Divine Comedy, Cary's Translation, Purgatory — Edition Insights

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Dante Alighieri, 1265-1321, Cary, Henry Francis, 1772-1844 [Translator] Project Gutenberg 2004 Not confirmed
Epic poetry, Italian -- Translations into English; Italian poetry -- To 1400 -- Translations into English Readers of public-domain and historical texts
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Words 42,101
Reading time 184 min
Text sections 34

This digital edition of Divine Comedy, Cary's Translation, Purgatory — Edition Insights is described by source-level measurements including 42,101 words, 3 hr 4 min estimated reading time, and 34 detected text sections.

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Henry Francis Cary's 19th-century translation of Dante's Purgatory, the second canticle of the Divine Comedy, rendered in blank verse. The excerpts show a journey up Mount Purgatory with Virgil as guide, encountering penitent souls and visionary dreams, while Cary's diction shapes the poem's moral landscape.
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yes and bosom fill’d with grief. The radiant planet, that to love invites, Made all the orient laugh, and veil’d beneath The Pisces’ light, that in his escort came.

To the right hand I turn’d, and fix’d my mind On the other pole attentive, where I saw Four stars ne’er seen before save by the ken Of our first parents. Heaven of their rays Seem’d joyous. O thou northern site, bereft Indeed, and widow’d, since of these depriv’d!

As from this view I had desisted, straight Turning a little tow’rds the other pole, There from whence now the wain had disappear’d, I saw an old man standing by my side Alone, so worthy of rev’rence in his look, That ne’er from son to father more was ow’d. Low down his beard and mix’d with hoary white Descended, like his locks, which parting fell Upon his breast in double fold. The beams Of those four luminaries on his face So brightly shone, and with such radiance clear Deck’d it, that I beheld him as the sun.

“Say who are ye, that stemming the blind stream, Forth from th’ eternal prison-house have fled?” He spoke and moved those venerable plumes. “Who hath conducted, or with lantern sure Lights you emerging from the depth of night, That makes the infernal valley ever black? Are the firm statutes of the dread abyss Broken, or in high heaven new laws ordain’d, That thus, condemn’d, ye to my caves approach?”

My guide, then laying hold on me, by words And intimations given with hand and head, Made my bent knees and eye submissive pay Due reverence; then thus to him replied.

“Not of myself I come; a Dame from heaven Descending, had besought me in my charge To bring. But since thy will implies, that more Our true condition I unfold at large, Mine is not to deny thee thy request. This mortal ne’er hath seen the farthest gloom. But erring by his folly had approach’d So near, that little space was left to turn. Then, as before I told, I was dispatch’d To work his rescue, and no way remain’d Save this which I have ta’en. I have display’d Before him all the regions of the bad; And purpose now those spirits to display, That under thy command are purg’d from sin. How I have brought him would be long to say. From high descends the virtue, by whose aid I to thy sight and hearing him have led. Now may our coming please thee. In the search Of liberty he journeys: that how dear They know, who for her sake have life refus’d. Thou knowest, to whom death for her was sweet In Utica, where thou didst leave those weeds, That in the last great day will shine so bright. For us the’ eternal edicts are unmov’d: He breathes, and I am free of Minos’ power, Abiding in that circle where the eyes Of thy chaste Marcia beam, who still in look Prays thee, O hallow’d spirit! to own her shine. Then by her love we’ implore thee, let us pass Through thy sev’n regions; for which best thanks I for thy favour will to her return, If mention there below thou not disdain.”

“Marcia so pleasing in my sight was found,” He then to him rejoin’d, “while I was there, That all she ask’d me I was fain to grant. Now that beyond the’ accursed stream she dwells, She may no longer move me, by that law, Which was ordain’d me, when I issued thence. Not so, if Dame from heaven, as thou sayst, Moves and directs thee; then no flattery needs. Enough for me that in her name thou ask. Go therefore now: and with a slender reed See that thou duly gird him, and his face Lave, till all sordid stain thou wipe from thence. For not with eye, by any cloud obscur’d, Would it be seemly before him to come, Who stands the foremost minister in heaven. This islet all around, there far beneath, Where the wave beats it, on the oozy bed Produces store of reeds. No other plant, Cover’d with leaves, or harden’d in its stalk, There lives, not bending to the water’s sway. After, this way return not; but the sun Will show you, that now rises, where to take The mountain in its easiest ascent.”

He disappear’d; and I myself uprais’d Speechless, and to my guide retiring close, Toward him turn’d mine eyes. He thus began; “My son! observant thou my steps pursue. We must retreat to rearward, for that way The champain to its low extreme declines.”

The dawn had chas’d the matin hour of prime, Which deaf before it, so that from afar I spy’d the trembling of the ocean stream.

We travers’d the deserted plain, as one Who, wander’d from his track, thinks every step Trodden in vain till he regain the path.

When we had come, where yet the tender dew Strove with the sun, and in a place, where fresh The wind breath’d o’er it, while it slowly dried; Both hands extended on the watery grass My master plac’d, in graceful act and kind. Whence I of his intent before appriz’d, Stretch’d out to him my cheeks suffus’d with tears. There to my visage he anew restor’d That hue, which the dun shades of hell conceal’d.

Then on the solitary shore arriv’d, That never sailing on its waters saw Man, that could after measure back his course, He girt me in such manner as had pleas’d Him who instructed, and O, strange to tell! As he selected every humble plant, Wherever one was pluck’d, another there Resembling, straightway in its place arose.

Now had the sun to that horizon reach’d, That covers, with the most exalted point Of its meridian circle, Salem’s walls, And night, that opposite to him her orb Sounds, from the stream of Ganges issued forth, Holding the scales, that from her hands are dropp’d When she reigns highest: so that where I was, Aurora’s white and vermeil-tinctur’d cheek To orange turn’d as she in age increas’d.

Meanwhile we linger’d by the water’s brink, Like men, who, musing on their road, in thought Journey, while motionless the body rests. When lo! as near upon the hour of dawn, Through the thick vapours Mars with fiery beam Glares down in west, over the ocean floor; So seem’d, what once again I hope to view, A light so swiftly coming through the sea, No winged course might equal its career. From which when for a space I had withdrawn Thine eyes, to make inquiry of my guide, Again I look’d and saw it grown in size And brightness: thou on either side appear’d Something, but what I knew not of bright hue, And by degrees from underneath it came Another. My preceptor silent yet Stood, while the brightness, that we first discern’d, Open’d the form of wings: then when he knew The pilot, cried aloud, “Down, down; bend low Thy knees; behold God’s angel: fold thy hands: Now shalt thou see true Ministers indeed.

“Lo how all human means he sets at naught! So that nor oar he needs, nor other sail Except his wings, between such distant shores. Lo how straight up to heaven he holds them rear’d, Winnowing the air with those eternal plumes, That not like mortal hairs fall off or change!”

As more and more toward us came, more bright Appear’d the bird of God, nor could the eye Endure his splendor near: I mine bent down. He drove ashore in a small bark so swift And light, that in its course no wave it drank. The heav’nly steersman at the prow was seen, Visibly written blessed in his looks.

Within a hundred spirits and more there sat. “In Exitu Israel de Aegypto;” All with one voice together sang, with what In the remainder of that hymn is writ. Then soon as with the sign of holy cross He bless’d them, they at once leap’d out on land, The swiftly as he came return’d. The crew, There left, appear’d astounded with the place, Gazing around as one who sees new sights.

From every side the sun darted his beams, And with his arrowy radiance from mid heav’n Had chas’d the Capricorn, when that strange tribe Lifting their eyes towards us: “If ye know, Declare what path will Lead us to the mount.”

Them Virgil answer’d. “Ye suppose perchance Us well acquainted with this place: but here, We, as yourselves, are strangers. Not long erst We came, before you but a little space, By other road so rough and hard, that now The’ ascent will seem to us as play.” The spirits, Who from my breathing had perceiv’d I liv’d, Grew pale with wonder. As the multitude Flock round a herald, sent with olive branch, To hear what news he brings, and in their haste Tread one another down, e’en so at sight Of me those happy spirits were fix’d, each one Forgetful of its errand, to depart, Where cleans’d from sin, it might be made all fair.

Then one I saw darting before the rest With such fond ardour to embrace me, I To do the like was mov’d. O shadows vain Except in outward semblance! thrice my hands I clasp’d behind it, they as oft return’d Empty into my breast again. Surprise I needs must think was painted in my looks, For that the shadow smil’d and backward drew. To follow it I hasten’d, but with voice Of sweetness it enjoin’d me to desist. Then who it was I knew, and pray’d of it, To talk with me, it would a little pause. It answered: “Thee as in my mortal frame I lov’d, so loos’d forth it I love thee still, And therefore pause; but why walkest thou here?”

“Not without purpose once more to return, Thou find’st me, my Casella, where I am Journeying this way;” I said, “but how of thee Hath so much time been lost?” He answer’d straight: “No outrage hath been done to me, if he Who when and whom he chooses takes, me oft This passage hath denied, since of just will His will he makes. These three months past indeed, He, whose chose to enter, with free leave Hath taken; whence I wand’ring by the shore Where Tyber’s wave grows salt, of him gain’d kind Admittance, at that river’s mouth, tow’rd which His wings are pointed, for there always throng All such as not to Archeron descend.”

Then I: “If new laws have not quite destroy’d Memory and use of that sweet song of love, That while all my cares had power to ’swage; Please thee with it a little to console My spirit, that incumber’d with its frame, Travelling so far, of pain is overcome.”

“Love that discourses in my thoughts.” He then Began in such soft accents, that within The sweetness thrills me yet. My gentle guide And all who came with him, so well were pleas’d, That seem’d naught else might in their thoughts have room.

Fast fix’d in mute attention to his notes We stood, when lo! that old man venerable Exclaiming, “How is this, ye tardy spirits? What negligence detains you loit’ring here? Run to the mountain to cast off those scales, That from your eyes the sight of God conceal.”

As a wild flock of pigeons, to their food Collected, blade or tares, without their pride Accustom’d, and in still and quiet sort, If aught alarm them, suddenly desert Their meal, assail’d by more important care; So I that new-come troop beheld, the song Deserting, hasten to the mountain’s side, As one who goes yet where he tends knows not.

Nor with less hurried step did we depart.

Them sudden flight had scatter’d over the plain, Turn’d tow’rds the mountain, whither reason’s voice Drives us; I to my faithful company Adhering, left it not. For how of him Depriv’d, might I have sped, or who beside Would o’er the mountainous tract have led my steps He with the bitter pang of self-remorse Seem’d smitten. O clear conscience and upright How doth a little fling wound thee sore!

Soon as his feet desisted (slack’ning pace), From haste, that mars all decency of act, My mind, that in itself before was wrapt, Its thoughts expanded, as with joy restor’d: And full against the steep ascent I set My face, where highest to heav’n its top o’erflows.

The sun, that flar’d behind, with ruddy beam Before my form was broken; for in me His rays resistance met. I turn’d aside With fear of being left, when I beheld Only before myself the ground obscur’d. When thus my solace, turning him around, Bespake me kindly: “Why distrustest thou? Believ’st not I am with thee, thy sure guide? It now is evening there, where buried lies The body, in which I cast a shade, remov’d To Naples from Brundusium’s wall. Nor thou Marvel, if before me no shadow fall, More than that in the sky element One ray obstructs not other. To endure Torments of heat and cold extreme, like frames That virtue hath dispos’d, which how it works Wills not to us should be reveal’d. Insane Who hopes, our reason may that space explore, Which holds three persons in one substance knit. Seek not the wherefore, race of human kind; Could ye have seen the whole, no need had been For Mary to bring forth. Moreover ye Have seen such men desiring fruitlessly; To whose desires repose would have been giv’n, That now but serve them for eternal grief. I speak of Plato, and the Stagyrite, And others many more.” And then he bent Downwards his forehead, and in troubled mood Broke off his speech. Meanwhile we had arriv’d Far as the mountain’s foot, and there the rock Found of so steep ascent, that nimblest steps To climb it had been vain. The most remote Most wild untrodden path, in all the tract ’Twixt Lerice and Turbia were to this A ladder easy’ and open of access.

“Who knows on which hand now the steep declines?” My master said and paus’d, “so that he may Ascend, who journeys without aid of wine?” And while with looks directed to the ground The meaning of the pathway he explor’d, And I gaz’d upward round the stony height, Of spirits, that toward us mov’d their steps, Yet moving seem’d not, they so slow approach’d.

I thus my guide address’d: “Upraise thine eyes, Lo that way some, of whom thou may’st obtain Counsel, if of thyself thou find’st it not!”

Straightway he look’d, and with free speech replied: “Let us tend thither: they but softly come. And thou be firm in hope, my son belov’d.”

Now was that people distant far in space A thousand paces behind ours, as much As at a throw the nervous arm could fling, When all drew backward on the messy crags Of the steep bank, and firmly stood unmov’d As one who walks in doubt might stand to look.

“O spirits perfect! O already chosen!” Virgil to them began, “by that blest peace, Which, as I deem, is for you all prepar’d, Instruct us where the mountain low declines, So that attempt to mount it be not vain. For who knows most, him loss of time most grieves.”

As sheep, that step from forth their fold, by one, Or pairs, or three at once; meanwhile the rest Stand fearfully, bending the eye and nose To ground, and what the foremost does, that do The others, gath’ring round her, if she stops, Simple and quiet, nor the cause discern; So saw I moving to advance the first, Who of that fortunate crew were at the head, Of modest mien and graceful in their gait. When they before me had beheld the light From my right side fall broken on the ground, So that the shadow reach’d the cave, they stopp’d And somewhat back retir’d: the same did all, Who follow’d, though unweeting of the cause.

“Unask’d of you, yet freely I confess, This is a human body which ye see. That the sun’s light is broken on the ground, Marvel not: but believe, that not without Virtue deriv’d from Heaven, we to climb Over this wall aspire.” So them bespake My master; and that virtuous tribe rejoin’d; “Turn, and before you there the entrance lies,” Making a signal to us with bent hands.

Then of them one began. “Whoe’er thou art, Who journey’st thus this way, thy visage turn, Think if me elsewhere thou hast ever seen.”

I tow’rds him turn’d, and with fix’d eye beheld. Comely, and fair, and gentle of aspect, He seem’d, but on one brow a gash was mark’d.

When humbly I disclaim’d to have beheld Him ever: “Now behold!” he said, and show’d High on his breast a wound: then smiling spake.

“I am Manfredi, grandson to the Queen Costanza: whence I pray thee, when return’d, To my fair daughter go, the parent glad Of Aragonia and Sicilia’s pride; And of the truth inform her, if of me Aught else be told. When by two mortal blows My frame was shatter’d, I betook myself Weeping to him, who of free will forgives. My sins were horrible; but so wide arms Hath goodness infinite, that it receives All who turn to it. Had this text divine Been of Cosenza’s shepherd better scann’d, Who then by Clement on my hunt was set, Yet at the bridge’s head my bones had lain, Near Benevento, by the heavy mole Protected; but the rain now drenches them, And the wind drives, out of the kingdom’s bounds, Far as the stream of Verde, where, with lights Extinguish’d, he remov’d them from their bed. Yet by their curse we are not so destroy’d, But that the eternal love may turn, while hope Retains her verdant blossoms. True it is, That such one as in contumacy dies Against the holy church, though he repent, Must wander thirty-fold for all the time In his presumption past; if such decree Be not by prayers of good men shorter made Look therefore if thou canst advance my bliss; Revealing to my good Costanza, how Thou hast beheld me, and beside the terms Laid on me of that interdict; for here By means of those below much profit comes.”

When by sensations of delight or pain, That any of our faculties hath seiz’d, Entire the soul collects herself, it seems She is intent upon that power alone, And thus the error is disprov’d which holds The soul not singly lighted in the breast. And therefore when as aught is heard or seen, That firmly keeps the soul toward it turn’d, Time passes, and a man perceives it not. For that, whereby he hearken, is one power, Another that, which the whole spirit hash; This is as it were bound, while that is free.

This found I true by proof, hearing that spirit And wond’ring; for full fifty steps aloft The sun had measur’d unobserv’d of me, When we arriv’d where all with one accord The spirits shouted, “Here is what ye ask.”

A larger aperture ofttimes is stopp’d With forked stake of thorn by villager, When the ripe grape imbrowns, than was the path, By which my guide, and I behind him close, Ascended solitary, when that troop Departing left us. On Sanleo’s road Who journeys, or to Noli low descends, Or mounts Bismantua’s height, must use his feet; But here a man had need to fly, I mean With the swift wing and plumes of high desire, Conducted by his aid, who gave me hope, And with light furnish’d to direct my way.

Henry Francis Cary's translation of Dante's Purgatory opens with a striking shift in tone: the poet declares his "light bark" now sails "o'er better waves," leaving the "cruel sea" of Hell behind. The first canto immediately establishes a new geography—the "sweet hue of eastern sapphire" and four stars "ne'er seen before save by the ken of our first parents"—that signals a realm of hope and moral ascent. Cary's blank verse, with its formal inversions and Latinate vocabulary, gives the poem a stately, measured pace that differs markedly from modern translations. The catalog subjects classify this work as epic poetry and Italian poetry translated into English, but the excerpts reveal a text equally concerned with dream visions, psychological allegory, and the gradual purification of the soul through encounters with penitents and angelic figures.

Cary's Diction and the Moral Landscape

Cary's translation choices shape how readers perceive Purgatory's moral geography. In Canto I, the pilgrim sees four stars "ne'er seen before save by the ken / Of our first parents," a reference to the primal innocence of Eden. The old man Cato, who guards the mountain, speaks in stern, legalistic terms: "Are the firm statutes of the dread abyss / Broken, or in high heaven new laws ordain'd?" This language frames Purgatory as a place of divine order and restorative justice. Later, in Canto XIX, the Siren's seductive song uses the word "warbling" to describe her voice, and she claims to have "Ulysses by my lay / Enchanted drawn." The contrast between the Siren's alluring speech and the "stern voice" of the holy dame who exposes her belly as "loathsome" underscores Cary's technique of using sensory details—sound, sight, smell—to embody moral states. The translation consistently pairs abstract concepts with concrete imagery, making the penitential process tangible.

Dreams, Visions, and the Structure of Penance

The excerpts show that dreams and visions are central to the narrative structure of Purgatory. In Canto XVIII, the pilgrim's eye is "clos'd, and meditation chang'd to dream" after hearing souls shout about those who "for their portion chose / Life without glory." This dream sequence leads directly into Canto XIX's more elaborate vision of the Siren, which functions as an allegorical test. The Siren appears with "lips that stammer'd, eyes aslant, / Distorted feet, hands maim'd, and colour pale," but the pilgrim's look transforms her into a beautiful singer. Virgil and a holy dame intervene, tearing her robes to reveal a foul smell that wakes the pilgrim. This pattern—falling asleep, encountering a symbolic figure, being awakened by a guide—recurs throughout the canticle. Cary's translation preserves the dream logic, where moral lessons emerge through surreal, sensory experiences rather than direct instruction. The angel who later appears with "swan-like wings" and speaks "in tone so soft and mild" reinforces the idea that penance is a gradual, often disorienting process.

The Role of Virgil and the Pilgrim's Interiority

Virgil's function in Purgatory shifts from guide through Hell to a more complex figure who interprets visions and corrects the pilgrim's focus. In Canto XIX, after the Siren dream, Virgil says, "At the least / Three times my voice hath call'd thee. Rise, begone." This detail—the repeated call—suggests the pilgrim's tendency to become absorbed in inner thoughts, a trait Cary emphasizes through phrases like "o'ercharg'd with thought" and "bends him to the likeness of an arch." When the pilgrim admits to "surmisings strange and anxious doubts," Virgil instructs him to "let thy heels spurn the earth, and thy rais'd ken / Fix on the lure, which heav'n's eternal King / Whirls in the rolling spheres." The translation uses the image of a falcon looking down then turning skyward to illustrate the necessary redirection of attention. Cary's Virgil is not merely a teacher but a disciplinarian of perception, constantly steering the pilgrim away from introspection toward divine order. The pilgrim's interiority, however, remains vivid through his emotional responses—"unwonted joy," "grief," "anxious doubts"—which Cary renders with psychological precision.

Readers approaching Cary's Purgatory should attend to the translator's rhythmic choices and the way he handles Dante's original terza rima. The blank verse creates a formal, almost liturgical tone that suits the poem's themes of purification and ascent. The excerpts reveal a work rich in dream allegory, moral geography, and the interplay between sensory experience and spiritual insight. Cary's version rewards careful reading for its linguistic texture and its fidelity to the poem's structure of gradual revelation.

Cary’s Dante walks with penitents carrying their heaviness upward, each step a quiet unburdening. That same ache lingers in the gently worn verse of The first of May: a new version of a celebrated modern ballad sixth edition — Key Ideas to Explore, where a single morning holds back a whole season of regret. I kept thinking of that mountain light after closing the book.

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  • ...
    Troy Amy Hamilton - 3 weeks ago
    This translation of Purgatory is competent and readable, with a clear effort to maintain the original's rhyme scheme. The introduction is informative. However, some passages feel archaic and may require frequent reference to notes, which interrupts the flow. Still, a solid choice for students of Dante.

  • ...
    Emily Strickland - 3 weeks ago
    Cary's translation of Purgatory is both faithful and poetic, capturing the essence of Dante's journey. The terza rima is preserved beautifully, making the reading experience enjoyable. The notes provide helpful context without being intrusive. This is a must-read for anyone interested in classical literature or spiritual allegory. Highly recommended.

  • ...
    Heather Jason Walker - 2 weeks ago
    Cary's translation, while historically significant, feels heavy and outdated. The archaic language makes it difficult to appreciate the emotional and poetic depth. Modern translations are more accessible and engaging. For new readers, this version may be a barrier rather than a gateway to understanding Dante's masterpiece.


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