Canto X
CANTO X
Virgil and Dante cross the threshold into Purgatory and hear the creaking of the gate behind them, but Dante does not dare look back because of the angel’s warning. Now they clamber up a narrow, zigzagging cleft, which slows their pace so much that the moon has set in the morning sky before they emerge from it onto a deserted terrace, one three times as wide as a man is tall. The Pilgrim feels exhausted, and both Travelers seem unsure of their way (1–27). Before he has taken a step, the Poet beholds upon the inner wall carvings whose vividness surpasses the legendary skill of Polycletus and even of Nature herself (28–33). In the first stone cutting, Dante witnesses the angel Gabriel announcing the Incarnation of Christ to the Blessed Virgin Mary and can almost hear the angel saying, “Hail, O highly favored daughter, the Lord is with you,” as Mary answers, “I am the handmaid of the Lord. Be it done unto me according to your will” (34–45). A little farther, the Pilgrim discerns another chiseled scene, this time of King David dancing with abandon before the ark of the covenant and of Michol looking down on him in her regal arrogance. Again, he can almost perceive the loud rejoicing of the throng and smell the incense of the censers (46–72). Finally, he observes the sculpted image of the Emperor Trajan halting his troops to grant the request of a poor widow demanding justice against the slayers of her son (73–93). As the Poet stands rapt in the contemplation of the carvings, Virgil points out an approaching band of souls who may show them the way. The two feel confused at first by what they see, but as the shades advance, they prove to be spirits of the proud bent over beneath the weight of a boulder each bears upon his back (94–139).
1 When we had passed the threshold of the gate,
Unused by souls in whom wrong loves abound
Because they make the crooked way seem straight,
4 I heard that portal shutting by its sound;
If I had turned my eyes to it, alack!
What fit excuse for failing could be found?
7 Straight up the rocks we clambered by a crack,
Which moved in one and then another place,
Just like a wave that ebbs and then flows back.
10 “We here must use a bit of artful grace,”
My Guide began to say, “in clinging to
The side that here and there recedes a space.”
13 And doing so had made our steps so few
That first the moon, now waning in the sky,
Regained its bed to sink and rest anew[158]
16 Before we issued from that needle’s eye.
When in the open we were free to stray
(Just where the mountain slope pulls back) on high,[159]
19 We made a stop upon a plain that lay
More lonely than a desert roadway can—
I spent, and both uncertain of our way.
22 The edge that rims the void begins a span
That runs up to the foot of that sheer height
And measures thrice the body of a man;[160]
25 And just as far as eyes could wing their flight,
That cornice seemed to have the same extent
On either side, on both the left and right.
28 Before we’d moved our feet, I saw, intent,
That its encircling bank (which there became
So sheer it lacked the means to make ascent)
31 Was of white marble; carvings on the same
Adorn it such that Polyclete—nay more!—[161]
That even Nature would be put to shame.
34 The angel who came down to earth and bore[162]
Decrees of peace, tear-sought the ages through,
Which broke the ban and opened Heaven’s door,[163]
37 Appeared before our eyes to be so true
—His sculptured act had such a gentle air—
It did not seem as silent statues do.
40 That he was saying “Ave” one would swear
For she whose key had opened for the rest
The Highest Love was also imaged there.
43 Her attitude was in these words expressed:
Ancilla ecce Dei, stamped by art[164]
As clearly as in wax a shape impressed.
46 “Now do not keep your mind on just one part,”
My gentle Master said and had me be
Upon the side where people have the heart.
49 At that, I turned my eyes and looked to see
(A bit past Mary, in that quarter laid
Where he was standing who had prompted me)
52 Another story in the rock portrayed;
I crossed in front of Virgil and drew near
So that my eyes might see the sight displayed.
55 Cut in the marble, cart and kine appear,[165]
Which bear the tilting Holy Ark along,
Because of which tasks unassigned bring fear.[166]
58 In front were people, all of whom belong
To seven choirs that made my senses say,
First one, “They don’t,” then one, “They do make song.”
61 And equally, the smoke that censers spray
Was imaged there so well that sight and scent
Were made discordant by the “yea” and “nay.”
64 His robes girt up, a humble Psalmist went
Before the sacred vessel in a dance;[167]
In him both more and less than king were pent.
67 And opposite, his Michol watched him prance,
There figured at a palace window case
As one who had a sad and scornful glance.[168]
70 I moved my feet from where I stood in place
To eye another story close at hand,
Which gleamed at me beyond sad Michol’s face.
73 High glories of a Roman Prince there stand[169]
Depicted, he who as a worthy chief
Moved Gregory to victory so grand.
76 I speak of Trajan, Emperor, in brief;
And at his bridle some poor widow pled,
Whose attitude bespoke both tears and grief.
79 And there a throng of horsemen seemed to tread
The ground about, and eagles moved in view
On wind-blown flags in gold above his head.[170]
82 The wretched widow, come among that crew,
Appeared to say: “O Lord, my son is slain;
Avenge me, for my heart is torn in two!”
85 “But you must wait,” so his reply was plain,
“Till I return.” “But, Lord, if you” said she,
Like one in whom there presses urgent pain,
88 “Should not return?” He said: “My heir will see
To it.” “If you forget your own good side,”
She asked, “What profit will his goodness be?”
91 “Console yourself; my duty,” he replied,
“Will be fulfilled before I move on out,
For justice wills, and pity holds me tied.”
94 The One who never sees new things upsprout
Produced this speech for sight, but for us here
It’s new because it is not found about.
97 And while it gave me great delight to peer
At pictures of humility so rare,
Whose sight was for their Craftsman’s sake so dear,[171]
100 “Behold the people coming slowly there,”
The Poet murmured, “in a massive fold;
They will direct us to the lofty stair.”
103 My eyes, which were contented to behold
Such novelties, of which they are so fond,
Did not move slowly towards him as they rolled.
106 I do not want you, Reader, to despond
Or lose your good resolve, yet hear below
How God would have us pay our debts beyond.
109 Do not attend to forms of torment, though,
But turn your thought to what will follow next;
Past judgment day, at worst, it cannot go.
112 “I see what moves this way,” I started, vexed,
“But, Master, it seems not a human gait;
I just don’t know—my sight is so perplexed!”
115 He said: “The grievous nature of their state
Of torment bends each one to earth, oppressed,
So that at first my eyes were in debate.
118 But just look close, and let your vision wrest
From tangled sights what comes beneath each stone;
You now can glimpse how each one beats his breast.”
121 O Christians, haughty, wretched, spent, who’ve grown
—Because your mental vision is infirm—
To place your trust in backward steps alone,
124 Do you not see that man is but a worm,
Though born to form the angel-butterfly
That soars without defense to Justice firm?
127 Why do your minds presume to soar on high,
Since you are like defective insects yet,
Like worms that lack their final form, oh, why?
130 As one will sometimes see a figure set
As corbel for a roof or ceiling truss
Which bends until the knees and chest have met
133 And, though unreal, begets real pain in us
Who look at them, so when I looked in fact
With better care, I saw them fashioned thus.
136 It’s true that some would more or less contract
As more or less upon their backs they bore;
And he who had most patience in this act
139 Appeared through tears to say: “I can no more!”