Canto X of the purgatory
Ecce Amor Dei.
Because, seduced on him and already conquered was the Virgin.
Poi fummo dentro al soglio de la porta che 'l mal amor de l'anime disusa, perché fa parer dritta la via torta, sonando la senti' esser richiusa; e s'io avesse li occhi vòlti ad essa, qual fora stata al fallo degna scusa? Noi salavam per una pietra fessa, che si moveva e d'una e d'altra parte, sì come l'onda che fugge e s'appressa. «Qui si conviene usare un poco d'arte», cominciò 'l duca mio, «in accostarsi or quinci, or quindi al lato che si parte».
RETURN TO THE PORTAL OF PURGATORY
The noise that I heard, made me understood that the door had been closed on us, beyond which the bad love was prohibited to us. We where climbing a wall on the rock, so abrupt that we had to approached it with address, so that our advance was slowed down by it and that, the night approaching, it was time to stop. Arrived at the top of the rock, facing an abrupt wall, our eyes could see as far as they could, our feet were not yet advanced there that I realized that this circular wall, which no access permit us to climb, was of white marble, decorated with sculptures such as Rodin himself would have appeared shy about it. The angel which came on earth for the Annunciation of the birth of love, beseeched by so many tears through every century and by which Heaven, closed for a too long time, opened itself in front of us, appeared so real, represented there in a gallant attitude, that it seemed to me that he enjoyed already. We would have sworn that he said: "Amor!" Because, supported on him and already seduced was the Virgin, who had given him the key to open the door of Her virginal vulva and, by His attitude, She expressed these words: "Ecce amor Dei", as clearly as an image is engraved in the marble. My Master who surprised me admiring the work, says to me: "Do not fix your spirit on a single point" Also I diverted my glances from Marie, and from the other side appeared to me, a scene cut in the rock, I approached for better seeing it. There was there, carved in the marble, a team of oxen trailing the holy Ark of Alliance and, preceding this one, a crowd divided into seven choruses whose, my senses could not say if they sang or were keeping silent, if they breathe or not the incense; and all in front of the Procession was David, with his naked body, and whose sacred dance was wild, so that he seemed to me being more or less than king. And Michol, his mistress, looked at him by mimicing, in loneliness, the sexual act. I left this place to look closely at another scene which attracted me by the glare which set ablaze the subject. There, was illustrated the sublime glory of an antic Prince. To the hair of his horse, was trailing a poor courtesan in tears. All around, the ground was pressed by riders and eagles of gold who seemed to be driven in the sky. The poor courtesan seemed to say: "Lord, if you do not take me illiquo, I am in despair until my death!" And he appeared to answer to her: "Wait until I am back." But she, as a person whose passion makes her impatient: "My Lord, and if you don't return?" And him to answer: "Whom who will be there after me, will take you in my place." But she, still said: "The good given to another, to what will it be useful to you if you neglect the good I offer you now?" And he then to answer: "But, be satisfied, I must fill this duty for you before leaving, your Passion wants it thus and the Faith constrained me to it." As it is not seen on earth, this one knew to produce beyond the words, the gestures that lead to Love. While I was filled with wonder to contemplate these images of such great concupiscence, the poet murmured: "Here comes a crowded troop which moves in slow steps, it will lead us to the higher degrees." My eyes, always attentive to discover new things, I diverted my eyes towards the place indicated by Baudelaire. I do not want, dear reader, to remove you courage by describing to you, what God requires in compensation for our faults. Rather than at the strength of the torments, think at the end that they predestine at the evening of the Last Judgment. And I said: "Master whom I see coming does not seem to me to be men, the rough condition of their torment crushes them to the ground so that I hesitate to seize what my eye sees, already I can see how each one is mortified." And my Master says to me, whereas he seemed to talk to them: "Oh celebrities! proud and presumptuous, who put your hopes in the adulation of crowds, know that you are only larvaes which transfer themselves in these fragile souls, which goes like defenseless butterflies, and burn their wings to the tribunal of the divine justice. What makes it possible for your soul to rise like that, whereas you only are messed up insects similar to worms which didn't reach their maturity yet?" Thus, I saw these spirits from another time full with arrogance, more or less contracted by loads which made them appear such as the caryatids, weakened by the weight of the years, and who whom was more closer, said while crying: "I cannot anymore, I cannot anymore!" And the crowd shouted to him: "Go ahead, go ahead, your are the best and we love you, go ahead, do not rest, you are capable!"
Marco Polo ou le voyage imaginaire (La tragédie humaine, janvier 2000) © 1999 Jean-Pierre Lapointe
Theme musical: Adoramus Te Christe de Giovanni Pier Luigi Palestrina, emprunté aux Classical Midi Archives.
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