The Divine Comedy of Dante Alighieri: Volume 2: Purgatorio (Divine Comedy of Dante Alighieri)

2003·32.07 MB·English

by  Dante Alighieri

THE DIVINE COMEDY
OF DANTE ALIGHIERI
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THE DIVINE COMEDY
OF
DANTE ALIGHIERI
Edited and Translated by
ROBERT M. DURLING
Introduction and Notes by
RONALD L. MARTINEZ
AND ROBERT M. DURLING
, Illustrations by
ROBERT TURNER
Volume 2
PURGATORIO
OXFORD
UNIVERSITY PRESS
203
OXPORD
UNIVERSITY PRESS
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Translations copyright © 2003 by Robert M. Durling
Introduction and Notes copyright © 2003 by Ronald L. Martinez and Robert M. Durling
Illustrations copyright © 2003 by Robert Turner
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PREFACE
Since the submission of our Inferno for publication (1994) there has been an
important renewal of discussion of the text of the Comedy in Lanza's (1995,
1997) and Sanguineti's (2001) critical editions: the first privileges the earliest
Florentine manuscript, the Trivulziano (Milan, Trivulziano 1080), against
Petrocchi's view of the northern tradition as superior, and the second argues
for the unique authority of the Vatican's Urb. Lat. 366 (Urb.), from Urbino,
on the basis of a collation of Barbi's famous 400 loci critici in the 600 existing
manuscripts (at the time of this writing, the volume giving Sanguineti's de-
tailed justification of his readings had not yet appeared). Both Lanza and
Sanguined adopt many readings rejected, rightly or wrongly, by the main-
stream of modern editing.
The text presented here is a compromise; not persuaded of the exclusive
authority of any manuscript (indeed, unwilling to exclude altogether the
possible existence of author's variants), the editor has felt free to adopt read-
ings from various branches of the stemma. Thus the text of our Purgatorio
once again, in the main, follows Petrocchi's La Commedia secondo I'antica vulgata
(1994), but the editor has departed from Petrocchi's readings in a number of
cases, somewhat larger than in the previous volume, not without consider-
ation of Lanza's and Sanguineti's readings (these departures are discussed
under the rubric "Textual Variants," pages 627-29), and, as before, Petrocchi's
punctuation has been lightened and American norms have been followed.
The translation follows the same principles as that of the Inferno and has the
same format, and the reader is referred to the Preface of that volume for dis-
cussion of its aims and those of the notes. As before, the numbers in the mar-
gins are those of the first Italian of each terzina, and in the notes numbers
always refer to the Italian text.
One innovation in our notes to this volume is a section for each canto that
we have dubbed Inter cantica, discussing the relation of the canto with the
Inferno (we hope to include similar sections in our Paradiso volume). These
Inter cantica are not exclusively discussions of the canto's relation to the simi-
larly numbered canto in the Inferno, although that subject clearly deserves
more attention than it has heretofore received; we have learned much from
writing these notes: the self-referentiality of the Comedy is complex indeed.
Acknowledgments
We have again received generous help and encouragement from many friends
and colleagues, and it is a pleasure to express our gratitude to them. In par-
ticular, Warren Ginsberg, Regina Psaki, and John A. Scott have commented
in detail on extensive portions of the manuscript, Paul Alpers, the late Charles
v
Preface
T. Davis, and Nicholas J. Perella on the entirety of an earlier state of the
translation. Nancy Vine Durling has caught many errors, typographical and
otherwise, in our drafts. Pere E.-H. Weber, O.R, has given us kindly and
helpful advice, reminding us that the interpretation of Aquinas, Albert, and
other thirteenth-century thinkers remains subject to lively debate. Our debt
to Albert R. Ascoli is once again profound, and our expression of gratitude to
him in our first volume may be taken as applying to this one as well. Charles
Lee, of McTek Enterprises, Berkeley, has given us invaluable help and com-
puter first-aid. The staffs of the Bibliotheque Nationale de France (Sites
Francois-Mitterrand and Richelieu), the Bibliotheque du Saulchoir (Paris),
and the Doe and Bancroft Libraries at the University of California, Berkeley,
have been unfailingly cordial and helpful. And once again the patience, for-
bearance, and active helpfulness of our wives, Nancy Vine Durling and Mary
Therese Royal de Martinez, have been exemplary.
We again owe a great debt to the personnel at Oxford University Press,
especially to Ruth Mannes, in charge of production of the volume.
The text of the Purgatorio is reprinted (with qualifications, as above) from
La Commedia secondo I'antica vulgata, edited by Giorgio Petrocchi (sponsored
by the Societa Dantesca Italiana; copyright © 1994, Casa Editrice Le Lettere),
with the kind permission of both sponsor and publisher.
As before, translations of biblical passages are from the Douay version of
the Latin Vulgate, except as noted, and, unless otherwise identified, non-
biblical translations are our own.
We record a deep sense of loss at the passing in 1998 of the great Dante
scholar Charles T. Davis, a dear friend whose acute and kindly criticism and
encouragement had long been of vital importance to us, as to many others.
We dedicate this volume to his memory.
Berkeley R.M.D.
Providence R.L.M.
August 2002
vi
CONTENTS
Abbreviations, xv
Introduction, 3
PURGATORIO
CANTO 1, is
Notes to Canto 1, 26
CANTO 2,34
Notes to Canto 2, 42
CANTO 3,48
Notes to Canto 3,56
CANTO 4,64
Notes to Canto 4, 72
CANTO 5, 78
Notes to Canto 5, 86
CANTO 6,92
Notes to Canto 6, 102
CANTO 7, no
Notes to Canto 7, H#
CANTO 8,126
Notes to Canto 8, 134
CANTO 9,142
Notes to Canto 9, ?50
CANTO 10, m
Notes to Canto 10,166
CANTO 11,172
Notes to Canto 11,180
fit
Contents
CANTO 12, m
Notes to Canto 12, 196
CANTO 13,204
Notes to Canto 13, 214
CANTO 14,222
Notes to Canto 14,232
CANTO 15,242
Notes to Canto 15,250
CANTO 16,258
Notes to Canto 16, 266
CANTO 17,276
Notes to Canto 17,254
CANTO 18,292
Notes to Canto 18,300
CANTO 19,308
Notes to Canto 19,316
CANTO 20,326
Notes to Canto 20,336
CANTO 21,346
Notes to Canto 21, 354
CANTO 22,362
Notes to Canto 22, 372
CANTO 23,382
Notes to Canto 23,390
CANTO 24,400
Notes to Canto 24,410
CANTO 25,420
Notes to Canto 25, 428
CANTO 26,438
Notes to Canto 26, 446
viii
Contents
CANTO 27,456
Notesxto Canto 27,464
CANTO 28,474
Notes to Canto 28,482
CANTO 29,492
Notes to Canto 29, 502
CANTO 30,510
Notes to Canto 30,518
CANTO 31,530
Notes to Canto 31,538
CANTO 32,548
Notes to Canto 32, 558
CANTO 33,566
Notes to Canto 33, 574
VERGIL, ECLOGUE IV, 584
GUIDO CAVALCANTI'S "PASTORELLA," 588
ADDITIONAL NOTES
1. Cato of Utica (Canto 1), 591
2. The Meeting with Casella (Canto 2), 593
3. Belacqua and the Horizons of Purgatory, 594
4. Vergil's Palinurus in Purgatorio and the Rudderless Ship of State (Canto 6), 597
5. The Canonical Hours; Compline (Canto 8), 600
6. The Terrace of Pride: i. Structure and Rationale (Cantos 10-12), 603
7. The Terrace of Pride: ii. The Theme of Art (Cantos 10-12), 606
8. San Miniato al Monte and Dante's Pride of Workmanship (Canto 12), 608
9. Number, Light, Motion, and Degree at the Center of the Comedy, 610
10. Dante and Forese (Cantos 23-24), 612
11. Embryology and Heredity (Canto 25), 614
12. The Virtues of the Virgin Mary (After Canto 27), 617
13. Dante and Ovid's Pyramus (Canto 27), 618
14. Virgil and the Fourth Eclogue (Canto 30), 620
15. Rolling Out the Apocalypse (Cantos 29-33), 623
tx