But against this adversary of reason, there rose up in me on a certain day, about the ninth hour, a strong visible phantasy, wherein I seemed to behold the most gracious Beatrice, habited in that crimson raiment which she had worn when I had first beheld her; also she appeared to me of the same tender age as then. Whereupon I fell into a deep thought of her; and my memory ran back, according to the order of time, unto all those matters in the which she had borne a part; and my heart began painfully to repent of the desire by which it had so basely let itself be possessed during so many days, contrary to the constancy of reason.
And then, this evil desire being quite gone from me, all my thoughts turned again unto their excellent Beatrice. And I say most truly that from that hour I thought constantly of her with the whole humbled and ashamed heart; the which became often manifest in sighs, that had among them the name of that most gracious creature, and how she departed from us. Also it would come to pass very often, through the bitter anguish of some one thought, that I forgot both it, and myself, and where I was. By this increase of sighs, my weeping, which before had been somewhat lessened, increased in like manner; so that mine eyes seemed to long only for tears and to cherish them, and came at last to be circled about with red as though they had suffered martyrdom: neither were they able to look again upon the beauty of any face that might again bring them to shame and evil: from which things it will appear that they were fitly guerdoned for their unsteadfastness. Wherefore I, (wishing that mine abandonment of all such evil desires and vain temptations should be certified and made manifest, beyond all doubts which might have been suggested by the rhymes aforewritten) proposed to write a sonnet wherein I should express this purport. And I then wrote, "Woe's me!"
I said, "Woe's me!" because I was ashamed of the trifling of mine eyes. This sonnet I do not divide, since its purport is manifest enough.
Woe's me! by dint of all these sighs that come
Forth of my heart, its endless grief to prove,
Mine eyes are conquered, so that even to move
Their lids for greeting is grown troublesome.
They wept so long that now they are grief's home,
And count their tears all laughter far above:
They wept till they are circled now by Love
With a red circle in sign of martyrdom.
These musings, and the sighs they bring from me,
Are grown at last so constant and so sore
That love swoons in my spirit with faint breath;
Hearing in those sad sounds continually
The most sweet name that my dead lady bore,
With many grievous words touching her death.
About this time, it happened that a great number of persons undertook a pilgrimage, to the end that they might behold that blessed portraiture bequeathed unto us by our Lord Jesus Christ as the image of His beautiful countenance,[1] (upon which countenance my dear lady now looketh continually). And certain among these pilgrims, who seemed very thoughtful, passed by a path which is well-nigh in the midst of the city where my most gracious lady was born, and abode, and at last died.
Then I, beholding them, said within myself: "These pilgrims seem to be come from very far; and I think they cannot have heard speak of this lady, or know anything concerning her. Their thoughts are not of her, but of other things; it may be, of their friends who are far distant, and whom we, in our turn, know not." And I went on to say: "I know that if they were of a country near unto us, they would in some wise seem disturbed, passing through this city which is so full of grief." And I said also: "If I could speak with them a space, I am certain that I should make them weep before they went forth of this city; for those things that they would hear from me must needs beget weeping in any."
And when the last of them had gone by me, I bethought me to write a sonnet, showing forth mine inward speech; and that it might seem the more pitiful, I made as though I had spoken it indeed unto them. And I wrote this sonnet, which beginneth: "Ye pilgrim-folk." I made use of the word pilgrim for its general signification; for "pilgrim" may be understood in two senses, one general, and one special. General, so far as any man may be called a pilgrim who leaveth the place of his birth; whereas, more narrowly speaking, he only is a pilgrim who goeth towards or frowards the House of St. James. For there are three separate denominations proper unto those who undertake journeys to the glory of God. They are called Palmers who go beyond the seas eastward, whence often they bring palm-branches. And Pilgrims, as I have said, are they who journey unto the holy House of Gallicia; seeing that no other apostle was buried so far from his birthplace as was the blessed Saint James. And there is a third sort who are called Romers; in that they go whither these whom I have called pilgrims went: which is to say, unto Rome.
This sonnet is not divided, because its own words sufficiently declare it.
Ye pilgrim-folk, advancing pensively
As if in thought of distant things, I pray,
Is your own land indeed so far away—
As by your aspect it would seem to be—
That this our heavy sorrow leaves you free
Though passing through the mournful town midway;
Like unto men that understand to-day
Nothing at all of her great misery?
Yet if ye will but stay, whom I accost,
And listen to my words a little space,
At going ye shall mourn with a loud voice.
It is her Beatrice that she hath lost;
Of whom the least word spoken holds such grace
That men weep hearing it, and have no choice.
A while after these things, two gentle ladies sent unto me, praying that I would bestow upon them certain of these my rhymes. And I (taking into account their worthiness and consideration) resolved that I would write also a new thing, and send it them together with those others, to the end that their wishes might be more honourably fulfilled. Therefore I made a sonnet, which narrates my condition, and which I caused to be conveyed to them, accompanied by the one preceding, and with that other which begins, "Stay now with me and listen to my sighs." And the new sonnet is, "Beyond the sphere."
This sonnet comprises five parts. In the first, I tell whither my thought goeth, naming the place by the name of one of its effects. In the second, I say wherefore it goeth up, and who makes it go thus. In the third, I tell what it saw, namely, a lady honoured. And I then call it a "Pilgrim Spirit," because it goes up spiritually, and like a pilgrim who is out of his known country. In the fourth, I say how the spirit sees her such (that is, in such quality) that I cannot understand her; that is to say, my thought rises into the quality of her in a degree that my intellect cannot comprehend, seeing that our intellect is, towards those blessed souls, like our eye weak against the sun; and this the Philosopher says in the Second of the Metaphysics. In the fifth, I say that, although I cannot see there whither my thought carries me—that is, to her admirable essence—I at least understand this, namely, that it is a thought of my lady, because I often hear her name therein. And, at the end of this fifth part, I say, "Ladies mine," to show that they are ladies to whom I speak. The second part begins, "A new perception;" the third, "When it hath reached;" the fourth, "It sees her such;" the fifth, "And yet I know." It might be divided yet more nicely, and made yet clearer; but this division may pass, and therefore I stay not to divide it further.
Beyond the sphere which spreads to widest space
Now soars the sigh that my heart sends above:
A new perception born of grieving Love
Guideth it upward the untrodden ways.
When it hath reached unto the end, and stays,
It sees a lady round whom splendours move
In homage; till, by the great light thereof
Abashed, the pilgrim spirit stands at gaze.
It sees her such, that when it tells me this
Which it hath seen, I understand it not,
It hath a speech so subtile and so fine.
And yet I know its voice within my thought
Often remembereth me of Beatrice:
So that I understand it, ladies mine.
After writing this sonnet, it was given unto me to behold a very wonderful vision:[2] wherein I saw things which determined me that I would say nothing further of this most blessed one, until such time as I could discourse more worthily concerning her. And to this end I labour all I can; as she well knoweth. Wherefore if it be His pleasure through whom is the life of all things, that my life continue with me a few years, it is my hope that I shall yet write concerning her what hath not before been written of any woman. After the which, may it seem good unto Him who is the Master of Grace, that my spirit should go hence to behold the glory of its lady: to wit, of that blessed Beatrice who now gazeth continually on His countenance qui est per omnia sæcula benedictus.[3] Laus Deo.
THE END.
_fleuron.png)
- ↑ The Veronica (Vera icon, or true image); that is, the napkin with which a woman was said to have wiped our Saviour's face on His way to the cross, and which miraculously retained its likeness. Dante makes mention of it also in the Commedia (Parad. xxi. 103), where he says:—
"Qual è colui che forse di Croazia
Viene a veder la Veronica nostra,
Che per l'antica fama non si sazia
Ma dice nel pensier fin che si mostra:
Signor mio Gesù Cristo, Iddio verace,
Or fu sì fatta la sembianza vostra?" etc. - ↑ This we may believe to have been the Vision of Hell, Purgatory, and Paradise, which furnished the triple argument of the Divina Commedia. The Latin words ending the Vita Nuova are almost identical with those at the close of the letter in which Dante, on concluding the Paradise, and accomplishing the hope here expressed, dedicates his great work to Can Grande della Scala.
- ↑ "Who is blessed throughout all ages."