Divine Comedy, Cary's Translation, Paradise — Reading Companion
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The catalog record for Divine Comedy, Cary's Translation, Paradise — Reading Companion provides practical reading context through 40,486 words, 2 hr 57 min estimated reading time, and 34 detected text sections.
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resent with human countenance Gabriel, and Michael, and him who made Tobias whole. Unlike what here thou seest, The judgment of Timaeus, who affirms Each soul restor’d to its particular star, Believing it to have been taken thence, When nature gave it to inform her mold: Since to appearance his intention is E’en what his words declare: or else to shun Derision, haply thus he hath disguis’d His true opinion. If his meaning be, That to the influencing of these orbs revert The honour and the blame in human acts, Perchance he doth not wholly miss the truth. This principle, not understood aright, Erewhile perverted well nigh all the world; So that it fell to fabled names of Jove, And Mercury, and Mars. That other doubt, Which moves thee, is less harmful; for it brings No peril of removing thee from me.
“That, to the eye of man, our justice seems Unjust, is argument for faith, and not For heretic declension. To the end This truth may stand more clearly in your view, I will content thee even to thy wish
“If violence be, when that which suffers, nought Consents to that which forceth, not for this These spirits stood exculpate. For the will, That will not, still survives unquench’d, and doth As nature doth in fire, tho’ violence Wrest it a thousand times; for, if it yield Or more or less, so far it follows force. And thus did these, whom they had power to seek The hallow’d place again. In them, had will Been perfect, such as once upon the bars Held Laurence firm, or wrought in Scaevola To his own hand remorseless, to the path, Whence they were drawn, their steps had hasten’d back, When liberty return’d: but in too few Resolve so steadfast dwells. And by these words If duly weigh’d, that argument is void, Which oft might have perplex’d thee still. But now Another question thwarts thee, which to solve Might try thy patience without better aid. I have, no doubt, instill’d into thy mind, That blessed spirit may not lie; since near The source of primal truth it dwells for aye: And thou might’st after of Piccarda learn That Constance held affection to the veil; So that she seems to contradict me here. Not seldom, brother, it hath chanc’d for men To do what they had gladly left undone, Yet to shun peril they have done amiss: E’en as Alcmaeon, at his father’s suit Slew his own mother, so made pitiless Not to lose pity. On this point bethink thee, That force and will are blended in such wise As not to make the’ offence excusable. Absolute will agrees not to the wrong, That inasmuch as there is fear of woe From non-compliance, it agrees. Of will Thus absolute Piccarda spake, and I Of th’ other; so that both have truly said.”
Such was the flow of that pure rill, that well’d From forth the fountain of all truth; and such The rest, that to my wond’ring thoughts I found.
“O thou of primal love the prime delight! Goddess!” I straight reply’d, “whose lively words Still shed new heat and vigour through my soul! Affection fails me to requite thy grace With equal sum of gratitude: be his To recompense, who sees and can reward thee. Well I discern, that by that truth alone Enlighten’d, beyond which no truth may roam, Our mind can satisfy her thirst to know: Therein she resteth, e’en as in his lair The wild beast, soon as she hath reach’d that bound, And she hath power to reach it; else desire Were given to no end. And thence doth doubt Spring, like a shoot, around the stock of truth; And it is nature which from height to height On to the summit prompts us. This invites, This doth assure me, lady, rev’rently To ask thee of other truth, that yet Is dark to me. I fain would know, if man By other works well done may so supply The failure of his vows, that in your scale They lack not weight.” I spake; and on me straight Beatrice look’d with eyes that shot forth sparks Of love celestial in such copious stream, That, virtue sinking in me overpower’d, I turn’d, and downward bent confus’d my sight.
Cary's blank-verse translation of Paradiso opens with a cosmology of light: God's glory "Pierces the universe, and in one part / Sheds more resplendence, elsewhere less." The poet-narrator, having been in that heaven which "largeliest of his light partakes," immediately confesses the limits of memory—the intellect, "so near approaching its desire," is absorbed beyond recall. This tension between ineffable experience and the obligation to report it drives the entire canticle. The invocation to Apollo, asking to be made "such a vessel of thy worth," signals a shift from the earlier canticles: now both peaks of Parnassus are needed. Cary's diction, with its Latinate inversions and compressed syntax, mirrors the difficulty of the subject, as when he describes Beatrice turning to gaze on the sun "as never eagle fix'd his ken."
The Eagle of Justice
In Canto XVIII, the pilgrim sees letters of fire spell out Diligite Justitiam qui judicatis terram—"Love justice, you who judge the earth." The letters form an M, then morph into the head and neck of an eagle, "lively Grav'd in that streaky fire." This image is not static: the souls composing it sing, and the eagle speaks with a single voice, as "one heat from many embers felt." The eagle declares itself exalted for being "just and piteous," and the poet prays that God "look from whence the fog doth rise, / To vitiate thy beam." The passage weaves together political critique—war now uses the bread of the Eucharist as a weapon—and theological vision, presenting justice as a celestial pattern that earthly rulers obscure.
Memory and the Unutterable
From the first lines, the poem insists on the inadequacy of human faculties. The narrator states that what he witnessed "Surpasseth power of him who comes from thence" and that memory "cannot follow." Yet he undertakes the song, storing what he can. This paradox recurs: in Canto XIX, he declares that what he must portray "voice hath not utter'd, / Nor hath ink written, nor in fantasy / Was e'er conceiv'd." The reader is thus placed in a position of radical dependence on a narrator who repeatedly signals his own limitations. Cary's translation heightens this effect through periodic sentences and archaic inversions—"Nathless all, / That in my thoughts I of that sacred realm / Could store, shall now be matter of my song"—which make the act of telling feel strained and provisional.
Light as Substance and Sign
Light in Paradiso is not mere metaphor but the very medium of divine presence. The souls appear as rubies, "whereon so intense / The sun-beam glow'd that to mine eyes it came / In clear refraction." The eagle is formed of "streaky fire," and the letters that precede it are blazoned in light. Cary's vocabulary emphasizes materiality: light "bick'rs," "sparkles innumerable" rise "as at shaking of a lighted brand." This physicality contrasts with the abstract justice the eagle proclaims. The pilgrim's vision is both optical and intellectual—he sees light, but also reads meaning in its arrangement. The poem thus builds a universe where the visible and the invisible are continuous, and where the act of seeing is itself a form of understanding.
Cary's Paradiso rewards a reader attentive to the interplay between the narrator's confessed fallibility and the intricate symbolic structures he describes. The translation's formal, slightly archaic English suits a poem that constantly pushes against the limits of language. Readers may find it useful to track how light functions both as a physical phenomenon and as a carrier of moral and theological weight, and to note the moments when the narrator breaks off or qualifies his own report—these are not failures but deliberate signals of the poem's central concern with the boundaries of human expression.
That moment in Paradise where the eagle’s single voice carries so many souls—it stayed with me for days, that ache of many becoming one. I found an odd echo of that quiet longing in The complete works of John Gower, volume 1 — A Closer Reading, though it dwells more in earthly confessions. Both make me feel like I’m overhearing something ancient, still breathing.
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