S'i' era sol di me quel che creasti Love, who rules the Heavens, you know,
novellamente, amor che 'l ciel governi, who lifted me upwards, with your light, whether
tu 'l sai, che col tuo lume mi levasti. I was only that which you created, new in me.
CORINTHIANS 12 2. THE SOUL IS A NEW CREATION OF GOD’S, NOT GENERATED BY NATURE.
32

DANTE:
PAR C1 73-75 / DANTE PAR C1 73-75 / KLINE
S'i' era sol di me quel che creasti Love, who rules the Heavens, you know,
novellamente, amor che 'l ciel governi, who lifted me upwards, with your light, whether
tu 'l sai, che col tuo lume mi levasti. I was only that which you created, new in me.
PAR C1 76-78 / DANTE
Quando la rota che tu sempiterni When the sphere, which you make eternal through
desiderato, a sé mi fece atteso the world’s longing, drew my mind towards itself
con l'armonia che temperi e discerni, with that harmony which you tune and modulate,
ARISTOTLE: GOD CAUSES THE ETERNAL MOVEMENT OF THE CELESTIAL SPHERES THROUGH THE LOVE & LONGING HE INSPIRES IN
THE UNIVERSE.
PAR C1 79-81 / DANTE
parvemi tanto allor del cielo acceso so much of the Heavens seemed seems to me then
de la fiamma del sol, che pioggia o fiume lit by the sun’s flame, that no rainfall or river’s flow
lago non fece alcun tanto disteso. ever made so wide an expanse of lake.
PAR C1 82-84 / DANTE
La novità del suono e 'l grande lume The novelty of the sound, and the great light,
di lor cagion m'accesero un disio lit ignite a greater longing in me than I had have
mai non sentito di cotanto acume. ever felt., desiring to know their cause.
7 PLANETARY SPHERES PRODUCE DIVINE HARMONIES LIKE THE SEVEN STRINGS OF A LYRE (EXPRESSLY REJECTED BY ARISTOTLE).
PAR C1 85-87 / KLINE
So that She, who saw me as I see myself, opened her lips, to still my troubled mind, before I could open mine to ask,
BEATRICE:
PAR C1 88-90 / DANTE PAR C1 88-90 / KLINE
e cominciò: Tu stesso ti fai grosso and said You make yourself stupid with false
col falso imaginar, sì che non vedi imaginings, and so you do not see., what
ciò che vedresti se l'avessi scosso. you would see, if you discarded them.
THE SPOTLIGHT BROADENS AND LOSES ITS INTENSITY. THE STAGE IS NOW LIT IN PALEISH
SUNLIGHT.
BEATRICE:
PAR C1 91-93 / DANTE PAR C1 91-93 / KLINE
Tu non se' in terra, sì come tu credi; You are no longer on earth, as you think,
ma folgore, fuggendo il proprio sito, but lightning leaving its proper home, never flew
non corse come tu ch'ad esso riedi. as quickly as you, who are returning there.
PAR C1 94-96 / KLINE
If my first perplexity was answered by the brief smiling words, I was more entangled by a second,
DANTE:
PAR C1 97-99 / DANTE PAR C1 97-99 / KLINE
e dissi: Già contento requïevi and I said: Content, and already free of one
di grande ammirazion; ma ora ammiro great wonder, now I am startled as to how
com' io trascenda questi corpi levi. How do I lift above lighter matter?
THE SPHERE OF FIRE SURROUNDS THE SPHERE OF AIR WITH ‘A SECOND ATMOSPHERE’. AIR IS RELATIVELY LIGHT & FIRE
ABSOLUTELY LIGHT.
PAR C1 100-102 / KLINE
At that, after a sigh of pity, she turned her eyes towards me, with that look a mother gives to her fevered child,
BEATRICE SIGHS WITH PITY AND GIVES DANTE THE ‘LOOK A MOTHER GIVES TO HER FEVERED
CHILD’ [PAR C1 100-102] AS SHE EXPLAINS UNIVERSAL ORDER.
33

BEATRICE:
PAR C1 103-105 / DANTE PAR C1 103-105 / KLINE
e cominciò: Le cose tutte quante and began: All things observe a mutual order
hanno ordine tra loro, e questo è forma among themselves, and this is the structure
che l'universo a Dio fa simigliante. that makes the universe resemble God.
PAR C1 106-108 / DANTE
Qui veggion l'alte creature l'orma In it the higher creatures find the signature
de l'etterno valore, il qual è fine of Eternal Value, which is the end for which
al quale è fatta la toccata norma. these laws were made, that I speak of.
PAR C1 109-111 / DANTE
Ne l'ordine ch'io dico sono accline In that order, I say, all things are graduated,
tutte nature, per diverse sorti, in diverse allocations, nearer to,
più al principio loro e men vicine; or further from, their source,
PAR C1 112-114 / DANTE
onde si muovono a diversi porti so that they move towards diverse harbours,
per lo gran mar de l'essere, e ciascuna over the great sea of being, each one with
con istinto a lei dato che la porti. its given instincts that carry it onwards.
THE MUSE ERATO STANDS AND TAKES AN ARROW FROM A QUIVER ON HER BACK. SHE DRAWS
IT ON HER BOW, AIMING IT AT A TARGET OFF STAGE TO THE LEFT OR RIGHT.
N.B. THE PARAPHERNALIA OF ALL THE MUSES IS IMAGINARY.
THIS IS THE FIRST OF THE FIGURES (BOW & ARROW, BOAT & EATING/FOOD) WITH WHICH THE
MUSES SUPPLY DANTE IN DANTE DRAMATISED: IL PARADISO.
BEATRICE:
PAR C1 115-117 / DANTE PAR C1 115-117 / KLINE
Questi ne porta il foco inver' la luna; This instinct carries the fire towards the moon;
questi ne' cor mortali è permotore; that one is the mover in the mortal heart;
questi la terra in sé stringe e aduna; this other pulls the earth together and unifies it.
ERATO RELEASES HER IMAGINARY ARROW.
BEATRICE:
PAR C1 118-120 / DANTE PAR C1 118-120 / KLINE
né pur le creature che son fore And this bow does not only fire fires creatures
d'intelligenza quest' arco saetta, that are lacking in intelligence, but also
ma quelle c'hanno intelletto e amore. and those that have intellect and love.
ERATO OR ANOTHER MUSE, DRAWS AND AIMS A SECOND ARROW AS BEATRICE SPEAKS THE
NEXT VERSE AND LOOKS AT DANTE.
BEATRICE:
PAR C1 121-123 / DANTE PAR C1 121-123 / KLINE
La provedenza, che cotanto assetta, The Providence that orders it so, makes
del suo lume fa 'l ciel sempre quïeto the Empyrean, in which the ninth sphere whirls
nel qual si volge quel c'ha maggior fretta; with the greatest speed, quiet, with its light:
THE EMPYREAN WHICH IS NOT SPATIAL DOES NOT MOVE & HAS NO POLES, IT SURROUNDS THE PRIMUM MOBILE, THE 9TH
HEAVEN, THE OUTERMOST & SWIFTEST OF THE SPHERES, WITH LIGHT & LOVE.
THE SECOND ARROW IS RELEASED.
34

BEATRICE:
PAR C1 124-126 / DANTE PAR C1 124-126 / KLINE
e ora lì, come a sito decreto, and the power of the bowstring, that directs
cen porta la virtù di quella corda whatever it fires towards a joyful target, carries us
che ciò che scocca drizza in segno lieto. towards it now, as if to the appointed place.
PAR C1 127-129 / DANTE
Vero è che, come forma non s'accorda It is true that, as form is sometimes
molte fïate a l'intenzion de l'arte, inadequate to the artist’s intention,
perch' a risponder la materia è sorda, because the material fails to answer,
PAR C1 130-132 / DANTE
così da questo corso si diparte so the creature, that has power, so impelled,
talor la creatura, c'ha podere to swerve towards some other place,
di piegar, così pinta, in altra parte; sometimes deserts the track
PAR C1 133-135 / DANTE PAR C1 133-135 / KLINE
e sì come veder si può cadere (just as fire can be seen, darting down from a cloud)
foco di nube, sì l'impeto primo if its first impulse is deflected
l'atterra torto da falso piacere. towards earth by false pleasures.
AS BEATRICE SPEAKS, THE MUSES BEHIND HER HOLD STEADY A ‘LITTLE BOAT’ INTO WHICH
EUTERPE STEPS AND SITS.
BEATRICE:
PAR C1 136-138 / DANTE PAR C1 136-138 / KLINE
Non dei più ammirar, se bene stimo, You should not wonder more at your ascent,
lo tuo salir, se non come d'un rivo if I judge rightly, than at rivers falling,
se d'alto monte scende giuso ad imo. from mountains to their foot.
PAR C1 139-141 / DANTE
Maraviglia sarebbe in te se, privo It would be a marvellous thing, in you, if without any
d'impedimento, giù ti fossi assiso, obstruction, you had settled below; just as stillness
com' a terra quïete in foco vivo. would be marvellous, on earth, in a living flame.
PAR C1 142 / DANTE
Quinci rivolse inver' lo cielo il viso. At that She turned her gaze back towards Heaven.
BEATRICE TURNS HER GAZE BACK TO HEAVEN [PAR C1 142].
CANTO 2
DANTE COMES TO THE FRONT OF THE STAGE AND ADDRESSES THE LOWER PART OF THE AUDIENCE.
DANTE:
PAR C2 1-3 / DANTE PAR C2 1-3 / KLINE
O voi che siete in piccioletta barca, O you, in your little boat, who, longing to hear,
desiderosi d'ascoltar, seguiti have followed my keel, singing on its way,
dietro al mio legno che cantando varca, turn to regain your own shores:
PAR C2 4-6 / DANTE
tornate a riveder li vostri liti: do not commit to the open sea,
non vi mettete in pelago, ché forse, since, losing me, perhaps,
perdendo me, rimarreste smarriti. you would be left adrift.
35

PAR C2 7-9 / DANTE
L'acqua ch'io prendo già mai non si corse; The water I cut was never sailed before:
Minerva spira, e conducemi Appollo, Minerva breathes, Apollo guides,
e nove Muse mi dimostran l'Orse. and the nine Muses point me toward the Bears.
(SEE [PAR C23 67-69] FOR A SIMILAR LITTLE BOAT FIGURE.)
THE MUSES SPRING INTO ACTION. CALLIOPE REACHES HER HAND DOWN TO HELP EUTERPE OUT OF HER
LITTLE BOAT. EUTERPE PRETENDS TO TAKE FOOD FROM CALLIOPE’S HAND WITH HER HAND OR MOUTH. THE
OTHER MUSES STEADY EUTERPE’S BOAT FOR HER TO GET OUT.
EUTERPE PICKS UP HER LITTLE BOAT AND PUTS IT SOMEWHERE OUT OF THE WAY. (SHE RETURNS TO IT FOR
THE NEXT BOAT FIGURE [PAR C8 51].) THE MUSES FORM UP AS 1 OR 2 CHORUS LINES.
MEANWHILE, DANTE VERSIFIES TO THE LOW PART OF HIS AUDIENCE, THEN ADDRESSES THE HIGHER ONES.
DANTE:
PAR C2 1-3 / DANTE PAR C2 1-3 / KLINE
O voi che siete in piccioletta barca, O you, in your little boat, who, longing to hear,
desiderosi d'ascoltar, seguiti have followed my keel, singing on its way,
dietro al mio legno che cantando varca, turn to regain your own shores:
PAR C2 4-6 / DANTE
tornate a riveder li vostri liti: do not commit to the open sea,
non vi mettete in pelago, ché forse, since, losing me, perhaps,
perdendo me, rimarreste smarriti. you would be left adrift.
PAR C2 7-9 / DANTE
L'acqua ch'io prendo già mai non si corse; The water I cut was never sailed before:
Minerva spira, e conducemi Appollo, Minerva breathes, Apollo guides,
e nove Muse mi dimostran l'Orse. and the nine Muses point me toward the Bears.
DANTE:
PAR C2 10-12 / DANTE PAR C2 10-12 / KLINE
Voialtri pochi che drizzaste il collo You other few, who have lifted your mouths, in
per tempo al pan de li angeli, del quale time, towards the bread of Angels, by which life up
vivesi qui ma non sen vien satollo, here is nourished, and from which none of them
come away sated…,
♫RESPONSE TO INVOCATION * * * * * * * * * *
PAR C2 12
DANTE ADDRESSES THE HIGHER PART OF HIS AUDIENCE AGAIN.
DANTE: & DANTE:
PAR C2 10 / DANTE PAR C2 10 / KLINE
Voialtri pochi che drizzaste il collo You other few, who have lifted your mouths, in
time,
DANTE:
PAR C2 13-15 / DANTE PAR C2 13-15 / KLINE
metter potete ben per l'alto sale you may truly set your ship to the deep
vostro navigio, servando mio solco saltwater,following my furrow, in front
dinanzi a l'acqua che ritorna equale. of the water falling back to its level.
DANTE BEGINS LOOKING AT BEATRICE AS HE SPEAKS. SHE IS STILL LOOKING UP. ALL THE MUSES LOOK UP,
TOO.
36

DANTE:
PAR C2 16-18 / DANTE PAR C2 16-18 / KLINE
Que' glorïosi che passaro al Colco The glorious Argonauts who sailed to Colchis,
non s'ammiraron come voi farete, who marvelled when they saw Jason turned
quando Iasón vider fatto bifolco. ploughman, did not marvel as much as you will.
COLCHIS: PR. kol’kis.
JASON: TO WIN THE GOLDEN FLEECE HE HAD TO YOKE THE BRONZE-FOOTED FIRE-BREATHING BULLS, PLOUGH THE FIELD OF ARES
& SOW THE SERPENT’S TEETH. OVID’S METAMORPHOSES 7 1 ET SEQ.
THE 7 PLANETARY SPHERES
PLANETARY SPHERE 1: MOON
pearl (colour nominated by Dante; would not print, so this colour substituted)
▀
ERATO RAPIDLY DRAWS AN ARROW AND SHOOTS STRAIGHT UP. THE OVERHEAD LIGHT FLASHES PEARL,
THEN MAY SETTLE TO A FAINT PEARL. DANTE, BEATRICE AND THE MUSES HAVE RISEN TO THE SPHERE OF
THE MOON.
DANTE WRITES AND READS.
DANTE:
PAR C2 19-21 / DANTE PAR C2 19-21 / KLINE
La concreata e perpetüa sete The inborn, perpetual thirst for the divine
del deïforme regno cen portava regions lifted us, almost as swiftly as
veloci quasi come 'l ciel vedete. you see the Heavens move.
PAR C2 22-24 / DANTE PAR C2 22-24 / KLINE
Beatrice in suso, e io in lei guardava; Beatrice was gazing upwards, and I at her: and I saw
e forse in tanto in quanto un quadrel posa myself arriving, in the space of time perhaps it takes
e vola e da la noce si dischiava, an arrow to be drawn, released, and leave the notch,
DANTE LOOKS AROUND.
DANTE:
PAR C2 25-27 / DANTE PAR C2 25-27 / KLINE
giunto mi vidi ove mirabil cosa there, where a A marvellous thing engaged
mi torse il viso a sé; e però quella engages my sight: and therefore She, from
cui non potea mia cura essere ascosa, whom nothing I did was hidden,
BEATRICE DROPS HER GAZE AT LAST.
BEATRICE:
PAR C2 28-30 / DANTE PAR C2 28-30 / KLINE
volta ver' me, sì lieta come bella, turning towards me, as joyful as she was lovely,
Drizza la mente in Dio grata, mi disse, Said Turn your mind towards God in gratitude,
che n'ha congiunti con la prima stella. who has joined us with the first planet, the moon.
THE MUSES LOOK AND POINT UP AND AROUND. DANTE MAKES NOTES THEN VERSIFIES.
37

DANTE:
PAR C2 31-33 / DANTE PAR C2 31-33 / KLINE
Parev' a me che nube ne coprisse It seemed to me that a A cloud covered
lucida, spessa, solida e pulita, covers us, dense, lucid, firm, and polished.,
quasi adamante che lo sol ferisse. like diamond struck by sunlight.
PAR C2 34-36 / DANTE
Per entro sé l'etterna margarita The eternal pearl accepted accepts us into
ne ricevette, com' acqua recepe it, as water accepts a ray of light.,
raggio di luce permanendo unita. though still, itself, unbroken.
DANTE:
PAR C2 34-36 / DANTE
Per entro sé l'etterna margarita The eternal pearl accepted us into
ne ricevette, com' acqua recepe it, as water accepts a ray of light,
raggio di luce permanendo unita. though still, itself, unbroken.
PAR C2 37-39 / DANTE
S'io era corpo, e qui non si concepe If we cannot conceive, here, how one dimension
com' una dimensione altra patio, could absorb another, which must be the case, if
ch'esser convien se corpo in corpo repe, one body enters another, and if I were then a body,
PAR C2 40-42 / DANTE
accender ne dovria più il disio the greater should be our longing to see
di veder quella essenza in che si vede that Essence, where we see how our own nature,
come nostra natura e Dio s'unio. and God’s, were once unified.
PAR C2 43-45 / DANTE
Lì si vedrà ciò che tenem per fede, There, what we take, on trust, will be shown us,
non dimostrato, ma fia per sé noto not demonstrated, but realised in ourselves,
a guisa del ver primo che l'uom crede. like a self-evident truth in which we believe.
THE SHADOWS ON THE MOON
DANTE TO BEATRICE.
DANTE:
PAR C2 46-48 / DANTE PAR C2 46-48 / KLINE
Io rispuosi: Madonna, sì devoto I replied to her: Lady, I thank Him
com' esser posso più, ringrazio lui who has raised me from the mortal
lo qual dal mortal mondo m'ha remoto. world, as devoutly as I can,
PAR C2 49-51 / DANTE
Ma ditemi: che son li segni bui but tell me what are those dark marks…
di questo corpo, che là giuso in terra li segni bui…on this planet, that make the people
fan di Cain favoleggiare altrui? down there on earth make tell fables about Cain.
THE MAN IN THE MOON IN POPULAR SUPERSTITION, WAS CAIN CARRYING A BUNDLE OF THORNS AS HE WENT TO SACRIFICE.
BEATRICE ‘SMILES A MOMENT’ [PAR C2 52]. THE MUSES HAVE DECIDED WHAT TO DO. THEY ALL TAKE AIM
UPWARDS WITH THEIR IMAGINARY BOWS.
BEATRICE:
PAR C2 52-54 / DANTE PAR C2 52-54 / KLINE
Ella sorrise alquanto, e poi : S'elli erra She smiled a moment, and then said:
l'oppinïon, mi disse, d'i mortali If human opinion errs, where the key of
dove chiave di senso non diserra, the senses cannot unlock it,
38

THE MUSES SHOOT THEIR ARROWS UP.
BEATRICE:
PAR C2 55-57 / DANTE PAR C2 55-57 / KLINE
certo non ti dovrien punger li strali the The arrows of amazement should certainly not
d'ammirazione omai, poi dietro ai sensi pierce you, since you see that Reason’s wings are
vedi che la ragione ha corte l'ali. too short, even when the senses can take the lead.
PAR C2 58 / DANTE PAR C2 58 / KLINE
Ma dimmi quel che tu da te ne pensi. Ma dimmi…But tell me…what you yourself think
about it.
DANTE:
PAR C2 59-60 / DANTE PAR C2 59-60 / KLINE
E io: Ciò che n'appar qua sù diverso And I: I think what appears variegated to us
credo che fanno i corpi rari e densi. up here, is caused by dense and rare bodies.
BEATRICE:
PAR C2 61-63 / DANTE PAR C2 61-63 / KLINE
Ed ella: Certo assai vedrai sommerso And she: You will see that your thought is truly
nel falso il creder tuo, se bene ascolti submerged in error., if you listen Listen attentively
l'argomentar ch'io li farò avverso. to the argument I will make against it.
DANTE OPENS HIS BOOK AND PREPARES TO MAKE NOTES.
SIX OF THE MUSES GO OFFSTAGE, LEAVING POLYHYMNIA, URANIA AND ERATO, WHO APPEARS TO BE WAITING
FOR SOMETHING TO SHOOT AT ABOVE.
POLYHYMNIA (THE PENSIVE ONE, WITH SPECIAL RESPONSIBILITY FOR GEOMETRY) AND URANIA (ASTRONOMY
AND PHILOSOPHY) PAY ATTENTION TO BEATRICE.
BEATRICE:
PAR C2 64-66 / DANTE PAR C2 64-66 / KLINE
La spera ottava vi dimostra molti The eighth sphere, the Stellar Heaven, shows many
lumi, li quali e nel quale e nel quanto lights to you, which can be seen to have
notar si posson di diversi volti. diverse appearance, in quantity and quality.
PAR C2 67-69 / DANTE
Se raro e denso ciò facesser tanto, If rarity and density alone produced that effect,
una sola virtù sarebbe in tutti, there would be one quality in all of them,
più e men distributa e altrettanto. more or less equally distributed.
PAR C2 70-72 / DANTE
Virtù diverse esser convegnon frutti Different qualities must be the result of
di princìpi formali, e quei, for ch'uno, different formal principles, and on your
seguiterieno a tua ragion distrutti. reasoning, only one could exist.
PAR C2 73-75 / DANTE
Ancor, se raro fosse di quel bruno Again, if rarity were the cause of those dark
cagion che tu dimandi, o d'oltre in parte non-reflecting patches you ask about,
fora di sua materia sì digiuno this planet would be short of matter in one part,
BEATRICE ILLUSTRATES BODY LAYERS WITH HER HAND.
BEATRICE: or BEATRICE
PAR C2 76-78 / DANTE PAR C2 76-78 / KLINE
esto pianeto, o, sì come comparte right through: or, as a body layers
lo grasso e 'l magro un corpo, così questo fat and lean, it would have
nel suo volume cangerebbe carte. alternate pages in its volume.
39

BEATRICE
PAR C2 79-81 / DANTE PAR C2 79-81 / KLINE
Se 'l primo fosse, fora manifesto If the first were true, it would be revealed by solar
ne l'eclissi del sol, per trasparere eclipses, when the light would shine, through the
lo lume come in altro raro ingesto. less dense parts, as it does when falling on anything
else that is translucent.
PAR C2 82-84 / DANTE
Questo non è: però è da vedere That is not so: non è , so we must consider
de l'altro; e s'elli avvien ch'io l'altro cassi, the second case, and if I can show this is false also,
falsificato fia lo tuo parere. your idea will have been refuted.
PAR C2 85-87 / DANTE
S'elli è che questo raro non trapassi, If this less dense matter does not go right through,
esser conviene un termine da onde there must be a boundary, beyond which its denser
lo suo contrario più passar non lassi; opposite must prevent light travelling on,
PAR C2 88-90 / DANTE
e indi l'altrui raggio si rifonde and from that boundary the rays would be
così come color torna per vetro reflected, as coloured light returns
lo qual di retro a sé piombo nasconde. from glass that hides lead behind it.
PAR C2 91-93 / DANTE
Or dirai tu ch'el si dimostra tetro Now, you will say that the ray is darker
ivi lo raggio più che in altre parti, here than elsewhere because
per esser lì refratto più a retro. it is reflected from further back.
PAR C2 94-96 / DANTE
Da questa instanza può deliberarti Experiment can untangle you from that suggestion,
esperïenza, se già mai la provi, if you will try it, which is always the spring
ch'esser suol fonte ai rivi di vostr' arti. that feeds the rivers of your science.
PAR C2 97-99 / DANTE
Tre specchi prenderai; e i due rimovi Take three mirrors, and set two equidistant
da te d'un modo, e l'altro, più rimosso, from you, and let the third, further away, be visible
tr'ambo li primi li occhi tuoi ritrovi. to your eyes, between the other two.
POLYHYMNIA AND URANIA, WHOSE USUAL ROLE IS TO INSPIRE, ARE INSPIRED. THEY CARRY IMAGINARY
MIRRORS AROUND THE STAGE, CALLING ON ERATO TO HELP. SHE LAYS DOWN HER BOW RELUCTANTLY.
BEATRICE DOES NOT ACKNOWLEDGE THE PRESENCE OF THE MUSES. SHE MAY TURN DANTE WITH HER
HANDS.
BEATRICE
PAR C2 100-102 / DANTE PAR C2 100-102 / KLINE
Rivolto ad essi, fa che dopo il dosso Turn towards them, and have a light
ti stea un lume che i tre specchi accenda behind you, reflected from the
e torni a te da tutti ripercosso. three mirrors, back towards you.
PAR C2 103-105 / DANTE
Ben che nel quanto tanto non si stenda Though the more distant has a
la vista più lontana, lì vedrai smaller area, you will see it shine as brightly
come convien ch'igualmente risplenda. as the others.
BRIGHTNESS IS THE RATIO OF THE QUANTITY OF LIGHT REACHING THE EYES TO THE APPARENT SIZE OF THE OBJECT. THESE BOTH
DIMINISH AS THE SQUARE OF THE DISTANCE, SO THE BRIGHTNESS REMAINS CONSTANT. THIS IGNORES ABSORPTION BY THE
MEDIUM & THE REFLECTIVE CAPABILITY OF A COARSE SURFACE LIKE THE MOON.
THE 3 MUSES SIT DOWN ON THE ROOD SCREEN STEPS. ERATO RESUMES LOOKING UP.
URANIA AND PENSIVE POLYHYMNIA HAVE A SMALL PLACE BETWEEN THEM.
BEATRICE EXPLAINS THE DIFFUSION OF THE DIVINE SPIRIT FROM THE EMPYREAN WHERE ALL SPACE IS HERE & TIME IS NOW &
WHERE GOD IS, & THE ANGELS & BLESSED SPIRITS TRULY ARE (AS OPPOSED TO MERELY MANIFESTING THEMSELVES) DOWN TO
THE LOWEST SPHERE OF THE MOON. THE PRIMUM MOBILE, OR NINTH HEAVEN, WHERE THE ANGELS MANIFEST THEMSELVES (IN
SYMBOLIC MEETING) CONTAINS ALL NATURE. IT RECEIVES THE DIVINE INFLUENCE & COMMUNICATES IT DOWNWARDS TO THE
EIGHTH SPHERE OF THE STELLAR HEAVENS, WHERE THE BLESSED SOULS ARE ALL MANIFEST. THE STELLAR HEAVEN DIVIDES IT
AMONG THE STARS. EACH OF THE SEVEN LOWER HEAVENS (SATURN, JUPITER, MARS, SUN, VENUS, MERCURY & MOON, IN THE
40

PTOLEMAIC SYSTEM) LIKEWISE RECEIVES THE INFLUENCE FROM THE SPHERE ABOVE & PASSES IT TO THE SPHERE BELOW (AS IN
THE EMANATIONS OF MEDIEVAL MYSTICISM)
IN EACH OF THE LOWER SPHERES VIRTUE & MOTION DERIVES FROM AN ANGELIC PRESENCE, WHICH IS MELDED TO EACH
PLANETARY BODY & THE MINGLED VIRTUE OF ANGEL & PLANET SHINES THROUGHOUT THAT SPHERE. THE STELLAR HEAVEN IS,
LIKEWISE, ANIMATED BY THE DEEP SPIRIT OF THE CHERUBIM. EACH ANGEL IS CONNECTED WITH ITS SPHERE, BUT STILL DISTINCT
WITHIN IT. THE COMBINATION IS AN ALLOY, A UNION, A MINGLING, A MELDING. THE VIRTUE THAT SHINES THERE IS LIKEWISE THE
PERSONALITY OF THE ANGEL MINGLED WITH THE CREATIVE & INSPIRATIONAL POWER OF GOD.
BEATRICE
PAR C2 106-108 / DANTE PAR C2 106-108 / KLINE
Or, come ai colpi de li caldi rai Now, I wish to illuminate you, who are
de la neve riman nudo il suggetto stripped in mind, as the surface of the snow
e dal colore e dal freddo primai, is stripped of colour and coldness
PAR C2 109-111 / DANTE
così rimaso te ne l'intelletto by the stroke of the sun’s warm
voglio informar di luce sì vivace, rays, with light so living it
che ti tremolerà nel suo aspetto. will tremble, as you gaze at it.
DANTE INTERPRETS BEATRICE. THEY ARE NOT FACING THE WINDOWS.
BEATRICE: & DANTE:
PAR C2 112-114 / DANTE PAR C2 112-114 / KLINE
Dentro dal ciel de la divina pace In the Empyrean, the heaven of divine peace, a
si gira un corpo ne la cui virtute body whirls, the Primum Mobile, in whose virtue
l'esser di tutto suo contento giace. rests the existence of everythimg it contains.
PAR C2 115-117 / DANTE
Lo ciel seguente, c'ha tante vedute, The Stellar Heaven that follows next, within and
quell' esser parte per diverse essenze, below it, which shows many lights, divides this
da lui distratte e da lui contenute. existence among diverse essences, which it separates
out, and contains.
PAR C2 118-120 / DANTE
Li altri giron per varie differenze The other seven, lower Heavens circling, dispose
le distinzion che dentro da sé hanno the distinct powers they have, in themselves, by
dispongono a lor fini e lor semenze. various differentiations, to their own seeds and ends.
PAR C2 121-123 / DANTE
Questi organi del mondo così vanno, These organs of the universe fall, as you
come tu vedi omai, di grado in grado, can see, from grade to grade, since they receive
che di sù prendono e di sotto fanno. from above, and work downwards.
PAR C2 124-126 / DANTE
Riguarda bene omai sì com' io vado Now, note well how I thread this pass,
per questo loco al vero che disiri, to the truth you long for, so that afterwards
sì che poi sappi sol tener lo guado. you may know how to keep the ford alone.
PAR C2 127-129 / DANTE
Lo moto e la virtù d'i santi giri, The motion and power, of the sacred lower gyres,
come dal fabbro l'arte del martello, must be derived from the Angels, who are their
da' beati motor convien che spiri; movers and are blessed, as the hammer’s art derives
from the blacksmith.
PAR C2 130-132 / DANTE
e 'l ciel cui tanti lumi fanno bello, And the Stellar Heaven, that so many lights
de la mente profonda che lui volve beautify,takes its imprint from the profound mind,
prende l'image e fassene suggello. of the Cherubim, that turn it, and from that forms
the seal.
from beginning
■ - ■ - ■
41

[SAN DAMIANO] - [PEARL ☼ ☼ ☼] - [SAN DAMIANO]
UNNOTICED BY DANTE AND BEATRICE, THREE PEARL LIGHTS WHIRL IN THE CENTRE WINDOW OF THE
TRIPTYCH AND THE OTHER WINDOWS LIGHT UP WITH THE WALLS OF SAN DAMIANO. SEE SCHEME:
INTRODUCTION: IL PARADISO AND PARADISO PICTURES: 14
CANTO 3
BEATRICE: or BEATRICE:
PAR C2 133-135 / DANTE PAR C2 133-135 / KLINE
E come l'alma dentro a vostra polve And as the soul, in your dust, diffuses
per differenti membra e conformate itself through your different members,
a diverse potenze si risolve, and melds to diverse powers,
PAR C2 136-138 / DANTE
così l'intelligenza sua bontate so the Divine Intelligence deploys its
multiplicata per le stelle spiega, goodness, multiplied throughout the stars,
girando sé sovra sua unitate. still turning round its own unity.
PAR C2 139-141 / DANTE
Virtù diversa fa diversa lega Each separate Angelic virtue makes a separate
col prezïoso corpo ch'ella avviva, alloy with the precious body it vivifies, in
nel qual, sì come vita in voi, si lega. which it is bound, as life is bound in you.
PAR C2 142-144 / DANTE
Per la natura lieta onde deriva, Because of the joyful nature it flows from, the
la virtù mista per lo corpo luce Angelic virtue, mingled with the body, shines
come letizia per pupilla viva. through it, as joy shines through the living eye.
BEATRICE:
PAR C2 145-147 / DANTE PAR C2 145-147 / KLINE
Da essa vien ciò che da luce a luce From this, come the differences, between light
par differente, non da denso e raro; and light, not from density or rarity:
essa è formal principio che produce, this is the formal principle that, according to
PAR C2 148 / DANTE
conforme a sua bontà, lo turbo e 'l chiaro. its own excellence, produces the turbid and the clear.
PICCARDA, ST CLARE, CONSTANCE
DANTE GOES ON WRITING, CATCHING UP WITH BEATRICE’S WORDS. THE LIGHTS OF THE 3 BLESSED SOULS
ARE STEADY IN THE CENTRE WINDOW.
DANTE:
PAR C3 1-3 / DANTE PAR C3 1-3 / KLINE
Quel sol che pria d'amor mi scaldò 'l petto, That sun, which first warmed my heart with love,
di bella verità m'avea scoverto, had unveiled lovely truth’s sweet
provando e riprovando, il dolce aspetto; aspect to me, by proof and refutation:
DANTE RAISES HIS HEAD TO SPEAK TO BEATRICE AND NOTICES THAT THE OUTER WINDOWS ARE NO LOMGER
DARK. HE GOES TO ONE OF THEM.
DANTE:
San Damiano! Which the Blessed Francis
rebuilt with his own hands.
42

HE IS ABOUT TO WALK AWAY WHEN HE NOTICES THE LIGHTS IN THE CENTRE WINDOW. HE PEERS CLOSELY
AT ONE.
PAR C3 4-9 / DANTE
and I lifted up my head to speak, to confess myself corrected and believing, as was needed. But something appeared,
that forced me to look at it, so that I stopped thinking of my confession.
DANTE:
PAR C3 10-12 / DANTE PAR C3 10-12 / KLINE
Quali per vetri trasparenti e tersi, As the outlines of our faces are reflected,
o ver per acque nitide e tranquille, from transparent, polished glass, or
non sì profonde che i fondi sien persi, from clear, tranquil water
PAR C3 13-15 / DANTE
tornan d'i nostri visi le postille that is not deep enough for the bottom to be darkened,
debili sì, che perla in bianca fronte and are so faint that a pearl on a white forehead
non vien men forte a le nostre pupille; is not distinguished more slowly by our eyes,
PAR C3 16-24 / KLINE
so I saw many faces, eager to speak: at which I fell into the opposite error to that which sparked love between Narcissus
and the pool. I was no sooner aware of them, than, thinking they were reflected images, I turned my eyes round to see
whose they were: and I saw nothing, and turned them back again, straight to the light of my sweet guide whose holy
eyes glowed, as she smiled.
DANTE TURNS AROUND AND BACKS, AS IF LOOKING FOR THE SOURCE OF A REFLECTION, THEN TURNS TO
BEATRICE.
BEATRICE:
PAR C3 25-27 / DANTE PAR C3 25-33 / KLINE
Non ti maravigliar perch' io sorrida, She said: Do not wonder if I smile, in the presence of
mi disse, appresso il tuo püeril coto, your childish thought, since it does not trust itself with
poi sopra 'l vero ancor lo piè non fida, the truth, but turns, as it usually does, to emptiness.
PAR C3 28-30 / DANTE
ma te rivolve, come suole, a vòto: Those you behold are truly
vere sustanze son ciò che tu vedi, substantial., consigned here
qui rilegate per manco di voto. for failing in their vows.
PAR C3 31-33 / DANTE
Però parla con esse e odi e credi; Parla con esse…So speak Speak to them., and listen,
ché la verace luce che le appaga Listen and believe, since the true light that satisfies
da sé non lascia lor torcer li piedi. them, does not allow them to turn their steps away
from itself.
PAR C3 34-36 / KLINE
And I turned to the shadow who seemed to long to speak to me most, and, like someone whom too great a desire seizes,
DANTE ADDRESSES ONE OF THE LIGHTS IN THE CENTRE WINDOW.
DANTE:
PAR C3 37-39 / DANTE PAR C3 37-39 / KLINE
O ben creato spirito, che a' rai I began: O spirit, happily created, who feels, in
di vita etterna la dolcezza senti the rays of the eternal life, that sweetness,
che, non gustata, non s'intende mai, never understood till it is tasted,
PAR C3 40-42 / DANTE
grazïoso mi fia se mi contenti it would please me, if you would grace me with
del nome tuo e de la vostra sorte. your name and your story. At which she replied,
Ond' ella, pronta e con occhi ridenti: eagerly, with smiling eyes:
43

THE LIGHT SPEAKS.
PICCARDA (VOICE):
PAR C3 43-45 / DANTE PAR C3 43-45 / KLINE
La nostra carità non serra porte Our love no more closes the gate on a
a giusta voglia, se non come quella valid request, than does that Love which
che vuol simile a sé tutta sua corte. would make all its courts like itself.
PICCARDA DONATI 1265?? - 1290? AGE : 25?? CHARACTER AGE : 25?
PLACE./.LANGUAGE ETC
FLORENCE.
DESCRIPTION
POOR CLARE: DARK BROWN HABIT, A CORD GIRDLE WITH 3 KNOTS (AS FRANCISCAN), WITHOUT A SCAPULAR, AND
CLOTH SANDALS ON BARE FEET. THE BLACK VEIL MAY BE VISIBLE SOMEWHERE ON HER PERSON BUT SHE DOES NOT
WEAR IT.
PICCARDA: SISTER OF FORESE DONATI, DANTE’S FRIEND, & OF CORSO DONATI. SHE IS PLACED IN THE SPHERE OF THE MOON FOR
NEGLECT OF HER VOWS. SHE HAD TAKEN THE HABIT OF THE POOR CLARES IN THE CONVENT AT FLORENCE & WAS FORCIBLY
ABDUCTED FROM THERE BY CORSO HER BROTHER IN 1288 OR THEREABOUTS & COMPELLED TO MARRY ROSSELINO DELLA TOSA,
A TURBULENT NOBLE OF THE BLACK FACTION. SHE DIED SHORTLY AFTERWARDS.
PICCARDA (VOICE):
PAR C3 46-48 / DANTE PAR C3 46-48 / KLINE
I' fui nel mondo vergine sorella; I was a virgin sister in the world,
e se la mente tua ben sé riguarda, and if your memory is searched deeply, my
non mi ti celerà l'esser più bella, greater beauty, now, will not hide me from you,
PAR C3 49-51 / DANTE
ma riconoscerai ch'i' son Piccarda, but you will know me again, as Piccarda, who am
che, posta qui con questi altri beati, blessed in this sphere that moves the slowest,
beata sono in la spera più tarda. placed here with these others, who are blessed.
[SAN DAMIANO] - [PEARL ☼ ☼ PICCARDA] - [SAN DAMIANO]
PICCARDA MANIFESTS HERSELF AS A WOMAN WHEN SHE NAMES HERSELF. THE BACKGROUND IS OBSCURE.
PICCARDA:
PAR C3 50-51 / DANTE KLINE C3 50-51 / KLINE
che, posta qui con questi altri beati, who am blessed in this sphere that moves the
beata sono in la spera più tarda. slowest, placed here with these others, who are
blessed.
PAR C3 52-54 / DANTE
Li nostri affetti, che solo infiammati Our affections that are only inflamed by
son nel piacer de lo Spirito Santo, the pleasure of the Holy Spirit, delight
letizian del suo ordine formati. to be informed under his guidance.
PAR C3 55-57 / DANTE
E questa sorte che par giù cotanto, And this fate, which seems so humble,
però n'è data, perché fuor negletti is given us because our vows were
li nostri voti, e vòti in alcun canto. neglected and missing certain cantos.
DANTE:
PAR C3 58-60 / DANTE PAR C3 58-66 / KLINE
Ond' io a lei: «Ne' mirabili aspetti At that I said to her: In your marvellous aspect,
vostri risplende non so che divino something divine shines out again, that transmutes
che vi trasmuta da' primi concetti: you from my previous concept of you.
PAR C3 61-63 / DANTE
però non fui a rimembrar festino; That is why I was slow to recall you to mind:
ma or m'aiuta ciò che tu mi dici, now what you tell me gives me such
sì che raffigurar m'è più latino. assistance, that I remember you more clearly.
44

PAR C3 64-66 / DANTE
Ma dimmi: voi che siete qui felici, But tell me, you who are happy here,
disiderate voi più alto loco do you wish for a higher place,
per più vedere e per più farvi amici? to see further, or to make yourself dearer?
PAR C3 67-69 / KLINE
She smiled with the other shadows first, a little, then replied to me so joyously she seemed to be burning with the first
fire of love:
PICCARDA SMILES AND ‘REPLIES JOYOUSLY’ [PAR C3 68].
PICCARDA:
PAR C3 70-72 / DANTE PAR C3 70-72 / KLINE
Frate, la nostra volontà quïeta Frate… Brother… the power of love quiets
virtù di carità, che fa volerne our will, and makes us only long for what
sol quel ch'avemo, e d'altro non ci asseta. we have, and gives us no other thirst.
PAR C3 73-75 / DANTE
Se disïassimo esser più superne, If we desired to be higher up, our
foran discordi li nostri disiri wishes would be at odds with
dal voler di colui che qui ne cerne; his will, who assigns us here,
PAR C3 76-78 / DANTE
che vedrai non capere in questi giri, and there is no room for that discord in these
s'essere in carità è qui necesse, circles, if you think again about love’s nature,
e se la sua natura ben rimiri. and that we of necessity have our being in Love.
PAR C3 79-81 / DANTE
Anzi è formale ad esto beato esse No, it is the essence of this being blessed
tenersi dentro a la divina voglia, to keep ourselves to the Divine Will,
per ch'una fansi nostre voglie stesse; through which our own wills are unified.
PAR C3 82-84 / DANTE
sì che, come noi sem di soglia in soglia So that our being as we are, from step to step,
per questo regno, a tutto il regno piace throughout the kingdom, is a joy to all
com' a lo re che 'n suo voler ne 'nvoglia. the kingdom, as it is to the king, who draws our wills
towards what he wills.:
PICCARDA: & PICCARDA:
PAR C3 85-87 / DANTE PAR C3 85-87 / KLINE
E 'n la sua volontade è nostra pace: and in In his will is our peace,
ell' è quel mare al qual tutto si move it is the sea, to which all things flow,
ciò ch'ella crïa o che natura face. that it creates, and nature forms.’
PAR C3 88-90 / DANTE
Chiaro mi fu allor come ogne dove It was clear to me then how every Every part of
in cielo è paradiso, etsi la grazia Heaven is Paradise, even though the grace of the
del sommo ben d'un modo non vi piove. Highest Good does not pour down to it in only one
way.
PAR C3 91-93 / DANTE
Ma sì com' elli avvien, s'un cibo sazia But even as it happens that, if one kind of food
e d'un altro rimane ancor la gola, satisfies us, while the appetite for another kind
che quel si chere e di quel si ringrazia, persists, and giving thanks for that one, we ask for
this one,
PICCARDA POINTS TO THE NEXT LIGHT IN THE CENTRE WINDOW.
45

PICCARDA
PAR C3 94-96 / DANTE PAR C3 94-96 / KLINE
così fec' io con atto e con parola, so by word and gesture I learned from her
per apprender da lei qual fu la tela what that warp was, through which
onde non trasse infino a co la spuola. she had not drawn the shuttle, to its end.
PAR C3 97-98 / DANTE PAR C3 97-98 / KLINE
«Perfetta vita e alto merto inciela She said: A life perfected, and great merit, set a
donna più sù», mi disse, «a la cui norma lady, Saint Clare, Santa Chiara, higher in Heaven,
[SAN DAMIANO] - [PEARL ☼ ST CLARE PICCARDA] - [SAN DAMIANO]
ST CLARE MANIFESTS HERSELF AS A WOMAN.
ST CLARE 1194 - 1253 AGE : 59 CHARACTER AGE : 18 FINALLY, OLDER UNTIL THEN
SANTA CHIARA
PLACE./.LANGUAGE ETC
BORN AT ASSISI, UMBRIA, THE ELDEST DAUGHTER OF FAVORINO SCIFI, COUNT OF SASSO-ROSSO. SHE HEARD (ST)
FRANCIS, IL POVERELLO, PREACH IN THE CHURCH OF SAN GIORGIO IN 1210. ON 20TH MARCH, 1212, SHE MET
FRANCIS (AGED ABOUT 30) AND HIS DISCIPLES IN THE CHAPEL OF THE PORZIUNCULA. CLARE LAID ASIDE HER RICH
DRESS AND ST FRANCIS CUT OFF HER HAIR (SAID TO BE GOLDEN) AND CLOTHED HER IN A ROUGH TUNIC AND THICK
VEIL. CLARE LATER CO-FOUNDED THE ORDER OF POOR LADIES (POOR CLARES), DEPENDING SOLELY ON ALMS AND
LIVING IN PRAYER AND SILENCE WITH MANUAL LABOUR, ESTABLISHED AT SAN DAMIANO (WHICH SHE NEVER LEFT
ALIVE) , OUTSIDE ASSISI. SHE WAS MADE ABBESS OF SAN DAMIANO IN 1253 AGAINST HER WILL. THE LIFELONG
FRIEND AND DISCIPLE (‘EFFICACIOUS COADJUTRIX’) OF ST FRANCIS, CLARE ‘THREW AROUND POVERTY THAT
IRRESISTIBLE CHARM WHICH ONLY WOMEN CAN COMMUNICATE TO RELIGIOUS OR CIVIC HEROISM’. SHE HAD TO BE
RESTRAINED FROM GOING TO MOROCCO WHEN FRANCISCANS WERE MARTYRED THERE IN 1221. SHE REPELLED
THE ARMY OF FREDERICK II FROM SAN DAMIANO IN 1234 BY HOLDING UP THE CIBORIUM (THE HOST,
MONSTRANCE).
CONTEMPORARY ACCOUNT OF DEATH: ‘BRAVE AND CHEERFUL TO THE LAST SHE SPUN THE FINEST THREAD FOR
THE PURPOSE OF HAVING IT WOVEN INTO THE MOST DELICATE MATERIAL FROM WHICH SHE AFTERWARDS MADE
MORE THAN ONE HUNDRED CORPORAL(E)S (LINEN CLOTHS ON WHICH ELEMENTS ARE PLACED DURING THE
CELEBRATION OF THE EUCHARIST), AND, ENCLOSING THEM IN A SILKEN BURSE, ORDERED THEM TO BE GIVEN TO
THE CHURCHES IN THE PLAIN AND ON THE MOUNTAINS OF ASSISI. CANONISED 1255.
PATRONESS OF SPINNERS, EMBROIDERERS. SHE IS SOMETIMES DEPICTED WITH A CAT BECAUSE THE CAT WHO LIVED
IN HER CONVENT WOULD BRING THINGS TO HER AT HER COMMAND WHEN SHE WAS TOO SICK TO GET OUT OF BED.
NOTES: CATHOLIC ENCYCLOPEDIA & THE FRANCISCAN EXPERIENCE. (FRANCISCAN INSTITUTE OUTREACH – MALTA) &
OTHERS.
DESCRIPTION
SEEN ONLY. POOR CLARES (FRANCISCAN SECOND ORDER): DARK BROWN HABIT, A CORD GIRDLE WITH 3 KNOTS –
LIKE FRANCISCANS, WITHOUT A SCAPULAR, AND CLOTH SANDALS ON BARE FEET. THE BLACK VEIL IS VISIBLE
SOMEWHERE ON HER PERSON BUT SHE WEARS IT ONLY IN C28.
PARADISO PICTURES
5, 10, 11, 12
ST CLARE SITS SPINNING INSIDE THE CONVENT (PARADISO PICTURES 13, 15). A GLOWING FIBRE
HANGS FROM HIGHER IN HEAVEN TO HER FINGERS AND TO A SPINDLE WHICH SHE HOLDS IN HER HAND.
SHE MAY HAVE A WEAVER’S SHUTTLE OR IMPLEMENTS FOR EMBROIDERY IN HER GIRDLE.
PICCARDA
PAR C3 99 / DANTE PAR C3 99 / KLINE
nel vostro mondo giù si veste e vela, and there are those, in your world, who dress and veil
themselves,
PAR C3 100-102 / DANTE
perché fino al morir si vegghi e dorma according to her rule, so that they might sleep and
con quello sposo ch'ogne voto accetta wake, till death, with the Spouse who accepts every
che caritate a suo piacer conforma. vow, which Love has made conformable with his
pleasure.
46

PAR C3 103-105 / DANTE
Dal mondo, per seguirla, giovinetta I fled from the world, while still a girl,
fuggi'mi, e nel suo abito mi chiusi to follow her, and shut myself in her habit,
e promisi la via de la sua setta. and promised to pursue the way of her company.
PAR C3 106-108 / DANTE
Uomini poi, a mal più ch'a bene usi, After that, men, who were more used to evil
fuor mi rapiron de la dolce chiostra: than good, tore me away from that sweet cloister,
Iddio si sa qual poi mia vita fusi. and God knows what my life became then.
PICCARDA POINTS TO THE OTHER LIGHT.
PICCARDA:
PAR C3 109-111 / DANTE PAR C3 109-111 / KLINE
E quest' altro splendor che ti si mostra And this other splendour, who shows herself to you,
da la mia destra parte e che s'accende on my right side, and who burns
di tutto il lume de la spera nostra, with all the light of our sphere,
PAR C3 112-114 / DANTE
ciò ch'io dico di me, di sé intende; says what I say, of myself, about herself.
sorella fu, e così le fu tolta She was a sister, and, in a similar way, the shadow
di capo l'ombra de le sacre bende. of the holy veil was snatched from her head.
PAR C3 115-117 / DANTE
Ma poi che pur al mondo fu rivolta But, turned back towards the world as she was,
contra suo grado e contra buona usanza, against her will, and against right dealings,
non fu dal vel del cor già mai disciolta. she was never torn from her heart’s veil.
PAR C3 118-120 / DANTE
Quest' è la luce de la gran Costanza This is the light of the great Constance…Costanza…
che del secondo vento di Soave who by Henry the Sixth, the second stormwind of
generò 'l terzo e l'ultima possanza. Suabia, conceived Frederick, the third and final
power.
[SAN DAMIANO] - [CONSTANCE ST CLARE PICCARDA] - [S.DAMIANO]
CONSTANCE MANIFESTS HERSELF AS A WOMAN.
CONSTANCE (COSTANZA) 1152 - 1198 AGE : 46 CHARACTER AGE : *-- ?
PLACE./.LANGUAGE ETC
SICILIAN.
DESCRIPTION
EMPRESS, CROWNED, DRESSED IN BLACK.
CONSTANCE: DAUGHTER OF ROGER II OF SICILY. IN 1186, COSTANZA HAD MARRIED HENRY, SON OF FREDERICK BARBAROSSA,
WHO WAS AFTERWARDS EMPEROR HENRY VI & BORE HIM FREDERICK, LATER EMPEROR FREDERICK II. FREDERICK
BARBAROSSA, HENRY & FREDERICK II WERE THE THREE STORMWINDS OF SUABIA. SHE ASSUMED THE REGENCY FOR HER SON
AFTER HENRY’S DEATH AT THE EARLY AGE OF 32. DANTE FOLLOWS THE TRADITION THAT SHE HAD BEEN A NUN & HAD BEEN
FORCED TO MAKE A POLITICAL MARRIAGE AGAINST HER WILL
PICCARDA:
PAR C3 119-120 / DANTE PAR C3 119-120 / KLINE
che del secondo vento di Soave who by Henry the Sixth, the second stormwind of
generò 'l terzo e l'ultima possanza. Suabia, conceived Frederick, the third and final
power.
HENRY VI, EMPEROR: SON OF FREDERICK BARBAROSSA. HE MARRIED CO NSTANCE, THE DAUGHTER OF ROGER II IN 1186 &
INHERITED THE NORMAN KINGDOM IN 1194. HE WAS EMPEROR FROM 1190 TO 1197 & CROWNED, BY POPE CELESTINE IN 1191,
DURING HIS FIRST ITALIAN CAMPAIGN. HE UNITED GERMANY & SICILY AFTER HIS SECOND ITALIAN CAMPAIGN IN 1194-5, ‘UNIO
REGNI AD IMPERIUM’ BUT DIED AT THE AGE OF 32.
47

FREDERICK (1194-1250), ‘STUPOR MUNDI’, THE WONDER OF THE WORLD, BECAME KING OF SICILY & NAPLES IN 1197 &
EMPEROR IN 1212. HE WAS CROWNED EMPEROR IN ROME IN 1220. HE AGREED TO LEAD A CRUSADE IN 1227 BUT WAS TURNED
BACK BY AN EPIDEMIC & AS A RESULT WAS EXCOMMUNICATED BY POPE GREGORY IX DESPITE CONTINUING WITH THE CRUSADE
IN 1228-9. HE WAS GRANTED ABSOLUTION IN 1230, BUT WAS EXCOMMUNICATED AGAIN IN 1239 & DECLARED A HERETIC AT THE
FIRST COUNCIL OF LYON & DEPOSED. HE STRUGGLED AGAINST HENRY VII OF GERMANY & DIED IN APULIA IN 1250. HE WAS BY
REPUTATION AN EPICUREAN & A SENSUALIST.
PAR C3 121-123 / KLINE
So she spoke to me, and then began singing: Ave Maria and, singing, vanished like a heavy weight through deep water.
THE CHORUS BEGINS SINGING, PERHAPS BEGUN BY PICCARDA.
♫AVE MARIA * * * * * * * * * *
PAR C3 120 from PAR C3 121-123
■ - ■ - ■
LUKE 1 28
Ave Maria, gratia plena, Dominus tecum…
LUKE 1 28
Hail Mary, full of grace, the Lord is with thee…
CLARE’S ART REPRESENTS HER. SHE IS NOT SEEN AGAIN IN PERSON UNTIL [C27 96].
[CP 1] - [CP 2] - ■
THE FIRST 2 CLARE PICTURES APPEAR ON THE WALLS OF SAN DAMIANO. SEE INTRODUCTION: IL
PARADISO.
Clare Pictures 1: Francis the blade
Francis of Assisi’s first step towards sainthood was to remove the rich garments supplied by his
cloth-merchant father, Pietro Bernardone. Here, Bernardone’s (‘Big Bernard’s’) hand is palm up,
one third of the way from the top of the picture. The sleeve is of rich cloth. Bernardone’s face
(resembling Francis’s) may be visible at the edge of the picture. Above the hand are little white
clouds of sheep and silk cocoons. Threads go from these between Bernardone’s fingers and down to
Francis, richly-dressed on a horse. Francis is playing a stringed instrument and enjoying the
attention of richly-dressed girls in Assisi. (All cities in Clare Pictures are represented
emblematically.) PARADISO PICTURES: 4, 6
Clare Pictures 2: Francis to battle
Assisi is on one side of the picture, Perugia on the other. Francis sets off with other richly-dressed
blades to do battle with the Perugians emerging from their city (1202). The hand and threads persist
from Clare Pictures 1. Girls wave the warriors goodbye.
PAR C3 124-130 / KLINE
My vision, which followed her as far as it could, turned, when it lost her, to the mark of a greater longing, and fastened
its look wholly on Beatrice: but she flashed into my gaze so brightly, that my sight could not at first endure it, and this
made me slower with my questioning.
[CP 1] - [CP 2] - [WHITE ☼]
[CP 1] - [CP 2] - [ST BERNARD]
48

A WHITE LIGHT WHIRLS AND STEADIES IN THE RIGHT WINDOW, THEN BECOMES A MAN.
ST BERNARD STANDS GAZING UPWARD. HE HAS COME IN RESPONSE TO THE MUSIC, RATHER THAN BEING
NAMED, UNLIKE ALL THE OTHER BLESSED SOULS./.SOULS. OR BEA KNOWS LIGHT.
ST BERNARD OF CLAIRVAUX 1090 - 1153 AGE : 63? CHARACTER AGE : *-- ?
BERNARDO
PLACE./.LANGUAGE ETC
BORN AT FONTAINES, NEAR DIJON, FRANCE, OF FRENCH NOBILITY. CISTERCIAN MONK AND THEOLOGIAN, WHO
FOUNDED THE GREAT MONASTERY AT CLAIRVAUX IN FRANCE AND WAS ABBOT TILL HIS DEATH. HE HAD A
PARTICULAR DEVOTION TO THE VIRGIN, EXPRESSED IN HIS DE LAUDIBUS VIRGINIS MATRIS AND HIS NINE SERMONS
FOR THE FEASTS OF THE PURIFICATION, ASSUMPTION, NATIVITY ETC. HE DEDICATED ALL THE MONASTERIES OF
THE CISTERCIAN ORDER TO HER, BUT OPPOSED THE CELEBRATION OF HER IMMACULATE CONCEPTION. HE
INSPIRED THE DISASTROUS 2 ND CRUSADE OF 1147.
DOCTOR OF THE CHURCH, KNOWN AS DOCTOR MELLIFLUUS FOR HIS PREACHING AND HENCE REPRESENTED BY A
HIVE OR SWARM OF BEES.
DESCRIPTION
CISTERCIAN (WHITE) MONK: UNBLEACHED RAW WOOL HABIT.
PARADISO PICTURES
25, 26
ST BERNARD:
from PAR C31 100-102 / DANTE PAR C31 100-102 / KLINE
E la regina del cielo, ond' ïo ardo And the Queen of Heaven, for whom I burn
tutto d'amor, ne farà ogne grazia, wholly with love, will grant us all grace,
però ch'i' sono il suo fedel Bernardo. because I am her loyal Bernard.
THE MUSIC FADES AND ST BERNARD IS REPLACED BY ANOTHER CLARE PICTURE.
[CP 1] - [CP 2] - ■
[CP 1] - [CP 2] - [CP 3]
CANTO 4
Clare Pictures 3: Francis in prison
Night has fallen on Clare Pictures 2. Assisi has lost the war and Francis, lamplit, sits in a Perugian
prison, head in hands.
■ - ■ - ■
DOUBTS, ERRORS ETC.
■ - ■ - ■
DANTE PACES AND DEBATES HIMSELF. THE SMALLEST MUSE, TERPSICHORE, DANCES./.SKIPS LAMBLIKE
ONTO THE STAGE AND FOLLOWS HIM IN PARODY.
SHE DROPS ONTO THE STEP, SQUEEZING BETWEEN URANIA AND POLYHYMNIA. THEY IGNORE HER.
TERPSICHORE LOOKS LEFT AND RIGHT AT HER SISTERS’ BOSOMS THEN BUTTS AND NUZZLES AT ONE FOR A
SECOND OR TWO BEFORE LEAPING UP, AMUSED AT THEIR ANGER, AND SKIPPING OFF STAGE.
49

DANTE:
PAR C4 1-3 / DANTE PAR C4 1-3 / KLINE
Intra due cibi, distanti e moventi Death from starvation would come to a man,
d'un modo, prima si morria di fame, between two foods, equally distant and equally
che liber' omo l'un recasse ai denti; appetising, before a free man set his teeth in either.
PAR C4 4-6 / DANTE
sì si starebbe un agno intra due brame So a lamb would stand, equally fearful,
di fieri lupi, igualmente temendo; between the appetites of two fierce wolves.,
sì si starebbe un cane intra due dame: or a dog stand still between two hinds.
PAR C4 7-9 / DANTE
per che, s'i' mi tacea, me non riprendo, So I do not blame or commend myself for keeping
da li miei dubbi d'un modo sospinto, quiet, caught in the same way, suspended between
poi ch'era necessario, né commendo. doubts, because I was forced to.
PAR C4 10-15 / KLINE
I kept quiet, but my longing was pictured on my face, and my questioning also, in far warmer colours than speech could
show. And Beatrice took the part that Daniel took, when he lifted Nebuchadnezzar’s cloud of anger that had made him
cruel, unjustly,
BEATRICE ADDRESSES DANTE, WHO INTERPRETS HER TO THE AUDIENCE.
BEATRICE: & DANTE:
PAR C4 16-18 / DANTE PAR C4 16-18 / KLINE
e disse: «Io veggio ben come ti tira and she said: I can see clearly how this desire
uno e altro disio, sì che tua cura and that one stirs you, so that your anxiety
sé stessa lega sì che fuor non spira. constricts itself, and cannot breathe itself out.
PAR C4 19-21 / DANTE
Tu argomenti: "Se 'l buon voler dura, You argue: ‘If the right intent is still there,
la vïolenza altrui per qual ragione how can another’s violence
di meritar mi scema la misura?". lessen my measure of worth?’
PAR C4 22-24 / DANTE
Ancor di dubitar ti dà cagione And you are given further cause for perplexity,
parer tornarsi l'anime a le stelle, by the souls returning to the stars,
secondo la sentenza di Platone. in Plato’s doctrine.
PLATO’S DOCTRINE: THE TIMAEUS, AVAILABLE TO DANTE IN CHALCIDIUS’S LATIN PARAPHRASE. THE DOCTRINE HE REPEATS, AS
UNDERSTOOD BY DANTE, GIVES EXCESSIVE POWER TO THE STARS, FATAL TO FREEWILL.
[CP 4] - ■ - [CP 5]
Clare Pictures 4: St Bernard’s white dog
A white dog gazes up in the same spot that St Bernard did when Ave Maria was sung.
This animal symbolises Bernard, whose mother dreamed that she would give birth to a white dog
who would frighten off God’s enemies.
NOT A ST BERNARD DOG, NAMED FOR BREED DEVELOPED AT THE ST BERNARD HOSPICE, SWITZERLAND IN THE 1600 S.
Clare Pictures 5: Clare’s cat
Clare’s cat, reputed to fetch things for her when she was sick, looks at St Bernard’s dog, from a
vantage point – perhaps the roof of the convent.
The cat is probably of watered silk, a tabby (from Tabi, near Baghdad, famous for that material).
COMPARE WITH DOMINIC [C12 72]
DANTE:
The white dog of St Bernard. His mother
dreamed her child would frighten off God’s
enemies.
50

BEATRICE:
PAR C4 25-27 / DANTE PAR C4 25-27 / KLINE
Queste son le question che nel tuo velle These are the two questions that weigh equally
pontano igualmente; e però pria on your will, so I will take that first
tratterò quella che più ha di felle. which contains the most dangerous error.
PAR C4 28-30 / DANTE
D'i Serafin colui che più s'india, He of the Seraphim nearest to God,
Moïsè, Samuel, e quel Giovanni Moses, Samuel, John,
che prender vuoli, io dico, non Maria, either one, you may choose, and Mary.,
DANTE’S ASIDE.
DANTE:
Clare’s cat, who fetched her
what the saint required.
DANTE’S ASIDES IN IL PARADISO ARE SOMETIMES EXCLAMATIONS, SOMETIMES EXPLANATIONS TO THE
AUDIENCE, SOMETIMES BOTH.
DANTE:
PAR C4 28-30 / DANTE PAR C4 28-30 / KLINE
D'i Serafin colui che più s'india, He of the Seraphim nearest to God,
Moïsè, Samuel, e quel Giovanni Moses, Samuel, John,
che prender vuoli, io dico, non Maria, either one, you may choose, and Mary.,
BEATRICE: & DANTE:
PAR C4 31-33 / DANTE PAR C4 31-33 / KLINE
non hanno in altro cielo i loro scanni none None of them take their places in any different
che questi spirti che mo t'appariro, Heaven than the spirits who appeared to you just
né hanno a l'esser lor più o meno anni; now, nor do they have more years or less of existence.
PAR C4 34-36 / DANTE
ma tutti fanno bello il primo giro, But all beautify the first sphere, the Empyrean,
e differentemente han dolce vita and share sweet life, but differently,
per sentir più e men l'etterno spiro. by feeling the eternal spirit more, or less.
PAR C4 37-39 / DANTE
Qui si mostraro, non perché sortita They have shown themselves here,
sia questa spera lor, ma per far segno not because this sphere is theirs,
de la celestïal c'ha men salita. but to signify the least steep celestial ascent for you.
PAR C4 40-42 / DANTE
Così parlar conviensi al vostro ingegno, Such speech needs to match your faculties
però che solo da sensato apprende that can only make fit matter, for your intellect,
ciò che fa poscia d'intelletto degno. from what is apprehended by your senses.
PAR C4 43-45 / DANTE
Per questo la Scrittura condescende So the Scriptures also bend
a vostra facultate, e piedi e mano to your capacity, attributing hands and feet
attribuisce a Dio e altro intende; to God, symbolically,
PAR C4 46-48 / DANTE
e Santa Chiesa con aspetto umano and Holy Church represents Gabriel and
Gabrïel e Michel vi rappresenta, Michael, and Raphael,
e l'altro che Tobia rifece sano. who made Tobit complete again, in human form.
PAR C4 49-51 / DANTE
Quel che Timeo de l'anime argomenta What Timaeus argues concerning spirits,
non è simile a ciò che qui si vede, is not what can be seen here,
però che, come dice, par che senta. since he seems to believe what he says,
51

PAR C4 52-54 / DANTE
Dice che l'alma a la sua stella riede, and says the soul returns to its star,
credendo quella quindi esser decisa thinking it was split from it,
quando natura per forma la diede; when nature gave it form,
PAR C4 55-57 / DANTE
e forse sua sentenza è d'altra guisa though perhaps his meaning is different
che la voce non suona, ed esser puote than the words say, and may have an intention
con intenzion da non esser derisa. that should not be derided.
AS BEATRICE WALKS, HER EYE LIGHTS ON ONE OF THE MUSE’S ARROWS LYING ON THE FLOOR. SHE
GLANCES UP TO WHERE IT MIGHT HAVE DROPPED FROM, THEN EXPERTLY ASSESSES ITS STRAIGHTNESS BY
LOOKING DOWN THE SHAFT AND ROTATING IT BETWEEN HER HANDS. IT IS BENT.
BEATRICE:
PAR C4 58-60 / DANTE PAR C4 58-60 / KLINE
S'elli intende tornare a queste ruote If he means that the honour and the blame,
l'onor de la influenza e 'l biasmo, forse ascribed to their influence, returns to these spheres,
in alcun vero suo arco percuote. perhaps his arrow hits some mark of truth.
BEATRICE STRIPS THE 3 FEATHER FLETCHES FROM THE ARROW, PUTS THEM IN HER ‘POCKET’ AND TOSSES THE
SHAFT BEHIND HER.
ERATO GOES TO THE SHAFT, BRINGS IT BACK TO THE STEP AND TESTS IT FOR STRAIGHTNESS. SHE TAKES A
SHORT STICK FROM HER QUIVER, UNSTRINGS THE BOW AND WRAPS THE BOWSTRING ONCE ROUND THE STICK
BEFORE RESTRINGING THE BOW. SHE HOLDS THE STICK VERTICAL WITH ITS POINT ON THE FLOOR AND
PUSHES HER BOW BACKWARDS AND FORWARDS TO ROTATE THE STICK AND CREATE FRICTION ON ITS END.
BEATRICE:
PAR C4 61-63 / DANTE PAR C4 61-63 / KLINE
Questo principio, male inteso, torse This principle, badly understood, almost wrenched
già tutto il mondo quasi, sì che Giove, the whole world awry, so that it rushed to call upon
Mercurio e Marte a nominar trascorse. the names of Jupiter, Mars and Mercury – Giove,
Mercurio, Marte.
PAR C4 64-66 / DANTE
L'altra dubitazion che ti commove The other source of doubt which troubles you,
ha men velen, però che sua malizia is less venomous, because its evil influence
non ti poria menar da me altrove. could not lead you away from me, elsewhere.
PAR C4 67-69 / DANTE
Parere ingiusta la nostra giustizia That our justice appears an injustice
ne li occhi d'i mortali, è argomento to mortal eyes, is a question for faith,
di fede e non d'eretica nequizia. not for heretical error.
PAR C4 70-72 / DANTE
Ma perché puote vostro accorgimento But since your intellect has the power
ben penetrare a questa veritate, to penetrate easily to this truth,
come disiri, ti farò contento. I will satisfy you, as you desire.
PAR C4 73-75 / DANTE
Se vïolenza è quando quel che pate If violence occurs when those who suffer it do
nïente conferisce a quel che sforza, nothing to contribute, to what displays force towards
non fuor quest' alme per essa scusate: them, well then, these souls did have that excuse:
ERATO LEANS FORWARD TO BLOW ON THE FRICTION SPOT AND ADDS A LITTLE FLAMMABLE MATERIAL FROM
THE QUIVER. THE FIRE LIGHTS.
ERATO PICKS UP THE BENT ARROW AND ROTATES IT IN THE FLAME.
52

BEATRICE:
PAR C4 76-78 / DANTE PAR C4 76-78 / KLINE
ché volontà, se non vuol, non s'ammorza, since, the The will cannot be overcome if it does not
ma fa come natura face in foco, will to be, but behaves like nature in the flames,
se mille volte vïolenza il torza. though a thousand times wrenched away by violence.
PAR C4 79-81 / DANTE
Per che, s'ella si piega assai o poco, But if it wavers, more or less, it helps the force
segue la forza; e così queste fero against it: and they wavered, since they had
possendo rifuggir nel santo loco. the power to return later to the sacred place.
PAR C4 82-84 / DANTE
Se fosse stato lor volere intero, If their will had remained entire, like that which held
come tenne Lorenzo in su la grada, St Lawrence…Lorenzo…on the grid, and made
e fece Muzio a la sua man severo, Mucius Scaevola treat his right hand with severity,
ST LAWRENCE, LORENZO: CHRISTIAN MARTYR OF SPANISH BIRTH, ROASTED ON A GRIDIRON OVER A FIRE, IN ROME, IN 258 AD.
ORDAINED DEACON BY POPE SIXTUS II & MET HIS DEATH SHORTLY AFTER THE POPE’S OWN MARTYRDOM. HE WAS SAID TO HAVE
DISPLAYED THE POOR & SICK AROUND HIM AS ‘THE TREASURES OF THE CHURCH’ WHEN THOSE TREASURES WERE DEMANDED OF
HIM. HE WAS ONE OF THE PATRON SAINTS OF FLORENCE, WITH JOHN THE BAPTIST.
CAIUS MUCIUS SCAEVOLA, AN EARLY ROMAN WHO DEMONSTRATED THE STRENGTH OF WILL OF THE ROMAN PEOPLE & THEIR
DISREGARD FOR THEIR OWN LIVES, TO HIS ENEMIES, BY SETTING HIS RIGHT HAND IN THE COALS. HE HAD PENETRATED THE ENEMY
LINES TO KILL LARS PORSENA, KING OF CLUSIUM, BUT KILLED THE KING’S SECRETARY SITTING BESIDE HIM INSTEAD. HE WAS
AFTERWARDS CALLED SCAEVOLA, ‘LEFT-HANDED’.
BEATRICE THRUSTS HER RIGHT HAND ‘INTO A FIRE’.
BEATRICE:
PAR C4 85-87 / DANTE PAR C4 85-87 / KLINE
così l'avria ripinte per la strada it would have pushed them back towards the path,
ond' eran tratte, come fuoro sciolte; from which they were taken, as soon as they were
ma così salda voglia è troppo rada. free: but such strong will is all too rare.
ERATO GRIPS THE HEATED ARROW IN HER TEETH AND GENTLY BENDS IT. SHE TESTS ITS STRAIGHTNESS AND
HEATS IT AGAIN.
DANTE AGAIN INTERPRETS BEATRICE.
BEATRICE: & DANTE:
PAR C4 88-90 / DANTE PAR C4 88-90 / KLINE
E per queste parole, se ricolte Now, if you have gleaned what you should have
l'hai come dei, è l'argomento casso from these words, the difficulty that would have
che t'avria fatto noia ancor più volte. troubled you, many more times, has been resolved.
PAR C4 91-93 / DANTE
Ma or ti s'attraversa un altro passo But now another gulf across your track,
dinanzi a li occhi, tal che per te stesso meets your eyes, which would make
non usciresti: pria saresti lasso. you weary, before you crossed it, alone.
PAR C4 94-96 / DANTE
Io t'ho per certo ne la mente messo I have surely instilled in your mind that spirits
ch'alma beata non poria mentire, who are blessed cannot tell a lie,
però ch'è sempre al primo vero appresso; because they live close to the First Truth,
PAR C4 97-99 / DANTE
e poi potesti da Piccarda udire and also you might have understood, from
che l'affezion del vel Costanza tenne; Piccarda,that Constance maintained her devotion to
sì ch'ella par qui meco contradire. the veil, so that Piccarda appears to contradict me.
PAR C4 100-102 / DANTE
Molte fïate già, frate, addivenne Brother, many times before, things have
che, per fuggir periglio, contra grato been done to escape danger, that were against
si fé di quel che far non si convenne; the grain, and not fitting:
53

PAR C4 103-105 / DANTE
come Almeone, che, di ciò pregato so Alcmeon, moved by his
dal padre suo, la propria madre spense, father’s prayer, killed his own mother,
per non perder pietà si fé spietato. and to be pious, rendered himself impious.
ALCMEON: SON OF AMPHIARÄUS & ERIPHYLE. SHE WAS BRIBED WITH THE NECKLACE OF HARMONIA TO BETRAY THE HIDING
PLACE OF HER HUSBAND, WHO WAS COMPELLED TO GO TO THE THEBAN WAR WHERE HE WAS KILLED. AT THE FATHER’S REQUEST
THE SON ALCMAEON KILLED HIS MOTHER, WAS PURSUED BY THE FURIES & EVENTUALLY KILLED HIMSELF.
PAR C4 106-108 / DANTE
A questo punto voglio che tu pense At this point, I want you to remember that violence
che la forza al voler si mischia, e fanno is allowed by the will, and they work together,
sì che scusar non si posson l'offense. so that the offence cannot be excused.
PAR C4 109-111 / DANTE
Voglia assoluta non consente al danno; The absolute will does not consent to evil,
ma consentevi in tanto in quanto teme, but it does consent, in as much as it fears that,
se si ritrae, cadere in più affanno. if it does not, it will encounter worse.
PAR C4 112-114 / DANTE
Però, quando Piccarda quello spreme, So, when Piccarda expresses this, she is speaking
de la voglia assoluta intende, e io of the absolute will, and I of the practical will,
de l'altra; sì che ver diciamo insieme. so that, together, we both speak the truth.
ABSOLUTE WILL: DANTE FOLLOWS ARISTOTLE’S THEORY OF THE DUAL WILL (ETHICS 3), AN ABSOLUTE WILL THAT DOES NOT
CONSENT TO EVIL COUPLED WITH A PRACTICAL WILL THAT CHOOSES THE LESSER OF TWO EVILS. THE FORMER MAY REMAIN
INTENT ON ITS GOAL, WHILE THE LATTER COMPROMISES & THAT IS A FAILING.
DANTE FINISHES WRITING IN HIS BOOK AND CLOSES IT.
DANTE:
PAR C4 115-117 / DANTE PAR C4 115-117 / KLINE
Cotal fu l'ondeggiar del santo rio Such was the flow, from that holy stream, that rose
ch'uscì del fonte ond' ogne ver deriva; from the fountain from which all truth derives:
tal puose in pace uno e altro disio. and was such that it brought peace to both my desires.
DANTE: & DANTE:
PAR C4 118-120 / DANTE PAR C4 118-138 / KLINE
O amanza del primo amante, o diva, Then I said: O divine lady, loved by the First Lover,
diss' io appresso, «il cui parlar m'inonda you whose speech floods through me, and warms me,
e scalda sì, che più e più m'avviva, so that it makes me more and more alive,
DANTE:
PAR C4 121-123 / DANTE PAR C4 121-123 / KLINE
non è l'affezion mia tanto profonda, my affections have not the depth to be able
che basti a render voi grazia per grazia; to return grace for grace but may He who sees it,
ma quei che vede e puote a ciò risponda. and has the power, respond to it.
PAR C4 124-126 / DANTE
Io veggio ben che già mai non si sazia Now I see that our intellect can never be satisfied
nostro intelletto, se 'l ver non lo illustra unless the Truth, which no truth
di fuor dal qual nessun vero si spazia. goes beyond, shines on it.
PAR C4 127-129 / DANTE
Posasi in esso, come fera in lustra, It rests there, like a wild creature in its lair,
tosto che giunto l'ha; e giugner puollo: as soon as it has reached it: and it can,
se non, ciascun disio sarebbe frustra. otherwise all longing would be in vain.
PAR C4 130-132 / DANTE
Nasce per quello, a guisa di rampollo, so So inquiry grows, like a new shoot
a piè del vero il dubbio; ed è natura at the base of truth, a natural thing that rises
ch'al sommo pinge noi di collo in collo. towards the summit, from ridge to ridge.
54

CANTO 5
PAR C4 133-135 / DANTE
Questo m'invita, questo m'assicura That invites me, and gives me confidence,
con reverenza, donna, a dimandarvi to question you lady, reverentially,
d'un'altra verità che m'è oscura. about another truth hidden from me.
PAR C4 136-138 / DANTE
Io vo' saper se l'uom può sodisfarvi I wish to know if Man can give you such,
ai voti manchi sì con altri beni, satisfaction by other good intentions, for his
ch'a la vostra statera non sien parvi. broken vows, as not to weigh short on your scales.
PAR C4 139-142 / KLINE
Beatrice looked at me, with eyes so filled with divine sparks of love, that my faculties turned away, overcome, and I felt
lost, with downcast eyes.
BEATRICE LOOKS AT DANTE, HER EYES ‘FILLED WITH DIVINE SPARKS OF LOVE’. DANTE’S EYES ARE
DOWNCAST [PAR C4 139-142].
BEATRICE: & BEATRICE:
PAR C5 1-3 / DANTE PAR C5 1-3 / KLINE
S'io ti fiammeggio nel caldo d'amore If I flame at you, in the heat of love,
di là dal modo che 'n terra si vede, beyond the degree of it seen on earth, and,
sì che del viso tuo vinco il valore, in so doing, overcome the power of your eyes,
BEATRICE:
PAR C5 4-6 / DANTE PAR C5 4-6 / KLINE
non ti maravigliar, ché ciò procede do not wonder, since it arises from perfect
da perfetto veder, che, come apprende, vision, that, as it understands,
così nel bene appreso move il piede. advances in the good it understands.
PAR C5 7-9 / DANTE
Io veggio ben sì come già resplende I note clearly how the eternal light, already,
ne l'intelletto tuo l'etterna luce, shines back from your intellect, that,
che, vista, sola e sempre amore accende; which, once seen, always sets love alight,
PAR C5 10-12 / DANTE
e s'altra cosa vostro amor seduce, and if anything else seduces your love,
non è se non di quella alcun vestigio, it is nothing but a trace of this light,
mal conosciuto, che quivi traluce. wrongly comprehended, that shines through in it.
PAR C5 13-15 / DANTE
Tu vuo' saper se con altro servigio, You wish to know whether reparation may be
per manco voto, si può render tanto made, for broken vows, by means of some other
che l'anima sicuri di letigio. service, great enough as to render the soul secure
from disputation.
PAR C5 16-18 / KLINE
So Beatrice began this canto, and like someone who does not pause, continued the sacred progress, like this:
PAR C5 19-21 / DANTE PAR C5 19-21 / KLINE
Lo maggior don che Dio per sua larghezza The greatest gift that God made at the Creation,
fesse creando, e a la sua bontate out of his munificence, the one that most fitted
più conformato, e quel ch'e' più apprezza, his supreme goodness, and which he values most,
DANTE notes:
PAR C5 19 / DANTE PAR C5 19 / KLINE
Lo maggior don che Dio per sua larghezza The greatest gift that God made at the Creation,
55

BEATRICE:
PAR C5 22-24 / DANTE PAR C5 22-24 / KLINE
fu de la volontà la libertate; is Free Will, with which intelligent
di che le creature intelligenti, creatures, all and sundry,
e tutte e sole, fuoro e son dotate. were, and are, endowed.
DANTE notes:
PAR C5 22 / DANTE PAR C5 22 / KLINE
fu de la volontà la libertate; is Free Will, with which intelligent
BEATRICE:
PAR C5 25-27 / DANTE PAR C5 25-27 / KLINE
Or ti parrà, se tu quinci argomenti, Now the high value placed on vows
l'alto valor del voto, s'è sì fatto will be clear to you, if they are made such
che Dio consenta quando tu consenti; that God consents, when you consent:
PAR C5 28-30 / DANTE
ché, nel fermar tra Dio e l'omo il patto, since, in confirming the pact between God and
vittima fassi di questo tesoro, Man, the guilty party is rendered such by this
tal quale io dico; e fassi col suo atto. treasure of Free Will, just as I say, and by their own
act.
PAR C5 31-33 / DANTE
Dunque che render puossi per ristoro? What can be done then, in recompense?
Se credi bene usar quel c'hai offerto, If you thought to make good use of what you once
di maltolletto vuo' far buon lavoro. consecrated, you would be doing good with stolen
evil.
PAR C5 34-36 / DANTE
Tu se' omai del maggior punto certo; You are now clear on the major point.
ma perché Santa Chiesa in ciò dispensa, But since Holy Church grants dispensations that
che par contra lo ver ch'i' t'ho scoverto, seem to run counter to the truth I have revealed,
ERATO, THE ARROW IN HER TEETH, SHOWS POLYHYMNIA AND URANIA THAT THE ARROW HAS NO FLETCHES.
SHE INDICATES THE SKY, FROM WHICH A FEATHER MIGHT HAVE FALLEN. POLYHYMNIA AND URANIA BEGIN
QUARTERING THE STAGE, LOOKING FOR A FEATHER.
DANTE VERSIFIES A LITTLE BEHIND BEATRICE.
DANTE: & BEATRICE:
PAR C5 37-39 / DANTE PAR C5 37-39 / KLINE
convienti ancor sedere un poco a mensa, you must still sit at table for a while,
però che 'l cibo rigido c'hai preso, as the tough fibres, you have eaten,
richiede ancora aiuto a tua dispensa. require further help to aid digestion.
PAR C5 40-42 / DANTE
Apri la mente a quel ch'io ti paleso Open your mind to what I unfold for you,
e fermalvi entro; ché non fa scïenza, and fix it inwardly, since to understand
sanza lo ritenere, avere inteso. and not retain, is not knowledge.
PAR C5 43-45 / DANTE
Due cose si convegnono a l'essenza Two things appertain to the essence of this
di questo sacrificio: l'una è quella self-sacrifice: the first is its content:
di che si fa; l'altr' è la convenenza. the second is the vow itself.
PAR C5 46-48 / DANTE
Quest' ultima già mai non si cancella The latter can never be cancelled, except
se non servata; e intorno di lei by being kept: and it is about this that
sì preciso di sopra si favella: my previous discourse is so precise:
PAR C5 49-51 / DANTE
però necessitato fu a li Ebrei so it was necessary, always, for the Hebrews
pur l'offerere, ancor ch'alcuna offerta to make sacrifice, though, as you ought to know,
sì permutasse, come saver dei. the thing sacrificed might sometimes be altered.
56

PAR C5 52-54 / DANTE
L'altra, che per materia t'è aperta, The content, the other aspect of the matter being
puote ben esser tal, che non si falla explained to you, may indeed be such that there
se con altra materia si converta. is no offence if it is substituted by other content.
PAR C5 55-57 / DANTE
Ma non trasmuti carco a la sua spalla But let no one shift the burden from his shoulder
per suo arbitrio alcun, sanza la volta at his own discretion, without a turn of the gold
e de la chiave bianca e de la gialla; and silver keys (of knowledge and authority).
PAR C5 58-60 / DANTE
e ogne permutanza credi stolta, And let him consider any change as foolish, unless
se la cosa dimessa in la sorpresa the thing that is lapsed from bears a proportion
come 'l quattro nel sei non è raccolta. of four to six, to the thing replacing it??
PAR C5 61-63 / DANTE
Però qualunque cosa tanto pesa And so whatever weighs so heavily in respect of its
per suo valor che tragga ogne bilancia, value, that it exceeds every scale,
sodisfar non si può con altra spesa. can never be replaced by any other means.
PAR C5 64-66 / DANTE
Non prendan li mortali il voto a ciancia; Human beings should never take vows lightly.:
siate fedeli, e a ciò far non bieci, be faithful, and not perverse, as Jepthath
come Ieptè a la sua prima mancia; was perverse in his first vow,
JEPTHATH: THE GILEADITE WHO SACRIFICED HIS DAUGHTER, AFTER VOWING TO OFFER WHATEVER CAME OUT OF HIS GATES TO
MEET HIM, WHEN HE RETURNED FROM FIGHTING THE CHILDREN OF AMMON. (JUDGES 11).
PAR C5 67-72 / DANTE
whom it would have been more fitting to have said: ‘Mal feci: I did wrong,’ than keep the vow and do worse: and you
may accuse the great leader of the Greeks, Agamemnon, of the same foolishness, that made Iphigenia weep that her
face was lovely, and made the wise and foolish weep for her, hearing tell of such a rite.
AGAMEMNON: KING OF MYCENAE, HUSBAND OF CLYTEMNESTRA, FATHER OF IPHIGENIA, ELECTRA & ORESTES. THE
COMMANDER-IN-CHIEF OF THE GREEK FORCES AT TROY. HE WAS TOLD BY AN ORACLE TO SACRIFICE HIS DAUGHTER, IPHIGENIA
& VOWED TO DO SO, IN ORDER TO GAIN FAVOURABLE WINDS, WHEN THE GREEK FLEET WAS WAITING AT AULIS, TO SAIL TO TROY.
HE DID SO & BROUGHT DOWN DESTRUCTION ON HIS HOUSE.
TERPSICHORE RETURNS TO THE STAGE AND BEGINS SEARCHING WITH URANIA AND POLYHYMNIA. SOON SHE
BEGINS SKIPPING BETWEEN THE TWO.
BEATRICE:
PAR C5 73-75 / DANTE PAR C5 73-75 / KLINE
Siate, Cristiani, a muovervi più gravi: Be more cautious in action, you Christians,
non siate come penna ad ogne vento, not like a feather blown by every wind:
e non crediate ch'ogne acqua vi lavi. and do not think that all water purifies.
PAR C5 76-78 / DANTE
Avete il novo e 'l vecchio Testamento, You have the Old and New Testaments,
e 'l pastor de la Chiesa che vi guida; and the shepherd of the Church to guide you:
questo vi basti a vostro salvamento. let that be enough for your salvation.
PAR C5 79-81 / DANTE
Se mala cupidigia altro vi grida, If evil greed declares otherwise, be men
uomini siate, e non pecore matte, not mindless sheep, so that the Jews
sì che 'l Giudeo di voi tra voi non rida! among you do not deride you.
PAR C5 82-84 / DANTE
Non fate com' agnel che lascia il latte Do not do as the lamb does that leaves
de la sua madre, e semplice e lascivo its mother’s milk, capricious and silly,
seco medesmo a suo piacer combatte! sporting with itself for pleasure.
PAR C5 85-90 / KLINE
So Beatrice spoke to me, as I write it: then she turned, all in longing, to that region where the universe is most alive. Her
silence, and her changed aspect, demanded reticence from my eager intellect that already had new questions to ask.
57

DANTE READS./.WRITES TO THE AUDIENCE. POLYHYMNIA STOPS LOOKING.
URANIA, STRAIGHTENING HER BACK, NOTICES SOMETHING OVERHEAD. SHE WHIPS OUT AN ARROW AND
SHOOTS AT IT.
■ - ■ - ■
PLANETARY SPHERE 2: MERCURY
▀ silver
JUSTINIAN
DANTE:
PAR C5 91-93 / DANTE PAR C5 91-93 / KLINE
e sì come saetta che nel segno And like Like an arrow, that hits the target,
percuote pria che sia la corda queta, before the bowstring is still,
così corremmo nel secondo regno. we rose rise to the second sphere, Mercury.
PAR C5 94-102 / KLINE
There I saw my Lady, so delighted, at committing herself to the light of this heaven, that the planet itself grew brighter.
And if the star was altered, and smiled, what did I, who am, by my very nature, changeable in every way! As the fish in
a still, clear pool swim towards whatever falls from above that they consider something to feed on,
[SILVER ☼ ☼ ☼ ☼ ☼ ☼] - [CP 7] - [CP 6]
Clare Pictures 6: Francis preaches to brigands
Francis, dressed in a humble cloak, preaches to brigands in the hills.
Clare Pictures 7: Francis, cloak stolen, in snow
Francis is stuck in a snowdrift as the brigands go off with his cloak.
BLESSED SOULS (VOICES): & BLESSED SOULS (VOICES):
PAR C5 103-105 / DANTE PAR C5 103-105 / KLINE
sì vid' io ben più di mille splendori so I saw more than a thousand radiances
trarsi ver' noi, e in ciascun s'udia: draw towards us, and in each one was heard:
Ecco chi crescerà li nostri amori. Behold someone who will increase our love.
PAR C5 106-114 / KLINE
And as each one came to us, the shadow seemed filled with delight, judging by the bright glow that came from it.
Reader, think how you would feel an anguished craving, to know more, if what I start now did not continue, and you
will see yourself how I longed to hear from them about their state, as soon as they were manifested to my sight.
[SILVER ☼] - [CP 7] - [CP 6]
THE LIGHTS FADE, EXCEPT FOR ONE WHICH SPEAKS.
JUSTINIAN (VOICE):
PAR C5 115-117 / DANTE PAR C5 115-117 / KLINE
O bene nato a cui veder li troni O fortunately-born one, you, to whom grace
del trïunfo etternal concede grazia concedes the right to see the thrones of eternal
prima che la milizia s'abbandoni, triumph, before you abandon the place of militancy,
58

JUSTINIAN (IUSTINIANO) 482 - 565 AGE : 83 CHARACTER AGE : 53?
PLACE./.LANGUAGE ETC
BORN SERBIA, OF ROMANIZED ILLYRIAN STOCK. NATIVE LANGUAGE: LATIN.
BYZANTINE EMPEROR, WHO ENDED THE DRAINING EFFECTS OF THE WAR WITH THE SASSANID PERSIANS,
ENABLING HIM TO CONCENTRATE ON REGAINING THE WESTERN EMPIRE (N.AFRICA 535, ITALY 553, SOUTHERN
SPAIN 554) THROUGH HIS GENERALS BELISARIUS & NARSES. HE CODIFIED THE ROMAN LAW (CORPUS JURIS
CIVILIS). HOWEVER ITALY WAS LOST TO THE LANGOBARDS IN 568. DANTE LOOKS BACK TO HIM AS PROVIDING
LEGAL & IMPERIAL CONTINUITY WITH ANCIENT ROME.
DESCRIPTION
CARRIES BOOK: CORPUS JURIS CIVILIS. IMPERIAL ROBES: WHITE WITH PURPLE TOUCHES.
PARADISO PICTURES
37
PAR C5 118-120 / DANTE
del lume che per tutto il ciel si spazia we are fired by the light that burns through
noi semo accesi; e però, se disii all the heavens, and therefore if you want to be lit
di noi chiarirti, a tuo piacer ti sazia. by us, satisfy yourself at pleasure.
BEATRICE:
PAR C5 121-123 / DANTE PAR C5 121-123 / KLINE
Così da un di quelli spirti pii So one of the spirits said to me, and
detto mi fu; e da Beatrice: Dì, dì Beatrice said: Dì, dì…Speak, speak in safety,
sicuramente, e credi come a dii. and believe, as you would gods.
DANTE:
PAR C5 124-126 / DANTE PAR C5 124-126 / KLINE
«Io veggio ben sì come tu t'annidi Turned to the light that had spoken to me first,
nel proprio lume, e che de li occhi il traggi, I said: Truly, I see how you are nested in your
perch' e' corusca sì come tu ridi; own light, and that you draw it
PAR C5 127-129 / DANTE
ma non so chi tu se', né perché aggi, through your eyes, since they sparkle
anima degna, il grado de la spera as you smile, but I do not know
che si vela a' mortai con altrui raggi. who you are, noble spirit, or why you are
PAR C5 130-132 / DANTE
Questo diss' io diritto a la lumera graded in this sphere, that is veiled, for mortals,
che pria m'avea parlato; ond' ella fessi in the sun’s rays., at which it glowed
lucente più assai di quel ch'ell' era. more brightly even than before.
THE SPIRIT LIGHT GLOWS MORE BRIGHTLY [PAR C5 132].
CANTO 6
PAR C5 133-139 / KLINE
Like the sun, which hides itself in excess light when heat has eaten away the moderating effect of the thick clouds, so
the sacred figure, through greater delight, hid himself in his own rays, and so, enclosed, enclosed [sic], replied to me, as
the following canto declares.
♫SOARING EAGLE - IMPERIAL ROMAN * * * * * * * * * *
PAR C5 130
59

JUSTINIAN (VOICE):
PAR C6 1-3 / DANTE PAR C6 1-3 / KLINE
Poscia che Costantin l'aquila volse When Constantine had turned the Imperial eagle
contr' al corso del ciel, ch'ella seguio eastwards, against the sky’s course which it had
dietro a l'antico che Lavina tolse, followed in the wake of Aeneas, who took Lavinia
from her father,
CONSTANTINE: RULER OF THE WESTERN ROMAN EMPIRE (LIVED C 280-337) AFTER HIS VICTORY OVER MAXENTIUS AT THE
MILVIAN BRIDGE ON THE TIBER IN 312 AD. HE DEFEATED LICINIUS AT ADRIANOPLE & CHRYSOPOLIS IN 324, BECOMING SOLE
RULER OF THE EASTERN & WESTERN EMPIRE (TOTIUS ORBIS IMPERATOR).BYZANTIUM WAS RENAMED CONSTANTINOPLE IN 330 &
MADE THE SECOND ROME & THE CHRISTIAN CAPITAL AS HE HAD EMBRACED CHRISTIANITY. HE DIED IN 337 AFTER RECEIVING
BAPTISM ON HIS DEATHBED. HE CONSOLIDATED DIOCLETIAN’S STRUCTURE OF THE ABSOLUTE STATE, TO EMPHASISE THE DIVINE
NATURE OF THE EMPEROR.
ERATO HEARS ‘EAGLE’. SHE GLANCES AT THE FLETCH END OF HER ARROW, THEN UP, TO WHERE SHE MIGHT
GET A FEATHER.
SHE TAKES AN ARROW FROM URANIA’S QUIVER. FROM HER OWN QUIVER OR URANIA’S SHE TAKES A LENGTH
OF SINEW THREAD FOR ATTACHING FLETCHES TO ARROWS, AND PUTS IT IN HER MOUTH TO SOFTEN.
FOLLOWING JUSTINIAN’S DIRECTIONS, SHE GOES AROUND THE STAGE, LOOKING UP AND READY TO SHOOT.
JUSTINIAN (VOICE):
PAR C6 4-6 / DANTE PAR C6 4-6 / KLINE
cento e cent' anni e più l'uccel di Dio the Bird of God held court at the extremity
ne lo stremo d'Europa si ritenne, of Europe, for two hundred years and more, near to
vicino a' monti de' quai prima uscìo; the mountains of Troy that he had first issued from:
PAR C6 7-9 / DANTE
e sotto l'ombra de le sacre penne and there he ruled the world, under the shadow
governò 'l mondo lì di mano in mano, of his sacred wings, from reign to reign,
e, sì cangiando, in su la mia pervenne. until by the passage of time, rule fell to me.
PAR C6 10-12 / DANTE
Cesare fui e son Iustinïano, Caesar I was, Justinian I am, who pared
che, per voler del primo amor ch'i' sento, excess and ineffectiveness from the Law,
d'entro le leggi trassi il troppo e 'l vano. at the wish of the First Love I now feel:
[JUSTINIAN] - [CP 7] - [CP 6]
JUSTINIAN MANIFESTS HIMSELF AS A MAN. THE BACKGROUND IS DARK.
JUSTINIAN:
PAR C6 10-12 / DANTE PAR C6 10 / KLINE
Cesare fui e son Iustinïano, Caesar I was, Justinian I am, who pared
che, per voler del primo amor ch'i' sento, excess and ineffectiveness from the Law,
d'entro le leggi trassi il troppo e 'l vano. at the wish of the First Love I now feel:
BEATRICE:
Corpus juris civilis.
DANTE notes:
PAR C6 10 / DANTE PAR C6 10 / KLINE
Cesare fui e son Iustinïano, Caesar I was, Justinian I am, who pared
JUSTINIAN:
PAR C6 13-15 / DANTE PAR C6 13-15 / KLINE
E prima ch'io a l'ovra fossi attento, and when I first fixed my mind on that labour,
una natura in Cristo esser, non piùe, I held that Christ had one nature, and no more,
credea, e di tal fede era contento; and I was content in that belief:
60

PAR C6 16-18 / DANTE
ma 'l benedetto Agapito, che fue but Agapetus, the blessed,
sommo pastore, a la fede sincera who was Pope, pointed me to
mi dirizzò con le parole sue. the true faith, by his words.
AGAPETUS: POPE 535-536 AD. HE INDUCED JUSTINIAN TO DEPOSE ANTHIMUS, BISHOP OF CONSTANTINOPLE, BECAUSE OF
ANTHIMUS’S MONOPHYSITE LEANINGS & THE OTHER HEADS OF THE SECT WERE LIKEWISE EXCOMMUNICATED. THE
MONOPHYSITE’S ACCEPTED ONLY THE DIVINE & NOT THE HUMAN NATURE OF CHRIST.
PAR C6 19-21 / DANTE
Io li credetti; e ciò che 'n sua fede era, I believed him, and now I see the content of his
vegg' io or chiaro sì, come tu vedi faith, as clearly as you see that in every contradictory
ogni contradizione e falsa e vera. pair, if one statement is false, the other is true.
CONTRADICTORY PAIR: ARISTOTELIAN LOGIC, WHERE THE PROPOSITIONS THAT THIS IS SO & THIS IS NOT SO, CANNOT BOTH BE
TRUE IN THE SAME SENSE AT THE SAME TIME. RELATED PROPOSITIONS ARE TERMED CONTRADICTORIES E.G. IF ‘SOME SWANS ARE
NOT WHITE’ IS TRUE, THEN ‘ALL SWANS ARE WHITE’ IS FALSE, SINCE A BLACK SWAN WOULD BE WHITE & NOT WHITE, IF BOTH
STATEMENTS WERE TRUE SIMULTANEOUSLY.
PAR C6 22-24 / DANTE
Tosto che con la Chiesa mossi i piedi, as soon as I was in step with the Church, it pleased
a Dio per grazia piacque di spirarmi God, in his grace, to inspire me to that
l'alto lavoro, e tutto 'n lui mi diedi; high task, and I gave it my all,
PAR C6 25-27 / DANTE
e al mio Belisar commendai l'armi, and committed my weapons to Belisarius,
cui la destra del ciel fu sì congiunta, whom Heaven’s right hand was so wedded
che segno fu ch'i' dovessi posarmi. to, it was a sign that I should rest from them.
DANTE notes:
PAR C6 25 / DANTE PAR C6 25 / KLINE
e al mio Belisar commendai l'armi, and committed my weapons to Belisarius,
JUSTINIAN:
PAR C6 28-30 / DANTE PAR C6 28-30 / KLINE
Or qui a la question prima s'appunta Now here is the end, already, of my answer
la mia risposta; ma sua condizione to your first question: who I am: but its context
mi stringe a seguitare alcuna giunta, forces me to follow with some additions.
PAR C6 31-33 / DANTE
perché tu veggi con quanta ragione So you may know how much reason is on the side
si move contr' al sacrosanto segno of those who oppose the sacred banner of Empire,
e chi 'l s'appropria e chi a lui s'oppone. as well as those who embrace it,
PAR C6 34-36 / DANTE
Vedi quanta virtù l'ha fatto degno see how great a nobility has made it worthy
di reverenza; e cominciò da l'ora of reverence, beginning from the time
che Pallante morì per darli regno. when Evander’s son, Pallas, died to ensure its rule.
AENEAS, COMING FROM TROY, LANDED IN ITALY, TOOK LAVINIA AS HIS BRIDE & FOUGHT TURNUS. AENEAS WAS ALLIED WITH
EVANDER, WHOSE KINGDOM WAS BASED ON THE SEVEN HILLS OF THE SITE OF ROME. EVANDER’S SON & HEIR PALLAS LED THESE
ALLIES & WAS KILLED BY TURNUS & AVENGED BY AENEAS. AENEAS FOUNDED HIS KINGDOM AT LAVINIUM & IT WAS
TRANSFERRED BY HIS SON ASCANIUS (IULUS) TO ALBA LONGA WHERE IT REMAINED FOR MORE THAN 3 HUNDRED YEARS TILL IN
THE REIGN OF TULLUS HOSTILIUS (670-638 BC) ALBA FELL TO ROME, WHEN THE 3 CURIATII, THE ALBAN CHAMPIONS, WERE
DEFEATED BY THE SURVIVOR OF THE 3 HORATII, THE ROMAN CHAMPIONS. ROME HAD BEEN FOUNDED BY ROMULUS, AN ALBAN
OUTCAST, ON THE PALATINE, ONE OF THE SEVEN HILLS, & THE ROMANS MADE WIVES OF THE SABINE WOMEN.
DANTE VERSIFIES A LITTLE BEHIND JUSTINIAN.
DANTE: & JUSTINIAN:
PAR C6 37-39 / DANTE PAR C6 37-39 / KLINE
Tu sai ch'el fece in Alba sua dimora You know it rested in Alba Longa for more
per trecento anni e oltre, infino al fine than three hundred years, until the end, when the
che i tre a' tre pugnar per lui ancora. three Horatii and the three Curiati fought for it.
61

PAR C6 40-42 / DANTE
E sai ch'el fé dal mal de le Sabine And you know what it enacted, from the wrong
al dolor di Lucrezia in sette regi, to the Sabine women , to Lucretia’s grief through
vincendo intorno le genti vicine. the reigns of seven kings who conquered the
neighbouring peoples.
LUCRETIA, LUCREZIA: WIFE OF THE ROMAN COLLATINE, RAPED BY TARQUIN, SON OF TARQUINIUS SUPERBUS.
PAR C6 43-45 / DANTE
Sai quel ch'el fé portato da li egregi You know what it did, carried against Brennus
Romani incontro a Brenno, incontro a Pirro, the Gaul, against Greek Pyrrhus, and
incontro a li altri principi e collegi; against the other princes and powers,
BRENNUS: CHIEF OF THE SENNONIAN GAULS WHO SACKED ROME IN 390 BC.
PYRRHUS: KING OF EPIRUS (318-272 BC) WHO CAMPAIGNED AGAINST THE CARTHAGINIANS IN SICILY & AGAINST THE ROMANS
(HIS COSTLY VICTORY AT ASCULUM LED TO THE EXPRESSION ‘A PYRRHIC VICTORY’) WAS DEFEATED BY THE ROMANS UNDER
CURIUS DENTATUS AT BENEVENTUM IN 275 BC.
PAR C6 46-48 / DANTE
onde Torquato e Quinzio, che dal cirro from which Torquatus, and Cincinnatus,
negletto fu nomato, i Deci e ' Fabi named for his curling hair, the Decii, and the Fabii,
ebber la fama che volontier mirro. earned the fame that I delight in remembering.
TORQUATUS: TITUS MANLIUS TORQUATUS, DICTATOR & CONSUL 353-340 BC.
LUCIUS QUINTIUS CINCINNATUS, DICTATOR 458 & 439 BC. HIS NAME: FROM THE WORD CINCINNUS, A CURL OF HAIR. HE
CONQUERED THE AEQUIANS.
THE DECII, THREE GENERATIONS, DIED FIGHTING AGAINST THE LATINS IN 340 BC, THE SAMNITES IN 295 BC & PYRRHUS THE
GREEK INVADER IN 280 BC. THE GREATEST OF THE FABII, QUINTUS FABIUS MAXIMUS CUNCTATOR, DEFEATED HANNIBAL, WHO
CROSSED THE ALPS IN 218 BC & SCIPIO AFRICANUS THE ELDER, A BOY OF 17, SAVED HIS FATHER’S LIFE, AT THE DEFEAT OF
TICINUS. HE FORCED HANNIBAL’S WITHDRAWAL FROM ITALY.
PAR C6 49-51 / DANTE
Esso atterrò l'orgoglio de li Aràbi It threw down the Arab pride that
che di retro ad Anibale passaro followed Hannibal over the Alps,
l'alpestre rocce, Po, di che tu labi. from which the River Po rises.
ARAB: NORTH AFRICAN
PAR C6 52-54 / DANTE PAR C6 52-54 / KLINE
Sott' esso giovanetti trïunfaro Scipio and Pompey triumphed beneath it,
Scipïone e Pompeo; e a quel colle while still young, and it was bitter to Fiesole,
sotto 'l qual tu nascesti parve amaro. in those hills, under which you were born.
POMPEY: CONQUERED THE EAST & DEFEATED MARIUS, CELEBRATED A TRIUMPH, WHEN NOT YET 25, IN 81 BC. THE ROMANS
REDUCED FIESOLE, WHICH OVERHANGS FLORENCE & WAS THE REFUGE OF CATILINE.
RUBICON: JULIUS CAESAR CAMPAIGNED IN GAUL (58-50 BC), CROSSED THE RUBICON, BETWEEN RAVENNA & RIMINI, IN 49 BC,
LEAVING HIS PROVINCE, WITHOUT THE SENATE’S PERMISSION & PRECIPITATING A CIVIL WAR. HE OVERCAME OPPOSITION IN
SPAIN & BESIEGED POMPEY AT DYRRACHIUM, DEFEATING HIM AT PHARSALIA IN THESSALY. POMPEY ESCAPED TO EGYPT,
WHERE HE WAS MURDERED BY PTOLEMY. CAESAR CROSSED THE HELLESPONT, TOOK EGYPT FROM PTOLEMY XII IN 47 BC.&
GAVE IT TO CLEOPATRA, SUBDUED JUBA, KING OF NUMIDIA, WHO HAD PROTECTED HIS OPPONENTS AFTER PHARSALIA &
RETURNED TO SPAIN IN 45 BC TO FIGHT POMPEY’S SONS.
PAR C6 55-57 / DANTE
Poi, presso al tempo che tutto 'l ciel volle Then, near the time when Heaven wished to lead
redur lo mondo a suo modo sereno, the world to its own peaceful mode, Caesar
Cesare per voler di Roma il tolle. laid hands on it, at Rome’s wish,
PAR C6 58-60 / DANTE
E quel che fé da Varo infino a Reno, and the Isère and Arar, the Seine, and
Isara vide ed Era e vide Senna every valley filled by the Rhone, know what it
e ogne valle onde Rodano è pieno. achieved, then, from Var to Rhine.
PAR C6 61-63 / DANTE
Quel che fé poi ch'elli uscì di Ravenna What it did then, when he left Ravenna
e saltò Rubicon, fu di tal volo, and crossed the Rubicon, was so
che nol seguiteria lingua né penna. great that tongue and pen could not describe it.
JULIUS CAESAR CAMPAIGNED IN GAUL (58-50 BC), CROSSED THE RUBICON, BETWEEN RAVENNA & RIMINI, IN 49 BC, LEAVING
HIS PROVINCE, WITHOUT THE SENATE’S PERMISSION & PRECIPITATING A CIVIL WAR. HE OVERCAME OPPOSITION IN SPAIN &
BESIEGED POMPEY AT DYRRACHIUM, DEFEATING HIM AT PHARSALIA IN THESSALY. POMPEY ESCAPED TO EGYPT, WHERE HE WAS
MURDERED BY PTOLEMY. CAESAR CROSSED THE HELLESPONT, TOOK EGYPT FROM PTOLEMY XII IN 47 BC.& GAVE IT TO
CLEOPATRA, SUBDUED JUBA, KING OF NUMIDIA, WHO HAD PROTECTED HIS OPPONENTS AFTER PHARSALIA & RETURNED TO
SPAIN IN 45 BC TO FIGHT POMPEY’S SONS.
PAR C6 64-66 / DANTE
62

Inver' la Spagna rivolse lo stuolo, It wheeled the armies towards Spain and then
poi ver' Durazzo, e Farsalia percosse Durazzo, and struck Pharsalia fiercely that the pain
sì ch'al Nil caldo si sentì del duolo. was felt as far as the hot Nile.
ERATO APPARENTLY SEES THE EAGLE COMING IN LOW AND IS ABOUT TO SHOOT WHEN IT RISES.
DANTE: & JUSTINIAN:
PAR C6 67-69 / DANTE PAR C6 67-69 / KLINE
Antandro e Simeonta, onde si mosse, It saw Trojan Antandros and Simois again, from
rivide e là dov' Ettore si cuba; which it first came, and saw the place where Hector
e mal per Tolomeo poscia si scosse. lies, and then, alas for Ptolemy, soared again,
HECTOR: TROJAN PRINCE, SON OF PRIAM & HECABE (HECUBA), A HERO OF THE ILIAD, WHO WAS KILLED BY ACHILLES IN
REVENGE FOR THE DEATH OF PATROCLUS.
PAR C6 70-72 / DANTE
Da indi scese folgorando a Iuba; and afterwards swooped on Juba in a lightning
onde si volse nel vostro occidente, flash, then wheeled to the west where it
ove sentia la pompeana tuba. heard the Pompeian trumpets.
ERATO TURNS AND SHOOTS LOW THEN FOLLOWS THE DESCENT OF A FEATHER AND MOVES TO CATCH IT IN
THE AIR. SHE FLETCHES THE ARROW SHAFT AS JUSTINIAN SPEAKS:
TAKING A KNIFE FROM HER QUIVER, AND USING THE FLOOR AS A CUTTING BOARD, SHE REMOVES THE THICK
BOTTOM OF THE QUILL, WHERE IT WAS STUCK IN THE EAGLE, THEN SPLITS THE QUILL LENGTHWISE. (SHE MAY
SPLIT THE QUILL, INSTEAD, BY HOLDING THE FEATHER VERTICAL WITH HER LEFT HAND, SEPARATING IT AT THE
TIP AND PULLING DOWN WITH HER RIGHT HAND.) SHE PUTS ONE HALF OF THE FEATHER INTO HER QUIVER FOR
LATER, THINS THE QUILL OF THE REMAINING HALF AND CUTS IT INTO THREE FLETCHES. SHE PULLS THE END OF
THE SINEW THREAD FROM HER MOUTH AND WRAPS IT ONCE AROUND THE SHAFT OF THE ARROW, NEAR THE
BUTT END, PRESSES THE FRONT OF ONE FLETCH AGAINST IT AND WRAPS THE SINEW ONCE OR TWICE OVER THE
FRONT PIECE OF THE FLETCH. SHE ATTACHES THE OTHER TWO FLETCHES AT 120 O FROM THE FIRST ONE, THEN
WRAPS THE REMAINDER OF THE SINEW THREAD AROUND THE SHAFT, COVERING THE FRONT EDGES OF
FLETCHING. SHE LOOKS DOWN THE ARROW FROM THE BUTT END AND PUSHES ON ONE FLETCH TO ADJUST IT
BEFORE PUTTING THE ARROW IN HER QUIVER.
DANTE: & JUSTINIAN:
PAR C6 73-75 / DANTE PAR C6 73-75 / KLINE
Di quel che fé col baiulo seguente, Brutus and Cassius howl in Hell because of
Bruto con Cassio ne l'inferno latra, its support for Augustus who followed,
e Modena e Perugia fu dolente. and it made Modena and Perugia mourn.
MODENA AND PERUGIA: CAESAR WAS ASSASSINATED & OCTAVIAN (LATER AUGUSTUS) HIS ADOPTED SON DEFEATED MARK
ANTONY AT MODENA IN 43 BC. HE THEN DEFEATED BRUTUS & CASSIUS, THE LEADERS OF THE ASSASSINATION PLOT WITH
ANTONY’S HELP, AT PHILIPPI IN 42 BC, & LUCIUS, ANTONY’S BROTHER AT PERUGIA IN 41 BC.
PAR C6 76-78 / DANTE
Piangene ancor la trista Cleopatra, Miserable Cleopatra still suffers because of it,
che, fuggendoli innanzi, dal colubro who, as she fled from the eagle,
la morte prese subitana e atra. took dark sudden death from the viper.
PAR C6 79-81 / DANTE
Con costui corse infino al lito rubro; It ran with Augustus to the Red Sea coast,
con costui puose il mondo in tanta pace, and with him brought the world to such a peace
che fu serrato a Giano il suo delubro. that Janus saw his temple gates closed.
RED SEA: AUGUSTUS WAS MASTER OF THE EMPIRE TO THE REMOTEST ENDS OF EGYPT & THE GATES OF THE TEMPLE OF JANUS
WERE CLOSED FOR THE 3RD TIME IN ROMAN HISTORY TO SIGNAL THE EMPIRE AT PEACE.
JUSTINIAN:
PAR C6 82-84 / DANTE PAR C6 82-84 / KLINE
Ma ciò che 'l segno che parlar mi face But what the Eagle, that I speak of,
fatto avea prima e poi era fatturo did before, what it was yet to do
per lo regno mortal ch'a lui soggiace, throughout the subject mortal world,
63

PAR C6 85-87 / DANTE
diventa in apparenza poco e scuro, becomes a dull and insignificant thing to see, if
se in mano al terzo Cesare si mira the standard is viewed, with clear eye and
con occhio chiaro e con affetto puro; pure heart, in Tiberius’s, the third Caesar’s, hand,
TIBERIUS: CAESAR (14-37 AD), IN WHOSE REIGN CHRIST WAS CRUCIFIED. JERUSALEM LATER FELL TO TITUS.
PAR C6 88-90 / DANTE
ché la viva giustizia che mi spira, since the living Justice, that was my inspiration,
li concedette, in mano a quel ch'i' dico, granted it the glory of taking vengeance
gloria di far vendetta a la sua ira. for his anger, in the hands of which I speak.
PAR C6 91-93 / DANTE
Or qui t'ammira in ciò ch'io ti replìco: Now see the wonder in the twofold thing I tell you!
poscia con Tito a far vendetta corse It rushed to wreak vengeance, on that vengeance
de la vendetta del peccato antico. for the ancient sin, afterwards, under Titus.
■ - [CP 7] - [CP 6]
PAR C6 94-96 / KLINE
And much later when the Lombard tooth gnawed at the Holy Church, Charlemagne, victorious, sheltered her under its
wings.
JUSTINIAN (VOICE):
PAR C6 97-99 / DANTE PAR C6 97-99 / KLINE
Omai puoi giudicar di quei cotali Now you may judge those I accused just now,
ch'io accusai di sopra e di lor falli, and their sins, which are
che son cagion di tutti vostri mali. the cause of all your troubles.
PAR C6 100-102 / DANTE
L'uno al pubblico segno i gigli gialli One faction, the Guelphs, oppose the golden lilies
oppone, e l'altro appropria quello a parte, of France to the people’s Eagle, and the other, the
sì ch'è forte a veder chi più si falli. Ghibellines, appropriate it to their party, so that it is
difficult to see which one offends the most.
PAR C6 103-105 / DANTE
Faccian li Ghibellin, faccian lor arte Let the Ghibellines deploy their skills under some
sott' altro segno, ché mal segue quello other banner, since he who divorces it
sempre chi la giustizia e lui diparte; from justice always follows it to disaster.
PAR C6 106-108 / DANTE
e non l'abbatta esto Carlo novello And do not let that new Charles, of Naples, beat it
coi Guelfi suoi, ma tema de li artigli down, with his Guelphs, but let him fear the talons
ch'a più alto leon trasser lo vello. that have torn the hide from greater lions than him.
CHARLES: CARLO ZOPPO, CHARLES THE LAME, SON OF CHARLES I OF ANJOU. KING OF NAPLES (APULIA) & COUNT OF ANJOU &
PROVENCE (1243-1309). ALIVE AT THE TIME OF THE VISION. TITULAR KING OF JERUSALEM & HEAD OF THE ITALIAN GUELPHS IN
1300.
PAR C6 109-111 / DANTE
Molte fïate già pianser li figli Many a time, before now, the children have grieved
per la colpa del padre, e non si creda for the father’s sin, and do not let Charles imagine
che Dio trasmuti l'armi per suoi gigli! that God will change his coat of arms for royal lilies.
JUSTINIAN (VOICE):
PAR C6 112-114 / DANTE PAR C6 112-114 / KLINE
Questa picciola stella si correda This little planet adorns herself
d'i buoni spirti che son stati attivi with good souls, who actively
perché onore e fama li succeda: searched for honour and fame,
DANTE notes:
PAR C6 112 / DANTE PAR C6 112 / KLINE
Questa picciola stella si correda This little planet adorns herself
64

JUSTINIAN (VOICE):
PAR C6 115-117 / DANTE PAR C6 115-117 / KLINE
e quando li disiri poggian quivi, and when desire, swerving, tends
sì disvïando, pur convien che i raggi towards that, the rays of true love
del vero amore in sù poggin men vivi. shine upwards with less life.
PAR C6 118-120 / DANTE
Ma nel commensurar d'i nostri gaggi But part of our delight is in the matching
col merto è parte di nostra letizia, of our reward to our merit, because we see
perché non li vedem minor né maggi. them neither magnified nor lessened.
PAR C6 121-123 / DANTE
Quindi addolcisce la viva giustizia By this, the living Justice so sweetens
in noi l'affetto sì, che non si puote our affections, that they may
torcer già mai ad alcuna nequizia. never be twisted to any malice.
PAR C6 124-126 / DANTE PAR C6 124-126 / KLINE
Diverse voci fanno dolci note; On earth a diversity of voices creates sweet
così diversi scanni in nostra vita harmony, and in the same way the different degrees
rendon dolce armonia tra queste rote. in this life make sweet harmony among the spheres.
PAR C6 127-129 / DANTE PAR C6 127-129 / KLINE
E dentro a la presente margarita And, here Here, in this pearl, the light of
luce la luce di Romeo, di cui Romeo of Villeneuve shines, whose fine, and
fu l'ovra grande e bella mal gradita. extensive efforts were so badly rewarded.
ROMEO OF VILLENEUVE (1170-1250) WAS THE SENESCHAL, OR CHAMBERLAIN OF COUNT RAYMOND BERENGER IV OF
PROVENCE, WHO DIED IN 1245 LEAVING HIS LANDS TO HIS YOUNGEST DAUGHTER BEATRICE, WHOM HE HAD MADE HEIRESS
UNDER ROMEO’S GUARDIANSHIP. ACCORDING TO LEGEND, ROMEO (‘PILGRIM’) CAME TO RAYMOND’S COURT, MANAGED HIS
BUSINESS & ARRANGED THE MARRIAGES OF RAYMOND’S FOUR DAUGHTERS. THE PROVENÇAL BARONS PERSUADED RAYMOND
TO DEMAND ACCOUNT OF ROMEO, AT WHICH HE ASKED FOR HIS MULE, STAFF & SCRIP & VANISHED, AS POOR AS HE HAD COME.
PAR C6 130-132 / DANTE
Ma i Provenzai che fecer contra lui But the Provençals who harmed him, cannot smile,
non hanno riso; e però mal cammina and he who makes his own ruin
qual si fa danno del ben fare altrui. out of another’s goodness, takes a bad road.
PAR C6 133-135 / DANTE
Quattro figlie ebbe, e ciascuna reina, Raymond Berenger had four daughters, and every
Ramondo Beringhiere, e ciò li fece one a queen, and this was achieved, on his behalf, by
Romeo, persona umìle e peregrina. Romeo of Villeneuve, a humble pilgrim wanderer:
PAR C6 136-138 / DANTE
E poi il mosser le parole biece then muttered words made Raymond demand
a dimandar ragione a questo giusto, account from this just man,
che li assegnò sette e cinque per diece, who gave him twelve for every ten:
PAR C6 139-141 / DANTE
indi partissi povero e vetusto; and Romeo went his way again, old and poor:
e se 'l mondo sapesse il cor ch'elli ebbe and if the world knew the heart he had in him,
mendicando sua vita a frusto a frusto, who begged, crust after crust, to stay alive,
PAR C6 142 / DANTE
assai lo loda, e più lo loderebbe. much as it praises him, it would praise him more.
[CP 8] - [CP 7] - [CP 6]
Clare Pictures 8: Francis home, pelted with mud
Francis arrives back in Assisi, dressed only in a loincloth, and is pelted with mud by the rabble.
DANTE notes:
PAR C6 142 / DANTE PAR C6 142 / KLINE
assai lo loda, e più lo loderebbe. much as it praises him, it would praise him more.
65

THE CANTO CLOSES. ERATO GOES OFF STAGE.
CANTO 7
PAR C7 1-3 / DANTE PAR C7 1-3 / KLINE
«Osanna, sanctus Deus sabaòth, Hosanna, Holy God of Sabaoth, illuminating
superillustrans claritate tua the blessed fires of these kingdoms,
felices ignes horum malacòth!». with your brightness from above!
♫HOSANNA * * * * * * * * * *
PAR C6 142 from PAR C7 1-3
■ - ■ - ■
From LATIN MASS
Osanna Sanctus Deus Sabaoth, superillustrans claritate tua felices ignes horum malachoth!
LATIN MASS PAR C7 1-3
Hosanna, Holy God of Sabaoth, illuminating the blessed fires of these kingdoms, with
your brightness from above!
Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth.
Pleni sunt caeli et terra gloria tua.
Hosanna in excelsis.
Benedictus qui venit in nomine Domini
Hosanna in excelsis.
DURING THE MUSIC, DANTE GAZES ABOVE THE WINDOW WHERE JUSTINIAN HAD BEEN AND GLANCES AT
BEATRICE AS IF WISHING TO SPEAK. BEATRICE SMILES (PROFILE TO THE AUDIENCE) AT DANTE FOR A
MOMENT.
DANTE SPEAKS./.READS.
PAR C7 4-9 / KLINE
So I saw him, singing, to whom the double lustre, of Law and Empire, adds itself, revolving to his own note, and he and
the others moved in dance, and like the swiftest of sparks, suddenly veiled themselves from me, in the distance.
DANTE CLOSES HIS BOOK.
VARIOUS
DANTE:
PAR C7 10-12 / DANTE PAR C7 10-12 / KLINE
Io dubitava e dicea `Dille, dille!' Dille, dille!…Speak to her. I said, hesitating:
fra me, `dille' dicea, `a la mia donna in myself, ‘Speak to my Lady who
che mi diseta con le dolci stille'. quenches my thirst, with the sweetest drops.’
66

PAR C7 13-15 / DANTE
Ma quella reverenza che s'indonna But that reverence that completely overcomes me,
di tutto me, pur per Be e per ice, even at the sound of Be or ice,
mi richinava come l'uom ch'assonna. bowed bows me again., like a man who slumbers.
♫BE-A-TRI-CE MOTIF ? DEVELOPED? * * * * * * * * * *
PAR C7 15
[CP 10] - [CP 9] - [CP 11]
CLARE PICTURES: FRANCIS THE BUILDER
Clare Pictures 9: Francis begs loaves
Francis begs what appears to be loaves of bread from the people of Assisi.
Clare Pictures 10: Francis rebuilds San Damiano
Francis rebuilds San Damiano (1206), using the loaves of bread. Or are they loaf-shaped stones? Is
this an inverted miracle? The picture reproduces the wall on which it is placed. In other words,
Francis in the picture lays a stone where there is now a stone underneath the picture.
Clare Pictures 11: Francis works on the Porziuncola
Francis does repair work on the Porziuncola, the chapel of St Mary of the Angels given to the
Franciscans by the Benedictines, 1211. A tree stands outside it. PARADISO PICTURES: 2, 3.
BEATRICE LOOKS AT DANTE AGAIN.
DANTE:
PAR C7 16-18 / DANTE PAR C7 16-18 / KLINE
Poco sofferse me cotal Beatrice Beatrice only let me be like that for a moment, and
e cominciò, raggiandomi d'un riso began to direct the rays of her Her smile towards
tal, che nel foco faria l'uom felice: me, that would make a man happy in the flames.:
DANTE:
PAR C7 17-18 / DANTE PAR C7 17-18 / KLINE
e cominciò, raggiandomi d'un riso and began to direct the rays of her smile towards
tal, che nel foco faria l'uom felice: me, that would make a man happy in the flames:
BEATRICE:
PAR C7 19-21 / DANTE PAR C7 19-21 / KLINE
Secondo mio infallibile avviso, According to my unerring perception,
come giusta vendetta giustamente those words about how just vengeance
punita fosse, t'ha in pensier miso; was revenged, with justice, have set you thinking:
PAR C7 22-24 / DANTE
ma io ti solverò tosto la mente; but I will quickly relieve your thoughts:
e tu ascolta, ché le mie parole and listen closely since my words will grant you
di gran sentenza ti faran presente. the gift of a noble statement.
DANTE notes:
PAR C7 24 / DANTE PAR C7 24 / KLINE
di gran sentenza ti faran presente. the gift of a noble statement.
67

BEATRICE:
PAR C7 25-27 / DANTE PAR C7 25-27 / KLINE
Per non soffrire a la virtù che vole / freno Adam, that man who was not born, condemned
a suo prode, quell' uom che non nacque, his whole race because he would not
dannando sé, dannò tutta sua prole; suffer a rein on his will, for his own good.
PAR C7 28-30 / DANTE
onde l'umana specie inferma giacque Therefore Humanity lay in sickness down there,
giù per secoli molti in grande errore, and in great error, for many ages, until
fin ch'al Verbo di Dio discender piacque it pleased God’s Word to descend,
PAR C7 31-33 / DANTE
u' la natura, che dal suo fattore when he joined that nature that had wandered
s'era allungata, unì a sé in persona from its Creator, to his own person,
con l'atto sol del suo etterno amore. solely by an act of his eternal Love.
PAR C7 34-36 / DANTE
Or drizza il viso a quel ch'or si ragiona: Now turn you vision to what I now say:
questa natura al suo fattore unita, this nature, joined to its maker, was pure
qual fu creata, fu sincera e buona; and good, as it was when first created,
PAR C7 37-39 / DANTE
ma per sé stessa pur fu ella sbandita but it had been exiled from Paradise,
di paradiso, però che si torse by its own action, by turning from
da via di verità e da sua vita. the way of truth, and its own life.
PAR C7 40-42 / DANTE
La pena dunque che la croce porse Measured by the nature assumed,
s'a la natura assunta si misura, no penalty was ever exacted so justly,
nulla già mai sì giustamente morse; as that one, inflicted on the Cross,
PAR C7 43-45 / DANTE
e così nulla fu di tanta ingiura, and if we gaze at the Person who endured it,
guardando a la persona che sofferse, in whom that nature was incarnate, by the same
in che era contratta tal natura. measure no punishment was ever so unjust.
PAR C7 46-48 / DANTE
Però d'un atto uscir cose diverse: So contrary effects came from one cause:
ch'a Dio e a' Giudei piacque una morte; God and the Jews were satisfied by the same death:
per lei tremò la terra e 'l ciel s'aperse. and Earth shook, and Heaven opened at it.
PAR C7 49-51 / DANTE
Non ti dee oramai parer più forte, Now, it should not seem a difficulty to you,
quando si dice che giusta vendetta to hear it said that just revenge
poscia vengiata fu da giusta corte. was taken by the Court of Justice.
■ - ■ - ■
DANTE INTERPRETS BEATRICE TO THE AUDIENCE.
BEATRICE: & DANTE:
PAR C7 52-54 / DANTE PAR C7 52-54 / KLINE
Ma io veggi' or la tua mente ristretta But now I see your mind tangled in knots,
di pensiero in pensier dentro ad un nodo, from thought to thought,
del qual con gran disio solver s'aspetta. which it greatly longs for release from.
PAR C7 55-57 / DANTE
Tu dici: "Ben discerno ciò ch'i' odo; You are saying to yourself: Yes, I understand
ma perché Dio volesse, m'è occulto, what I hear, but why God only willed this method
a nostra redenzion pur questo modo". of our redemption, is hidden from me.
68

PAR C7 58-60 / DANTE
Questo decreto, frate, sta sepulto Brother, this decree is buried from the sight
a li occhi di ciascuno il cui ingegno of everyone whose intellect
ne la fiamma d'amor non è adulto. is not ripened in Love’s flame.
PAR C7 61-63 / DANTE
Veramente, però ch'a questo segno But I will reveal why this method was
molto si mira e poco si discerne, the most valuable, since it is knowledge
dirò perché tal modo fu più degno. often aimed at, but little understood.
PAR C7 64-66 / DANTE
La divina bontà, che da sé sperne The Divine Good, that rejects all envy,
ogne livore, ardendo in sé, sfavilla fires out such sparks from its inner fire
sì che dispiega le bellezze etterne. as to show forth the eternal beauty.
PAR C7 67-69 / DANTE
Ciò che da lei sanza mezzo distilla What distills from it, without mediation,
non ha poi fine, perché non si move is eternal, because the print cannot be removed,
la sua imprenta quand' ella sigilla. once it has stamped the seal.
PAR C7 70-72 / DANTE
Ciò che da essa sanza mezzo piove What rains down from it, without mediation,
libero è tutto, perché non soggiace is total freedom, since it is not subject
a la virtute de le cose nove. to the power of transient things.
PAR C7 73-75 / DANTE
Più l'è conforme, e però più le piace; It conforms more closely to the Good, and is
ché l'ardor santo ch'ogne cosa raggia, therefore more pleasing to it: since the sacred flame
ne la più somigliante è più vivace. that lights everything, is most alive in what most
resembles it.
PAR C7 76-78 / DANTE
Di tutte queste dote s'avvantaggia The human creature has all these advantages,
l'umana creatura, e s'una manca, and if one fails, then that creature
di sua nobilità convien che caggia. falls from nobility.
PAR C7 79-81 / DANTE
Solo il peccato è quel che la disfranca Sin is the only thing that disenfranchises it,
e falla dissimìle al sommo bene, and makes it dissimilar to the Highest Good,
per che del lume suo poco s'imbianca; so that its light irradiates it less,
FROM ANSELM: CUR DEUS HOMO. ADAM’S DISOBEDIENCE INJURED HIMSELF, NOT GOD, & WHAT WAS DEMANDED WAS NOT A
PROPITIATION, BUT RESTORATION. MAN WAS REQUIRED TO GIVE BACK WHAT HE OWED, TO MATCH WHAT HE HAD TAKEN THAT HE
DID NOT OWN, BUT COULD NOT SINCE HE OWES EVERYTHING & OWNS NOTHING. THEREFORE GOD WHO OWES NOTHING & OWNS
EVERYTHING HAD TO BECOME MAN TO ACHIEVE RESTORATION.
PAR C7 82-84 / DANTE
e in sua dignità mai non rivene, and the creature may never return to dignity,
se non rïempie, dove colpa vòta, unless it fills the place where guilt has made
contra mal dilettar con giuste pene. a void, with just punishment for sinful delight.
PAR C7 85-87 / DANTE
Vostra natura, quando peccò tota When your nature sinned in totality
nel seme suo, da queste dignitadi, in the first seed, it was parted
come di paradiso, fu remota; from dignity, as it was from Paradise:
PAR C7 88-90 / DANTE
né ricovrar potiensi, se tu badi and they could not be regained, however
ben sottilmente, per alcuna via, subtly you search, except by
sanza passar per un di questi guadi: crossing over one of these two fords:
PAR C7 91-93 / DANTE
o che Dio solo per sua cortesia either that God out of his grace
dimesso avesse, o che l'uom per sé isso remitted the debt, or Man gave
avesse sodisfatto a sua follia. satisfaction for his foolishness.
69

[CP 12] - [CP 12] - [CP 12]
Clare Pictures 12: Francis dreams of Bethlehem
Francis dreams he is standing in his loincloth with one hand on a recumbent ox, looking at the baby
Jesus in Bethlehem.
BEATRICE: & DANTE:
PAR C7 94-96 / DANTE PAR C7 94-96 / KLINE
Ficca mo l'occhio per entro l'abisso Now fix your eyes on the abyss
de l'etterno consiglio, quanto puoi of Eternal Wisdom, following
al mio parlar distrettamente fisso. my speech as closely as you can.
PAR C7 97-99 / DANTE
Non potea l'uomo ne' termini suoi Man had no power ever to be able to give
mai sodisfar, per non potere ir giuso satisfaction, in his own being, since he could
con umiltate obedïendo poi, not humble himself, by new obedience,
PAR C7 100-102 / DANTE
quanto disobediendo intese ir suso; as deeply, as he had aimed, so highly, to exalt
e questa è la cagion per che l'uom fue himself, through disobedience. This was the reason
da poter sodisfar per sé dischiuso. why man was shut out from the power to give
satisfaction by himself.
PAR C7 103-105 / DANTE
Dunque a Dio convenia con le vie sue Therefore God had to return Man to his perfect life
riparar l'omo a sua intera vita, in his own way: that is, through
dico con l'una, o ver con amendue. mercy or through justice, or both.
PAR C7 106-108 / DANTE
Ma perché l'ovra tanto è più gradita And since what is done by the doer is more
da l'operante, quanto più appresenta gracious the more it shows us
de la bontà del core ond' ell' è uscita, the goodness of the heart it comes from,
PAR C7 109-111 / DANTE
la divina bontà che 'l mondo imprenta, the Divine Goodness, that imprints
di proceder per tutte le sue vie, the world, was content to act
a rilevarvi suso, fu contenta. in both ways, to raise you up again.
PAR C7 112-114 / DANTE
Né tra l'ultima notte e 'l primo die Between the first day and the last, there never was,
sì alto o sì magnifico processo, nor ever will be again again, so high and
o per l'una o per l'altra, fu o fie: magnificent a progress on either of those roads,
PAR C7 115-117 / DANTE
ché più largo fu Dio a dar sé stesso since God was more generous in giving of himself
per far l'uom sufficiente a rilevarsi, to make Man capable of rising again, than if
che s'elli avesse sol da sé dimesso; he had only granted remission, from himself:
PAR C7 118-120 / DANTE
e tutti li altri modi erano scarsi and every other way fell short of justice,
a la giustizia, se 'l Figliuol di Dio except that by which the Son of God
non fosse umilïato ad incarnarsi. humbled himself, to become incarnate.
♫DREAM ? * * * * * * * * * *
PAR C7 120
BEATRICE : CREATION AND RESURRECTION.
70

BEATRICE:
PAR C7 121-123 / DANTE PAR C7 121-123 / KLINE
Or per empierti bene ogne disio, Now to answer all your longings,
ritorno a dichiararti in alcun loco, I go back to explain a certain passage,
perché tu veggi lì così com' io. so that you can understand it as I do.
PAR C7 124-126 / DANTE
Tu dici: "Io veggio l'acqua, io veggio il foco, You are saying to yourself: I see the water,
l'aere e la terra e tutte lor misture fire, earth, and air: and all their mixtures come
venire a corruzione, e durar poco; to corruption, and do not last for long,
PAR C7 127-129 / DANTE
e queste cose pur furon creature; and yet these things were creatures, and ought
per che, se ciò ch'è detto è stato vero, to be secure from corruption,
esser dovrien da corruzion sicure". if what I have said to you is true.
PAR C7 130-132 / DANTE
Li angeli, frate, e 'l paese sincero Brother, the Angels, and the pure region
nel qual tu se', dir si posson creati, where you are, may be said to be created
sì come sono, in loro essere intero; as they are, in their total being,
PAR C7 133-135 / DANTE
ma li alimenti che tu hai nomati but the elements you have named
e quelle cose che di lor si fanno and all the compounds of them have been
da creata virtù sono informati. inwardly formed by a created power.
PAR C7 136-138 / DANTE
Creata fu la materia ch'elli hanno; The matter that they hold was created:
creata fu la virtù informante the formative power in those stars
in queste stelle che 'ntorno a lor vanno. which circle round them was created.
PAR C7 139-141 / DANTE
L'anima d'ogne bruto e de le piante The life of every wild creature and every plant
di complession potenzïata tira is drawn from compounds gaining power
lo raggio e 'l moto de le luci sante; by the rays and motion of the sacred lights.
PAR C7 142-144 / DANTE
ma vostra vita sanza mezzo spira But your life is breathed into you without
la somma beninanza, e la innamora mediation, by the supreme beneficence that
di sé sì che poi sempre la disira. makes life love it, so that it always longs for it.
PAR C7 145-147 / DANTE
E quinci puoi argomentare ancora And from this you can deduce your
vostra resurrezion, se tu ripensi resurrection in the flesh, if you again consider
come l'umana carne fessi allora how human bodies were first made,
FROM ANSELM: SINCE GOD MADE ADAM & EVE’S FLESH DIRECTLY, MAN’S BODY WILL BE RESTORED AT THE LAST JUDGEMENT
WHEN REDEMPTION IS COMPLETE FOR THE SAVED.
PAR C7 148 / DANTE
che li primi parenti intrambo fensi. when your first parents were both made.
■ - ■ - ■
CANTO 8
71

♫HOSANNA * * * * * * * * * *
PAR C7 147 from PAR C8 28-30
See DANTE DRAMATISED: L’Inferno.
PAR C8 1-12 / KLINE
In its Pagan days the world used to believe that lovely Cyprian Venus used to beam down fond love, turning in the third
epicycle, so that those ancient peoples, in ancient error, not only did her the honour of sacrifice and the votive cry, but
honoured Dione as well, and Cupid, one as her mother, the other as her son, and told how Cupid sat in Dido’s lap: and
from her, from whom I take my start, they took the name of the planet, that courts the Sun, now setting in front, and
now behind.
PLANETARY SPHERE 3: VENUS
▀ rose
CHARLES MARTEL D’ANJOU
[CP 13] - [ROSE ☼ ☼ ☼ ☼] - [CP 14]
Clare Pictures 13: Francis recruits ‘oxen’
St Francis walks through grass uplands in his new habit, whose colour he took from the oxen of his
dream. Franciscans move towards him like companionable beasts.
Clare Pictures 14: Francis and recruits go to Rome
Francis and his few followers walk in the uplands towards Rome (as it appeared at the time, 1209) to
seek the approval of the Holy See for the ‘Penitents of Assisi’.
DANTE HAS BEEN LOOKING OFFSTAGE. NOW HE READS TO THE AUDIENCE.
DANTE:
PAR C8 13-15 / DANTE PAR C8 13-15 / KLINE
Io non m'accorsi del salire in ella; I had no sense of rising into her Venus’s sphere,
ma d'esservi entro mi fé assai fede but my Lady’s aspect gave me faith that I was there,
la donna mia ch'i' vidi far più bella. because I saw her grow more beautiful.
♫HOSANNA * * * * * * * * * *
PAR C8 15 from PAR C8 29
PAR C8 16-30 / DANTE
And as we see a spark in a flame, and as a voice can be distinguished from a voice, if one remains fixed and the other
comes and goes, so, in that light itself, I saw other lamps, moving in circles, faster or slower, in accord, I believe, with
the nature of their eternal vision. Blasts never blew from a chill cold, visibly or invisibly, so rapidly that that they would
not seem slow and hindered, to whoever had seen those divine lights coming towards us, leaving the sphere that has its
first conception in the exalted Seraphim. And among those who appeared most in advance, Hosanna sounded, in such a
manner that ever since I have not been free of the desire to hear it again.
72

A ROSE LIGHT SPEAKS.
CHARLES MARTEL D’ANJOU (VOICE):
PAR C8 31-33 / DANTE PAR C8 31-33 / KLINE
Indi si fece l'un più presso a noi Then one came nearer to us, and began alone:
e solo incominciò: «Tutti sem presti We are all at your pleasure,
al tuo piacer, perché di noi ti gioi. so that you may have joy of us.
CHARLES MARTEL D’ANJOU 1271 - 1295 AGE : 24 CHARACTER AGE : 24
CHARLES I MARTEL, CARLO MARTELLO
NOT CHARLES MARTEL, THE FAMOUS FRANKISH RULER WHO STOPPED THE SARACENS AT POITIERS IN 732.
PLACE./.LANGUAGE ETC
FRENCH? NEAPOLITAN ITALIAN? KING OF HUNGARY 1290-1295 BUT NEVER WENT THERE.
SON OF CHARLES II (CARLO ZOPPO, CHARLES THE LAME - KING OF NAPLES) AND GRANDSON OF CHARLES I OF
ANJOU (KING OF NAPLES & COUNT OF ANJOU & PROVENCE)
DESCRIPTION
HE WEARS A CROWN, IS DRESSED IN BLACK AND HAS A SWORD AT HIS BELT.
DANTE PROBABLY MET HIM IN MARCH 1295 WHEN HE VISITED FLORENCE & WAS POPULAR. HE DIED IN THE AUGUST. HIS LINE
MIGHT HAVE RECONCILED THE GUELPH & GHIBELLINE FACTIONS, BUT HIS EARLY DEATH QUENCHED DANTE’S HOPES. HIS
BROTHER WAS ROBERT DUKE OF CALABRIA. HIS DAUGHTER CLEMENZA MARRIED LOUIS X OF FRANCE. HIS WIFE CLEMENZ DIED
IN 1296. HIS SON CAROBERTO BECAME HEIR TO NAPLES BUT WAS OUSTED BY ROBERT, HIS UNCLE. HE DESCRIBES THE REGIONS
OVER WHICH HE WOULD HAVE HELD POWER INCLUDING PROVENCE, OF WHICH THE ANGEVIN KINGS OF NAPLES WERE COUNTS;
HUNGARY OF WHICH HE HAD ALREADY BEEN CROWNED KING IN 1290 AT NAPLES, HOLDING IT FROM HIS MOTHER; & SICILY,
WHICH WOULD ALREADY HAVE BEEN HIS HAD IT NOT BEEN FOR THE SICILIAN VESPERS, IN 1282, THE RISING IN PALERMO
AGAINST THE FRENCH THAT LED TO RULE BY THE HOUSE OF ARAGON.
CHARLES MARTEL D’ANJOU (VOICE):
PAR C8 34-36 / DANTE PAR C8 34-36 / KLINE
Noi ci volgiam coi principi celesti We orbit with those celestial Princes in one circle,
d'un giro e d'un girare e d'una sete, and one circling, and with one thirst, we,
ai quali tu del mondo già dicesti: to whom you, from the world below, once said:
CHARLES MARTEL D’ANJOU (VOICE):
PAR C8 37-39 / DANTE CON CANZ 1 STANZA 1 LINE 2 / DANTE / KLINE
`Voi che 'ntendendo il terzo ciel movete'; You who by understanding move the third circle:
e sem sì pien d'amor, che, per piacerti, and we are so filled with love, that a moment of
non fia men dolce un poco di quïete. rest, to give you pleasure, will be no less sweet to
us.
DANTE:
CON CANZ 1 STANZA 1 LINE 1 / DANTE CON CANZ 1 STANZA 1 LINE 1 / KLINE
Voi che intendendo il terzo ciel movete You who by understanding move the third circle:
CHARLES MARTEL D’ANJOU (VOICE):
CON CANZ 1 STANZA 1 LINE 2 / DANTE CON CANZ 1 STANZA 1 LINE 2 / LANSING
udite il ragionar ch'è nel mio core, Now listen to the speech within my heart.,
CHARLES MARTEL D’ANJOU (VOICE):
PAR C8 38-39 / DANTE PAR C8 38-39 / KLINE
e sem sì pien d'amor, che, per piacerti, and we We are so filled with love, that a moment of
non fia men dolce un poco di quïete. rest, to give you pleasure, will be no less sweet to
us.
DANTE LOOKS TO BEATRICE. SHE NODS. HE SPEAKS TO THE SPIRIT ‘WITH GREAT AFFECTION’ [PAR C8 44-45 /
KLINE].
PAR C8 40-42 / KLINE
When my eyes had been lifted in reverence to my Lady, and she had herself given them satisfaction and assurance,
73

DANTE:
PAR C8 43-45 / DANTE PAR C8 43-45 / KLINE
rivolsersi a la luce che promessa they turned back to the light that had offered itself
tanto s'avea, e «Deh, chi siete?» fue so generously, and: Deh, chi siete?...Say who you
la voce mia di grande affetto impressa. are.’were my words, stamped with great affection.
[CP 13] - [ROSE ☼] - [CP 14]
THE OTHER LIGHTS VANISH.
PAR C8 46-48 / KLINE
Oh, how I saw it grow in size and splendour, at the new joy, added to its joys, when I spoke!
CHARLES MARTEL D’ANJOU (VOICE):
PAR C8 49-50 / DANTE PAR C8 49-50 / KLINE
Così fatta, mi disse: «Il mondo m'ebbe Altered in that way, it said to me:
giù poco tempo; e se più fosse stato, The world held me, held Charles Martel d’Anjou,
CHARLES MARTEL D’ANJOU MANIFESTS HIMSELF AS A PERSON.
CHARLES MARTEL D’ANJOU:
PAR C8 49-51 / DANTE PAR C8 49-51 / KLINE
Così fatta, mi disse: «Il mondo m'ebbe Altered in that way, it said to me: The world
giù poco tempo; e se più fosse stato, held me, held Charles Martel, below for only
molto sarà di mal, che non sarebbe. a little while: if it had been longer, much of the evil
that will happen would not happen.
PAR C8 52-54 / KLINE
My joy, shining round me, keeps me hidden from you, concealing me like a silkworm cocooned in its own silk.
THE MUSE EUTERPE HEARS THE NAME OF THE SPIRIT AND HURRIES TO SET UP THE NEXT FIGURE. SHE
FETCHES THE BOAT ON HER HEAD FROM WHERE SHE LEFT IT IN [PAR C2 12], PLACING IT IN THE MIDDLE OF
THE STAGE. SHE BECKONS TO TERPSICHORE (THE LAMB) AND URANIA. THEY STEADY THE BOAT WHILE SHE
GETS IN, THEN CLIMB IN THEMSELVES AS CHARLES MARTEL D’ANJOU NAMES BODIES OF WATER.
DANTE VERSIFIES A LITTLE BEHIND HIM.
DANTE: & CHARLES MARTEL D’ANJOU
PAR C8 55-57 / DANTE PAR C8 55-57 / KLINE
Assai m'amasti, e avesti ben onde; You loved me greatly, and with good cause,
che s'io fossi giù stato, io ti mostrava since if I had stayed below I would have shown
di mio amor più oltre che le fronde. you greater love than the mere shoots of it.
PAR C8 58-60 / DANTE
Quella sinistra riva che si lava That left bank, Provence, that the Rhone washes
di Rodano poi ch'è misto con Sorga, after its meeting with the Sorgue,
per suo segnore a tempo m'aspettava, waited for me to be its lord in time,
PAR C8 61-63 / DANTE
e quel corno d'Ausonia che s'imborga so did Naples, that stretch of Ausonia, with its
di Bari e di Gaeta e di Catona, cities of Bari, Gaeta, and Catona, down from
da ove Tronto e Verde in mare sgorga. where Tronto and Verde discharge into the sea.
PAR C8 64-66 / DANTE
Fulgeami già in fronte la corona The Crown of Hungary, that the Danube waters,
di quella terra che 'l Danubio riga when it has left its German banks,
poi che le ripe tedesche abbandona. already shone on my forehead:
74

PAR C8 67-69 / DANTE
E la bella Trinacria, che caliga and beautiful Sicily, Trinacria, over the gulf
tra Pachino e Peloro, sopra 'l golfo the east wind torments most,
che riceve da Euro maggior briga, that is darkened between Pachynus and Pelorus,
PAR C8 70-72 / DANTE
non per Tifeo ma per nascente solfo, not by Typhon, but by the sulphurous clouds,
attesi avrebbe li suoi regi ancora, would still have looked for its kings born of the line
nati per me di Carlo e di Ridolfo, through me from Charles II and the Emperor Rudolph,
TYPHON: A GIANT, HURLED INTO TARTARUS BENEATH MOUNT ETNA, BY JUPITER.
CHARLES II: CHARLES THE LAME.
EMPEROR RUDOLPH (1273-1291): WHO SERVED UNDER OTTOCAR II, KING OF BOHEMIA (1253-1278), BUT ASSERTED HIS
SUPREMACY, WHEN ELECTED EMPEROR.
OTTOCAR’S SON WENCESLAS II (1278-1305) (NOT THE EARLIER KING & SAINT) WAS ALLOWED TO RETAIN BOHEMIA &
MORAVIA, BUT HAD TO GIVE UP AUSTRIA & STYRIA (RUDOLPH’S SONS ALBERT & RUDOLPH WERE INVESTED WITH THESE),
CARINTHIA & CARNIOLA. HIS DAUGHTER CLEMENZ MARRIED CHARLES MARTEL.
PAR C8 73-75 / DANTE
se mala segnoria, che sempre accora if bad governance, that stirs the hearts
li popoli suggetti, non avesse of subject peoples, had not caused
mosso Palermo a gridar: "Mora, mora!". Palermo to cry out: “Death, Death!”
PAR C8 76-78 / DANTE
E se mio frate questo antivedesse, And if Robert of Calabria, my brother had seen it
l'avara povertà di Catalogna in good time, he would already have avoided
già fuggeria, perché non li offendesse; the greedy adventurers of Catalonia, before they do
him wrong,
ROBERT OF CALABRIA: DUKE OF CALABRIA, AFTERWARDS KING OF NAPLES. ROBERT OUSTED THE SON CAROBERTO FROM THE
THRONE OF NAPLES, IN 1309 AFTER THE DATE OF THE VISION. ROBERT & HIS BROTHERS LOUIS & JOHN WERE HOSTAGES IN SPAIN
AFTER THE RELEASE OF THEIR FATHER CHARLES II IN 1288. ROBERT WAS ACCOMPANIED BACK TO ITALY BY CERTAIN GREEDY
CATALONIAN ADVENTURERS WHO HE GAVE OFFICES TO WHEN HE SUCCEEDED TO THE THRONE OF NAPLES & THEIR GREED MADE
THEM & HIM DETESTED IN APULIA. HE WAS SHIPWRECKED IN 1301.
PAR C8 79-81 / DANTE
ché veramente proveder bisogna and indeed he or another needs to make
per lui, o per altrui, sì ch'a sua barca provision that a heavier load is not laid
carcata più d'incarco non si pogna. on his already laden boat.
EUTERPE, TERPSICHORE AND URANIA TAKE THE BOAT OFFSTAGE.
♫MUSIC ? * * * * * * * * * *
PAR C8 81
■ - [CM] - ■
CHARLES MARTEL D’ANJOU:
PAR C8 82-84 / DANTE PAR C8 82-84 / KLINE
La sua natura, che di larga parca His nature, meanness descended from
discese, avria mestier di tal milizia generosity, needs soldiers who do not care
che non curasse di mettere in arca». about stuffing their purses.
DANTE:
PAR C8 85-87 / DANTE PAR C8 85-87 / KLINE
Però ch'i' credo che l'alta letizia I said: Sir, because I believe you see the great joy
che 'l tuo parlar m'infonde, segnor mio, your conversation floods me with, as I see it,
là 've ogne ben si termina e s'inizia, there where every good has its beginning and end,
75

PAR C8 88-90 / DANTE
per te si veggia come la vegg' io, it is more gratifying to me:
grata m'è più; e anco quest' ho caro and also I value that
perché 'l discerni rimirando in Dio. you see it by gazing on God.
PAR C8 91-93 / DANTE
Fatto m'hai lieto, e così mi fa chiaro, You have given me delight, now enlighten me,
poi che, parlando, a dubitar m'hai mosso since in speaking you have stirred me to question
com' esser può, di dolce seme, amaro. how bitter seed can be born from the sweet.
[CP 15] - [CM] - [CP 16]
Clare Pictures 15: Francis puts his case to Pope Innocent
Gesturing, Francis puts his case for recognition of the Franciscan Order. The centre window separates
him, like the nave of a great church, from…
Clare Pictures 16: Pope Innocent listens to St Francis
…Pope Innocent III, who listens.
CHARLES MARTEL D’ANJOU:
PAR C8 94-96 / DANTE PAR C8 94-96 / KLINE
Questo io a lui; ed elli a me: «S'io posso And he to me: If I can show you a truth,
mostrarti un vero, a quel che tu dimandi you will have the thing you ask,
terrai lo viso come tien lo dosso. that is behind your back, in front of your eyes.
PAR C8 97-99 / DANTE
Lo ben che tutto il regno che tu scandi The Good, which turns, and makes content,
volge e contenta, fa esser virtute the whole kingdom, that you climb, makes its
sua provedenza in questi corpi grandi. providence a power in these great celestial bodies,
PAR C8 100-102 / DANTE
E non pur le nature provedute and provision is not only made for the nature
sono in la mente ch'è da sé perfetta, of things but for their welfare too,
ma esse insieme con la lor salute: by that Mind that is perfection in itself.
PAR C8 103-105 / KLINE
So whatever this bow fires moves towards its destined end, like an arrow fired at the mark.
PAR C8 106-108 / DANTE
Se ciò non fosse, il ciel che tu cammine If that were not so, the Heaven you are crossing
producerebbe sì li suoi effetti, would bring its effects into being
che non sarebbero arti, ma ruine; so that they would be chaos and not art,
PAR C8 109-111 / DANTE
e ciò esser non può, se li 'ntelletti and that cannot be unless the intellects
che muovon queste stelle non son manchi, that move these planets are defective,
e manco il primo, che non li ha perfetti. and the First Mover too, who failed to perfect them.
PAR C8 112-126 / KLINE
Do you wish this truth to be clarified more?’ I said: ‘No, since I know it is impossible for Nature to fall short of what is
needed.’ And he again: ‘Now, say, would it be worse for man if he were not a citizen, on earth, but left to his own
sufficiency?’ ‘Yes,’ I replied, ‘and I do not need to ask the reason.’ ‘And can that be, unless men live various lives
below, and with various tasks? Not if your master, Aristotle, wrote truly for you.’ He reached this point, deducing, and
then gave the conclusion: ‘Therefore the roots of your qualities must be diverse, so that one is born Solon the lawgiver,
and another Xerxes, the soldier, one Melchizedek, the priest, and another Daedalus, the inventor, who lost his son,
soaring through the sky.
PAR C8 127-129 / DANTE PAR C8 127-129 / KLINE
La circular natura, ch'è suggello Circling Nature, the seal on the mortal wax,
a la cera mortal, fa ben sua arte, is a good maker, and does not
ma non distingue l'un da l'altro ostello. distinguish between one house and another.
76

PAR C8 130-132 / DANTE
Quinci addivien ch'Esaù si diparte So that Esau differs from Jacob in the seed, and
per seme da Iacòb; e vien Quirino Romulus worshipped as Quirinus, comes from
da sì vil padre, che si rende a Marte. so lowly a father he is assigned to Mars instead.
ESAU: JACOB’S BROTHER, THE SON OF ISAAC & REBECCAH, A HUNTER, A MAN OF THE FIELDS. THE BROTHERS’ RIVALRY WAS
SEEN AS AN ANALOGY OF CHURCH & SYNAGOGUE. (GENESIS 25 19-34)
ROMULUS: FOUNDER & FIRST KING OF ROME. HE WAS RECEIVED INTO THE COMPANY OF THE GODS, AS QUIRINUS & WORSHIPPED
BY THE ROMANS.
DANTE notes:
PAR C8 130-132 / DANTE PAR C8 130-132 / KLINE
Quinci addivien ch'Esaù si diparte So that Esau differs from Jacob in the seed, and
per seme da Iacòb; e vien Quirino Romulus worshipped as Quirinus, comes from
da sì vil padre, che si rende a Marte. so lowly a father he is assigned to Mars instead.
CHARLES MARTEL D’ANJOU:
PAR C8 133-135 / DANTE PAR C8 133-135 / KLINE
Natura generata il suo cammino The nature at birth would always
simil farebbe sempre a' generanti, be like its parent, if Divine Providence
se non vincesse il proveder divino. did not overrule it.
PAR C8 136-138 / DANTE
Or quel che t'era dietro t'è davanti: Now what was hidden behind you is in front of
ma perché sappi che di te mi giova, you, but so you may know I am delighted
un corollario voglio che t'ammanti. with you, I will wrap you round with a corollary.
DANTE notes:
PAR C8 138 / DANTE PAR C8 138 / KLINE
un corollario voglio che t'ammanti. with you, I will wrap you round with a corollary.
CHARLES MARTEL D’ANJOU:
PAR C8 139-141 / DANTE PAR C8 139-141 / KLINE
Sempre natura, se fortuna trova Nature makes a poor fist of things, if she finds
discorde a sé, com' ogne altra semente events out of harmony with herself,
fuor di sua regïon, fa mala prova. like any other seed out of its proper soil.
PAR C8 142-144 / DANTE
E se 'l mondo là giù ponesse mente If the world below paid attention to the foundation
al fondamento che natura pone, Nature lays, and followed that,
seguendo lui, avria buona la gente. it would be satisfied with its citizens,
PAR C8 145-147 / DANTE
Ma voi torcete a la religïone but you drag him born to the sword
tal che fia nato a cignersi la spada, into a religious order, and make a king
e fate re di tal ch'è da sermone; of him who should be an orator,
PAR C8 148 / DANTE
onde la traccia vostra è fuor di strada. so that your path cuts across the road.
■ - ■ - ■
DANTE CLOSES THE CANTO.
DANTE:
PAR C8 145-147 / DANTE PAR C8 145-147 / KLINE
Ma voi torcete a la religïone but you drag him born to the sword
tal che fia nato a cignersi la spada, into a religious order, and make a king
e fate re di tal ch'è da sermone; of him who should be an orator,
PAR C8 148 / DANTE
onde la traccia vostra è fuor di strada. so that your path cuts across the road.
77

CANTO 9
PAR C9 1-18 / KLINE
Lovely Clemence, when your Charles had clarified things for me, he told me about the wrongs his seed was fated to
encounter, but added: ‘Be silent, and let the years turn,’ so that I can say nothing except that well-justified grief will
follow those wrongs. And already the life of that holy light had turned towards the Sun that illuminates it, as towards
the Good which is sufficient to everything. O impious creatures! O deceived spirits who twist your hearts away from
that Good, turning your minds to vanities! And see, another of those splendours came towards me, and signified its
desire to satisfy me, by an outer brightening. Beatrice’s eyes, gazing at me, as before, assured me of happy assent to my
wish.
♫DREAM * * * * * * * * * *
PAR C8 148
[CP 17] - ■ - [CP 18]
Clare Pictures 17: Francis dreams of the Porziuncola
Still in Rome, Francis dreams of the Porziuncola. PARADISO PICTURES: 2, 3
Clare Pictures 18: Pope Innocent dreams of a basilica
Pope Innocent III dreams of a great basilica. (The present-day one?)
■ - ■ - ■
CUNIZZA
[CP 19] - [ROSE ☼ ☼ ☼] - [CP 20]
Clare Pictures 19: Clare hears Francis preach
Assisi (1210). Francis preaches. Clare, distinguished by her long golden hair, is conspicuous among
the listeners.
Clare Pictures 20: Clare gets her palm
Clare at Mass on Palm Sunday (1212), in her finest dress. She stays in her place, not going to the altarrail.
The Bishop himself has brought her a palm.
LIGHTS WHIRL AND STEADY IN THE LEFT WINDOW. DANTE AGAIN LOOKS TO BEATRICE FOR APPROVAL TO
SPEAK, THEN ADDRESSES IT.
DANTE:
PAR C9 19-21 / KLINE PAR C9 19-21 / KLINE
«Deh, metti al mio voler tosto compenso, I said: Ah, give quick satisfaction to my will,
beato spirto», dissi, «e fammi prova spirit who are blessed, and show proof
ch'i' possa in te refletter quel ch'io penso!». that I can reflect what I think from you.’
78

PAR C9 22-24 / KLINE
At which the light which was still a stranger to me, from the depths, where it was, at first singing, continued by
speaking, like one happy to do good:
CUNIZZA (VOICE):
PAR C9 25-27 / DANTE PAR C9 25-27 / KLINE
In quella parte de la terra prava In that region of Italy, the depraved country,
italica che siede tra Rïalto which lies between Venice
e le fontane di Brenta e di Piava, and the sources of the Brenta and Piave,
CUNIZZA DA ROMANO 1198? - 1280? AGE : 82? CHARACTER AGE : *-- ?
PLACE./.LANGUAGE ETC
BORN IN THE CASTLE OF ROMANO, BETWEEN VENICE AND THE SOURCES OF THE BRENTA AND PIAVE.
DESCRIPTION
DRESSED AS A NOBLEWOMAN IN LIGHT-COLOURED CLOTHING.
SISTER OF EZZOLINO THE TYRANT. SHE WAS FAMOUS FOR HER LOVE AFFAIRS, HAD FOUR HUSBANDS & MANY PARAMOURS, OF
WHOM SORDELLO WAS ONE. IN 1265 (WHEN SHE WAS ABOUT 67 YEARS OLD) & THE LAST SURVIVOR OF HER FATHER’S FAMILY, IN
THE HOUSE OF CAVALCANTE DE’ CAVALCANTI, SHE EXECUTED A DEED OF MANUMISSION LIBERATING HER FATHER’S SERFS. SHE
DIED IN FLORENCE IN 1279 OR 1280. DANTE SUGGESTS SHE WAS A PENITENT.
CUNIZZA (VOICE):
PAR C9 28-30 / DANTE PAR C9 28-30 / KLINE
si leva un colle, e non surge molt' alto, rises a hill raised to no great height, from which
là onde scese già una facella Ezzelino da Romano, the burning brand, descended.
che fece a la contrada un grande assalto. who made a vicious assault on that land.
EZZELINO/AZZOLINO III DA ROMANO: THE TYRANT (1194-1259), LORD OF VERONA, VICENZA & PADUA, CALLED ‘THE SON OF
THE DEVIL’, IMPERIAL VICAR UNDER FREDERICK II. POPE ALEXANDER IV DECLARED A CRUSADE AGAINST HIM & HE WAS
DEFEATED AT CASSANO ON THE ADDA & SUBSEQUENTLY DIED. HE WAS THE HEAD OF THE GHIBELLINES IN NORTHERN ITALY.
HIS MOTHER DREAMED SHE HAD GIVEN BIRTH TO A FIREBRAND THAT SCORCHED THE LAND.
PAR C9 31-33 / DANTE
D'una radice nacqui e io ed ella: I sprang with him out of the same root:
Cunizza fui chiamata, e qui refulgo Cunizza I am called., and I shine here
perché mi vinse il lume d'esta stella; because the light of this star conquered me.
[CP 19] - [ROSE ☼ ☼ CUNIZZA] - [CP 20]
CUNIZZA APPEARS AS A WOMAN AND POINTS TO THE LIGHT NEXT TO HER.
CUNIZZA:
PAR C9 31-33 / DANTE PAR C9 31-33 / KLINE
D'una radice nacqui e io ed ella: I sprang with him out of the same root:
Cunizza fui chiamata, e qui refulgo Cunizza I am called, and I shine here
perché mi vinse il lume d'esta stella; because the light of this star conquered me.
PAR C9 34-36 / DANTE PAR C9 34-36 / KLINE
ma lietamente a me medesma indulgo But I grant myself indulgence for my fate,
la cagion di mia sorte, e non mi noia; and it does not grieve me, which perhaps
che parria forse forte al vostro vulgo. would seem strange to the common man.
PAR C9 37-39 / DANTE
Di questa luculenta e cara gioia The great fame of this dear shining jewel
del nostro cielo che più m'è propinqua, in our Heaven, Folco of Marseilles, who
grande fama rimase; e pria che moia, is my nearest neighbour, remains, and before it dies
[CP 19] - [ROSE ☼ FOLCO CUNIZZA] - [CP 20]
FOLCO MANIFESTS HIMSELF AS A MAN AND STANDS WAITING FOR HIS TURN TO SPEAK.
79

FOLCO (FOLCETTO, FOULQUET ETC.) 1159? - 1231 AGE : 72? CHARACTER AGE : 35?
PLACE./.LANGUAGE ETC
OF GENOESE ORIGIN, BORN IN MARSEILLES (MARSELH, MARSEILLA). HE WAS A FAMOUS LOVER AND TROUBADOR
WHO BECAME A MONK AND WAS MADE BISHOP OF TOULOUSE IN 1205. HE WAS A FRIEND OF ST DOMINIC AND
PERSECUTED THE ALBIGENSIAN HERETICS.
LANGUAGE: FRENCH? PROVENÇAL?
DESCRIPTION
DRESSED AS A BISHOP? WHITE CISTERCIAN ROBE.
A SAYING OF FOLCO.
DANTE or BEATRICE?:
‘A verse without music is a mill without water’.
CUNIZZA:
PAR C9 39 / DANTE PAR C9 39 / KLINE
grande fama rimase; e pria che moia, who is my nearest neighbour, remains, and
before it dies
♫PROPHECY MOTIF * * * * * * * * * *
PAR C9 39
DANTE INTERPRETS CUNIZZA A VERSE OR TWO BEHIND.
BEATRICE:
Bishop of Toulouse, Friend of St Dominic.
Scourge of the Albigensians.
DANTE: & CUNIZZA:
PAR C9 40-42 / DANTE PAR C9 40-42 / KLINE
questo centesimo anno ancor s'incinqua: this centenary year will be repeated five times.
vedi se far si dee l'omo eccellente, See how another life follows
sì ch'altra vita la prima relinqua. the first if a man achieves excellence!
PAR C9 43-45 / DANTE
E ciò non pensa la turba presente The present crew in the March of Treviso,
che Tagliamento e Adice richiude, enclosed by the Tagliamento and the Adige,
né per esser battuta ancor si pente; do not think of that, beaten but still unrepentant.
PAR C9 46-48 / DANTE
ma tosto fia che Padova al palude But it will soon come to pass that Paduan blood
cangerà l'acqua che Vincenza bagna, will stain the water that bathes Vicenza,
per essere al dover le genti crude; because the people rebel against their duty.
PAR C9 49-51 / DANTE
e dove Sile e Cagnan s'accompagna, And at Treviso, where the Sile meets the Cagnano,
tal signoreggia e va con la testa alta, Riccardo da Camino holds sway, and goes with
che già per lui carpir si fa la ragna. head held high, for whom the net to catch him is
already woven.
RICCARDO DA CAMINO: BROTHER OF GAIA & HUSBAND OF GIOVANNA VISCONTI, WHO WAS TREACHEROUSLY MURDERED AT
TREVISO WHERE THE RIVERS SILE & CAGNANO MEET, IN 1312. HIS DEATH IS PROPHESIED.
PAR C9 52-54 / DANTE
Piangerà Feltro ancora la difalta From Feltro a wail of grief will rise yet, because of
de l'empio suo pastor, che sarà sconcia the sins of its impious pastor, so foul, that no-one
sì, che per simil non s'entrò in malta. ever entered the prison of Malta for their equal.
ALESSANDRO NOVELLO: BISHOP OF FELTRE, WHO IN 1314 SURRENDERED CERTAIN GENTLEMEN OF FERRARA, IN HIS PROTECTION,
TO PINO DELLA TOSA WHO THEN GOVERNED FERRARA AS VICAR OF KING ROBERT, BY WHOM THEY WERE KILLED. MALTA WAS A
80

TOWER NEAR PADUA WHERE EZZELINO HELD HIS PRISONERS, OR A PAPAL PRISON FOR CRIMINAL PRIESTS EITHER AT VITERBO, OR
ON THE LAKE OF BOLSENA.
PAR C9 55-57 / DANTE
Troppo sarebbe larga la bigoncia The dish that would be needed to receive
che ricevesse il sangue ferrarese, Ferrara’s blood, which this obliging priest will
e stanco chi 'l pesasse a oncia a oncia, give up to show himself loyal, would be too large,
PAR C9 58-60 / DANTE
che donerà questo prete cortese and weary whoever had to weigh it
per mostrarsi di parte; e cotai doni ounce by ounce: and such are the gifts
conformi fieno al viver del paese. that suit this country’s way of life.
PAR C9 61-63 / DANTE
Sù sono specchi, voi dicete Troni, There are mirrors above, you call them Thrones,
onde refulge a noi Dio giudicante; from which God shines in judgement on us,
sì che questi parlar ne paion buoni». so that these words prove good to us.
PAR C9 64-72 / KLINE
Here she fell silent, and to me she seemed like one who turns to other things, giving herself to the wheel, so that she was
as before. The other joyful light, which I had already noted as being distinguished, shone to my sight like a fine ruby,
illuminated by the sun. Brightness comes from joy up there, as a smile does here on earth, while down below the spirits
are dark outside, just as the mind is saddened.
[CP 19] - [ROSE ☼ FOLCO] - [CP 20]
CUNIZZA VANISHES.
FOLCO
DANTE ADDRESSES THE MANIFESTATION OF FOLCO.
DANTE:
PAR C9 73-75 / DANTE PAR C9 73-75 / KLINE
«Dio vede tutto, e tuo veder s'inluia», I said: God sees it all, and your vision is in him,
diss' io, «beato spirto, sì che nulla spirit of the blessed, so that
voglia di sé a te puot' esser fuia. no desire is hidden from you.
PAR C9 76-78 / DANTE
Dunque la voce tua, che 'l ciel trastulla Why then does your voice, which, with the singing
sempre col canto di quei fuochi pii of those devoted fires, the Seraphim,
che di sei ali facen la coculla, who make a cowl, with six wings, of themselves,
PAR C9 79-81 / DANTE
perché non satisface a' miei disii? gladdens Heaven endlessly, not satisfy my wishes?
Già non attendere' io tua dimanda, If I were in you, as you are in me,
s'io m'intuassi, come tu t'inmii». I would not have waited for your request till now.
DANTE VERSIFIES A LITTLE BEHIND FOLCO.
DANTE: & FOLCO:
PAR C9 82-84 / DANTE PAR C9 82-84 / KLINE
«La maggior valle in che l'acqua si spanda», Then he began to speak: The Mediterranean,
incominciaro allor le sue parole, that greatest valley, into which water flows,
«fuor di quel mar che la terra inghirlanda, from the ocean round the earth,
81

PAR C9 85-87 / DANTE
tra ' discordanti liti contra 'l sole extends so far between its opposite shores,
tanto sen va, che fa meridïano eastwards, that its zenith
là dove l'orizzonte pria far suole. is formed of what was horizon.
PAR C9 88-90 / DANTE
Di quella valle fu' io litorano I was an inhabitant of Marseilles’s shore, half way
tra Ebro e Macra, che per cammin corto between the Ebro and the Macra, which, with its
parte lo Genovese dal Toscano. short course, separates the Genoese and the Tuscans.
PAR C9 91-93 / DANTE
Ad un occaso quasi e ad un orto The site of Bougia in Algeria is almost alike in
Buggea siede e la terra ond' io fui, sunrises and sunsets to the place I come from, whose
che fé del sangue suo già caldo il porto. harbour Caesar once warmed with that place’s blood.
MARSEILLES IS ON THE SAME MERIDIAN AS BOUGIA IN ALGERIA. AT GIBRALTAR, WHERE THE MEDITERRANEAN RUNS OUT OF
THE ATLANTIC, THE SUN IS ON THE HORIZON WHEN IT IS NOON IN THE LEVANT, SO THE MEDITERRANEAN MAKES ZENITH AT ITS
EASTERN END OF WHAT WAS HORIZON AT ITS WESTERN END. I.E. IT EXTENDS OVER A QUADRANT.
FOLCO:
PAR C9 94-96 / DANTE PAR C9 94-96 / KLINE
Folco mi disse quella gente a cui Those who knew me, called me Folco,
fu noto il nome mio; e questo cielo and I imprint this Heaven
di me s'imprenta, com' io fe' di lui; as it imprinted me,
PAR C9 97-99 / DANTE
ché più non arse la figlia di Belo, since Dido, Belus’s daughter, wronging
noiando e a Sicheo e a Creusa, Sichaeus and Aeneas’s Creüsa, burned no
di me, infin che si convenne al pelo; hotter than I, as long as it suited my youthfulness:
DIDO: SEE DANTE DRAMATISED: L’INFERNO.
SICHAEUS: HUSBAND OF DIDO & A PHOENICIAN OF SIDON, WHOM HIS BROTHER, PYGMALION KING OF TYRE, KILLED, OUT OF
GREED FOR GOLD. ROUSED BY A VISION OF THE DEAD SYCHAEUS, DIDO FLED FROM SIDON & FOUNDED CARTHAGE IN NORTH
AFRICA. DIDO’S LOVE FOR AENEAS WRONGS THE MEMORY OF SYCHAEUS.
CREÜSA: WIFE OF AENEAS, LOST AT TROY. AENEID 2 735. DIDO’S LOVE FOR AENEAS WRONGS HER MEMORY
DANTE:
Troubador, lover.
FOLCO:
PAR C9 100-102 / DANTE PAR C9 100-102 / KLINE
né quella Rodopëa che delusa nor did Phyllis, the girl from Rhodope,
fu da Demofoonte, né Alcide who was deceived by Demophoön,
quando Iole nel core ebbe rinchiusa. nor Hercules when his heart enclosed Iole.
PHYLLIS: DAUGHTER OF THRACIAN KING SITHON (LIVING NEAR MOUNT RHODOPE) WHO WAS LOVED BY DEMOPHOÖN, KING OF
MELOS, SON OF THESEUS & PHAEDRA. HE FAILED TO KEEP HIS PROMISE TO RETURN TO HER & WHEN HE DID EVENTUALLY
RETURN TO FIND HER SHE HAD COMMITTED SUICIDE, BUT HAD BEEN TRANSFORMED INTO AN ALMOND TREE BY ATHENE.
IOLE: DAUGHTER OF EURYTUS, KING OF OECHALIA.
FOLCO PAUSES WITH A WISTFUL LOOK.
FOLCO:
PAR C9 103-105 / DANTE PAR C9 103-105 / KLINE
Non però qui si pente, ma si ride, But this is not a place of repentance, here we smile:
non de la colpa, ch'a mente non torna, not at the sin, which the mind does not dwell on,
ma del valor ch'ordinò e provide. but the Power that ordained and provided.
PAR C9 106-108 / DANTE
Qui si rimira ne l'arte ch'addorna Here we gaze at the Art, which beautified
cotanto affetto, e discernesi 'l bene so great a creation, and discern the Good,
per che 'l mondo di sù quel di giù torna. which returns the world below to the world above.
PAR C9 109-111 / DANTE
Ma perché tutte le tue voglie piene But so that you might fully
ten porti che son nate in questa spera, satisfy all the longings born
proceder ancor oltre mi convene. in this sphere, I must continue.
82

PAR C9 112-114 / DANTE
Tu vuo' saper chi è in questa lumera You will wish to know who is inside
che qui appresso me così scintilla that light that gleams next to me,
come raggio di sole in acqua mera. like the sun’s rays in pure water.
FOLCO POINTS TO THE LIGHT.
FOLCO:
PAR C9 115-117 / DANTE PAR C9 115-117 / KLINE
Or sappi che là entro si tranquilla Know, now, that Rahab, the prostitute, finds peace
Raab; e a nostr' ordine congiunta, there, and when she joined our order,
di lei nel sommo grado si sigilla. it sealed itself, in the highest rank, with her.
RAHAB (IT. RAAB) CHARACTER AGE : 20?
PLACE./.LANGUAGE ETC
BORN JERICHO (PRE ISRAEL).
DESCRIPTION
WHITE ROBE. A SCARLET THREAD, PERHAPS HANGING BELOW HER BREAST. SHE WEARS A SIMPLE CROWN, UNLESS
SOLOMON APPEARS LATER AMONG THE BLESSED.
RAHAB: PROSTITUTE OF JERICHO WHO HELPED JOSHUA’S SPIES. THEY IN TURN SWORE TO SAVE HER & HER FAMILY (‘OUR LIFE
FOR YOURS’). SHE WAS TOLD TO FASTEN A SCARLET THREAD TO HER WINDOW SO THAT SHE & HER FAMILY COULD BE IDENTIFIED
AT THE TAKING OF THE CITY. SHE WAS CONVERTED TO THE ISRAELITE CAUSE & BECAME A SYMBOL OF THE CHURCH, THE
SCARLET CORD SIGNIFYING THE BLOOD OF CHRIST, & THE TWO SPIES THE TWO TESTAMENTS. JOSHUA 2 & 6 23-25.
[CP 19] - [RAHAB FOLCO] - [CP 20]
RAHAB APPEARS AS A WOMAN. FOLCO REMAINS ON STAGE, OR VANISHES. HIS VOICE CONTINUES.
FOLCO (VOICE?):
PAR C9 115-117 / DANTE PAR C9 115-117 / KLINE
Or sappi che là entro si tranquilla Know, now, that Rahab, the prostitute, finds peace
Raab; e a nostr' ordine congiunta, there, and when she joined our order,
di lei nel sommo grado si sigilla. it sealed itself, in the highest rank, with her.
PAR C9 118-120 / DANTE PAR C9 118-120 / KLINE
Da questo cielo, in cui l'ombra s'appunta Before any other soul, she was uplifted at Christ’s
che 'l vostro mondo face, pria ch'altr' alma triumph, by this sphere, which is touched
del trïunfo di Cristo fu assunta. by the shadow your Earth casts into space.
PAR C9 121-123 / DANTE
Ben si convenne lei lasciar per palma It was truly fitting to leave her in one
in alcun cielo de l'alta vittoria of the Heavens as a symbol of the great victory
che s'acquistò con l'una e l'altra palma, achieved by those two nailed hands:
PAR C9 124-126 / DANTE
perch' ella favorò la prima gloria because she favoured Joshua’s first glorious
di Iosüè in su la Terra Santa, campaign in the Holy Land, that land that
che poco tocca al papa la memoria. scarcely touches this Pope’s memory.
THIS POPE: BONIFACE VIII, BENEDETTO GAETANI WHO SUCCEEDED CELESTINE V IN 1294 & IMPRISONED HIM AFTER HIS
ABDICATION UNTIL HIS DEATH. HIS POLITICAL MANOEUVRES ARE THE BACKGROUND TO THE CRITICAL THREE YEARS OF DANTE’S
POLITICAL LIFE, LEADING TO HIS EXILE FROM FLORENCE & DESCRIBED IN CIACCO’S PROPHECY. FOR DANTE, HE REPRESENTED
THE CORRUPT PAPACY, PLACED IN HELL FOR HIS VINDICTIVENESS; FALSITY; PROFLIGATE SIMONY; AN ULTRAMONTANE
SACERDOTALISM, THAT SAW THE EMPIRE AS SUBORDINATE TO THE CHURCH, WITH ONLY A DERIVED AUTHORITY; & HIS
DESTRUCTIVE POLICIES THAT LED TO FRENCH CONTROL OF FLORENCE. BONIFACE DIED IN OCTOBER 1303 & WAS SUCCEEDED BY
BENEDICT XI. BONIFACE IS THEREFORE THE POPE AT THE TIME OF THE VISION IN 1300.
DANTE or BEATRICE:
The scarlet thread from her window
marked her as Joshua’s friend.
83

FOLCO (VOICE?):
PAR C9 127-129 / DANTE PAR C9 127-129 / KLINE
La tua città, che di colui è pianta Florence, the city founded by Mars, that Satan
che pria volse le spalle al suo fattore who first turned his back on his Maker,
e di cui è la 'nvidia tanto pianta, and from whose envy such great grief has come,
PAR C9 130-132 / DANTE
produce e spande il maladetto fiore coins and spreads that accursed lily flower,
c'ha disvïate le pecore e li agni, that has sent the sheep and lambs astray,
però che fatto ha lupo del pastore. since it has made a wolf of the shepherd.
PAR C9 133-135 / DANTE PAR C9 133-135 / KLINE
Per questo l'Evangelio e i dottor magni So the Gospels and the Great Doctors are neglected,
son derelitti, e solo ai Decretali and only the Decretals, the law-books are studied,
si studia, sì che pare a' lor vivagni. as can be seen by their margins.
PAR C9 136-138 / DANTE
A questo intende il papa e ' cardinali; On that, the Pope and Cardinals are intent:
non vanno i lor pensieri a Nazarette, their thoughts do not stray to Nazareth,
là dove Gabrïello aperse l'ali. where Gabriel’s wings unfolded,
PAR C9 139-141 / DANTE
Ma Vaticano e l'altre parti elette But the Vatican and the other sacred parts
di Roma che son state cimitero of Rome, that cemetery for the soldiers
a la milizia che Pietro seguette, who followed Peter, will
PAR C9 142 / DANTE
tosto libere fien de l'avoltero». soon be freed from the bond of adultery.
[CP 19] - ■ - [CP 20]
[CP 19] - [CP 21] - [CP 20]
Clare Pictures 21: Clare’s hair
The Porziuncola by lamplight, 1212. Clare’s fine dress has been cast off. She wears a homespun,
brown habit as Francis cuts off her hair. Fellow-Franciscans attend. PARADISO PICTURES: 2, 3, 5, 16.
CANTO 10
PLANETARY SPHERE 4: SUN
▀ orange
CELESTIAL 1
♫CELESTIAL * * * * * * * * * *
PAR C9 142
84

DANTE:
PAR C10 1-3 / DANTE PAR C10 1-3 / KLINE
Guardando nel suo Figlio con l'Amore The primal and unutterable Power, gazing at
che l'uno e l'altro etternalmente spira, his Son, with the Love that both breathe out
lo primo e ineffabile Valore eternally, made whatever circles
PAR C10 4-6 / DANTE
quanto per mente e per loco si gira through mind and space with such order,
con tant' ordine fé, ch'esser non puote that whoever knows them
sanza gustar di lui chi ciò rimira. is not without some sense of Him.
PAR C10 7-9 / DANTE
Leva dunque, lettore, a l'alte rote Then, Reader, raise your eyes with me
meco la vista, dritto a quella parte to the distant wheels, directed to that point where
dove l'un moto e l'altro si percuote; the Celestial Equator and the Ecliptic meet,
THAT POINT: THE EQUATORIAL CIRCLE, A CIRCLE PROJECTED FROM THE EARTH’S EQUATOR ONTO THE HEAVENS & THE ECLIPTIC
(ZODIAC), THE PATH OF THE SUN AGAINST THE ‘FIXED’ STARS, CROSS AT THE EQUINOCTIAL POINTS (THE FIRST POINT OF ARIES &
THE FIRST POINT OF LIBRA, AT THE CREATION, WITH PRECESSION, THE ‘WOBBLE’ OF THE EARTH ON ITS AXIS, IGNORED. THE
SPRING EQUINOX IN FACT NOW FALLS IN PISCES DUE TO PRECESSION & WILL MOVE INTO AQUARIUS. THE EQUINOXES, OF EQUAL
DAY & NIGHT, FALL IN SPRING & AUTUMN, AT LATITUDES AWAY FROM THE EQUATOR & POLES. THE DAILY APPARENT
MOVEMENT OF THE SUN & THE PLANETS IS PARALLEL TO THE EQUATOR (I.E. AT NINETY DEGREES TO THE PLANE OF THE EARTH’S
AXIS) & THE APPARENT ANNUAL MOVEMENT AGAINST THE STARS IS ALONG THE ECLIPTIC. FROM MID-WINTER TO MID-SUMMER
THE SUN RISES A LITTLE EARLIER & FURTHER TO THE NORTH THAN THE DAY BEFORE & FROM MID-SUMMER TO MID-WINTER A
LITTLE LATER &D FURTHER SOUTH, SO TRAVELLING A PROGRESSIVE SPIRAL. DANTE DESCRIBES THE MOVEMENT TO REACH THE
SPRING EQUINOX IN ARIES, ROUND WHICH THE DIVINE COMEDY IS CONSTRUCTED.
URANIA, THE MUSE OF ASTRONOMY, ENTERS AND LOOKS UP.
DANTE…
DANTE:
PAR C10 10-12 / DANTE PAR C10 10-12 / KLINE
e lì comincia a vagheggiar ne l'arte and begin to view the art of that Master
di quel maestro che dentro a sé l'ama, who loves it so much, within himself,
tanto che mai da lei l'occhio non parte. that he never lets his eyes leave it.
PAR C10 13-15 / DANTE
Vedi come da indi si dirama See how the Ecliptic, the oblique circle that carries
l'oblico cerchio che i pianeti porta, the planets, slants from that Equinoctial point,
per sodisfare al mondo che li chiama. to satisfy the world’s call for them:
PAR C10 16-18 / DANTE
Che se la strada lor non fosse torta, and if their path were not inclined, much of
molta virtù nel ciel sarebbe in vano, the power of the Heavens would be useless,
e quasi ogne potenza qua giù morta; and every potential dead on Earth:
PAR C10 19-21 / DANTE
e se dal dritto più o men lontano and if the slope from the level was greater
fosse 'l partire, assai sarebbe manco or smaller, much would be lacking
e giù e sù de l'ordine mondano. in Cosmic order below and above.
■ - ■ - ■
DANTE:
PAR C10 22-24 / DANTE PAR C10 22-24 / KLINE
Or ti riman, lettor, sovra 'l tuo banco, Now, Reader, stay on your bench,
dietro pensando a ciò che si preliba, thinking back on this preamble,
s'esser vuoi lieto assai prima che stanco. if you would delight in it before you weary.
PAR C10 25-27 / KLINE
I have put the food in front of you, now feed yourself, since the matter I have set myself to write of, now draws my
complete attention to itself.
85

PAR C10 28-30 / DANTE PAR C10 28-30 / KLINE
Lo ministro maggior de la natura, The Sun, the greatest minister of Nature,
che del valor del ciel lo mondo imprenta who stamps the world with the power of Heaven,
e col suo lume il tempo ne misura, and measures time for us by his light,
PAR C10 31-33 / DANTE
con quella parte che sù si rammenta was circling on the spiral where he shows himself
congiunto, si girava per le spire earlier every day, joined
in che più tosto ognora s'appresenta; to that Equinoctial point I recalled.
PAR C10 34-36 / DANTE
e io era con lui; ma del salire And I was with him: but I was no more aware
non m'accors' io, se non com' uom s'accorge, of my ascent than a man is aware
anzi 'l primo pensier, del suo venire. of his first thoughts approaching.
PAR C10 37-39 / DANTE
È Bëatrice quella che sì scorge It is Beatrice who leads me from good to better,
di bene in meglio, sì subitamente so suddenly that her action
che l'atto suo per tempo non si sporge. requires no time.
PAR C10 40-42 / DANTE
Quant' esser convenia da sé lucente How bright, in itself, must that be,
quel ch'era dentro al sol dov' io entra'mi, that shows itself in the Sun, which I had entered,
non per color, ma per lume parvente! not by colour, but by light!
PAR C10 43-45 / DANTE
Perch' io lo 'ngegno e l'arte e l'uso chiami, Though I might call on intellect, art and knowledge,
sì nol direi che mai s'imaginasse; I could never express it so as to make it imaginable,
ma creder puossi e di veder si brami. but it may be believed, and desired to be seen.
PAR C10 46-51 / DANTE
And if our imaginations are too base for such exaltation, it is no surprise, since no eye could ever transcend the Sun.
Such was the fourth House of the supreme Father, who always contents it, by showing how he breathes and engenders.
BEATRICE: or BEATRICE:
PAR C10 52-54 / DANTE PAR C10 52-54 / KLINE
E Bëatrice cominciò: Ringrazia, And Beatrice began to speak: Give thanks,
ringrazia il Sol de li angeli, ch'a questo Give thanks to the Sun of the Angels, who,
sensibil t'ha levato per sua grazia. in his grace, has raised you to this visible sun.
PAR C10 55-63 / KLINE
The heart of man was never so disposed to devotion, and so eager to give itself to God with all its will, as I was at those
words: and my love was committed to Him so completely, it eclipsed Beatrice from memory. That did not displease her:
but she smiled at it so that the splendour, of her laughing eyes, scattered my mind’s coherence amongst many things.
PAR C10 64-81 / KLINE
Then I saw many lights, living and victorious, make a central point of us, and a coronet, even sweeter in voice than
shining in appearance, of themselves. So we sometimes see the Moon, Diana, Latona’s daughter, haloed when the air is
so damp as to retain the rainbow thread that weaves her zone. There are many jewels so dear and lovely, in the courts of
Heaven I have returned from, that they cannot be moved from that region, and such was the song of these lights: he who
does not wing himself to fly up to them, may as well look for news of them from the speechless. When those burning
suns, so singing, had circled round us three times, like stars near the fixed poles, they seemed as ladies do, not released
from the dance, but resting, silent, listening, until they hear the notes again.
AQUINAS 1
♫CELESTIAL * * * * * * * * * *
PAR C10 54
86

DANTE VERSIFIES AS THE LIGHTS OF BLESSED SOULS WHIRL THEN STEADY IN THE WINDOWS.
DANTE:
PAR C10 37-39 / DANTE PAR C10 37-39 / KLINE
È Bëatrice quella che sì scorge It is Beatrice who leads me from good to better,
di bene in meglio, sì subitamente so suddenly that her action
che l'atto suo per tempo non si sporge. requires no time.
PAR C10 40-42 / DANTE
Quant' esser convenia da sé lucente How bright, in itself, must that be,
quel ch'era dentro al sol dov' io entra'mi, that shows itself in the Sun, which I had entered,
non per color, ma per lume parvente! not by colour, but by light!
PAR C10 43-45 / DANTE
Perch' io lo 'ngegno e l'arte e l'uso chiami, Though I might call on intellect, art and knowledge,
sì nol direi che mai s'imaginasse; I could never express it so as to make it imaginable,
ma creder puossi e di veder si brami. but it may be believed, and desired to be seen.
♫CELESTIAL SOFT? * * * * * * * * * *
PAR C10 54
[ORANGE ☼ ☼ ☼] - [ORANGE ☼ ☼ ☼] - [ORANGE ☼ ☼ ☼]
A LIGHT IN THE CENTRE OR RIGHT WINDOW, AQUINAS, NAMES HIS FELLOWS ONE BY ONE AND THEY
MANIFEST THEMSELVES AS MEN, STANDING AGAINST AN OBSCURE BACKGROUND. EACH BLESSED SOUL
MAY CONTINUE TO STAND WHEN HE IS NAMED, OR WALK AWAY TO LEAVE ROOM FOR THE NEXT. AQUINAS
MANIFESTS HIMSELF AS A MAN LAST OF ALL.
AS EACH SOUL IS INTRODUCED, DANTE AND BEATRICE FURTHER IDENTIFIES HIM AND GIVES HIS IMPORTANT
WORKS. DANTE AND BEATRICE ARE SOMETIMES THINKING ALOUD, SOMETIMES DELIBERATELY INFORMING
THE AUDIENCE.
EACH BLESSED SOUL CARRIES A BOOK, THE EARLIER ONES OF SLATES OR TABLETS.
THOMAS AQUINAS (VOICE):
PAR C10 82-84 / DANTE PAR C10 82-84 / KLINE
E dentro a l'un senti' cominciar: Quando And in one I heard a voice begin to say:
lo raggio de la grazia, onde s'accende Since the light of grace glows in you,
verace amore e che poi cresce amando, at which true love is lit,
ST THOMAS AQUINAS 1225? - 1274 AGE : 48 CHARACTER AGE : *-- ?
TOMMASO D’AQUINO
PLACE./.LANGUAGE ETC
BORN AT THE CASTLE OF ROCCASECCA, NEAR THE ABBEY OF MONTECASSINO (MONTE CASSINO), BETWEEN ROME
AND NAPLES, THE SON OF THE COUNT OF AQUINO (LORD OF LORETO). HE BECAME A DOMINICAN NOVICE AT THE
AGE OF 19. HE WALKED OVER THE ALPS IN MIDWINTER TO PARIS, THEN COLOGNE, TO STUDY UNDER ALBERTUS
MAGNUS. KNOWN BY FELLOW-STUDENTS AS THE ‘DUMB (SICILIAN) OX’. BACK LATER IN COLOGNE HE
DELIVERED SERMONS IN THE GERMAN VERNACULAR TO ENORMOUS CONGREGATIONS. HE SOUGHT TO ACHIEVE A
SYNTHESIS BETWEEN ARISTOTELIAN PHILOSOPHY AND CHRISTIAN THOUGHT. HE WAS AN INTIMATE FRIEND OF ST
BONAVENTURA.
DESCRIPTION
DOMINICAN. DOCTOR OF THE CHURCH. ‘A MAN OF IMPOSING STATURE, MASSIVE BUILD (PORTLY) AND FAIR
COMPLEXION, HE APPEARED MORE OF A NORSEMAN THAN A SOUTH ITALIAN’. HE CARRIES NO BOOK.
PARADISO PICTURES
40, 41
87

THOMAS AQUINAS (VOICE):
PAR C10 85-87 / DANTE PAR C10 85-87 / KLINE
multiplicato in te tanto resplende, and then by loving is multiplied,
che ti conduce su per quella scala so as to lead you on that stair,
u' sanza risalir nessun discende; that no one descends except to climb again,
PAR C10 88-90 / DANTE
qual ti negasse il vin de la sua fiala whoever denied you the wine from his glass,
per la tua sete, in libertà non for a to quench your thirst, would be as little at
se non com' acqua ch'al mar non si cala. liberty to do so, as water to refuse to flow to the sea.
PAR C10 91-93 / DANTE
Tu vuo' saper di quai piante s'infiora You wish to know with what flowers this garland
questa ghirlanda che 'ntorno vagheggia is decorated that circles the lovely lady
la bella donna ch'al ciel t'avvalora. who strengthens your resolve for Heaven.
PAR C10 94-96 / DANTE
Io fui de li agni de la santa greggia I was one of the lambs, of the sacred flock,
che Domenico mena per cammino that Dominic leads on the path
u' ben s'impingua se non si vaneggia. where there is good pasture, if we do not stray.
PAR C10 97-99 / DANTE PAR C10 97-99 / KLINE
Questi che m'è a destra più vicino, He, who is nearest to me on the right, was my
frate e maestro fummi, ed esso Alberto master and my brother: he was Albert of Cologne,
è di Cologna, e io Thomas d'Aquino. and I, Thomas Aquinas.
[ORANGE ☼ ☼ ☼] - [ORANGE ☼ ☼ AM] - [ORANGE ☼ ☼ ☼]
ALBERTUS APPEARS IN HUMAN FORM. ABOVE…. NOT SHOWN FOR OTHER BLESSED SOULS.
ALBERTUS MAGNUS 1205? - 1280 AGE : 75? CHARACTER AGE : *-- ?
ALBERTO MAGNO, ALBERT THE GREAT, ALBERT OF COLOGNE
PLACE./.LANGUAGE ETC
BORN LAUINGEN, SWABIA, ELDEST SON OF THE COUNT OF BOLLSTÄDT. STUDIED AT UNIVERSITY OF PADUA,
LATER IN BOLOGNA, PARIS OR COLOGNE AND TAUGHT IN COLOGNE. ONE OF THE TWO GREAT LIGHTS OF THE
DOMINICAN ORDER (WITH HIS PUPIL, THOMAS AQUINAS), HE CHRISTIANISED ARISTOTLE BY ADOPTING HIS
PHILOSOPHY & MAKING HIM A TREASURY OF PAGAN LEARNING. HE WAS AN AUTHORITY ON PHYSICS (INCLUDING
OPTICS), GEOGRAPHY, ASTRONOMY, MINERALOGY CHEMISTRY, ZOOLOGY AND PHYSIOLOGY. HE GAVE AN
ELABORATE DEMONSTRATION OF THE SPHERICITY OF THE EARTH AND HYPOTHESISED THAT THE SPEED OF LIGHT
WAS FINITE, THOUGH EXTREMELY FAST.
DESCRIPTION
IN A BLACK-AND-WHITE DOMINICAN HABIT WITH A DOCTOR’S CAP. HE CARRIES A BOOK.
PARADISO PICTURES
18, 19, 20
88

DANTE:
Saint Albertus Magnus, Alberto Magno
Doctor Universalis…the Universal Doctor
Provincial of the Dominican Order
in Germany from 1254
89
BEATRICE:
Physicorum, De Coelo et Mundo, Mineralium, De
Natura locorum, De vegetabilibus et plantis, De
Anima, De unitate intellectus, De sacramento
Eucharistiae, Quindecim problemata contra
Averroistas.
Vir in omni scientia adeo divinus…ut stupor et
miraculum congrue vocari possit The wonder and
miracle of his age..
THOMAS AQUINAS (VOICE):
Non tetigit quod non ornavit.
BEATRICE: &/or BEATRICE:
(Ital:)………………..………………… He proved the earth is spherical [round?] and
(Ital:)………………..………………… ventured that the speed of light is finite, though
extremely fast.
THOMAS AQUINAS (VOICE): or THOMAS AQUINAS (VOICE):
PAR C10 100-102 / DANTE PAR C10 100-102 / KLINE
Se sì di tutti li altri esser vuo' certo, If you wish to know the rest as well,
di retro al mio parlar ten vien col viso circling above around the garland, blessed,
girando su per lo beato serto. direct your sight according to my words.
PAR C10 103-105 / DANTE
Quell' altro fiammeggiare esce del riso This next flamelet is issues from Gratian’s
di Grazïan, che l'uno e l'altro foro smile, he who gave such help to the ecclesiastical
aiutò sì che piace in paradiso. and civil spheres as is acceptable in Paradise.
GRATIANUS APPEARS.
GRATIANUS, JOHANNES OR FRANCISCUS *--- ? - 1160↔79 AGE : *-- ? CHARACTER AGE:
*--
GRATIAN, GRAZIAN
PLACE./.LANGUAGE ETC
BORN CHIUSI, TUSCANY?
DESCRIPTION
CAMALDOLESE MONK IN A WHITE HABIT. HE CARRIES A BOOK.
PARADISO PICTURES
35
AN ITALIAN CAMALDOLESE (OR BENEDICTINE) MONK, BROUGHT ECCLESIASTICAL & CIVIL LAW INTO HARMONY WITH EACH
OTHER. HIS DECRETUM (C 1140) WAS THE FIRST SYSTEMATIC TREATISE ON CANON LAW. NOT A BISHOP, AS WAS CLAIMED.
THOMAS AQUINAS (VOICE):
PAR C10 104-105 / DANTE PAR C10 104-105 / KLINE
di Grazïan, che l'uno e l'altro foro he who gave such help to the ecclesiastical
aiutò sì che piace in paradiso. and civil spheres as is acceptable in Paradise.
DANTE:
Gratianus; Grazian
BEATRICE:
Decretum Gratiani

THOMAS AQUINAS (VOICE):
PAR C10 106-108 / DANTE PAR C10 106-108 / KLINE
L'altro ch'appresso addorna il nostro coro, The fourth, that adorns our choir next, was that
quel Pietro fu che con la poverella Next is Peter Lombard, who, like the poor widow,
offerse a Santa Chiesa suo tesoro. offered his wealth to Holy Church.
PETER LOMBARD APPEARS.
PETER LOMBARD 1100? - 1160-4 AGE : *62? CHARACTER AGE : *-- ?
PIETRO LOMBARDO
PLACE./.LANGUAGE ETC
BORN NOVARA OR LUMELLO, PIEDMONT. SPENT MUCH TIME IN PARIS.
WROTE HIS FOUR BOOKS ON GOD, THE CREATION, REDEMPTION & THE SACRAMENTS & LAST THINGS, AS THE CHIEF SUMMARY
OF MEDIEVAL THEOLOGY BEFORE AQUINAS, WHO COMMENTED ON IT. IN THE PROLOGUE HE SPEAKS OF HIMSELF AS ‘DESIRING
WITH THE POOR WIDOW (LUKE 21 1-4) TO CAST SOMETHING OUT OF OUR POVERTY INTO THE TREASURY OF THE LORD.’
DESCRIPTION
AUGUSTINIAN THEOLOGIAN. DRESSED IN WHITE. HE CARRIES A BOOK.
PARADISO PICTURES
39
THOMAS AQUINAS (VOICE):
PAR C10 107-108 / DANTE PAR C10 107-108 / KLINE
quel Pietro fu che con la poverella Next is Peter Lombard, who, like the poor widow,
offerse a Santa Chiesa suo tesoro. offered his wealth to Holy Church.
DANTE:
Pietro Lombardo, Archbishop of Paris
Magister Sententiarum Master of the Sentences
BEATRICE:
Quatuor libri Sententiarum.
THOMAS AQUINAS (VOICE):
PAR C10 109-111 / DANTE PAR C10 109-111 / KLINE
La quinta luce, ch'è tra noi più bella, The fifth light, which is most beautiful among us,
spira di tale amor, che tutto 'l mondo breathes from such a love, that all
là giù ne gola di saper novella: the world below, thirsts to have news of it.
PAR C10 112-114 / DANTE
entro v'è l'alta mente u' sì profondo In there is the noble mind of Solomon, to which
saver fu messo, che, se 'l vero è vero, was granted a wisdom so profound, that if truth be
a veder tanto non surse il secondo. known, no other ever achieved so complete a
vision.
SOLOMON PLAYS A MINOR ROLE IN CHESS./.CHANSON DE ROLAND AND MAY BE OMITTED TO SAVE ON
PLAYERS.
SOLOMON (SALOMON) 970 - 928 BC AGE : *42? CHARACTER AGE : *-- ?
PLACE./.LANGUAGE ETC
HEBREW.
DESCRIPTION
ROYAL PURPLE AND BLUE ROBES. GOLD AND JEWELLED CROWN.
HE CARRIES A BOOK AND WEARS A SWORD (FOR NOT BISECTING BABIES).
SOLOMON: KING OF ISRAEL, SO WISE, BEFORE CHRISTIANITY, THAT THERE WAS A DEBATE, HERE RESOLVED, AS TO WHETHER AS A
JEW HE WAS DAMNED OR SAVED.
90

THOMAS AQUINAS (VOICE):
PAR C10 112-114 / DANTE PAR C10 112-114 / KLINE
entro v'è l'alta mente u' sì profondo In there is the noble mind of Solomon, to which
saver fu messo, che, se 'l vero è vero, was granted a wisdom so profound, that if truth be
a veder tanto non surse il secondo. known, no other ever achieved so complete a
vision.
DANTE:
Salomon, re d’Israèl
BEATRICE or DANTE: &/or BEATRICE
(Ital:)…………………………………… Psalms, Proverbs, the Song of Songs
possibly several psalms, part of the Book of Proverbs, some elements of the Song of Songs.
PAR C10 115-117 / KLINE
Next look at that taper’s light, Dionysius, who in the flesh down there, saw deepest into the Angelic nature and its
ministry.
DIONYSIUS, THE AREOPAGITE SEE ACTS 7, TO WHOM WERE ASCRIBED CERTAIN MYSTICAL WRITINGS, ESPECIALLY ONE ON THE
CELESTIAL HIERARCHY, WHICH WERE POSSIBLY COMPOSED IN THE FIFTH OR SIXTH CENTURY.
AQUINAS POINTS.
THOMAS AQUINAS (VOICE):
PAR C10 118-120 / DANTE PAR C10 118-120 / KLINE
Ne l'altra piccioletta luce ride In the seventh little light, Orosius,
quello avvocato de' tempi cristiani that pleader for the Christian Age,
del cui latino Augustin si provide. whose works Augustine made use of.
AQUINAS POINTS. OROSIUS MANIFESTS HIMSELF.
OROSIUS (PAULUS OROSIUS) 380↔390 – 418 + AGE : *-- ? CHARACTER AGE : *-- ?
PLACE./.LANGUAGE ETC
PROBABLY BORN BRACARA (NOW BRAGA, PORTUGAL).
DESCRIPTION
HISTORIAN AND CHRISTIAN APOLOGIST. VISITED ST AUGUSTINE AT HIPPO. WENT TO PALESTINE. WEARS BLACK
(ARBITRARILY) TO SERVE IN THE CHANSON DE ROLAND SEGMENTS. HE CARRIES A BOOK.
THOMAS AQUINAS (VOICE):
PAR C10 118-120 / DANTE PAR C10 118-120 / KLINE
Ne l'altra piccioletta luce ride In the seventh little light, Orosius,
quello avvocato de' tempi cristiani that pleader for the Christian Age,
del cui latino Augustin si provide. whose works Augustine made use of.
BEATRICE:
Commonitorium de errore Priscillianistarum et
Origenistarum.
Liber apologeticus contra Pelagium de Arbitrii
libertate.
Historia adversus paganos.
DANTE:
Paulus Orosius
PAR C10 121-123 / KLINE
Now if you run your mind’s eye from light to light, following my praise, you are already thirsting for the eighth.
AQUINAS POINTS AGAIN AND BOËTHIUS APPEARS, LOOKING CHEERFUL.
91

THOMAS AQUINAS (VOICE):
PAR C10 124-126 / DANTE PAR C10 124-126 / KLINE
Per vedere ogne ben dentro vi gode In there, seeing every good, Boëthius., the sainted
l'anima santa che 'l mondo fallace soul rejoices, who unmasked the deceitful world
fa manifesto a chi di lei ben ode. to those who give him a careful hearing.
BOËTHIUS 480? - 525? AGE : *45? CHARACTER AGE : *-- ?
PLACE./.LANGUAGE ETC
BORN ROME, DIED PAVIA. A CHRISTIAN, OR PAGAN WITH CHRISTIAN CONNECTIONS. HE WAS EXECUTED BY KING
THEODORIC AND CLAIMED AS A CATHOLIC MARTYR.
DESCRIPTION
DRESSED IN A WHITE TOGA? HE CARRIES A BOOK.
PARADISO PICTURES
27, 34
THOMAS AQUINAS (VOICE):
PAR C10 124-126 / DANTE PAR C10 124-126 / KLINE
Per vedere ogne ben dentro vi gode In there, seeing every good, Boëthius, The the
l'anima santa che 'l mondo fallace sainted soul rejoices, who unmasked the deceitful
fa manifesto a chi di lei ben ode. world to those who give him a careful hearing.
DANTE:
Anicius Manlius Torquatus Severinus Boëthius,
executed by King Theodoric.
92
BEATRICE:
The Consolations of Philosophy De Consolatione
Philosophiae.
De Institutione Arithmetica Libri II.
De Institutione Musica Libri V.
THOMAS AQUINAS (VOICE):
PAR C10 127-129 / DANTE PAR C10 127-129 / KLINE
Lo corpo ond' ella fu cacciata giace The body from which it was chased out,
giuso in Cieldauro; ed essa da martiro lies down below in Cieldauro, and it
e da essilio venne a questa pace. came from exile and martyrdom to this peace.
THOMAS AQUINAS (VOICE):
PAR C10 130-132 / DANTE PAR C10 130-132 / KLINE
Vedi oltre fiammeggiar l'ardente spiro Next, see the glowing breath of Isidore of Seville
d'Isidoro, di Beda e di Riccardo, flame out, of Bede, and Richard of Saint Victor,
che a considerar fu più che viro. who in contemplation exceeded Man.
ISIDORE APPEARS AS A MAN.

ST ISIDORE OF SEVILLE 560? - 636 AGE : 76? CHARACTER AGE : 40? (AGE OF BECOMING
ARCHBISHOP)
ISIDORO (SP. AND IT.)
PLACE./.LANGUAGE ETC
BORN SEVILLE. LATIN / GREEK / HEBREW. NOT CLASSICAL LATIN: GOTHS HAD CONTROLLED SPAIN FOR NEARLY 2
CENTURIES.
ARCHBISHOP OF SEVILLE FROM C 600. IT IS NOT KNOWN WHETHER HE EVER BECAME A MONK, BUT HE ESTEEMED
AND PROTECTED RELIGIOUS ORDERS. THE ETYMOLOGIAE IS ‘A VAST STOREHOUSE IN WHICH IS GATHERED,
SYSTEMATISED AND CONDENSED, ALL THE LEARNING POSSESSED BY HIS TIME’. THROUGHOUT THE GREATER PART
OF THE MIDDLE AGES IT WAS THE TEXTBOOK MOST IN USE IN EDUCATIONAL INSTITUTIONS.
DESCRIPTION
AS ARCHBISHOP OF SEVILLE. HE CARRIES A BOOK.
PARADISO PICTURES
36
DANTE:
PAR C10 130-131 / DANTE PAR C10 130-131 / KLINE
Vedi oltre fiammeggiar l'ardente spiro Next, see the glowing breath of St Isidore of Seville
d'Isidoro, di Beda e di Riccardo, flame out, of Bede, and Richard of Saint Victor,
BEATRICE:
The Etymologiae or Origines:
all the learning of his time.
DANTE:
an apprentice to a farmer, by others was accused
of neglecting his work….
His master, John of Varges, found him praying
while two angels ploughed the field.
THOMAS AQUINAS (VOICE):
PAR C10 131 / DANTE PAR C10 131 / KLINE
d'Isidoro, di Beda e di Riccardo, flame out, of Bede, and Richard of Saint Victor,
BEDE APPEARS AS A MAN.
BEDE (BEDA, BAEDA) 673? - 735 AGE : 62? CHARACTER AGE: 62?
THE VENERABLE BEDE
PLACE./.LANGUAGE ETC
ENGLAND. ECCLESIASTICAL HISTORIAN, DIED JARROW.
ANGLO-SAXON?
DESCRIPTION
HE IS DRESSED IN BLACK AS A BENEDICTINE AND WEARS HIS DOCTOR’S CAP. HE CARRIES A BOOK.
PARADISO PICTURES
21, 22
DANTE:
PAR C10 131 / DANTE PAR C10 131 / KLINE
d'Isidoro, di Beda e di Riccardo, flame out, of The Venerable Bede, and Richard of
Saint Victor,
called this by Council of Aachen, 835
BEATRICE:
Historia Ecclesiastica Gentis Anglorum
DANTE:
Doctor Ecclesiae; venerabilis et modernis
temporibus doctor admirabilis
93

THOMAS AQUINAS (VOICE):
PAR C10 131 / DANTE PAR C10 131 / KLINE
d'Isidoro, di Beda e di Riccardo, flame out, of Bede, and Richard of Saint Victor,
RICHARD OF SAINT-VICTOR APPEARS AS A MAN. (OPTIONAL CHARACTER.)
RICHARD OF SAINT VICTOR *---- ? - 1173 AGE : *-- ? CHARACTER AGE : *-- ?
RICCARDO
PLACE./.LANGUAGE ETC
SCOTTISH, PRIOR OF ABBEY OF ST VICTOR, PARIS. LATIN. FRENCH?
CLOISTERED BUT CONCERNED WITH EDUCATION. AT ST VICTOR HE FOLLOWED THE STRICTER RULE LAID DOWN BY
HIS FRIEND, ST BERNARD. BENJAMIN MAJOR & BENJAMIN MINOR DEFINE THE STAGES OF MYSTICAL CONTEMPLATION.
DESCRIPTION
AUGUSTINIAN CANON REGULAR – WHITE HABIT. HE CARRIES A BOOK.
DANTE:
PAR C10 131-132 / DANTE PAR C10 131-132 / KLINE
d'Isidoro, di Beda e di Riccardo, flame out, of Bede, and Richard of Saint Victor,
che a considerar fu più che viro. who in contemplation exceeded Man.
Scottish prior of the great Abbey in Paris.
BEATRICE:
Benjamin Major, Benjamin Minor.
They define the stages of mystical contemplation.
THOMAS AQUINAS (VOICE):
PAR C10 133-135 / DANTE PAR C10 133-135 / KLINE
Questi onde a me ritorna il tuo riguardo, The one from whom your glance returns to me,
è 'l lume d'uno spirto che 'n pensieri is the light of a spirit, who, of profound thought,
gravi a morir li parve venir tardo: seemed to himself to reach death too slowly.:
PAR C10 136-138 / DANTE
essa è la luce etterna di Sigieri, it It is the eternal light of Sigier, who, lecturing
che, leggendo nel Vico de li Strami, in the Rue du Fouarre, syllogised truths
silogizzò invidïosi veri». that brought him hatred,
SIGIER APPEARS.
SIGIER (SIGER) OF BRABANT_ *---- ? – 1283? AGE : *-- ? CHARACTER AGE : *-- ?
PLACE./.LANGUAGE ETC
BRABANT. FRENCH.
A PROFESSOR IN THE UNIVERSITY OF PARIS, WHERE THE ‘STRAW-LITTERED’ RUE DU FOUARRE RAN CLOSE TO THE
RIVER IN THE LATIN QUARTER, AND WAS THE CENTRE OF THE ARTS SCHOOLS AT PARIS. HE DISPUTED WITH THE
MENDICANT ORDERS, AND AQUINAS WAS ONE OF HIS OPPONENTS (DE UNITATE INTELLECTUS CONTRA AVERROISTAS).
IT IS NOT KNOWN WHY DANTE HAD AQUINAS SPEAK WELL OF HIM. HE WAS DRIVEN FROM HIS UNIVERSITY CHAIR
AND ASSASSINATED, OR EXECUTED, AT THE PAPAL COURT AT ORVIETO.
DESCRIPTION
HE WEARS BLACK AND CARRIES A BOOK.
THOMAS AQUINAS (VOICE):
PAR C10 136-138 / DANTE PAR C10 136-138 / KLINE
essa è la luce etterna di Sigieri, it It is the eternal light of Sigier, who, lecturing
che, leggendo nel Vico de li Strami, in the Rue du Fouarre, syllogised truths
silogizzò invidïosi veri». that brought him hatred,
DANTE:
Sigier of Brabant, Professor in Paris;
executed or assassinated at the papal Court.
94

BEATRICE:
De anima intellectiva, De aeternitate mundi,
Quaestiones logicales, Impossibilia
THOMAS AQUINAS (VOICE):
PAR C10 97-99 / DANTE from earlier PAR C10 97-99 / KLINE
Questi che m'è a destra più vicino, He, who is nearest to me on the right, was my
frate e maestro fummi, ed esso Alberto master and my brother: he was Albert of Cologne,
è di Cologna, e io Thomas d'Aquino. and I, Thomas Aquinas.
[BLESSED SOULS] - [BLESSED SOULS] - [BLESSED SOULS INC AQUINAS]
or ■ - ■ - [AQ]
THOMAS AQUINAS FINALLY MANIFESTS HIMSELF AS A MAN.
BEATRICE WOULD GO ON BUT AQUINAS HOLDS UP HIS EMPTY HANDS.
DANTE:
Saint Thomas Aquinas, Doctor Angelicus
BEATRICE:
Summa Theologica or Summa Theologiae…
THOMAS AQUINAS:
Omnia que scripsi videntur michi palee All that I have written seems to me like straw
respectu eorumque vidi et revelata sunt compared with what has now been revealed
michi. to me.
DANTE INTERPRETS TO THE AUDIENCE…
DANTE:
Omnia que scripsi videntur michi palee All that I have written seems to me like straw
respectu eorumque vidi et revelata sunt compared with what has now been revealed
michi. to me.
…AND BEATRICE CORRECTS HIM.
BEATRICE:
Paleae is chaff, fit for burning only, while
straw serves for fodder, mattresses and thatching.
PALEAE IS PLURAL
MARJORIE O’ROURKE BOYLE HAS POINTED OUT THAT THE WORD IS ALMOST UNIVERSALLY MISTRANSLATED. DANTE’S
TRANSLATION OF LATIN IN THE DIVINE COMEDY IS NOT PERFECT. FRANK HALSEMA SUPPLIED THE QUOTE ON THE FORUM PAGE OF
THE THOMAS INSTITUUT TE UTRECHT WITH REFERENCES TO CAUTIONS AGAINST INTERPRETING PALEE IN A TOO DEPRECATORY
SENSE.
AQUINAS AND DANTE BOW TO BEATRICE.
95

THOMAS AQUINAS:
PSALM PROLOG. comment
Where the word stops there starts the song,
exultation of the mind bursting forth in the voice.
[BLESSED SOULS?] - [BLESSED SOULS?] - [BLESSED SOULS? INC AQUINAS]
■ - ■ - ■
CELESTIAL 2
♫CELESTIAL CONTD. * * * * * * * * * *
before PAR C10 145
PAR C10 145-147 / KLINE
Then, as the clock, that strikes the hour, when the bride of God rises, to sing her Matins, to the Bridegroom, so that he
might love her, where one part pulls and pushes another, making a chiming sound, of such sweet notes, that the welldisposed
spirit fills with love,
DANTE GAZES ABOVE HIM.
DANTE:
PAR C10 145-147 / DANTE PAR C10 145-147 / KLINE
così vid' ïo la gloriosa rota so I saw see the glorious wheel revolve,
muoversi e render voce a voce in tempra and answer voice to voice, in harmony,
e in dolcezza ch'esser non pò nota and with a sweetness that cannot be known
PAR C10 148 / DANTE
se non colà dove gioir s'insempra. except where joy renders itself eternal.
CANTO 11
PAR C11 1-3 / DANTE PAR C11 1-3 / KLINE
O insensata cura de' mortali, O mindless mortal cares! How defective
quanto son difettivi silogismi the reasoning that makes you beat
quei che ti fanno in basso batter l'ali! your wings towards the earth!
PAR C11 4-6 / DANTE
Chi dietro a iura e chi ad amforismi One person was is chasing law, another medicine;
sen giva, e chi seguendo sacerdozio, one following the priesthood,
e chi regnar per forza o per sofismi, another rule, by force or sophistry;
PAR C11 7-9 / DANTE
e chi rubare e chi civil negozio, one robbery, another civic business;
chi nel diletto de la carne involto one was is involved in bodily pleasure,
s'affaticava e chi si dava a l'ozio, and another taking their ease:
PAR C11 10-12 / DANTE
quando, da tutte queste cose sciolto, while I, free of all these things,
con Bëatrice m'era suso in cielo was am received, with Beatrice,
cotanto glorïosamente accolto. so gloriously in Heaven.
96

■ - ■ - ■
AQUINAS 2
CHESS / CHANSON DE ROLAND 1 1 - 404
[CP 22 / CROWNED BS] - [CP 23 / TABLE BS] - [CP 24 / BS LIBRARY] WINDOWS UNDIVIDED
CLARE PICTURES: CASTLES (SEE CHESS BELOW.)
Clare Pictures 22: Castle: Roccasecca
Birthplace of Thomas Aquinas, near the Abbey of Montecassino.
Clare Pictures 23: Jerusalem
Find a picture.
Clare Pictures 24: Castle: Hohenstaufen
Based on the tower in PARADISO PICTURES: 47. This postdates Cacciaguida’s time, but there was
something simpler earlier.
BELOW, AS THE MUSIC CONTINUES, THE 3 WINDOWS LIGHT UP WITH NO DIVIDERS BETWEEN THEM. IN THE
LEFT WINDOW, SOLOMON & CONSTANCE CHAT COMFORTABLY (INAUDIBLY) AS CROWNED HEADS. RAHAB, IF
UNCROWNED, STANDS AWKWARDLY NEARBY UNTIL SOLOMON BOWS OR GENUFLECTS TO HER AND PUTS HIS
OWN CROWN ON HER HEAD. IF SOLOMON IS OMITTED AND RAHAB COMES CROWNED, SHE GREETS THE
EMPRESS CONSTANCE AS A SISTER. CUNIZZA, AS NOBILITY, HOVERS.
IN THE RIGHT PART OF THE RIGHT WINDOW ARE THE STALLS OF A MONASTIC LIBRARY WHICH ONLY PARTLY
OBSCURES THIS AND FUTURE CLARE PICTURES. BOOK AND SCROLL STACKS REACH TO THE TOP OF THE
WINDOW, OR ABOVE IT. OUT OF REACH ABOVE A BOOK-LADDER IS AN OLIFANT, AN IVORY HORN – A SMALL
ELEPHANT TUSK. OTHER RECENTLY-MANIFESTED BLESSED SOULS./.SOULS MOVE IN AND OUT OF THE
STALLS.
ALBERTUS MAGNUS READS AND MAKES NOTES AT A TABLE WHICH OCCUPIES A LARGE PART OF THE CENTRE
WINDOW. AQUINAS EMERGES FROM A STALL AND THEY EMBRACE AS BELOVED TEACHER AND PUPIL,
FELLOW-DOMINICANS. AS THEY STUDY, THE VENERABLE BEDE COMES FROM ANOTHER STALL. THE 3
EMBRACE AS DOCTORS OF THE CHURCH.
DANTE VERSIFIES AND CLOSES CANTO 10.
DANTE:
PAR C10 139-141 / DANTE from before PAR C10 139-141 / KLINE
Indi, come orologio che ne chiami Then, as the clock, that strikes the hour,
ne l'ora che la sposa di Dio surge when the bride of God rises, to sing her Matins,
a mattinar lo sposo perché l'ami, to the Bridegroom, so that he might love her,
PAR C10 142-144 / DANTE
che l'una parte e l'altra tira e urge, where one part pulls and pushes another,
tin tin sonando con sì dolce nota, making a chiming sound, of such sweet notes,
che 'l ben disposto spirto d'amor turge; that the well-disposed spirit fills with love,
PAR C10 145-147 / DANTE
così vid' ïo la gloriosa rota so I saw the glorious wheel revolve,
muoversi e render voce a voce in tempra and answer voice to voice, in harmony,
e in dolcezza ch'esser non pò nota and with a sweetness that cannot be known
PAR C10 148 / DANTE
se non colà dove gioir s'insempra. except where joy renders itself eternal.
97

PAR C11 13-27 / KLINE
When each spirit had returned to the place in the circle where he was before, he rested, like a candle in its holder. And I
saw a smile begin inside the light that had first spoken, as it grew brighter, and Thomas said: Just as I glow with its rays,
so as I gaze into the Eternal Light I know the reason for your thoughts. You question, and wish to understand my words,
in such open and extended speech as will match your comprehension, the words I spoke just now, where there is good
pasture, and, no other ever achieved, and here we need to draw careful distinctions.
GRATIANUS AND SIGIER (ONE CARRYING A LARGE VOLUME), WHO HAVE BEEN HANGING AROUND NEAR THE
TABLE, SIT DOWN AT EITHER END. THEY OPEN THE HOLLOW TABLETOP ALONG ITS CENTRE LINE. ONE PANEL
HANGS FROM THE EDGE OF THE TABLE NEAREST THE AUDIENCE. THE TABLETOP IS REVEALED AS A LARGE
CHESSBOARD. THERE ARE A FEW PIECES ON THE BOARD, SHOWING THE ‘CHECKMATE IN THE CORNER’:
CHECKMATE IN THE CORNER: MUCH VALUED BY THE CHESS PLAYERS OF THE MIDDLE AGES, IT WAS CONSIDERED OF
PARTICULAR BEAUTY BOTH DUE TO THE DIFFICULTY OF ITS REALISATION AND TO THE SIMPLICITY OF ITS ASPECT. DEATH
DEFEATS THE KNIGHT WITH IT IN BERGMAN’S SEVENTH SEAL. (FROM ALESSANDRO SANVITO, L’ITALIA SCHACCHISTICA).
CHESS
CHESS’S SYMBOLIC, LITERARY & ALLEGORICAL STRENGTH PROVED IRRESISTIBLE WHEN IT CAME TO EUROPE IN THE 11 TH
C. KNOWING THE GAME & ITS MEANING BECAME ONE OF THE 7 PROBITATES (ACCOMPLISHMENTS) OF THE KNIGHT.
ALMOST ALL THE EARLY REFERENCES TO CHESS, OFTEN CONDEMNATIONS, ORIGINATE FROM MONASTIC CENTRES. IN
1061, PETER DAMIAN URGED POPE-ELECT ALEXANDER III TO PUNISH THE BISHOP OF FLORENCE, THE FUTURE POPE
NICHOLAS II FOR PLAYING CHESS. LIBER DE MORIBUS HOMINUM ET OFFICIIS NOBILIUM (C 1280, J. DE CESSOLIS), A CHESS
ALLEGORY & MORALITY, BEGAN AS A SERMON & ENDED UP RIVALLING THE BIBLE IN POPULARITY & NO. OF PRINTINGS.
QUEEN’S CHESS OR MAD QUEEN’S CHESS, WHERE THAT PIECE COULD MOVE MORE THAN ONE SQUARE AT A TIME,
DEVELOPED IN LATE 15 TH C SPAIN.
THERE ARE VERY CHESS PIECES EXTANT FROM THE PERIOD. THE SO-CALLED CHARLEMAGNE SET (PARADISO
PICTURES: 52) WAS MADE OF ELEPHANT IVORY IN SALERNO, NEAR NAPLES. THE OWNER WAS PROBABLY ROBERT
GUISCARD (D. 1085), FOUNDER OF THE NORMAN DYNASTY IN SOUTHERN ITALY AND SICILY. DANTE MENTIONS HIM IN
L’INFERNO AND IL PARADISO.
THE RULES IN 1300 VARIED FROM PLACE TO PLACE, BEING CLOSER TO THE MODERN GAME IN SPAIN AND ITALY THAN IN
FRANCE AND ENGLAND. GRATIANUS AND SIGIER MIGHT PLAY ACCORDING TO THE FOLLOWING:
PIECES ARE SET UP AS IN MODERN CHESS.
KING, KNIGHT, ROOK AND PAWN MOVE AND CAPTURE AS IN MODERN CHESS, EXCEPT THAT THE PAWN MAY MOVE 2
SQUARES ON THEIR FIRST MOVE ONLY UNTIL A CAPTURE IS PLAYED AND THERE IS NO EN PASSANT RULE FOR PAWNS.
AS A FIRST MOVE THE QUEEN & KING MAY LEAP OVER 1 SQUARE WITHOUT CAPTURING ANY PIECE ON IT.
STALEMATE IS A DRAW, AS IN MODERN CHESS.
KING AND QUEEN CAN MOVE SIMULTANEOUSLY IF IT IS THE FIRST MOVE FOR BOTH.
NO CASTLING.
A PAWN MAY ONLY PROMOTE TO A QUEEN.
IN PRACTICE, THE PIECES AND MOST MOVES WILL NOT BE CLEARLY VISIBLE.
THE BLESSED SOULS REPRESENT THE KINGS, QUEENS, BISHOPS AND KNIGHTS ATTENDANT ON THE GAME. THE CASTLES
ARE SUGGESTED BY CLARE PICTURES 22, 23, 24 AND THE SHIELD OF CASTILE (PARADISO PICTURES: 51), MENTIONED
IN [PAR C12 52-54], HUNG ON THE WALL. WHEN CACCIAGUIDA ARRIVES HE ADDS THE HOHENSTAUFEN SHIELD AND
BANNER.
IN FACT, THE CHESS SET MAY NOT HAVE CASTLES (WHICH WERE ORIGINALLY THE HOWDAHS OF ELEPHANTS, THOUGH THE
ELEPHANTS IN THE ‘CHARLEMAGNE’ SET ARE BISHOPS).
LA CHANSON DE ROLAND THE SONG OF ROLAND
THE ROLAND STORY HAS BEEN DESCRIBED AS A NORMAN 12 TH C MANUSCRIPT OF AN 11 TH CENTURY TEXT ABOUT AN 8 TH
C CAROLINGIAN EVENT (JULIA BOLTON HOLLOWAY). IT IS FIRST MENTIONED AS BEING SUNG AT THE BATTLE OF
HASTINGS (1066). ITALIAN VERSIONS CAME LATER. DANTE REFERS TO THE CHANSON IN L’INFERNO AND IN THIS
CANTICLE.
PAR C18 43-45 / DANTE PAR C18 43-45 / KLINE
Così per Carlo Magno e per Orlando So for Charlemagne and Roland, two more,
due ne seguì lo mio attento sguardo, followed by my keen gaze,
com' occhio segue suo falcon volando. as the eye follows a hawk in flight.
PAR C18 46-48 / DANTE
Poscia trasse Guiglielmo e Rinoardo Then William of Orange, Renard,
e 'l duca Gottifredi la mia vista his brother-in-law, Duke Godfrey
per quella croce, e Ruberto Guiscardo. of Bouillon, and Robert Guiscard.
ANOTHER ACCOUNT OF THE BATTLE OF AUGUST 15TH, 778, WRITTEN BETWEEN 817 AND 830 (VITA KAROLI, EGINHARD):
BASQUES, OR GASCONS, EXTERMINATED THE REAR-GUARD OF CHARLEMAGNE’S ARMY, INCLUDING THE GOVERNOR
OF THE MARCH OF BRITTANY – ROLAND - AS IT WITHDREW FROM SPAIN. THE EMPEROR HAD BEEN CAMPAIGNING
THERE AT THE REQUEST OF THE ‘SARACENS’.
98

LA CHANSON DE ROLAND: http://fr.wikisource.org/wiki/ La Chanson de Roland
THE SONG OF ROLAND: TR. CHARLES MONCRIEF (1919) ONLINE MEDIEVAL & CLASSICAL LIBRARY RELEASE #12
WHERE LINE NOS. DO NOT CORRESPOND BETWEEN THE TWO VERSIONS (AFTER VERSE 113), THE ORIGINAL PREVAILS.
● = BLACK / PAGAN ○ = WHITE / FRANK
● SIGIER:
1 Carles li reis, nostre emper[er]e magnes Charles the King, our Lord and Sovereign,
2 Set anz tuz pleins ad estet en Espaigne: Now no fortress against him doth remain,
3 Tresqu'en la mer cunquist la tere altaigne. Full seven years hath sojourned in Spain,
4 N'i ad castel ki devant lui remaigne; Conquered the land, and won the western main,
5 Mur ne citet n'i est remes a fraindre, No city walls are left for him to gain,
6 Fors Sarraguce, ki est en une muntaigne. Save Sarraguce, that sits on high mountain.
7 Li reis Marsilie la tient, ki Deu nen aimet; Marsile its King, who feareth not God's name,
8 Mahumet sert e Apollin recleimet: Mahumet's man, he invokes Apollin's aid,
FREE PRONUNCIATION SAMPLE: WWW.TECLA.COM/CATALOG/0055.HTM
○ GRATIANUS:
1 Carles li reis, nostre emper[er]e magnes Charlemagne, our Lord and Sovereign,
2 Set anz tuz pleins ad estet en Espaigne: Now no fortress against him doth remain,
3 Tresqu'en la mer cunquist la tere altaigne. Full seven years hath sojourned in Spain,
4 N'i ad castel ki devant lui remaigne; Conquered the land, and won the western main,
5 Mur ne citet n'i est remes a fraindre, No city walls are left for him to gain,
6 Fors Sarraguce, ki est en une muntaigne. Save Sarraguce, that sits on high mountain.
7 Li reis Marsilie la tient, ki Deu nen aimet; Marsile its King, who feareth not God's name,
8 Mahumet sert e Apollin recleimet: Mahumet's man, he invokes Apollin's aid,
10 Li reis Marsilie esteit en Sarraguce. King Marsilies he lay at Sarraguce,
13 Envirun lui plus de vint milie humes. Round him his men, full twenty thousand, stood.
14 Il en apelet e ses dux e ses cuntes: Called he forth then his counts, also his dukes:
THE BLESSED SOULS PLAY THE CHANSON CHARACTERS AT FIRST WITHOUT APPROACHING THE
TABLE. AS THE GAME PROGRESSES THEY TEND TO GROUP ON ONE SIDE OF THE OTHER,
DEPENDING ON THE COLOUR OF THEIR CLOTHES. THOSE WHO LIVED BEFORE ITS
COMPOSITION - JUSTINIAN, RAHAB, ISIDORE OF SEVILLE, BOËTHIUS, SOLOMON, BEDE,
OROSIUS – MAY BE PROMPTED AND./.OR GIVEN A COPY OF THE WORK BY SIGIER OR
GRATIANUS WHEN THEY FIRST COME TO SPEAK. AQUINAS IGNORES THE ACTION AND
CONTINUES TO STUDY IN THE RIGHT WINDOW.
SIGIER AND GRATIANUS OPEN THE LARGE VOLUME./.CHESS PIECE CONTAINER AND SLOWLY
SET UP THE PIECES ON THE BOARD. (THEY FINISH THIS AT LINE 694 - BEFORE C11 112.)
● MARSILIES / CHARLES M. D’ANJOU:
15 «Oëz, seignurs, quel pecchet nus encumbret:My Lords, give ear to our impending doom:
16 Li emper[er]es Carles de France dulce That Emperour, Charles of France the Douce,
17 En cest païs nos est venuz cunfundre. Into this land is come, us to confuse.
18 Jo nen ai ost qui bataille li dunne, I have no host in battle him to prove,
19 Ne n'ai tel gent ki la sue derumpet. Nor have I strength his forces to undo.
20 Cunseilez mei cume mi savie hume, Counsel me then, ye that are wise and true;
21 Si m(e) guarisez e de mort et de hunte.» Can ye ward off this present death and dule?
● SIGIER:
22 N'i ad paien ki un sul mot respundet, What word to say no pagan of them knew,
23 Fors Blancandrins de Castel de Valfunde. Save Blancandrin, of th' Castle of Val Funde.
24 Blancandrins fut des plus saives paiens: Blancandrins was a pagan very wise,
25 De vasselage fut asez chevaler, In vassalage he was a gallant knight,
26 Prozdom i out pur sun seignur aider; First in prowess, he stood his lord beside.
99

● BLANCANDRINS / PETER LOMBARD:
27 E dist al rei: «Ore ne vus esmaiez! And thus he spoke: Do not yourself affright!
28 Mandez Carlun a l'orguillus, (e) al fier, Yield to Carlun, that is so big with pride,
29 Fedeilz servises e mult granz amistez. Faithful service; his friend and his ally,
30 Vos li durrez urs e leons e chens, Lions and bears and hounds for him provide,
31 Set cenz camelz e mil hosturs muers, Thousand mewed hawks, sev'n hundred camelry;
32 D'or e d'argent .IIII.C. muls cargez, Silver and gold, four hundred mules load high;
33 Cinquante carre, qu'en ferat carier: Fifty wagons his wrights will need supply,
34 Ben en purrat luer ses soldeiers. Till with that wealth he pays his soldiery.
35 En ceste tere ad asez osteiet; War hath he waged in Spain too long a time,
36 En France, ad Ais, s'en deit ben repairer. To Aix, in France, homeward he will him hie.
37 Vos le sivrez a la feste seint Michel: Follow him there before Saint Michael's tide,
38 Si recevrez la lei de chrestiens, You shall receive and hold the Christian rite;
39 Serez ses hom par honur e par ben. Stand honour bound, and do him fealty.
40 S'en volt ostages, e vos l'en enveiez, Send hostages, should he demand surety,
41 U dis u vint pur lui afiancer. Ten or a score, our loyal oath to bind;
42 Enveiu[n]s i les filz de noz muillers: Send him our sons, the first-born of our wives;
43 Par nun d'ocire i enveierai le men. An he be slain, I'll surely furnish mine.
44 Asez est melz qu'il i perdent le chefs, Better by far they go, though doomed to die,
45 Que nus perduns l'onur ne la deintet, Than that we lose honour and dignity,
46 Ne nus seiuns cunduiz a mendeier.». And be ourselves brought down to beggary.
● MARSILIES / CHARLES M. D’ANJOU:
70 «Seignurs baruns, a Carlemagnes irez; Gentle Barons, to Charlemagne go ye;
71 Il est al siege a Cordres la citet. He is in siege of Cordres the city.
72 Branches d'olives en voz mains porterez, In your right hands bear olive-branches green
73 Ço senefiet pais e humilitet. Which signify Peace and Humility.
81 Si me direz a Carlemagne, le rei, Bid ye for me that Charlemagne, the King,
82 Pur le soen Deu qu'il ait m(er)ercit de mei. In his God's name to shew me his mercy;
83 Ja einz ne verrat passer cest premer meis, Ere this new moon wanes, I shall be with him;
84 Que jel sivrai od mil de mes fedeilz, One thousand men shall be my following;
85 Si recevrai la chrestiene lei, I will receive the rite of christening,
86 [S]erai ses hom par amur e par feid; Will be his man, my love and faith swearing;
87 S'il voelt ostages, il en avrat par veir.» Hostages too, he'll have, if so he will.
● BLANCANDRINS / PETER LOMBARD:
88 Dist Blancandrins: «Mult bon plait en avreiz.»Says Blancandrins: Much good will come of this.
○ GRATIANUS:
96 Li empereres se fait e balz e liez, Merry and bold is now that Emperour,
97 Cordres ad prise e les murs peceiez, Cordres he holds, the walls are tumbled down,
98 Od ses cadables les turs en abatied. His catapults have battered town and tow'r.
99 Mult grant eschech en unt si chevaler Great good treasure his knights have placed in
pound,
100 D'or e d argent e de guarnemenz chers. Silver and gold and many a jewelled gown.
101 En la citet nen ad remes paien, In that city there is no pagan now
102 Ne seit ocis, u devient chrestien. But he been slain, or takes the Christian vow.
109 De dulce france i ad quinze milliers. Fifteen thousand, come out of France the Douce.
110 Sur palies blancs siedent cil cevaler, On white carpets those knights have sate them
down,
111 As tables juent pur els esbaneier At the game-boards to pass an idle hour;
BLANCANDRINS / PETER LOMBARD ADDRESSES CHARLEMAGNE./.JUSTINIAN.
● BLANCANDRINS / PETER LOMBARD:
123 E dist al rei: «Salvez seiez de Deu And to the King: May God preserve you safe.,
125 Iço vus mandet reis Marsilies, li bers: Proud Marsilies this message bids me say:
133 Dunt bien purrez voz soldeiers luer. Wherewith full tale your soldiers you can pay.
134 En cest païs avez estet asez; Now in this land you've been too long a day
135 En France, ad Ais, devez bien repairer; Hie you to France, return again to Aix;
CHARLEMAGNE./.JUSTINIAN BOWS HIS HEAD BEFORE SPEAKING. (143 ‘HASTY IN SPEECH HE
NEVER WAS, BUT SLOW.’)
100

○ CHARLEMAGNE / JUSTINIAN:
144 Li reis Marsilies est mult mis enemis. King Marsilies hath ever been my foe.
145 De cez paroles que vos avez ci dit, These very words you have before me told,
146 En quel mesure en purrai estre fiz?» In what measure of faith am I to hold?
● BLANCANDRINS / PETER LOMBARD:
147 «Voet par hostages,» ço dist li Sarrazins, That Sarrazin says, Hostages he'll show;
148 «Dunt vos avrez ú dis ú quinze ú vint. Ten shall you take, or fifteen or a score.
149 Pa[r] num de ocire i metrai un mien filz, Though he be slain, a son of mine shall go,
150 E sin avrez, ço quid, de plus gentilz. Any there be you'll have more nobly born.
151 Quant vus serez el palais seignurill, To your palace seigneurial when you go,
○ FRANKS:
192 Dient Franceis:«Il nus i cuvent guarde!». Then say the Franks: Beseems us act with
caution!
GRATIANUS LOOKS INDIGNANT.
○ GRATIANUS:
194 Li quens Rollant, ki ne l’otriet mie». The Count Rollanz he never will agree.
ROLAND./.FOLCO SPRINGS TO HIS FEET AND ADDRESSES CHARLEMAGNE / JUSTINIAN
HAUGHTILY.
○ ROLAND / FOLCO:
196 Il dist al rei: «Ja mar crerez Marsilie. And to the King, Believe not Marsilie.
202 De ses pai[ens il vus] enveiat quinze, Of his pagans he sent you then fifteen,
203 Cha(n)cuns portout une branche d'olive; Bearing in hand their olive-branches green:
204 Nuncerent vos cez paroles meïsme. Who, ev'n as now, these very words did speak.
205 A vos Franceis un cunseill en presistes: You of your Franks a Council did decree,
206 Loerent vos alques de legerie. Praised they your words that foolish were in
deed.
207 Dous de voz cuntes al paien tramesistes, Two of your Counts did to the pagan speed,
208 L'un fut Basan e li altres Basilies; Basan was one, and the other Basilie:
209 Les chef en prist es puis desuz Haltilie. Their heads he took on th' hill by Haltilie.
SIGIER LOOKS TO ALBERTUS MAGNUS, WHOSE DOMINICAN HABIT OF BLACK-AND-WHITE
PUTS HIM IN BOTH CAMPS.
● SIGIER:
217 Franceis se taisent ne mais que Guenelun, Franks hold their peace, but only Guenelun.
GUENELON (GUENELUN, GUENES ETC)./.ALBERTUS MAGNUS ALSO SPRINGS FROM HIS CHAIR
AND SPEAKS HAUGHTILY.
○● GUENELON / ALBERTUS MAGNUS:
220 E dist al rei: «Ja mar crerez bricun, And to the King: Believe not any one,
221 Ne mei ne altre, se de vostre prod nun. My word nor theirs, save whence your good
shall come.
224 E tute Espaigne tendrat par vostre dun, Throughout all Spain your writ alone shall run
225 Puis recevrat la lei que nus tenum, Next he'll receive our rule of Christendom
228 Cunseill d orguill n'est dreiz que a plus munt,Counsel of pride is wrong: we've fought enough.
229 Laissun les fols, as sages nus tenuns.». Leave we the fools, and with the wise be one.
101

○ CHARLEMAGNE / JUSTINIAN:
252 «Seignurs baruns, qui i purruns enveier My lords barons, say whom now can we send
253 Al Sarrazin ki Sarraguce tient?» To th' Sarrazin that Sarraguce defends?
○ ROLAND / FOLCO:
254 Respunt Rollant: «Jo i puis aler mult ben!» Answers Rollanz: I might go very well.
○ OLIVER / BOËTHIUS:
255 «Nu ferez certes!» dist li quens Oliver; Certes, you'll not., says Oliver his friend,
DANTE SPEAKS IN A STAGE-WHISPER.
DANTE:
255 «Nu ferez certes!» dist li quens Oliver; Certes, you'll not, says Oliver, his friend,
○ OLIVER / BOËTHIUS:
256 «Vostre curages est mult pesmes e fiers; For your courage is fierce unto the end,
257 Jo me crendreie, que vos vos meslisez. I am afraid you would misapprehend.
258 Se li reis voelt, jo i puis aler ben.» If the King wills it I might go there well.
○ CHARLEMAGNE / JUSTINIAN:
259 Respunt li reis: «Ambdui vos en taisez! Answers the King: Be silent both. on bench;
260 Ne vos ne il n'i porterez les piez. Your feet nor his, I say, shall that way wend.
○ GRATIANUS:
264 Turpins de Reins en est levet del renc, Turpins of Reins is risen from his rank,
○ ARCHBISHOP TURPIN / ST ISIDORE:
266 En cest païs avez estet set anz; For seven years you've lingered in this land
269 E jo irai al Sarazin en Espaigne, I will seek out the Spanish Sarazand,
270 Sin vois vedeir alques de sun semblant.» For I believe his thoughts I understand.
ARCHBISHOP TURPIN./.ST ISIDORE WOULD KNOW SPAIN, BEING SPANISH.
○ CHARLEMAGNE / JUSTINIAN:
272 «Alez sedeir desur cel palie blanc! Go, sit you down on yonder silken mat;
273 N'en parlez mais, se jo nel vos cumant!». And speak no more, until that I command.
○ CHARLEMAGNE / JUSTINIAN:
274 «Francs chevalers,» dist li emperere Carles,Franks, chevaliers, says the Emperour then,
Charles,
275 «Car m'eslisez un barun de ma marche, Choose ye me out a baron from my marches,
276 Qu'a Marsiliun me portast mun message.» To Marsilie shall carry back my answer.
○ ROLAND / FOLCO:
277 Ço dist Rollant:«Ço ert Guenes, mis parastre.»Then says Rollanz: There's Guenes, my
goodfather.
○● GUENELON / ALBERTUS MAGNUS:
286 Dist a Rollant: «Tut fol, pur quei t'esrages? Says to Rollant: Fool, wherefore art so wrathful?
287 Ço set hom ben que jo sui tis parastres; All men know well that I am thy goodfather;
288 Si as juget qu'a Marsiliun en alge! Thou hast decreed, to Marsiliun I travel.
289 Se Deus ço dunet que jo de la repaire, Then if God grant that I return hereafter,
290 Jo t'en muvra[i] un si grant contr[a]ire I'll follow thee with such a force of passion
291 Ki durerat a trestut tun edage.» That will endure so long as life may last thee.
○ ROLAND / FOLCO:
292 Respunt Rollant: «Orgoill ói e folage. Answers Rollanz: Thou'rt full of pride and
madness.
293 Ço set hom ben, n'ai cure de manace; All men know well, I take no thought for slander;
102

294 Mai[s] saives hom, il deit faire message: But some wise man, surely, should bear the
answer;
295 Si li reis voelt, prez sui por vus le face.» If the King will, I'm ready to go rather.
○● GUENELON / ALBERTUS MAGNUS:
296 Guenes respunt: «Pur mei n'iras tu mie!. Answers him Guene: Thou shalt not go for me.
297 Tu n'ies mes hom ne jo ne sui tis sire. Thou'rt not my man, nor am I lord of thee.
298 Carles comandet que face sun servise: Charles commands that I do his decree,
299 En Sarraguce en irai a Marsilie; To Sarraguce going to Marsilie;
GUENELON / ALBERTUS MAGNUS’S ASIDE.
○● GUENELON / ALBERTUS MAGNUS:
300 Einz i f[e]rai un poi de [le]gerie, There I will work a little trickery,
301 Que jo n'esclair ceste meie grant ire.» This mighty wrath of mine I'll thus let free.
● BLANCANDRINS / PETER LOMBARD:
378 Mult grant mal funt e [cil] duc e cil cunte Yet A great wrong these dukes do and
these counts
379 A lur seignur, ki tel cunseill li dunent: Unto their lord, being in counsel proud;
380 Lui e altrui travaillent, e cunfundent.» Him and themselves they harry and confound.
○● GUENELON / ALBERTUS MAGNUS:
381 Guenes respunt: «Jo ne sai veirs nul hume, Guenes replies: There is none such, without
382 Ne mes Rollant, ki uncore en avrat hunte. Only Rollanz, whom shame will yet find out.
391 Seit, ki l'ociet, tute pais puis avriúmes.». When he be slain, shall peace once more abound.
● SIGIER:
402 Tant chevalcherent Guenes e Blancandrins,Cantered so far then Blancandrins and Guene
403 Que l'un a l'altre la sue feit plevit, Till each by each a covenant had made
404 Que il querreient, que Rollant fust ocis. And sought a plan, how Rollant might be slain.
♫CHANSON MUSIC ? * * * * * * * * * *
CH/CH 404 before C11 28
AQUINAS 3
■ - ■ - [AQ]
AQUINAS, THE ONLY BLESSED SOUL IN THE RIGHT WINDOW, AND THE ONLY ONE NOW VISIBLE, SITS SILENT
THROUGHOUT THE MUSIC.
THOMAS AQUINAS:
PAR C11 28-30 / DANTE PAR C11 28-30 / KLINE
La provedenza, che governa il mondo The Providence that governs the world,
con quel consiglio nel quale ogne aspetto that defeats every creature’s understanding,
creato è vinto pria che vada al fondo, before that creature can plumb its depths,
PAR C11 31-33 / DANTE
però che andasse ver' lo suo diletto ordained two Princes, to be guides, over there
la sposa di colui ch'ad alte grida and over here, on behalf of the Church, the spouse
disposò lei col sangue benedetto, of Him, who wedded Her, with great cries,
103

PAR C11 34-36 / DANTE
in sé sicura e anche a lui più fida, in blessed blood, in order that She might go
due principi ordinò in suo favore, to Christ,her delight, secure in Herself,
che quinci e quindi le fosser per guida. and more faithful to Him.
PAR C11 37-39 / DANTE PAR C11 37-39 / KLINE
L'un fu tutto serafico in ardore; The one Prince, Saint Francis, was all
l'altro per sapïenza in terra fue Seraphic in his ardour, the other, Dominic,
di cherubica luce uno splendore. was a splendour of Cherubic Light, on earth.
PAR C11 40-42 / DANTE PAR C11 40-42 / KLINE
De l'un dirò, però che d'amendue I will speak of the first., because whoever praises
si dice l'un pregiando, qual ch'om prende, either, whichever he chooses, talks of both,
perch' ad un fine fur l'opere sue. since both their efforts were to the same end.
PAR C11 43-45 / DANTE PAR C11 43-45 / KLINE
Intra Tupino e l'acqua che discende A fertile slope falls from a high mountain, between
del colle eletto dal beato Ubaldo, the Tupino and the Chiascio, the stream that
fertile costa d'alto monte pende, drops from the hill chosen by the blessed Ubaldo.
SAINT UBALDO, BISHOP OF GUBBIO 1160, SELECTED A HERMITAGE SITE ON THE MOUNTAIN NEARBY, BUT WAS UNABLE EVER TO
RETIRE THERE.
104
DANTE notes:
PAR C11 44-45 / DANTE PAR C11 44-45 / KLINE
del colle eletto dal beato Ubaldo, between the Tupino and the Chiascio, the stream
fertile costa d'alto monte pende, that drops from the hill chosen by the blessed Ubaldo.
THOMAS AQUINAS:
PAR C11 46-48 / DANTE PAR C11 46-48 / KLINE
onde Perugia sente freddo e caldo a A slope from which Perugia feels the cold and
da Porta Sole; e di rietro le piange heat, through the eastern gate of Porta Sole, and
per grave giogo Nocera con Gualdo. behind it the towns of Nocera and Gualdo bemoan
the Angevin’s heavy yoke.
PAR C11 49-51 / DANTE
Di questa costa, là dov' ella frange From this slope, where it becomes least steep,
più sua rattezza, nacque al mondo un sole, a Sun was born into this world,
come fa questo talvolta di Gange. even as our sun rises from the Ganges.
DANTE notes:
PAR C11 50 / DANTE PAR C11 50 / KLINE
più sua rattezza, nacque al mondo un sole, a Sun was born into this world.
♫ST FRANCIS MUSIC: BIRDS? * * * * * * * * * *
PAR C11 51
THOMAS AQUINAS:
PAR C11 52-54 / DANTE PAR C11 52-54 / KLINE
Però chi d'esso loco fa parole, So that whoever speaks of that place, let him not
non dica Ascesi, ché direbbe corto, say Ascesi, I have ascended, which is inadequate,
ma Orïente, se proprio dir vuole. but Oriente, if he wants to name it correctly.
ASCESI: ‘I HAVE ASCENDED’ AND AN OLD NAME FOR ASSISI
BEATRICE
Assisi was known by that word.

THOMAS AQUINAS:
PAR C11 52-54 / DANTE PAR C11 52-54 / KLINE
Però chi d'esso loco fa parole, So that whoever speaks of that place, let him not
non dica Ascesi, ché direbbe corto, say Ascesi, I have ascended, which is inadequate,
ma Orïente, se proprio dir vuole. but Oriente, if he wants to name it correctly.
PAR C11 55-57 / DANTE
Non era ancor molto lontan da l'orto, He was not far from rising when he began
ch'el cominciò a far sentir la terra to make the earth feel a certain
de la sua gran virtute alcun conforto; comfort from his great virtue,
PAR C11 58-60 / DANTE
ché per tal donna, giovinetto, in guerra since in his youth, he rushed to oppose his father,
del padre corse, a cui, come a la morte, for such a Lady, to whom, like Death,
la porta del piacer nessun diserra; no one opens the gate of his pleasure,
105
PAR C11 61-63 / DANTE
e dinanzi a la sua spirital corte and he was united to her in the spiritual court that
et coram patre le si fece unito; had jurisdiction over him, and in his father’s presence,
poscia di dì in dì l'amò più forte. and then loved her more deeply, from day to day.
PAR C11 64-66 / DANTE
Questa, privata del primo marito, She, deprived of her first husband for eleven
millecent' anni e più dispetta e scura hundred years and more, was obscure,
fino a costui si stette sanza invito; despised, until he stood in front of her, uninvited.
PAR C11 67-72 / KLINE
And the tale that she was found safe with Amyclas, the fisherman, when Caesar’s voice sounded to terrify the world,
had not helped her, nor to have been so faithful and unafraid that She mounted the Cross with Christ, when Mary
remained below.
AQUINAS PAUSES, SMILES AND PROCEEDS. DANTE NOTES OR INTERPRETS.
DANTE: & THOMAS AQUINAS:
PAR C11 73-75 / DANTE PAR C11 73-75 / KLINE
Ma perch' io non proceda troppo chiuso, But lest I proceed too darkly, accept,
Francesco e Povertà per questi amanti in plain speech, that Francis
prendi oramai nel mio parlar diffuso. and Poverty were these two lovers.
PAR C11 76-78 / DANTE
La lor concordia e i lor lieti sembianti, Their harmony and their delighted appearance
amore e maraviglia e dolce sguardo made love, wonder, and tender looks,
facieno esser cagion di pensier santi; the cause of sacred thought,
PAR C11 79-81 / DANTE
tanto che 'l venerabile Bernardo so that the venerable Bernard first cast off his sandals,
si scalzò prima, e dietro a tanta pace and ran to chase after so great a peacefulness,
corse e, correndo, li parve esser tardo. and thought himself all too slow, while he ran.
ST BERNARD: FOLLOWED SAINT FRANCIS & BECAME HIS FIRST DISCIPLE.
PAR C11 82-84 / DANTE
Oh ignota ricchezza! oh ben ferace! O unnoted riches, O fertile Good! Egidius
Scalzasi Egidio, scalzasi Silvestro casts off his sandals, and Sylvester, following
dietro a lo sposo, sì la sposa piace. the Bridegroom, as the Bride delights to do.
EGIDIUS: THE THIRD COMPANION OF SAINT FRANCIS. HIS SAYINGS WERE COLLECTED IN THE VERBA AUREA. HE DIED IN 1261.
SYLVESTER: PRIEST OF ASSISI, A KINSMAN OF SAINT CLARE & THE ONLY ECCLESIASTIC AMONG THE FIRST FRANCISCANS. HE IS
SUPPOSED TO HAVE TRIED TO CHEAT FRANCIS OVER SOME STONE FOR HIS CHURCH & WAS OVERCOME BY HIS UNWORLDLY
GENEROSITY.
PAR C11 85-87 / DANTE
Indi sen va quel padre e quel maestro This Master and this Father went his way,
con la sua donna e con quella famiglia together with his Lady, and with that family
che già legava l'umile capestro. already wearing the humble cord,

106
PAR C11 88-90 / DANTE
Né li gravò viltà di cuor le ciglia nor did lowliness of heart weigh down his forehead,
per esser fi' di Pietro Bernardone, because he was Pietro Bernardino’s son,
né per parer dispetto a maraviglia; nor that he seemed to be so greatly despised.
PAR C11 91-93 / DANTE
ma regalmente sua dura intenzione But he revealed his serious intention
ad Innocenzio aperse, e da lui ebbe to Pope Innocent, and took
primo sigillo a sua religïone. the seal of his Order from him.
INNOCENT III, POPE 1198-1216. HE CALLED HIMSELF CHRIST’S VICAR, FROM WHOM WORLDLY RULERS RECEIVED THEIR
KINGDOMS AS FIEFS. SEE FRANCIS.
PAR C11 94-96 / DANTE
Poi che la gente poverella crebbe When the people of poverty, who followed his path,
dietro a costui, la cui mirabil vita increased, his miraculous life sung
meglio in gloria del ciel si canterebbe, more sweetly in Heaven’s glory,
PAR C11 97-99 / DANTE
di seconda corona redimita then was this master shepherd’s sacred will encircled
fu per Onorio da l'Etterno Spiro with a second crown, from Honorius’s
la santa voglia d'esto archimandrita. hands, by the Eternal Spirit.
POPE HONORIUS III: RE-CONFIRMED FRANCISCAN ORDER, 1223.
PAR C11 100-102 / DANTE
E poi che, per la sete del martiro, And when, thirsting for martyrdom,
ne la presenza del Soldan superba he had preached Christ and his followers’ message,
predicò Cristo e li altri che 'l seguiro, in the proud Soldan’s presence;
PAR C11 103-105 / DANTE
e per trovare a conversione acerba and, finding the people bitterly against
troppo la gente e per non stare indarno, conversion, had returned, to avoid a useless stay,
redissi al frutto de l'italica erba, to gather fruit from the Italian branches;
PAR C11 106-108 / DANTE
nel crudo sasso intra Tevero e Arno then, on the harsh rock, between the Tiber
da Cristo prese l'ultimo sigillo, and the Arno, he received the final wounds,
che le sue membra due anni portarno. from Christ, that his limbs showed for two years.
PAR C11 109-111 / DANTE
Quando a colui ch'a tanto ben sortillo When it pleased Him, who ordained him
piacque di trarlo suso a la mercede to such good effect, to raise him to the reward,
ch'el meritò nel suo farsi pusillo, which he had earned by humbling himself,
AS AQUINAS CONTINUES SPEAKING, A JOLLY GROUP OF 7 MUSES CROSSES THE STAGE. EUTERPE AND
TERPSICHORE COME A LITTLE BEHIND, CARRYING THE BOAT. CALLIOPE SIGNALS TO THEM. WITH GREAT
GOOD HUMOUR THEY TAKE IT BACK OFFSTAGE AND LINE UP WITH THEIR SISTERS. ALTERNATIVELY, THE
BOAT IS NOT CARRIED AT ALL. THE MUSES SIT DOWN ON THE STEPS AND WAIT TO SING.
THOMAS AQUINAS:
PAR C11 112-114 / DANTE PAR C11 112-114 / KLINE
a' frati suoi, sì com' a giuste rede, he commended his Lady to his brotherhood,
raccomandò la donna sua più cara, his rightful heirs, and asked
e comandò che l'amassero a fede; that they should love her faithfully,
PAR C11 115-117 / DANTE
e del suo grembo l'anima preclara and the illustrious spirit willed himself
mover si volle, tornando al suo regno, to leave her breast, turning to his own kingdom,
e al suo corpo non volle altra bara. yet wished for no other deathbed for his body.
THE FRANCISCAN MUSIC CEASES. AQUINAS LEAVES THE STAGE.

AQUINAS 4
CHESS / CHANSON DE ROLAND 2 428 - 694
[CP 25 / BS] - [CP 26 / TABLE BS] - [CP 27 / BS LIBRARY] WINDOWS UNDIVIDED
CLARE PICTURES: THE CRIB (1 ST CHRISTMAS CRIB, 1223)
Clare Pictures 25: Cat carries Madonna and Child to Porziuncola
Clare’s cat carries a Madonna and Child figurine in its mouth towards the Porziuncola with its tree
outside. PARADISO PICTURES: 2
Clare Pictures 26: Francis finds figurine in nest
Francis stands and looks at a strawy bird’s nest in the tree outside the Porziuncola. The top of the
Madonna and Child figurine sticks out of it.
Clare Pictures 27: Franciscans around Christmas crib.
The Franciscans stand around the first Christmas crib (Greccio, 1223): straw, the Madonna and
Child figurine, model ox, donkey, star etc. Francis has modelled it on his dream of Bethlehem.
GUENELON / ALBERTUS MAGNUS ADDRESSES MARSILIES / CHARLES M. D’ANJOU.
○● GUENELON / ALBERTUS MAGNUS:
428 E dist al rei: «Salvez seiez de Deu And to the King: May God preserve you safe,
430 Iço vus mandet Carlemagnes, li ber, Proud Charlemagne this message bids me say:
431 Que recevez seinte chrestientet; You must receive the holy Christian Faith,
432 Demi Espaigne vos voelt en fiu duner. And yield in fee one half the lands of Spain.
433 Se cest acorde ne vulez otrier, If to accord this tribute you disdain,
434 Pris e liez serez par poested; Taken by force and bound in iron chain
435 Al siege ad Ais en serez amenet, You will be brought before his throne at Aix;
479 Vus n'i avrez palefreid ne destrer, You will not then on palfrey nor on steed,
480 Ne mul ne mule que puissez chevalcher; Jennet nor mule, come cantering in your speed;
481 Getet serez sur un malvais sumer. Flung you will be on a vile sumpter-beast;
482 Par jugement iloec perdrez le chef. Tried there and judged, your head you will not keep.
● MARSILIES / CHARLES M. D’ANJOU:
537 Dist li paiens: «Mult me puis merveiller The pagan says: You make me marvel sore
538 De Carlemagne, ki est canuz e vielz! At Charlemagne, who is so old and hoar;
539 Men escientre dous cenz anz ad e mielz. Two hundred years, they say, he's lived and more.
540 Par tantes teres ad sun cors traveillet, So many lands he's led his armies o'er,
541 Tanz colz ad pris de lances e d'espiet, So many blows from spears and lances borne,
542 Tanz riches reis cunduiz a mendistiet: And so rich kings brought down to beg and sorn,
543 Quant ert il mais recreanz d'osteier?» When will time come that he draws back from war?
○● GUENELON / ALBERTUS MAGNUS:
544 «Ço n'iert,» dist Guenes: «tant cum
vivet sis niés: Never, says Guenes, so long as lives his nephew;
545 N'at tel vassal suz la cape del ciel. No such vassal goes neath the dome of heaven;
546 Mult par est proz sis cumpainz Oliver. And proof also is Oliver his henchman;
547 Les .XII. pers, que Carles ad tant chers, The dozen peers, whom Charl'es holds so precious,
● MARSILIES / CHARLES M. D’ANJOU:
563 «Bel sire Guenes» dist marsilies li reis, Fair Master Guenes, says Marsilies the King,
565 Quarte cenz milie chevalers puis aveir. Of knights I can four hundred thousand bring
566 Puis m'en cumbatre a Carlles e a Franceis?»So I may fight with Franks and with their King.
107

○● GUENELON / ALBERTUS MAGNUS:
567 Guenes respunt: «Ne vus a ceste feiz! Answers him Guenes: Not on this journeying
568 De voz paiens mult grant perte i avreiz. Save of pagans a great loss suffering.
569 Lessez (la) folie, tenez vos al saveir. Leave you the fools, wise counsel following;
570 L'empereür tant li dunez aveir, To the Emperour such wealth of treasure give
571 N'i ait Franceis ki tot ne s'en merveilt. That every Frank at once is marvelling.
572 Par .XX. hostages que li enveiereiz For twenty men that you shall now send in
573 En dulce France s'en repairerat li reis; To France the Douce he will repair, that King;
574 Sa rereguarde lerrat derere sei: In the rereward will follow after him
575 Iert i sis nies, li quens Rollant, (...) ço crei, Both his nephew, count Rollant, as I think,
576 E Oliver, li proz e li curteis. And Oliver, that courteous paladin;
577 Mort sunt li cunte, se est ki mei en creit. Dead are the counts, believe me if you will.
REREWARD: PRONOUNCED ‘REARWARD’
● MARSILIES / CHARLES M. D’ANJOU:
580 «Bel sire Guenes,[» ço dist li reis Marsilies,] Fair Master Guene, says then King Marsilie,
581 «Cum faitement purrai Rollant ocire?» Shew the device, how Rollant slain may be.
○● GUENELON / ALBERTUS MAGNUS:
582 Guenes respont: «Ço vos sai jo ben dire. Answers him Guenes: That will I soon make clear
583 Li reis serat as meillors porz de Sizer; The King will cross by the good pass of Size,
584 Sa rereguarde avrat detres sei mise; A guard he'll set behind him, in the rear;
585 Iert i sis nies, li quens Rollant, li riches, His nephew there, count Rollant, that rich peer,
586 E Oliver, en qui il tant se fiet; And Oliver, in whom he well believes;
587 .XX. milie Francs unt en lur cumpaignie. Twenty thousand Franks in their company
588 De voz paiens lur enveiez .C. milie: Five score thousand pagans upon them lead,
589 Une bataille lur i rendent cil primes; Franks unawares in battle you shall meet,
594 Dunc avrez faite gente chevalerie; You will have wrought a high chivalrous deed,
595 N'avrez mais guere en tute vostre vie.». Nor all your life know war again, but peace.
SMILING PAGANS GIVE PRESENTS TO GUENELON./.ALBERTUS MAGNUS.
VALDABRON./.CHARLES MARTEL D’ANJOU UNBUCKLES HIS SWORD AND HANDS IT TO
GUENELON./.ALBERTUS MAGNUS.
● VALDABRON / CHARLES M. D’ANJOU:
620 «Tenez m'espee, meillur n'en at nuls hom; Take now this sword, and better sword has none;
621 Entre les helz ad plus de mil manguns. Into the hilt a thousand coins are run.
BEDE GIVES HIS DOCTOR’S CAP TO GUENELON./.ALBERTUS MAGNUS, WHO PUTS IT ON TOP OF
HIS OWN DOCTOR’S CAP.
● CLIMORINS / BEDE:
629 «Tenez mun helme, unches meillor ne vi. Take now my helm, better is none than this;
QUEEN BRAMIMOUND./.CONSTANCE TAKES ORNAMENTS OFF HER OWN BOSOM.
● QUEEN BRAMIMOUND / CONSTANCE:
635 «Jo vos aim mult, sire,» dist ele al cunte, I love you well, sir, said she to the count,
636 «Car mult vos priset mi sire e tuit si hume. For prize you dear my lord and all around;
637 A vostre femme enveierai dous nusches; Here for your wife I have two brooches found,
638 Bien i ad or, matices e jacunces: Amethysts and jacynths in golden mount;
639 Eles valent mielz que tut l'aveir de Rume, More worth are they than all the wealth of Roum;
640 Vostre emperere si bones n'en out unches.» Your Emperour has none such, I'll be bound.
GUENELON./.ALBERTUS MAGNUS SPEAKS TO CHARLEMAGNE / JUSTINIAN WITH A CUNNING
AIR.
108

○● GUENELON / ALBERTUS MAGNUS:
676 E dist al rei: «Salvez seiez de Deu! Says to the King: God keep you, Sire, I swear!
677 De Sarraguce ci vos aport les clefs; Of Sarraguce the keys to you I bear,
678 Mult grant aveir vos en faz amener, Tribute I bring you, very great and rare,
680 E si vos mandet reis Marsilies li ber, Proud Marsilies bade me this word declare
681 De l'algalifes nel devez pas blasmer, That alcaliph, his uncle, you must spare.
682 Kar a mes oilz vi .IIII.C. milie armez, My own eyes saw four hundred thousand there,
688 Einz qu'il oüssent .IIII. liues siglet, But the fourth league they had not compassed, ere
689 Sis aquillit e tempeste e ored: Brake from the North tempest and storm in the air;
690 La sunt neiez, jamais nes en verrez; Then were they drowned, they will no more appear.
693 Ja ne verrez cest premer meis passet Ere you have seen one month pass of this year
694 Qu'il vos sivrat en France le regnet, He'll follow you to France, to your Empire,
SIGIER PUTS THE LAST BLACK PIECE ON THE BOARD AND CLOSES THE VOLUME / CHESS PIECE CONTAINER.
AQUINAS RE-ENTERS FROM THE WINGS.
THOMAS AQUINAS:
PAR C11 118-120 / DANTE PAR C11 118-120 / KLINE
Pensa oramai qual fu colui che degno Now think what he must be, who was
collega fu a mantener la barca a worthy colleague, to maintain the course
di Pietro in alto mar per dritto segno; of Peter’s boat in the right direction!
PAR C11 121-123 / DANTE
e questo fu il nostro patrïarca; Such was our founder, Dominic, so that whoever
per che qual segue lui, com' el comanda, follows his commands, as you can see,
discerner puoi che buone merce carca. freights himself with good cargoes.
PAR C11 124-139 / KLINE
But his flock has grown so greedy for new food, it cannot do other than stray through strange pastures, and the more his
distant, wandering sheep stray from him, the emptier of milk they return, to the fold. Indeed there are some of them who
fear the loss, and keep close to the shepherd, but they are so few it needs little cloth to make cowls for them. Now, if my
words have not been weak, if you have listened closely, and if you recall what I have said, your wish must now be
partly satisfied, since you can see the stem they whittle away, and can see the rebuke intended in the words: where there
is good pasture, if we do not stray.
■ - ■ - ■
CELESTIAL 3
■ - [BEATRICE behind CALLIOPE] - ■
CANTO 12
THE MUSES, FORMED UP ON THE STEPS, SING WITH THE GREATEST ENTHUSIASM.
♫CELESTIAL 2 – VOICED POLYPHONY OR SILENCE * * * * * * * * * *
PAR C12 1-3
MUSES & BEATRICE:
The sacred mill begins to turn…a second mill circles, clasps it and harmonises movement with
movement and song with song.
109

DANTE LOOKS UP AND DESCRIBES.
DANTE:
PAR C12 1-3 / DANTE PAR C12 1-3 / KLINE
Sì tosto come l'ultima parola As soon as the flame of the spirit
la benedetta fiamma per dir tolse, that was blessed had spoken the last word,
a rotar cominciò la santa mola; the The sacred mill began begins to turn,
DANTE PAUSES.
110
PAR C12 4-6 / DANTE
e nel suo giro tutta non si volse and had not fully revolved before a second mill,
prima ch'un'altra di cerchio la chiuse, circling circles, clasped clasps it, and harmonised
e moto a moto e canto a canto colse; harmonises movement with movement and song with
song:
PAR C12 7-9 / DANTE
canto che tanto vince nostre muse, song which is as far beyond our Muses
nostre serene in quelle dolci tube, and our Sirens, in those sweet pipings,
quanto primo splendor quel ch'e' refuse. as the first glory its reflection.
THE MUSES ARE OUTRAGED. THEY STOP SINGING AND MILL AROUND, REVEALING BEATRICE SINGING IN THE
CENTRE WINDOW. SHE HAS BEEN HIDDEN BEHIND CALLIOPE, THE TALLEST MUSE.
THE MUSES TURN THEIR BOOKS AROUND AND THREATEN BEATRICE BUT THEY CANNOT ENTER THE WINDOW.
THEY LOOK BALEFULLY AT DANTE, BEATRICE’S PROTÉGÉ, AND GO OFFSTAGE TO PLOT HIS DESTRUCTION.
DANTE VERSIFIES.
DANTE:
PAR C12 1-3 / DANTE PAR C12 1-3 / KLINE
Sì tosto come l'ultima parola As soon as the flame of the spirit
la benedetta fiamma per dir tolse, that was blessed had spoken the last word,
a rotar cominciò la santa mola; the sacred mill began to turn,
PAR C12 4-6 / DANTE
e nel suo giro tutta non si volse and had not fully revolved before a second mill,
prima ch'un'altra di cerchio la chiuse, circling, clasped it, and harmonised
e moto a moto e canto a canto colse; movement with movement and song with song:
PAR C12 7-9 / DANTE
canto che tanto vince nostre muse, song which is as far beyond our Muses
nostre serene in quelle dolci tube, and our Sirens, in those sweet pipings,
quanto primo splendor quel ch'e' refuse. as the first glory its reflection.
BEATRICE GOES ON SINGING, WITH THE HELP OF THE REST OF THE CHORUS. DANTE VERSIFIES.
DANTE:
PAR C12 7-9 / DANTE PAR C12 7-9 / KLINE
canto che tanto vince nostre muse, song which is as far beyond our Muses
nostre serene in quelle dolci tube, and our Sirens, in those sweet pipings,
quanto primo splendor quel ch'e' refuse. as the first glory its reflection.

PAR C12 10-12 / DANTE
Come si volgon per tenera nube As two rainbows, parallel and identical in colour,
due archi paralelli e concolori, arch through the thin mist,
quando Iunone a sua ancella iube, when Juno commands Iris her servant,
PAR C12 13-15 / DANTE
nascendo di quel d'entro quel di fori, the outer one born from the inner one,
a guisa del parlar di quella vaga like the speech of Echo, that wandering nymph,
ch'amor consunse come sol vapori, whom Love consumed as the sun the vapour,
PAR C12 16-18 / DANTE
e fanno qui la gente esser presaga, making people here on earth aware, that,
per lo patto che Dio con Noè puose, through the covenant God made with Noah,
del mondo che già mai più non s'allaga: the world should never be drowned again:
PAR C12 19-21 / DANTE
così di quelle sempiterne rose so the two garlands of those everlasting
volgiensi circa noi le due ghirlande, roses circled round us,
e sì l'estrema a l'intima rispuose. and so the outer answered the inner.
111
PAR C12 22-30 / KLINE
As soon as the dance, and the great high-festival of song and radiance, of light with light, joyful and gentle, joined in
point of time and will, had stilled them, like eyes which must close and open together to the pleasure that stirs them, a
voice came from the heart of one of the fresh lights that made me seem like the compass needle to the pole star, turning
me towards it,
BEATRICE COMES THROUGH THE WINDOW. (IF IT IS GLAZED, THIS WILL HAVE TO BE DONE BY MISDIRECTION.)
OR, SHE GOES BACKSTAGE AND REAPPEARS NEXT SCENE IN FRONT OF THE TRIPTYCH.
■ - ■ - ■
ST BONAVENTURA
[ORANGE ☼] - [CP 28] - [CP 29]
Clare Pictures 28: Birds take off
A flock of birds take off.
Clare Pictures 29: Francis and cat
Francis and Clare’s cat pursue the birds, for different reasons.
BONAVENTURA’S LIGHT APPEARS.
BONAVENTURA (VOICE):
PAR C12 127-129 / DANTE out of order PAR C12 127-129 / KLINE
Io son la vita di Bonaventura I am the life of Bonaventura of Bagnoregio,
da Bagnoregio, che ne' grandi offici who in the great offices always
sempre pospuosi la sinistra cura. placed temporal cares behind.
ST BONAVENTURA (BONAVENTURE) 1221 - 1274 AGE : *53? CHARACTER AGE : *-- ?
PLACE./.LANGUAGE ETC
BORN BAGNOREA (BAGNOREGIO), NEAR VITERBO, LAZIO. DIED LYONS, FRANCE.
A FRIEND AND COLLEAGUE OF THOMAS AQUINAS. MINISTER-GENERAL OF THE FRANCISCAN ORDER FROM 1256.
HE WROTE AN OFFICIAL LIFE OF ST FRANCIS. HE WAS MADE A CARDINAL AND BISHOP OF ALBANO SHORTLY
BEFORE HIS DEATH. THE COLLATIONES HAD A PROFOUND INFLUENCE ON FRANCISCAN THEOLOGY FOR 800 YEARS.

“THE HIGHER A MONKEY CLIMBS, THE MORE YOU SEE OF ITS BEHIND” (ATTRIBUTED TO ST BONAVENTURA) WARNS
WHAT THOSE WHO ATTAIN POWER MAY DISPLAY OF THEIR CHARACTER.
DESCRIPTION
FRANCISCAN CARDINAL. BROWN ROBES.
PARADISO PICTURES
28
[ST BONAVENTURA] - [CP 28] - [CP 29]
BONAVENTURA APPEARS AS A PERSON IN THE LEFT WINDOW. HE IS TURNED SIDEWAYS, LOOKING AT THE
OTHER WINDOWS WHICH ARE DIVIDED FROM HIS. HE HOLDS A PEN AND A SCROLL (A BIT DIFFERENT FROM
PETER DAMIAN’S, LATER.)
DANTE:
St Bonaventure of Bagnoregio
Doctor Seraphicus!
Master of Paris
BEATRICE:
Collationes de Septem Donis S. Sancti
Legenda S. [or San?] Francisci…
DANTE:
…The Life of St Francis
BONAVENTURA:
PAR C12 31-33 / DANTE PAR C12 31-33 / KLINE
e cominciò: «L'amor che mi fa bella and Bonaventura began: The Love that adorns me,
mi tragge a ragionar de l'altro duca brings me to speak of the other leader., on whose
per cui del mio sì ben ci si favella. account such noble words are spoken. of my leader.
PAR C12 34-36 / DANTE
Degno è che, dov' è l'un, l'altro s'induca: It is right that wherever Wherever the one is,
sì che, com' elli ad una militaro, the other should be presented., so that, just as They
così la gloria loro insieme luca. fought side by side, so their glory might should
shine together.
[ST BONAVENTURA] - ■ - ■
BONAVENTURA:
PAR C12 37-39 / DANTE PAR C12 37-39 / KLINE
L'essercito di Cristo, che sì caro Christ’s army, whose re-arming cost
costò a rïarmar, dietro a la 'nsegna so dear, followed the standard
si movea tardo, sospeccioso e raro, slowly, fearfully and sparsely,
PAR C12 40-42 / DANTE
quando lo 'mperador che sempre regna when the Emperor, who reigns forever, of his own
provide a la milizia, ch'era in forse, grace, and not because of that army’s worth, made
per sola grazia, non per esser degna; provision for the soldiers who were in danger,
PAR C12 43-45 / DANTE
e, come è detto, a sua sposa soccorse and, as has been said, He came to the aid
con due campioni, al cui fare, al cui dire of his Bride, with two champions, at whose works
lo popol disvïato si raccorse. and words, the scattered ranks re-grouped.
112

BEATRICE INTERPRETS BONAVENTURA.
DANTE:
Minister General of the Friars Minor
Cardinal Bishop of Albano
Father of the Council of Lyons
113
BEATRICE: BONAVENTURA:
PAR C12 46-48 / DANTE PAR C12 46-48 / KLINE
In quella parte ove surge ad aprire In Spain, towards that region, where sweet Zephyr
Zefiro dolce le novelle fronde rises, to unfold the new leaves Europe sees herself
di che si vede Europa rivestire, re-clothed with, not far from the crash of the waves,
PAR C12 49-51 / DANTE PAR C12 49-51 / KLINE
non molto lungi al percuoter de l’onde behind which because of their vast reaches,
dietro a le quali, per la lunga foga, the sun sometimes conceals himself from
lo sol talvolta ad ogne uom si nasconde, all people, Calahorra, the fortunate, lies
PAR C12 52-54 / DANTE PAR C12 52-54 / KLINE
siede la fortunata Calaroga under the protection of the noble shield of
sotto la protezion del grande scudo Castile, on whose arms, in the left quarters,
in che soggiace il leone e soggioga: the lion is below the castle, and on the right above.
PAR C12 55-57 / DANTE
dentro vi nacque l'amoroso drudo There the loving servant of the Christian faith
de la fede cristiana, il santo atleta was born, the holy wrestler, kind to his followers
benigno a' suoi e a' nemici crudo; and cruel to his enemies:
PAR C12 58-60 / DANTE
e come fu creata, fu repleta and as soon as he was created his mind was so full
sì la sua mente di viva vertute of living virtue that in the womb
che, ne la madre, lei fece profeta. it sent his mother a prophetic dream.
PAR C12 61-63 / DANTE
Poi che le sponsalizie fuor compiute When the marriage between him and the faith
al sacro fonte intra lui e la Fede, was completed at the holy font, where they
u' si dotar di mutüa salute, dowered each other with mutual salvation,
PAR C12 64-66 / DANTE
la donna che per lui l'assenso diede, the lady, who gave the assent for him, saw,
vide nel sonno il mirabile frutto in her sleep, the marvellous harvest
ch'uscir dovea di lui e de le rede; destined to issue from him and his heirs,
PAR C12 67-69 / DANTE
e perché fosse qual era in costrutto, and so that this might be known, in his very name,
quinci si mosse spirito a nomarlo a spirit from above moved them to call him
del possessivo di cui era tutto. after the Lord, whose he was completely.
BONAVENTURA:
PAR C12 70-72 / DANTE PAR C12 70-72 / KLINE
Domenico fu detto; e io ne parlo Dominic he was named: and I talk of him
sì come de l'agricola che Cristo as I would of a labourer,
elesse a l'orto suo per aiutarlo. whom Christ chose to nurture his orchard.
[ST BONAVENTURA] - [CP 30] - [CP 31]
Clare Pictures 30: St Dominic
PARADISO PICTURES: 29, 30, 31, 32, 33.

114
Clare Pictures 31: St Dominic’s dog
A black-and-white dog sits up in the other half and offers Dominic the torch. The dog with the torch
int its mouth is the symbol of St Dominic and the Dominicans.
DANTE:
His mother dreamed of a torch in the mouth
of a dog - the dog of God.
BEATRICE:
Domini canis
BONAVENTURA:
PAR C12 73-75 / DANTE PAR C12 73-75 / KLINE
Ben parve messo e famigliar di Cristo: He showed himself truly a companion and
che 'l primo amor che 'n lui fu manifesto, messenger of Christ, since the first love he showed
fu al primo consiglio che diè Cristo. was for the first counsel of Christ, that of Poverty
PAR C12 76-78 / DANTE
Spesse fïate fu tacito e desto Often his nurse found him, on the floor,
trovato in terra da la sua nutrice, silent and wakeful, as if to say:
come dicesse: `Io son venuto a questo'. It was for this I came.
♫MUSIC: DOMINICAN (MILITANT?) * * * * * * * * * *
PAR C12 78
PAR C12 79-105 / KLINE
Truly his father was Felice, favoured, and his mother, Giovanna, graced by the Lord, if the interpretation of their names
is valid! Soon, for love of the true manna, and not of the world, for whose sake men labour after Henry of Susa, Ostia’s
bishop, and Taddeo Alderotti’s doctrines, he became a powerful teacher, so that he set himself to a circuit of the
vineyard, which soon withers if the vine-dresser is at fault: and from the Apostolic See, that once was more generous to
the rightful poor, not because it has altered in itself, but because of the one who holds it, degenerately, he demanded not
a profit of a third or a half, not the grant of the next vacancy, not decimas quae sunt pauperum Dei, the tithe that
belongs to God’s poor, but leave to fight against the heretical world for that seed from which these twenty-four plants
en-leaf you. Then he went forward, teaching and will as one, with the blessing of the Apostolic Office, like a torrent
driven out of a deep fissure, and his force struck the roots of heresy most fiercely where the resistance was most
obstinate. Then many streams sprang from his, so that the Catholic garden is watered, and its shrubs achieve a fuller
growth.
PAR C12 106-126 / KLINE
If this was one wheel of the chariot in which Holy Church defended herself, and won her civil war in open battle, the
excellence of Francis, the other, should be clear to you, about whom Thomas was so courteous, before I came to you.
But the orbit, that touched the highest points of its circumference, is derelict, and now there is mould where there was
once bread. His family, who walked directly in his footprints, have turned so that their toes strike his heel-prints, and
soon the harvest of poor cultivation will be seen, when the tares will bemoan that the barn is closed to them. I accept in
truth that those who search page after page of our book, might still find one page, reading: I am as I was, but it will not
be one of Ubertino da Casale’s or Matteo d’Acquasparta’s, from whom men come to our discipline, by relaxing it, or
making it more severe.
BONAVENTURA POINTS BEHIND HIM. THE BLESSED SOULS HE POINTS TO DON’T MANIFEST THEMSELVES
WHEN NAMED.
PAR C12 127-129 / DANTE used earlier
Io son la vita di Bonaventura I am the life of Bonaventura of Bagnoregio,
da Bagnoregio, che ne' grandi offici who in the great offices always
sempre pospuosi la sinistra cura. placed temporal cares behind.
PAR C12 130-132 / DANTE
Illuminato e Augustin son quici, Illuminato and Agostino are here, who were
che fuor de' primi scalzi poverelli Francis’s first poor shoeless brothers, who made
che nel capestro a Dio si fero amici. themselves friends of God by the cord.

BONAVENTURA:
PAR C12 133-135 / DANTE PAR C12 133-135 / KLINE
Ugo da San Vittore è qui con elli, Hugh of Saint Victor is here with them,
e Pietro Mangiadore e Pietro Spano, Pietro Mangiadore, and Pietro Ispano, who gave
lo qual giù luce in dodici libelli; Logic light, below there, in his twelve books;
PIETRO MANGADORE: PETRUS COMESTOR, ‘PETER THE EATER OF BOOKS’ (D 1179) WHO WROTE THE HISTORIA SCHOLASTICA, A
HISTORY OF THE CHURCH FROM GENESIS TO ACTS, PARAPHRASING THE SCRIPTURES. HE BELONGED TO THE ABBEY OF SAINT
VICTOR IN PARIS AND BECAME CHANCELLOR OF THE UNIVERSITY OF PARIS IN 1164.
DANTE:
The Eater of Books.
BEATRICE:
Petrus Comestor.
BONAVENTURA:
PAR C12 133-135 / DANTE PAR C12 133-135 / KLINE
Ugo da San Vittore è qui con elli, Hugh of Saint Victor is here with them,
e Pietro Mangiadore e Pietro Spano, Pietro Mangiadore, and Pietro Ispano, who gave
lo qual giù luce in dodici libelli; Logic light, below there, in his twelve books;
PAR C12 136-138 / DANTE
Natàn profeta e 'l metropolitano Nathan the Prophet, the metropolitan Chrysostom,
Crisostomo e Anselmo e quel Donato Anselm, and that Donatus who deigned
ch'a la prim' arte degnò porre mano. to set his hand to the first art of Grammar.
PAR C12 139-141 / DANTE
Rabano è qui, e lucemi dallato Rabanus is here, and Joachim of Flora,
il calavrese abate Giovacchino the Calabrian abbot, imbued with
di spirito profetico dotato. prophetic spirit., shines by my side,
PAR C12 142-144 / DANTE
Ad inveggiar cotanto paladino The bright courtesy of brother Thomas
mi mosse l'infiammata cortesia and his well-judged speech, stirred me
di fra Tommaso e 'l discreto latino; to praise of Dominic, of so great a knight,
PAR C12 145 / DANTE
e mosse meco questa compagnia». and stirred this company with me.
■ - ■ - ■
♫MUSIC ? * * * * * * * * * *
PAR C12 145
[CP 32] - [CP 30] - [CP 31]
Clare Pictures 32: Clare follows cat and Francis
Clare pursues her cat and Francis (who are pursuing the birds).
CELESTIAL 4
CANTO 13
115

DANTE AND BEATRICE GAZE UP. BEATRICE POINTS OUT 2 FEATURES.
116
BEATRICE:
PAR C13 1-3 / DANTE PAR C13 1-3 / KLINE
Imagini, chi bene intender cupe Let him, who would grasp correctly what I now saw
quel ch'i' or vidi--e ritegna l'image, (and let him retain the image while I speak,
mentre ch'io dico, come ferma rupe--, as he holds a piece of rock)
PAR C13 4-6 / DANTE
quindici stelle che 'n diverse plage imagine fifteen Fifteen of those stars, which,
lo ciel avvivan di tanto sereno in various regions, vivify the Heavens.,
che soperchia de l'aere ogne compage; with such brightness as to pierce the interwoven air;
PAR C13 7-9 / DANTE
imagini quel carro a cu' il seno let him also imagine Ursa Major., that rests
basta del nostro cielo e notte e giorno, on the breast of our sky, night and day,
sì ch'al volger del temo non vien meno; so that it is never absent from the polar circle;
DANTE VERSIFIES.
DANTE:
PAR C13 1-3 / DANTE PAR C13 1-3 / KLINE
Imagini, chi bene intender cupe Let him, who would grasp correctly what I now
quel ch'i' or vidi--e ritegna l'image, saw (and let him retain the image while I speak,
mentre ch'io dico, come ferma rupe--, as he holds a piece of rock)
PAR C13 4-6 / DANTE
quindici stelle che 'n diverse plage imagine fifteen of those stars, which, in
lo ciel avvivan di tanto sereno various regions, vivify the Heavens, with
che soperchia de l'aere ogne compage; such brightness as to pierce the interwoven air;
PAR C13 7-9 / DANTE
imagini quel carro a cu' il seno let him also imagine Ursa Major, that rests
basta del nostro cielo e notte e giorno, on the breast of our sky, night and day,
sì ch'al volger del temo non vien meno; so that it is never absent from the polar circle;
PAR C13 10-12 / DANTE
imagini la bocca di quel corno and let him imagine the mouth of that horn,
che si comincia in punta de lo stelo Ursa Minor, that starts from the axle
a cui la prima rota va dintorno, of the primal circling, all
PAR C13 13-15 / DANTE
aver fatto di sé due segni in cielo, making two wreaths in Heaven such as Ariadne,
qual fece la figliuola di Minoi Minos’s daughter made,
allora che sentì di morte il gelo; when she felt the cold of death;
PAR C13 16-18 / DANTE
e l'un ne l'altro aver li raggi suoi, and one ring of light, to lie inside the other,
e amendue girarsi per maniera and both to revolve, in such a way
che l'uno andasse al primo e l'altro al poi; that one leads and the other follows,
PAR C13 19-21 / DANTE
e avrà quasi l'ombra de la vera and he will have only the shadow of
costellazione e de la doppia danza the real constellation, and the twofold dance,
che circulava il punto dov' io era: that circled round the point where I was,
PAR C13 22-24 / DANTE
poi ch'è tanto di là da nostra usanza, since it goes as far beyond what we know,
quanto di là dal mover de la Chiana as the movement of the quickest sphere,
si move il ciel che tutti li altri avanza. exceeds our sluggish Chiana.

BEATRICE, CONSIDERING THAT DANTE HAS GONE ON LONG ENOUGH, JUMPS IN.
BEATRICE:
PAR C13 25-27 / DANTE PAR C13 25-27 / KLINE
Lì si cantò non Bacco, non Peana, There they sang, not Bacchus and the Paean,
ma tre persone in divina natura, but three Persons in one Divine Nature,
e in una persona essa e l'umana. and It, and Human Nature, in one Person.
PAR C13 28-33 / KLINE
The singing and circling had completed their measure, and those sacred flames turned their attention to us, rejoicing as
they turned, from one care to another. Then amongst the harmonious divinities, the silence was broken by that light, in
which the wonderful life, of the poor man of God, had been described to me, saying:
■ - ■ - ■
AQUINAS 5
CHESS / CHANSON DE ROLAND 3 706 - 838
[CP 33 / BS] - [CP 34 / TABLE BS AQ] - [CP 35 / BS LIBRARY] WINDOWS UNDIVIDED
CLARE PICTURES: THE GIANT WOLF
Fioretto 21
Clare Pictures 33: The people of Gubbio point or run
The people of Gubbio point to the mountains or run from them in fear.
Clare Pictures 34: The Giant Wolf confronts Francis
The snarling giant wolf stands facing Francis, as tall as his shoulder.
Clare Pictures 35: The Giant Wolf surrenders
Francis’s arm is raised and the wolf has sunk to the ground, its paw in Francis’s other hand.
AQUINAS STANDS IN FRONT OF THE CHESS TABLE OR NEAR IT. THE CHESS PLAYERS./.CHANSONNIERS ARE
SILENT AS GRATIANUS CONTEMPLATES A MOVE.
DANTE:
The Giant Wolf of Gubbio!
THOMAS AQUINAS:
PAR C13 34-36 / DANTE PAR C13 34-36 / KLINE
e disse: «Quando l'una paglia è trita, Since the one sheaf has been threshed,
quando la sua semenza è già riposta, and its seed already stored,
a batter l'altra dolce amor m'invita. sweet love invites me to thresh the other.
PAR C13 37-39 / DANTE
Tu credi che nel petto onde la costa You know that whatever light human nature
si trasse per formar la bella guancia can receive was all infused,
il cui palato a tutto 'l mondo costa, into that chest from which the rib was taken,
PAR C13 40-42 / DANTE
e in quel che, forato da la lancia, to form the lovely face, for whose taste
e prima e poscia tanto sodisfece, of the forbidden fruit all the world pays,
che d'ogne colpa vince la bilancia, and into that which, pierced by the lance,
117

PAR C13 43-45 / DANTE
quantunque a la natura umana lece gave satisfaction for the Past and the Future,
aver di lume, tutto fosse infuso so as to weigh the scales against all Sin,
da quel valor che l'uno e l'altro fece; by that same Power that made them both.
PAR C13 46-48 / DANTE
e però miri a ciò ch'io dissi suso, And so you wonder at what I said before,
quando narrai che non ebbe 'l secondo when I said the good that was enclosed
lo ben che ne la quinta luce è chiuso. in the fifth light, Solomon, never had an equal.
PAR C13 49-51 / DANTE
Or apri li occhi a quel ch'io ti rispondo, Now open your eyes to my answer,
e vedräi il tuo credere e 'l mio dire and you will see your belief and my words,
nel vero farsi come centro in tondo. hit the truth, like the centre of a target.
AQUINAS IS INTERRUPTED BY THE CHANSONNIERS.
THE GAME IS WELL UNDER WAY. GRATIANUS ADVANCES THE WHITE KING.
○ GRATIANUS:
706 Vers dulce France chevalchet l'emperere. Towards Douce France that Emperour has hasted.
707 Li quens Rollant ad l'enseigne fermee Upon a lance Rollant his ensign raised,
710 Paien chevalchent par cez greignurs valees, Cantered pagans, through those wide valleys raced,
711 Halbercs vestuz e tres bien fermeez Hauberks they wore and sarks with iron plated,
712 Healmes lacez e ceintes lur espees, Swords to their sides were girt, their helms
were laced,
713 Escuz as cols e lances adubees. Lances made sharp, escutcheons newly painted:
714 En un bruill par sum les puis remestrent, There in the mists beyond the peaks remained
715 .IIII.C. milie atendent l'ajurnee. The day of doom. Four hundred thousand waited.
717 Deus! quel dulur que li Franceis nel sevent!. God! what a grief. Franks know not what is
fated.
○ CHARLEMAGNE / JUSTINIAN:
740 «Seignurs barons,» dist li emperere Carles, My lords barons, at length doth Charles say,
741 «Veez les porz e les destreiz passages: Ye see the pass along these valleys strait,
742 Kar me jugez, ki ert en la rereguarde.» Judge for me now, who shall in rereward wait.
○● GUENELON / ALBERTUS MAGNUS:
743 Guenes respunt: «Rollant cist miens fillastre: There's my good-son, Rollanz, then answers
Guenes,
744 N'avez baron de si grant vasselage.» You've no baron whose valour is as great.
○ CHARLEMAGNE / JUSTINIAN:
746 Si li ad dit: «Vos estes vifs diables. And says to him: You devil incarnate;
747 El cors vos est entree mortel rage. Into your heart is come a mortal hate.
ROLAND / FOLCO RESPONDS TO ALBERTUS MAGNUS / GUENELON WITH FURY.
○ ROLAND / FOLCO:
763 «Ahi! culvert, malvais hom de put aire, Aha! culvert; begotten of a bastard.
● SIGIER:
814 Halt sunt li pui e li val tenebrus, High are the peaks, the valleys shadowful,
815 Les roches bises, les destreiz merveillus. Swarthy the rocks, the narrows wonderful.
816 Le jur passerent Franceis a grant dulur; Franks passed that day all very sorrowful,
820 Dunc le remembret des fius e des honurs, Remembering their fiefs and their honours,
821 E des pulcele e des gentilz oixurs: Their little maids, their gentle wives and true;
822 Cel nen i ad ki de pitet ne plurt. There was not one that shed not tears for rue.
118

○ CHARLEMAGNE / JUSTINIAN:
835 Par Guenelun serat destruite France, France is destroyed, by the device of Guene:
836 Enoit m'avint un avisiun d'angele, This night I saw, by an angel's vision plain,
837 Que entre mes puinz me depeçout ma hanste,Between my hands he brake my spear in twain;
838 Chi ad juget mis nes a (la) rereguarde. Great fear I have, since Rollant must remain:
■ - ■ - ■
♫MUSIC ? * * * * * * * * * *
CH/CH 838 PAR C13 52
AQUINAS 6 (VOICE)
[CP X] - [CP X] - [CP X]
CLARE PICTURES: PREACHING TO THE BIRDS
Fioretto 16
CLARE Pictures 36: Francis preaches to silent swallows
Swallows perch in the Porziuncola tree with their wings folded across their beaks to indicate
silence.
CLARE Pictures 37, 38: Francis preaches to many birds
Francis preaches to masses of birds perched in the Porziuncola tree. Other birds – storks etc. may
perch on the Porziuncola.
DANTE & BEATRICE INTERPRET A LITTLE BEHIND AQUINAS.
DANTE: & THOMAS AQUINAS (VOICE):
PAR C13 52-54 / DANTE PAR C13 52-54 / KLINE
Ciò che non more e ciò che può morire That which does not die, and that which can
non è se non splendor di quella idea perish, is nothing but the glow of that Idea,
che partorisce, amando, il nostro Sire; which our Father engenders by Loving,
PAR C13 55-57 / DANTE
ché quella viva luce che sì mea since that living Light, which goes out
dal suo lucente, che non si disuna from its source, in such a way that it does not
da lui né da l'amor ch'a lor s'intrea, separate from it, nor from the Love
PAR C13 58-60 / DANTE
per sua bontate il suo raggiare aduna, which makes Trinity with those two, through its
quasi specchiato, in nove sussistenze, own goodness, focuses its rays, as though reflected
etternalmente rimanendosi una. in nine emanations, eternally remaining One.
PAR C13 61-63 / DANTE
Quindi discende a l'ultime potenze So it descends to the lowest powers,
giù d'atto in atto, tanto divenendo, down from act to act, becoming what forms
che più non fa che brevi contingenze; the briefest of contingencies,
PAR C13 64-66 / DANTE
e queste contingenze essere intendo by which I mean the things
le cose generate, che produce generated from seed, or seedlessly,
con seme e sanza seme il ciel movendo. by the moving Heavens.
119

PAR C13 67-69 / DANTE
La cera di costoro e chi la duce The wax, there, and what moulds it,
non sta d'un modo; e però sotto 'l segno is not in only one state, and so is more,
idëale poi più e men traluce. or less, transparent, under the ideal seal,
BEATRICE: THOMAS AQUINAS (VOICE):
PAR C13 70-72 / DANTE PAR C13 70-72 / KLINE
Ond' elli avvien ch'un medesimo legno, so that it happens that the same kind of tree
secondo specie, meglio e peggio frutta; fruits better or worse,
e voi nascete con diverso ingegno. and you are all born with varying genius.
PAR C13 73-75 / DANTE
Se fosse a punto la cera dedutta If the wax was moulded precisely, and
e fosse il cielo in sua virtù supprema, the Heaven at its supreme point of Power, the
la luce del suggel parrebbe tutta; light of the seal would be completely apparent:
PAR C13 76-78 / DANTE
ma la natura la dà sempre scema, but nature always makes it imperfectly,
similemente operando a l'artista acting in a similar manner to the artist,
ch'a l'abito de l'arte ha man che trema. who has the skill of his art, but a trembling hand.
PAR C13 79-81 / DANTE
Però se 'l caldo amor la chiara vista Then, if warm Love places, and stamps,
de la prima virtù dispone e segna, a clear vision of the primal Power,
tutta la perfezion quivi s'acquista. complete perfection is attained there.
PAR C13 82-84 / DANTE
Così fu fatta già la terra degna So your clay was once made worthy
di tutta l'animal perfezïone; of utter physical perfection,
così fu fatta la Vergine pregna; and so the Virgin was made pregnant.
PAR C13 85-87 / DANTE
sì ch'io commendo tua oppinïone, From this I sanction your opinion
che l'umana natura mai non fue that human nature never was, or will be,
né fia qual fu in quelle due persone. equal to those two persons.
PAR C13 88-90 / DANTE
Or s'i' non procedesse avanti piùe, Now if I went no further
`Dunque, come costui fu sanza pare?' ‘How then was he without equal?’
comincerebber le parole tue. would still be your first words.’
■ - ■ - ■
CHESS / CHANSON DE ROLAND 4 851 - 1336
[CP 39 / BS] - [CP 40 / TABLE BS] - [CP 41 / BS LIBRARY] WINDOWS UNDIVIDED
CLARE PICTURES: TO THE SULTAN
Fioretto 24
Clare Pictures 39: Francis sets off in boat to Egypt
Francis sets off in a boat from the Porziuncola (1219) to convert the Sultan. He holds a large cross.
Crusaders are besieging Damietta, the port of Cairo. PARADISO PICTURES: 8, 9.
Clare Pictures 40: Francis preaches to the Sultan
Francis holds the large cross before the Sultan on his throne and points to Heaven.
Clare Pictures 41: Francis returns to Italy
Francis returns to Italy in the boat.
120

121
ACCOUNT 1: FIORETTO 24
ST FRANCIS, URGED BY ZEAL FOR THE FAITH OF CHRIST AND BY A WISH TO SUFFER MARTYRDOM, TOOK WITH HIM ONE DAY
TWELVE OF HIS MOST HOLY BRETHREN, AND WENT BEYOND THE SEA WITH THE INTENTION OF GOING STRAIGHT TO THE SULTAN OF
BABYLON. THEY ARRIVED IN A PROVINCE BELONGING TO THE SARACENS, WHERE ALL THE PASSES WERE GUARDED BY MEN SO
CRUEL, THAT NO CHRISTIAN WHO PASSED THAT WAY COULD ESCAPE BEING PUT TO DEATH. NOW IT PLEASED GOD THAT ST
FRANCIS AND HIS COMPANIONS SHOULD NOT MEET WITH THE SAME FATE; BUT THEY WERE TAKEN PRISONERS, AND AFTER BEING
BOUND AND ILL-TREATED, WERE LED BEFORE THE SULTAN. THEN ST FRANCIS STANDING BEFORE HIM, INSPIRED BY THE HOLY
SPIRIT, PREACHED MOST DIVINELY THE FAITH OF CHRIST; AND TO PROVE THE TRUTH OF WHAT HE SAID, PROFESSED HIMSELF
READY TO ENTER INTO THE FIRE. NOW THE SULTAN BEGAN TO FEEL A GREAT DEVOTION TOWARDS HIM, BOTH BECAUSE OF THE
CONSTANCY OF HIS FAITH, AND BECAUSE HE DESPISED THE THINGS OF THIS WORLD…AND ALSO BECAUSE OF HIS ARDENT WISH TO
SUFFER MARTYRDOM. FROM THAT MOMENT HE LISTENED TO HIM WILLINGLY, AND BEGGED HIM TO COME BACK OFTEN, GIVING
BOTH HIM AND HIS COMPANIONS LEAVE TO PREACH WHERESOEVER THEY PLEASED; HE LIKEWISE GAVE THEM A TOKEN OF HIS
PROTECTION, WHICH WOULD PRESERVE THEM FROM ALL MOLESTATION.
AT LENGTH ST FRANCIS, SEEING HE COULD DO NO MORE GOOD IN THOSE PARTS, WAS WARNED BY GOD TO RETURN WITH HIS
BRETHREN TO THE LAND OF THE FAITHFUL. HAVING ASSEMBLED HIS COMPANIONS, THEY WENT TOGETHER TO THE SULTAN TO
TAKE LEAVE OF HIM. THE SULTAN SAID TO HIM: "BROTHER FRANCIS, MOST WILLINGLY WOULD I BE CONVERTED TO THE FAITH OF
CHRIST; BUT I FEAR TO DO SO NOW, FOR IF THE PEOPLE KNEW IT, THEY WOULD KILL BOTH ME AND THEE AND ALL THY
COMPANIONS…BUT TEACH ME HOW I CAN BE SAVED, AND I AM READY TO DO AS THOU SHALT ORDER." ON THIS ST FRANCIS
MADE ANSWER: "MY LORD, I WILL TAKE LEAVE OF THEE FOR THE PRESENT; BUT AFTER I HAVE RETURNED TO MY OWN COUNTRY,
WHEN I SHALL BE DEAD AND GONE TO HEAVEN, BY THE GRACE OF GOD, I WILL SEND THEE TWO OF MY FRIARS, WHO WILL
ADMINISTER TO THEE THE HOLY BAPTISM OF CHRIST, AND THOU SHALT BE SAVED…” THEN ST FRANCIS RETURNED WITH HIS
COMPANY OF VENERABLE AND SAINTLY BRETHREN, AND AFTER A FEW YEARS ENDING HIS MORTAL LIFE, HE GAVE UP HIS SOUL TO
GOD. THE SULTAN, HAVING FALLEN ILL, AWAITED THE FULFILLMENT OF THE PROMISE OF ST FRANCIS, AND PLACED GUARDS IN
ALL THE PASSES, ORDERING THEM IF THEY MET TWO BROTHERS IN THE HABIT OF ST FRANCIS TO CONDUCT THEM IMMEDIATELY
TO HIM. AT THE SAME TIME ST FRANCIS APPEARED TO TWO OF HIS FRIARS, AND ORDERED THEM WITHOUT DELAY TO GO TO THE
SULTAN AND SAVE HIS SOUL, ACCORDING TO THE PROMISE HE HAD MADE HIM. THE TWO SET OUT, AND HAVING CROSSED THE SEA,
WERE CONDUCTED TO THE SULTAN BY THE GUARDS HE HAD SENT OUT TO MEET THEM. THE SULTAN, WHEN HE SAW THEM
ARRIVE, REJOICED GREATLY, AND EXCLAIMED: "NOW I KNOW OF A TRUTH THAT GOD HAS SENT HIS SERVANTS TO SAVE MY SOUL,
ACCORDING TO THE PROMISE WHICH ST FRANCIS MADE ME THROUGH DIVINE REVELATION." HAVING RECEIVED THE FAITH OF
CHRIST AND HOLY BAPTISM FROM THE SAID FRIARS, HE WAS REGENERATED IN THE LORD JESUS CHRIST; AND HAVING DIED OF HIS
DISEASE, HIS SOUL WAS SAVED, THROUGH THE MERITS AND PRAYERS OF ST FRANCIS.
TO THE PRAISE AND GLORY OF JESUS CHRIST AND HIS POOR SERVANT FRANCIS. AMEN.
ACCOUNT 2: J DUNN WWW.TOUREGYPT.NET
DURING THE FIRST CRUSADE, JERUSALEM HAD BEEN TAKEN FROM THE MUSLIMS BY THE CHRISTIANS, AND IT WAS SALADIN WHO
TOOK IT BACK IN 1187. IT SHOULD BE NOTED THAT UPON THE FALL OF JERUSALEM, THE CHRISTIANS EXPECTED THE SAME HARSH
TREATMENT THEY THEMSELVES HAD GIVEN TO THE JEWS AND MUSLIMS WHEN THE CRUSADERS HAD CONQUERED THE CITY.
HOWEVER, THEY WERE ALLOWED TO RANSOM THEIR LIVES, AND THE PENNILESS WERE ALLOWED TO GO FREE AS WELL.
UPON SALADIN'S DEATH, HIS BROTHER RULED FOR A SHORT PERIOD OF TIME, BUT IT WOULD BE HIS NEPHEW, EL KAMIL, WHO
WOULD BECOME THE NEXT MAJOR RULER OF EGYPT. IT WAS HE WHO FINISHED THE SALADIN’S CITADEL. AN INTERESTING STORY
IS TOLD THAT KAMIL WAS ACTUALLY KNIGHTED BY RICHARD COEUR DE LION IN WHAT HITTI CALLS "THE ROMANTIC EXCESSES
OF THE TIME". YET HE WAS AN ABLE DEFENDER OF EGYPT, AND IT WAS HE WHO FINALLY DROVE THE CRUSADERS FROM THE
COUNTRY.
THE CRUSADERS CAME BACK IN 1218 WITH A FORCE MOSTLY MADE UP OF GERMANS WHO BRIEFLY TOOK THE PORT AT
DAMIETTA. THEY HELD THE CITY FOR THREE YEARS, BUT FAILED TO RESIST THE ATTACK OF KAMIL AND WERE FORCED TO
RETREAT. HOWEVER, IT WAS HERE THAT ST FRANCIS OF ASSISI, SEEING THAT THE ATTACK WAS GOING BADLY, COURAGEOUSLY
CROSSED THE ENEMY LINES TO CONFRONT KAMIL. HIS INTENTIONS WERE TO CONVERT THE MUSLIM RULER TO CHRISTIANITY,
APPARENTLY UNAWARE THAT KAMIL WAS SURROUNDED WITH COPTIC ADVISERS AND FULLY FAMILIAR WITH THE CHRISTIAN
FAITH. ST. FRANCIS OFFERED TO ENTER A FIERY FURNACE ON THE CONDITION THAT SHOULD HE COME OUT ALIVE, KAMIL AND HIS
PEOPLE WOULD EMBRACE CHRISTIANITY. THE SULTAN REPLIED TO THE SAINT WITH A LESSON IN HUMANITY AND COMMON SENSE,
SAYING THAT GAMBLING WITH ONE'S LIFE WAS NOT A VALID PROOF OF ONE'S GOD, AND THEN SAW ST FRANCIS ON HIS WAY WITH
COURTESY AND LAVISH GIFTS.
THE WHITE KNIGHTS ARE TOGETHER ON THE BOARD. ST BONAVENTURA HAS JOINED THE
CHANSONNIERS. AQUINAS IS ABSENT.
○ GRATIANUS:
851 .IIII.C. milie en ajustet en .III. jurz. Within three days come hundreds thousands four.
852 En Sarraguce fait suner ses taburs; In Sarraguce they sound the drums of war;
853 Mahumet levent en la plus halte tur. Mahum they raise upon their highest tow'r,
854 N'i ad paien nel prit e nel aort. Pagan is none, that does not him adore.
SIGIER MOVES A BLACK KNIGHT TOWARDS THE 2 WHITE KNIGHTS.
● MARSILIES NEPHEW / OROSIUS:
866 Dunez m'un feu, ço est le colp de Rollant; Give me a fee: the right to smite Rollanz!
867 Jo l'ocirai a mun espiet trenchant. I'll slay him clean with my good trenchant lance,
868 Se Mahumet me voelt estre guarant, If Mahumet will be my sure warrant;
869 De tute Espaigne aquiterai les pans Spain I'll set free, deliver all her land

GRATIANUS INTERPOSES A WHITE PAWN. SIGIER LOOKS AT A BLACK BISHOP.
● SIGIER:
894 Uns amurafles i ad de Balaguez: An admiral is there of Balaguet;
895 Cors ad mult gent e le vis fier e cler; Clear face and proud, and body nobly bred;
899 Fust chrestiens, asez oüst barnet. Christian were he, he'd shewn good baronhead.
● AD. OF BALAGUET / BONAVENTURA:
901 «En Rencesvals irai mun cors juer! To Rencesvals! my body shall be led;
SIGIER MOVES THE BLACK BISHOP SEVERAL SQUARES TOWARDS THE KNIGHTS.
● TURGIS OF TURTELOSE / BEDE:
921 Plus valt Mahum que seint Perre de Rume! Mahum's more worth than Saint Peter of Rome;
923 En Rencesvals a Rollant irai juindre, To Rencesvals, to meet Rollanz I'll go,
OLIVER./.BOËTHIUS CALLS ROLAND./.FOLCO TO THE BOARD.
○ OLIVER / BOËTHIUS:
1006 Dist Oliver: «Sire cumpainz, ce crei, Says Oliver: Companion, I believe,
1007 De Sarrazins purum bataille aveir.» Sarrazins now in battle must we meet.
○ ROLAND / FOLCO:
1111 Respont Rollant: «E! Deus la nus otreit! Answers Rollanz :God grant us then the fee!
1112 Ben devuns ci estre pur nostre rei: For our King's sake well must we quit us here;
1013 Or guart chascuns que granz colps li' empleit,Now must we each lay on most hardily,
1014 Que malvaise cançun de nus chantet ne seit!So evil songs neer sung of us shall be.
1015 Paien unt tort e chrestiens unt dreit; Pagans are wrong: Christians are right indeed.
OLIVER./.BOËTHIUS LOOKS UP AT THE HORN.
○ OLIVER / BOËTHIUS:
1051 Cumpaign Rollant, kar sunez vostre corn: Comrade Rollanz, your horn I pray you sound!
1052 Si l'orrat Carles, si returnerat l'ost.» If Charles hear, he'll turn his armies round.
○ ROLAND / FOLCO:
1062 Respunt Rollant: «Jo fereie que fols! Answers Rollanz: A fool I should be found;
1054 En dulce France en perdreie mun los. In France the Douce would perish my renown.
○ OLIVER / BOËTHIUS:
1070 «Cumpainz Rollant, sunez vostre olifan: Comrade Rollanz, once sound your olifant!
1071 Si l'orrat Carles, ki est as porz passant. If Charles hear, where in the pass he stands,
1072 Je vos plevis, ja returnerunt Franc.» I pledge you now, they'll turn again, the Franks.
○ ROLAND / FOLCO:
1073 «Ne placet Deu,» ço li respunt Rollant, Never, by God, then answers him Rollanz,
1074 «Que ço seit dit de nul hume vivant, Never shall it be said by any living man,
1075 Ne pur paien, que ja seie cornant! That for pagans I took my horn in hand!
○ GRATIANUS:
1093 Rollant est proz e Oliver est sage; Pride hath Rollanz, wisdom Olivier hath;
1094 Ambedui unt me[r]veillus vasselage. And both of them shew marvellous courage;
1095 Puis que il sunt as chevals e as armes, Once they are horsed, once they have donned
their arms,
1096 Ja pur murir n'eschiverunt bataille. Rather they'd die than from the battle pass.
122

GRATIANUS MOVES A WHITE BISHOP (THE ARCHBISHOP) CLOSE TO THE WHITE KNIGHTS.
○ ARCHBISHOP TURPIN / ST ISIDORE:
1127 «Seignurs baruns, Carles nus laissat ci; My lords barons, Charles left us here for this;
1128 Pur nostre rei devum nus ben murir. He is our King, well may we die for him:
ARCHBISHOP TURPIN./.ST ISIDORE STEPS UP TO OLIVER./.BOËTHIUS AND ROLAND./.FOLCO.
SIGIER MOVES A BLACK KNIGHT.
● MARSILIES NEPHEW / OROSIUS:
1191 «Feluns Franceis, hoi justerez as noz, Felons of France, so here on us you close!
1192 Traït vos ad ki a guarder vos out. Betrayed you has he that to guard you ought;
1193 Fols est li reis ki vos laissat as porz. Mad is the King who left you in this post.
GRATIANUS POISES HIS HAND OVER THE BOARD WHILE HE THINKS, BUT ROLAND./.FOLCO
MOVES HIS WHITE KNIGHT AND KNOCKS OVER THE MARSILIES NEPHEW KNIGHT.
○ ROLAND / FOLCO:
1207 «Ultre culvert! Carles n'est mie fol, Avaunt, culvert! A madman Charles is not,
1208 Ne traïsun unkes amer ne volt. No treachery was ever in his thought.
GRATIANUS SETS UP THE BLACK KNIGHT AGAIN, BUT OLIVER./.BOËTHIUS MOVES HIS WHITE
KNIGHT TO KNOCK IT OVER AGAIN.
○ OLIVER / BOËTHIUS:
1233 Ferez i, Francs, kar tres ben les veincrum!» Strike on, the Franks! Right well we'll overcome.
1234 «Munjoie!» escriet, ço est l'enseigne Carlun..Monjoie!, he shouts, 'twas the ensign of Carlun.
MONJOIE: APPARENTLY MOUNT JOY, NOT MY JOY
○ FRANKS:
Monjoie!
○ ROLAND / FOLCO:
1335 Apres li dist: «Culvert, mar i moüstes! After he said Culvert, false step you moved,
1336 De Mahumet ja n'i avrez aiude. From Mahumet your help will not come soon.
■ - ■ - ■
♫MUSIC ? * * * * * * * * * *
CH/CH 1336 before PAR C13 91
AQUINAS 7
■ - [AQ] - ■
123

THOMAS AQUINAS:
PAR C13 91-93 / DANTE PAR C13 91-93 / KLINE
Ma perché paia ben ciò che non pare, But so that you now see, what is not obvious, think
pensa chi era, e la cagion che 'l mosse, who Solomon was, and what the motivation was,
quando fu detto ``Chiedi", a dimandare. when he was told: ‘Choose’, to make his request.
PAR C13 94-96 / DANTE
Non ho parlato sì, che tu non posse I have spoken so that you may see he was a king,
ben veder ch'el fu re, che chiese senno who chose such wisdom
acciò che re sufficïente fosse; as would make him an adequate king,
PAR C13 97-99 / DANTE
non per sapere il numero in che enno not knowledge of the number of moving spirits
li motor di qua sù, o se necesse here above; nor if a necessary premise, and a
con contingente mai necesse fenno; contingent premise, can ever give a necessary
conclusion;
PAR C13 100-102 / DANTE
non si est dare primum motum esse, nor whether we must accept a first movement, a
o se del mezzo cerchio far si puote primum motum; nor whether a triangle without a
trïangol sì ch'un retto non avesse. right angle in it can be constructed in a semicircle.
FROM EUCLID’S ELEMENTS; (G.K. CONSTRUCTED, PRESUMABLY WITH COMPASS AND STRAIGHTEDGE.)
THE MUSES ERATO AND MELPOMENE EMERGE TOGETHER AT LEFT BACK-STAGE. POLYHYMNIA, THE PENSIVE
ONE, THE GEOMETER, EMERGES AT RIGHT FRONT STAGE, GOES TO FRONT CENTRE-STAGE, POINTS HER RIGHT
ARM STIFFLY AT DANTE WHO IS STANDING WITH HIS BACK TO HER AT BACK CENTRE-STAGE. THE ARM IS THE
FIXED ARM OF A DRAWING-COMPASS. SHE SWEEPS HER STIFF LEFT ARM UP AND OVER FROM LEFT TO RIGHT,
SCRIBING A CIRCLE AROUND DANTE. POLYHYMNIA’S LEFT-ARM MOVEMENT ALSO DIRECTS ERATO ACROSS
THE STAGE. DANTE IS NOW CIRCUMSCRIBED AND AT THE CENTRE OF A TRIANGLE OF HOSTILE MUSES. EACH
DRAWS AN ARROW, THEN SETTLES DOWN TO SAVOUR THE SITUATION.
124
THOMAS AQUINAS:
PAR C13 103-105 / DANTE PAR C13 103-105 / KLINE
Onde, se ciò ch'io dissi e questo note, So, if you note this, and everything I have said, it
regal prudenza è quel vedere impari is royal prudence, worldly wisdom, that is the
in che lo stral di mia intenzion percuote; unequalled insight that the arrow of my intent strikes.
PAR C13 106-108 / DANTE
e se al ``surse" drizzi li occhi chiari, And if you turn your clear eyes to achieved,
vedrai aver solamente respetto you will see it only applies to kings,
ai regi, che son molti, e ' buon son rari. of whom there are many, and the good ones rare.
PAR C13 109-111 / DANTE
Con questa distinzion prendi 'l mio detto; Take my words, according to these distinctions, and
e così puote star con quel che credi then they will agree with what you hold concerning
del primo padre e del nostro Diletto. the first Father, and our Delight, Christ.
PAR C13 112-114 / DANTE
E questo ti sia sempre piombo a' piedi, And let this always weight your feet down with
per farti mover lento com' uom lasso lead, and make you go slowly, like a tired man,
e al sì e al no che tu non vedi: approaching the yes or no you do not grasp,
PAR C13 115-117 / DANTE
ché quelli è tra li stolti bene a basso, since he is truly down there among
che sanza distinzione afferma e nega the fools, who affirms or denies
ne l'un così come ne l'altro passo; without distinguishing between cases,
PAR C13 118-120 / DANTE
perch' elli 'ncontra che più volte piega so that it often happens that a quick
l'oppinïon corrente in falsa parte, opinion leans to the wrong side,
e poi l'affetto l'intelletto lega. and then Pride entangles the intellect.

THE 6 OTHER MUSES GATHER WITH THE SMALL BOAT AT THE EDGE OF THE STAGE. THEY TRY OUT SWORDS,
PIKES ETC. IN READINESS FOR AN ASSAULT ON DANTE.
THOMAS AQUINAS:
PAR C13 121-123 / DANTE PAR C13 121-123 / KLINE
Vie più che 'ndarno da riva si parte, He leaves the shore less than uselessly,
perché non torna tal qual e' si move, since he does not even return as he went,
chi pesca per lo vero e non ha l'arte. fishing for truth without the angler’s skill,
125
PAR C13 124-126 / DANTE
E di ciò sono al mondo aperte prove and open proof of this in the world, are Parmenides,
Parmenide, Melisso e Brisso e molti, Melissus, Bryson, and the crowd
li quali andaro e non sapëan dove; who still went on, without knowing where.
PARMENIDES, MELISSUS, BRYSO(N): GREEK PHILOSOPHERS, CONSIDERED BY ARISTOTLE EXAMPLES OF THE POWERS OF FALSE-
REASONING.
PAR C13 127-129 / DANTE
sì fé Sabellio e Arrio e quelli stolti So did Sabellius and Arius, and those fools who
che furon come spade a le Scritture were like gleaming swords applied to Scripture,
in render torti li diritti volti. in making straight faces crooked.
SABELLIUS (3RD C: THE SABELLIAN HERESY (LATER CALLED PATRIPASSIANISM & MODALISM) IDENTIFIED THE SON WITH THE
FATHER AS ONE PERSON DIFFERING ONLY IN NAME.
ARIUS: PRESBYTER OF BISHOP ALEXANDER OF ALEXANDRIA (EARLY 4TH CENTURY). THE ARIAN HERESY DENIES THAT THE
INCARNATE SON IS ONE SUBSTANCE WITH THE TRANSCENDENT FIRST CAUSE OF CREATION, THOUGH DIFFERING IN PERSON. THE
HERESY CREATED DISSENSION UNTIL THE END OF THE FOURTH CENTURY.
PAR C13 130-132 / DANTE
Non sien le genti, ancor, troppo sicure Do not let people be too secure in their
a giudicar, sì come quei che stima judgements, like those who count the ears of corn
le biade in campo pria che sien mature; in the field before the crop ripens,
PAR C13 133-135 / DANTE
ch'i' ho veduto tutto 'l verno prima since I have seen, all winter long, the thorn
lo prun mostrarsi rigido e feroce, display itself, sharp and forbidding,
poscia portar la rosa in su la cima; and then on its summit bear the rose;
PAR C13 136-138 / DANTE
e legno vidi già dritto e veloce and before now I have seen a ship run straight
correr lo mar per tutto suo cammino, and sure over the sea for her entire course,
perire al fine a l'intrar de la foce. and sink in the end, entering the harbour mouth.
THE MUSES DISAPPEAR.
THOMAS AQUINAS:
PAR C13 139-141 / DANTE PAR C13 139-141 / KLINE
Non creda donna Berta e ser Martino, Do not let Jack and Jill think, that if they see
per vedere un furare, altro offerere, someone steal or another make offering they
vederli dentro al consiglio divino; therefore see them as Divine Wisdom does.,
PAR C13 142 / DANTE
ché quel può surgere, e quel può cadere. since the one may still rise, and the other fall.
CANTO 14
DANTE HOLDS A ‘ROUNDED DISH’ IN ONE HAND AND STRIKES IT ON THE INSIDE AND OUTSIDE.

DANTE:
PAR C14 1-3 / DANTE PAR C14 1-3 / KLINE
Dal centro al cerchio, e sì dal cerchio
al centro The water in a rounded dish vibrates from the
movesi l'acqua in un ritondo vaso, centre to the rim, or from the rim to the centre,
secondo ch'è percosso fuori o dentro: depending on how it is struck, from inside or out.
PAR C14 4-6 / DANTE
ne la mia mente fé sùbito caso Just as the glorious spirit of Thomas
questo ch'io dico, sì come si tacque fell silent, this thought
la glorïosa vita di Tommaso, suddenly came into my mind,
PAR C14 7-9 / DANTE
per la similitudine che nacque because of the analogy that sprang from
del suo parlare e di quel di Beatrice, his discourse., and Beatrice’s, whom it pleased
a cui sì cominciar, dopo lui, piacque: to begin speaking, after him:
DANTE:
PAR C14 1-3 / DANTE PAR C14 1-3 / KLINE
Dal centro al cerchio, e sì dal cerchio
al centro The water in a rounded dish vibrates from the
movesi l'acqua in un ritondo vaso, centre to the rim, or from the rim to the centre,
secondo ch'è percosso fuori o… dentro: depending on how it is struck, from inside or out.
POLYHYMNIA MIMES PUSHING DANTE’S HAND UP. DANTE FUMBLES AND DROPS THE DISH.
PAR C14 10-18 / KLINE
This man has a need he has not told you, with voice or thought, namely to track another truth to its source. Say if the light,
with which your substance blossoms, will remain yours as it is now, and if it will, say whether, when you are visible again,
at the last day, it will not cloud your vision.
■ - ■ - ■
CELESTIAL 5
■ - ■ - ■
♫CELESTIAL * * * * * * * * * *
PAR C14 8
DANTE:
PAR C14 19-21 / DANTE PAR C14 19-21 / KLINE
Come, da più letizia pinti e tratti, As if pierced, Pierced and drawn out by excess
a la fïata quei che vanno a rota joy, those who circle in the dance, immediately
levan la voce e rallegrano li atti, lift up their voices., and gladden their aspect,
PAR C14 22-24 / DANTE
così, a l'orazion pronta e divota, so, at this eager and devout request, the The sacred
li santi cerchi mostrar nova gioia circles revealed new joy anew in their whirling,
nel torneare e ne la mira nota. and their marvellous sound.
126

PAR C14 25-27 / DANTE
Qual si lamenta perché qui si moia Whoever grieves that we must die here in order
per viver colà sù, non vide quive to live there, does not see, here,
lo refrigerio de l'etterna ploia. the refreshment from the eternal rain.
PAR C14 28-30 / DANTE
Quell' uno e due e tre che sempre vive Three times, each of those spirits spirit sings sang
e regna sempre in tre e 'n due e 'n uno, that One and Two and Three who lives forever,
non circunscritto, e tutto circunscrive, and reigns in Three and Two and One,
PAR C14 31-33 / DANTE
tre volte era cantato da ciascuno not circumscribed but circumscribing all things.,
di quelli spirti con tal melodia, sang with such melody as is
ch'ad ogne merto saria giusto muno. a just reward for every kind of merit.
DANTE:
PAR C14 19-21 / DANTE PAR C14 19-21 / KLINE
Come, da più letizia pinti e tratti, As if pierced, and drawn out by excess joy, those
a la fïata quei che vanno a rota who circle in the dance, immediately
levan la voce e rallegrano li atti, lift up their voices, and gladden their aspect,
PAR C14 22-24 / DANTE
così, a l'orazion pronta e divota, so, at this eager and devout request, the sacred
li santi cerchi mostrar nova gioia circles revealed new joy in their whirling,
nel torneare e ne la mira nota. and their marvellous sound.
PAR C14 25-27 / DANTE
Qual si lamenta perché qui la? si moia Whoever grieves that we must die here in order
per viver colà sù giù?, non vide quive to live there, does not see, here,
lo refrigerio de l'etterna ploia. the refreshment from the eternal rain.
PAR C14 28-30 / DANTE
Quell' uno e due e tre che sempre vive Three times, each of those spirits sang
e regna sempre in tre e 'n due e 'n uno, that One and Two and Three who lives forever,
non circunscritto, e tutto circunscrive, and reigns in Three and Two and One,
PAR C14 31-33 / DANTE
tre volte era cantato da ciascuno not circumscribed but circumscribing all things,
di quelli spirti con tal melodia, sang with such melody as is
ch'ad ogne merto saria giusto muno. a just reward for every kind of merit.
PAR C14 34-36 / KLINE
And I heard a modest voice, in the most divine light of the smaller circle, perhaps like Gabriel’s voice to Mary,
MODEST VOICE
A MODEST VOICE SPEAKS [PAR C14 34-36]…
MODEST VOICE
PAR C14 37-39 / DANTE PAR C14 37-39 / KLINE
risponder: «Quanto fia lunga la festa replying: Our Love will cast casts the rays
di paradiso, tanto il nostro amore of such a veil around us, as long
si raggerà dintorno cotal vesta. as the festival of Paradise exists.
PAR C14 40-42 / DANTE
La sua chiarezza séguita l'ardore; Its brightness will to match our ardour,
l'ardor la visïone, e quella è tanta, our ardour our vision, as great
quant' ha di grazia sovra suo valore. as the grace of it exceeds our true worth.
127

128
PAR C14 43-60 / DANTE
When the cloak of the glorious and holy flesh shall be taken on again, our person will be more pleasing by being fully
complete. So that the undeserved brightness which the Supreme Good gives us, that light which allows us to see him,
will grow: and then the vision must grow, and the ardour, also, which is lit by it, and the rays that leave it. But like the
coal that gives out flame, and, by its own lively glow, shines through it, so that its own identity is maintained, so this
glow which already veils us, will be penetrated by the glow of the flesh, which now the earth covers: and such intensity
of light will not have strength to overpower us, since the body’s faculties will be strong enough to withstand everything
that delights us.
…OR SINGS A SONG BASED ON THOSE WORDS.
♫MODEST VOICE: LOVE, BRIGHTNESS, ARDOUR, VISION, GRACE * * * * * * * * * *
PAR C14 8
♫CELESTIAL AMEN!* * * * * * * * * *
PAR C14 8
SOULS/SOULS
SOULS / SOULS: SOULS / SOULS:
PAR C14 61-63 / DANTE PAR C14 61-63 / KLINE
Tanto mi parver sùbiti e accorti The inner and outer choirs seemed so eager and
e l'uno e l'altro coro a dicer Amme!, quick to shout Amme!…Amen! , that they indeed
che ben mostrar disio d'i corpi morti: revealed desire for their dead bodies.
PAR C14 64-66 / KLINE
not only for themselves, perhaps, but for their fathers, mothers, and others dear to them, before they became eternal
flames.
BEATRICE EXITS.
■ - ■ - ■
CELESTIAL 6
♫CELESTIAL * * * * * * * * * *
PAR C14 62 from C14 125
Rise and conquer see Rejoice you who conquer [PUR C15 111]
DANTE GAZES UP.
DANTE:
PAR C14 67-69 / DANTE PAR C14 67-69 / KLINE
Ed ecco intorno, di chiarezza pari, Look around! A shining dawn,
nascere un lustro sopra quel che v'era, of equal brightness, beyond what was there,
per guisa d'orizzonte che rischiari. like a whitening horizon, the sphere of Mars.
MARS IS IDENTIFIED WITH THE CONSTELLATION LEO, THOUGH NOT ITS ASTROLOGICAL RULER, BECAUSE OF DANTE’S CLUSTER OF
ASSOCIATIONS, AROUND THE IDEA OF COURAGE & FORTITUDE, AMONG THEM THE ANIMAL & THE PLANET.

PAR C14 70-72 / DANTE
E sì come al salir di prima sera And, as at twilight new things to see
comincian per lo ciel nove parvenze, begin to appear, in the heavens,
sì che la vista pare e non par vera, so that the vision seems real, and unreal,
129
PAR C14 73-75 / DANTE
parvemi lì novelle sussistenze so, there, I began begin to see newly arrived beings,
cominciare a vedere, e fare un giro making a third circle,
di fuor da l'altre due circunferenze. out beyond the other two rims.
PAR C14 76-78 / DANTE
Oh vero sfavillar del Santo Spiro! O true sparks of the sacred exhalation,
come si fece sùbito e candente how sudden and glowing:, in front of my eyes,
a li occhi miei che, vinti, nol soffriro! which, overcome, could cannot withstand it!
PAR C14 79-81 / KLINE before C14 130
But Beatrice showed herself so lovely and smiling to me, it must be left among those sights that my memory cannot
follow.
PAR C14 82-87 / KLINE
From that my eyes recovered their power to raise themselves, and I saw myself carried, along with my Lady, to a higher
fortune. I saw clearly that I was lifted higher, by the burning smile of that planet, which seemed to me redder than usual.
PAR C14 103-105 / DANTE out of place PAR C14 103-105 / KLINE
Qui vince la memoria mia lo 'ngegno; Here my memory outruns my ability,
ché quella croce lampeggiava Cristo, since Christ flashed out so on that the Cross!,
sì ch'io non so trovare essempro degno; that I can find no fitting comparison.
♫CELESTIAL * * * * * * * * * *
PAR C14 104 before PAR C14 88
DANTE STANDS OR WANDERS.
DANTE:
PAR C14 88-90 / DANTE PAR C14 88-90 / KLINE
Con tutto 'l core e con quella favella I made sacrifice to God, of my heart,
ch'è una in tutti, a Dio feci olocausto, and in that speech which is the same for all of us,
qual conveniesi a la grazia novella. as fitted this newly given grace:
PAR C14 91-93 / DANTE
E non er' anco del mio petto essausto and the ardour of the sacrifice
l'ardor del sacrificio, ch'io conobbi was not yet gone from my chest,
esso litare stato accetto e fausto; before I knew the prayer had been accepted,
PAR C14 94-102 / KLINE
and with favour, since splendours appeared to me, inside two rays, so radiant and red, that I exclaimed: ‘O Helios, who
glorifies them so!’
HELIOS: THE SUN-GOD, THE SON OF EURYPHESSA OR THEIA & THE TITAN HYPERION. IDENTICAL FOR DANTE WITH APOLLO-
CHRIST.
As the Milky Way gleams between the poles of the Universe, decked with greater and lesser lights, so white as to set
the very sages questioning, so those constellated rays made the ancient sign, in the depth of Mars, that crossing
quadrants make in a circle.
DANTE OPENS HIS BOOK TO WRITE.

DANTE:
PAR C14 88-90 / DANTE PAR C14 88-90 / KLINE
Con tutto 'l core e con quella favella I made sacrifice to God, of my heart,
ch'è una in tutti, a Dio feci olocausto, and in that speech which is the same for all of us,
qual conveniesi a la grazia novella. as fitted this newly given grace:
PAR C14 91-93 / DANTE
E non er' anco del mio petto essausto and the ardour of the sacrifice
l'ardor del sacrificio, ch'io conobbi was not yet gone from my chest,
esso litare stato accetto e fausto; before I knew the prayer had been accepted,
DANTE PAUSES FOR SOME TIME.
DANTE:
PAR C14 103-105 / DANTE PAR C14 103-105 / KLINE
Qui vince la memoria mia lo 'ngegno; Here my memory outruns my ability,
ché quella croce lampeggiava Cristo, since Christ flashed out so on that Cross,
sì ch'io non so trovare essempro degno; that I can find no fitting comparison.
DANTE:
PAR C14 103 / DANTE PAR C14 103 / KLINE
Qui vince la memoria mia lo 'ngegno; Here my memory outruns my ability,
DANTE PAUSES AGAIN.
DANTE:
PAR C14 103-104 / DANTE PAR C14 103-104 / KLINE
Qui vince la memoria mia lo 'ngegno; Here my memory outruns my ability,
ché quella croce lampeggiava Cristo, since Christ flashed out so on that Cross,
DANTE:
PAR C14 105 / DANTE PAR C14 105 / KLINE
sì ch'io non so trovare essempro degno; that I can find no fitting comparison.
DANTE PAUSES AGAIN, LENGTHILY.
DANTE:
PAR C14 106-108 / DANTE PAR C14 106-108 / KLINE
ma chi prende sua croce e segue Cristo, But whoever takes up his cross and follows Christ,
ancor mi scuserà di quel ch'io lasso, will forgive me for what I leave unspoken…,
vedendo in quell' albor balenar Cristo. when he sees Christ white within that glow.
DANTE:
PAR C14 106-107 / DANTE
ma chi prende sua croce e segue Cristo, But whoever takes up his cross and follows Christ,
ancor mi scuserà di quel ch'io lasso, will forgive me for what I leave unspoken,
DANTE PAUSES AGAIN THEN RUSHES AT THE TERCET, PAUSING AGAIN BEFORE THE FINAL WORD.
DANTE:
PAR C14 106-108 / DANTE PAR C14 106-108 / KLINE
ma chi prende sua croce e segue Cristo, But whoever takes up his cross and follows Christ,
ancor mi scuserà di quel ch'io lasso, will forgive me for what I leave unspoken,
vedendo in quell' albor balenar…Cristo. when he sees Christ white within that glow.
130

DANTE:
PAR C14 108 / DANTE PAR C14 108 / KLINE
vedendo in quell' albor balenar…Cristo. …when he sees Christ white within that glow.
131
PAR C14 109-126 / KLINE
From cusp to cusp, from summit to base, there were lights moving, that sparkled intensely, in meeting one another, and
passing. So we see, here, motes moving through a ray, that sometimes penetrates the shadow people contrive, with art
and ingenuity, against the sunlight, straight, curved, fast or slow, long or short, changing in appearance. And as harp
and viol, tuned in many-chorded harmony, make a sweet chime, to one who cannot separate the notes, so a melody
enraptured me, from the lights that appeared, gathered along the Cross, though I could not follow the hymn. I clearly
knew it was of high praise, since there came to me the words: ‘Rise and conquer,’ as to one who hears but does not
understand. And I was so enamoured of it, there, that there had been nothing, till then, that tied me in such sweet chains.
♫CELESTIAL / BE-A-TRI-CE * * * * * * * * * *
PAR C14 108
DANTE, LOOKING TO WHERE BEATRICE HAS WALKED OFF, SPEAKS CONFIDENTIALLY TO THE AUDIENCE.
DANTE:
PAR C14 79-81 / DANTE out of place PAR C14 79-81 / KLINE
Ma Bëatrice sì bella e ridente But Beatrice showed herself so lovely and
mi si mostrò, che tra quelle vedute smiling to me, it must be left among those
si vuol lasciar che non seguir la mente. sights that my memory cannot follow.
PAR C14 130-132 / DANTE PAR C14 130-132 / KLINE
Forse la mia parola par troppo osa, Perhaps it may be too bold to say so,
posponendo il piacer de li occhi belli, as if it slighted the joy of those lovely eyes,
ne' quai mirando mio disio ha posa; gazing into which my longing finds rest,
PAR C14 133-135 / DANTE
ma chi s'avvede che i vivi suggelli but he who recognises how those living seals
d'ogne bellezza più fanno più suso, of all beauty have ever greater
e ch'io non m'era lì rivolto a quelli, effect the higher the region
PAR C14 136-138 / DANTE
escusar puommi di quel ch'io m'accuso and that I had not yet turned towards them,
per escusarmi, e vedermi dir vero: may excuse me from my self-accusation, and
ché 'l piacer santo non è qui dischiuso, can see I speak the truth: for that sacred joy is
PAR C14 136-138 / DANTE
perché si fa, montando, più sincero. not excluded here, that as it climbs grows purer.
CANTO 15
■ - [RED ☼] - ■
CACCIAGUIDA’S LIGHT WHIRLS INTO THE CENTRE WINDOW.
DANTE:
PAR C15 1-3 / DANTE PAR C15 1-3 / KLINE
Benigna volontade in che si liqua The Benign Will, in which the Love
sempre l'amor che drittamente spira, that truly perfumes always distils itself,
come cupidità fa ne la iniqua, as greed does in the envious will,

PAR C15 4-6 / DANTE
silenzio puose a quella dolce lira, imposed silence on that sweet lyre,
e fece quïetar le sante corde and stilled the sacred strings,
che la destra del cielo allenta e tira. that the right hand of Heaven plucks and loosens.
PAR C15 7-9 / DANTE
Come saranno a' giusti preghi sorde How can those beings be deaf to just prayers,
quelle sustanze che, per darmi voglia who agreed to silence,
ch'io le pregassi, a tacer fur concorde? so as to give me the will to pray?
PAR C15 10-12 / DANTE
Bene è che sanza termine si doglia It is right that they should mourn endlessly
chi, per amor di cosa che non duri who deprive themselves of this love,
etternalmente, quello amor si spoglia. eternally, for the love of what does not endure.
DANTE:
PAR C15 13-15 / DANTE PAR C15 13-15 / KLINE
Quale per li seren tranquilli e puri As a meteoric flame flashes through the pure
discorre ad ora ad or sùbito foco, and tranquil sky, from time to time,
movendo li occhi che stavan sicuri, disturbing steady vision,
PAR C15 16-18 / DANTE
e pare stella che tramuti loco, and seems like a star changing place,
se non che da la parte ond' e' s'accende except that no star is lost from where it flamed,
nulla sen perde, ed esso dura poco: and it itself does not last,
PAR C15 19-21 / DANTE
tale dal corno che 'n destro si stende so, from the horn stretching to the right,
a piè di quella croce corse un astro a star of the constellation that shines there
de la costellazion che lì resplende; darted to the foot of the cross,
PAR C15 22-24 / DANTE
né si partì la gemma dal suo nastro, and did not leave the arc but coursed
ma per la lista radïal trascorse, along the radial line,
che parve foco dietro ad alabastro. like fire shining through alabaster.
PAR C15 25-27 / DANTE
Sì pïa l'ombra d'Anchise si porse, With such tenderness Anchises shade came
se fede merta nostra maggior musa, forward when he saw his son Aeneas in Elysium,
quando in Eliso del figlio s'accorse. if our greatest Muse is to be believed.
‘OUR GREATEST MUSE’ IS THE CUE FOR CALLIOPE. SHE STEPS GRANDLY ON STAGE AND WALKS
MENACINGLY TOWARDS DANTE. CLIO COMES QUICKLY FROM OFFSTAGE AND IS ABOUT TO PUNCH DANTE IN
THE HEAD WHEN CALLIOPE SLAPS HER HARD, THEN TURNS ROUND AND PUNCHES DANTE. HE APPEARS
STUNNED FOR A MOMENT BUT, OF COURSE, DOES NOT KNOW WHAT HIT HIM.
CLIO FLEES, AND SO DO THE 3 TRIANGLE-VERTICES, POLYHYMNIA, ERATO AND MELPOMENE WHEN CALLIOPE
GLARES AT THEM.
CACCIAGUIDA 1
■ - [RED ☼] - ■
CACCIAGUIDA SPEAKS.
CACCIAGUIDA *---- ? - 1147? AGE : ? CHARACTER AGE : *-- ?
PLACE./.LANGUAGE ETC
FLORENCE.
132

DESCRIPTION
DANTE’S GREAT-GREAT-GRANDFATHER, A KNIGHT WITH CONRAD III AND KILLED IN ST BERNARD OF
CLAIRVAUX’S DISASTROUS CRUSADE OF 1147. CACCIAGUIDA SOON MANIFESTS HIMSELF AS A REAL, FIGHTING
MAN. WHILE TALKING TO DANTE HE DRESSES AND ARMS HIMSELF AS HE WOULD HAVE DONE FOR BATTLE. CHAIN
MAIL WAS VERY FAR FROM TOURNAMENT ARMOUR: CACCIAGUIDA CAN GET ON HIS HORSE UNAIDED.
CONRAD III: MEMBER OF HOHENSTAUFEN DYNASTY, SON OF RUDOLPH II OF BURGUNDY. LEADER OF THE SECOND CRUSADE
(1147-1149) WITH LOUIS VII OF FRANCE . EMPEROR FROM 1137-1152.
PARADISO PICTURES
42, 43, 44, 45, 46, 47, 48, 49, 50
UNDERGARMENTS
Bottom: chausses (hose)
Top: cloth coat
Head: cloth hood
CHAIN MAIL chausses
CHAIN MAIL coif (head protector)
CHAIN MAIL COAT
SURCOAT Cloth. There were many different types and colours of crosses. There may be information
somewhere on the Hohenstaufen cross.
GLOVES (GAUNTLETS)
HELMET (steel?): various styles)
SWORD
HORSE A vaulting-horse i.e. used by knights to practice mounting in armour, particularly without using the
stirrup. It doubles as a clothes-horse for what Cacciaguida’s real horse wore. It may simply have a
saddle and bridle or a caparison. The horse should slide, rather than be on wheels, for steadiness
and so as not to look too much like a giant toy. The horse’s caparison and devices on the shield and
banner may be obtainable for Conrad III.
SHIELD
STANDARD, BANNER
133
CACCIAGUIDA (VOICE):
PAR C15 28-30 / DANTE PAR C15 28-30 / KLINE
O sanguis meus, o superinfusa O blood of mine,
gratïa Deï, sicut tibi cui O grace of God poured into you,
bis unquam celi ianüa reclusa? to whom was Heaven’s Gate ever opened twice, as to
you?
DANTE INTERPETS CACCIAGUIDA’S (ORIGINALLY DANTE’S) LATIN.
DANTE:
PAR C15 28-30 / DANTE PAR C15 28-30 / KLINE
O sanguis meus, o superinfusa O blood of mine,
gratïa Deï, sicut tibi cui O grace of God poured into you, to whom
bis unquam celi ianüa reclusa? was Heaven’s Gate ever opened twice, as to you?
PAR C15 31-45 / KLINE
So the light spoke, at which I directed my attention to him. Then I turned my face towards my Lady, and on this side
and on that was stunned, since such a smile was blazing in her eyes, I thought with mine I had reached the end, of my
grace, and my Paradiso. Then, gladdening sight and hearing, the spirit added words to his commencement that I did not
understand, his speech was so profound: he hid himself from me, not out of choice, but of necessity, since his thought
took place beyond the power of mortals. And when the bow of ardent love was so tuned that his speech descended
towards the power of our intellect,
CACCIAGUIDA (VOICE):
PAR C15 46-48 / DANTE PAR C15 46-48 / KLINE
la prima cosa che per me s'intese, the first words I understood were:
«Benedetto sia tu», fu, «trino e uno, ‘Blessed be thou, Three and One,
che nel mio seme se' tanto cortese!». who are so noble in my seed,’
PAR C15 49-51 / DANTE
E seguì: «Grato e lontano digiuno, and continued: ‘My son, in this light
tratto leggendo del magno volume where I now speak to you, you have assuaged
du' non si muta mai bianco né bruno, a dear, long-cherished hunger,

PAR C15 52-54 / DANTE
solvuto hai, figlio, dentro a questo lume induced by the reading of that great volume where
in ch'io ti parlo, mercè di colei black and white never change: thanks be to her
ch'a l'alto volo ti vestì le piume. who clothed you with wings for this high ascent.
PAR C15 55-69 / KLINE
You believe that your thought finds its way to me, from the Primal Thought, as the numbers five and six issue from one,
if seen correctly, and so you do not ask who I am, or why I seem to you more joyful than others in this festive crowd.
You believe rightly, since in this life great and lesser spirits, gaze in the mirror, where, before you think, your thought is
seen. But so that the sacred love, in which I watch with uninterrupted vision, setting me thirsting with sweet longing,
can be better fulfilled,
PAR C15 67-69 / DANTE PAR C15 67-69 / KLINE
la voce tua sicura, balda e lieta let your voice sound out your will, your longing,
suoni la volontà, suoni 'l disio, safely, boldly, and delightedly,
a che la mia risposta è già decreta! to which my answer is already given.’
PAR C15 70-84 / KLINE
I turned to Beatrice, and she heard me, before I spoke, and granted a sign to me that increased the wings of my desire.
Then I began: Love and intelligence became equal in weight to you, as soon as the Primal equality was visible to you,
because the Sun, which warmed and lit you, with its heat and brightness, has in it such equality that all comparisons fall
short. But for mortals, for reasons obvious to you, will and execution are unequally feathered wings. So that I, a mortal,
feel the stress of this imbalance, and therefore only gave thanks with my heart, for your paternal greeting.
DANTE:
PAR C15 85-87 / DANTE PAR C15 85-87 / KLINE
Ben supplico io a te, vivo topazio But I can and do, beg you, living topaz,
che questa gioia prezïosa ingemmi, who are a gem of this precious jewel,
perché mi facci del tuo nome sazio. to satisfy me with your name.
CACCIAGUIDA (VOICE):
PAR C15 88-90 / DANTE PAR C15 88-90 / KLINE
«O fronda mia in che io compiacemmi Oh, I was your root, my leaf, whom I delighted
pur aspettando, io fui la tua radice»: in, while only anticipating you’: Cacciaguida.
cotal principio, rispondendo, femmi. such were the opening words of his reply.
134
or Cacciaguida …Oh, I was your root, my leaf,
whom I delighted in, while only anticipating you.’
such were the opening words of his reply.
[CP 42] - [CP 43 / CACCIAGUIDA] - [CP 44] WINDOWS UNDIVIDED
CLARE PICTURES: HOLY PURSUIT
Clare Pictures 42: Francis pursues B & W dog.
Francis pursues a black-and-white dog with a torch in its mouth, the symbol of the Dominicans. The
dog pursues…
Clare Pictures 43: White dog and bees pursue Crusader
…a white dog and a swarm of bees, both symbols of St Bernard, which are at the heels and rump of
a Crusader’s horse. The Crusader is pursuing…
Clare Pictures 44: Crusader pursues Saracen
…a mounted Saracen.
CACCIAGUIDA APPEARS AS A PERSON. HE IS LYING ROUGHLY PARALLEL TO THE STAGE, APPARENTLY A
TOMB FIGURE IN HIS STILLNESS, WITH ONE LEG CROSSING THE OTHER AS KNIGHT FIGURES WERE OFTEN
SHOWN. HIS SWORD LIES NEXT TO HIM. HIS SHIELD, BANNER, WEAPONS AND HELMET ARE ON THE WALL.
HIS RESTING ATTIRE IS UNDERGARMENTS: CHAUSSES, TOP AND HOOD.
CACCIAGUIDA PAUSES FOR SOME TIME, REINFORCING THE ‘TOMB FIGURE’ IMPRESSION.

CACCIAGUIDA:
PAR C15 91-93 / DANTE PAR C15 91-93 / KLINE
Poscia mi disse: «Quel da cui si dice Then he said: ‘He, the first Aligieri, from whom
tua cognazione e che cent' anni e piùe your family takes it name, and who has circled the
girato ha 'l monte in la prima cornice, Mount on the first terrace, for more than a hundred
years,
PAR C15 94-96 / DANTE
mio figlio fu e tuo bisavol fue: was my son, and your great-grandfather.
ben si convien che la lunga fatica It is fitting that you should lessen the long
tu li raccorci con l'opere tue. drawn-out labour, for him, with your works.
DANTE WAITS RESPECTFULLY, EVENTUALLY MAKING A NOTE.
DANTE:
PAR C15 94 / DANTE
mio figlio fu e tuo bisavol fue: was my son, and your great-grandfather.
CACCIAGUIDA RISES TO ONE KNEE, PERHAPS IMITATING ANOTHER STONE FIGURE OF A STRICKEN KNIGHT.
CACCIAGUIDA:
PAR C15 97-99 / DANTE PAR C15 97-99 / KLINE
Fiorenza dentro da la cerchia antica, Florence, lived in peace, sober and chaste,
ond' ella toglie ancora e terza e nona, behind the ancient circle of wall, from which
si stava in pace, sobria e pudica. she still hears the Badia’s tierce and nones.
THE BADIA, THE BELLTOWER, FROM WHICH THE ANCIENT CANONICAL HOURS WERE RUNG (TIERCE AT NINE, NONES AT TWELVE)
WAS CLOSE TO THE ENCLOSING WALLS.
PAR C15 100-102 / DANTE
Non avea catenella, non corona, There were no wreaths and gold-chains,
non gonne contigiate, non cintura no dressed-up women, no sash that set
che fosse a veder più che la persona. people staring at it, more than at she who wore it.
PAR C15 103-105 / DANTE
Non faceva, nascendo, ancor paura The birth of a daughter did not yet dismay
la figlia al padre, che 'l tempo e la dote fathers, since dowry and bride’s age were fitting,
non fuggien quinci e quindi la misura. the one not too high, the other not too low.
PAR C15 106-108 / DANTE
Non avea case di famiglia vòte; There were no empty mansions. Sardanapalus
non v'era giunto ancor Sardanapalo had not yet arrived to show what might
a mostrar ciò che 'n camera si puote. be done to make a room luxurious.
SARDANAPALUS: KING OF ASSYRIA, THE TYPE OF LUXURY
PAR C15 109-111 / DANTE
Non era vinto ancora Montemalo The first sight of Florence, from Ucellatoio, did
dal vostro Uccellatoio, che, com' è vinto not yet surpass Rome’s from Montemalo, which
nel montar sù, così sarà nel calo. will be surpassed in the fall, as well as the rising.
PAR C15 112-114 / DANTE
Bellincion Berti vid' io andar cinto I have seen Bellincion Berti dressed in leather,
di cuoio e d'osso, e venir da lo specchio clasped with bone, and have seen his lady
la donna sua sanza 'l viso dipinto; come from her mirror with her face unpainted.
BELLINCION, BERTI DE’ RAVIGNANI: FATHER OF ‘ THE GOOD GUALDRADA’ & ONE OF THE HONOURED KNIGHTS OF ANCIENT
FLORENCE. THE CONTI GUIDI WERE DESCENDED FROM HIM THROUGH GUALDRADA. MENTIONED AS MARRYING ONE OF HIS
DAUGHTERS TO ONE OF THE ADIMARI.
135

PAR C15 115-117 / DANTE
e vidi quel d'i Nerli e quel del Vecchio I have seen men of the Nerlo and Vecchio families,
esser contenti a la pelle scoperta, content with only clothing of skins, and their
e le sue donne al fuso e al pennecchio. ladies themselves handling flax and spindle.
NERLO, VECCHIO (VECCHIETTI): ANCIENT GUELPH FAMILIES.
PAR C15 118-120 / DANTE
Oh fortunate! ciascuna era certa Oh fortunate women! Each one certain
de la sua sepultura, e ancor nulla of her burial place, and none deserted
era per Francia nel letto diserta. in their beds because of France.
PAR C15 121-123 / DANTE
L'una vegghiava a studio de la culla, One kept watch over the cradle,
e, consolando, usava l'idïoma and spoke in that soothing way,
che prima i padri e le madri trastulla; that is the first delight of fathers and mothers:
PAR C15 124-126 / DANTE
l'altra, traendo a la rocca la chioma, another as she drew thread from
favoleggiava con la sua famiglia the distaff, would tell her family about
d'i Troiani, di Fiesole e di Roma. Troy, Rome, and Fiesole.
CACCIAGUIDA STANDS AND WALKS INTO THE WINGS. DANTE NOTES AND BEGINS VERSIFYING.
DANTE:
PAR C15 91-93 / DANTE PAR C15 91-93 / KLINE
Poscia mi disse: «Quel da cui si dice Then he said: ‘He, the first Aligieri, from whom
tua cognazione e che cent' anni e piùe your family takes it name, and who has circled the
girato ha 'l monte in la prima cornice, Mount on the first terrace, for more than a hundred
years,
PAR C15 94-96 / DANTE
mio figlio fu e tuo bisavol fue: was my son, and your great-grandfather.
ben si convien che la lunga fatica It is fitting that you should lessen the long
tu li raccorci con l'opere tue. drawn-out labour, for him, with your works.
PAR C15 97-99 / DANTE
Fiorenza dentro da la cerchia antica, Florence, lived in peace, sober and chaste,
ond' ella toglie ancora e terza e nona, behind the ancient circle of wall, from which
si stava in pace, sobria e pudica. she still hears the Badia’s tierce and nones.
PAR C15 100-102 / DANTE
Non avea catenella, non corona, There were no wreaths and gold-chains,
non gonne contigiate, non cintura no dressed-up women, no sash that set
che fosse a veder più che la persona. people staring at it, more than at she who wore it.
PAR C15 103-105 / DANTE
Non faceva, nascendo, ancor paura The birth of a daughter did not yet dismay fathers.
la figlia al padre, che 'l tempo e la dote since dowry and bride’s age were fitting,
non fuggien quinci e quindi la misura. the one not too high, the other not too low.
PAR C15 106-108 / DANTE
Non avea case di famiglia vòte; There were no empty mansions. Sardanapalus
non v'era giunto ancor Sardanapalo had not yet arrived to show what might
a mostrar ciò che 'n camera si puote. be done to make a room luxurious.
PAR C15 109-111 / DANTE
Non era vinto ancora Montemalo The first sight of Florence, from Ucellatoio, did
dal vostro Uccellatoio, che, com' è vinto not yet surpass Rome’s from Montemalo, which
nel montar sù, così sarà nel calo. will be surpassed in the fall, as well as the rising.
DANTE PAUSES TO LOOK AT THE SWARM OF BEES IN CLARE PICTURES 43.
136

DANTE:
St Bernard…Doctor Mellifluus.
PAR C15 112-114 / DANTE
Bellincion Berti vid' io andar cinto I have seen Bellincion Berti dressed in leather,
di cuoio e d'osso, e venir da lo specchio clasped with bone, and have seen his lady
la donna sua sanza 'l viso dipinto; come from her mirror with her face unpainted.
PAR C15 115-117 / DANTE
e vidi quel d'i Nerli e quel del Vecchio I have seen men of the Nerlo and Vecchio families,
esser contenti a la pelle scoperta, content with only clothing of skins, and their
e le sue donne al fuso e al pennecchio. ladies themselves handling flax and spindle.
PAR C15 118-120 / DANTE
Oh fortunate! ciascuna era certa Oh fortunate women! Each one certain
de la sua sepultura, e ancor nulla of her burial place, and none deserted
era per Francia nel letto diserta. in their beds because of France.
PAR C15 121-123 / DANTE
L'una vegghiava a studio de la culla, One kept watch over the cradle,
e, consolando, usava l'idïoma and spoke in that soothing way,
che prima i padri e le madri trastulla; that is the first delight of fathers and mothers:
PAR C15 124-126 / DANTE
l'altra, traendo a la rocca la chioma, another as she drew thread from
favoleggiava con la sua famiglia the distaff, would tell her family about
d'i Troiani, di Fiesole e di Roma. Troy, Rome, and Fiesole.
CACCIAGUIDA RETURNS FROM THE WINGS WITH A WOODEN CLOTHES STAND IN THE FORM OF A SQUIRE.
CACCIAGUIDA:
PAR C15 127-129 / DANTE PAR C15 127-129 / KLINE
Saria tenuta allor tal maraviglia Then a shrew like Cianghella, or a corrupt lawyer
una Cianghella, un Lapo Salterello, like Lapo Salterello, would have been as amazing
qual or saria Cincinnato e Corniglia. then as a Cornelia or a Cincinnatus now.
CORNELIA: DAUGHTER OF SCIPIO AFRICANUS & WIFE OF TIBERIUS SEMPRONIUS GRACCHUS & MOTHER OF TIBERIUS & CAIUS
THE TWO FAMOUS TRIBUNES, THE GRACCHI. TYPE OF THE NOBLE ROMAN WOMAN. SHE CLAIMED THAT ‘HER SONS WERE HER
JEWELS’.
PAR C15 130-132 / DANTE
A così riposato, a così bello Mary, called on, with deep moans,
viver di cittadini, a così fida gave me to such a restful, lovely life
cittadinanza, a così dolce ostello, among the citizens,
PAR C15 133-135 / DANTE
Maria mi diè, chiamata in alte grida; to such faithful citizenship, such sweet being,
e ne l'antico vostro Batisteo and in your ancient Baptistery, I became,
insieme fui cristiano e Cacciaguida. in the one moment, Cacciaguida and a Christian.
PAR C15 136-138 / DANTE
Moronto fu mio frate ed Eliseo; Moronto and Eliseo were my brothers: my wife
mia donna venne a me di val di Pado, came to me from the valley of the River Po, and
e quindi il sopranome tuo si feo. your surname was derived from hers, Alighiera
ALIGHIERA: DANTE’S GREAT-GRANDFATHER. HIS MOTHER WAS CACCIAGUIDA’S WIFE, ALIGHIERA OF THE ALDIGHIERI FAMILY
OF FERRARA.
PAR C15 139-141 / DANTE
Poi seguitai lo 'mperador Currado; Then I followed the Emperor Conrad the Third,
ed el mi cinse de la sua milizia, who made me a knight,
tanto per bene ovrar li venni in grado. since I advanced myself so greatly in his grace.
137

PAR C15 142-144 / DANTE
Dietro li andai incontro a la nequizia I marched in his ranks, against the infamy of that
di quella legge il cui popolo usurpa, religion whose infidel people usurp, shame on
per colpa d'i pastor, vostra giustizia. your pastors, that which is yours by right.
PAR C15 145-147 / DANTE
Quivi fu' io da quella gente turpa There, by those wretched folk,
disviluppato dal mondo fallace, I was disrobed of that deceitful world,
lo cui amor molt' anime deturpa; whose love corrupts many a spirit,
PAR C15 148 / DANTE
e venni dal martiro a questa pace. and came, from martyrdom, to this peace.
CACCIAGUIDA BEGINS DRESSING AS DANTE WATCHES AND VERSIFIES, INCIDENTALLY CLOSING THE CANTO.
CACCIAGUIDA FIRST PUTS ON THE MAIL CHAUSSES, ATTACHING THEM TO THE WAIST BELT.
DANTE:
PAR C15 127-129 / DANTE PAR C15 127-129 / KLINE
Saria tenuta allor tal maraviglia Then a shrew like Cianghella, or a corrupt lawyer
una Cianghella, un Lapo Salterello, like Lapo Salterello, would have been as amazing
qual or saria Cincinnato e Corniglia. then as a Cornelia or a Cincinnatus now.
PAR C15 130-132 / DANTE
A così riposato, a così bello Mary, called on, with deep moans,
viver di cittadini, a così fida gave me to such a restful, lovely life
cittadinanza, a così dolce ostello, among the citizens,
PAR C15 133-135 / DANTE
Maria mi diè, chiamata in alte grida; to such faithful citizenship, such sweet being,
e ne l'antico vostro Batisteo and in your ancient Baptistery, I became,
insieme fui cristiano e Cacciaguida. in the one moment, Cacciaguida and a Christian.
PAR C15 136-138 / DANTE
Moronto fu mio frate ed Eliseo; Moronto and Eliseo were my brothers: my wife
mia donna venne a me di val di Pado, came to me from the valley of the River Po, and
e quindi il sopranome tuo si feo. your surname was derived from hers, Alighiera.
ALIGHIERA: DANTE’S GREAT-GRANDFATHER. HIS MOTHER WAS CACCIAGUIDA’S WIFE, ALIGHIERA OF THE ALDIGHIERI FAMILY
OF FERRARA.
PAR C15 139-141 / DANTE
Poi seguitai lo 'mperador Currado; Then I followed the Emperor Conrad the Third,
ed el mi cinse de la sua milizia, who made me a knight,
tanto per bene ovrar li venni in grado. since I advanced myself so greatly in his grace.
PAR C15 142-144 / DANTE
Dietro li andai incontro a la nequizia I marched in his ranks, against the infamy
di quella legge il cui popolo usurpa, of that religion whose infidel people usurp,
per colpa d'i pastor, vostra giustizia. shame on your pastors, that which is yours by right.
PAR C15 145-147 / DANTE
Quivi fu' io da quella gente turpa There, by those wretched folk,
disviluppato dal mondo fallace, I was disrobed of that deceitful world,
lo cui amor molt' anime deturpa; whose love corrupts many a spirit,
PAR C15 148 / DANTE
e venni dal martiro a questa pace. and came, from martyrdom, to this peace.
CANTO 16
138

PAR C16 1-21 / KLINE
O our little nobility of the blood! If you make people glory in you down here, where our affection languishes, it will
never make me wonder again, since I gloried in it there where appetite is uncorrupted, I mean in Heaven. Yet, you are
indeed a cloak that shrinks, so that if nothing is added, day by day, time circles it with its shears. I began again with that
voi, for you, that Rome first allowed for Julius [VOI FOR YOU: HE WAS, ACCORDING TO LEGEND, ADDRESSED IN THE PLURAL AS
VOI INSTEAD OF TU WHEN HE ACHIEVED PRE-EMINENCE. A ROMAN CUSTOM, DISUSED THERE IN DANTE’S TIME], which her
families persevere with least, at which Beatrice, who was a little apart from us, smiled and seemed like the Lady of
Malehaut who coughed at Guinevere’s first indiscretion, as it is written. I began: You are my father, you give me full
authority to speak, you lift me so that I am greater than myself. My Mind is filled with joy from so many springs, it
delights in itself that it can suffer it and not be destroyed.
DANTE:
PAR C16 22-24 / DANTE PAR C16 22-24 / KLINE
Ditemi dunque, cara mia primizia, Tell me then, dear source of me,
quai fuor li vostri antichi e quai fuor li anni what was your ancestry, and what
che si segnaro in vostra püerizia; did the years record recorded in your youth.
PAR C16 25-27 / DANTE
ditemi de l'ovil di San Giovanni Tell me about the sheepfold of Saint John,
quanto era allora, e chi eran le genti how great Florence was then, and who
tra esso degne di più alti scanni. were the people worthy of highest places there.
PAR C16 28-33 / KLINE
As a coal bursts into flame at a breath of wind, so I saw that light shine out at my flattering words, and even as it grew
more beautiful to my sight, so, in a voice sweeter and gentler, but not in this current dialect of ours,
CACCIAGUIDA SPEAKS IN A ‘VOICE SWEETER AND GENTLER, BUT NOT IN THIS CURRENT DIALECT’.
139
PAR C16 34-45 / KLINE
he said: From the day that Ave was first spoken, to the day of my birth, when my mother, now a saint, unburdened
herself of my weight, this burning planet, [Mars], returned to his own constellation of the Lion, five hundred and eighty
times, to relight itself under his feet. My predecessors and I were born in the place where he who runs in the Corso,
your annual race, first encounters the last sesto of Saint Peter. Let that be enough about my ancestors, silence about who
they were and where they came from is more fitting than speech.’
CACCIAGUIDA: THE GROWTH OF FLORENCE.
CACCIAGUIDA:
PAR C16 46-48 / DANTE PAR C16 46-48 / KLINE
Tutti color ch'a quel tempo eran ivi At that time, between the statue of Mars, at the
da poter arme tra Marte e 'l Batista, Ponte Vecchio, and the Baptistery, all who were
eran il quinto di quei ch'or son vivi. capable of of bearing arms were only a fifth of
those living now.
THE STATUE OF MARS STOOD BY THE NORTHERN END OF THE PONTE VECCHIO, IN THE SOUTH OF THE CITY BY THE ARNO & THE
BAPTISTERY IN THE NORTH, MARKING THE OLD BOUNDARIES.
SIMIFONTI WAS A FORTRESS IN THE VALDELSA DESTROYED BY THE FLORENTINES IN 1202. THE CONTI GUIDI SOLD THEIR CASTLE
AT MONTEMURLO, BETWEEN PISTOIA & PRATO, TO FLORENCE IN 1254 BEING UNABLE TO DEFEND IT FROM THE PISTOIANS.
ACONE WAS PROBABLY IN THE VAL DE SIEVE. LUNI WAS ON THE MACRA, THE NORTHERN BOUNDARY OF TUSCANY. URBISAGLIA
WAS IN THE MARCH OF ANCONA. CHIUSI, IS ANCIENT CLUSIUM, IN THE MALARIAL VAL DI CHIANA. SINAGLIA IS ON THE
SEASHORE NORTH OF ANCONA.
PAR C16 49-51 / DANTE
Ma la cittadinanza, ch'è or mista But the citizenship saw itself as pure in blood,
di Campi, di Certaldo e di Fegghine, down to the humblest worker, that is now
pura vediesi ne l'ultimo artista. contaminated by the blood of Campi, Certaldo and
Fighine, the towns of the Contado.
PAR C16 52-54 / DANTE
Oh quanto fora meglio esser vicine O how much better it would be to have these
quelle genti ch'io dico, e al Galluzzo people as your neighbours, and your boundary
e a Trespiano aver vostro confine, south at Galuzzo, and north at Trespiano,
IN THE 11 TH C, GALUZZO & TRESPIANO WERE THE SOUTHERN & NORTHERN LIMITS OF FLORENTINE TERRITORY, WHICH DID NOT
INCLUDE AGUGLIONE OR SIGNA.

DANTE notes:
PAR C16 52-54 / DANTE
Oh quanto fora meglio esser vicine O how much better it would be to have these
quelle genti ch'io dico, e al Galluzzo people as your neighbours, and your boundary
e a Trespiano aver vostro confine, south at Galuzzo, and north at Trespiano,
CACCIAGUIDA:
PAR C16 55-57 / DANTE PAR C16 55-57 / KLINE
che averle dentro e sostener lo puzzo than to have them inside, and bear the foulness of
del villan d'Aguglion, di quel da Signa, that villain Baldo from Aguglion, or him of Signa,
che già per barattare ha l'occhio aguzzo! Fazio, whose eye is keen for abuse of office!
140
BALDO DA AGUGLIONE A LAWYER WHO DESERTED THE WHITES FROM THE BLACKS IN 1302. BALDO WAS A PRIOR IN 1298 AND
1311, IN WHICH YEAR HE DREW UP THE DECREE RECALLING THE EXILES, BUT EXPRESSLY EXCLUDING DANTE. IN 1299 HE HAD
BEEN CONVICTED OF TAMPERING WITH THE PUBLIC RECORDS OF THE COURTS.
FAZIO DE’ MORI UBALDINI DA SIGNA, A GUELPH, HELD SEVERAL FLORENTINE OFFICES FROM 1310 ONWARDS. HE WAS A FIERCE
OPPONENT OF THE WHITES.
PAR C16 58-66 / DANTE
Had that race, the most degenerate on earth, been benign, like a mother to her son, and not been a hostile stepmother to
Caesar, one of those who is a Florentine now, merchant and moneychanger, would have been sent back to Simifonte,
where his grandfather was a beggar. Montemurlo would still house the Conti, the Cerchi would still be in Acone’s
parish, and the Buondelmonti perhaps still in Val di Greve.
CACCIAGUIDA NOW HAS ON HIS MAIL CHAUSSES AND MAIL COIF. HE PUTS ON HIS MAIL COAT.
CACCIAGUIDA:
PAR C16 67-69 / DANTE PAR C16 67-69 / KLINE
Sempre la confusion de le persone Confusion of people was always
principio fu del mal de la cittade, the source of the city’s sorrows,
come del vostro il cibo che s'appone; as mixed food is of the body’s.
PAR C16 70-72 / DANTE
e cieco toro più avaccio cade And a blind bull falls more heavily
che cieco agnello; e molte volte taglia than a blind lamb, and one sword often cuts
più e meglio una che le cinque spade. keener, and deeper, than five.
PAR C16 73-75 / DANTE
Se tu riguardi Luni e Orbisaglia If you look how the cities of Luni and Sinaglia
come sono ite, e come se ne vanno are done for, and Chiusi
di retro ad esse Chiusi e Sinigaglia, and Sinaglia following them,
PAR C16 76-78 / DANTE
udir come le schiatte si disfanno it will not seem strange or difficult to understand
non ti parrà nova cosa né forte, how families destroy themselves,
poscia che le cittadi termine hanno. since even cities have an end.
PAR C16 79-81 / DANTE
Le vostre cose tutte hanno lor morte, Everything of yours comes to an end, as you will,
sì come voi; ma celasi in alcuna but in things which last a while,
che dura molto, e le vite son corte. it is not noticed, because your lives are short.
PAR C16 82-84 / DANTE
E come 'l volger del ciel de la luna And as the turning of the lunar sphere
cuopre e discuopre i liti sanza posa, covers and uncovers the shoreline, endlessly,
così fa di Fiorenza la Fortuna: So Fortune handles Florence,
PAR C16 85-87 / DANTE
per che non dee parer mirabil cosa so that it should not seem remarkable
ciò ch'io dirò de li alti Fiorentini when I speak of the noble Florentines,
onde è la fama nel tempo nascosa. whose fame is buried by time.
CACCIAGUIDA GOES OUT OF SIGHT AGAIN AND DANTE VERSIFIES.

141
DANTE:
PAR C16 46-48 / DANTE PAR C16 46-48 / KLINE
Tutti color ch'a quel tempo eran ivi At that time, between the statue of Mars, at the Ponte
da poter arme tra Marte e 'l Batista, Vecchio, and the Baptistery, all who were capable of
eran il quinto di quei ch'or son vivi. of bearing arms were only a fifth of those living now.
PAR C16 49-51 / DANTE
Ma la cittadinanza, ch'è or mista But the citizenship saw itself as pure in blood,
di Campi, di Certaldo e di Fegghine, down to the humblest worker, that is now
pura vediesi ne l'ultimo artista. contaminated by the blood of Campi, Certaldo and
Fighine, the towns of the Contado.
PAR C16 52-54 / DANTE
Oh quanto fora meglio esser vicine O how much better it would be to have these people
quelle genti ch'io dico, e al Galluzzo as your neighbours, and your boundary
e a Trespiano aver vostro confine, south at Galuzzo, and north at Trespiano,
PAR C16 55-57 / DANTE PAR C16 55-57 / KLINE
che averle dentro e sostener lo puzzo than to have them inside, and bear the foulness of
del villan d'Aguglion, di quel da Signa, that villain Baldo from Aguglion, or him of Signa,
che già per barattare ha l'occhio aguzzo! Fazio, whose eye is keen for abuse of office!
PAR C16 58-66 / KLINE
Had that race, the most degenerate on earth, been benign, like a mother to her son, and not been a hostile stepmother to
Caesar, one of those who is a Florentine now, merchant and moneychanger, would have been sent back to Simifonte,
where his grandfather was a beggar. Montemurlo would still house the Conti, the Cerchi would still be in Acone’s
parish, and the Buondelmonti perhaps still in Val di Greve.
PAR C16 67-69 / DANTE PAR C16 67-69 / KLINE
Sempre la confusion de le persone Confusion of people was always
principio fu del mal de la cittade, the source of the city’s sorrows,
come del vostro il cibo che s'appone; as mixed food is of the body’s.
PAR C16 70-72 / DANTE
e cieco toro più avaccio cade And a blind bull falls more heavily
che cieco agnello; e molte volte taglia than a blind lamb, and one sword often cuts
più e meglio una che le cinque spade. keener, and deeper, than five.
PAR C16 73-75 / DANTE
Se tu riguardi Luni e Orbisaglia If you look how the cities of Luni and Sinaglia
come sono ite, e come se ne vanno are done for, and Chiusi
di retro ad esse Chiusi e Sinigaglia, and Sinaglia following them,
PAR C16 76-78 / DANTE
udir come le schiatte si disfanno it will not seem strange or difficult to understand
non ti parrà nova cosa né forte, how families destroy themselves,
poscia che le cittadi termine hanno. since even cities have an end.
PAR C16 79-81 / DANTE
Le vostre cose tutte hanno lor morte, Everything of yours comes to an end, as you will,
sì come voi; ma celasi in alcuna but in things which last a while,
che dura molto, e le vite son corte. it is not noticed, because your lives are short.
PAR C16 82-84 / DANTE
E come 'l volger del ciel de la luna And as the turning of the lunar sphere
cuopre e discuopre i liti sanza posa, covers and uncovers the shoreline, endlessly,
così fa di Fiorenza la Fortuna: So Fortune handles Florence,
PAR C16 85-87 / DANTE
per che non dee parer mirabil cosa so that it should not seem remarkable
ciò ch'io dirò de li alti Fiorentini when I speak of the noble Florentines,
onde è la fama nel tempo nascosa. whose fame is buried by time.
CACCIAGUIDA RETURNS, PULLING HIS VAULTING-HORSE BY THE REINS.

CACCIAGUIDA
PAR C16 88-90 / DANTE PAR C16 88-90 / KLINE
Io vidi li Ughi e vidi i Catellini, I have seen the Ughi, seen the Catellini,
Filippi, Greci, Ormanni e Alberichi, the Filippi, Grechi, Ormanni and Alberichi,
già nel calare, illustri cittadini; illustrious families already on the wane.
PAR C16 91-93 / DANTE
e vidi così grandi come antichi, And with Sannella, as great as ancient,
con quel de la Sannella, quel de l'Arca, I have seen Arca,
e Soldanieri e Ardinghi e Bostichi. Soldanieri, Ardinghi and Bostichi.
GIANNI DE’SOLDANIERI, A GHIBELLINE WHO NEVERTHELESS BECAME LEADER OF THE GUELPH COMMONS OF FLORENCE, WHEN
THEY REBELLED AGAINST THE GOVERNMENT OF GUIDO NOVELLO & THE GHIBELLINE NOBLES AFTER MANFRED’S DEFEAT AT
BENEVENTO IN 1265.
PAR C16 94-96 / DANTE
Sovra la porta ch'al presente è carca Over the gate of Porta San Piero,
di nova fellonia di tanto peso which is now heavy with the Cerchi’s new crimes,
che tosto fia iattura de la barca, that will soon lead to shipwreck,
PAR C16 97-99 / DANTE
erano i Ravignani, ond' è disceso the Ravignani lived, from whom
il conte Guido e qualunque del nome the Conti Guidi are descended, and those
de l'alto Bellincione ha poscia preso. who have since taken noble Bellincioni’s name.
PAR C16 100-102 / DANTE
Quel de la Pressa sapeva già come The Della Pressa already knew how to govern,
regger si vuole, e avea Galigaio and Galigaio in his house, already had
dorata in casa sua già l'elsa e 'l pome. the gilded hilt and pommel of knighthood.
PAR C16 103-105 / DANTE
Grand' era già la colonna del Vaio, The vair column of the Pigli was already great,
Sacchetti, Giuochi, Fifanti e Barucci the Sacchetti, Giuochi, Fifanti and the Barucci,
e Galli e quei ch'arrossan per lo staio. the Galli, and the Chiaramontesi who blush for
falsifying the measure.
PAR C16 106-108 / DANTE
Lo ceppo di che nacquero i Calfucci The stock the Calfucci sprang from
era già grande, e già eran tratti was great already, and the Sizi
a le curule Sizii e Arrigucci. and Arrigucci were already civic dignitaries.
PAR C16 109-111 / DANTE
Oh quali io vidi quei che son disfatti Oh how great I have seen them, those Uberti, now
per lor superbia! e le palle de l'oro destroyed by pride! And the Lamberti’s device
fiorian Fiorenza in tutt' i suoi gran fatti. of the golden balls adorned Florence in all her great
actions.
PAR C16 112-114 / DANTE
Così facieno i padri di coloro So did their fathers, who, now,
che, sempre che la vostra chiesa vaca, whenever the Bishop’s See is vacant
si fanno grassi stando a consistoro. stand guzzling in the consistory.
CACCIAGUIDA TAKES HIS GAUNTLETS FROM THE WOODEN SQUIRE, PUTS ON HIS HELMET AND VAULTS INTO
THE SADDLE OF HIS HORSE.
CACCIAGUIDA
PAR C16 115-117 / DANTE PAR C16 115-117 / KLINE
L'oltracotata schiatta che s'indraca The outrageous race, the house of Adimari,
dietro a chi fugge, e a chi mostra 'l dente that is a dragon to those who flee it, and is as quiet
o ver la borsa, com' agnel si placa, as a lamb to those who show their teeth, or purse,
ADIMARI: AN ANCIENT FLORENTINE FAMILY. FILIPPO ARGENTI BELONGED TO ONE BRANCH OF THE FAMILY. UBERTINO DONATI,
THE ANCESTOR OF DANTE’S WIFE GEMMA, HAD MARRIED ONE OF THE DAUGHTERS OF BELLINCION BERTI, A SISTER OF
GUALDRADA & STRONGLY OBJECTED TO HIS FATHER-IN-LAW GIVING THE HAND OF A THIRD DAUGHTER TO ONE OF THE ADIMARI.
A FOURTH DAUGHTER MAY HAVE BEEN THE WIFE OF DANTE’S GREAT-GRANDFATHER ALIGHIERO I.
142

PAR C16 118-120 / DANTE
già venìa sù, ma di picciola gente; was rising already, but from humble people, so that
sì che non piacque ad Ubertin Donato Ubertino Donati was not pleased when Bellincion
che poï il suocero il fé lor parente. his father-in-law made him a relative of them by
marriage.
PAR C16 121-123 / DANTE
Già era 'l Caponsacco nel mercato Caponsacco had already come down from Fiesole
disceso giù da Fiesole, e già era to the marketplace, and Guida
buon cittadino Giuda e Infangato. and Infangato were already good citizens.
PAR C16 124-126 / DANTE
Io dirò cosa incredibile e vera: I will tell you something unbelievable but true,
nel picciol cerchio s'entrava per porta the little circle of walls was entered by a gate,
che si nomava da quei de la Pera. named after the Della Pera.
PAR C16 127-129 / DANTE
Ciascun che de la bella insegna porta Everyone who carries any of the fair device of the
del gran barone il cui nome e 'l cui pregio great Baron, Hugo of Brandenburg, whose name
la festa di Tommaso riconforta, and worth is kept alive by the festival of Saint
Thomas,
HUGO OF BRANDENBURG, IMPERIAL VICAR OF TUSCANY FOR OTHO III, DIED ON SAINT THOMAS’S DAY.
PAR C16 130-132 / DANTE
da esso ebbe milizia e privilegio; though the Della Bella who fringes it
avvegna che con popol si rauni with gold, has now joined
oggi colui che la fascia col fregio. the party of the people.
PAR C16 133-135 / DANTE
Già eran Gualterotti e Importuni; There were Gualterotti and Importuni already, and
e ancor saria Borgo più quïeto, the Borgo Santi Apostoli would be a quieter place
se di novi vicin fosser digiuni. if they did not have the Buondelmonti for new
neighbours.
143
PAR C16 136-138 / DANTE
La casa di che nacque il vostro fleto, The house, the Amedei, from which, O
per lo giusto disdegno che v'ha morti Buondelmonte, your grief sprang, because of
e puose fine al vostro viver lieto, righteous anger which murdered you and put an
end to your joyful life,
BUONDELMONTI, BUONDELMONTE DE’ WAS BETROTHED TO A DAUGHTER OF THE AMIDEI, BUT BROKE FAITH AT THE INSTIGATION
OF GUALDRADA DONATI. IN THE DEBATE AS TO WHETHER HE SHOULD BE KILLED MOSCA SAID THE EVIL WORD, ‘A THING DONE
HAS AN END.’ BUONDELMONTE WAS MURDERED, AT THE FOOT OF THE STATUE OF MARS, ON THE PONTE VECCHIO, IN 1215. THE
FAMILY DIVISIONS CREATED THE GUELPH & GHIBELLINE FACTIONAL CONFLICTS.
PAR C16 139-141 / DANTE
era onorata, essa e suoi consorti: was honoured, it, and its associates.
o Buondelmonte, quanto mal fuggisti How wrong you were to reject
le nozze süe per li altrui conforti! its marriage-rite at another’s prompting!
PAR C16 142-144 / DANTE
Molti sarebber lieti, che son tristi, Many would have been happy who are now
se Dio t'avesse conceduto ad Ema saddened,if God had committed you to the small
la prima volta ch'a città venisti. stream, the Ema, the first time you crossed it to
reach the city.
PAR C16 145-147 / DANTE
Ma conveniesi a quella pietra scema But it was fitting that Florence should sacrifice
che guarda 'l ponte, che Fiorenza fesse a victim to that mutilated stone of Mars,
vittima ne la sua pace postrema. that guards the bridge, in her last time of peace.
PAR C16 148-150 / DANTE
Con queste genti, e con altre con esse, I saw Florence in such calm repose,
vid' io Fiorenza in sì fatto riposo, with these men and others like them,
che non avea cagione onde piangesse. that she had no reason for grief.

PAR C16 151-153 / DANTE
Con queste genti vid'io glorïoso I saw her people, so glorious and just, with these
e giusto il popol suo, tanto che 'l giglio men to serve them, that her arms of the white
non era ad asta mai posto a ritroso, lily were never reversed on the standard,
PAR C16 154 / DANTE
né per divisïon fatto vermiglio. nor the lily dyed red by division.
DANTE VERSIFIES POINTEDLY AND CLOSES THE CANTO.
DANTE:
PAR C16 151-153 / DANTE PAR C16 151-153 / KLINE
Con queste genti vid'io glorïoso I saw her people, so glorious and just, with these
e giusto il popol suo, tanto che 'l giglio men to serve them, that her arms of the white lily
non era ad asta mai posto a ritroso, were never reversed on the standard,
PAR C16 154 / DANTE
né per divisïon fatto vermiglio. nor the lily dyed red by division.
CANTO 17
PAR C17 1-12 / KLINE
As Phaethon, he who still makes father’s give grudgingly to their sons, came to his mother, Clymene, to receive
reassurance, of what he had heard thrown back at him, so I: and so did I seem to Beatrice, and that sacred flame, who
had already changed his position for my sake. At which my Lady said: Emit the heat of your desire, so that it may flow,
truly stamped with the internal seal, not so that our knowledge increases by your speaking, but so that you may learn
how to speak of your thirst, so that men may quench it.
DANTE:
PAR C17 13-15 / DANTE PAR C17 13-15 / KLINE
O cara piota mia che sì t'insusi, Dear ground of myself, in which I am rooted,
che, come veggion le terrene menti who are lifted up so high, that,
non capere in trïangol due ottusi, gazing on that point, to which all time is present,
PAR C17 16-18 / DANTE
così vedi le cose contingenti you see contingent things, before they themselves
anzi che sieno in sé, mirando il punto exist, as earthbound minds see that two obtuse
a cui tutti li tempi son presenti; angles cannot exist in one triangle,
PAR C17 19-21 / DANTE
mentre ch'io era a Virgilio congiunto heavy words were said to me, about my future,
su per lo monte che l'anime cura while Virgil accompanied me,
e discendendo nel mondo defunto, descending through the dead world,
PAR C17 22-24 / DANTE
dette mi fuor di mia vita futura and around the Mount
parole gravi, avvegna ch'io mi senta that purifies souls: though I feel well set
ben tetragono ai colpi di ventura; to resist Fortune’s blows,
♫PROPHECY MOTIF: SOFT * * * * * * * * * *
PAR C17 24
144

URANIA, THE MUSE OF PROPHECY, ENTERS TO WITNESS AND SHARPEN DANTE’S PAIN.
SHE IS BEHIND HIM, WITH HER BACK TO THE AUDIENCE.
DANTE:
PAR C17 25-27 / DANTE PAR C17 25-27 / KLINE
per che la voglia mia saria contenta so that my mind would be content to hear
d'intender qual fortuna mi s'appressa: what fate comes towards to me, since the arrow
ché saetta previsa vien più lenta. seen in advance arrives less suddenly.
PAR C17 28-36 / KLINE
So I spoke, to that same light who had addressed me previously, and confessed my wish, as Beatrice wanted. That
paternal love, revealed or hidden by its own smile, did not reply in dark prophecies that misled the foolish ancients,
before the Lamb of God who takes away sin, was killed, but in clear words, and with precise statements:
CACCIAGUIDA:
PAR C17 37-39 / DANTE PAR C17 37-39 / KLINE
La contingenza, che fuor del quaderno Contingent things, which do not extend
de la vostra matera non si stende, beyond your world of matter,
tutta è dipinta nel cospetto etterno; are all outlined in the eternal gaze,
PAR C17 40-42 / DANTE
necessità però quindi non prende though pre-determination does not follow from
se non come dal viso in che si specchia this; no more than a boat slipping downstream
nave che per torrente giù discende. is driven by the eye in which it is reflected.
PAR C17 43-45 / DANTE
Da indi, sì come viene ad orecchia From that, what is in store for you
dolce armonia da organo, mi viene is visible to me, as a sweet harmony
a vista il tempo che ti s'apparecchia. comes from an organ.
♫PROPHECY MOTIF: LOUD * * * * * * * * * *
PAR C17 45
CACCIAGUIDA:
PAR C17 46-48 / DANTE PAR C17 46-48 / KLINE
Qual si partio Ipolito d'Atene You must be exiled from Florence., as
per la spietata e perfida noverca, Hippolytus was exiled from Athens, through the
tal di Fiorenza partir ti convene. spite and lies of Phaedra, his stepmother.
CACCIAGUIDA:
PAR C17 48 / DANTE PAR C17 48 / KLINE
tal di Fiorenza partir ti convene. You must be exiled from Florence,
DANTE IS TRANSFIXED. AFTER A LONG MOMENT HE TURNS TO THE AUDIENCE, ATTEMPTING TO CONTROL HIS
GRIEF.
CACCIAGUIDA:
PAR C17 49-51 / DANTE PAR C17 49-51 / KLINE
Questo si vuole e questo già si cerca, It is already willed so, and already planned, and
e tosto verrà fatto a chi ciò pensa will be accomplished soon, by Boniface who
là dove Cristo tutto dì si merca. ponders it, in that place where, every day Christ is
sold.
PAR C17 52-54 / DANTE
La colpa seguirà la parte offensa The cry will put the blame on the injured party,
in grido, come suol; ma la vendetta as is usual, but truth will bear witness
fia testimonio al ver che la dispensa. to itself, by the revenge it takes.
145

PAR C17 55-57 / DANTE
Tu lascerai ogne cosa diletta You will lose everything
più caramente; e questo è quello strale you love most dearly:
che l'arco de lo essilio pria saetta. that is the arrow that Exile’s bow will fire.
URANIA, THE ASSASSIN, STEPS UP TO DANTE AND TRANSFIXES HIM AGAIN - WITH AN ARROW.
DANTE CLUTCHES HIS HEART, SWAYS AND SINKS TO HIS KNEES. URANIA EXITS JAUNTILY.
CACCIAGUIDA:
PAR C17 58-60 / DANTE PAR C17 58-60 / KLINE
Tu proverai sì come sa di sale You will prove how bitter the taste
lo pane altrui, e come è duro calle of another man’s bread is, and how hard
lo scendere e 'l salir per l'altrui scale. it is to descend, and climb, another man’s stair.
DANTE MURMURS.
DANTE:
PAR C17 58-60 / DANTE PAR C17 58-60 / KLINE
Tu proverai sì come sa di sale You will prove how bitter the taste
lo pane altrui, e come è duro calle of another man’s bread is, and how hard
lo scendere e 'l salir per l'altrui scale. it is to descend, and climb, another man’s stair.
CACCIAGUIDA:
PAR C17 61-63 / DANTE PAR C17 61-63 / KLINE
E quel che più ti graverà le spalle, And what will bow your shoulders down
sarà la compagnia malvagia e scempia will be the vicious and worthless company
con la qual tu cadrai in questa valle; with whom you will fall into. this abyss,
PAR C17 64-66 / DANTE
che tutta ingrata, tutta matta ed empia since they They will all be ungrateful, fierce
si farà contr' a te; ma, poco appresso, and disrespectful to you: but not long after,
ella, non tu, n'avrà rossa la tempia. their cheeks, not yours will blush for it.
PAR C17 67-69 / DANTE
Di sua bestialitate il suo processo Their fate will demonstrate their brutishness,
farà la prova; sì ch'a te fia bello so that it will be to your credit
averti fatta parte per te stesso. to have formed a party of one.
146
CACCIAGUIDA REVEALS DANTE’S FAST APPROACHING EXILE FROM FLORENCE, ENGINEERED BY ROME. DANTE WAS SENTENCED
WITH 4 OTHERS TO FINE & BANISHMENT ON JANUARY 27TH 1302. WITH 15 OTHERS, HE WAS SENTENCED TO DEATH BY BURNING,
ON MARCH 10TH. THE WHITES WERE EXPELLED FROM FLORENCE ON APRIL 4TH, BETWEEN JUNE 8TH 1302 & JUNE 18TH 1303 HE
BROKE AWAY FROM THEM (BECOMING ‘A PARTY OF ONE’) IN DISGUST & TOOK REFUGE WITH BARTOLOMMEO DELLA SCALA AT
VERONA.
PAR C17 70-72 / DANTE PAR C17 70-93 / KLINE
Lo primo tuo refugio e 'l primo ostello Your first refuge and first lodging will be by
sarà la cortesia del gran Lombardo courtesy of the great Lombard, Bartolomeo della
che 'n su la scala porta il santo uccello; Scala, whose arms are the sacred eagle atop a ladder.,
PAR C17 73-75 / DANTE
ch'in te avrà sì benigno riguardo, since he He will cast such a friendly gaze on you,
che del fare e del chieder, tra voi due, that, between you, in request and fulfilment,
fia primo quel che tra li altri è più tardo. that will be first., which between others comes last.

PAR C17 76-78 / DANTE
Con lui vedrai colui che 'mpresso fue, With him will be Can Grande, the one
nascendo, sì da questa stella forte, who was so marked at birth by this potent planet
che notabili fier l'opere sue. that his actions will be notable.
147
FRANCESCO CAN GRANDE DELLA SCALA: (1291-1329), PROBABLY THE ‘GREYHOUND’ OF CANTO I, DANTE’S PATRON AT
VERONA TO WHOM THE PARADISO WAS DEDICATED & WHO SHELTERED HIM FROM 1316. HE RECEIVED THE LAST THIRTEEN
CANTOS OF THE PARADISO, LEFT UNFINISHED AT DANTE’S DEATH, FROM DANTE’S SON JACOPO. HE BECAME LORD OF VERONA IN
1311, WAS AN IMPERIAL VICAR & IN 1318 THE HEAD OF THE GHIBELLINE PARTY. HE WAS AN ART PATRON & KEPT A CIVILISED &
STATELY COURT. CAN GRANDE WAS ONE OF THE GREAT MILITARY MEN OF HIS AGE. IN 1311 HE SHOWED HIS METTLE BY
RECOVERING BRESCIA & TAKING VICENZA. HE IS MENTIONED AS BEING NINE YEARS OLD (NINE YEARS & ONE MONTH IN APRIL
1300).
PAR C17 79-93 / KLINE
People have not yet taken due regard of him, because of his age, since these spheres have only revolved round him for
nine years. But before Pope Clement the Fifth, the Gascon, has deceived the Emperor, Henry the Seventh, the gleam his
virtue will be apparent in his indifference to money or to hard labour. His generous actions will eventually be known, so
that even his enemies will not be able to stay silent about them. Look to him and to his gifts. Many people will be
changed by him, their conditions altered, the wealthy and the poor: and you will carry it inscribed in your memory of
him, but will not speak it’: and he told me many things incredible even to those who shall see them.
CACCIAGUIDA:
PAR C17 94-96 / DANTE PAR C17 94-96 / KLINE
Poi giunse: «Figlio, queste son le chiose Then he added: My son, these are my comments
di quel che ti fu detto; ecco le 'nsidie on what has been said to you,:
che dietro a pochi giri son nascose. see the difficulties hidden by a few rotations.
PAR C17 97-99 / DANTE
Non vo' però ch'a' tuoi vicini invidie, But I would not want you to be envious
poscia che s'infutura la tua vita of your neighbours, since you will live far beyond
vie più là che 'l punir di lor perfidie». the punishment that will fall on their infamies.
PAR C17 100-105 / KLINE
When the sacred soul, by his silence, showed that he had finished passing the weft through the warp I had stretched out
ready for him, I began, like a man who, doubting, longs for advice from one who sees straight, wills the right, and
loves:
DANTE BEGINS ‘LIKE A MAN WHO, DOUBTING, LONGS FOR ADVICE FROM ONE WHO SEES STRAIGHT, WILLS
THE RIGHT, AND LOVES’.
DANTE:
PAR C17 106-108 / DANTE PAR C17 106-108 / KLINE
«Ben veggio, padre mio, sì come sprona My father, I see clearly how time comes spurring
lo tempo verso me, per colpo darmi at me, to give me such a blow,
tal, ch'è più grave a chi più s'abbandona; one heaviest to those who lose themselves,
PAR C17 109-111 / DANTE
per che di provedenza è buon ch'io m'armi, so that it is best for me to arm myself with foresight,
sì che, se loco m'è tolto più caro, so that if the dearest place is denied me,
io non perdessi li altri per miei carmi. I do not lose all other refuge because of my writings.
PAR C17 112-114 / DANTE
Giù per lo mondo sanza fine amaro, Down in the world, endlessly bitter,
e per lo monte del cui bel cacume and around the Mount from whose summit
li occhi de la mia donna mi levaro, my Lady’s eyes raised me,
PAR C17 115-117 / DANTE
e poscia per lo ciel, di lume in lume, and, afterwards, through the Heavens from light
ho io appreso quel che s'io ridico, to light, I have learnt things, that if I tell them
a molti fia sapor di forte agrume; again, will savour of acrid pungency to many:
PAR C17 118-120 / DANTE
e s'io al vero son timido amico, and if I am a shrinking friend to truth,
temo di perder viver tra coloro I fear to lose life among those
che questo tempo chiameranno antico». who will call this time ancient.

PAR C17 121-123 / KLINE
That light, in which my treasure, that I had found there, was smiling, first coruscated like a golden mirror in the sun’s
rays,
CACCIAGUIDA:
PAR C17 124-126 / DANTE PAR C17 124-126 / KLINE
indi rispuose: «Coscïenza fusca then answered: A conscience darkened
o de la propria o de l'altrui vergogna by its own shame, or another’s,
pur sentirà la tua parola brusca. will truly find your words harsh,
PAR C17 127-129 / DANTE
Ma nondimen, rimossa ogne menzogna, but reveal all your Vision, nonetheless,
tutta tua visïon fa manifesta; avoid all lies, and
e lascia pur grattar dov' è la rogna. let them scratch if they find a scab,
PAR C17 130-132 / DANTE
Ché se la voce tua sarà molesta since though your words may be bitter
nel primo gusto, vital nodrimento at first tasting, they will still be vital food
lascerà poi, quando sarà digesta. afterwards when they digest them.
PAR C17 133-135 / DANTE
Questo tuo grido farà come vento, This outcry of yours, will do as the wind does,
che le più alte cime più percuote; that strikes the highest summits hardest,
e ciò non fa d'onor poco argomento. and that will be no small cause of honour.
PAR C17 136-142 / KLINE
So, only spirits known for their fame have been shown to you, in these spheres, along the Mount, and in the sad depths,
since the souls of those who hear will not be content with, or truly believe in, examples that have unknown and hidden
roots, nor any other obscure argument.
■ - ■ - ■
♫MUSIC * * * * * * * * * *
PAR C17 135
CELESTIAL 7
■ - ■ - ■
CANTO 18
PAR C18 1-3 / KLINE
That mirror of the blessed was already joying only in his own discourse, and I was tasting mine, tempering the sweet
with the bitter:
BEATRICE ENTERS. DANTE GAZES AT HER JOYFULLY AND RISES FROM HIS KNEES.
148

BEATRICE:
PAR C18 4-6 / DANTE PAR C18 4-6 / KLINE
e quella donna ch'a Dio mi menava and that Lady who was leading me to God said:
disse: Muta pensier; pensa ch'i' sono Change your thoughts, remember that I am
presso a colui ch'ogne torto disgrava. near to Him, who disburdens us of every wrong.
PAR C18 7-18 / KLINE
I turned to the beloved voice of my comfort, and I forgo speaking here of what love I saw, in those sacred eyes: not
merely because I am diffident about my words, but because of my memory which cannot climb again, so far beyond
itself, unless another guides it. I can only say this much, about that moment, that as I gazed at her, my affections were
free of any other desire, while the eternal joy that shone directly on to Beatrice, contented me with its reflection from
her lovely face.
149
BEATRICE:
PAR C18 19-21 / DANTE PAR C18 19-21 / KLINE
Vincendo me col lume d'un sorriso, Overcoming me with the light of her smile,
ella mi disse: Volgiti e ascolta; she said to me: Turn now, and listen… non pur
ché non pur ne' miei occhi è paradiso. ne' miei occhi…for not only in my eyes is Paradise.
PAR C18 22-42 / KLINE
Just as we sometimes read affection, here, in a face, if it is so great that the whole mind is seized by it, so in the flaming
of his sacred glow to which I turned, I knew the desire in him to speak to me still. He started: In this fifth canopy of the
tree, which takes life from its crown, and is always in fruit, never shedding leaves, are spirits, who are blessed, who had
great names below, before they came to Heaven, so that every Muse would be made richer by them. So look at the
horns of the cross, and he whom I will name, will there enact the lightning in a cloud. I saw a light traced along the
cross, as Joshua was named, and the word was not complete for me before the action. And at the name of the great
Maccabeus, I saw another light move, revolving, and delight was like the whip to the spinning-top.
PAR C18 43-48 / KLINE
So for Charlemagne and Roland, two more, followed by my keen gaze, as the eye follows a hawk in flight. Then
William of Orange, Renard, his brother-in-law, Duke Godfrey of Bouillon, and Robert Guiscard.
■ - ■ - ■
PLANETARY SPHERE 6: JUPITER
white (colour nominated by Dante)
CELESTIAL 8
■ - ■ - ■
DANTE LOOKS AT HEAVEN THEN WRITES AND READS.
PAR C18 58-60 / DANTE PAR C18 58-60 / KLINE
E come, per sentir più dilettanza As a man sees that, day by day,
bene operando, l'uom di giorno in giorno by feeling more delight in achieving good things,
s'accorge che la sua virtute avanza, his virtue increases,
PAR C18 61-63 / DANTE
sì m'accors' io che 'l mio girare intorno so I saw that my circling, with the Heavens,
col cielo insieme avea cresciuto l'arco, had increased its orbit, while I watched
veggendo quel miracol più addorno. the miraculous vision becoming more adorned.
DANTE:
PAR C18 64-66 / DANTE PAR C18 64-66 / KLINE
E qual è 'l trasmutare in picciol varco And the The change that quickly crosses
di tempo in bianca donna, quando 'l volto a lady’s white face, when she throws
suo si discarchi di vergogna il carco, off a weight of shame,

PAR C18 67-69 / DANTE
tal fu ne li occhi miei, quando fui vòlto, was offered to my eyes, when I turned,
per lo candor de la temprata stella because of the white radiance of Jupiter, the
sesta, che dentro a sé m'avea ricolto. sixth, temperate planet, that had received me.
PAR C18 70-72 / DANTE
Io vidi in quella giovïal facella In that joyous torch I saw the sparkle
lo sfavillar de l'amor che lì era of the love inside it, signing letters,
segnare a li occhi miei nostra favella. of our language, to my eyes.
PAR C18 73-75 / DANTE
E come augelli surti di rivera, And, as birds, rising from the river-bank,
quasi congratulando a lor pasture, make flock in wheeling or extended shapes,
fanno di sé or tonda or altra schiera, as if they were delighted by their pastures,
PAR C18 76-78 / DANTE
sì dentro ai lumi sante creature so the sacred beings
volitando cantavano, e faciensi in the lights sang, flying,
or D, or I, or L in sue figure. and formed now d or i or l.
PAR C18 79-81 / DANTE
Prima, cantando, a sua nota moviensi; First they moved to the note they were singing,
poi, diventando l'un di questi segni, then, as they shaped one of these letters,
un poco s'arrestavano e taciensi. would stop for a moment and stay silent.
PAR C18 82-84 / DANTE PAR C18 82-84 / KLINE
O diva Pegasëa che li 'ngegni O diva Pegasëa O Muse, Goddess of the fount of
fai glorïosi e rendili longevi, Pegasus, who makes intellect glorious, and gives it
ed essi teco le cittadi e ' regni, enduring life, as it, with your help, does cities and
countries,
PAR C18 85-87 / DANTE
illustrami di te, sì ch'io rilevi illuminate me with yourself, so that I can show
le lor figure com' io l'ho concette: their figures in relief, as I hold them in mind:
paia tua possa in questi versi brevi! let your power be shown in these brief words.
URANIA ENTERS AT DANTE’S INVOCATION AND SEES HIM ALIVE AND JOYFUL. HER ENTRY, UNSEEN BY
DANTE, INSPIRES HIM, BUT SHE IS NOT HAPPY. AS DANTE SPEAKS./.READS, SHE TAKES THE ARROWS FROM
HER QUIVER, ONE BY ONE. SHE PLACES THEM TOGETHER CAREFULLY AND BREAKS THEM OVER HER KNEE.
THIS DEMONSTRATES HER SUPERNATURAL STRENGTH AND AVOIDS THE DESTROYING-ONES-WEAPONS (GOLF
CLUBS?)-ONE-BY-ONE-CLICHÉ. EXIT URANIA.
DANTE:
PAR C18 73-75 / DANTE PAR C18 73-75 / KLINE
E come augelli surti di rivera, And, as birds, rising from the river-bank,
quasi congratulando a lor pasture, make flock in wheeling or extended shapes,
fanno di sé or tonda or altra schiera, as if they were delighted by their pastures,
PAR C18 76-78 / DANTE
sì dentro ai lumi sante creature so the sacred beings
volitando cantavano, e faciensi in the lights sang, flying,
or D, or I, or L in sue figure. and formed now d or i or l.
PAR C18 79-81 / DANTE
Prima, cantando, a sua nota moviensi; First they moved to the note they were singing,
poi, diventando l'un di questi segni, then, as they shaped one of these letters,
un poco s'arrestavano e taciensi. would stop for a moment and stay silent.
■ - ■ - ■
150

CHESS / CHANSON DE ROLAND 5 1526 - 1760
[CP 45 / BS] - [CP 46 / TABLE BS] - [CP 47 / BS LIBRARY] WINDOWS UNDIVIDED
FRANCIS AND THE LEPER
(This equestrian episode dates from before he founded the Franciscans but fits the Chess /
Chanson.)
Clare Pictures 45: Francis rides across the plain
Francis rides across the Umbrian plain…
Clare Pictures 46: A leper feebly flees Francis
…after a leper, who appears to be feebly fleeing from him.
Clare Pictures 47: Francis rides across the plain
Francis has dismounted and is embracing the leper.
THE BLACK PIECES PREDOMINATE.
● SIGIER:
1526 Un Sarrazin i out de Sarraguce, A Sarrazin was there, of Sarraguce,
1527 De la citet l'une meitet est sue: Of that city one half was his by use,
1528 Ço est Climborins, ki pas ne fut produme. Twas Climborins, a man was nothing proof;
1534 Siet el ceval qu'il cleimet Barbamusche, He sate his horse, which he called Barbamusche,
SIGIER MOVES A BLACK PIECE AND TAKES A WHITE ONE.
● PAGANS:
3298 Paien escrient, «Precieuse» l’apelent. Pagans cry out, by Preciuse! they swear.
LINE OUT OF ORDER
PRECIEUSE: BALIGANT’S SWORD.
○ FRANKS:
1544 Dient Franceis: «Deus quel doel de prodome!».God! say the Franks, Grief, such a man to lose!
CACCIAGUIDA ENTERS WITH HIS SWORD, SHIELD AND HOHENSTAUFEN BANNER. HE PLACES
THEM ON THE WALL AND JOINS THE FRANKS.
GRATIANUS MOVES A WHITE PAWN.
○ GRATIANUS:
1562 D'altre part est un paien, Valdabrun: From the other part a pagan Valdabron.
1563 Celoi levat le rei Marsiliun, Warden he'd been to king Marsilion,
1564 Sire est par mer de .IIII.C. drodmunz; And lord, by sea, of four hundred dromonds;
1565 N'i ad eschipre quis cleim se par loi nun. No sailor was but called his name upon;
1566 Jerusalem prist ja par traïsun, Jerusalem he'd taken by treason,
1567 Si violat le temple Salomon, Violated the Temple of Salomon,
1568 Le patriarche ocist devant les funz. The Patriarch had slain before the fonts.
1571 Siet el cheval qu'il cleimet Gramimund, He sate his horse, which he called Gramimond,
1574 Si vait ferir li riche duc Sansun, Going to strike e'en that rich Duke, Sanson;
SIGIER TAKES THE WHITE PAWN WITH THE VALDABRON PIECE.
151

○ FRANKS:
1579 Dient Franceis: «Deus quel doel de baron!». God! say the Franks, Grief for a brave baron!
WITH THE WHITE KNIGHT (ROLAND), GRATIANUS REMOVES THE VALDABRON BLACK PIECE
WHICH HAS JUST REMOVED THE WHITE PAWN.
● PAGANS:
1590 Dient paien(t) «Cist colp nus est mult fort!»The pagans say: 'Twas hard on us, that blow.
○ ROLAND / FOLCO:
1591 Respont Rollant: «Ne pois amer les voz; Answers Rollanz: Nay, love you I can not,
SIGIER MOVES A BLACK PIECE CLOSE TO THE WHITE KNIGHTS.
● SIGIER:
1653 La bataille est e merveillose e grant. Marvellous is the battle now and grand,
ROLAND / FOLCO CALLS TO OLIVER / BOËTHIUS.
152
○ ROLAND / FOLCO:
1702 Ço dist Rollant: «Cornerai l'olifant, Then says Rollanz: I'll wind this olifant,
1703 Si l'orrat Carles, ki est as porz passant. If Charles hear, where in the pass he stands,
1704 Jo vos plevis ja returnerunt Franc.» I pledge you now they will return, the Franks.
○ OLIVER / BOËTHIUS:
1705 Dist Oliver: «Vergoigne sereit grant Says Oliver: Great shame would come of that
1706 E reprover a trestuz voz parenz; And a reproach on every one, your clan,
○ ROLAND / FOLCO:
1713 Ço dit Rollant: «Forz est nostre bataille; Then says Rollant: Strong it is now, our battle;
1714 Jo cornerai, si l'orrat li reis Karles.» I'll wind my horn, so the King hears it., Charles.
○ OLIVER / BOËTHIUS:
1715 Dist Oliver: «Ne sereit vasselage! Says Oliver: That act were not a vassal's.
1716 Quant jel vos dis, cumpainz, vos ne deignastes.When I implored you, comrade, you were wrathful.
1719 Dist Oliver: «Par ceste meie barbe, Says Oliver: Now by my beard, Hereafter
1720 Se puis veeir ma gente sorur Alde, If I may see my gentle sister Alde,
1721 Ne jerrei(e)z ja mais entre sa brace!». She in her arms, I swear, shall never clasp you.
○ ROLAND / FOLCO:
1722 Ço dist Rollant: «Por quei me portez ire?» Then says Rollanz: Wherefore so wroth with me?
○ OLIVER / BOËTHIUS:
1723 (E cil) E il respont: «Cumpainz, vos le feïstes,He answers him: Comrade, it was your deed:
1724 Kar vasselage par sens nen est folie; Vassalage comes by sense, and not folly;
1725 Mielz valt mesure que ne fait estultie. Prudence more worth is than stupidity.
CHARLEMAGNE./.JUSTINIAN STANDS UP SUDDENLY AND LISTENS HARD.
○ GRATIANUS:
1753 Rollant ad mis l'olifan a sa buche, Rollant hath set the olifant to his mouth,
1754 Empeint le ben, par grant vertut le sunet. He grasps it well, and with great virtue sounds.
1755 Halt sunt li pui e la voiz est mult lunge, High are those peaks, afar it rings and loud,
1756 Granz .XXX. liwes l'oïrent il respundre. Thirty great leagues they hear its echoes mount.
1757 Karles l'oït e ses cumpaignes tutes. So Charles heard, and all his comrades round;

○ CHARLEMAGNE / JUSTINIAN:
1758 Ço dit li reis: «Bataille funt nostre hume!» Then said that King: Battle they do, our counts!
○● GUENELON / ALBERTUS MAGNUS:
1760 «S'altre le desist, ja semblast grant
mençunge! ».That were a lie, in any other mouth.
■ - ■ - ■
CELESTIAL 9
DANTE STOPS GAZING UPWARDS AND REPORTS.
DANTE: or DANTE:
PAR C18 88-90 / DANTE PAR C18 88-90 / KLINE
Mostrarsi dunque in cinque volte sette Then they showed themselves in thirty-five vowels
vocali e consonanti; e io notai and consonants, and I took note of the letters,
le parti sì, come mi parver dette. as they appeared one by one to me:
PAR C18 91-93 / DANTE
'DILIGITE IUSTITIAM', primai diligite justitiam: love righteousness, was the first
fur verbo e nome di tutto 'l dipinto; verb and noun, of the whole vision: qui judicatis
'QUI IUDICATIS TERRAM', fur sezzai. terram: you judges over earth, was the last.
PAR C18 94-96 / DANTE
Poscia ne l'emme del vocabol quinto Then they remained, ordered, in the m
rimasero ordinate; sì che Giove of the fifth word, so that Jupiter seemed silver
pareva argento lì d'oro distinto. in that region, pricked out with gold:
153
PAR C18 97-99 / DANTE
E vidi scendere altre luci dove and I saw other lights descending where the summit
era il colmo de l'emme, e lì quetarsi of the m was, and come to rest there, singing,
cantando, credo, il ben ch'a sé le move. I think, of the good that moves them towards
Himself.
PAR C18 100-108 / KLINE
Then, as innumerable sparks rise from a blow to a burning log, from which foolish people make auguries, more than a
thousand lights rose, it seemed to me, and some ascended steeply, some a little, just as the Sun, that lit them, ordained:
and when each one had come to rest in place, I saw an eagle’s neck and head outlined by that pricked out fire.
PAR C18 109-117 / KLINE
He who depicts it, has no one to guide him, but he himself guides, and from him that power flows into the mind, that
builds the eagle’s nest: the other beatitudes, who seemed at first content to entwine the m with lilies, by a slight motion,
in-filled the outline. O sweet planet, how great the quality and quantity of jewels, which made clear to me, that our
justice is an effect, of that Heaven you bejewel!
PAR C18 118-136 / KLINE
So that I beg the Mind in which your motion and your power has source, to gaze at the place from which smoke rises to
vitiate your light: and that the anger be roused once more, against the buying and selling, in the Temple, whose walls
were built by miracle and martyrdom. O soldiers of Heaven, whom I see, pray for those who have gone awry on earth,
following bad examples. It was custom once to war with the sword, now it is done by holding back spiritual bread, here
and there, that the tender Father denies to no one: but you, Boniface, who only write in order to cancel out the lines,
think that Paul and Peter are living still, who died for the vineyard you destroy. Though indeed, you may say: ‘I have so
fixed my desires on him, en-coined, the Baptist, who lived a solitary life, and was dragged to martyrdom to serve
Salome’s dance, that I do not know Paul or the Fisherman.’
CANTO 19

DIVINE JUSTICE
154
PAR C19 1-12 / KLINE
The marvellous image, which those entwined spirits made, joying in their sweet fruition, appeared in front of me, with
outstretched wings. Each soul appeared like a ruby, in which the sun’s rays burn, so lit as to refract light to my eyes.
And what I must tell now, pen never wrote, voice never spoke, nor was it ever known by imagination, since I saw and
heard the eagle’s beak speaking, saying in its voice, I and Mine, when, in its form, it was We and Ours.
PAR C19 13-33 / KLINE
And it began: I am exalted here to this glory, which does not allow itself to be overcome by longing, through being just
and pious, and I have left a memory on Earth, so constituted that even the evil approve it, though they do not follow its
path.’ as we feel one glow from many coals, so there came a single sound, out of the image, from those many points of
love. At which I said quickly: ‘O perpetual flowers of eternal delight, you who make all your perfumes seem like a
single one to me, relieve, as you breathe, the great fast which has held me hungering, for a long time, because I found
no food to eat on Earth. I know, in truth, that whatever other realm, of Heaven, Divine Justice takes as its mirror, your
realm comprehends it without a veil. You know how eagerly I ready myself to listen: you know what the question is,
which has caused my fast to be so enduring.’
PAR C19 34-51 / KLINE
As the hawk divested of its hood shakes itself and claps its wings, demonstrating its will and beautifying itself, so I saw
that symbolic eagle, woven from the praise of Divine Grace, with the songs that are known to whoever rejoices there.
Then it began: He who drew the compass round the edges of the Universe, and marked out, inside it, so much that is
shown and hidden, could not impress his greatness on all the Universe without his Word being infinitely beyond us.
And this is attested by Lucifer, that first proud being, who was a pinnacle of creation, falling abortive, because he could
not wait for enlightenment: and so it appears that every minor nature is too small a vessel to hold that Good which is
endless, and measures itself by itself.
PAR C19 52-66 / KLINE
So our vision which must be one of the rays of that Mind by which all things are filled, cannot have such great power,
without its origin seeing far beyond that which it itself can see. Therefore such perception as your world has, is lost with
depth as our vision is in the ocean, since though it sees the seafloor by the shore, it cannot reach it in the open water,
even though it is there, and the depth has hidden it. There is no light unless it comes from that Serenity which is never
troubled: the rest is darkness, or the shadow of the flesh, or its poison.
PAR C19 67-78 / KLINE
Now the labyrinth is open enough for you, that labyrinth that hid the living justice from you, which you have questioned
so incessantly: since you said: “A man is born, on the banks of the Indus, and there is no one to speak to him about
Christ, or read or write of Him, and all that man’s will and action are good, as far as human reason can tell, without sin
in speech or life. He dies un-baptised, and without the faith. Where is the justice, in condemning him? Why is it his
fault, that he is void of faith?”
PAR C19 79-90 / KLINE
Now, who are you, to sit on the judge’s seat, a thousand miles away, with sight that sees a short span? Certainly, to him
who trades subtleties with me, it would be wonderful if there were no doubts, if the Scriptures were not set above them.
O earthly creatures, O coarse minds! The Primal Will, which is goodness itself, never abandons its own self, which is
the supreme good. All that is in harmony with it is Just: no created goodness draws It, to itself, but It, by shining out,
gives rise to it.
PAR C19 91-114 / KLINE
As the stork sweeps over her nest when she has fed her chicks, and as the ones she fed look up at her, so did that eagleform
of the blessed, which moved its wings powered by so much wisdom, and so I raised my forehead. Wheeling it
cried, and said: As my cries are to you, who do not understand them, such is eternal judgement to you mortals. When
those glowing lights of the Holy Spirit were still, though still in the form of that insignia which gained the Romans the
world’s reverence, it began again: No one ever rose to this region, who did not believe in Christ, not before he was
nailed to the tree, nor after. But see, many call out: “Christ, Christ” who shall be further from Him at the Judgement,
than those who do not know of Christ: and the Ethiopians will condemn such Christians when the two crowds part, the
one rich in eternity, the other naked. What would the Persians say to your kings, when they see that volume opened in
which all their ill deeds are recorded?
PAR C19 115-129 / KLINE
Amongst the actions of the Emperor Albert, that one will soon set the pen in motion, that will make Prague’s kingdom
of Bohemia a desert. There will be read the sorrow that Philip the Fair is bringing to the Seine, by falsifying the
coinage, he who will die by a wild boar’s wound. There the pride will be seen that parches, and makes the Scots and
Edward’s English mad, so that they cannot keep the proper borders. The lechery and effeminate life of Ferdinand of
Spain, will be seen, and that of Wenceslaus of Bohemia, who never knew or willed anything of worth. For Charles the
Second, ‘the Cripple’, King of Jerusalem will be seen marked with a ‘One: I’ against virtue, whereas a ‘Thousand: M’
sins will score the contrary charge.
PAR C19 130-138 / KLINE
The baseness and avarice of Frederick who holds Sicily, the Isle of Fire, where Anchises ended his long life, will be
visible, and in order to understand the magnitude of his baseness, his record will be kept in tiny writing, to fit a great
deal in a little space. And the foul deeds of his uncle, James of the Balearic Isles, and his brother, James of Aragon, will
be shown clearly to all, who have bastardised a great nation and two crowns.
PAR C19 139-148 / KLINE
And Dionysius of Portugal, and Hakon of Norway, shall be recorded there, and Stephen of Serbia, who sadly saw the
coin of Venice only to counterfeit it. O happy Hungary if she no longer allows Andrew to maul her! And happy
Navarre, if she could protect herself, with the Pyrenees, that border her! And all should now, as a warning to her, that
Nicosia and Famagusta already moan, and cry, by reason of their beast, Henry of Lusignan, who cannot be separated
from the rest.

CANTO 20
PAR C20 1-21 / KLINE
When the Sun, that illumines all the world, descends so far below our hemisphere that day vanishes on every side, the
sky, that was only lit by him before, now reappears in many lights, in which the one light shines. And this effect in
Heaven came to mind when the insignia of the world and its leaders, closed its eagle’s beak: because all those living
lights, shining far brighter, began to sing things which must slip and fall from my memory. O sweet Love, mantled in a
smile, how ardent you seemed in those flutings, breathed out only in sacred thoughts! When the dear, lucid stones with
which I saw the sixth Heaven gemmed, had rendered silent those angelic chimes, I seemed to hear the murmuring of a
river which falls from rock to rock, and reveals the copiousness of its source.
PAR C20 22-42 / KLINE
And as the sound takes form from the lute’s neck, or the wind that enters from the unstopped pipe, so, the delay of
anticipation over, the eagle’s murmur rose through its neck, as if it were hollow. There it became a voice and issued out
of its beak, in the form of words, that the heart waited for, on which I wrote them. It began to speak to me: That part of
me that sees and in mortal eagles endures the sun, must now be gazed at intensely, since the fires with which the eye in
my head sparkles, are the most important, of all the crowd of those from which I construct my shape. He who shines in
the middle, as the pupil does in the eye, was David, the singer of the Holy Spirit, who carried the ark from city to city.
Now he knows the value of his song, in as much as it was produced by his own judgement, through the reward that
matches it.
PAR C20 43-60 / KLINE
Of the five who make the arch of the profiled eyebrow, he who is closest to the beak is Trajan who consoled the widow
for her son. Now he knows how dearly it costs not to follow Christ, from his experience of this sweet life and its
opposite. And he who follows on the arch I speak of, on its upper arc, is Hezekiah who delayed death by his true
penitence. Now he knows that the eternal judgement is not altered, when a pious prayer seems to delay today’s event
until tomorrow. Constantine, the next who follows, with a good intention that produced evil consequences, made
himself, the laws, and my Imperial self, Greek, in order to give way to the Shepherd. Now he knows that the evil
flowing from his good action does not harm him, even though the world is destroyed by it.
PAR C20 61-72 / KLINE
And him you see on the downward slope of the arc, is William, of Sicily and Naples, which countries deplore his loss,
while grieving that Charles and Frederick are alive. Now he knows how Heaven loves a righteous king, and he makes it
visible still, by the appearance of his radiance. Who would believe, down in the world of error, that the Trojan Ripheus
is in this sphere, fifth of these holy lights? Now he knows much about the Divine Grace, that the world cannot see,
although his sight does not reach the end of it.
PAR C20 73-93 / KLINE
Like to the lark ascending, in the air, first singing and then silent, content with the final sweetness that sates her, so that
image of the imprint of eternal pleasure, seemed to me, by which, in longing for it, each thing becomes what it is. And
though I was to my doubt, like the transparent glass is to the colour it surrounds, it would still not wait and bide its time
in silence, but it thrust ‘What are these things?’ from my mouth by its own pressure, at which I saw great sparkles of
joy. Then immediately, the insignia, blessed and with its kindling eye, replied to me, so that it would not keep me in
amazed suspense: ‘I see you believe in these things because I tell you, but do not see the how, so that they are obscure,
though still believed in. You are like him who knows the thing by name, but cannot see its quiddity, its whatness, unless
someone else brings it to light.
PAR C20 94-117 / KLINE
Regnum Coelorum, the Kingdom of Heaven, suffers the force of hot love and living hope, which overcomes the Divine
Will, not in the sense in which man overcomes man, but overcomes that Will, because it wishes to be overcome, and
once overcome, in turn overcomes, with its own kindness. The lives of the first and fifth lights, along the eyebrow,
cause you to marvel, because you see them decking this region of the Angels. They did not leave their bodies, as
Gentiles, but as Christians, with firm belief in those pierced feet, that to the first would suffer, and to the other had
already suffered. Since the first, Trajan, came back to his bones from Hell, where no one ever returns to the frue will,
and this was the reward for living Hope: the living Hope which added power to Gregory’s prayers to raise him, so that
His will might have the power to be moved. That glorious soul, of which we speak, returning to the flesh where it lived
a while, believed in Him who had the power to help, and, believing, kindled so great a flame of true Love, that it was
worthy of coming here, to this rejoicing, on its second death.
PAR C20 118-129 / KLINE
Ripheus, the fifth light, set all his Love below on righteousness, by that grace which wells from so deep a fount that no
creature ever set eyes on its last depth, so that God, going from grace to grace, opened his eyes to our redemption yet to
come: and he believed in that, and from that time did not suffer the mire of Paganism, and reproved the stubborn
peoples. Those three ladies, the Virtues, whom you saw at the right wheel, of the chariot, stood as sponsors at his
baptising, more than a thousand years before baptism.
PAR C20 130-148 / KLINE
O Predestination, how remote your roots are from our vision that cannot see the First Cause totally! And you mortal
creatures, keep yourselves from judging, since we who see God do not yet know all those who will be elected, and such
defective sight is sweet for us, because our good is refined by this good, that what God wills we also will.’ So sweet
medicine was given me, by this divine image, to correct my short sight. And as a good harpist matches the quivering
chord to a good singer, so that the song gives added pleasure, so, while he spoke, I remember that I saw those two
sacred lights, make their fires quiver at the words, just as two eyes blink, together.
■ - ■ - ■
155

CANTO 21
PLANETARY SPHERE 7: SATURN C21 1 –
gold (colour nominated by Dante)
▀
♫SILENCE * * * * * * * * * *
PAR C18 99 from PAR C21 58
CELESTIAL 10
[CP 48] - [CP 49] - [CP 50] WINDOWS UNDIVIDED (FROM EACH OTHER)
[CP 51] - [CP 53] - [CP 52] THERE ARE 2 PICTURES TO EACH WINDOW.
THE PICNIC
Fioretto 15
Clare Pictures 48: Clare writes note, cat waits
Clare writes a note (an invitation) as her cat sits waiting.
Clare Pictures 49: Cat carries note to Porziuncola
Clare’s cat carries the invitation towards the Porziuncola.
Clare Pictures 50: Francis writes reply – cat & wolf
Francis sits writing a reply to Clare as her cat sits waiting. Francis’s giant wolf lies in the corner of
the room, trying not to be noticed by the cat; or its frightened face is seen through a door left
slightly ajar.
Clare Pictures 51: Clare & sisters to glade
Clare leads a group (file?) of veiled Poor Clares, two of whom are carrying a hamper, towards a
glade just showing on the right of the picture.
Clare Pictures 52: Francis & brothers to glade
Francis leads a group (file?) of Franciscan brothers towards the glade just showing on the left of the
picture.
Clare Pictures 53: Brothers and sisters picnic in glade
The brothers and sisters sit in the glade. The food may be chiefly bread.
PAR C21 1-3 / KLINE
My eyes were already fixed on my Lady’s face once more, and my mind with them, free of every other intent,
THE CLARE PICTURES ARE UNREGARDED BY DANTE AND BEATRICE. DANTE LOOKS AT BEATRICE AGAIN.
BEATRICE:
PAR C21 4-6 / DANTE PAR C21 4-6 / KLINE
E quella non ridea; ma «S'io ridessi», and she did not smile, but said:
mi cominciò, «tu ti faresti quale Were I to smile, you would be
fu Semelè quando di cener fessi: like Semele, turned to ashes,
156

PAR C21 7-9 / DANTE
ché la bellezza mia, che per le scale since my beauty which burns more brightly,
de l'etterno palazzo più s'accende, as you have seen, on the steps
com' hai veduto, quanto più si sale, of the eternal palace, the higher we climb,
PAR C21 10-12 / DANTE
se non si temperasse, tanto splende, if it were not moderated, glows so much,
che 'l tuo mortal podere, al suo fulgore, that your human powers, at its lightning flash,
sarebbe fronda che trono scoscende. would be like the leaves the thunder shatters.
BEATRICE: & BEATRICE:
PAR C21 13-15 / DANTE PAR C21 13-15 / KLINE
Noi sem levati al settimo splendore, We have risen to Saturn, the seventh planet,
che sotto 'l petto del Leone ardente which beams downwards, in the breast of Leo,
raggia mo misto giù del suo valore. the fiery Lion, mingling with its power.
DANTE POINTS UPWARDS.
BEATRICE:
PAR C21 16-18 / DANTE PAR C21 16-18 / KLINE
Ficca di retro a li occhi tuoi la mente, Fix your mind in your eyes, and make
e fa di quelli specchi a la figura them mirrors, to the figure that will be shown
che 'n questo specchio ti sarà parvente». to you, in this mirror.
DANTE:
PAR C21 19-21 / DANTE PAR C21 19-21 / KLINE
Qual savesse qual era la pastura Whoever knows how my sight was is fed
del viso mio ne l'aspetto beato by her blessed aspect when
quand' io mi trasmutai ad altra cura, I changed to a different concern,
PAR C21 22-24 / DANTE
conoscerebbe quanto m'era a grato would know how great a joy it was is to me to obey
ubidire a la mia celeste scorta, my heavenly guide, weighing contemplation’s joy
contrapesando l'un con l'altro lato. against the joy of obedience.
■ - ■ - ■
157
PAR C21 25-27 / KLINE
Inside the crystal planet, coloured like gold that reflects the ray, which, as it circles the world, carries the name of
Saturn, its illustrious ruler,
DANTE:
PAR C21 28-30 / DANTE PAR C21 28-30 / KLINE
di color d'oro in che raggio traluce in whose Age every wickedness died,
vid' io uno scaleo eretto in suso I see a ladder erected so far upward
tanto, che nol seguiva la mia luce. my sight could can not follow it.
PAR C21 31-33 / DANTE
Vidi anche per li gradi scender giuso And I saw see so many splendours descending
tanti splendor, ch'io pensai ch'ogne lume the rungs that I thought as though every light that
che par nel ciel, quindi fosse diffuso. shines in Heaven had been poured is pouring
downwards. there.
PAR C21 34-36 / DANTE
E come, per lo natural costume, And as , according to their nature,
le pole insieme, al cominciar del giorno, the As rooks set out in a flock,
si movono a scaldar le fredde piume; at dawn, to warm their cold feathers,
PAR C21 37-39 / DANTE
poi altre vanno via sanza ritorno, and then some flap away, without returning,
altre rivolgon sé onde son mosse, others come back to where they started,
e altre roteando fan soggiorno; and the rest wheel in flight,

PAR C21 40-42 / DANTE
tal modo parve me che quivi fosse so it seemed to me that was also the way
in quello sfavillar che 'nsieme venne, among that glittering of spirits., that came in
sì come in certo grado si percosse. a crowd as soon as they reached a particular rung,
ST PETER DAMIAN
CHESS / CHANSON DE ROLAND 6 NO LINES
[CP 54] - [GOLD ☼] - [CP 55]
FRANCIS FEEDS THE BRIGANDS AT MONTE CASALE.
Clare Pictures 54: Francis in snow with hamper
Francis, carrying the hamper seen in Clare Pictures 51, 53 on his head, and followed by a fellow-
Franciscan, trudges through the snow towards…
Clare Pictures 55: Starving brigands
…a small circle of starving brigands, last seen in Clare Pictures 6, 7. They sit in the snow in the
forest at Monte Casale. Their leader is dressed in Francis’s stolen cloak.
DANTE VERSIFIES AS A LIGHT WHIRLS AND THEN GLOWS IN THE CENTRE WINDOW.
DANTE:
PAR C21 34-36 / DANTE PAR C21 34-36 / KLINE
E come, per lo natural costume, And as, according to their nature,
le pole insieme, al cominciar del giorno, the rooks set out in a flock,
si movono a scaldar le fredde piume; at dawn, to warm their cold feathers,
PAR C21 37-39 / DANTE
poi altre vanno via sanza ritorno, and then some flap away, without returning,
altre rivolgon sé onde son mosse, others come back to where they started,
e altre roteando fan soggiorno; and the rest wheel in flight,
PAR C21 40-42 / DANTE
tal modo parve me che quivi fosse it seemed to me that was also the way
in quello sfavillar che 'nsieme venne, among that glittering of spirits, that came in
sì come in certo grado si percosse. a crowd, as soon as they reached a particular rung,
…AND TURNS TO LOOK AT THE LIGHT.
DANTE:
PAR C21 43-45 / DANTE PAR C21 43-45 / KLINE
E quel che presso più ci si ritenne, and the spirit that landed nearest to me,
si fé sì chiaro, ch'io dicea pensando: became so bright in my thoughts, that I said:
`Io veggio ben l'amor che tu m'accenne. I clearly see the love you signal to me.
158
PAR C21 46-51 / KLINE
But She from whom I wait for the how, and when, of speech and silence, pauses, and therefore I ask no questions,
counter to my own wishes.’ At which She who sees everything, saw my silence in his look, and said: ‘Let free your
burning desire.’
DANTE TURNS TO BEATRICE AND SHE NODS HER ASSENT.

159
PAR C21 52-54 / KLINE
And I began: My lack of worth does not make me worthy of a reply, except for her sake who allows me to make the
request:
DANTE:
PAR C21 55-57 / DANTE PAR C21 55-57 / KLINE
vita beata che ti stai nascosta O blessed life, blessed, who live,
dentro a la tua letizia, fammi nota hidden in gladness, tell me the reason why
la cagion che sì presso mi t'ha posta; I am placed near you,
PAR C21 58-60 / DANTE
e dì perché si tace in questa rota and say why the sweet symphony of Paradise is
la dolce sinfonia di paradiso, silent here, when it sounded below
che giù per l'altre suona sì divota». through the other spheres, so devotedly.’
PETER DAMIAN (VOICE):
PAR C21 61-63 / DANTE PAR C21 61-63 / KLINE
«Tu hai l'udir mortal sì come il viso», He replied: You have mortal hearing,
rispuose a me; «onde qui non si canta you have mortal sight: there is no song here
per quel che Bëatrice non ha riso. for the same reason that Beatrice does not smile.
ST PETER DAMIAN 1007 - 1072 AGE : 65 CHARACTER AGE : 27? (BECAME PRIOR OF FONTE
AVELLANA)
PIETRO DAMIANO
PLACE./.LANGUAGE ETC
BORN IN RAVENNA. HIS PARENTS’ POVERTY LEAD TO HIM BEING EXPOSED AS AN INFANT, BUT HE WAS RESCUED &
EDUCATED BY HIS BROTHER DAMIAN, TAKING THE NAME DAMIANI, ‘DAMIAN’S PETER’. HE WAS WELL EDUCATED
IN FIENZA AND PARMA AND BECAME A PROFESSOR, WRITING POETRY ETC, INCLUDING SOME OF THE BEST LATIN OF
HIS TIME. HE BECAME A BENEDICTINE MONK AND ABBOT OF THE MONASTERY OF SANTA CROCE DI FONTE-
AVELLANA IN THE APENNINES, BENEATH MONTE CATRIA, NEAR GUBBIO. HE WAS MADE CARDINAL-BISHOP OF
OSTIA IN 1058. HE STYLED HIMSELF PETER THE SINNER, PETRUS PECCATOR AND LIVED A LIFE OF STRICT
AUSTERITY. HE WAS DECLARED DOCTOR OF THE CHURCH IN 1823. HE WAS AN ARDENT REFORMER OF CHURCH
DISCIPLINE & ONE OF THE CHIEF ECCLESIASTICAL WRITERS OF THE 11TH C. HE WAS NEVER FORMALLY
CANONISED.
IN 1061 HE URGED POPE-ELECT ALEXANDER III TO PUNISH THE BISHOP OF FLORENCE, THE FUTURE POPE
NICHOLAS II FOR PLAYING CHESS.
DESCRIPTION
HE HAS BARE FEET AND WEARS A WHITE HABIT FROM FONTE-AVELLANA. THE PAPAL BULL IN HIS HAND MAY BE
ONE ISSUED AGAINST CHESS-PLAYING.
PARADISO PICTURES
38
PETER DAMIAN (VOICE):
PAR C21 64-66 / DANTE PAR C21 64-66 / KLINE
Giù per li gradi de la scala santa I, Peter Damian, have descended so far, on
discesi tanto sol per farti festa the steps of the sacred ladder, only to give you joy.
col dire e con la luce che mi ammanta; with words, and with the light, which mantles me:
[CP 54] - [PD] - [CP 55]
THE SAINT MANIFESTS HIMSELF AS A MAN. HE HAS A DARK BACKGROUND.
PETER DAMIAN:
PAR C21 64-66 / DANTE PAR C21 64-66 / KLINE
Giù per li gradi de la scala santa I, Peter Damian, have descended so far, on
discesi tanto sol per farti festa the steps of the sacred ladder, only to give you joy.
col dire e con la luce che mi ammanta; with words, and with the light, which mantles me:
PAR C21 67-69 / DANTE
né più amor mi fece esser più presta, nor did greater love make me swifter:
ché più e tanto amor quinci sù ferve, since more and greater love burns higher there,
sì come il fiammeggiar ti manifesta. as the flaming made clear to you,

PAR C21 70-72 / DANTE
Ma l'alta carità, che ci fa serve but the deep love, that keeps us, as ready servants
pronte al consiglio che 'l mondo governa, to the wisdom that controls the world,
sorteggia qui sì come tu osserve». assigns me here, as you see.
■ - [PD] - ■
DANTE:
PAR C21 73-75 / DANTE PAR C21 73-75 / KLINE
Io veggio ben, diss' io, sacra lucerna, I said: ‘Yes I see how love, freely,
come libero amore in questa corte in this court, is sufficient to make
basta a seguir la provedenza etterna; you follow the eternal providence,
PAR C21 76-78 / DANTE
ma questo è quel ch'a cerner mi par forte, but it is this which seems hard to me to understand:
perché predestinata fosti sola why were you alone among your peers
a questo officio tra le tue consorte. was predestined to this role.
PAR C21 79-81 / KLINE
I had not reached the last word before the light made a centre of its mid-point, and whirled itself around like a rapid
millstone.
160
PETER DAMIAN:
PAR C21 82-84 / DANTE PAR C21 82-84 / KLINE
poi rispuose l'amor che v'era dentro: Then the love that was inside it answered:
Luce divina sopra me s'appunta, Divine Light focuses itself on me,
penetrando per questa in ch'io m'inventro, from above, penetrating that in which I am involved:
PAR C21 82-84 / DANTE PAR C21 82-84 / KLINE
poi rispuose l'amor che v'era dentro: Then the love that was inside it answered:
Luce divina sopra me s'appunta, Divine Light focuses itself on me,
penetrando per questa in ch'io m'inventro, from above, penetrating that in which I am involved:
PAR C21 85-87 / DANTE
la cui virtù, col mio veder congiunta, which power, joined to my vision, lifts me
mi leva sopra me tanto, ch'i' veggio so far beyond myself, that I see
la somma essenza de la quale è munta. the supreme essence from which it is extracted.
PAR C21 88-90 / DANTE
Quinci vien l'allegrezza ond' io fiammeggio; From there comes the joy I flame with,
per ch'a la vista mia, quant' ella è chiara, equalling the clarity of my sight
la chiarità de la fiamma pareggio. with the brightness of my flame.
PAR C21 91-93 / DANTE
Ma quell' alma nel ciel che più si schiara, But neither the most illuminated soul in Heaven,
quel serafin che 'n Dio più l'occhio ha fisso, nor the Seraph with eyes most fixed on God,
a la dimanda tua non satisfara, can satisfy you as to answer your question,
PAR C21 94-96 / DANTE
però che sì s'innoltra ne lo abisso because the thing what you ask lies so deep
de l'etterno statuto quel che chiedi, in the abyss of the eternal law,
che da ogne creata vista è scisso. that it is hidden from created sight.
PAR C21 97-99 / DANTE
E al mondo mortal, quando tu riedi, And, when you return to the mortal world,
questo rapporta, sì che non presumma report this: that it should no longer presume
a tanto segno più mover li piedi. to set its feet towards so great a goal.
PAR C21 100-102 / DANTE
La mente, che qui luce, in terra fumma; The Mind, that shines here, on earth is clouded,
onde riguarda come può là giùe so think if it could have that power there, below,
quel che non pote perché 'l ciel l'assumma. if it does not when Heaven takes it to itself.

[CP 56 / BS] - [PD] - [CP 57 / BS LIBRARY]
Clare Pictures 56, 57: Crusaders and chess
Adapted from PARADISO PICTURES: 53. The pictured players and the board are obscured by Peter
Damian, as the living players are.
THE SANDWICHING OF THE HAMMER OF CHESS IS MEANT TO DEMONSTRATE THE EXTENT OF HEAVEN, NOT
MOCK HIM [PUR C26 61-63].
THE CHANSONNIERS, INCLUDING CACCIAGUIDA, ARE SILENT, INTENT ON THE GAME, AS SIGIER AND
GRATIANUS STUDY THE POSITION ON THE BOARD. WE DO NOT SEE THE TABLE (OR VERY MUCH, IF ANY, OF
SIGIER AND GRATIANUS), BECAUSE PETER DAMIAN AND HIS DARK BACKGROUND TAKES UP THE CENTRE
WINDOW.
PAR C21 103-105 / KLINE
His words put such constraint on me I left the question, and restricted myself to asking, humbly, who he was himself.
PETER DAMIAN:
PAR C21 106-108 / DANTE PAR C21 106-108 / KLINE
Tra ' due liti d'Italia surgon sassi, Between Italy’s two coasts, the Apennine
e non molto distanti a la tua patria, mountains rise, not far from your native place, and
tanto che ' troni assai suonan più bassi, so high that the thunder sounds far lower down,
PAR C21 109-111 / DANTE
e fanno un gibbo che si chiama Catria, and make a hump called Catria,
di sotto al quale è consecrato un ermo, beneath which a monastery was consecrated,
che suole esser disposto a sola latria. which used only to be given over to prayer.
PAR C21 112-114 / DANTE
Così ricominciommi il terzo sermo; So he began his third speech to me, and then
e poi, continüando, disse: «Quivi continued: There I became so rooted in God’s
al servigio di Dio mi fe' sì fermo, service that I treated heat and cold lightly,
PAR C21 115-117 / DANTE
che pur con cibi di liquor d'ulivi ate Lenten-fare cooked with
lievemente passava caldi e geli, olive-oil, was satisfied
contento ne' pensier contemplativi. with contemplative thought.
PAR C21 118-120 / DANTE
Render solea quel chiostro a questi cieli That hermitage once yielded fruitfully to
fertilemente; e ora è fatto vano, Heaven, and now is barren,
sì che tosto convien che si riveli. so that before long it must be exposed.
PAR C21 121-123 / DANTE
In quel loco fu' io Pietro Damiano, I was Peter Damian in that place,
e Pietro Peccator fu' ne la casa and was Peter the Sinner,
di Nostra Donna in sul lito adriano. in the house of Our Lady on the Adriatic shore.
PAR C21 124-126 / DANTE
Poca vita mortal m'era rimasa, Little of mortal life was left to me,
quando fui chiesto e tratto a quel cappello, when I was called and drawn to the cardinal’s hat,
che pur di male in peggio si travasa. which passes now from bad wearer to worse.
PAR C21 127-129 / DANTE
Venne Cefàs e venne il gran vasello Saint Peter, Cephas, came, and St Paul,
de lo Spirito Santo, magri e scalzi, the great vessel of the Holy Spirit, lean and
prendendo il cibo da qualunque ostello. unshod, taking took their food from any place.
161

162
PAR C21 130-132 / DANTE
Or voglion quinci e quindi chi rincalzi Now the modern shepherds have to be buttressed on
li moderni pastori e chi li meni, both sides, and have with someone to lead them,
tanto son gravi, e chi di rietro li alzi. they are so fat and heavy, and someone to support
them from behind.
PAR C21 133-135 / DANTE
Cuopron d'i manti loro i palafreni, They cover their ponies with cloaks,
sì che due bestie van sott' una pelle: so that two creatures go under one hide:
oh pazïenza che tanto sostieni! O patience that endures so much!
CACCIAGUIDA GOES BACKSTAGE.
PAR C21 136-142 / KLINE
At his voice, I saw more flames descend, gyring, from rung to rung, and every gyration made them more beautiful.
They came and rested, and made a sound so deep, that there is nothing here to compare it to, and I did not understand its
meaning: its thunder overcame me so.
■ - ■ - ■
♫MUSIC ? * * * * * * * * * *
PAR C21 135
DANTE INTERPRETS PETER DAMIAN, PERHAPS CONTINUING INTO THE NEXT SEGMENT.
DANTE:
PAR C21 97-99 / DANTE
E al mondo mortal, quando tu riedi, And, when you return to the mortal world,
questo rapporta, sì che non presumma report this: that it should no longer presume
a tanto segno più mover li piedi. to set its feet towards so great a goal.
PAR C21 100-102 / DANTE
La mente, che qui luce, in terra fumma; The Mind, that shines here, on earth is clouded,
onde riguarda come può là giùe so think if it could have that power there, below,
quel che non pote perché 'l ciel l'assumma. if it does not when Heaven takes it to itself.
PAR C21 106-108 / DANTE
Tra ' due liti d'Italia surgon sassi, Between Italy’s two coasts, the Apennine
e non molto distanti a la tua patria, mountains rise, not far from your native place, and
tanto che ' troni assai suonan più bassi, so high that the thunder sounds far lower down,
PAR C21 109-111 / DANTE
e fanno un gibbo che si chiama Catria, and make a hump called Catria,
di sotto al quale è consecrato un ermo, beneath which a monastery was consecrated,
che suole esser disposto a sola latria. which used only to be given over to prayer.
PAR C21 112-114 / DANTE
Così ricominciommi il terzo sermo; So he began his third speech to me, and then
e poi, continüando, disse: «Quivi continued: There I became so rooted in God’s
al servigio di Dio mi fe' sì fermo, service that I treated heat and cold lightly,
PAR C21 115-117 / DANTE
che pur con cibi di liquor d'ulivi ate Lenten-fare cooked with
lievemente passava caldi e geli, olive-oil, was satisfied
contento ne' pensier contemplativi. with contemplative thought.

PAR C21 118-120 / DANTE
Render solea quel chiostro a questi cieli That hermitage once yielded fruitfully to
fertilemente; e ora è fatto vano, Heaven, and now is barren,
sì che tosto convien che si riveli. so that before long it must be exposed.
PAR C21 121-123 / DANTE
In quel loco fu' io Pietro Damiano, I was Peter Damian in that place,
e Pietro Peccator fu' ne la casa and was Peter the Sinner,
di Nostra Donna in sul lito adriano. in the house of Our Lady on the Adriatic shore.
PAR C21 124-126 / DANTE
Poca vita mortal m'era rimasa, Little of mortal life was left to me, when I
quando fui chiesto e tratto a quel cappello, was called and drawn to the cardinal’s hat,
che pur di male in peggio si travasa. which passes now from bad wearer to worse.
PAR C21 127-129 / DANTE
Venne Cefàs e venne il gran vasello Saint Peter, Cephas, came, and St Paul,
de lo Spirito Santo, magri e scalzi, the great vessel of the Holy Spirit, lean and
prendendo il cibo da qualunque ostello. unshod, taking took their food from any place.
PAR C21 130-132 / DANTE
Or voglion quinci e quindi chi rincalzi Now the modern shepherds have to be buttressed
li moderni pastori e chi li meni, on both sides, and have with someone to lead them,
tanto son gravi, e chi di rietro li alzi. they are so fat and heavy, and someone to support
them from behind.
PAR C21 133-135 / DANTE
Cuopron d'i manti loro i palafreni, They cover their ponies with cloaks,
sì che due bestie van sott' una pelle: so that two creatures go under one hide:
oh pazïenza che tanto sostieni! O patience that endures so much!
[CP 56 / BS] - ■ - [CP 57 / BS LIBRARY]
■ - ■ - ■
♫MUSIC ? SILENCE ? * * * * * * * * * *
PAR C21 135
CACCIAGUIDA 2
[CP 56] - [CP 58 / CACCIAGUIDA] - [CP 57] WINDOWS UNDIVIDED
Clare Pictures 58: Chess board
Based on PARADISO PICTURES: 53. Adjusted for time of 2 nd Crusade and having more squares and
pieces.
THE CRUSADER CHESS PICTURE IS COMPLETED BY ITS CENTRE PANEL.
CACCIAGUIDA IS BACK IN HIS ROOM./.TOMB, ON HIS HORSE WHICH STANDS NEAR THE PICTURE. HE HANGS
FROM ITS NECK TO STUDY THE BOARD AT THE BOTTOM OF THE PICTURE.
■ - ■ - ■
163

CELESTIAL 11
[CP 59] - ■ - [CP 60]
Clare Pictures 59: Raven flies with bread
A raven flies away (upward) with a piece of (consecrated) bread in its beak.
Clare Pictures 60: Raven flies with bread
A raven flies away (upward) with a piece of (consecrated) bread in its beak.
♫DEEP SOUND: FLAMES DESCENDING & RESTING * * * * * * * * * *
PAR C21 135 from PAR C21 136-142
[The descending flames] came and rested, and made a sound so deep, that there is nothing here to
compare it to, and I did not understand its meaning: its thunder overcame me so.
CANTO 22
164
PAR C22 1-6 / KLINE
I turned, oppressed by stupor, to my guide, like a little child who always goes for help where he has most confidence,
and She, like a mother who, with her voice, which sets him right, quickly aids her pale and breathless child,
DANTE IS STARTLED.
BEATRICE: & BEATRICE:
PAR C22 7-9 / DANTE PAR C22 7-9 / KLINE
mi disse: Non sai tu che tu se' in cielo? said, to me: Do you not know you You are in
e non sai tu che 'l cielo è tutto santo, Heaven.? And do Do you not know that Heaven it is
e ciò che ci si fa vien da buon zelo? wholly sacred, and that which is done here is done
from righteous zeal?
BEATRICE:
PAR C22 10-12 / DANTE PAR C22 10-12 / KLINE
Come t'avrebbe trasmutato il canto, Now you can understand how the song,
e io ridendo, mo pensar lo puoi, and my smiling, have transmuted you,
poscia che 'l grido t'ha mosso cotanto; since, that cry has so moved you,
PAR C22 13-15 / DANTE
nel qual, se 'nteso avessi i prieghi suoi, in which the vengeance you shall see taken,
già ti sarebbe nota la vendetta before you die, would already be known to you,
che tu vedrai innanzi che tu muoi. had you understood their prayers.
BEATRICE:
PAR C22 16-18 / DANTE PAR C22 16-18 / KLINE
La spada di qua sù non taglia in fretta The sword from above does not strike hastily,
né tardo, ma' ch'al parer di colui or reluctantly, except to his perception,
che disïando o temendo l'aspetta. who waits for it with longing, or in fear.

PAR C22 19-21 / DANTE
Ma rivolgiti omai inverso altrui; But turn now to the others: since you will see
ch'assai illustri spiriti vedrai, many renowned spirits, if you
se com' io dico l'aspetto redui». direct your look according to my words.
165
PAR C22 22-36 / KLINE
I turned my eyes, as her wish commanded, and saw a hundred smaller spheres, which were made more beautiful by
their collective rays. I stood, like someone who represses the stirrings of desire in himself, who does not presume to ask,
because he fears to exceed due bounds. And the greatest and most lustrous of these pearls came forward, to satisfy my
wish about him, Then I heard, inside there: If you could see, as I can, the love which burns among us, your thought
would have been spoken, but so that you do not miss the goal, by delay, I will answer only the thought which you were
so cautious about.
ST BENEDICT
[CP 59] - [GOLD ☼] - [CP 60]
BEATRICE POINTS TO THE LIGHT. IT SPEAKS.
ST BENEDICT (VOICE):
PAR C22 37-39 / DANTE PAR C22 37-39 / KLINE
Quel monte a cui Cassino è ne la costa That mountain, Monte Cairo, on whose slopes lies
fu frequentato già in su la cima Monte Cassino, was once thronged by deceived
da la gente ingannata e mal disposta; and wrongly-directed worshippers of the Pagan gods.
PAR C22 40-42 / DANTE
e quel son io che sù vi portai prima And I am Benedict, who first carried
lo nome di colui che 'n terra addusse His name up there, He who brought that Truth,
la verità che tanto ci soblima; which raises us up so high,
[CP 59] - [ST BENEDICT] - [CP 60]
ST BENEDICT HOLDS HIS ARMS OUT HORIZONTALLY OR RAISED, EMBRACING THE (UNSEEN) MOUNTAIN AND
DISPENSING THE TRUTH. THE FINGERS OF EACH HAND HAVE JUST RELEASED THE BREAD IN THE RAVENS’
BEAKS.
ST BENEDICT 480? - 543? AGE : *63? CHARACTER AGE : 30? (AS A HERMIT IN SUBIACO)
BENEDETTO DA NORCIA
PLACE./.LANGUAGE ETC
BORN IN NURSIA (MODERN NORCIA), NEAR SPOLETO, UMBRIA. HE STUDIED IN ROME TO STUDY, THEN WAS A
HERMIT FOR SOME TIME IN THE DISTRICT OF SUBIACO. IT IS SAID THAT WHEN MONKS TRIED TO POISON HIM HIS PET
RAVEN FLEW AWAY WITH THE BREAD. (LATER IN LIFE HE FED A RAVEN WHICH CAME TO HIM.) HE FOUNDED THE
FAMOUS MONASTERY AT MONTE CASSINO ON A MOUNTAIN BETWEEN ROME & NAPLES, A FEW MILES FROM
AQUINO IN THE NORTH OF CAMPANIA. THE MOUNTAIN WAS ONCE CROWNED BY ALTARS TO APOLLO & VENUS-
APHRODITE. THE RULE OF HIS ORDER DEMANDED POVERTY, CHASTITY AND OBEDIENCE, MANUAL LABOUR &
IRREVOCABLE VOWS. HE WAS REMEMBERED FOR HIS MANY ACTS OF HEALING. THE BENEDICTINE IDEA OF
POVERTY IS QUITE DIFFERENT FROM ST FRANCIS’S VOW, THE INDIVIDUAL IS RESTRICTED TO WHAT IS NECESSARY.
AROUND 543 HE HAD A VISION IN WHICH HE CAME CLOSE TO SEEING GOD AND SO SEEING THE WHOLE WORLD. HE
WAS A QUIET, GENTLE, DIGNIFIED, STRONG, PEACE-LOVING, SYMPATHETIC MAN. HE DIED AT MONTE CASSINO.
DESCRIPTION
HE MAY HAVE A BEARD. HE WAS NOT A BENEDICTINE (BLACK MONK). THE ORDER WAS NAMED FOR BENEDICT,
NOT FOUNDED BY HIM.
PARADISO PICTURES
23, 24

ST BENEDICT:
PAR C22 40-42 / DANTE PAR C22 40-42 / KLINE
e quel son io che sù vi portai prima And I am Benedict, who first carried
lo nome di colui che 'n terra addusse His name up there, He who brought that Truth,
la verità che tanto ci soblima; which raises us up so high,
PAR C22 43-45 / DANTE
e tanta grazia sopra me relusse, and such great grace shone over me,
ch'io ritrassi le ville circunstanti that I weaned the surrounding villages
da l'empio cólto che 'l mondo sedusse. from the impious cults that seduced the world.
PAR C22 46-57 / KLINE
These other flames were all contemplatives, lit by the warmth that bears sacred fruits and flowers. Here is Maccarius,
here is Romoaldus, here are the brothers who stayed inside the cloisters and kept their hearts intact. And I to him: ‘The
love you show, by speaking with me, and the benign aspect I see, and note, in all your fires, has increased my
confidence as the Sun expands the rose, when it opens as far as is within its power,
DANTE:
PAR C22 58-60 / DANTE PAR C22 58-60 / KLINE
Però ti priego, e tu, padre, m'accerta so that I beg to know, assure me father,
s'io posso prender tanta grazia, ch'io as to whether I might receive such grace.
ti veggia con imagine scoverta. as to see your unveiled form.’
ST BENEDICT:
PAR C22 61-63 / DANTE PAR C22 61-63 / KLINE
Ond' elli: Frate, il tuo alto disio At which he said: Brother, your noble desire,
s'adempierà in su l'ultima spera, will be fulfilled in the last sphere, the Empyrean,
ove s'adempion tutti li altri e 'l mio. where I, and all the rest, find fulfilment.
PAR C22 64-66 / DANTE
Ivi è perfetta, matura e intera There every desire is perfect,
ciascuna disïanza; in quella sola full and ripe: in it alone every part
è ogne parte là ove sempr' era, is where it always was,
PAR C22 67-69 / DANTE
perché non è in loco e non s'impola; since it is not in space, and has no poles,
e nostra scala infino ad essa varca, and our ladder reaches it at last,
onde così dal viso ti s'invola. vanishing out of sight.
PAR C22 70-99 / KLINE
The patriarch Jacob saw its upper rungs stretch up there, when he saw it filled with Angels. But no one leaves Earth to
climb it now, and my rule, down there, remains a waste of parchment. The walls, that used to be a House of Prayer, are
dens, and the cowls are sacks full of mouldy grain. But even gross usury is not as contrary to God’s wishes as the fruit,
which maddens the monks’ hearts. Since what the Church holds, in its keeping, belongs to the people who pray to God,
not to kin, or to other viler uses. The flesh of mortals is so easily seduced, that down there, a good beginning does not
last the time from the oaks sprouting to the acorn harvest. Peter began his flock, without gold or silver, I mine with
prayers and fasting, and Francis his with humility. And if you gaze at the start of each order, and look again at where it
has failed, you will see the white darken. But Jordan being rolled back, and the Red Sea separating when God willed,
would be a less marvellous sight than alteration here.’ So he spoke to me, and then returned to his companions, and the
companions drew close together, then were all gathered upwards in a whirlwind.
PAR C22 100-105 / KLINE
The sweet Lady drove me, behind them, up the ladder, merely with a gesture, her power so conquered my nature: and
motion was never so quick down here, where we climb and fall by nature’s law, as to match my flight.
■ - [ST BENEDICT] - ■
■ - ■ - ■
THE FIXED STARS
166

ighter yellow SUN
LOOKING DOWN 1
■ - ■ - ■
167
PAR C22 106-108 / KLINE
O Reader, I swear by my hopes of ever returning to that sacred triumph, for which I, many a time, regret my sins, and
beat my breast,
DANTE LOOKS UP, THEN AT THE AUDIENCE AND SPEAKS WITH LOUD CONFIDENCE.
DANTE:
PAR C22 109-111 / DANTE PAR C22 109-111 / KLINE
tu non avresti in tanto tratto e messo you You would not have put your finger in the fire,
nel foco il dito, in quant' io vidi 'l segno and drawn it back, in so short a time as it took me to
che segue il Tauro e fui dentro da esso. see the sign of Gemini, that follows Taurus, and to be
inside it.
PAR C22 112-114 / DANTE
O glorïose stelle, o lume pregno O glorious stars, O light pregnant with great power,
di gran virtù, dal quale io riconosco from which I derive all my genius.,
tutto, qual che si sia, il mio ingegno, whatever of it there is,
HE REMEMBERS THAT THIS IS NOT THE PLACE FOR BOASTING, AND GENTLES HIS VOICE.
DANTE:
PAR C22 114 / DANTE PAR C22 114 / KLINE
tutto, qual che si sia, il mio ingegno, whatever Whatever of it there is.,
PAR C22 115-117 / DANTE
con voi nasceva e s'ascondeva vosco He who is father of every human life,
quelli ch'è padre d'ogne mortal vita, was rising and setting in your sign,
quand' io senti' di prima l'aere tosco; when I first felt the air of Tuscany: and then,
PAR C22 118-120 / DANTE
e poi, quando mi fu grazia largita when grace was granted me, to enter
d'entrar ne l'alta rota che vi gira, the distant sphere where you revolve,
la vostra regïon mi fu sortita. your region was assigned to me.
PAR C22 121-123 / DANTE
A voi divotamente ora sospira To you my soul breathes, devoutly,
l'anima mia, per acquistar virtute to gain the strength for the difficult passage,
al passo forte che a sé la tira. which draws her towards itself.
BEATRICE:
PAR C22 124-126 / DANTE PAR C22 124-126 / KLINE
«Tu se' sì presso a l'ultima salute», Beatrice began to say: You are so near
cominciò Bëatrice, «che tu dei the highest blessedness,
aver le luci tue chiare e acute; that your eyes should be sharp and clear.

PAR C22 127-129 / DANTE
e però, prima che tu più t'inlei, So, before you make your way deeper into it,
rimira in giù, e vedi quanto mondo look down, and see See how great a world
sotto li piedi già esser ti fei; I have placed under your feet:
PAR C22 130-132 / DANTE
sì che 'l tuo cor, quantunque può, giocondo in order so that your heart may be presented, as
s'appresenti a la turba trïunfante joyfully as it can to the triumphant crowd which
che lieta vien per questo etera tondo». comes, delightedly, through this ethereal sphere.
BEATRICE LEADS DANTE TO THE FRONT OF THE STAGE AS HE WRITES.
DANTE:
PAR C22 124-126 / DANTE PAR C22 124-126 / KLINE
«Tu se' sì presso a l'ultima salute», Beatrice began to say: You are so near
cominciò Bëatrice, «che tu dei the highest blessedness,
aver le luci tue chiare e acute; that your eyes should be sharp and clear.
PAR C22 127-129 / DANTE
e però, prima che tu più t'inlei, So, before you make your way deeper into it,
rimira in giù, e vedi quanto mondo look down, and see how great a world
sotto li piedi già esser ti fei; I have placed under your feet:
PAR C22 130-132 / DANTE
sì che 'l tuo cor, quantunque può, giocondo in order that your heart may be presented, as
s'appresenti a la turba trïunfante joyfully as it can to the triumphant crowd which
che lieta vien per questo etera tondo». comes, delightedly, through this ethereal sphere.
THEY LOOK DOWN.
168
DANTE:
PAR C22 133-135 / DANTE PAR C22 133-135 / KLINE
Col viso ritornai per tutte quante I turned turn my gaze back through each and every
le sette spere, e vidi questo globo one of the seven spheres, and saw see this globe the
tal, ch'io sorrisi del suo vil sembiante; earth, so that I smiled smiling at its pitiful semblance.,
PAR C22 136-138 / DANTE
e quel consiglio per migliore approbo and I approve rate that wisdom greatest which
che l'ha per meno; e chi ad altro pensa considers it least: since he whose thoughts are
chiamar si puote veramente probo. directed elsewhere may be called truly noble.
PAR C22 139-141 / DANTE
Vidi la figlia di Latona incensa I saw see the Moon, Artemis, daughter of Latona,
sanza quell' ombra che mi fu cagione lit without that shadow which gave me reason
per che già la credetti rara e densa. before to consider her rare or dense.
PAR C22 142-144 / DANTE
L'aspetto del tuo nato, Iperïone, I endured endure the face of Helios, your son
quivi sostenni, e vidi com' si move Hyperion, and saw see how Mercury, son of Maia,
circa e vicino a lui Maia e Dïone. and Venus, daughter of Dione, move around and near
him.
HELIOS: IDENTICAL FOR DANTE WITH APOLLO-CHRIST.
HYPERION: THE TITAN OF THE SUN.
DIONE: DAUGHTER OF OCEANUS & TETHYS, OR EARTH & AIR, MOTHER OF VENUS-APHRODITE. ORIGINALLY AN OAK-GODDESS
AT DODONA.
PAR C22 145-147 / DANTE
Quindi m'apparve il temperar di Giove Next, Jupiter appeared appears, moderate between
tra 'l padre e 'l figlio; e quindi mi fu chiaro Saturn his father’s cold, and Mars his son’s heat, and
il varïar che fanno di lor dove; the changes in their position were are clear to me.

PAR C22 148-150 / DANTE
e tutti e sette mi si dimostraro And all the All seven were are revealed to me,
quanto son grandi e quanto son veloci how large, how fast they are,
e come sono in distante riparo. and how distant from each other in orbit.
169
PAR C22 151-153 / DANTE
L'aiuola che ci fa tanto feroci, The threshing-floor that makes us so fierce,
volgendom' io con li etterni Gemelli, appeared appears to me from mountains to river-
tutta m'apparve da' colli a le foci; mouth, as I revolved revolve with the eternal Twins:
DANTE:
PAR C22 154 / DANTE
poscia rivolsi li occhi a li occhi belli. then I turned turn my eyes to the lovely eyes again.
■ - ■ - ■
CELESTIAL 12
GEMINI LIGHT AGAIN…
CANTO 23
■ - ■ - ■
DANTE WATCHES BEATRICE, MURMURING.
DANTE:
PAR C23 1-3 / DANTE PAR C23 1-3 / KLINE
Come l'augello, intra l'amate fronde, Like a bird among the beloved leaves,
posato al nido de' suoi dolci nati who has brooded over the nest of her sweet chicks,
la notte che le cose ci nasconde, in the night that hides all things from us,
PAR C23 4-6 / DANTE
che, per veder li aspetti disïati and who, prematurely, takes to the open branch,
e per trovar lo cibo onde li pasca, eager to see their longed-for aspect,
in che gravi labor li sono aggrati, and to find food to feed them,
PAR C23 7-9 / DANTE
previene il tempo in su aperta frasca, waiting the sun with ardent love,
e con ardente affetto il sole aspetta, watching fixedly
fiso guardando pur che l'alba nasca; for the dawn to break,
PAR C23 10-12 / DANTE
così la donna mïa stava eretta so was is my Lady., standing, erect and ready,
e attenta, rivolta inver' la plaga turned towards the region of the south
sotto la quale il sol mostra men fretta: where the sun moves slowest,
DANTE TURNS AND VERSIFIES IN A MURMURING AND LOVING TONE.

DANTE:
PAR C23 1-3 / DANTE PAR C23 1-3 / KLINE
Come l'augello, intra l'amate fronde, Like a bird among the beloved leaves,
posato al nido de' suoi dolci nati who has brooded over the nest of her sweet chicks,
la notte che le cose ci nasconde, in the night that hides all things from us,
PAR C23 4-6 / DANTE
che, per veder li aspetti disïati and who, prematurely, takes to the open branch,
e per trovar lo cibo onde li pasca, eager to see their longed-for aspect,
in che gravi labor li sono aggrati, and to find food to feed them,
PAR C23 7-9 / DANTE
previene il tempo in su aperta frasca, waiting the sun with ardent love,
e con ardente affetto il sole aspetta, watching fixedly
fiso guardando pur che l'alba nasca; for the dawn to break,
PAR C23 10 / DANTE
così la donna mïa stava eretta so was my Lady., standing, erect and ready,
PAR C23 13-18 / KLINE
so that as I looked at her in her anticipation and longing, I became like him, desiring, who wishes something new, and
delights in hope. But the time between one when and the next, for fixing my attention I mean, and for seeing the
Heavens grow brighter and brighter, was short.
BEATRICE: or BEATRICE:
PAR C23 19-21 / DANTE PAR C23 19-21 / KLINE
e Bëatrice disse: «Ecco le schiere And Beatrice said: See the procession
del trïunfo di Cristo e tutto 'l frutto of Christ’s triumph, and all the fruits
ricolto del girar di queste spere!». gathered by the wheeling of these spheres.
PAR C23 22-33 / KLINE
Her face seemed alight, and her eyes so full of joy, that I have to pass it by, without description. As Diana Trivia in the
calm of full moons, smiles among the eternal nymphs who clothe the Heavens in every space, I saw one Sun, above a
thousands lights, firing each and all, as our own sun does the things we see above: and the glowing substance shone so
brightly through the living light that my vision could not endure it.
DANTE GAZES UP WITH BEATRICE THEN CLOSES OR COVERS HIS EYES AND LOOKS DOWN.
DANTE: or DANTE:
PAR C23 34 / DANTE PAR C23 34 / KLINE
Oh Bëatrice, dolce guida e cara! O Beatrice, sweet, dear guide!
BEATRICE: or BEATRICE:
PAR C23 35-36 / DANTE PAR C23 35-36 / KLINE
Ella mi disse: Quel che ti sobranza She said to me: Nothing has defence
è virtù da cui nulla si ripara. against what overpowers you.
170
PAR C23 37-45 / KLINE
Inside are the wisdom and the power that opened the path between Heaven and Earth, for which there had been such
great desire before. Even as fire is released from cloud, because it expands so that there is no space inside, and rushes
down to earth against its nature, so my mind, expanded by these feasts, issued out of itself, and cannot remember what it
became.
BEATRICE:
PAR C23 46-48 / DANTE PAR C23 46-48 / KLINE
Apri li occhi e riguarda qual son io; Open your eyes, and look at what I am:
tu hai vedute cose, che possente you have seen things that have made
se' fatto a sostener lo riso mio. you strong enough to endure my smile.
DANTE WRITES.

DANTE:
PAR C23 49-51 / DANTE PAR C23 49-51 / KLINE
Io era come quei che si risente When I heard that That gift, worthy
di visïone oblita e che s'ingegna of great thanks, that can never be erased. from
indarno di ridurlasi a la mente, the book that records the past,
PAR C23 52-54 / DANTE
quand' io udi' questa proferta, degna I was am like someone who returns returning
di tanto grato, che mai non si stingue to himself, from an unremembered a dream,
del libro che 'l preterito rassegna. and tries vainly to he cannot recall. it to mind.
PAR C23 55-57 / DANTE
Se mo sonasser tutte quelle lingue If all of those tongues that of Polyhymnia, and her
che Polimnïa con le suore fero sister Muses, enriched with their sweetest milk,
del latte lor dolcissimo più pingue, sounded, the sound they would not reach,
PAR C23 58-60 / DANTE
per aiutarmi, al millesmo del vero to a thousandth part of the truth, in helping
non si verria, cantando il santo riso my singing of the sacred smile,
e quanto il santo aspetto facea mero; and how it brightened brightens her sacred face.
THERE IS A SHARP SOUND OFFSTAGE. CALLIOPE HAS SLAPPED POLYHYMNIA FOR BEING THE MUSE
MENTIONED AND APPEARS FOR A MOMENT AT THE EDGE OF THE STAGE.
POLYHYMNIA CROSSES THE STAGE, STILL WITH HER FINGER AT HER MOUTH, WHILE HOLDING HER OTHER
HAND TO THE OTHER SIDE OF HER FACE.
■ - ■ - ■
CHESS / CHANSON DE ROLAND 7 1913 – 2396 + 1406 - 1411
[CP 62 / BS] - [CP 61 / TABLE BS] - [CP 63 / BS LIBRARY] WINDOWS UNDIVIDED
THE DEVILS
Fioretto 23
Clare Pictures 61: Devils rise
Devils rise from below and spread to the right and left.
Clare Pictures 62: Ciborium and armed Devils
The devils, representing the forces of Frederick II (1234), are arming themselves with shields and
weapons. Clare holds her ciborium out of the window and this has stopped the leading rank of
armed devils so suddenly that the army has piled up on it.
Clare Pictures 63: Devils at Porziuncola
Unarmed devils beset the Convent of the Porziuncola, containing peaceful monks including St
Francis.
The devils
climb the walls.
climb on the tree, eat its leaves and baby birds
climb on each other’s shoulders to reach the roof.
prance on the roof; push or kick others from the roof.
hang from the gutters, by hands or tails.
peer down the chimney or try pushing one devil down it.
eat a bird and a nest.
look through chinks and parody prayer of monks.
171

○ GRATIANUS:
1913 De ço qui calt? Se fuit s'en est Marsilies, But what avail? Though fled be Marsilies,
1914 Remes i est sis uncles, Marganices, He's left behind his uncle, the alcaliph
1915 Ki tint Kartagene, Alfrere, Garmalie Who holds Alferne, Kartagene, Garmalie,
1916 E Ethiope, une tere maldite. And Ethiope, a cursed land indeed;
1917 La neire gent en ad en sa baillie; The blackamoors from there are in his keep,
1918 Granz unt les nes e lees les oreilles, Broad in the nose they are and flat in the ear,
1919 E sunt ensemble plus de cinquante milie. Fifty thousand and more in company.
1932 Quan Rollant veit la contredite gent When Rollant sees those misbegotten men,
1933 Ki plus sunt neirs que nen est arrement, Who are more black than ink is on the pen
1934 Ne n'unt de blanc ne mais que sul les denz,With no part white, only their teeth except,
○ ROLAND / FOLCO:
1935 Ço dist li quens: «Or sai jo veirement Then says that count: I know now very well
1936 Que hoi murrum par le mien escient. That here to die we're bound, as I can tell.
SIGIER MOVES A BLACK PIECE TO KNOCK OVER THE OLIVER WHITE KNIGHT. GRATIANUS
TAKES THE PIECE INTO ONE HAND.
○ GRATIANUS:
2012 L'oíe pert e la veüe tute; Nothing he sees; he hears not any sound;
2014 Durement en halt si recleimet sa culpe, Proclaims his sins both firmly and aloud,
2017 E beneïst Karlun e France dulce, Blessings on Charles and on Douce France he vows,
2018 Sun cumpaignun Rollant sur tuz humes.And his comrade, Rollanz, to whom he's bound.
2021 Morz est li quens, que plus ne se demuret.And he is dead, may stay no more, that count.
GRATIANUS TAKES THE BLACK PIECE WITH THE WHITE BISHOP (ARCHBISHOP TURPIN) AND
SIGIER TAKES THE ARCHBISHOP WITH ANOTHER PIECE. GRATIANUS TAKES THE FELLED PIECE
INTO HIS OTHER HAND.
○ GRATIANUS:
2238 Ço est l'arcevesque, que Deus mist en
sun num. 'Tis the Archbishop, whom in His name
wrought God;
2239 Cleimet sa culpe, si reguardet amunt, There he proclaims his sins, and looks above;
2243 Par granz batailles e par mult bels sermons,In battles great and very rare sermons
2244 Cuntre paiens fut tuz tens campiuns. Against pagans ever a champion.
2245 Deus li otreit (la sue) seinte beneïçun!. God grant him now His Benediction!
GRATIANUS ADVANCES THE ROLAND./.FOLCO PIECE BOLDLY. SIGIER LOOKS SHARPLY AT
GRATIANUS, IN WHAT THE FRANKS TAKE TO BE SHOCK AT A MASTER MOVE. IT IS SHOCK, BUT
AT GRATIANUS’S BLUNDER. SIGIER EXAMINES ALL THE POSSIBILITIES, SHAKING HIS HEAD,
AND KNOCKS OVER THE ROLAND./.FOLCO KNIGHT WITH A SMALL PIECE OF HIS OWN.
COLLAPSE OF FRANK PARTY.
ROLAND./.FOLCO TAKES CACCIAGUIDA’S SWORD (FROM THE WALL), OR THE ONE WHICH
CHARLES MARTEL D’ANJOU AS VALDABRON GAVE TO GUENELON./.ALBERTUS MAGNUS.
HE GOES TO THE FOOT OF THE LADDER AND LOOKS UP.
○ ROLAND / FOLCO:
2303«E!» dist li quens, «sainte Marie, aiue! And the count says: Saint Mary, be my guide.
HE CLIMBS SLOWLY, RECITING AS HE GOES.
172

○ ROLAND / FOLCO:
2304 E! Durendal, bone, si mare fustes! Good Durendal, unlucky is your plight!
2305 Quant jo mei perd, de vos n'en ai mais cure.I've need of you no more; spent is my pride!
2318 Carles esteit es vals de Moriane, In Moriane was Charles, in the vale,
2319 Quant Deus del cel li mandat par sun a[n]gle,When from heaven God by His angel bade
2320 Qu'il te dunast a un cunte cataignie: Him give thee to a count and capitain;
2321 Dunc la me ceinst li gentilz reis, li magnes. Girt thee on me that noble King and great.
2322 Jo l'en cunquis Namon e Bretaigne, I won for him with thee Anjou, Bretaigne,
2323 Si l'en cunquis e Peitou e le Maine; And won for him with thee Peitou, the Maine,
2324 Jo l'en cunquis Normendie la franche, And Normandy the free for him I gained,
2325 Si l'en cunquis Provence e Equitaigne Also with thee Provence and Equitaigne,
2326 E Lumbardie e trestute (r)Romaine; And Lumbardie and all the whole Romaigne,
2327 Jo l'en cunquis Baiver e tute Flandres, I won Baivere, all Flanders in the plain,
2328 E Burguigne e trestute Puillanie, Also Burguigne and all the whole Puillane,
2329 Costentinnoble, dunt il out la fiance, Costentinnople, that homage to him pays;
2330 E en Saisonie fait il ço, qu'il demandet; In Saisonie all is as he ordains;
2331 Jo l'en cunquis e Escoce e Vales Islonde, With thee I won him Scotland, Ireland, Wales,
2332 E Engletere, que il teneit sa cambre; England also, where he his chamber makes;
2344 «E! Durendal, cum es bele e seintisme! Ah! Durendal, most holy, fair indeed!
2345 En l'oriet punt asez i ad reliques: Relics enough thy golden hilt conceals:
2346 La dent seint Perre e del sanc seint Basilie, Saint Peter's Tooth, the Blood of Saint Basile,
2347 E des chevels mun seignor seint Denise, Some of the Hairs of my Lord, Saint Denis,
2348 Del vestement i ad seinte Marie. Some of the Robe, was worn by Saint Mary.
2349 Il nen est dreiz que paiens te baillisent; It is not right that pagans should thee seize,
2350 De chrestiens devrez estre servie. For Christian men your use shall ever be.
ROLAND./.FOLCO PLACES THE SWORD ON THE WALL AS HIGH AS HE CAN REACH, BELOW THE OLIFANT.
SIGIER PUTS THE ROLAND WHITE KNIGHT INTO THE VOLUME./.CHESS PIECE CONTAINER WITH
THE OTHER REMAINING PIECES AND BEGINS CLOSING THE CHESS TABLE.
○ GRATIANUS:
2389 Sun destre guant a Deu en puroffrit; His right-hand glove, to God he offers it
2390 Seint Gabriel de sa main l'ad pris Saint Gabriel from's hand hath taken it.
2391 Desur sun braz teneit le chef enclin; Over his arm his head bows down and slips,
2392 Juntes ses mains est alet a sa fin. He joins his hands: and so is life finish'd.
2393 Deus tramist sun angle Cherubin, God sent him down His angel cherubim,
2394 E seint Michel del Peril; And Saint Michael, we worship in peril;
2395 Ensembl'od els sent Gabriel i vint. And by their side Saint Gabriel alit;
2396 L'anme del cunte portent en pareïs. So the count's soul they bare to Paradis.
♫HORN TRIUMPHANT * * * * * * * * * *
PAR C22 130 CH/CH 2396
THE BLESSED SOULS RETURN TO THEIR STUDY. GRATIANUS WRAPS UP THE CHANSON
BETWEEN HORN PASSAGES.
○ GRATIANUS:
1406 Malvais servis[e] le jur li rendit Guenes, Evil service, that day, Guenes rendered them,
1407 Qu'en Sarraguce sa maisnee alat vendre; To Sarraguce going, his own to sell.
1408 Puis en perdit e sa vie e ses membres; After, he lost his members and his head,
1409 El plait ad Ais en fut juget a prendre, In court, at Aix, to gallows-tree condemned;
1410 De ses parenz ensembl'od lui tels trente And thirty more with him, of his kindred,
1411 Ki de murir nen ourent esperance. Were hanged, a thing they never did expect.
● SIGIER murmurs:
1411 Ki de murir nen ourent esperance. Were hanged, a thing they never did expect.
173

GRATIANUS CLOSES THE BOOK OF THE CHANSON DE ROLAND AND RETURNS IT TO THE SHELF.
■ - ■ - ■
CELESTIAL 13
[CP 64] - [CP 65] - [CP 66]
CLARE Pictures 64: Francis’s halo of swallows
Francis gestures to swallows circling (like a large halo) and chattering above Francis’s head.
CLARE Pictures 65, 66: Birds fly, forming a cross
The birds fly off in four companies – north, south, east and west – forming a cross.
AS HE DID IN C2 1- , DANTE ADDRESSES THE LOWER PART OF THE AUDIENCE - WITH KINDNESS, NOT
HAUTEUR - AND THE HIGHER. (NOT NECESSARILY IN THAT ORDER.)
DANTE:
PAR C23 61-63 / DANTE PAR C23 61-63 / KLINE
e così, figurando il paradiso, And so the sacred Poem must take a leap,
convien saltar lo sacrato poema, in describing Paradise, like
come chi trova suo cammin riciso. someone finding his way obstructed.
174
PAR C23 64-66 / DANTE
Ma chi pensasse il ponderoso tema But whoever thinks about the weighty theme,
e l'omero mortal che se ne carca, and the human shoulder that has burdened itself with
nol biasmerebbe se sott' esso trema: it, will not cast blame if the shoulder trembles beneath
it.
PAR C23 67-69 / DANTE SEE C2 1-
non è pareggio da picciola barca It is not a path for a little boat,
quel che fendendo va l'ardita prora, that my bold keel cuts as it goes,
né da nocchier ch'a sé medesmo parca. nor a pilot who spares himself.
DANTE:
PAR C23 61-63 / DANTE PAR C23 61-63 / KLINE
e così, figurando il paradiso, And so the sacred Poem must take a leap,
convien saltar lo sacrato poema, in describing Paradise, like
come chi trova suo cammin riciso. someone finding his way obstructed.
PAR C23 64-66 / DANTE
Ma chi pensasse il ponderoso tema But whoever thinks about the weighty theme, and
e l'omero mortal che se ne carca, the human shoulder that has burdened itself with it,
nol biasmerebbe se sott' esso trema: will not cast blame if the shoulder trembles beneath it.
PAR C23 67-69 / DANTE SEE C2 1-
non è pareggio da picciola barca It is not a path for a little boat,
quel che fendendo va l'ardita prora, that my bold keel cuts as it goes,
né da nocchier ch'a sé medesmo parca. nor a pilot who spares himself.
BEATRICE:
PAR C23 70-72 / DANTE PAR C23 70-72 / KLINE
Perché la faccia mia sì t'innamora, Beatrice spoke: Why does my face so entrance you
che tu non ti rivolgi al bel giardino that you do not turn to the lovely Garden
che sotto i raggi di Cristo s'infiora? that flowers below the rays of Christ?

PAR C23 73-75 / DANTE
Quivi è la rosa in che 'l verbo divino There is the Rose, in which the Divine Word
carne si fece; quivi son li gigli made itself flesh: there are the Lilies
al cui odor si prese il buon cammino. within whose perfume the good way was taken.
PAR C23 76-78 / KLINE
And I, who was eager for her wisdom, surrendered again to the struggle of my weak vision.
DANTE READS: THE VIRGIN AND THE APOSTLES.
DANTE:
PAR C23 79-81 / DANTE PAR C23 79-81 / KLINE
Come a raggio di sol, che puro mei As I have seen, before now, a meadow filled with
per fratta nube, già prato di fiori flowers, under the sun’s rays, shining pure through
vider, coverti d'ombra, li occhi miei; broken cloud, themselves covered in shadow,
PAR C23 82-84 / DANTE
vid' io così più turbe di splendori, so I saw see many crowds of splendours,
folgorate di sù da raggi ardenti, shone on from above by ardent rays, not seeing
sanza veder principio di folgóri. the source from which the glow came comes.
PAR C23 85-87 / DANTE
O benigna vertù che sì li 'mprenti, O benign Power that so forms them! You had have
sù t'essaltasti, per largirmi loco risen yourself, to make space
a li occhi lì che non t'eran possenti. for my vision that lacked lacks strength.
PAR C23 88-90 / DANTE
Il nome del bel fior ch'io sempre invoco The name of that lovely flower which I invoke,
e mane e sera, tutto mi ristrinse always, morning and night,
l'animo ad avvisar lo maggior foco; drew draws my mind to gaze at the greatest flame,
PAR C23 91-93 / DANTE
e come ambo le luci mi dipinse And when the quality and might of the living star,
il quale e il quanto de la viva stella that overcomes there as it did down here,
che là sù vince come qua giù vinse, had been is pictured in both my eyes,
PAR C23 94-96 / DANTE
per entro il cielo scese una facella, an encircled flame, formed like a coronet,
formata in cerchio a guisa di corona, fell falls from the Heavens
e cinsela e girossi intorno ad ella. and clothed her, and surrounded surrounds her.
PAR C23 97-99 / DANTE
Qualunque melodia più dolce suona Whatever melody sounds sweetest here,
qua giù e più a sé l'anima tira, and draws the spirit most towards itself,
parrebbe nube che squarciata tona, would seem the thunder from a torn cloud,
PAR C23 100-102 / DANTE
comparata al sonar di quella lira compared to that lyre, to whose sound
onde si coronava il bel zaffiro the lovely sapphire was is crowned,
del quale il ciel più chiaro s'inzaffira. who en-sapphires the brightest Heaven.
■ - ■ - ■
GABRIEL SPEAKS THE WORDS BELOW, OR SINGS WORDS BASED ON THEM.
ARCHANGEL GABRIEL, GABRIELE, GABRIELLO
175

GABRIEL: or GABRIEL:
PAR C23 103-105 / DANTE PAR C23 103-105 / KLINE
«Io sono amore angelico, che giro The circling melody named itself: ‘I am Gabriel.,
l'alta letizia che spira del ventre the Angelic Love, who circles the noble joy,
che fu albergo del nostro disiro; that takes breaths from the womb,
PAR C23 106-108 / DANTE
e girerommi, donna del ciel, mentre that was the Inn of our Longing:
che seguirai tuo figlio, e farai dia and Lady of Heaven, I will circle, until
più la spera suprema perché lì entre». you follow your Son, and render
PAR C23 109-111 / DANTE
Così la circulata melodia the Highest Sphere more divine,
si sigillava, e tutti li altri lumi by entering it.’ Then all the other lights rang
facean sonare il nome di Maria. out with the name of Mary.
♫ I AM GABRIEL… * * * * * * * * * *
PAR C23 102 from PAR C23 103-105
A circling melody:
HEAVENLY VOICES: or HEAVENLY VOICES:
PAR C23 109-111 / DANTE PAR C23 109-111 / KLINE
Così la circulata melodia the Highest Sphere more divine,
si sigillava, e tutti li altri lumi by entering it.’ Then all the other lights rang
facean sonare il nome di Maria!. out with the name of Mary!.
♫REGINA COELI QUEEN OF HEAVEN* * * * * * * * * *
PAR C23 102 from PAR C23 111
The opening words of the Eastertide anthem of the Blessed Virgin.
Regina coeli laetare,
Alleluia,
Quia quem meruisti portare.
Alleluia,
Resurrexit,
Sicut dixit,
Alleluia.
Ora pro nobis Deum.
Alleluia.
In the first two verses ("Regina" and "Quia") the accent falls on the second, fourth, and seventh syllables (the
word quia being counted as a single syllable); in the second two verses ("Resurrexit", "Sicut dixit"), on the
first and third syllables. The Alleluia serves as a refrain. Of unknown authorship, the anthem has been traced
back to the twelfth century. It was in Franciscan use, after Compline, in the first half of the following
century. Together with the other Marian anthems, it was incorporated in the Minorite-Roman Curia Office,
which, by the activity of the Franciscans, was soon popularized everywhere, and which, by the order of
Nicholas III (1277-80), replaced all the older Office-books in all the churches of Rome. Batiffol ("History of
the Roman Breviary", tr., London, 1898, pp. 158-228) admits that "we owe a just debt of gratitude to those
who gave us the antiphons of the Blessed Virgin" (p. 225), which he considers "four exquisite compositions,
though in a style enfeebled by sentimentality" (p. 218). The anthems are indeed exquisite, although (as may
appropriately be noted in the connection) they run through the gamut of medieval literary style, from the
classical hexameters of the "Alma Redemptoris Mater" through the richly-rhymed accentual rhythm and
regular strophes of the "Ave Regina Coelorum", the irregular syntonic strophe of the "Regina Coeli", down to
the sonorous prose rhythms (with rhyming closes) of the Salve Regina.
176

The beautiful plainsong melodies (a simple and an ornate form) are variously given in the Ratisbon
antiphonary and in the Solesmes "Liber Usualis" of 1908, the ornate form in the latter work, with rhythmical
signs added, being very attractive. The official or "typical" melody will be found (p. 126) in the Vatican
Antiphonary (1911). Only one form of melody is given. The different syllabic lengths of the lines make the
anthem difficult to translate with fidelity into English verse. The anthem has often been treated musically by
both polyphonic and modern composers.
from The Catholic Encyclopedia
177
PAR C23 112-117 / KLINE
The Primum Mobile, that royal mantle of all the folds of the Universe, that burns brightest, and is most alive, with the
breath and manner of God, had its inner shore so far above us that its appearance was not yet visible to me.
DANTE VERSIFIES AND WRITES. (THE ITALIAN COULD BE PUT INTO THE PRESENT TENSE.)
DANTE:
PAR C23 88-90 / DANTE PAR C23 88-90 / KLINE
Il nome del bel fior ch'io sempre invoco The name of that lovely flower which I invoke,
e mane e sera, tutto mi ristrinse always, morning and night,
l'animo ad avvisar lo maggior foco; drew my mind to gaze at the greatest flame,
PAR C23 91-93 / DANTE
e come ambo le luci mi dipinse And when the quality and might of the living star,
il quale e il quanto de la viva stella that overcomes there as it did down here,
che là sù vince come qua giù vinse, had been pictured in both my eyes,
PAR C23 94-96 / DANTE
per entro il cielo scese una facella, an encircled flame, formed like a coronet,
formata in cerchio a guisa di corona, fell from the Heavens
e cinsela e girossi intorno ad ella. and clothed her, and surrounded her.
PAR C23 97-99 / DANTE
Qualunque melodia più dolce suona Whatever melody sounds sweetest here,
qua giù e più a sé l'anima tira, and draws the spirit most towards itself,
parrebbe nube che squarciata tona, would seem the thunder from a torn cloud,
PAR C23 100-102 / DANTE
comparata al sonar di quella lira compared to that lyre, to whose sound
onde si coronava il bel zaffiro the lovely sapphire was crowned,
del quale il ciel più chiaro s'inzaffira. who en-sapphires the brightest Heaven.
DANTE POINTS UPWARDS.
DANTE:
PAR C23 118-120 / DANTE PAR C23 118-120 / KLINE
però non ebber li occhi miei potenza So my eyes had not the power to follow
di seguitar la coronata fiamma the crowned flame as she
che si levò appresso sua semenza. She climbed climbs after her own Child.
■ - ■ - [ST BERNARD]
RESPONDING TO THE VIRGIN’S MUSIC, AS HE DID AT THE END OF CANTO 3, ST BERNARD APPEARS IN A
WINDOW AND LOOKS UPWARDS.
PAR C23 121-139 / KLINE
And like the babe, who stretches his arms up towards his mother, when he has suckled, because his mind flames out in
external gesture, so each of those fires tapered its flame, so that the deep love they had for Mary was made clear to me.
Then they rested there, in my sight, singing Regina Coeli: Queen of Heaven, so sweetly, that the delight has never left
me. O how great the wealth is, filling those rich coffers, spirits, which, on earth, were good sowers of its seed! Here
they have life and joy, even from that treasure that was earned, weeping, in Exile, in Babylon, where gold was rejected.
Here he triumphs, with the ancient and the new synod, under the noble Son of God, and Mary, that Peter who holds the
keys to such great glory.

■ - ■ - ■
CANTO 24
■ - ■ - ■
178
BEATRICE:
PAR C24 1-3 / DANTE PAR C24 1-3 / KLINE
O sodalizio eletto a la gran cena O company, elected to the great feast
del benedetto Agnello, il qual vi ciba of the Blessed Lamb, who feeds you in such manner
sì, che la vostra voglia è sempre piena, that your hunger is always sated,
PAR C24 4-6 / DANTE
se per grazia di Dio questi preliba if, by the grace of God,
di quel che cade de la vostra mensa, this man tastes what falls from your table
prima che morte tempo li prescriba, before death has determined his time,
PAR C24 7-9 / DANTE
ponete mente a l'affezione immensa take heed of his immeasurable yearning, and sprinkle
e roratelo alquanto: voi bevete him a little, you who always drink at the fountain,
sempre del fonte onde vien quel ch'ei pensa. from which flows that on which his thought is fixed.
DANTE VERSIFIES, LOOKS, WRITES AND READS.
DANTE:
PAR C24 7-9 / DANTE PAR C24 7-9 / KLINE
ponete mente a l'affezione immensa take heed of his immeasurable yearning, and sprinkle
e roratelo alquanto: voi bevete him a little, you who always drink at the fountain,
sempre del fonte onde vien quel ch'ei pensa. from which flows that on which his thought is fixed.
PAR C24 10-12 / DANTE
Così Beatrice; e quelle anime liete So Beatrice spoke: and those joyful souls,
si fero spere sopra fissi poli, made spheres, of themselves, with fixed axes,
fiammando, a volte, a guisa di comete. flaming out like comets.
PAR C24 13-15 / DANTE
E come cerchi in tempra d'orïuoli And as wheels, in harmonious clockwork,
si giran sì, che 'l primo a chi pon mente turn so that the first seems still,
quïeto pare, e l'ultimo che voli; to whoever inspects it, but the last to fly,
PAR C24 16-18 / DANTE
così quelle carole, differente- so these dancers with their various gyres,
mente danzando, de la sua ricchezza fast or slow,
mi facieno stimar, veloci e lente. made me consider their riches.
PAR C24 19-24 / KLINE
I saw a blissful flame shoot from the one I thought most beautiful, such that none brighter remained: and it swept three
times round Beatrice, with a song so divine that my imagination cannot repeat it,
DANTE STOPS AND PUTS HIS STYLUS BACK IN HIS BOOK.
■ - [YELLOW ☼ ☼ ☼] - ■

ST PETER
DANTE:
PAR C24 25-27 / DANTE PAR C24 25-27 / KLINE
Però salta la penna e non lo scrivo: and my pen passes on, and I do not write,
ché l'imagine nostra a cotai pieghe, since our thought, and speech,
non che 'l parlare, è troppo color vivo. is too grossly coloured to trace such folds.
■ - [YELLOW ☼] - ■
TWO OF THE LIGHTS SWING BEHIND THE THIRD, WHICH STEADIES AND SPEAKS.
ST PETER (VOICE):
PAR C24 28-30 / DANTE PAR C24 28-30 / KLINE
O santa suora mia che sì ne prieghe O my holy sister, who begs us, so devotedly,
divota, per lo tuo ardente affetto you free me from this lovely sphere
da quella bella spera mi disleghe. by your glowing love.
PAR C24 31-33 / KLINE
as soon as the blessed flame had rested, the breath that spoke the words I wrote, turned to my Lady.
BEATRICE:
St Peter!
■ - [SEA BOAT BOW: ST PETER SEA] - ■
or [SEA] - [SEA BOAT BOW: ST PETER SEA] - [SEA] WINDOWS UNDIVIDED
ST PETER MANIFESTS HIMSELF IN A WOODEN ROWING BOAT ON THE BLUE SEA OF GALILEE. THE SUN IS
BRILLIANT, HENCE THE HAT. ST PETER SITS IN THE BOW OF THE BOAT WHICH IS POINTED DIRECTLY AT THE
AUDIENCE. HE AND HIS HAT HIDE ANY OTHERS IN THE BOAT, THOUGH THE AUDIENCE MAY SEE THE OARS
BEING HELD BY THE OARSMAN ON THE CENTRE SEAT. THE OARS MAY BE FEATHERED, JUST ABOVE THE
WATER OR RAISED LIKE WINGS.
ST PETER *---- ? - 64 OR 69? AGE : 65? CHARACTER AGE : 30? (WHEN WITH CHRIST)
PIETRO, CEPHEAS
PLACE./.LANGUAGE ETC
179

BORN AT BETHSAIDA ON THE SEA OF GALILEE, HE MOVED TO CAPERNAUM, NEARBY. ARAMAIC, GREEK.
HEBREW? PROBABLY ARAMAIC WITH GREEK TOUCHES.
DESCRIPTION
WELL-BUILT WITH A SHORT, BUSHY BEARD? HE WEARS A SENSIBLY-LARGE, FLOPPY? HAT, PERHAPS TILTED TO
RESEMBLE A HALO.
(IN THE PROGRAMME)
FISH THICKENED THE SEA (FRESHWATER LAKE) OF GALILEE IN BIBLICAL TIMES & MANY FISHING VILLAGES
SURROUNDED IT. PETER, JAMES & JOHN FISHED FROM OR NEAR BETHSAIDA (GK. ‘HOUSE OF FISHING’ OR
‘TEMPLE OF THE FISH-GOD’). MARY MAGDALENE BECAME THE ONLY PRODUCT OF MAGDALA (GK.
TARICHAEAE ‘PROCESSED-FISHVILLE’) BETTER KNOWN IN THE ROMAN EMPIRE THAN DRIED FISH. FISH WERE
CAUGHT WITH A FISH-HOOK, MORE FISH WITH A FISH-NET CAST FROM SHORE OR A FISHING BOAT, & EVEN
MORE FISH WITH A FISH-NET SET BY A FISHING BOAT & DRAGGED ASHORE AT BOTH ENDS. NIGHT & DAY,
AWAKE & ASLEEP, GALILEAN FISHERMAN FISHED, COUNTED FISH (FEW OF WHICH HAD A COIN IN THE MOUTH
FOR THE FISH TAX 1); CLEANED CLEAN FISH, FETCHED FISH TO THE JERUSALEM FISH-GATE & TO SHELLFISH-
PURPLE TYRE 2; MADE FISHNETS; REPAIRED, WASHED & DRIED FISHNETS; BUILT & REPAIRED FISHING BOATS;
& SMELLED, IN THE AIR WHICH UNMIRRORED THE SEA, AS IN THE MOUNTAIN TEMPEST WHICH MADE
MOUNTAINS OF IT, FISH. THERE ARE NO FISH IN PARADISE.
1 GO THOU TO THE SEA, AND CAST AN HOOK, AND TAKE UP THE FISH THAT FIRST COMETH UP; AND WHEN THOU
HAST OPENED HIS MOUTH, THOU SHALT FIND A PIECE OF MONEY: THAT TAKE, AND GIVE UNTO THEM FOR ME
AND THEE. MATT 17-27 (AUTH.VERS.).
THE MUSHT - ST PETER’S FISH - PICKS UP PEBBLES TO PREVENT ITS HATCHLINGS, KEPT AS EGGS IN THE
MOUTH, RETURNING. COINS WERE SOMETIMES PICKED UP WITH THE PEBBLES.
2 SHELLFISH: MUREX
THE BOAT MIGHT BE A SMALL VERSION OF THE 1 ST C FISHING-VESSEL DISCOVERED IN 1986 ON THE SHORE OF
THE SEA (LAKE) AND PUT ON DISPLAY AT EN GOV. IT IS MAINLY CEDAR AND OAK AND CARPENTERED WITH
MORTISE AND TENON JOINTS.
BEATRICE:
PAR C24 34-36 / DANTE PAR C24 34-36 / KLINE
Ed ella: O luce etterna del gran viro And she replied: O eternal light of that great man to
a cui Nostro Segnor lasciò le chiavi, whom our Lord left the keys of this marvellous joy,
ch'ei portò giù, di questo gaudio miro, which he brought to earth,
PAR C24 37-39 / DANTE
tenta costui di punti lievi e gravi, test this man here on the points of faith,
come ti piace, intorno de la fede, lesser or greater, as you choose.,
per la qual tu su per lo mare andavi. the faith that enabled you to walk the waves.
PAR C24 40-51 / KLINE
Whether he loves well, and hopes truly, and believes, is not hidden from you, since you have sight of that place where
everything is brought to light. But since this kingdom has made its citizens from those of true faith, it is fitting that he
should be allowed to speak of it, to give it glory. Even as the student equips himself, but does not speak until the master
sets out the question, to sanction it, and not decide it, so I armed myself with every thought, while she spoke, so that I
might be ready for such questioning and response.
ST PETER:
PAR C24 52-54 / DANTE PAR C24 52-54 / KLINE
Dì, buon Cristiano, fatti manifesto: Speak, good Christian, reveal yourself:
fede che è? Ond' io levai la fronte what is Faith? At which I raised my forehead
in quella luce onde spirava questo; to the light that breathed those words:
PAR C24 55-60 / KLINE
then turned to Beatrice, and she eagerly signed to me to pour out the water of my inner fountain. I began: May the grace
that allows me to confess myself to the noble fore-runner, make my thought achieve expression!
DANTE:
PAR C24 61-63 / DANTE PAR C24 61-63 / KLINE
E seguitai: «Come 'l verace stilo And I went on: ‘As the true pen of your
ne scrisse, padre, del tuo caro frate dear brother, Paul, who with you set Rome
che mise teco Roma nel buon filo, on the better path, wrote for us:
PAR C24 64-66 / DANTE
fede è sustanza di cose sperate Faith is the substance of things hoped for,
e argomento de le non parventi; the evidence of things not seen.:
e questa pare a me sua quiditate». and this I take to be its essence.’
180

ST PETER:
PAR C24 67-69 / DANTE PAR C24 67-69 / KLINE
Allora udi': Dirittamente senti, Then I heard: You understand it truly,
se bene intendi perché la ripuose if you understand why he placed it among
tra le sustanze, e poi tra li argomenti. the substances, and then cited it as evidence.
DANTE:
PAR C24 70-72 / DANTE PAR C24 70-72 / KLINE
E io appresso: Le profonde cose And I to that: The deep things which grant me
che mi largiscon qui la lor parvenza, the privilege me by of appearing, in front of me,
a li occhi di là giù son sì ascose, here, are hidden from the sight of those below,
PAR C24 73-75 / DANTE
che l'esser loro v'è in sola credenza, so that their existence is only a belief, down there,
sopra la qual si fonda l'alta spene; on which is built a high hope: and so hence it
e però di sustanza prende intenza. justifies the meaning of substance.
PAR C24 76-78 / DANTE
E da questa credenza ci convene And from From this belief we need to reason,
silogizzar, sanz' avere altra vista: without any further insight:
però intenza d'argomento tene. so it satisfies the meaning of evidence.
ST PETER:
PAR C24 79-81 / DANTE PAR C24 79-81 / KLINE
Allora udi': Se quantunque s'acquista Then I heard: If everything that is learnt
giù per dottrina, fosse così 'nteso, down there by teaching, were understood so
non lì avria loco ingegno di sofista. clearly, there would be no room left for sophistry.
PAR C24 82-84 / DANTE
Così spirò di quello amore acceso; So it breathed out from that burning love:
indi soggiunse: Assai bene è trascorsa then it added: This coin’s weight
d'esta moneta già la lega e 'l peso; and alloy has been well tried:
PAR C24 85 / DANTE
ma dimmi se tu l'hai ne la tua borsa. but tell me if you have it in your purse.
DANTE:
PAR C24 86-87 / DANTE PAR C24 86-87 / KLINE
Ond' io: Sì ho, sì lucida e sì tonda, At which I said: Yes, I have it there, so bright and
che nel suo conio nulla mi s'inforsa. round, that there is no perhaps for me in its stamp.
ST PETER:
PAR C24 88-90 / DANTE PAR C24 88-90 / KLINE
Appresso uscì de la luce profonda Then this issued from the deep light that was
che lì splendeva: Questa cara gioia burning there: From where did that dear gem thing,
sopra la quale ogne virtù si fonda, on which all virtue is founded, come to you?
DANTE:
PAR C24 91-93 / DANTE PAR C24 91-93 / KLINE
onde ti venne?. E io: «La larga ploia And I: The profuse rain of the Holy Spirit
de lo Spirito Santo, ch'è diffusa which is poured over
in su le vecchie e 'n su le nuove cuoia, the Old and the New pages.,
181
PAR C24 94-96 / KLINE
is the reasoning that brought it to so clear a conclusion for me, so that compared with it, all argument seems coarse to
me.
ST PETER:
PAR C24 97-99 / DANTE PAR C24 97-99 / KLINE
Io udi' poi: L'antica e la novella Then I heard: That Old and New proposition,
proposizion che così ti conchiude, which leads to your conclusion,
perché l'hai tu per divina favella? why do you take it for Divine discourse?’

DANTE:
PAR C24 100-102 / DANTE PAR C24 100-102 / KLINE
E io: La prova che 'l ver mi dischiude, And I: The proof which reveals the truth to me,
son l'opere seguite, a che natura is in the miracles that followed, which nature
non scalda ferro mai né batte incude». never heated the iron for, or nor struck the anvil.
ST PETER:
PAR C24 103-105 / DANTE PAR C24 103-105 / KLINE
Risposto fummi: Dì, chi t'assicura The answer was: Tell me, who assures you that
che quell' opere fosser? Quel medesmo these miracles took place? The writing, that seeks
che vuol provarsi, non altri, il ti giura. to be the proof of itself, no other, attests to them.
DANTE:
PAR C24 106-108 / DANTE PAR C24 106-108 / KLINE
Se 'l mondo si rivolse al cristianesmo, I answered: If the world turned to Christianity,
diss' io, sanza miracoli, quest' uno without miracles, that would be such a miracle
è tal, che li altri non sono il centesmo: that the others would not rate a hundredth of it,
182
PAR C24 109-114 / KLINE
since you entered, poor and hungry, on the field, to sow the plant that was once a vine, and is now a thorn. So ending,
the high sacred court rang out a Dio laudamo: We praise God, through the spheres, with that melody that is sung up
there.
♫DIO LAUDAMO * * * * * * * * * *
PAR C24 108 from PAR C24 112
PAR C24 115-120 / KLINE
That spirit, who had drawn me from branch to branch with his questioning, now we were near to the topmost leaves,
began again: The grace, which holds loving speech with your mind, has opened your mouth, till now, as was
appropriate,
ST PETER:
PAR C24 121-123 / DANTE PAR C24 121-123 / KLINE
sì ch'io approvo ciò che fuori emerse; so that I sanction what emerged: but now you
ma or convien espremer quel che credi, must say Say what you believe, and how it was
e onde a la credenza tua s'offerse. offered to your belief.
PAR C24 124-129 / KLINE
I began: O holy father, you spirit, who see now, what you once so believed, that you outstripped younger feet in
entering the sepulchre, you would have me declare the form of my eager faith, and also ask the source of it:
DANTE:
PAR C24 130-132 / DANTE PAR C24 130-132 / KLINE
E io rispondo: Io credo in uno Dio to which I answer: I believe in one God, sole and
solo ed etterno, che tutto 'l ciel move, eternal, who moves all the Heavens with love
non moto, con amore e con disio; and desire, Himself unmoving.
PAR C24 133-138 / KLINE
And I do not merely have physical and metaphysical proofs for such belief, but it is shown me also by the truth that
flows from it, through Moses, the Prophets and the Psalms, through the Gospel, and through you, who wrote, when the
ardent Spirit had made you holy.
PAR C24 139-141 / DANTE
e credo in tre persone etterne, e queste And I believe in three Persons, eternal,
credo una essenza sì una e sì trina, and I believe they are One essence, and Threefold.,
che soffera congiunto `sono' ed `este'. in such a way as to allow are and is to be joined.
PAR C24 142-157 / KLINE
My mind is stamped more than once, by the evangelic teaching, with the profound Divine condition of which I speak.
This is the Source: this is the spark which then expands to living flame, and shines in me like a star in Heaven.’ Like the
Master who hears what please him, and so clasps the servant, thanking him for his news, when he falls silent: So the

apostolic light at whose command I had spoken circled me three times, blessing me as it sang, as soon as I had ceased, I
pleased him so with my words.
♫CELESTIAL * * * * * * * * * *
PAR C24 140
CANTO 25
DANTE ADDRESSES PART OF THE AUDIENCE AT STAGE-FRONT. BEATRICE REMAINS FACING THE BOAT, SO
CLOSE THAT THE AUDIENCE CANNOT SEE IT.
183
DANTE:
PAR C25 1-3 / DANTE PAR C25 1-3 / KLINE
Se mai continga che 'l poema sacro If it should ever come to pass, that the sacred poem,
al quale ha posto mano e cielo e terra, to which Heaven and Earth have set their hand,
sì che m'ha fatto per molti anni macro, so that it has made me lean through many a year,
PAR C25 4-6 / DANTE
vinca la crudeltà che fuor mi serra conquers the cruelty that bars me from
del bello ovile ov' io dormi' agnello, the lovely fold, where I used to sleep as a lamb,
nimico ai lupi che li danno guerra; enemy of the wolves that war on it,
PAR C25 7-9 / DANTE
con altra voce omai, con altro vello I will return a poet, now, with altered voice
ritornerò poeta, e in sul fonte and fleece, and will assume the wreath
del mio battesmo prenderò 'l cappello; at my baptismal font,
DANTE REFUSED A LAUREL CROWN AT BOLOGNA IN 1318, HOPING STILL TO RETURN TO FLORENCE AND BE CROWNED THERE.
PAR C25 10-12 / DANTE
però che ne la fede, che fa conte since it was there I entered the faith which makes
l'anime a Dio, quivi intra' io, e poi souls visible to God., and afterwards Peter,
Pietro per lei sì mi girò la fronte. for its sake, so encircled my brow.
DANTE TURNS TO ANOTHER PART OF THE AUDIENCE AND VERSIFIES UNTIL BEATRICE INTERRUPTS.
DANTE:
PAR C25 1-3 / DANTE PAR C25 1-3 / KLINE
Se mai continga che 'l poema sacro If it should ever come to pass, that the sacred poem,
al quale ha posto mano e cielo e terra, to which Heaven and Earth have set their hand,
sì che m'ha fatto per molti anni macro, so that it has made me lean through many a year,
PAR C25 4-6 / DANTE
vinca la crudeltà che fuor mi serra conquers the cruelty that bars me from
del bello ovile ov' io dormi' agnello, the lovely fold, where I used to sleep as a lamb,
nimico ai lupi che li danno guerra; enemy of the wolves that war on it,
PAR C25 7-9 / DANTE
con altra voce omai, con altro vello I will return a poet, now, with altered voice
ritornerò poeta, e in sul fonte and fleece, and will assume the wreath
del mio battesmo prenderò 'l cappello; at my baptismal font,

ST JAMES
BEATRICE TURNS AROUND IN GREAT EXCITEMENT.
184
PAR C25 13-15 / KLINE
After which a light moved towards us, from the sphere out of which the first fruits of the vicars left by Christ on earth
came.
BEATRICE: & BEATRICE:
PAR C25 16-18 / DANTE PAR C25 16-18 / KLINE
e la mia donna, piena di letizia, And my Lady, full of joy, said to me:
mi disse: Mira, mira: ecco il barone See! See! Behold James, the Saint for whose sake,
per cui là giù si vicita Galizia». down there, they search out Galicia.
■ - [SEA BOAT STERN: ST JAMES SEA] - ■
or [SEA] - [SEA BOAT STERN: ST JAMES SEA] - [SEA] WINDOWS UNDIVIDED
THE BOAT HAS TURNED AROUND. ST JAMES SITS IN THE STERN, FACING THE AUDIENCE. DANTE LOWERS HIS
HEAD.
ST JAMES (THE GREATER) *---- ? - 40↔44 AGE : 35? CHARACTER AGE : *-- ?
GIACOMO, JACOPO, SANTIAGO
PLACE./.LANGUAGE ETC
BORN AT CAPERNAUM ON THE SEA OF GALILEE, THE ELDER BROTHER OF JOHN. HE WAS KNOWN FOR HIS FIERY
TEMPERAMENT - CHRIST CALLED HIM AND JOHN BOANERGES – THUNDERERS.
ARAMAIC, GREEK. HEBREW? PROBABLY ARAMAIC WITH GREEK TOUCHES.
DESCRIPTION
LIKE PETER, HE WEARS A SENSIBLY-LARGE, FLOPPY? HAT, WHICH MAY BE TILTED TO RESEMBLE A HALO. HE IS
SOMETIMES REPRESENTED AS A PILGRIM WITH A HAT LIKE THAT. WE ALREADY KNOW THAT PETER IS IN THE BOW
OF THE BOAT, BUT JAMES AND HIS HAT HIDE ANY OTHERS.
PAR C25 19-27 / KLINE
As a dove, taking his perch next to his companion, pours out his love for the other, billing and cooing, so I saw one
great and glorious prince received by the other, praising the food that feasts them there. But when the greeting was over,
each one rested, silently, coram me: in my presence, so fiery, that they overcame my gaze.
BEATRICE:
PAR C25 28-30 / DANTE PAR C25 28-30 / KLINE
Ridendo allora Bëatrice disse: Then Beatrice, smiling, said:
Inclita vita per cui la larghezza Noble life, by whom the generous
de la nostra basilica si scrisse, gifts of our court were recorded,
PAR C25 31-33 / DANTE
fa risonar la spene in questa altezza: let Hope be sounded in this altitude.:
tu sai, che tante fiate la figuri, you know it, who described it all those times,
quante Iesù ai tre fé più carezza. when Jesus gave greater light to you three
DANTE APPROACHES THE BOAT.
ST JAMES:
PAR C25 34-36 / DANTE PAR C25 34-36 / KLINE
«Leva la testa e fa che t'assicuri: Lift your head, and reassure yourself,
che ciò che vien qua sù del mortal mondo, since whatever comes here
convien ch'ai nostri raggi si maturi». from the mortal world must ripen in our rays.
PAR C25 37-39 / KLINE
Such comfort came to me from the second flame, at which I lifted up ‘mine eyes unto the hills’, which had been bowed
before with excessive weight.

DANTE RAISES HIS HEAD [PAR C25 37-39].
ST JAMES:
PAR C25 40-42 / DANTE PAR C25 40-42 / KLINE
Poi che per grazia vuol che tu t'affronti The second light continued: Since our Emperor,
lo nostro Imperadore, anzi la morte, by his grace, wishes you to be confronted with
ne l'aula più secreta co' suoi conti, his Saints, in his most secret court, before you die,
PAR C25 43-45 / DANTE
sì che, veduto il ver di questa corte, so that having seen its truth, you might increase
la spene, che là giù bene innamora, the hope in yourself and others,
in te e in altrui di ciò conforte, which makes people on earth love the good,
PAR C25 46-48 / DANTE
di' quel ch'ell' è, di' come se ne 'nfiora say what Hope is, and how your mind
la mente tua, e dì onde a te venne. is en-flowered by it,
Così seguì 'l secondo lume ancora. and say from where it comes to you.
PAR C25 49-51 / KLINE
And that gentle one, Beatrice, who guided my feathered wings to so high a soaring, anticipated me in speaking, saying:
BEATRICE:
PAR C25 52-54 / DANTE PAR C25 52-54 / KLINE
La Chiesa militante alcun figliuolo The Church militant does not have a child
non ha con più speranza, com' è scritto more full of hope, as it is written in the Sun
nel Sol che raggia tutto nostro stuolo: who shines on all our host,
PAR C25 55-57 / DANTE
però li è conceduto che d'Egitto so it was granted to him to come out of Egypt
vegna in Ierusalemme per vedere, to Jerusalem, to gaze on her,
anzi che 'l militar li sia prescritto. before the proper end of his struggle.
PAR C25 58-66 / KLINE
Those two points, of hope and love, asked about not so that you might learn anything, but so that he can take back word
of how much they give pleasure to you, I leave to him, since they will not be difficult for him, or a matter of boast: so
let him answer to them, and may God’s grace allow him this. Like a pupil following after his teacher, in what he is
expert in, pleased and eager, for his knowledge to be shown,
DANTE:
PAR C25 67-69 / DANTE PAR C25 67-69 / KLINE
Spene, diss' io, è uno attender certo I said: Hope is the certain expectation
de la gloria futura, il qual produce of future glory, the product of Divine Grace
grazia divina e precedente merto. and previous worth.
PAR C25 70-72 / DANTE
Da molte stelle mi vien questa luce; This light comes to me from many stars:
ma quei la distillò nel mio cor pria but David, the highest singer of the highest leader,
che fu sommo cantor del sommo duce. first distilled it in my heart.
PAR C25 73-75 / DANTE
'Sperino in te', ne la sua tëodia Let those who know your name, hope in you,
dice, 'color che sanno il nome tuo': he says in his divine song,
e chi nol sa, s'elli ha la fede mia? and who does not know it, if they have my faith?
PAR C25 76-78 / KLINE
You then rained it on me, with his rain, in your Epistle, so that I am drenched and pour your shower again over others.
YOUR EPISTLE: DANTE ASCRIBES TO JAMES THE AUTHORSHIP OF THE EPISTLE MORE USUALLY ATTRIBUTED TO THE APOSTLE
JAMES THE LESS, THE ‘BROTHER OF THE LORD’, WHICH TALKS OF GOD GIVING LIBERALLY IN JAMES 1 5.
PAR C25 79-81 / KLINE
While I was speaking, a sudden flash like lightning trembled in the living heart of that flame.
185

ST JAMES:
PAR C25 82-84 / DANTE PAR C25 82-84 / KLINE
Indi spirò: «L'amore ond' ïo avvampo Then it breathed out: The love, with which I am
ancor ver' la virtù che mi seguette still on fire for virtue, that followed me to the palm
infin la palma e a l'uscir del campo, of martyrdom and the leaving of the field of life,
PAR C25 85-87 / DANTE
vuol ch'io respiri a te che ti dilette wills me to breathe on you who delight in her.,
di lei; ed emmi a grato che tu diche and it is my further wish that you tell Tell me
quello che la speranza ti 'mpromette». of what it is hope promises to you.
DANTE:
PAR C25 88-90 / DANTE PAR C25 88-90 / KLINE
E io: «Le nove e le scritture antiche And I: ‘The Old and the New scriptures display the
pongon lo segno, ed esso lo mi addita, sign that points me once more to the thing itself.
de l'anime che Dio s'ha fatte amiche. Isaiah says that, of the souls that God
PAR C25 91-93 / DANTE
Dice Isaia che ciascuna vestita has made his friends, each one will be robed
ne la sua terra fia di doppia vesta: with double robes, in its own land,
e la sua terra è questa dolce vita; and its own land is this sweet life.
186
PAR C25 94-99 / KLINE
And your brother John sets out this revelation for us, more clearly worked through, where he treats of the white robes.
And not long after the ending of these words, ‘They hope in you’ rang out above us, to which all the singers responded:
♫CELESTIAL? THEY HOPE IN YOU ? * * * * * * * * * *
PAR C25 93 from PAR C25 98
ST JOHN
[SEA & LIGHT] - [SEA & LIGHT] - [SEA & LIGHT] WINDOWS UNDIVIDED
LIGHT FLASHES FROM THE WINDOWS, SUN OFF THE WATER.
PAR C25 100-102 / KLINE
then a light flashed out, from among them, so that if Cancer, the sign of the Crab, contained a star like it, winter would
have one month with unbroken daylight.
DANTE:
PAR C25 103-105 / KLINE
E come surge e va ed entra in ballo And as a joyful virgin rises, and goes
vergine lieta, sol per fare onore to join the dance, not from wrong motives,
a la novizia, non per alcun fallo, but only to honour the bride,
PAR C25 106-108 / DANTE
così vid' io lo schiarato splendore so I saw see that illumined splendour join
venire a' due che si volgieno a nota the other two, who were turning in a ring,
qual conveniesi al loro ardente amore. in such a manner as fitted their ardent love.
PAR C25 109-111 / KLINE
There it entered their song and its words, and my Lady fixed her gaze on them like a bride, silent and motionless, and
my Lady said:
THE LIGHT BECOMES DAZZLING.

BEATRICE:
PAR C25 112-114 / DANTE PAR C25 112-114 / KLINE
Questi è colui che giacque sopra 'l petto This is John, who at the last supper leaned on
del nostro pellicano, e questi fue the breast of Christ, the Pelican, who chose him
di su la croce al grande officio eletto. from the cross, and committed Mary to his care.
THE PELICAN: SUPPOSED TO FEED ITS YOUNG WITH ITS OWN BLOOD.
PAR C25 115-135 / KLINE
So she spoke, but no more moved her eyes, from their fixed intent, afterwards than before. Like one who strains and
gazes at the sun’s brief eclipse, who loses his sight by looking, so was I at this last flame, until a word came: Why does
it dazzle you to see that which has no place here? My body is earth in the earth, and there it will be with the others, until
our time suits the eternal purpose. Only the two lights which rose, Christ and the Virgin, wear both robes in this blessed
cloister, and this you can take back to your world. The inflamed circle quieted itself at this voice, together with the
sweet harmony made by the sound of that triple breath, as oars, striking the water until then, all pause at the whistle’s
sound, so as to stave off weariness or danger.
CANTO 26
PAR C26 1-6 / KLINE
While I was doubtful of my darkened sight, I was made attentive by a breath that came from the glowing flame that had
darkened it, saying: Until you regain the sense of sight you have spent on me, it would be well to compensate for it by
speaking.
[SEA] - [SEA BOAT ACROSS: STS PETER, JOHN, JAMES SEA] - [SEA] WINDOWS UNDIVIDED
THE DAZZLE REDUCES TO SHOW THE BOAT AT RIGHT ANGLES TO THE SHORE. STS. JAMES, JOHN AND PETER
FACE THE AUDIENCE. ST JOHN HOLDS THE OARS FEATHERED. DANTE IS HOLDING HIS HANDS TO HIS EYES.
HE TAKES HIS HANDS AWAY BUT CANNOT SEE.
ST JOHN:
PAR C26 7-9 / DANTE PAR C26 7-9 / KLINE
Comincia dunque; e dì ove s'appunta Begin then, and say on what your mind is focused,
l'anima tua, e fa ragion che sia and be Be assured that your vision is dazzled,
la vista in te smarrita e non defunta: and not destroyed:
ST JOHN (GIOVANNI) *---- ? - 55+ AGE : *-- ? CHARACTER AGE : 20?
PLACE./.LANGUAGE ETC
BORN AT CAPERNAUM ON THE SEA OF GALILEE, THE YOUNGER BROTHER OF JAMES AND KNOWN LIKE HIM FOR A
FIERY TEMPERAMENT.
ARAMAIC, GREEK, HEBREW? PROBABLY ARAMAIC WITH GREEK TOUCHES.
DESCRIPTION
A BEAUTIFUL YOUTH. LIKE JAMES AND PETER, HE WEARS A SENSIBLY-LARGE, PERHAPS FLOPPY, HAT, WHICH MAY
BE TILTED TO RESEMBLE A HALO.
187
ST JOHN:
PAR C26 10-12 / DANTE PAR C26 10-12 / KLINE
perché la donna che per questa dia since the Lady who leads you through this
regïon ti conduce, ha ne lo sguardo divine region has the power
la virtù ch'ebbe la man d'Anania. to heal it, in her gaze., that Ananias had in his hands.
DANTE:
PAR C26 13-15 / DANTE PAR C26 13-15 / KLINE
Io dissi: Al suo piacere e tosto e tardo I said: ‘Let help come sooner or later, at her wish,
vegna remedio a li occhi, che fuor porte to these eyes, that were the gates where she
quand' ella entrò col foco ond' io sempr'
ardo. entered with the fire I always burn with.

188
PAR C26 16-18 / DANTE
Lo ben che fa contenta questa corte, Love, the The good, that satisfies this court,
Alfa e O è di quanta scrittura is the Alpha and Omega of all the scriptures
mi legge Amore o lievemente o forte. which Amor Love reads to me., shallowly or deeply.
PAR C26 19-45 / KLINE
That same voice which had erased my fear at the sudden dazzling, set my mind again to speech, and said: Truly, you
must strain through a finer sieve: you must tell me what it was that aimed your bow at such a target. And I replied: Such
love must stamp itself on me, by philosophical arguments, and by authority that descends from them, since good, as
good, in my understanding, lights the fire of love, and the more so, the more excellence it finds in itself. So the mind, of
whoever sees the truth, on which this proof depends, must move, in love, towards that Essence, which has such
advantage, that whatever is found good outside it, is nothing but a ray of its own light. And this same truth is made
known, to my intellect, by Aristotle, who shows me the primal love, of all eternal beings. It is made known to me by the
voice of that true Author who says to Moses, speaking of himself: ‘I will cause thee to see all worth. It is made known
to me by you as well, where you open’ the noble Revelation, that cries out the secrets of this place, to Earth, beyond all
other speech.
ST JOHN:
PAR C26 46-48 / DANTE PAR C26 46-48 / KLINE
E io udi': Per intelletto umano And I heard: Keep the highest of your loves
e per autoritadi a lui concorde for God, as urged by human reason,
d'i tuoi amori a Dio guarda il sovrano. and by the authorities that concur with it,
PAR C26 49-51 / DANTE
Ma dì ancor se tu senti altre corde but tell me if you feel other strings
tirarti verso lui, sì che tu suone drawing you towards Him,
con quanti denti questo amor ti morde. and say how many teeth this love grips you with.
PAR C26 52-54 / KLINE
The sacred purpose of Christ’s eagle was not hidden but rather I saw in which direction he wished to lead my
statements.
DANTE:
PAR C26 55-57 / DANTE PAR C26 55-57 / KLINE
Però ricominciai: Tutti quei morsi So that I began again: All those bitings that have
che posson far lo cor volgere a Dio, power to make the heart turn towards God,
a la mia caritate son concorsi: work together on my love,
PAR C26 58-60 / DANTE
ché l'essere del mondo e l'esser mio, since the world’s being and my own being,
la morte ch'el sostenne perch' io viva, the death that He suffered so that I might live,
e quel che spera ogne fedel com' io, and what each believer hopes,
PAR C26 61-63 / DANTE
con la predetta conoscenza viva, as do I, together with the living consciousness
tratto m'hanno del mar de l'amor torto, I spoke of, have drawn me out of the sea of the
e del diritto m'han posto a la riva. perverse, and set me on the shore of true love.
PAR C26 64-66 / DANTE
Le fronde onde s'infronda tutto l'orto I love the leaves with which the whole Garden
de l'ortolano etterno, am' io cotanto of the eternal Gardener is leafed, as greatly
quanto da lui a lor di bene è porto. as good has been offered to them, by Him.
PAR C26 67-69 / DANTE
Sì com' io tacqui, un dolcissimo canto As soon as I fell silent, the sweetest song
risonò per lo cielo, e la mia donna resounded through the Heavens, and my lady
dicea con li altri: «Santo, santo, santo!». Cried ‘Holy, Holy, Holy with them all.
CELESTIAL 14
[CP 67] - [CP 68] - [CP 69]

Clare Pictures 67, 68, 69: Francis in tree with dove’s nest crown.
Fioretto 22
Francis sits in the tree outside the Porziuncola with his eyes closed and his outstretched arms
holding onto branches, the palms of his hands turned frontwards. On his head is a dove’s nest
crown. A dove is sitting in the nest.
(This was written a mo nth before I saw St Francis climbing a tree with a nest crown on his head in
an Italian film of 2001.)
♫CELESTIAL? FINISHING SANCTUS, SANCTUS, SANCTUS HOLY HOLY HOLY * * * * *
PAR C26 66 from PAR C26 69
PAR C26 70-90 / KLINE
And as a man wakes from sleep at a bright light, because his spirit of sight runs to meet the glow, that pierces veil after
veil of the eye, and he, waking, confuses what he sees, his sudden vision being so clouded, until thought comes to its
aid, so Beatrice made the scales fall from my eyes, with the rays from hers, that would cast their glow a thousand miles,
so that I saw more clearly afterwards than before, and, almost stupefied, I questioned as to a fourth light that I saw with
us. And my Lady said: In those rays, Adam, the first soul that the primal Power ever made, holds loving converse with
his Maker. As the branch bows its head when the wind passes over it, and then lifts itself by its own strength that holds
it up, so I did, all dazed, while she was speaking, and then was re-collected by a desire to speak, with which I burned,
and I began:
PAR C26 91-108 / KLINE
O ancient Father, who has a daughter and a daughter-in-law in every bride, you, the only fruit of the harvest created
fully mature, I beg you, devoutly as I can, to speak to me: you see my wish, and I do not say it, so that I can hear you
sooner. Sometimes a creature struggles under a cloth, so that its intent is visible, because what covers it follows its
movement: and similarly that primal soul made the joy, with which it came to serve my pleasure, apparent through its
surface. And from it breathed: ‘Though you do not say it, I see your will, more clearly than you see what you are most
certain of, because I view it in the true Glass, who makes Himself the Mirror of all things, and makes nothing which
completely reflects Him.
PAR C26 109-123 / KLINE
You wish to know how much time has passed since God set me in the exalted Garden in which She prepared you for
this long stairway, and for how long its delights endured my presence, and the true cause of the great wrath, and about
the language that I used, and made myself. Know my son that it was not the eating of the Tree that was the cause, in
itself, of such harsh exile, but solely the going beyond the bounds set. In that place, Limbo, from which your Lady sent
Virgil to you, my longing for these courts lasted four thousand three hundred and two revolutions of the sun, and I had
seen him pass through all the stars along his track nine hundred and thirty times, while I was on Earth.
PAR C26 124-142 / KLINE
The language, I spoke, was spent, long before the tower, that was never completed, was built, by Nimrod’s people:
since the products of Reason never last forever, because of human taste, that alters with the movement of the skies. It is
nature’s doing that Man should speak, but nature allows you to do it this way or that, as seems best to you. Before I
went down to infernal anguish, Jah was the name on earth of that Supreme Good, from which the delight comes, that
clothes me: He was called El thereafter, and that is fitting, since mortal usage is like the leaf on the twig, that falls, and
another opens. In life, pure, and then disgraced, I was on the Mount, rising furthest from the sea, from the first hour to
that which follows the sixth hour, when the sun changes quadrant.
■ - ■ - ■
IN THE SILENCE, THE SUNLIGHT FLASHES & VANISHES WITH THE SEA FROM THE WINDOWS. THE DAZZLED
DANTE CONTINUES GAZING AS MUSIC RINGS OUT.
CANTO 27
PAR C27 1-6 / KLINE
‘Glory, to the Father, to the Son, to the Holy Spirit,’ began through all of Paradise, so that the sweet song intoxicated
me. I seemed to see the Universe’s smile: so that my drunkenness entered sight and hearing.
189

♫GLORY, TO THE FATHER, TO THE SON, TO THE HOLY SPIRIT * * * * * * * * * *
PAR C26 66 from PAR C27 1-3
PAR C27 7-45 / KLINE
O joy! O ineffable happiness! O life of love and peace combined! O safest riches that are beyond longing! The four
torches stood burning in front of my eyes, and the first one, that had neared me, began to grow more intense: and
became like Jupiter, if he and Mars were birds, and exchanged plumage, his silver-white for Mars’s warlike red. The
Providence which assigns roles and offices there, had imposed silence on the choir of the blessed, on every side, when I
heard: Do not wonder if I transform the colour of my light, since you will see all these others do the same, as I speak.
He who, on Earth, usurps my place, my place, my place, vacant in the presence of the Son of God, has made my burialground
a sewer for that blood and filth whereby the perverse Angel who fell from above, is placated down there.’
Then I saw Heaven tinged with that colour which paints the clouds at dawn or evening, from the opposing sun, and like
a modest woman, who is certain of herself, but feels fear only at the hearing of another’s fault, so Beatrice changed in
appearance, and such, I take it, was the eclipse in Heaven, when the Supreme Power suffered. Then his speech
continued, in a voice so far altered from itself, that even his appearance had not altered more greatly, saying: ‘The
Church, the spouse of Christ, was not fed on my blood, and that of Saints Linus and Cletus, so that she might be used to
acquire gold: but it was to gain this joyful life that Sixtus, Pius, Calixtus and Urban gave their blood after many tears.
PAR C27 46-66 / KLINE
It was not our purpose for one part of Christianity to sit on the right side, and the other on the left of our successors; or
that the keys given in trust to me should become the insignia on a banner making war on the baptised; or that I should
become the head on that seal which stamps false and mercenary privileges, at which I often blush and shoot out flames.
From above, here, the ravening wolves are seen, dressed as shepherds, in all the pastures. O Help to God, why are you
down? Gascons and Cahorsines prepare to drink our blood. O good beginning, what evil end must you fall to! But the
high Providence, that defended the glory of the world for Rome, in Scipio, will soon bring aid, I think. And you, my
son, who will return below, because of your mortal heaviness, open your mouth, and do not hide the things I do not
hide.’
LOOKING DOWN 2
■ - ■ - ■
BEATRICE LEADS DANTE TO THE STAGE-FRONT FOR HIS SECOND VIEW OF EARTH. AS BEFORE, THE LIGHT IS
DIRECTED DOWNWARDS FROM BEHIND THEM, INTO THE FACES OF THE AUDIENCE. SHE TOUCHES HIS EYES TO
RESTORE HIS SIGHT.
190
PAR C27 67-75 / KLINE
As our air snows down frozen moisture in flakes when the horn of Capricorn, the heavenly Goat, is touched by the sun,
so I saw the ether clothe itself and snow the flakes, of the triumphant lights that had rested with us, upwards. My vision
was tracing their form, and followed them, until excess of space inhibited its power to see further.
BEATRICE: or BEATRICE:
PAR C27 76-78 / DANTE PAR C27 76-78 / KLINE
Onde la donna, che mi vide assolto At which the Lady who saw me free now
de l'attendere in sù, mi disse: Adima of straining upwards, said to me:
il viso e guarda come tu se' vòlto. Look down, and see how you have orbited.
DANTE:
PAR C27 79-81 / DANTE PAR C27 79-81 / KLINE
Da l'ora ch'ïo avea guardato prima I saw that, since Since the hour when I had first
i' vidi mosso me per tutto l'arco looked down, I had have moved through the whole
che fa dal mezzo al fine il primo clima; quadrant, which Gemini, in the upper part of the first
clima, or division of latitude, makes from noon to
evening,

PAR C27 82-84 / DANTE
sì ch'io vedea di là da Gade il varco so that I could and can see beyond Cadiz that
folle d'Ulisse, e di qua presso il lito foolish track Ulysses took, and, on this side, at
nel qual si fece Europa dolce carco. evening, the near shore where Europa became the
bull’s sweet burden.
191
PAR C27 85-87 / DANTE PAR C27 85-87 / KLINE
E più mi fora discoverto il sito And the The site of the threshing-floor would have
di questa aiuola; ma 'l sol procedea been be unfolded further to me, except that the sun
sotto i mie' piedi un segno e più partito. was is in advance under my feet., separated by a sign,
Taurus, and more from me.
DANTE PAUSES. THERE IS NOTHING WORTH LOOKING AT, EXCEPT BEATRICE, AND HE DOES NOT DARE DO
THAT. DANTE:
PAR C27 88-90 / DANTE PAR C27 88-90 / KLINE
La mente innamorata, che donnea My enamoured mind, which always held
con la mia donna sempre, di ridure loving speech with my Lady, burned, burns
ad essa li occhi più che mai ardea; more than ever, to bring my eyes back to her.,
PAR C27 91-93 / DANTE
e se natura o arte fé pasture and whatever Whatever food art, or nature, makes,
da pigliare occhi, per aver la mente, to captivate the eyes, and so possess the mind,
in carne umana o ne le sue pitture, whether in human form, or in paintings,
PAR C27 94-96 / DANTE
tutte adunate, parrebber nïente all brought together would seem are nothing,
ver' lo piacer divin che mi refulse, compared to the divine delight which shone shines
quando mi volsi al suo viso ridente. on me, when I turned turn towards her smiling face.
PAR C27 97-105 / KLINE
And the power which that look gifted me with, plucked me out of Leda’s fair nest, of the Twins, and thrust me into the
swiftest Heaven. Its regions, highest and most alive, are so alike, that I cannot say in which one Beatrice chose to place
me. But She, who saw my longing, began to speak, smiling, so delightedly that God seemed shining in her face:
THE LIGHT BEHIND DANTE AND BEATRICE FADES.
THE PRIMUM MOBILE
colour?
■ - ■ - ■
BEATRICE GAZES UPWARDS.
or BEATRICE:
PAR C27 106-108 / DANTE PAR C27 106-108 / KLINE
La natura del mondo, che quïeta The nature of the The universe which keeps
il mezzo e tutto l'altro intorno move, the centre fixed and moves the rest around it,
quinci comincia come da sua meta; begins here, as if from its goal.

PAR C27 109-111 / DANTE
e questo cielo non ha altro dove And this This heaven has no other place
che la mente divina, in che s'accende than in the Divine Mind., in which the Love that
l'amor che 'l volge e la virtù ch'ei piove. moves it is fired, and the Power that it disperses.
PAR C27 112-114 / DANTE
Luce e amor d'un cerchio lui comprende, Light and Love clasp it in one circle.,
sì come questo li altri; e quel precinto as it does all the other spheres, and only He
colui che 'l cinge solamente intende. who embraces it, understands this embrace.
PAR C27 115-117 / KLINE
Its movement is not measured by any other: but all the rest are measured by it, as ten by halves and fifths.
PAR C27 118-120 / DANTE
e come il tempo tegna in cotal testo And it may now be clear to you
le sue radici e ne li altri le fronde, how Time has its roots in this same sphere,
omai a te può esser manifesto. and its leaves in the rest.
DANTE:
PAR C27 106-108 / DANTE PAR C27 106-108 / KLINE
La natura del mondo, che quïeta The nature of the universe which keeps
il mezzo e tutto l'altro intorno move, the centre fixed and moves the rest around it,
quinci comincia come da sua meta; begins here, as if from its goal.
PAR C27 109-111 / DANTE
e questo cielo non ha altro dove And this heaven has no other place than
che la mente divina, in che s'accende in the Divine Mind, in which the Love that
l'amor che 'l volge e la virtù ch'ei piove. moves it is fired, and the Power that it disperses.
PAR C27 112-114 / DANTE
Luce e amor d'un cerchio lui comprende, Light and Love clasp it in one circle,
sì come questo li altri; e quel precinto as it does all the other spheres, and only He
colui che 'l cinge solamente intende. who embraces it, understands this embrace.
192
PAR C27 121-129 KLINE
O Greed, that so corrupts mortals below, that not one of them has strength enough to draw his eyes away from your
depths! It is true that human will is still strong:but the continuous rain turns ripe plums to cancerous growths. Faith and
innocence are only found in little children: then both vanish before the cheeks are downy.
PAR C27 130-138 KLINE
Many a lisping babe keeps the fast, who when his tongue is free, afterwards, eats any food, in any month: and many a
lisping babe loves and listens to its mother, who when his speech is entire, afterwards, longs to see her buried. So, at the
first appearance, the white skin blackens of the lovely daughter of Him who brings the dawn, and leaves us evening.
And you, lest you wonder at it, consider:there is no one governing on earth,so the human household wanders from the
path.
DANTE IS INTERRUPTED BY A VOICE SINGING AS IF FROM A LONG WAY OFF – ST FRANCIS IN THE
PORZIUNCOLA ON THE NIGHT HE DIED.
ST FRANCIS OF ASSISI 1182 - 1226 AGE : 44 CHARACTER AGE : 30?
FRANCESCO, IL POVERELLO
PLACE./.LANGUAGE ETC
BORN ASSISI, UMBRIA. FRANCIS WAS OFTEN COMPARED TO THE RISING SUN. THE FRANCISCAN RULE WAS
APPROVED BY POPE INNOCENT III IN 1210 & CONFIRMED BY HONORIUS III IN 1223. IN 1219 HE WENT TO THE EAST
TO TRY CONVERTING THE SULTAN. CHRIST GAVE HIM THE THIRD CONFIRMATION OF HIS WORK IN 1224 ON THE
‘HARD ROCK’ OF LA VERNA WHERE HE RECEIVED THE STIGMATA, THE FIVE WOUNDS OF THE PASSION. HE DIED AT
ASSISI ON OCTOBER 4 TH 1226, STRETCHED NAKED ON THE GROUND IN THE ARMS OF ‘HIS DEAREST LADY’
POVERTY. HE WAS SINGING ON THE NIGHT HE DIED. THE SERAPHIM ARE ASSOCIATED WITH LOVE & THEREFORE
FRANCIS IS THE SERAPHICAL SAINT. (SAINT DOMINIC WAS ASSOCIATED WITH THE CHERUBIM & WISDOM.)
ST FRANCIS FOUNDED THE FRANCISCANS: (GREYFRIARS, FRIARS MINOR, IT: FRANCISCANI, FRATI MINORI; FR.
CORDELIERS), LARGEST OF ALL RELIGIOUS ORDERS.

DESCRIPTION
OF LESS THAN MIDDLE HEIGHT AND FRAIL IN FORM. A LONG, YET CHEERFUL, FACE AND SOFT BUT STRONG VOICE,
SMALL BRILLIANT BLACK EYES, DARK BROWN HAIR, AND A SPARSE BEARD.
BROWN HOMESPUN HABIT, 3-KNOTTED CORD (FOR POVERTY, CHASTITY & OBEDIENCE); SANDALS.
PARADISO PICTURES
1, 5, 7
♫CANTICLE OF THE CREATURES * * * * * * * * * *
PAR C27 112
CANTICO DELLE CREATURE / SAN FRANCESCO UMBRIAN
CANTICLE OF THE CREATURES / tr. COMPOSITE
PART 1 COMPOSED WHEN FRANCIS WAS ILL AT SAN DAMIANO, 1225
ST FRANCIS (VOICE):
Altissimu, onnipotente bon Signore,
Tue so' le laude, la gloria e l'honore et onne benedictione.
Ad Te solo, Altissimo, se konfano,
et nullu homo ène dignu te mentovare.
Most High Almighty Good Lord, Yours are praise, glory, honour and all blessings; To You
alone! Most High, do they belong, and no man is worthy of speaking Your name!
Laudato sie, mi' Signore cum tucte le Tue creature,
spetialmente messor lo frate Sole,
lo qual è iorno, et allumini noi per lui.
Et ellu è bellu e radiante cum grande splendore:
de Te, Altissimo, porta significatione.
Be praised, Lord, with all Your creatures, and above all our Brother Sun, who gives us the day
by which You light our way, and who is beautiful, radiant and with his great splendour is a
symbol to us of you, O Most High!
Laudato si', mi Signore, per sora Luna e le stelle:
in celu l'ài formate clarite et pretiose et belle.
And be praised, Lord, for our Sister Moon and the Stars. You created them in the heavens,
bright, precious and beautiful!
Laudato si', mi' Signore, per frate Vento
et per aere et nubilo et sereno et onne tempo,
per lo quale, a le Tue creature dài sustentamento.
And be praised, Lord, for our Brother the Wind and for the air and the clouds and for fair
weather and for all other through which You sustain your Creatures.
Laudato si', mi Signore, per sor'Acqua.
la quale è multo utile et humile et pretiosa et casta.
And be praised, Lord, for our Sister Water, so useful, and humble, and chaste!
Laudato si', mi Signore, per frate Focu,
per lo quale ennallumini la nocte:
ed ello è bello et iocundo et robustoso et forte.
And be praised, my Lord, for our Brother Fire, through whom you light up the night and who is
handsome, joyful, robust, and strong!
Laudato si', mi Signore, per sora nostra matre Terra,
la quale ne sustenta et governa,
et produce diversi fructi con coloriti fior et herba.
And be praised, my Lord for our Sister, Mother Earth, who supports and carries us and produces
the diverse fruits and colourful flowers and trees!
193

BEATRICE:
PAR C27 142-144 / DANTE PAR C27 142-144 / KLINE
Ma prima che gennaio tutto si sverni But before Before January is all un-wintered, by
per la centesma ch'è là giù negletta, that hundredth of a day in the calendar year,
raggeran sì questi cerchi superni, ignored on earth, these upper spheres shall roar,
THE JULIAN CALENDAR (RECTIFIED IN 1752) MADE THE YEAR 11 MINUTES 14 SECONDS TOO LONG, ROUGHLY A HUNDREDTH OF A
DAY. IN DANTE’S TIME JANUARY BEGAN A LITTLE LATER IN THE REAL YEAR EACH TIME & SO EVENTUALLY IT WOULD FALL
OUTSIDE WINTER ALTOGETHER.
PAR C27 145-147 / DANTE
che la fortuna che tanto s'aspetta, so that the fated season, long awaited,
le poppe volgerà u' son le prore, will reverse stem to stern,
sì che la classe correrà diretta; so that the fleet can sail true:
PAR C27 148 / DANTE
e vero frutto verrà dopo 'l fiore. And ripe fruit will follow the flower.
♫CANTICLE OF THE CREATURES * * * * * * * * * *
PAR C27 148
194
CANTICO DELLE CREATURE / SAN FRANCESCO
CANTICLE OF THE CREATURES / tr. COMPOSITE
PART 2 COMPOSED WHEN FRANCIS RECONCILED THE BISHOP AND PODESTÀ OF ASSISI, AFTER SENDING HIS FRIARS TO SING
THE FIRST PART OF THE CANTICLE IN FRONT OF THEM.
ST FRANCIS (VOICE):
Laudato si', mi Signore, per quelli che perdonano per lo Tuo amore
et sostengono infirmitate et tribulatione.
And be praised, my Lord, through those who grant pardon for love of You and through those
who endure sickness and trial.
Beati quelli ke 'l sosterranno in pace,
ka da Te, Altissimo, sirano incoronati.
Blessed be those who endure in peace, by You, Most High, they will be crowned.
CANTO 28
PAR C28 1-18 / KLINE
When the truth had been revealed, by her who emparadises my mind, a truth in opposition to the present life of
miserable humanity, my memory recalls that, gazing on the lovely eyes, from which Love made the noose to capture
me, I saw, as a candle flame lit behind a man, is seen by him in a mirror, before it is, itself, in his vision or thought, so
that he turns round, to see if the glass spoke true, and sees them agreeing, as song-words to their metre: and when I
turned, and my own eyes were struck by what appears in that space, whenever the eyes are correctly fixed on its
orbiting, I saw a point that beamed out a light so intense, that the eye it blazes on, must be closed to its fierce brightness,
PAR C28 19-39 / KLINE
and whatever star seems smallest from down here, would be a moon if it were placed alongside it, as star is placed
alongside star. Perhaps as near as a halo appears to be to the light that generates it, when the vapour in which it glows is
thickest, at such a distance as that, round that point, a circle of fire revolved so quickly, it exceeded the speed of the
fastest sphere, that surrounds the universe, and this circle was surrounded by another, that by a third, the third by a
fourth, the fourth a fifth, the fifth a sixth. After it the seventh followed, already so broad in its reach that if Juno’s
rainbow messenger were complete it would be too small to contain it. And so the eighth and ninth, and each one moved
more slowly as its number was further from unity: and the one from which the pure light source was least distant, had
the clearest flame, because, I believe, it is more embedded in the light’s truth.
THE ANGELIC CIRCLES. BEATRICE RAISES HER ARM.

BEATRICE:
PAR C28 40-42 / DANTE PAR C28 40-42 / KLINE
La donna mia, che mi vedëa in cura My Lady, who saw me labouring
forte sospeso, disse: Da quel punto in profound anticipation, said;
depende il cielo e tutta la natura. Heaven and all Nature hangs from that point.
PAR C28 43-45 / DANTE
Mira quel cerchio che più li è congiunto; Look at the circle which is most nearly joined to it,
e sappi che 'l suo muovere è sì tosto and learn that its movement is so fast because
per l'affocato amore ond' elli è punto. of the burning love which it is pierced by.
195
PAR C28 46-63 / KLINE
And I to her: If the universe was ordered in the sequence I see in these circlings, then I would be content with what I see
in front of me. But, in the universe of the senses, we see the spheres as more divine the further they are distant from
Earth, the centre. So, if my desire is to find its goal in this marvellous, angelic Temple, that only has love and light as its
limits, I must hear why the copy and the pattern are not identical in form, since, myself, I cannot see it. And if your
fingers are not skilled in untying such a knot, it is no wonder, it has become so difficult to achieve, from never being
tried. So my Lady spoke, and said: If you wish to be satisfied on this, take what I tell you, and wrap your mind around
it.
PAR C28 64-84 / KLINE
The earth-centred circles are wide or narrow, according to how much virtue spreads through their region. Greater
excellence has power to work greater benefit: and greater benefit is conferred, by the largest sphere, if all parts of it are
equally perfect. So the sphere, that sweeps with it all the rest of the universe, corresponds to the circle that loves and
knows most. Therefore, if you take your measure from the virtue, not the appearance, of the substances which appear to
you in these circles, you will see a marvellous correspondence between greater and more, smaller and less, between
every Heaven and its angelic Intelligence. As the hemisphere of air, shines serenely when Boreas blows a northeasterly,
from his gentler cheek, so that the layer that covered it is purged and dissolved, and the sky laughs with the
beauties of all its regions,
DANTE:
PAR C28 85-87 / DANTE PAR C28 85-87 / KLINE
così fec'ïo, poi che mi provide so I, when my Lady had replied to me
la donna mia del suo risponder chiaro, with her clear answer, and the The truth
e come stella in cielo il ver si vide. was is seen as a star is in the sky.
PAR C28 88-90 / DANTE PAR C28 88-90 / KLINE
E poi che le parole sue restaro, And when her words ceased, the The circles
non altrimenti ferro disfavilla glittered as iron shoots shoot out sparks
che bolle, come i cerchi sfavillaro. like iron when it is poured,
PAR C28 91-93 / DANTE
L'incendio suo seguiva ogne scintilla; and every scintillation followed their fire, and the
ed eran tante, che 'l numero loro quantity of sparks were thousands more than
più che 'l doppiar de li scacchi s'inmilla. the doubling of the chessboard at every square.
DOUBLING OF THE CHESSBOARD: THE OLD TALE HAS A REWARD BEING DEMANDED OF AN AMOUNT OF CORN EQUAL TO THAT
OBTAINED BY PLACING ONE EAR ON THE FIRST OF THE SIXTY-FOUR SQUARES OF THE CHESSBOARD & THEN DOUBLING THE
AMOUNT OF THE PREVIOUS SQUARE, AT EACH NEW SQUARE, ABOUT 18.5 MILLION MILLION MILLION.
PAR C28 94-96 / KLINE
I heard Hosanna sung from choir to choir, towards the fixed point, which holds, and will hold them forever, to the
where, in which they have ever been:
DANTE VERSIFIES.
DANTE:
PAR C28 85-87 / DANTE PAR C28 85-87 / KLINE
così fec'ïo, poi che mi provide so I, when my Lady had replied to me
la donna mia del suo risponder chiaro, with her clear answer, and the truth
e come stella in cielo il ver si vide. was seen as a star is in the sky.
PAR C28 88-90 / DANTE
E poi che le parole sue restaro, And when her words ceased, the circles
non altrimenti ferro disfavilla glittered as iron shoots
che bolle, come i cerchi sfavillaro. outs sparks when it is poured,

196
PAR C28 91-93 / DANTE
L'incendio suo seguiva ogne scintilla; and every scintillation followed their fire, and the
ed eran tante, che 'l numero loro quantity of sparks were thousands more
più che 'l doppiar de li scacchi s'inmilla. than the doubling of the chessboard at every square.
PAR C28 97-114 / KLINE
and She who saw the questions in my mind, said: The first circles have shown you the Seraphs and the Cherubs. They
follow their loops so fast so that they can identify themselves as closely with the point as possible, and they succeed
according to their sublimity of vision. Those other Loves which circle round them are called Thrones of the Divine
Aspect, becausethey bring the first triplet of circles to completion. And you must know that they all take
delight,according as their vision sinks more deeply into the truth where every mind is stilled. So you can see how being
blessed is founded on the act of seeing, not of loving, which follows from it: and the extent of vision is measured,by the
merit that grace, and the right will, create: and so it goes from rank to rank.
PAR C28 115-129 / KLINE
The second triplet which flowers like this, in thiseternal Spring, that Aries, by night, does notdespoil, as it does in our
autumnal and wintry skies, perpetually sing Spring’s Hosannas,with three melodies that sound in the three ranksof joy,
by which it is triply formed. In that hierarchy are the three divinities,the Dominions & Virtues,and the third order,
Powers. Then in the two penultimate dance-circles the Principalities and Archangels whirl:and the last consists all of
Angelic play. These orders all gaze upwards, and have such all-conquering power downwards,that all are drawn
towards God, and in turn draw.
PAR C28 130-139 / KLINE
And Dionysius set himself to contemplate these orders with such longing, that he named them and separated them as I
do. But Gregory afterwards differed from him, such that when he opened his eyes in this Heaven, he smiled at himself.
And if such hidden truth was uttered by a man, on Earth, do not wonder at it, since Paul, who saw it here, revealed it to
him, with other truths about these circles.
♫CANTICLE OF THE CREATURES * * * * * * * * * *
PAR C28 93
CANTICO DELLE CREATURE / SAN FRANCESCO
CANTICLE OF THE CREATURES / tr. COMPOSITE
PART 3
ST FRANCIS (VOICE):
Laudato s' mi Signore, per sora nostra Morte corporale,
da la quale nullu homo vivente pò skappare:
Be praised, my Lord, for our Sister, bodily Death from whom no living man can escape!
guai a quelli ke morrano ne le peccata mortali;
beati quelli ke trovarà ne le Tue sanctissime voluntati,
ka la morte secunda no 'l farrà male.
Woe only to those who die in mortal sin; but blessed are those who have done Your most holy
will; for the second death can cause them no harm!
Laudate et benedicete mi Signore et rengratiate
e serviateli cum grande humilitate.
Praise and bless the Lord and give thanks. Serve Him with great humility.
[CP 70] - [CP 71] - [CP 72]
Clare Pictures 70, 71, 72: Dove rises from Porziuncola
The dove, the soul, last seen on Francis’s head, flies up from the Porziuncola.
■ - ■ - ■
[CP 73] - [CP 74] - [CP 75]

Clare Pictures 73, 74, 75: Dove above Assisi
The dove is higher. The whole of Assisi is below.
■ - ■ - ■
[CP 76] - [CP 77] - [CP 78]
Clare Pictures 76, 77, 78: Dove above Umbria, or in Heaven
The dove is high, a spot of white above Umbria, or disappeared in the blue Heaven.
♫HOSANNA * * * * * * * * * *
PAR C28 93 from PAR C28 94-96
■ - ■ - ■
[CP 79] - [ST CLARE] - [CP 80]
CLARE PICTURES: FRANCIS DEAD (NIGHT OF October 4 th , 1226)
These pictures are a dark close-up of Clare Pictures 67, 68, 69. St Clare hides the other hand and
arm.
Clare Pictures 79: Francis’s hand with stigma
The stigmata were described as ‘black nails of flesh, the points of which were bent backward’.
Clare Pictures 80: Francis’s dead face
St Francis’s eyes are closed in death.
ST CLARE SITS BETWEEN THE 2 PICTURES, WEARING THE POOR CLARE’S BLACK VEIL FOR THE FIRST TIME.
SHE IS SITTING WHERE WE LAST SAW HER BUT THE GOLDEN FIBRE DOES NOT HANG DOWN AND HER HANDS
ARE STILL. SHE GETS UP AND TURNS.
THE SUN RISES ALMOST INSTANTANEOUSLY WITHIN THE TRIPTYCH. SAN DAMIANO HAS DISAPPEARED. ST
CLARE IS 18 AGAIN, IN HER BEAUTIFUL DRESS. HER GOLDEN HAIR IS PLAITED IN 3 THICK ROPES AND SHE
WALKS INTO THE SUN ARM-IN-ARM WITH THE RISEN ST FRANCIS. (ANOTHER ACTRESS MAY PLAY THE
VEILED ST CLARE OUTSIDE, TO LET THE REAL ST CLARE BE DRESSED IN READINESS, OR THE DRESS MAY BE
UNDER THE HABIT.) ST DOMINIC COMES FROM THE WINGS AND ST CLARE GIVES HIM HER OTHER ARM.
ST DOMINIC (GUZMAN) 1170? - 1221 AGE : 51? CHARACTER AGE : *--
DOMENICO
PLACE./.LANGUAGE ETC
BORN AT CALAROGA (CALARUEGA? CALAHORRA?), OLD CASTILE, OF NOBLE PARENTAGE.
HE BECAME A CANON AS A YOUNG MAN AND PREACHED AGAINST HERESY. HE FOUNDED THE ORDER OF
PREACHERS (DOMINICAN ORDER, DOMINICANI, BLACK FRIARS ). TO OBTAIN MONEY FOR CAPTIVES OF THE
MOORS, HE TWICE TRIED TO SELL HIMSELF INTO SLAVERY. HE WAS A FRIEND OF ST FRANCIS. HE TRIED
CONVERTING ALBIGENSIANS AS SIMON DE MONTFORT WAS MASSACRING THEM.
OFTEN SHOWN WITH A DOG BEARING A TORCH (THE SYMBOL OF THE DOMINICAN ORDER: DOMINI CANIS.)
DESCRIPTION
SEEN ONLY. BLACK COPE OR MANTLE OVER WHITE ROBES.
PARADISO PICTURES
29, 30, 31, 32, 33
197

■ - ■ - ■
♫HOSANNA * * * * * * * * * *
PAR C28 93 from C28 94-96
CANTO 29
PAR C29 1-9 / KLINE
When Apollo and Artemis, the Sun and Moon, the children of Latona, one in Aries the Ram, the other in Libra the
Scales, make the horizon their circle, and the zenith is the point from which both hang, till one rises, the other sets,
removing themselves from that zone’s scales, both changing hemispheres, so long as that did Beatrice keep silent, with
a smile pictured on her face, gazing intensely at the point whose light overcame me.
BEATRICE: THE CREATION OF THE ANGELS.
198
BEATRICE:
PAR C29 10-12 / DANTE PAR C29 10-12 / KLINE
Poi cominciò: Io dico, e non dimando, Then she began to speak: I do not ask, I say, what
quel che tu vuoli udir, perch' io l'ho visto you wish to hear of, since I have seen the point of
là 've s'appunta ogne ubi e ogne quando. Creation, on which every where and when is focused.
PAR C29 13-15 / DANTE
Non per aver a sé di bene acquisto, as he desired: not to gain any good for Himself,
ch'esser non può, ma perché suo splendore since that cannot be, but so that his
potesse, risplendendo, dir "Subsisto", reflected light, shining, might say: I am.
PAR C29 16-18 / DANTE
in sua etternità di tempo fore, In his Eternity beyond time, past all others’
fuor d'ogne altro comprender, come, understanding, the eternal Love
i piacque
s'aperse in nuovi amor l'etterno amore. showed himself, in new love,
PAR C29 19-21 / DANTE
Né prima quasi torpente si giacque; He did not lie there, as if sleeping, before Creation:
ché né prima né poscia procedette God’s movement over these waters
lo discorrer di Dio sovra quest' acque. was not a process of before or after.
PAR C29 22-24 / DANTE
Forma e materia, congiunte e purette, Form and matter, pure and conjoined,
usciro ad esser che non avia fallo, issued into being without flaw,
come d'arco tricordo tre saette. like three arrows from a triple-strung bow,
PAR C29 25-27 / DANTE PAR C29 25-27 / KLINE
E come in vetro, in ambra o in cristallo and as a ray of light shines in glass, amber
raggio resplende sì, che dal venire or crystal, so that no time passes between
a l'esser tutto non è intervallo, its entry and the illumination,
PAR C29 28-30 / DANTE
così 'l triforme effetto del suo sire so the triple effect of the Lord shone out
ne l'esser suo raggiò insieme tutto instantly into being,
sanza distinzïone in essordire. without a separate beginning.
BEATRICE CONTINUES TO EXPOUND. DANTE FOCUSES ON HER. (VERSES ARE INTERPOLATED
FROM CANTO 30.)

♫BE-A-TRI-CE MOTIF DEVELOPED / CELESTIAL? * * * * * * * * * *
INF C29 31
BEATRICE:
PAR C29 31-33 / DANTE PAR C29 31-33 / KLINE
Concreato fu ordine e costrutto Order was co-created, and interwoven
a le sustanze; e quelle furon cima with substance: and they were the crown of the
nel mondo in che puro atto fu produtto; universe, in whom pure act was produced:
PAR C29 34-36 / DANTE
pura potenza tenne la parte ima; potentiality held the lowest place:
nel mezzo strinse potenza con atto in the middle potentiality formed such a knot
tal vime, che già mai non si divima. with act, as can never be untied.
PAR C29 37-39 / DANTE
Ieronimo vi scrisse lungo tratto Jerome wrote for you about the vast stretch of time
di secoli de li angeli creati in which the created Angels existed,
anzi che l'altro mondo fosse fatto; before the rest of the Universe was formed:
199
PAR C29 40-42 / DANTE
ma questo vero è scritto in molti lati but the contrary truth I speak is written on
da li scrittor de lo Spirito Santo, many pages of the writers of the Holy Spirit,
e tu te n'avvedrai se bene agguati; and you will become aware of it if you look closely:
PAR C29 43-45 / DANTE
e anche la ragione il vede alquanto, and Reason also sees it in some degree,
che non concederebbe che ' motori which cannot allow that the movers of the spheres
sanza sua perfezion fosser cotanto. should exist so long without their spheres’ perfection.
DANTE:
PAR C30 16-18 / DANTE PAR C30 16-18 / KLINE
Se quanto infino a qui di lei si dice If that which is said of her, above, were all
fosse conchiuso tutto in una loda, condensed into one act of praise, it would be
poca sarebbe a fornir questa vice. too little.to answer to this case.
BEATRICE:
PAR C29 46-48 / DANTE
Or sai tu dove e quando questi amori Now you know where and when these Loves were
furon creati e come: sì che spenti elected, and how, so that three flames
nel tuo disïo già son tre ardori. of your longing are quenched already.
PAR C29 49-51 / DANTE
Né giugneriesi, numerando, al venti Before one could count twenty,
sì tosto, come de li angeli parte some of the Angels fell,
turbò il suggetto d'i vostri alimenti. stirring the foundation of your elements.
DANTE:
PAR C30 19-21 / DANTE PAR C30 19-21 / KLINE
La bellezza ch'io vidi si trasmoda The beauty I saw see is beyond measure.,
non pur di là da noi, ma certo io credo not only past our reach, but I truly believe that only
che solo il suo fattor tutta la goda. Only He, who made it, joys in it completely.
BEATRICE:
PAR C29 52-54 / DANTE
L'altra rimase, e cominciò quest' arte The rest remained, and began the art you see,
che tu discerni, con tanto diletto, with such delight, that
che mai da circüir non si diparte. they never leave their circling.

200
PAR C29 55-57 / DANTE
Principio del cader fu il maladetto The source of the fall was the cursed pride of Satan,
superbir di colui che tu vedesti him you saw imprisoned by
da tutti i pesi del mondo costretto. the whole weight of the universe.
DANTE:
PAR C30 22-24 / DANTE PAR C30 22-24 / KLINE
Da questo passo vinto mi concedo At this time, I hold myself am more utterly
più che già mai da punto di suo tema vanquished, than ever his theme’s
soprato fosse comico o tragedo: weight overcame overcome than a comic, or, tragic
poet ever was by the weight of his theme.
BEATRICE:
PAR C29 58-60 / DANTE
Quelli che vedi qui furon modesti Those you see here were humble, recognising
a riconoscer sé da la bontate themselves as being from that same excellence
che li avea fatti a tanto intender presti: that made them so quick in understanding:
PAR C29 61-63 / DANTE
per che le viste lor furo essaltate so that their vision was exalted by
con grazia illuminante e con lor merto, illuminating grace, and their own virtue,
si c'hanno ferma e piena volontate; so that they have their will free and entire.
DANTE:
PAR C30 28-30 / DANTE PAR C30 28-30 / KLINE
Dal primo giorno ch'i' vidi il suo viso From the first day, in this life,
in questa vita, infino a questa vista, when I saw her face, until this sight,
non m'è il seguire al mio cantar preciso; my song has never failed to follow,
PAR C30 31-33 / DANTE
ma or convien che mio seguir desista but now my way must cease the tracking
più dietro a sua bellezza, poetando, of her beauty through poetry,
come a l'ultimo suo ciascuno artista. as every artist must at his furthest reach.
BEATRICE:
PAR C29 64-66 / DANTE
e non voglio che dubbi, ma sia certo, And I want you to be certain, and not doubtful,
che ricever la grazia è meritorio that it is a virtue to receive grace,
secondo che l'affetto l'è aperto. by opening the affections to it.
PAR C29 67-84 / KLINE
Now, if my words have been absorbed, you can contemplate much of this court without further help. But I will go on,
because, in your schools, it is taught, that the Angelic nature is such as understands, remembers and wills, and I wish
you to see, in its purity, the truth that is confused down there, by the equivocations in such lectures. These Angelic
substances, since they first gathered joy from God’s face, have never turned their eyes from that, from which nothing is
hidden, so that their vision is never disturbed by any new object and there no need to recall anything to memory,
because of divided thoughts. So humans dream, down there, when not asleep: certain that they speak the truth, or
uncertain: and there is greater error and shame in the latter.
PAR C29 85-102 / KLINE
You do not follow a single track when you philosophise down there: love of display,and the thought it produces,
delights you so. But even this is tolerated here with less indignation than when Divine Scripture is twisted or discarded.
They forget how great the cost was in blood to sow its seed in the world, and how much he pleases, who keeps it by
him, in humility. Everyone strains his wits to make a display and show his inventiveness: the priests discuss these
things, and the scriptures are left silent. One says the moon reversed when Christ suffered, and blocked the sun’s light
from shining below, and others that the light vanished by itself:so that the same eclipse occurred for Spain and India, as
it did for the Jews.
PAR C29 103-126 / KLINE
Florence does not have as many Tom, Dick, and Harry’s as this sort of story, proclaimed,each year, from the pulpits
here and there: so that the sheep, knowing nothing,return from the pasture fed on air,and not to know their loss is no
excuse. Christ did not say: ‘Go and preach nonsense to the world,’ to his first gathering, but gave them the true
foundation: that, and only that, was on their lips: so that they made the Gospels lance and shield in their fight to light the
faith. Now a man goes to preach with jokes and grimaces, and if there is loud laughter, his cowl swells, and nothing else
is needed. But such a devil is nesting in the hood, that if the crowd could see it, they would know what remission they
were trusting in: and from this the foolishness has increased so much, on earth, that people would go with any promise,
without proof of evidence. So that the pigs of Saint Anthony, and others more swinish than they, are fattened, by the
gains of this false coinage.
ST ANTHONY: PATRON OF THE PIGS THAT INFESTED FLORENCE & ITS NEIGHBOURHOOD, BELONGING TO THE MONKS. THEY WERE
FED ON THE FRAUDULENT GAIN MADE FROM SELLING REMISSIONS (INDULGENCES).

201
PAR C29 127-145 / KLINE
But, since we have wandered enough, turn your eyes back, now, to the true path, so that our time and journey may
shorten.This Angelic nature has such deep-numbered ranks, that mortal speech and thought have never extended so far:
and if you look at what Daniel reveals, you will see that determinate number is lost among his thousands. The primal
light that shines, above it all, is received by it in as many ways as the reflected splendours, with which it pairs.And since
affection follows the act of conception, the sweetness of Love is warm, or hotter in them, in various ways. See, now, the
breadth and height of Eternal Value, since it has made so many mirrors of itself, in which it is reflected, remaining itself
One, as it was before.
CANTO 30
DANTE LOOKS UPWARD. THE LIGHT OF GEMINI FADES AS DANTE SPEAKS, UNTIL THE STAGE IS IN NEAR-
DARKNESS.
THE EMPYREAN
near darkness
■ - ■ - ■
PAR C30 1-6 / KLINE
Noon blazes, perhaps six thousand miles from us, and this world’s shadows already slope to a level field, when the
centre of Heaven, high above, begins to alter, so that, here and there, a star lacks the power to shine to this depth:
CELESTIAL 15
■ - ■ - ■
DANTE:
PAR C30 7-9 / DANTE PAR C30 7-9 / KLINE
e come vien la chiarissima ancella and as the brightest handmaiden of the sun
del sol più oltre, così 'l ciel si chiude advances, so Heaven quenches star after star,
di vista in vista infino a la più bella. till even the loveliest are gone.
PAR C30 10-15 / KLINE
In the same way, that Triumph, which always plays around the point that overcame me, appearing to be embraced by
that which it embraces, faded, little by little, from my vision: so that my seeing nothing, and my love, forced me to turn
my eyes towards Beatrice.
PAR C30 16-36 / KLINE used after C29 31
If that which is said of her, above, were all condensed into one act of praise, it would be too little to answer to this case.
The beauty I saw see is beyond measure, not only past our reach, but I truly believe that only He, who made it, joys in it
completely. At this time, I hold myself more utterly vanquished, than ever his theme’s weight overcame comic, or,
tragic poet. Since, like the sun, in trembling vision, so the memory of the sweet smile, cuts off my memory, from my
deepest self. From the first day, in this life, when I saw her face, until this sight, my song has never failed to follow, but
now my way must cease the tracking of her beauty through poetry, as every artist must at his furthest reach. So, as I
leave her, to a greater fanfare than my sounding brass, which sounds the close of its arduous subject, she began again to
speak,
BEATRICE:
PAR C30 37-39 / DANTE PAR C30 37-39 / KLINE
con atto e voce di spedito duce with a leader’s alert gestures and voice, saying:
ricominciò: Noi siamo usciti fore We have issued from the largest sphere,
del maggior corpo al ciel ch'è pura luce: into the Heaven that is pure Light.,

DANTE:
The Empyrean.
BEATRICE:
PAR C30 40-42 / DANTE PAR C30 40-42 / KLINE
luce intellettüal, piena d'amore; intellectual Intellectual Light, filled with Love,
amor di vero ben, pien di letizia; Love of true Goodness, filled with Joy,
letizia che trascende ogne dolzore. Joy that transcends every Sweetness.
PAR C30 43-45 / DANTE
Qui vederai l'una e l'altra milizia Here you will see the Redeemed, and the Angelic,
di paradiso, e l'una in quelli aspetti soldiers of Paradise, and the former in their forms
che tu vedrai a l'ultima giustizia. that you will see at the Last Judgement.
Here you will see the Redeemed,
as they will appear at the Last Judgement,
and the Angelic soldiers of Paradise.
DANTE ABSORBS THE EMPYREAN.
DANTE:
PAR C30 40-42 / DANTE PAR C30 40-42 / KLINE
luce intellettüal, piena d'amore; intellectual Light, filled with Love,
amor di vero ben, pien di letizia; Love of true Goodness, filled with Joy,
letizia che trascende ogne dolzore. Joy that transcends every Sweetness.
EIGHT OF THE MUSES GROUP AT THE FRONT AND SIDE OF THE STAGE. TERPSICHORE , THE 9 TH , SKIPS ACROSS
THE STAGE BEHIND DANTE AND BEATRICE, LIFTING DANTE’S BOOK FROM HIS BACK AND REAPPEARING AT
THE GROUP.
CALLIOPE SEIZES THE BOOK AND MAKES RAPID, ANGRY AMENDMENTS THROUGH IT WITH HER FINGER. CLIO
TAKES THE BOOK FROM HER AND ALTERS A COUPLE OF THINGS.
THALIA (COMEDY) IS BEGGING FOR THE BOOK. SHE WRITES SOMETHING COMIC AND SHOWS IT TO
MELPOMENE (TRAGEDY), WHO DOESN’T GET THE JOKE. PENSIVE POLYHYMNIA AND THE OTHERS LOOK
WITHOUT WRITING. TERPSICHORE, OR ANOTHER, RETURNS THE BOOK TO DANTE’S BACK. THE MUSES
WITHDRAW.
DANTE:
PAR C30 46-48 / DANTE PAR C30 46-48 / KLINE
Come sùbito lampo che discetti As a sudden flash of lightning destroys
li spiriti visivi, sì che priva the visual powers, so as to rob robs the eye
da l'atto l'occhio di più forti obietti, of strength to realise even the clearest objects,
PAR C30 49-51 / DANTE
così mi circunfulse luce viva, so a living light shone round me, leaving me
e lasciommi fasciato di tal velo bathed in such a veil of its veils me with
del suo fulgor, che nulla m'appariva. brightness., that nothing was visible to me.
PAR C30 52-54 / DANTE
Sempre l'amor che queta questo cielo ‘The Love, that stills Heaven, always accepts
accoglie in sé con sì fatta salute, spirits, into itself, with such a greeting, to fit
per far disposto a sua fiamma il candelo. fits the candle for to its flame.’
QUOTE BY?
202
PAR C30 55-60 / KLINE
As soon as these few words entered me, I felt I surmounted my normal powers, and blazed with such new-created sight
that there is no unalloyed light that my eyes could not hold their own with.

PAR C30 61-63 / DANTE
e vidi lume in forma di rivera And I saw brightness, in the form of a river,
fulvido di fulgore, intra due rive shining, amber, between banks
dipinte di mirabil primavera. pricked out with miraculous Spring.
A river of amber brightness, between banks of
miraculous spring…
PAR C30 64-66 / DANTE
Di tal fiumana uscian faville vive, Living sparks flashed from this river it,
e d'ogne parte si mettien ne' fiori, and fell fall into the blossoms on all sides,
quasi rubin che oro circunscrive; like gold-set rubies,
PAR C30 67-69 / DANTE
poi, come inebrïate da li odori, Then they plunged themselves, again, into the
riprofondavan sé nel miro gurge, the marvellous vortex, as if drunk with the
e s'una intrava, un'altra n'uscia fori. perfumes, and as one entered, another issued out.
then, drunk with the perfumes, plunge back into the
river.
BEATRICE:
PAR C30 70-72 / DANTE PAR C30 70-72 / KLINE
L'alto disio che mo t'infiamma e urge, The high desire that burns and urges you now
d'aver notizia di ciò che tu vei, to acquire knowledge of the things you see,
tanto mi piace più quanto più turge; pleases me more the more it intensifies.
PAR C30 73-75 / DANTE
ma di quest' acqua convien che tu bei But you must first drink of this water,
prima che tanta sete in te si sazi: before so great a thirst in you can be satisfied.
così mi disse il sol de li occhi miei. So my eyes’ sun spoke to me,
PAR C30 76-78 / DANTE
Anche soggiunse: Il fiume e li topazi then added: The river and the topazes rubies
ch'entrano ed escono e 'l rider de l'erbe that enter it and exit, and the smile of the grasses,
son di lor vero umbriferi prefazi. are the shadowy preface to their reality.
203
PAR C30 79-81 / DANTE
Non che da sé sian queste cose acerbe; Not because the things are crude in themselves,
ma è difetto da la parte tua, but the defect is in you,
che non hai viste ancor tanto superbe. because you You do not have such exalted vision yet.
PAR C30 82-96 / KLINE
Never did infant turn so quickly towards the milk, waking much later than usual, as I did then, bending to the waters
that are formed so that we may better ourselves, to make still truer mirrors of my eyes. And my eyelids’ rims no sooner
felt it, than their length seemed to alter into roundness. Then the flowers and the sparks changed in front of me into a
fuller joyousness, as people, masked, seem other than before if they remove the image that hid them, not their own, and
I saw both courts of Heaven, made manifest.
BEATRICE TAKES DANTE’S BOOK FROM HIS HANDS AND KISSES IT, REMOVING THE MUSE’S MALICIOUS
ALTERATIONS. TO MAKE THE MEANING CLEAR, SHE MAY FLIP THROUGH THE PAGES AND KISS AWAY EACH
ALTERATION MADE BY THE MUSES.
♫BE-A-TRI-CE MOTIF * * * * * * * * * *
PAR C30 81
■ - ■ - ■

BEATRICE HANDS THE BOOK BACK TO DANTE AND ENTERS THE DARK CENTRE WINDOW.
DANTE LOOKS AT IT FOR SOME TIME THEN GAZES UPWARD.
♫CELESTIAL * * * * * * * * * *
PAR C30 81
CELESTIAL 16
■ - ■ - ■
DANTE:
PAR C30 97-99 / DANTE PAR C30 97-99 / KLINE
O isplendor di Dio, per cu' io vidi O splendour of God, through which I saw
l'alto trïunfo del regno verace, the high Triumph of the kingdom of truth:
dammi virtù a dir com' ïo il vidi! give me the power to say what I saw see.
PAR C30 100-102 / DANTE
Lume è là sù che visibile face There is a A light, up there, that makes the Creator
lo creatore a quella creatura visible to the creature,
che solo in lui vedere ha la sua pace. who only in seeing him finds its peace.:
204
PAR C30 103-108 / KLINE
and it extends so far in a circle, that its rim would loosely contain the sun’s light. Its whole appearance is formed of rays
reflected from the surface of the Primum Mobile, which draws its life and power from them.
PAR C30 109-111 / DANTE
E come clivo in acqua di suo imo And as As a hillside reflects itself in the water
si specchia, quasi per vedersi addorno, at its foot, as if to view its own beauty,
quando è nel verde e ne' fioretti opimo, rich in grass and flowers,
PAR C30 112-114 / DANTE
sì, soprastando al lume intorno intorno, so, rising above the light, around, around, I saw
vidi specchiarsi in più di mille soglie see all of us who have won their way back
quanto di noi là sù fatto ha ritorno. up there, casting their reflection in more than a
thousand ranks.
DANTE: &/or DANTE:
PAR C30 115-117 / DANTE PAR C30 115-117 / KLINE
E se l'infimo grado in sé raccoglie And if the lowest level attracts so great
sì grande lume, quanta è la larghezza a light inside it, what of the intensity
di questa rosa ne l'estreme foglie! of the rose’s outer petals?
DANTE:
PAR C30 118-120 / DANTE PAR C30 118-120 / KLINE
La vista mia ne l'ampio e ne l'altezza My sight was is not lost itself in the height
non si smarriva, ma tutto prendeva and breadth, but grasped grasps
il quanto e 'l quale di quella allegrezza. the quality and quantity of joy.
PAR C30 121-123 / KLINE
Near and far do not add or subtract there, since where God rules without mediation the laws of nature have no
relevance.
DANTE TURNS ONE WAY.

DANTE:
PAR C30 124-126 / DANTE PAR C30 124-126 / KLINE
Nel giallo de la rosa sempiterna, Beatrice drew draws me, a man silent,
che si digrada e dilata e redole who would speak, into the yellow glow
odor di lode al sol che sempre verna, of the eternal Rose, that rises layer on layer,
205
PAR C30 127-129 / DANTE
qual è colui che tace e dicer vole, and exudes the perfume of praise, towards
mi trasse Bëatrice, e disse: «Mira the Sun, that makes eternal Spring., saying:
quanto è 'l convento de le bianche stole! Marvel at the vastness of the white-robed gathering!
PAR C30 130-148 / KLINE
Our City, see how wide its circle! See our thrones, filled, so that few spirits are still awaited there. The soul, an imperial
one on earth, of Henry the Seventh, shall sit on that high seat, that you fix your eyes on because of the crown you
already see placed over it, before you yourself dine at this wedding feast: he, who will come to set Italy straight before
she is ready for it. Blind greed that mazes you has made you like a little child that chases away its nurse while dying of
hunger: and he, Clement, who will be Pope then in the court of divine things, will be such as will not tread the same
path as him, openly or in secret. But God will not suffer him long in that sacred office, since he will be forced down
where Simon Magus is, for his reward, and push Boniface, him of Anagna lower still.
♫CELESTIAL OR BE-A-TRI-CE MOTIF DEVELOPED * * * * * * * * * *
PAR C30 128
DANTE:
PAR C30 124-126 / DANTE
Nel giallo de la rosa sempiterna, Beatrice drew draws me, a man silent,
che si digrada e dilata e redole who would speak, into the yellow glow
odor di lode al sol che sempre verna, of the eternal Rose, that rises layer on layer,
PAR C30 127-129 / DANTE
qual è colui che tace e dicer vole, and exudes the perfume of praise,
mi trasse Bëatrice, e disse: «Mira towards the Sun, that makes eternal Spring, saying:
quanto è 'l convento de le bianche stole! Marvel at the vastness of the white-robed gathering!
CANTO 31
PRESUMABLY THIS IS THE SAME ROSE AS THE ONE ABOVE. IF NOT, DANTE MAY TURN TO SEE IT.
DANTE:
PAR C31 1-3 / DANTE PAR C31 1-3 / KLINE
In forma dunque di candida rosa That The sacred army, that Christ espoused
mi si mostrava la milizia santa espouses with his blood, displayed displays
che nel suo sangue Cristo fece sposa; itself in the form of as a white rose,
PAR C31 4-6 / DANTE
ma l'altra, che volando vede e canta but the Angel other, that sees and sings the glory,
la gloria di colui che la 'nnamora of him who inspires it with love, as it flies,
e la bontà che la fece cotanta, and sings the excellence that has made it as it is,
PAR C31 7-9 / DANTE
sì come schiera d'ape che s'infiora descended descends continually into the
una fïata e una si ritorna great flower, lovely with so many petals, and
là dove suo laboro s'insapora, climbed climbs again to where its love lives ever,

PAR C31 10-12 / DANTE
nel gran fior discendeva che s'addorna like a swarm of bees, that now plunges
di tante foglie, e quindi risaliva into the flowers, and now returns,
là dove 'l süo amor sempre soggiorna. to where their its labour is turned to sweetness.
PAR C31 13-15 / DANTE
Le facce tutte avean di fiamma viva Their faces were are all of living flame, their wings
e l'ali d'oro, e l'altro tanto bianco, of gold, and the rest of them so white that past the
che nulla neve a quel termine arriva. whiteness of snow. never reached that limit.
206
PAR C31 16-27 / KLINE
When they dropped into the flower, they offered, to tier on tier, the peace and ardour that they acquired with beating
wings: and the presence of such a vast flying swarm between the flower and what was beyond it, did not dilute the
vision or the splendour: because the Divine Light so penetrates the Universe, to the measure of its Value, that nothing
has the power to prevent it. This kingdom, safe and happy, crowded with ancient peoples and the new, had sight and
Love all turned towards one point.
♫CELESTIAL * * * * * * * * * *
PAR C31 15
DANTE:
PAR C31 10-12 / DANTE
nel gran fior discendeva che s'addorna like a swarm of bees, that now plunges
di tante foglie, e quindi risaliva into the flowers, and now returns,
là dove 'l süo amor sempre soggiorna. to where their its labour is turned to sweetness.
PAR C31 13-15 / DANTE
Le facce tutte avean di fiamma viva Their faces were are all of living flame, their wings
e l'ali d'oro, e l'altro tanto bianco, of gold, and the rest of them so white that past the
che nulla neve a quel termine arriva. whiteness of snow. never reached that limit.
DANTE BEGINS LOOKING FOR THE FACE OF BEATRICE. HE RAISES HIS EYES A LITTLE.
PAR C31 28-42 / KLINE
O triple Light that glitters in their sight, a single star, and so contents them: look down on our tempest! If the
Barbarians, coming from those countries that Callisto, the Bear, spans every day, orbiting with her son, Arcas, the little
Bear, whom she longs for, if they were stupefied on seeing Rome and her great works, at the time when her palaces
exceeded mortal things, what then of me, who had gone to the divine, from the human, to the eternal, from time, and
from Florence to a true and just people? With what stupor must I be filled! Truly, what with it, and with my joy, my
wish was to hear nothing, and be dumb.
PAR C31 43-63 / KLINE
Like a pilgrim who renews himself, by gazing, in the Temple of his vows, and already hopes to retell how it looks, so I
led my eyes, crossing the living light, along the levels, up and down, and then around them, circling. I saw faces
persuasive of Love, graced by another’s light and their own smile, and with gestures adorned with all honour. My gaze
had already taken in the general form of Paradise in its completeness, and my sight had not rested on any one part, and I
turned, with re-illumined will, to ask my Lady about things with which my mind was concerned. I intended that, but
another sight answered mine: I thought that I would see Beatrice, but I saw an old man dressed like the glorious folk.
His eyes and cheeks were full of gentle joy, with kindly gestures as fits a tender father.
DANTE: & DANTE:
PAR C31 64-66 / DANTE PAR C31 64-66 / KLINE
E Ov' è ella?, sùbito diss' io. And I suddenly said: Where is She?
Ond' elli: A terminar lo tuo disiro At which he replied: Beatrice brought me
mosse Beatrice me del loco mio; from my place to lead your desire to its goal:
PAR C31 67-78 / KLINE
and if you look up at the third circle from the highest level, you will see her again, on that throne her merit has marked
out for her. I raised my eyes without answering, and saw her, making a crown for herself, by reflecting the eternal light

from her person. No human eye is further from the highest vaults of the thunder, though plunged to the sea’s depths, as
my sight was from Beatrice, but that did not affect me, since her image came to me undiluted by any medium.
DANTE SEES BEATRICE ON HIGH.
PAR C31 79-81 / DANTE
O donna in cui la mia speranza vige, O Lady, in whom my hope has life,
e che soffristi per la mia salute and who, for my salvation,
in inferno lasciar le tue vestige, suffered to leave your footprints in Hell,
PAR C31 82-84 / DANTE
di tante cose quant' i' ho vedute, I recognise the grace and virtue of all
dal tuo podere e da la tua bontate I have seen, through your
riconosco la grazia e la virtute. power and your goodness.
PAR C31 85-87 / DANTE
Tu m'hai di servo tratto a libertate You have brought me from slavery to freedom,
per tutte quelle vie, per tutt' i modi by all those paths, by all those ways
che di ciò fare avei la potestate. that you had power over.
PAR C31 88-90 / DANTE
La tua magnificenza in me custodi, Guard your grace, in me, so that my spirit,
sì che l'anima mia, che fatt' hai sana, which you have made whole, may be
piacente a te dal corpo si disnodi. acceptable to you when it leaves my body.
207
PAR C31 91-111 / KLINE
So I prayed: and she, far off though she appeared, smiled, and gazed at me, then turned towards the Eternal Fountain.
And the holy man said: ‘Let your eyes fly around this Garden, so as to consummate your journey perfectly, the mission
for which prayer and sacred love sent me: since gazing at it will better fit your sight to climb through the divine light.
And the Queen of Heaven, for whom I burn wholly with love, will grant us all grace, because I am her loyal Bernard.
Like one who comes from Croatia perhaps to see our cloth of Veronica, and is not sated with looking because of its
ancient fame, but, as long as it is visible, says, in thought: ‘Lord Jesus Christ, true God, was this then your face?’ such
was I gazing at the living love of him, who in this world tasted of that peace in contemplation.
PAR C31 112-132 / KLINE
He began: Son of grace, this joyful being will not become known to you, merely by keeping your gaze down here at the
foot, but look at the circles, to the very farthest, until you see the enthroned Queen of Heaven, to whom this kingdom is
subject, and devoted. I lifted my eyes, and as, at dawn, the eastern space of the horizon conquers that space where the
sun declines, so, as if raising my eyes, from a valley to the mountain, I saw a space, at the edge, exceed all the rest of
the ridge in light. And as down here that place where we expect the chariot, that Phaeton failed to guide, is most
glowing, and the light is cut away on either side, so was She, that flame of peace, quickened in the centre, tempering the
blaze on all sides. And at the mid-point I saw more than a thousand Angels, joying, with outstretched wings, each Angel
distinct, in glow and function.
PAR C31 133-142 / KLINE
I saw there, a Beauty that was delight, in the eyes of all the other saints, smiling at their dances and their songs. And if I
had words as rich as my imagination, I would still not dare to attempt the smallest part of her delightfulness. Bernard
turned his eyes to her, with so much love, when he saw my eyes fixed and attentive gazing towards the source of his
own light, that he made mine more eager to gaze again.
CANTO 32
PAR C32 1-21 / KLINE
He, the contemplative, with his Love fixed on his Delight, freely assumed the office of a teacher, and began these
sacred words: The wound, that Mary sealed and anointed, is that which Eve, who is so lovely, at her feet, opened and
pierced. In the order, made by the third level, Rachel with Beatrice, sits below her, as you see. Even as I go down the
rose, petal by petal, naming their proper names, you can see, descending from level to level, Sarah, Rebecca, Judith, and
Ruth, her from whom came David the singer, third in descent, who cried out, from grief at his sin: “Miserere mei: Pity
me.’ And down from the seventh, and beyond, again the Hebrew women, separating the flower’s tresses, since they are
the wall, that parts the sacred stairway, according to how faith in Christ was realised.
PAR C32 22-36 / KLINE
On this side, where the flower is full-blown, in all its petals, those, who believed in Christ to come, are sitting. On the
other side, where there are empty seats among them, are the semi-circles of those whose eyes were turned towards the
Christ who had come. And as the glorious throne of Heaven’s Lady, and the seats below her, make such a partition, so,
next to her, does that of the great Baptist, John, who, ever holy, suffered the desert and a martyr’s death, and then

Limbo, for two years space, until Christ came there: and, below him, the separating line, assigned to Francis, Benedict,
Augustine and the others from circle to circle, down to here.
PAR C32 37-57 / KLINE
Now marvel at the depth of Divine provision, since both aspects of the faith will fill this Garden equally. And know
that, down from the level that cuts across the two divisions, the spirits have their places not because of their own merit,
but another’s, given certain conditions, since these are all souls freed before they had exercised true choice. You can see
it by their faces, and their voices, those of children, if you look carefully and listen. Now you doubt, and are silent in
your doubting: but I will untie the difficult knot for you, in which your subtle thoughts are entangling you. No chance
point has place in all this kingdom, no more than sadness, thirst, or hunger do, because what you see is established by
Eternal Law, so that the ring corresponds exactly to the finger.
PAR C32 58-69 / KLINE
The ordering of these children, swiftly come to the true life, according to greater or lesser excellence, is not sina causa:
without reason. The King, by whom this kingdom rests in such great love, such great delight that the will dares nothing
more, when he creates minds, in his joyous sight, of his grace and at his pleasure, grants them diversity: and let the
effect suffice, as proof. And this is marked, clearly and expressly, in Holy Writ, concerning those twins who struggled
in anger in Rebeccah’s womb.
PAR C32 70-87 / KLINE
So the Supreme Light must wreathe them worthily, according to the colour of the tresses of such grace. Therefore they
are placed at different levels, without regard for the externals, differentiated only by their primal keenness in seeing
Him. So, in ancient times, the parents’ faith alone, combined with innocence, was enough to reach salvation. When
those first ages were complete, males needed to gain power in their innocent wings, through the rite of circumcision.
But when the time of grace came, then, lacking Christ’s perfect baptism, such innocence was held, there below. Now
see the face that is most like Christ’s, since its brightness, and no other, has the power to equip you to see Christ.
DANTE RAISES HIS EYES EVEN HIGHER AND IS TRANSFIXED.
♫AVE, MARIA, GRATIA PLENA: HAIL, MARY, FULL OF GRACE * * * * * * * * * *
PUR C31 90 from C32 95
PAR C32 88-114 / KLINE
I saw such gladness, borne in the sacred Angelic minds created to fly through that altitude, rain down on that face that
nothing, I had seen before, seized me with such dumb admiration, or so revealed the semblance of God. And that Love
which first came down to Her, singing: ‘Ave, Maria, gratia plena: Hail, Mary, full of grace,’ now spread his wings in
front of her. The Divine Canticle was responded to on every side by the court of the blest, so that every face found
peace in it. O holy Father, you who accept being here below for my sake, leaving that sweet place, where you sit by
eternal sanction, who is that Angel who looks our Queen in the eyes with such joy, so enamoured he seems all on fire?
So I turned again to his teaching, he who gathered beauty from Mary, as the morning star does from the sun. And he to
me: ‘The greatest exultation and chivalry that exists in Angel or in spirit, is all in him: and we would wish it so, since it
is Gabriel who brought the palm down to Mary, when the Son of God willed that He should take on our burden.’
PAR C32 115-132 / KLINE
But now let your eyes come travel, even as I speak, and note the great noble souls, of this most just and pious empire.
Those two who sit up there, most blest by being nearest to the Empress, are like two roots of this Rose. Her neighbour
on the left is Adam, that father, through whose audacity in tasting the fruit, the human race tastes such bitterness. On the
right is Peter, that ancient father of Holy Church to whom Christ entrusted the keys of this beloved flower. And John
sits by his side, who, before he died, saw all the dark prophetic seasons of that fair Bride, who was won with lance and
nails: and by Adam’s side, Moses, that leader, rests, under whom the ungrateful, fickle, and mutinous people were fed
with manna.
PAR C32 133-151 / KLINE
See Saint Anne, sitting opposite Peter, so content to look at her daughter, that she does not remove her gaze to sing
Hosanna. And opposite Adam, the greatest father of our family, sits Lucy, who stirred your Lady, when you were
bending your brow downwards to ruin. But since the time of your vision flees, here let us stop, like the careful tailor
who cuts the garment according to the cloth, and let us turn our eyes towards the Primal Love, so that gazing at Him,
you might penetrate as far as possible into his brightness. Truly grace needs to be acquired by prayer (so that you do not
by chance fall back as you beat your wings), grace from Her who has power to help you: and follow me with such
affection that your heart is not separated from my words.’ And he began this sacred prayer.
CANTO 33
208

209
PAR C33 1-21 / KLINE
Virgin mother, daughter of your Son, humbled, and exalted, more than any other creature, fixed goal of the Eternal
Wisdom; you are She who made human nature so noble, that its own Maker did not scorn to become of its making. The
Love, beneath whose warmth this flower has grown, in eternal peace, flamed again in your womb. Here you are the
noonday torch of Love to us, and down there, among mortal beings, you are a living spring of hope. Lady you are so
great, and of such value, that if any who wishes for grace fails to resort to you, his longing tries to fly without wings.
Your kindness not only helps those who ask it, it often freely anticipates the request. In you is tenderness: in you is pity:
in you is generosity: in you whatever excellences exist in the creature, combined together.
PAR C33 22-33 / KLINE
Now he, who has seen the lives of souls, one by one, from the deepest pool of the universe, even to here, begs you, of
your grace, for enough strength to lift his eyes, higher, towards the final bliss: and I, who was never so on fire for my
own vision, as I am for his, offer you all my prayers, and pray they may not be wanting, asking that, for him, you might
scatter every cloud of his mortality, with your prayers, so that supreme joy might be revealed to him.
PAR C33 34-48 / KLINE
And more I beg you, Queen, who can do the things you will: after he has seen so deeply, keep his affections sound. Let
your protection overcome human weakness: see Beatrice, with so many saints, folding her hands to pray with me. Those
eyes, loved by God, and venerated, fixed on the speaker, showed us how greatly devout prayers please her. Then they
turned themselves towards the Eternal Light, into which, we must believe, no other creature’s eye finds its way so
clearly. And I, who was drawing near the goal of all my longing, quenched as was fitting the ardour of my desire, inside
me.
THE MUSIC FADES TO NOTHING.
DANTE CONTINUES WATCHING FOR AN ETERNITY – PERHAPS 30 SECONDS OR A MINUTE OF ORDINARY TIME –
THEN TURNS TO THE AUDIENCE AND OPENS HIS BOOK.
THE FINAL VISION
PAR C33 49-54 / KLINE
Bernard made a sign to me, and smiled, telling me to look higher, but I was already doing as he asked me, because my
sight, as it was purged, was penetrating deeper and deeper, into the beam of the Highest Light, that in itself is Truth.
DANTE: or DANTE:
PAR C33 55-57 / DANTE PAR C33 55-57 / KLINE
Da quinci innanzi il mio veder fu maggio My vision then was greater than our speech,
che 'l parlar mostra, ch'a tal vista cede, which fails at such a sight,
e cede la memoria a tanto oltraggio. and memory fails at such an assault.
PAR C33 58-60 / DANTE
Qual è colüi che sognando vede, I am like one, who sees in dream, and when
che dopo 'l sogno la passione impressa the dream is gone an impression, set there,
rimane, e l'altro a la mente non riede, remains, but nothing else comes to mind again,
PAR C33 61-63 / DANTE
cotal son io, ché quasi tutta cessa since my vision almost entirely fails me,
mia visïone, e ancor mi distilla but the sweetness born from it
nel core il dolce che nacque da essa. still distils inside my heart.
PAR C33 64-66 / KLINE
So the snow loses its impress to the sun: so the Sibyl’s prophecies were lost, on light leaves, in the wind.
DANTE:
PAR C33 67-69 / DANTE PAR C33 67-69 / KLINE
O somma luce che tanto ti levi O Supreme Light, who lifts so far above mortal
da' concetti mortali, a la mia mente thought, lend to my mind again
ripresta un poco di quel che parevi, a little of what you seemed then,
yellow SUN spotlight
THE SUN SPOTLIGHT, WHICH SHONE AT THE BEGINNING OF IL PARADISO, RETURNS.

DANTE:
PAR C33 70-72 / DANTE PAR C33 70-75 / KLINE
e fa la lingua mia tanto possente, and give my tongue such power,
ch'una favilla sol de la tua gloria that it might leave even a single spark
possa lasciare a la futura gente; of your glory, to those to come:
PAR C33 73-75 / DANTE
ché, per tornare alquanto a mia memoria since by returning to my memory, in part,
e per sonare un poco in questi versi, and by sounding in these verses,
più si conceperà di tua vittoria. more of your triumph can be conceived.
DANTE:
PAR C33 76-78 / DANTE PAR C33 76-84 / KLINE
Io credo, per l'acume ch'io soffersi I think that I would have been lost,
del vivo raggio, ch'i' sarei smarrito, through the keenness of the living ray
se li occhi miei da lui fossero aversi. that I suffered, if my eyes had turned away from it.
PAR C33 79-81 / DANTE
E' mi ricorda ch'io fui più ardito And so, I remember, I dared to endure it longer,
per questo a sostener, tanto ch'i' giunsi that my gaze might be joined
l'aspetto mio col valore infinito. with the Infinite Value.
PAR C33 82-84 / DANTE
Oh abbondante grazia ond' io presunsi O abundant grace, where I presumed to fix
ficcar lo viso per la luce etterna, my sight on the Eternal Light,
tanto che la veduta vi consunsi! so long, that my sight was wearied!
DANTE:
PAR C33 85-87 / DANTE PAR C33 85-87 / KLINE
Nel suo profondo vidi che s'interna, In its depths I saw in-gathered, and bound
legato con amore in un volume, by Love into one volume,
ciò che per l'universo si squaderna: all things that are scattered through the universe,
PAR C33 88-90 / DANTE
sustanze e accidenti e lor costume substance and accident and their relations,
quasi conflati insieme, per tal modo as if joined in such a manner that what
che ciò ch'i' dico è un semplice lume. I speak of is One simplicity of Light.
PAR C33 91-93 / DANTE
La forma universal di questo nodo I think I saw the universal form, of that bond,
credo ch'i' vidi, perché più di largo, because, in saying it, I feel my heart leap,
dicendo questo, mi sento ch'i' godo. in greater intensity of joy.
210
PAR C33 94-96 / KLINE
A single moment plunged me into deeper stillness, than twenty-five centuries have the enterprise, that made Neptune
wonder at Argo’s shadow.
DANTE:
PAR C33 97-99 / DANTE PAR C33 97-99 / KLINE
Così la mente mia, tutta sospesa, So my mind gazed, fixed, wholly stilled,
mirava fissa, immobile e attenta, immoveable, intent, and
e sempre di mirar faceasi accesa. continually inflamed, by its gazing.
PAR C33 100-102 / DANTE
A quella luce cotal si diventa, Man becomes such in that Light,
che volgersi da lei per altro aspetto that to turn away to any other sight
è impossibil che mai si consenta; is beyond the bounds of possibility.
PAR C33 103-105 / DANTE
però che 'l ben, ch'è del volere obietto, Because the Good, which is the object of the will,
tutto s'accoglie in lei, e fuor di quella is wholly concentrated there, and outside it,
è defettivo ciò ch'è lì perfetto. what is perfect within it, is defective.

DANTE:
PAR C33 106-108 / DANTE PAR C33 106-108 / KLINE
Omai sarà più corta mia favella, Now my speech will fall further short,
pur a quel ch'io ricordo, che d'un fante of what I remember, than a babe’s,
che bagni ancor la lingua a la mammella. who still moistens his tongue at the breast.
PAR C33 109-111 / DANTE
Non perché più ch'un semplice sembiante Not that there was more than a single form
fosse nel vivo lume ch'io mirava, in the Living Light where I gazed,
che tal è sempre qual s'era davante; that is always such as it was before,
PAR C33 112-114 / DANTE
ma per la vista che s'avvalorava but by means of the faculty of sight
in me guardando, una sola parvenza, that gained strength in me, even as it altered,
mutandom' io, a me si travagliava. one sole image quickened to my gaze.
PAR C33 115-117 / DANTE
Ne la profonda e chiara sussistenza In the profound and shining Being
de l'alto lume parvermi tre giri of the deep Light, three circles appeared,
di tre colori e d'una contenenza; of three colours, and one magnitude:
PAR C33 118-120 / DANTE
e l'un da l'altro come iri da iri one seemed refracted by the other,
parea reflesso, e 'l terzo parea foco like Iris’s rainbows, and the third
che quinci e quindi igualmente si spiri. seemed fire breathed equally from both.
PAR C33 121-123 / DANTE
Oh quanto è corto il dire e come fioco O how the words fall short, and how feeble
al mio concetto! e questo, a quel ch'i' vidi, compared with my conceiving! And they are such,
è tanto, che non basta a dicer `poco'. compared to what I saw, that it is inadequate to call
them merely feeble.
211
DANTE:
PAR C33 124-126 / DANTE PAR C33 124-126 / KLINE
O luce etterna che sola in te sidi, O Eternal Light, who only rest in yourself,
sola t'intendi, e da te intelletta and know only yourself, who, understood by yourself
e intendente te ami e arridi! and knowing yourself, love and smile!
PAR C33 127-129 / DANTE
Quella circulazion che sì concetta Those circles that seemed to be
pareva in te come lume reflesso, conceived in you as reflected light,
da li occhi miei alquanto circunspetta, when traversed by my eyes a little,
PAR C33 130-132 / DANTE
dentro da sé, del suo colore stesso, seemed to be adorned inside themselves
mi parve pinta de la nostra effige: with our image, in its proper colours,
per che 'l mio viso in lei tutto era messo. and to that my sight was wholly committed.
PAR C33 133-135 / DANTE
Qual è 'l geomètra che tutto s'affige Like a geometer, who sets himself to measure, in
per misurar lo cerchio, e non ritrova, radii, the exact circumference of the circle, and
pensando, quel principio ond' elli indige, who cannot find, by thought, the principle he lacks,
PAR C33 136-138 / DANTE
tal era io a quella vista nova: so was I, at this new sight: I wished to
veder voleva come si convenne see how the image fitted the circle,
l'imago al cerchio e come vi s'indova; and how it was set in place,
PAR C33 139-141 / DANTE
ma non eran da ciò le proprie penne: but my true wings had not been made for this,
se non che la mia mente fu percossa if it were not that my mind was struck
da un fulgore in che sua voglia venne. by lightning, from which its will emerged.

DANTE:
PAR C33 142-144 / DANTE PAR C33 142-145 / KLINE
A l'alta fantasia qui mancò possa; Power, here, failed the deep imagining:
ma già volgeva il mio disio e 'l velle, but already my desire and will were rolled,
sì come rota ch'igualmente è mossa, like a wheel that is turned, equally, by
PAR C33 145 / DANTE
l'amor che move il sole e l'altre stelle. the Love that moves the Sun and the other stars.
DANTE:
PAR C33 142-144 / DANTE PAR C33 142-144 / KLINE
A l'alta fantasia qui mancò possa; Power, here, failed the deep imagining:
ma già volgeva il mio disio e 'l velle, but already my desire and will were rolled,
sì come rota ch'igualmente è mossa, like a wheel that is turned, equally, by
PAR C33 145 / DANTE
l'amor che move il sole e l'altre stelle. the Love that moves the Sun and the other stars.
FINALE
THE SUN SPOTLIGHT FADES IN THE RISING OF THE GENERAL STAGE LIGHT. OFFSTAGE SINGERS, THE SPOKEN
VOICES, THE DIRECTOR, THE MUSICAL DIRECTOR ETC. COME ON STAGE TO RECEIVE THEIR PLAUDITS. THEY
ALL STAY.
THERE IS A SUDDEN STILLNESS AS THE MUSES COME ON STAGE AT A TROT. THEY ARE NOW VISIBLE TO
DANTE BECAUSE HIS GREAT WORK IS FINISHED. TERPSICHORE – ACTING THE SHY CHILD - IS HOLDING
SOMETHING BEHIND HER BACK. THE OTHERS PUSH HER FORWARD, GRIMLY, AND DANTE PREPARES TO
DEFEND HIMSELF. TERPSICHORE WHIPS OUT A LAUREL WREATH.
THE LAST ARRIVAL - HE HAD THE FURTHEST TO COME - IS VIRGIL. HE PLAYED SUCH AN IMPORTANT PART IN
L’INFERNO AND IL PURGATORIO THAT IT IS ONLY JUST FOR HIM TO GET A PASS TO THE PARADISO PARTY.
♫ANTHEM POSTLUDE * * * * * * * * * *
INF C33 145
Instruments include the olifant or trumpet.
AS THE MUSIC SOUNDS, THE BLESSED SOULS MANIFEST THEMSELVES AS LIGHTS, THEN PERSONS. BEATRICE
IS THE LAST. THEY BLESS THE AUDIENCE AND DE-MANIFEST.
LIGHTS ☼
BEATRICE: □ WHITE ? SOLOMON: ORANGE
BEDE: ORANGE ST ALBERTUS MAGNUS: ORANGE
BOËTHIUS: ORANGE ST BENEDICT: GOLD
CACCIAGUIDA: RED ST BERNARD: □ WHITE
CHARLES MARTEL D’ANJOU: ROSE ST BONAVENTURA: ORANGE
CONSTANCE: PEARL ST CLARE: PEARL
CUNIZZA: ROSE ST DOMINIC: □ WHITE
FOLCO: ROSE ST FRANCIS: □ WHITE
GRATIANUS : ORANGE ST ISIDORE: ORANGE
JUSTINIAN: SILVER ST JAMES: YELLOW
OROSIUS: ORANGE ST JOHN: YELLOW
PETER LOMBARD: ORANGE ST PETER: YELLOW
PICCARDA: PEARL ST PETER DAMIAN: GOLD
212

RAHAB: ROSE ST THOMAS AQUINAS: ORANGE
RICHARD OF SAINT-VICTOR: ORANGE
STS JAMES, JOHN & PETER REMAIN IN THEIR BOAT, WHICH IS MUCH FARTHER FROM THE SHORE.
IT IS NOT CLEAR FROM DANTE’S TEXT WHAT COLOUR BEATRICE’S LIGHT SHOULD BE. AS SAID IN
INTRODUCTION: THE DIVINE COMEDY, THE LIGHT COULD BE OF THE SAME COLOUR AND QUALITY AS HER
SPOTLIGHT..◙..IN L’INFERNO AND IL PURGATORIO.
213

214

PICTURES
Some of these pictures are useful for the dramatisation, others are just interesting.
PAGE 2
1 ST ST FRANCIS VARIOUS PLACES
2 THE PORZIUNCOLA: CHAPEL? EXTERIOR Altered since Francis’s day VARIOUS PLACES
3 THE PORZIUNCOLA: INTERIOR C7 15 : CP 11 C23 60 : CP 63
4 SCENE FROM MALTESE PLAY (INT FEJN SEJJER?): FRANCIS AS AS BLADE C3 120 : CP 1
5 SCENE FROM MALTESE PLAY: FRANCIS CUTTING CLARE’S HAIR C9 142 : CP 21
6 SCENE FROM MALTESE PLAY: BERNARDONE C3 120 : CP 1
7 SCENE FROM MALTESE PLAY: DEATH OF OF FRANCIS
8 DAMIETTA WALLS C13 90 : CP 39, 40, 41
9 DAMIETTA BESIEGED BY BY CRUSADERS C13 90 : CP 39, 40, 41
10 ST ST CLARE WITH MONSTRANCE (CIBORIUM) C23 60 : CP 61
11 ST ST CLARE VARIOUS PLACES
12 ST ST CLARE VARIOUS PLACES
13 SAN DAMIANO: CHAPEL C3 121 C29 11
14 SAN DAMIANO: EXTERIOR Altered since Clare’s day? VARIOUS PLACES
15 SAN DAMIANO: REFECTORY C3 121 C29 11
16 ST ST CLARE’S HAIR
17 HABITS OF OF FRANCIS & CLARE; DRESS MADE BY BY CLARE preserved at at Assisi VARIOUS PLACES
PAGE 3
18 – 20 ST ST ALBERTUS MAGNUS VARIOUS PLACES
21 - 22BEDE VARIOUS PLACES
23 – 24 ST ST BENEDICT C22 40
25 – 26 ST ST BERNARD VARIOUS PLACES
27 BOËTHIUS VARIOUS PLACES
28 ST ST BONAVENTURA VARIOUS PLACES
29 – 32 ST ST DOMINIC VARIOUS PLACES
33 ST ST DOMINIC & ST ST FRANCIS VARIOUS PLACES.
34 BOËTHIUS VARIOUS PLACES
35 GRATIANUS VARIOUS PLACES
36 ST ST ISIDORE VARIOUS PLACES
37 JUSTINIAN VARIOUS PLACES
38 ST ST PETER DAMIAN C21 64
39 PETER LOMBARD VARIOUS PLACES
40 - 41ST THOMAS AQUINAS VARIOUS PLACES
PAGE 4
42 UNDERWEAR C15 27
43 TOMB EFFIGY WITH CROSSED LEGS C15 27
44 CRUSADERS C15 27
45 HELMETS C15 27
46 HOHENSTAUFEN SHIELD C15 27
47 HOHENSTAUFEN CASTLE C11 12 : CP 24
48 CRUSADERS C15 27
49 CRUSADER C15 27
50 KNIGHT: 12 TH 42 UNDERWEAR C15 27
43 TOMB EFFIGY WITH CROSSED LEGS C15 27
44 CRUSADERS C15 27
45 HELMETS C15 27
46 HOHENSTAUFEN SHIELD C15 27
47 HOHENSTAUFEN CASTLE C11 12 : CP 24
48 CRUSADERS C15 27
49 CRUSADER C15 27
50 KNIGHT: 12 C C15 27
51 SHIELD OF CASTILE mentioned C12 52
52 ‘CHARLEMAGNE’ CHESS PIECES C10 148
53 CRUSADERS PLAYING CHESS C 21 102 : CP 56, 57, 58
TH C C15 27
51 SHIELD OF CASTILE mentioned C12 52
52 ‘CHARLEMAGNE’ CHESS PIECES C10 148
53 CRUSADERS PLAYING CHESS C 21 102 : CP 56, 57, 58
PICTURES page no.

1
8
10
15
13
11
2
16
9
12
14
5
3
17
4
7
6

18 19 20 21
23
28
31
37
24
25
29 30
32
33
38 39 40 41
26
35
34
22
36
27

42
52
45
48
49
43
46
50
53
44
47
51
50

P A R A D I S O
e
N
ERATO arrow
little boat look up
ANETARY SPHERES
look & shoot up
WS ON THE MOON
NIA, URANIA, ERATO mirrors
ST CLARE CONSTANCE
IANO
PICTURES 1
aria ST BERNARD
RORS ETC.
ts Plato’s Error
ERATO, TERPSICHORE lamb
raightens arrow
Vows Dispensations
OLYHYMNIA, URANIA feather
ORE skips again – silly lamb
shoots up
re ERATO hunts eagle
Ghibellines etc. ♫ Hosanna
Crucifixion Redemption
on Creation Resurrection
ARTEL D’ANJOU
ntendendo
, TERPSICHORE, URANIA boat
& the Heavens
rence: Usury ♫ Prophecy
SUN
AQUINAS introduces BLESSED SOULS
CHESS / CHANSON DE ROLAND 1
♫ Music MUSES & BEATRICE!!
ST BONAVENTURA
POLYHYMNIA, ERATO, MELPOMENE
MUSES boat sinks POLYHYMNIA spills dish
MARS
MUSE , CALLIOPE, CLIO
CACCIAGUIDA: Florence
URANIA arrow in advance, exile
JUPITER
URANIA invoked
SATURN
ST PETER DAMIAN ST BENEDICT
THE FIXED STARS
GEMINI
LOOKING DOWN (1)
POLYHYMNIA & CALLIOPE
CHESS / CHANSON DE ROLAND 7
♫ Regina Coeli ST PETER Faith
ST JAMES Hope ST JOHN Love
♫ Holy! Holy! Holy! ♫ Glory to the Father
LOOKING DOWN (2)
THE PRIMUM MOBILE
CLARE PICTURES X
ST FRANCIS ST DOMINIC
THE EMPYREAN
WHERE ALL SPACE IS HERE & TIME IS NOW – WHERE
GOD, THE ANGELS & BLESSED SPIRITS TRULY ARE (NOT
MANIFESTED). THE DIVINE SPIRIT DIFFUSES DOWN
FROM HERE. EACH STELLAR HEAVEN IS ALSO ANIMAT-
ED BY, MELDED WITH, AN ANGEL. THE VIRTUE SHINING
THERE MINGLES WITH GOD’S CREATIVE & INSPIRATION-
AL POWER.
MUSES ALL ♫ Ave Maria
SUN
FINALE: MUSES ALL ♫ Anthem
PROGRAM
IL PROGRAM
THIS MOCK-UP IS PRINTED ON
IENCE. TO MAKE IT MORE L
ITALIAN FLAG (PERHAPS NOT
WIDTH.:.HEIGHT RATIO SHOU
FLAG’S COLOURS DO NOT DER
OURS OF THE 3 HOLY VIRTUES
D A N T
D R A M A T
I L
P A R A D
D A N T
D R A M M A T I

HOPE
THE MUSES
The 9 goddesses who inspire humanity & maim, destroy or transform into birds any human who challenges their supremacy.
NAME SYMBOL DOMAIN INTEREST EPITHET name of player
CALLIOPE Writing tablet Epic Poetry Philosophy The Fair-Voiced
CLIO Scroll History the the Alphabet The Proclaimer
ERATO Lyre Love Poetry The The Lovely
THE CAST:
FEDE FAITH
DANTE DURANTE ALIGHIERI (1265-1321) WAS BORN IN FLOR-
ENCE OF A PRO-PAPACY GUELPH FAMILY. THE DISHONESTY &
CORRUPTION OF POPE BONIFACE VIII ALIGNED HIM WITH THE
GHIBELLINE PRO-IMPERIALS. THE CENTURIES-LONG, EUROPEAN
GUELPH./.GHIBELLINE SCHISM ORIGINATED IN GERMANY, SUP-
POSEDLY WHEN ONE PRINCE DISPARAGED THE HUNTING-DOG OF
ANOTHER. FLORENTINE FAMILIES WERE SPLIT, ALSO, INTO
BLACKS & WHITES, ORIGINALLY BECAUSE OF A PRETTY PIS-
TOIAN. IN 1302, FRENCH INTERVENTION LED TO THE EXILE OF
DANTE & 14 OTHERS UNDER SENTENCE OF DEATH. DANTE NEV-
ER RETURNED.
BEATRICE BICE DI FOLCO PORTINARI WAS FIRST SEEN BY
DANTE WHEN SHE WAS 8 & HE WAS 9. HIS LOVE FOR HER IN-
SPIRED THE VITA NUOVA & THE DIVINE COMEDY, WHERE SHE
REPRESENTS DIVINE PHILOSOPHY. SHE DIED IN 1290, AGED 24.
THE ACTION OF THE DIVINE COMEDY BEGINS ON THE THURS-
DAY BEFORE EASTER FRIDAY, 1300, & FINISHES A WEEK LATER.
DANTE WAS THEN IN HIS 35 TH YEAR. THE POEM WAS WRITTEN
OVER MANY YEARS - WHICH ACCOUNTS FOR THE ACCURACY OF
ITS PROPHECIES – & DISTRIBUTED PIECEMEAL. IN 1373-4, BOC-
CACCIO, A FRIEND OF DANTE’S DAUGHTER, PRESENTED READ-
INGS OF LA DIVINA COMMEDIA IN CHURCH.
CHESS ’S SYMBOLIC, LITERARY & ALLEGORICAL STRENGTH
PROVED IRRESISTIBLE WHEN IT CAME TO EUROPE IN THE 11 TH C.
KNOWING THE GAME & ITS MEANING BECAME ONE OF THE 7
PROBITATES (ACCOMPLISHMENTS) OF THE KNIGHT. ALMOST ALL
EARLY REFERENCES TO CHESS, OFTEN CONDEMNATIONS, ORIGI-
NATE FROM MONASTIC CENTRES. IN 1061, PETER DAMIAN
URGED POPE-ELECT ALEXANDER III TO PUNISH THE FUTURE
POPE NICHOLAS II, FOR CHESS-PLAYING. LIBER DE MORIBUS
HOMINUM ET OFFICIIS NOBILIUM (C 1280, DE CESSOLIS), A CHESS
ALLEGORY-MORALITY & SERMON, ENDED UP RIVALLING THE
BIBLE IN POPULARITY & PRINTINGS. (MAD) QUEEN’S CHESS,
WHERE SHE CAN MOVE MORE THAN ONE SQUARE AT A TIME,
DEVELOPED IN LATE 15 TH C SPAIN.
THE CHANSON DE ROLAND HAS BEEN CALLED A NORMAN 12 TH
CENTURY MS OF AN 11 TH C TEXT ABOUT AN 8 TH C EVENT.
FISH THICKENED THE SEA (FRESHWATER LAKE) OF GALILEE IN
BIBLICAL TIMES & MANY FISHING VILLAGES SURROUNDED IT.
PETER, JAMES & JOHN FISHED FROM OR NEAR BETHSAIDA (GK.
‘HOUSE OF FISHING’ OR ‘TEMPLE OF THE FISH-GOD’). MARY
MAGDALENE BECAME THE ONLY PRODUCT OF MAGDALA (GK.
TARICHAEAE ‘PROCESSED-FISHVILLE’) BETTER KNOWN IN THE
ROMAN EMPIRE THAN DRIED FISH. FISH WERE CAUGHT WITH A
FISH-HOOK, MORE FISH WITH A FISH-NET CAST FROM SHORE OR
A FISHING BOAT, & EVEN MORE FISH WITH A FISH-NET SET BY A
FISHING BOAT & DRAGGED ASHORE AT BOTH ENDS. NIGHT &
DAY, AWAKE & ASLEEP, GALILEAN FISHERMAN FISHED, COUNT-
ED FISH (FEW OF WHICH HAD A COIN IN THE MOUTH FOR THE
FISH TAX); CLEANED CLEAN FISH, FETCHED FISH TO THE JERUSA-
LEM FISH-GATE & TO SHELLFISH-PURPLE TYRE; MADE FISH-
NETS; REPAIRED, WASHED & DRIED FISHNETS; BUILT & RE-
PAIRED FISHING BOATS; & SMELLED, IN THE AIR WHICH UNMIR-
RORED THE SEA, AS IN THE MOUNTAIN TEMPEST WHICH MADE
MOUNTAINS OF IT, FISH. THERE ARE NO FISH IN PARADISE.
AMOR
MUSIC & DESIGN
THE MOTIF OF EACH DRAMATISAT
3 FOR ITS BEGINNING, MIDDLE & E
FOR FAITH, HOPE & LOVE; 3 FO
TARY ORBITS; 3 FOR THE HIERAR
THE ORDERS WITHIN EACH HIERA
DANA, HUMANA & INSTRUMENTALI
FOR 1/3 OR √ OF 9, BEATRICE’S N
3 FOR THE CANTICLES OF THE DIV
CANTOS (+ 1 CANTO INTRODUCTIO
PARADISO HAS A TRIPTYCH AS WEL
DRAMATISATION OF THE D
Difficulties:
IMPENETRABLE POLITICS & THE
ACTION & ACTORS TOO MONSTROU
NO CLEAR PROGRESSION: DANTE
IT BEGINS AMONG THE DAMNE
BLESSED, BUT HE DAMNS POPE B
THE 100.
Solutions:
MUSIC (MUCH OF IT LISTED BY DA
THE MASCULINE MASS, TO SUPPO
NINE ROLES.
COUNTERPOISE OF POETRY & PRO
CONVENTIONAL DEVICES: CUTTIN
OF THE MAIN CHARACTERS THROU
GIFTS:
(1) THE UNCONSCIOUS HUMOUR
MOUTHPIECE & CHASTISER IN
COURTLY LOVE.
(2) I GAVE DANTE A BOOK & EV
VARIOUS
THE PROSE. © A.S. KLINE
LA COMMEDIA SECONDO L’ANTICA
Petrocchi Edizione Nazionale a cura
iana [Milano]: Arnoldo Mondador
domain? electronic edition by Willia
Sonnet Tanto gentile tr. Mark Musa 1
PERFORMANCE RIGHTS FOR THE ENG
ANOTHER LANGUAGE: