A Translation of Canto V from Dante Alighieri\'s Inferno

A Translation of Canto V from Dante Alighieri's Inferno JOHN DANIEL THIEME

IN THE FIFTH CANTO of Dante's Inferno, Dante and Virgil pass the hideous growling judge Minos, who divides the dead according to their sins, and enter into the second circle with the lustful—those who sinned by carnal knowledge—sins related to sex. Their spirits are taken up in a tremendously violent tempest, spun around and tossed—helpless like a starling attempting to fly against the mighty winds. Here, the two encounter Helen of Troy, Cleopatra, Achilles, Tristan, and others, but for the bulk of this canto, Dante turns to the story of Francesca da Rimini and her lover Paolo Malatesta. In life, Francesca was married to Paolo’s brother, the disabled Giovanni Malatesta, called Gianciotto—“Crippled John”. She and Paolo carried on an extramarital affair for 10 years before being caught by Giovanni and murdered for their adultery. In the second circle of Hell, condemned with the lustful, Dante and Virgil meet Francesca and Paolo trapped in an eternal whirlwind, doomed to be forever swept through the air just as they allowed themselves to be swept away by their passions. Dante calls out to the lovers, who are compelled to briefly pause before him, and he speaks with Francesca. She obliquely states a few of the details of her life and her death, and Dante, apparently familiar with her story, correctly identifies her by name. He asks her what led to her and Paolo’s damnation, and Francesca’s story strikes such a chord within Dante that he faints out of pity. Of a historical note, this episode of illicit love, adultery, and murder between Francesca and Paolo and Gianciotto is first recorded by Dante. It appears with great embellishment in Boccaccio’s Decameron written a few decades later. Dante likely met Paolo Malatesta in his youth as some sources indicate that Francesca may have been Dante’s cousin. Years later, during his exile, Francesca’s nephew Guido Novello da Polenta provided a home for the banished poet in Ravenna, where Dante spent his final years (1318-1321). CANTO V Così discesi del cerchio primaio giù nel secondo, che men loco cinghia e tanto più dolor, che punge a guaio.

So, I descended from the first circle Down into the second, this place’s span draws tighter, 1 the greater the pain—the stings of misfortune.

Stavvi Minòs orribilmente, e ringhia: essamina le colpe ne l’intrata;

There stands Minos, hideous, growling2 Scrutinizing each for their sins at the entrance

cinghia is literally a belt or strap that is drawn in tighter. orribilmente e ringhia is a perfect example of onomatopoeia as the succession of rolled r’s mimics the frightening sound and bite of a growling beast. 1 2

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giudica e manda secondo ch’avvinghia.

judging them, remands them accordingly as he grasps them.

Dico che quando l’anima mal nata li vien dinanzi, tutta si confessa; e quel conoscitor de le peccata

I say: When evil is within a soul, They come before him, all to confess and Minos, examining their sins,

vede qual loco d’inferno è da essa; cignesi con la coda tante volte quantunque gradi vuol che giù sia messa.

sees what place that Hell has for them wraps his tail as many times as the number of the circle in which he throws them.

Sempre dinanzi a lui ne stanno molte: vanno a vicenda ciascuna al giudizio, dicono e odono e poi son giù volte.

Always before him, they being many— They go by turns each to their judgment, they plead and hear their verdict, and then are thrown below.

«O tu che vieni al doloroso ospizio», disse Minòs a me quando mi vide, lasciando l’atto di cotanto offizio,

"O—you who come to this almshouse3 of suffering…", Said Minos to me when he saw me pausing a moment the duties of his mighty task 4

«guarda com’ entri e di cui tu ti fide; non t’inganni l’ampiezza de l’intrare!». E ’l duca mio a lui: «Perché pur gride?

"Guard yourselves as you enter, be cautious who you trust the gate is broad, but let it not deceive you…" And my guide responded: "Why do you state this?…

Non impedir lo suo fatale andare: vuolsi così colà dove si puote ciò che si vuole, e più non dimandare».

"…Do not impede him from path set for him5—his steps Are willed from above—what can he do except what God ordains—and you cannot question it."6

Or incomincian le dolenti note a farmisi sentire; or son venuto là dove molto pianto mi percuote.

I began to hear, the notes of despairing sadness 7 Growing louder to my ears—I have come to a place where these many laments will strike at me.8

Io venni in loco d’ogne luce muto, che mugghia come fa mar per tempesta, se da contrari venti è combattuto.

I came into a place where all light had been silenced, That roars like the sea in a fierce storm when opposing winds are engaged in combat over it.

ospizio literally means "almshouse" which implies that the souls of the dead are rendered poor. l'atto di cotanto offizio literally translates to "the acts of so great an office"—that Minos is performing a duty by judging and sorting the souls of the dead that is cosmically important into the great scheme of things in Hell. His counterpart would be Christ at the end of days judging the "quick and the dead". 5 fatale implies that Dante is fated to walk this path—that he is ordained or predestined for this by God. 6 non dimandare—implies protesting or questioning beyond a firm answer that is given, an answer that is unchangeable no matter how much he argues. It has the essence of asking after the answer has been mandated—essentially handed to you. 7 dolenti implies both a deep sorrow and aching of open sores. The sounds of the souls in torment, screaming, growning, sighing, each will wound him as much as they are wounded. 8 percuote implies that these sad cries of the souls of the dead will deeply hurt Dante—perhaps from compassion and pity, but also from his fear and helplessness. He is defenseless from the pain. 3 4

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La bufera infernal, che mai non resta, mena li spirti con la sua rapina; voltando e percotendo li molesta.

The storm,9 infernal, relentless Drives these spirits violently10 turning them, smiting them, physically assailing them. 11

Quando giungon davanti a la ruina, quivi le strida, il compianto, il lamento; bestemmian quivi la virtù divina.

When they are driven to the edge of the cliffs They shriek, despairing regrets,12 wailing— they blaspheme13 the powerful and divine.14

Intesi ch’a così fatto tormento enno dannati i peccator carnali, che la ragion sommettono al talento.

I came to understand that this torment Was for those condemned for carnal sins, sins of the flesh, Who gave up reason and restraint for their lustful hunger. 15

E come li stornei ne portan l’ali nel freddo tempo, a schiera larga e piena, così quel fiato li spiriti mali

they are carried as if by the wings of starlings In the cold weather, the groupings thick and wide, that blast of wind tosses these evil spirits

di qua, di là, di giù, di sù li mena; nulla speranza li conforta mai, non che di posa, ma di minor pena.

here, there, up and down, the wind drives them wildly no hope for a moment of comfort, nor a moment of rest, none for even a moment of less punishment.

E come i gru van cantando lor lai, faccendo in aere di sé lunga riga, così vid’ io venir, traendo guai,

And as the cranes, singing their lays, fly Form in the air their long line so I saw them coming, groaning from their woes

ombre portate da la detta briga; per ch’i’ dissi: «Maestro, chi son quelle

I saw the shadows cast by their troubles… And I asked: "Master, who are these—

Many translators tend to render bufera as a "hurricane", but it generally means any intense or violent storm. 10 rapina implies a violently relentless and rapacious buffeting (beating of them) in the act of robbing and plundering of the souls. 11 molesta is often translated as "molest" and "harass", but it is implies a physical altercation of grabbing, pulling, and an attempt at restraining, never letting one go. 12 compianto implies something regretted and the realization of regret comes too late to do anything about it. 13 bestemmian is often translated simply as “blaspheme”. While blasphemy is usually thought of in a religious context—the speaking disrespectfully of God or of sacred things—it has a sense of the defiance against a judging power that involves slander, abusive epithets, and rage spewed. The word blaspheme itself comes from a Greek word referring to a reproach meant "to speak evil of". 14 In rendering the phrase quivi la virtù there is a sense of "puissance" in a notion of great power, or a projection of power. However, in Mediaeval Italty, the phrase referred to the show of a nobleman displaying his skill in commanding a horse. 15 sommettono implies an uncontrollable impulse that overrules or causes someone to surrender their better judgment allows one’s lusts, desires, whims to take over. This is in contrast to ragion for meaning "reason" which derives from the Latin “ratio” and embodies a sense of rational thought and consideration—literally of balancing, weighing and reckoning the consequences. 9

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genti che l’aura nera sì gastiga?».

These people who the black air is chastening?"16

«La prima di color di cui novelle tu vuo’ saper», mi disse quelli allotta, «fu imperadrice di molte favelle.

The color of these first stories, You will know, he said to me: "She was the empress of many languages…

A vizio di lussuria fu sì rotta, che libito fé licito in sua legge, per tòrre il biasmo in che era condotta.

To the vice of lust, she had been broken. that she made those lusts legal through her laws to make her blameless for her own conduct

Ell’ è Semiramìs, di cui si legge che succedette a Nino e fu sua sposa: tenne la terra che ’l Soldan corregge.

She, Semiramis, a woman who we read succeeded Ninus, her spouse, and held the lands that the Sultan controls.

L’altra è colei che s’ancise amorosa, e ruppe fede al cener di Sicheo; poi è Cleopatràs lussurïosa.

The other—she killed herself for love After breaking her fidelity to the ashes of Sichaeus then, there is lascivious17 Cleopatra…

Elena vedi, per cui tanto reo tempo si volse, e vedi ’l grande Achille, che con amore al fine combatteo.

Helen I see—for whom turning time Has been ruthless; and I see the great Achilles, fighting with love in his last moments.

Vedi Parìs, Tristano»; e più di mille ombre mostrommi e nominommi a dito, ch’amor di nostra vita dipartille.

Then Paris, Then Tristan…", and more than a thousand Shadows he named and pointed to;— those who love had taken from this life.

Poscia ch’io ebbi ’l mio dottore udito nomar le donne antiche e ’ cavalieri, pietà mi giunse, e fui quasi smarrito.

After I had listened to my Teacher, He named women of antiquity, knights, I felt pity, and was bewildered.

I’ cominciai: «Poeta, volontieri parlerei a quei due che ’nsieme vanno, e paion sì al vento esser leggeri».

I began to say: "Poet, I would be glad To speak to those two who together, going, on the wind, seem to be so lightweight."

Ed elli a me: «Vedrai quando saranno più presso a noi; e tu allor li priega per quello amor che i mena, ed ei verranno».

And he to me: “When they approach, you will see, Nearer to us—and you can ask them for what love brought them here, and they will come."

Sì tosto come il vento a noi li piega, mossi la voce: «O anime affannate, venite a noi parlar, s’altri nol niega!».

Just as soon as the wind in our direction swayed them, I asked with my voice: "o breathless souls— come to speak with us—unless someone denies you to…"

gastiga is a Florentine variant of castigare, which means to chasten, castigate, and punish. The verbs "chasten" and "castigate" derive from the Latin castus meaning "pure"—the act of punishment is intended to purify these souls of their carnal sins. 17 lussurïosa combines a lot of images of being an object of lust, an innate licentiousness that is voluptuous and even luxurious like a highly-demanded trophy or treasure. 16

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Quali colombe dal disio chiamate con l’ali alzate e ferme al dolce nido vegnon per l’aere, dal voler portate;

As doves are called by a longing desire With wings, lifted and steady, to their sweet nest soaring through the air, carried by their wanting

cotali uscir de la schiera ov’ è Dido, a noi venendo per l’aere maligno, sì forte fu l’affettüoso grido.

they came out from the wind, where Dido is, coming to us, through the malignant air, so strong was my loving cry

«O animal grazïoso e benigno che visitando vai per l’aere perso noi che tignemmo il mondo di sanguigno,

"Oh, charming and kindly creature, Visiting us, who go through this lost air stained with the blood of the world…

se fosse amico il re de l’universo, noi pregheremmo lui de la tua pace, poi c’hai pietà del nostro mal perverso.

"…if we were a friend to the King of the Universe We would pray to God for you, to give you peace Since you have shown pity to our evil sufferings

Di quel che udire e che parlar vi piace, noi udiremo e parleremo a voi, mentre che ’l vento, come fa, ci tace.

"About what would you like to hear from us, to speak? We will hear you, and talk with you While the wind, if it may, keeps silent.

Siede la terra dove nata fui su la marina dove ’l Po discende per aver pace co’ seguaci sui.

"The land that gave me birth sits On the coast where the Po descends to rest peacefully with its tributaries18

Amor, ch’al cor gentil ratto s’apprende, prese costui de la bella persona che mi fu tolta; e ’l modo ancor m’offende.

“Love that swiftly captures a gentle heart Took this man, this fair person, and I was taken away—I am still distressed by the means. 19

Amor, ch’a nullo amato amar perdona, mi prese del costui piacer sì forte, che, come vedi, ancor non m’abbandona.

"Love that pardons no one from loving or being loved so strongly pleased was I, taken of this man— you see—it still has not abandoned me.

Amor condusse noi ad una morte. Caina attende chi a vita ci spense».

"Love led us to a death.20 Caina21 awaits the man who put out our lives.“ 22

seguaci literally means "followers" or "following"—that the waters of a river's tributary streams that flow into the Po River and thus "follow" the larger river to the sea. 19 ‘l modo ancor m'offende—It is not entirely certain whether Francesca may be offended or distressed over the brutal way her husband took her life and that of her lover, or that she may be offended (now that she’s condemned to Hell), that the rashness of his attack left her with no chance to give one last act of contrition before her death. That she may here acknowledge being wrong in her illicit love is only part of her culpability—it was more that she was not given a chance to pray for forgiveness to God before her death sealed her fate and condemned her (and Paolo) to this punishment. 20 condusse is a Florentine variant of condotto—to be ferried, or specifically "conducted" away. The lovers are no longer in control in their being taken away. 21 Named for the biblical Cain who in jealous killed his brother Abel, Caina is the region of hell in which murderers who kill their own family members will suffer their eternal punishment. Franchesca is 18

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Queste parole da lor ci fuor porte.

These words from them were carried to us.

Quand’ io intesi quell’ anime offense, china’ il viso, e tanto il tenni basso, fin che ’l poeta mi disse: «Che pense?».

When I had understood for what these souls were punished, I bowed my face, so long held my head low until the poet said to me—"what are you thinking?"

Quando rispuosi, cominciai: «Oh lasso, quanti dolci pensier, quanto disio menò costoro al doloroso passo!».

When I responded, I began: “Oh, the lapse— Many sweet thoughts—what desire brought these two to this sorrowful step."

Poi mi rivolsi a loro e parla’ io, e cominciai: «Francesca, i tuoi martìri a lagrimar mi fanno tristo e pio.

Then I turned to them and began To say: "Francesca, your martyrdom drives me to tears of grief and of pity—

Ma dimmi: al tempo d’i dolci sospiri, a che e come concedette amore che conosceste i dubbiosi disiri?».

But tell me: at the time of those sweet sighs how did you come to know Love conceded to let you know of your hesitant desires?"

E quella a me: «Nessun maggior dolore che ricordarsi del tempo felice ne la miseria; e ciò sa ’l tuo dottore.

And she to me: “There is no greater sorrow Than to be reminded of happier times in one’s misery—this your teacher knows.23

Ma s’a conoscer la prima radice del nostro amor tu hai cotanto affetto, dirò come colui che piange e dice.

"But if you seek to know the first root Of our love, as you do with much affection I will tell you as one who weeps and speaks.

Noi leggiavamo un giorno per diletto di Lancialotto come amor lo strinse; soli eravamo e sanza alcun sospetto.

"We were reading, one day, for pleasure Of Lancelot, how love had clenched him tightly— we were alone and without any fear.

Per più fïate li occhi ci sospinse

"On many an occasion, we drew our eyes together

stating that her husband, Gianciotto, who is still living at the time of Dante's journey, would have a worse fate awaiting him when he arrives after his death. 22 Ci spense has the literal meaning of being blown out or put out like a candle…snuffed out. 23 Francesca's allusion to ‘l tuo dottore as teacher or master does not necessarily refer to Virgil. Throughout the Commedia, Dante frequently employs this term to describe his guide, but here also uses it to describe others—including Statius (at Purgatorio XXIV.143), Saint Dominic (at Paradiso, XII.85), and for Saint Bernard (at Paradiso XXXII.2). While most of the writers in Dante’s time (including Boccaccio, Imola) remark that Francesca must have been referring to Virgil and to a line from Virgil’s works, Virgil never said anything that bears direct similarity to that precise quote. Comparatively, Francesca’s line is a nearly verbatim rendering of a passage from Boethius in The Consolation of Philosophy: In omni adversitate fortunae infelicissimum genus est infortunii fuisse felicem. Dante asks Francesca to tell the story of her happiness, just as Boethius was asked to remember his former happiness while in extreme misery, in prison, awaiting his execution. Dante quotes Boethius nearly verbatim on several occasions in the Commedia. Saint Thomas Aquinas likely had Boethius in mind when he wrote: Memoria praeteritorum bonorum inquantum fuerunt habita delectationem causat, sed inquantum sunt amissa causat tristitiam (Summa Theologiae, Secunda Secundae, question 36, article 4).

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quella lettura, e scolorocci il viso; ma solo un punto fu quel che ci vinse.

In reading, our face’s complexion changed But only one page had won over us—

Quando leggemmo il disïato riso esser basciato da cotanto amante, questi, che mai da me non fia diviso,

"When we read of a much-desired smile Being kissed by a great lover, from him may I never be separated.

la bocca mi basciò tutto tremante. Galeotto fu ’l libro e chi lo scrisse: quel giorno più non vi leggemmo avante».

"He kissed my mouth, all trembling, The book was our Galehaut24—he that wrote it. We did not read more that day."

Mentre che l’uno spirto questo disse, l’altro piangëa; sì che di pietade io venni men così com’ io morisse.

While that one spirit uttered this The other wept, and for pity I became unwell as if dying…

E caddi come corpo morto cade.

And I fell as a dead body falls.

Galehaut (or Gallehault) is a knight from Arthurian Legend who appears first in the earlythirteenth-century Prose Lancelot, one of the works from the anonymous French prose romances known as the Vulgate Cycle. Galehaut, despite his loyalty to King Arthur, arranges for the meeting of Lancelot and Guinevere that leads to their romance and her infidelity. Paolo and Francesca are reading the Prose Lancelot and that led to their fatal romance. 24

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