Divine Comedy, Longfellow's Translation, Paradise — Key Ideas to Explore
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And even as a second ray is wont To issue from the first and reascend, Like to a pilgrim who would fain return,
Thus of her action, through the eyes infused In my imagination, mine I made, And sunward fixed mine eyes beyond our wont.
There much is lawful which is here unlawful Unto our powers, by virtue of the place Made for the human species as its own.
Not long I bore it, nor so little while But I beheld it sparkle round about Like iron that comes molten from the fire;
And suddenly it seemed that day to day Was added, as if He who has the power Had with another sun the heaven adorned.
With eyes upon the everlasting wheels Stood Beatrice all intent, and I, on her Fixing my vision from above removed,
Such at her aspect inwardly became As Glaucus, tasting of the herb that made him Peer of the other gods beneath the sea.
To represent transhumanise in words Impossible were; the example, then, suffice Him for whom Grace the experience reserves.
If I was merely what of me thou newly Createdst, Love who governest the heaven, Thou knowest, who didst lift me with thy light!
When now the wheel, which thou dost make eternal Desiring thee, made me attentive to it By harmony thou dost modulate and measure,
Then seemed to me so much of heaven enkindled By the sun’s flame, that neither rain nor river E’er made a lake so widely spread abroad.
The newness of the sound and the great light Kindled in me a longing for their cause, Never before with such acuteness felt;
Whence she, who saw me as I saw myself, To quiet in me my perturbed mind, Opened her mouth, ere I did mine to ask,
And she began: “Thou makest thyself so dull With false imagining, that thou seest not What thou wouldst see if thou hadst shaken it off.
Thou art not upon earth, as thou believest; But lightning, fleeing its appropriate site, Ne’er ran as thou, who thitherward returnest.”
If of my former doubt I was divested By these brief little words more smiled than spoken, I in a new one was the more ensnared;
And said: “Already did I rest content From great amazement; but am now amazed In what way I transcend these bodies light.”
Whereupon she, after a pitying sigh, Her eyes directed tow’rds me with that look A mother casts on a delirious child;
And she began: “All things whate’er they be Have order among themselves, and this is form, That makes the universe resemble God.
Here do the higher creatures see the footprints Of the Eternal Power, which is the end Whereto is made the law already mentioned.
In the order that I speak of are inclined All natures, by their destinies diverse, More or less near unto their origin;
Hence they move onward unto ports diverse O’er the great sea of being; and each one With instinct given it which bears it on.
This bears away the fire towards the moon; This is in mortal hearts the motive power This binds together and unites the earth.
Nor only the created things that are Without intelligence this bow shoots forth, But those that have both intellect and love.
The Providence that regulates all this Makes with its light the heaven forever quiet, Wherein that turns which has the greatest haste.
And thither now, as to a site decreed, Bears us away the virtue of that cord Which aims its arrows at a joyous mark.
True is it, that as oftentimes the form Accords not with the intention of the art, Because in answering is matter deaf,
So likewise from this course doth deviate Sometimes the creature, who the power possesses, Though thus impelled, to swerve some other way,
(In the same wise as one may see the fire Fall from a cloud,) if the first impetus Earthward is wrested by some false delight.
Thou shouldst not wonder more, if well I judge, At thine ascent, than at a rivulet From some high mount descending to the lowland.
Marvel it would be in thee, if deprived Of hindrance, thou wert seated down below, As if on earth the living fire were quiet.”
Thereat she heavenward turned again her face.
O Ye, who in some pretty little boat, Eager to listen, have been following Behind my ship, that singing sails along,
Turn back to look again upon your shores; Do not put out to sea, lest peradventure, In losing me, you might yourselves be lost.
The sea I sail has never yet been passed; Minerva breathes, and pilots me Apollo, And Muses nine point out to me the Bears.
Longfellow's translation of Paradiso opens with a table of contents that maps the entire celestial journey: from the First Heaven (the Moon) through the spheres of Mercury, Venus, the Sun, Mars, Jupiter, Saturn, the Fixed Stars, the Primum Mobile, to the Empyrean. Each canto heading names both the astronomical location and the category of souls encountered—for example, "Spirits who, having taken Sacred Vows, were forced to violate them" in the Moon, or "Theologians and Fathers of the Church" in the Sun. This structural clarity, paired with Longfellow's consistent iambic pentameter, gives the reader a reliable framework for following Dante's increasingly abstract theological arguments.
The Heavens as Moral Geography
The canto headings reveal that Dante's Paradise is organized not by chronology but by virtue. The Moon holds those who broke vows under duress; Mercury, those who sought fame through good deeds; Venus, lovers; the Sun, theologians; Mars, martyrs; Jupiter, just rulers; Saturn, contemplatives. Each sphere corresponds to a specific moral quality, and the souls appear as points of light or collective images—a cross, an eagle, a ladder. Longfellow's translation preserves this schematic clarity: the reader can anticipate that each new heaven will introduce a different category of blessed soul and a distinct visual emblem.
Longfellow's Metrical Choices
Longfellow renders Dante's terza rima into blank verse, a decision that shapes the poem's rhythm. In Canto XVIII, the eagle speaks in a sustained, oratorical voice: "Being just and merciful / Am I exalted here unto that glory / Which cannot be exceeded by desire." The absence of rhyme is compensated by enjambment and parallel syntax. Longfellow also preserves Dante's habit of direct address—"O gentle star!"—and his use of simile, as when the eagle's movement is compared to a falcon "issuing from his hood." These choices keep the translation readable while retaining the original's formal dignity.
Recurring Imagery: Light, Gems, and the Eye
Throughout the excerpts, light is described in physical terms: souls appear as "a little ruby each, wherein / Ray of the sun was burning so enkindled." The eagle's speech uses the metaphor of vision penetrating the ocean to explain humanity's limited understanding of divine justice: "As eye into the ocean, penetrates; / Which, though it see the bottom near the shore, / Upon the deep perceives it not." This image recurs in Canto XVIII, where the eagle's words are said to be "Nor voice has e'er reported, nor ink written, / Nor was by fantasy e'er comprehended." The reader should watch for how light and sight become measures of spiritual comprehension.
Dante's Role as Listener and Questioner
Dante is not a passive observer. In Canto XIX, he addresses the eagle directly: "O perpetual flowers / Of the eternal joy... break within me the great fast / Which a long season has in hunger held me." He admits his own ignorance—"Well do I know, that if in heaven its mirror / Justice Divine another realm doth make, / Yours apprehends it not through any veil"—and frames his questions as a "fast" from understanding. This posture of humble inquiry recurs in earlier cantos (e.g., Canto IV's "Questionings of the Soul") and gives the poem a dialogic structure: each encounter is an opportunity for Dante to learn, and for the reader to follow his gradual illumination.
Longfellow's Paradiso rewards a reader who pays attention to the headings: they are not mere summaries but a map of the poem's moral architecture. The blank verse moves at a stately pace, and the recurring images of light, gems, and vision unify the journey. Approach each canto as a step in a structured argument about justice, love, and knowledge—Dante's questions are your own, and the answers unfold sphere by sphere.
I remember how Dante’s ascending spheres, where each soul glows with its own perfected virtue, always made me think of Wordsworth’s quiet preludes, especially in The Poetical Works of William Wordsworth — Volume 5 (of 8) — Key Ideas to Explore. Both men saw heaven in the measured step of light across a still landscape—one cosmic, one domestic, yet each utterly certain that order blesses us gently.
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