La Divina Commedia Purgatorio Canto X The song of the superb Time: Tuesday, March 28, 1301 (Monday, April 11, 1300): around ten in the morning Place: Cornice I: the superb People: Dante, Virgilio © 2021 Dr. M. Junker: Fonetics, metrics, accents colored, protected by Namirial SpA © 1994 Le Lettere: Critical Edition of the Divine Comedy (by Giorgio Petrocchi) English Translation by Charles Eliot Norton: 1902/1952 (Encyclopædia Britannica)
1 P i fummo d ntro al s glio de la p rta 1 2 4 6 che ’l mal am r de l’anime di u a, (2) 4 6 3 perché fa par r dritta la via t rta, 2 3 5 6 (9) sonando la senti’ sser richiu a; 2 6 7 e s’io av sse li cchi vòlti ad ssa, (2) 4 6 8 6 qual f ra stata al fallo d gna scu a? 1 4 6 8 N i salavam per una pi tra f ssa, 1 4 8 che si mov va e d’una e d’altra parte, 4 6 8 9 sì c me l’ nda che fugge e s’appr!ssa. 1 4 7 «Qui si convi"ne#u$are%un p&co d’arte», 1 4 6 8 cominciò ’l duca mio,'«in accostarsi 3 4 6 12 (r quinci,)*r quindi+al lato che si parte». (1) 2 (3) 4 6 E qu,sto f-ce.i n/stri passi scarsi, 2 4 6 8 tanto che pria lo sc0mo de la luna 1 4 6 15 rigiunse1al l2tto suo per ricorcarsi, 2 4 6 che n3i f4ssimo fu5r di qu6lla cruna; (2) 3 6 8 ma quando fummo liberi7e8ap9rti 2 4 6 18 sù d:ve;il m<nte=in di>tro si ra?una, 1 4 6 ïo stancato@eAamendueBincCrti 1 4 8 di nDstra via, restammoEin suFun piano 2 4 6 21 solingo più che strade per diGHrti. 2 (4) 6 Da la sua spInda,JKve confinaLil vano, 4 5 8 al piè de l’alta ripa che pur sale, 2 4 6 9 24 miMurrNbbeOin trP vQlteRun cSrpoTumano; 3 5 6 8 e quanto l’Ucchio mio potVa trar d’ale, 2 4 6 (8) 9 Wr dal sinistroXeYZr dal d[stro fianco, 1 4 6 8 27 qu\sta cornice mi par]a cotale. 1 4 8
2 When we were within the threshold of the gate, which the evil love of souls disuses, 3 because it makes the crooked way seem straight, I heard by its resounding that it was closed again. And, if I had turned my eyes to it, 6 what excuse would have been befitting for the fault? We were ascending through a cloven rock, which was moving to one side and to the other, 9 even as the wave which retreats and approaches. “Here must be used a little art,” began my Leader, “in keeping close, 12 now on this hand, now on that, to the side which recedes.” And this made our steps so scant that the waning disk of the moon 15 had regained its bed to go to rest, before we were out from that needle’s eye. But when we were free and open 18 above, where the mountain gathers itself back, I weary, and both uncertain of our way, we stopped upon a level 21 more solitary than roads through deserts. From its edge, where it borders the void, to the foot of the high bank which ever rises, 24 a human body three times told would measure; and as far as my eye could stretch its wings, now on the left and now on the right side, 27 such did this cornice seem to me.
3 Là sù non ^ran m_ssi`i piè nastribcnco, 2 (4) 6 8 9 quand’ io condbbi quella ripafintgrno 2 4 6 8 30 che dritto di salitahaviva manco, 2 6 8 jsser di marmo candidokeladdmrno 1 4 6 d’intagli sì, che non pur Policlnto, 2 4 6 7 33 ma la natura lìoavrpbbe scqrno. 4 6 8 L’rngel che vsnnetin turra col decrvto 1 4 6 de la mwlt’ anni lagrimata pace, 3 4 8 36 ch’apxrseyil cizl del suo lungo divi{to, 2 4 7 dinanzi|a n}i par~va sì verace 2 4 6 (8) quiviintagliatoin un atto soave, 1 4 7 39 che non sembiavaimagine che tace. 2 4 6 Giurato si sara ch’l dic sse‘ v !’; 2 6 7 9 perchéiv’ raimaginata qulla 2 4 8 42 ch’ad aprir l’altoamr vlse la chiave; 3 4 6 7 eavain attoimprssasta favlla 2 4 6 7 ‘ cc nc ll D ’, propriamnte 1 4 6 45 cme figurain cra si sugglla. (1) 4 6 «Non tenr pur ad un lco la mnte», 1 3 4 7 disse ’l dlce ma ¡stro, che m’av¢a 1 3 6 48 da qu£lla parte¤¥nde ’l cu¦re§ha la g¨nte. 2 4 5 7 (8) Per ch’i’ mi m©ssi col viªo,«e ved¬a (2) 4 7 di r tro da Maria, da qu®lla c¯sta 2 6 8 51 °nde m’±ra colui che mi mov²a, (1) 3 6 un’altra st³ria ne la r´cciaµimp¶sta; 2 4 8 per ch’io varcai Virgilio,·e f¸’mi pr¹sso, 2 4 6 8 54 acciò che fºsse»a li¼½cchi mi¾i disp¿sta. 2 4 6 8
4 Our feet had not yet moved upon it, when I perceived the circling bank, 30 which, being perpendicular, allowed no ascent, to be of white marble and adorned with such carvings, that not only Polycletus, 33 but Nature herself would have been shamed there. The Angel who came to earth with the announcement of the peace, many years wept for, 36 which opened Heaven from its long interdict, appeared before us, so truly carved here in a sweet attitude, 39 that he did not seem an image that is silent. One would have sworn that he was saying “Ave”; for she was imaged there 42 who turned the key to open the exalted love. And on her action she had these words impressed, Ecce ancilla Dei! as exactly 45 as a shape is sealed in wax. “Keep not thy mind only on one place,” said the sweet Master, who had me 48 on that side where people have their heart. Whereupon I moved my eyes and saw, beyond Mary, upon that side 51 where he was who was moving me, another story imposed upon the rock; wherefore I passed Virgil, and drew near 54 so that it might be set before my eyes.
5 ÀraÁintagliato lì nel marmo stÂsso 1 4 6 8 lo carroÃe ’ buÄi, traÅÆndo l’arca santa, 2 4 6 8 57 per che si tÇmeÈofficio non commÉsso. (2) 4 6 (8) Dinanzi parÊa gËnte;Ìe tutta quanta, 2 5 6 8 partitaÍin sÎtte cÏri,Ða’ due miÑ’ sÒnsi 2 4 6 8 (9) 60 facÓva dir l’un ‘No’, l’altro ‘Sì, canta’. 2 4 5 6 7 9 SimilemÔnteÕal fummo de li ’ncÖnsi 4 6 che v’×raØimaginato, liÙÚcchiÛe ’l naÜo 2 6 8 63 eÝal sìÞeßal no discàrdi fánsi. 3 6 8 Lì precedâvaãal benedätto vaåo, 1 4 8 trescandoæalzato, l’umile salmista, 2 4 6 66 e piùçe mèn che réêëraìin quíl caso. 2 4 6 7 (9) Di cîntra,ïeffigïataðad una vista 2 6 d’un gran palazzo, Micòl ammirava 2 4 7 69 sì cñme dònna dispettóôaõe trista. 1 4 8 I’ mössi÷i piè del løco dùv’ io stava, 2 4 6 (9) per avvisar da prússoûun’altraüistýria, 4 6 8 72 che di diþtro a Micòl mi biancheggiava. 3 6 Quiv’ ra storïata l’alta gl ria (1) 2 6 8 del roman principato, il cui val re 3 6 (8) 75 m sse Greg rio a la sua gran vitt ria; 1 4 8 i’ dico di Tra iano imperad re; 2 6 e una vedov lla li ra al fr no, 2 6 8 78 di lagrime atteggiata e di dol re. 2 6 Int rno a lui par a calcato e pi no 2 4 (6) 8 di cavali ri, e l’aguglie ne l’ ro 4 7 81 s vr’ ssi in vista!al v"nto si movi#no. 2 4 6
6 There in the very marble were carved the cart and the oxen drawing the holy ark, 57 by reason of which men fear an office not given in charge. In front appeared people; and all of them, divided in seven choirs, of two of my senses 60 made the one say: “No,” the other: “Yes, they are singing.” In like manner, by the smoke of the incense that was imaged there, my eyes and nose 63 were made in Yes and No discordant. There, preceding the blessed vessel, dancing, girt up, was the humble Psalmist, 66 and more and less than king was he on that occasion. Opposite, portrayed at a window of a great palace, Michal was looking on, 69 even as a lady scornful and troubled. I moved my feet from the place where I was standing, in order to look from near at another story 72 which, beyond Michal, was gleaming white to me. Here was storied the high glory of the Roman prince, whose worth 75 incited Gregory to his great victory: I speak of Trajan the emperor; and a poor widow was at his bridle 78 in attitude of weeping and of grief. Round about him it seemed trampled and thronged with knights, and the eagles in the gold 81 above him were moving in appearance in the wind.
7 La mi$er%lla&intra tutti cost'ro 4 7 par(va dir: «Segn)r, fammi vend*tta 2 4 6 7 84 di mio figliu+l ch’è m,rto,-.nd’ io m’acc/ro»; (2) 4 6 8 ed 0lli1a l2i risp3ndere:4«5r asp6tta 2 4 6 8 tanto ch’i’ t7rni»;8e qu9lla: «Segn:r mio», 1 4 6 (9) 87 c;me pers<na=in cui dol>r s’affr?tta, 1 4 (6) 8 «se tu non t@rni?»;Aed Bi: «Chi fCa dDv’ io, (2) 4 6 (7) 8 la ti farà»;Eed Flla: «L’altrui bGne 4 6 9 90 a te che fHa, se ’l tuo mIttiJin oblio?»; 2 4 6 7 Knd’ Llli:M«Nr ti confOrta; ch’Pi convQne 2 3 6 8 ch’i’ sRlvaSil mio dovTreUanzi ch’i’ mVva: 2 6 7 93 giustizia vuWleXe pietà mi ritYne». 2 4 7 Colui che mai non vide coZa n[va 2 4 6 8 produsse\]sto vi^ibile parlare, 2 3 6 96 nov_llo`a nai perché qui non si trbva. 2 4 7 (8) Mcntr’ io mi dilettava di guardare 2 6 l’imagini di tantedumilitadi, 2 6 99 e per lo fabbro lerofa vedgr care, 4 6 9 «hcco di qua, ma fannoii passi radi», 1 4 6 8 mormoravajil poklta, «mmlte gnnti: 3 6 8 102 quosti ne ’nvïerannopa liqalti gradi». 1 6 8 Lirscchi miti, ch’a mirareuvran contwnti 1 3 6 7 per vedxr novitadiyznd’ {’ s|n vaghi, 3 6 8 105 volg}ndosi v~r’ lui non furon lnti. 2 6 8 Non v’ però, lettr, che tu ti maghi 2 4 6 8 di bun proponimnto per udire 2 6 108 c me Dio vul che ’l dbito si paghi. 3 4 6
8 The wretched woman among all these seemed to be saying: “Lord, do me vengeance 84 for my son who is slain, whereat I am broken-hearted.” And he to answer her: “Now wait till I return”; and she: “My Lord” – 87 like one in whom grief is urgent – “if thou return not?” And he: “He who shall be where I am will do it for thee.” And she: “The good deed of another 90 to thee what will be, if thou art unmindful of thine own?” Whereon he: “Now comfort thee; for it behoves that I discharge my duty ere I go; 93 justice so wills, and pity holds me back.” He who never beheld a new thing produced that visible speech, 96 novel to us, because it is not found on earth. While I was delighting myself with looking at the images of such great humilities, 99 and for their Maker’s sake dear to see: “Behold on this side, but they make few steps,” murmured the Poet, “many people; 102 they will put us on the way to the lofty stairs.” My eyes which were intent on gazing, in order to see novelties, whereof they are fain, 105 were not slow in turning toward him. I would not, indeed, Reader, that thou be diverted from thy good purpose, through hearing 108 how God wills that the debt be paid.
9 Non attnder la frma del martìre: 3 6 pnsa la successin; pnsa ch’al pggio 1 6 7 111 ltre la gran sentnza non puòire. 1 4 6 (8/9) Io cominciai: «Mastro, qul ch’io vggio 1 4 6 8 (9) muverea ni, non mi sembian persne, 1 4 7 114 e non s che, sì nel vedr vanggio». (2) 4 (5) 8 Ed llia me: «La grave condizine 2 4 6 di lr torm nto¡a t¢rra li rannicchia, 2 4 6 117 sì che ’ mi£i¤¥cchi pria n’¦bber tenci§ne. 1 4 6 7 Ma guarda fi¨o là,©e diªviticchia 2 4 6 col vi«o qu¬l che vi n s®tto¯a qu°i sassi: 2 (4) 6 7 (9) 120 già sc±rger pu²i c³me ciascun si picchia». 1 2 4 8 ´ supµrbi cristian, mi¶eri lassi, 1 3 6 7 che, de la vista de la m·nte¸inf¹rmi, 1 4 8 123 fidanzaºav»te n¼’ retr½¾i passi, 2 4 8 non v’accorg¿te vÀi che nÁi siam vÂrmi 1 4 6 8 natiÃa formar l’angÄlica farfalla, 1 4 6 126 che vÅlaÆa la giustizia sanza schÇrmi? 2 6 8 Di che l’animo vÈstroÉin alto galla, 2 3 6 8 pÊi siËte quaÌiÍantÎmataÏin difÐtto, (1 2) 4 6 129 sì cÑme vÒrmoÓin cui formaziÔn falla? 1 4 6 9 CÕme per sostentar solaÖio×o tØtto, 1 6 8 per mÙnsola talvÚltaÛuna figura 2 6 132 si vÜde giugner le ginÝcchiaÞal pßtto, (2) 4 8 la qual fa del non vàr vára rancura (2) 3 5 6 7 nascere ’n chi la vâde; coãì fatti 1 (4) 6 9 135 vid’ io colär, quando puåæi bçn cura. 2 4 (5) 7 9
10 Heed not the form of the suffering; think on what follows; think that, at the worst, 111 beyond the Great Judgment it cannot go! I began: “Master, that which I see moving toward us does not seem to me to be persons, 114 but what I know not, I am so at loss in looking.” And he to me: “The heavy condition of their torment bows them to earth, 117 so that my own eyes at first had contention with it. But look fixedly there, and disentangle with thy sight that which is coming beneath those stones; 120 already thou canst discern how each is stricken.” O proud Christians, wretched and weary, who diseased in vision of the mind, 123 have confidence in backward steps, are ye not aware that we are worms born to form the angelic butterfly, 126 which flies unto judgment without defence? Wherefore does your mind float up aloft, since ye are as it were defective insects, 129 even as a worm in which formation fails? As to support ceiling or roof, by way of corbel, a figure 132 is sometimes seen joining its knees to its breast, which out of the unreal gives birth to a real distress in him who sees it, thus fashioned 135 did I see these, when I gave good heed.
11 Vèroéè che piùêe mënoìíran contratti (1) 2 4 6 7 secîndo ch’avïen piùðe mñnoòa dósso; 2 5 6 8 138 e qual più pazïônzaõavöa ne li÷atti, 2 3 6 8 piangøndo parùa dicer: ‘Più non pússo’. 2 5 6 8
12 True it is, that they were more or less bowed down, according as they had more or less upon their backs; 138 and he who had most patience in his looks, weeping, appeared to say: “I can no more.”
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