Divina Commedia
Oft have I seen at some cathedral doorA laborer, pausing in the dust and heat,Lay down his burden, and with reverent feetEnter, and cross himself, and on the floorKneel to repeat his paternoster o'er;Far off the noises of the world retreat;The loud vociferations of the streetBecome an undistinguishable roar.So, as I enter here from day to day,And leave my burden at this minster gate,Kneeling in prayer, and not ashamed to pray,The tumult of the time disconsolateTo inarticulate murmurs dies away,While the eternal ages watch and wait.
How strange the sculptures that adorn these towers!This crowd of statues, in whose folded sleevesBirds build their nests; while canopied with leavesParvis and portal bloom like trellised bowers,And the vast minster seems a cross of flowers!But fiends and dragons on the gargoyled eavesWatch the dead Christ between the living thieves,And, underneath, the traitor Judas lowers!Ah! from what agonies of heart and brain,What exultations trampling on despair,What tenderness, what tears, what hate of wrong,What passionate outcry of a soul in pain,Uprose this poem of the earth and air,This medieval miracle of song!
I enter, and I see thee in the gloomOf the long aisles, O poet saturnine!And strive to make my steps keep pace with thine.The air is filled with some unknown perfume;The congregation of the dead make roomFor thee to pass; the votive tapers shine;Like rooks that haunt Ravenna's groves of pineThe hovering echoes fly from tomb to tomb.From the confessionals I hear ariseRehearsals of forgotten tragedies,And lamentations from the crypts below;And then a voice celestial, that beginsWith the pathetic words, "Although your sinsAs scarlet be," and ends with "as the snow."
With snow-white veil and garments as of flame,She stands before thee, who so long agoFilled thy young heart with passion and the woeFrom which thy song and all its splendors came;And while with stern rebuke she speaks thy name,The ice about thy heart melts as the snowOn mountain height; and in swift overflowComes gushing from thy lips in sobs of shame.Thou makest full confession; and a gleam,As of the dawn on some dark forest cast,Seems on thy lifted forehead to increase;Lethe and Eunoe--the remembered dreamAnd the forgotten sorrow--bring at lastThat perfect pardon which is perfect peace.
I lift mine eyes, and all the windows blazeWith forms of saints and holy men who died,Here martyred and hereafter glorified;And the great Rose upon its leaves displaysChrist's Triumph, and the angelic roundelays,With splendor upon splendor multiplied;And Beatrice again at Dante's sideNo more rebukes, but smiles her words of praise.And then the organ sounds, and unseen choirsSing the old Latin hymns of peace and love,And benedictions of the Holy Ghost;And the melodious bells among the spiresO'er all the house-tops and through heaven aboveProclaim the elevation of the Host!
O star of morning and of liberty!O bringer of the light, whose splendor shinesAbove the darkness of the Apennines,Forerunner of the day that is to be!The voices of the city and the sea,The voices of the mountains and the pines,Repeat thy song, till the familiar linesAre footpaths for the thought of Italy!Thy fame is blown abroad from all the heights,Through all the nations, and a sound is heard,As of a mighty wind, and men devout,Strangers of Rome, and the new proselytes,In their own language hear thy wondrous word,And many are amazed and many doubt.
Words in this poem
- kneel v. i.
- To bend the knee; to fall or rest on the knees; -- sometimes with down. [OE. knelen, cneolien; akin to D. knielen, Dan. knæle. See Knee.]
- paternoster n.
- The Lord's prayer, so called from the first two words of the Latin version. [L., Our Father.]
- disconsolate n.
- Disconsolateness. Barrow.
- parvis n.
- a court of entrance to, or an inclosed space before, a church; hence, a church porch; -- sometimes formerly used as place of meeting, as for lawyers. [F. parvis, fr. LL. paravisus, fr. L. paradisus. See Paradise.]
- trellised a.
- Having a trellis or trellises.
- saturnine a.
- Born under, or influenced by, the planet Saturn. [L. Saturnus the god Saturn, also, the planet Saturn: cf. F. saturnin of or pertaining to lead (Saturn, in old chemistry, meaning lead),saturnien saturnine, satu]
- votive a.
- Given by vow, or in fulfillment of a vow; consecrated by a vow; devoted; as, votive offerings; a votive tablet. [L. votivus, fr. votum a vow: cf. F. votif. See Vow.]
- pathetic a.
- Expressing or showing anger; passionate. [L. patheticus, Gr. pathétique. See Pathos.]
- lethe n.
- A river of Hades whose waters when drunk caused forgetfulness of the past.
- hereafter adv.
- In time to come; in some future time or state. [AS. hræfter.]
- unseen a.
- Not seen or discovered.
- ghost n.
- The spirit; the soul of man. [OE. gast, gost, soul, spirit, AS. gast breath, spirit, soul; akin to OS. g spirit, soul, D. geest, G. geist, and prob. to E. gaze, ghastly.]
- bringer n.
- One who brings.
- wondrous adv.
- In a wonderful or surprising manner or degree; wonderfully. [OE. wonders, adv. (later also adj.). See Wonder, n., and cf. -wards.]
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
Divina Commedia is in the public domain. This text is taken from The Complete Poetical Works of Henry Wadsworth Longfellow, Project Gutenberg ebook #1365; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.
Cite as: Henry Wadsworth Longfellow, Divina Commedia, in The Complete Poetical Works (1839–1882), text of Project Gutenberg ebook #1365, Laurel, https://laurelpoetry.com/poem/longfellow-poems/divina-commedia.html, id L17716.
Form and metre
Divina Commedia is 84 lines in 6 stanzas of 14 lines each. The commonest rhyme scheme is ABBAABBACDECDE, in 2 of the 6 stanzas; the rest vary or could not be confirmed. The metre is iambic pentameter, measured from the stress the words themselves fix (confidence 87%). 93% of its stressed syllables fall where the metre puts the beat. The lines average 10.0 syllables. 9 lines end on an unstressed syllable, a feminine ending. 33% of the lines run on without a stop at the line end.
See other poems in iambic pentameter.
Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.
Rhyme words, stanza by stanza
The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.
- 1 ABBA-BBACDC-CD doorA · heatB · feetB · floorA · o'er · retreatB · streetB · roarA · dayC · gateD · prayC · disconsolate · awayC · waitD
- 2 ABBAABB-CDECDE towersA · sleevesB · leavesB · bowersA · flowersA · eavesB · thievesB · lowers · brainC · despairD · wrongE · painC · airD · songE
- 3 A-BAABBACCDEED gloomA · saturnine · thineB · perfumeA · roomA · shineB · pineB · tombA · ariseC · tragediesC · belowD · beginsE · sinsE · snowD
- 4 ABBAABBACDECDE flameA · agoB · woeB · cameA · nameA · snowB · overflowB · shameA · gleamC · castD · increaseE · dreamC · lastD · peaceE
- 5 ABBAABBACDECDE blazeA · diedB · glorifiedB · displaysA · roundelaysA · multipliedB · sideB · praiseA · choirsC · loveD · ghostE · spiresC · aboveD · hostE
- 6 -A-BBAA-CDECDE liberty · shinesA · apennines · beB · seaB · pinesA · linesA · italy · heightsC · heardD · devoutE · proselytesC · wordD · doubtE
Scansion, line by line
Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against iambic pentameter. How this is done.
| Line | Syl. | Stress |
|---|---|---|
| Oft have I seen at some cathedral door | 10 | ······˘/˘· |
| A laborer, pausing in the dust and heat, | 10 | ·/˘/˘····· |
| Lay down his burden, and with reverent feet | 10 | ···/˘··/˘· |
| Enter, and cross himself, and on the floor | 10 | /˘··˘/···· |
| Kneel to repeat his paternoster o'er; | 9 | ··˘/·/˘˘· |
| Far off the noises of the world retreat; | 10 | ···/˘···˘/ |
| The loud vociferations of the street | 10 | ·········· |
| Become an undistinguishable roar. | 10 | ˘/········ |
| So, as I enter here from day to day, | 10 | ···/˘····· |
| And leave my burden at this minster gate, | 10 | ···/˘··/˘· |
| Kneeling in prayer, and not ashamed to pray, | 10 | /˘····˘/·· |
| The tumult of the time disconsolate | 10 | ·/˘···˘/˘˘ |
| To inarticulate murmurs dies away, | 10 | ·˘˘/˘/˘·˘/ |
| While the eternal ages watch and wait. | 10 | ··˘/˘/˘··· |
| How strange the sculptures that adorn these towers! | 11 | ···/˘·˘/·/˘ |
| This crowd of statues, in whose folded sleeves | 10 | ···/···/˘· |
| Birds build their nests; while canopied with leaves | 9 | ········· |
| Parvis and portal bloom like trellised bowers, | 11 | ···/˘··/˘/˘ |
| And the vast minster seems a cross of flowers! | 11 | ···/˘····/˘ |
| But fiends and dragons on the gargoyled eaves | 10 | ···/˘··/·· |
| Watch the dead Christ between the living thieves, | 10 | ·······/˘· |
| And, underneath, the traitor Judas lowers! | 11 | ··˘/·/˘/˘/˘ |
| Ah! from what agonies of heart and brain, | 10 | ···/˘˘···· |
| What exultations trampling on despair, | 10 | ·····/˘·˘/ |
| What tenderness, what tears, what hate of wrong, | 10 | ·/˘˘······ |
| What passionate outcry of a soul in pain, | 10 | ·/˘/······ |
| Uprose this poem of the earth and air, | 10 | ···/˘····· |
| This medieval miracle of song! | 9 | ·˘/˘/˘˘·· |
| I enter, and I see thee in the gloom | 10 | ·/˘······· |
| Of the long aisles, O poet saturnine! | 10 | ·····/˘/˘˘ |
| And strive to make my steps keep pace with thine. | 10 | ·········· |
| The air is filled with some unknown perfume; | 10 | ······˘/˘/ |
| The congregation of the dead make room | 10 | ··˘/˘····· |
| For thee to pass; the votive tapers shine; | 10 | ·····/˘/˘· |
| Like rooks that haunt Ravenna's groves of pine | 10 | ····˘/˘··· |
| The hovering echoes fly from tomb to tomb. | 10 | ·/˘/˘····· |
| From the confessionals I hear arise | 10 | ··˘/˘˘··˘/ |
| Rehearsals of forgotten tragedies, | 10 | ˘/˘·˘/˘/˘˘ |
| And lamentations from the crypts below; | 10 | ·········· |
| And then a voice celestial, that begins | 10 | ····˘/˘·˘/ |
| With the pathetic words, "Although your sins | 10 | ··˘/˘····· |
| As scarlet be," and ends with "as the snow." | 10 | ·/˘······· |
| With snow-white veil and garments as of flame, | 10 | ·····/˘··· |
| She stands before thee, who so long ago | 10 | ········˘/ |
| Filled thy young heart with passion and the woe | 10 | ·····/˘··· |
| From which thy song and all its splendors came; | 10 | ·······/˘· |
| And while with stern rebuke she speaks thy name, | 10 | ····˘/···· |
| The ice about thy heart melts as the snow | 10 | ·········· |
| On mountain height; and in swift overflow | 10 | ·/˘····/˘· |
| Comes gushing from thy lips in sobs of shame. | 10 | ·/˘······· |
| Thou makest full confession; and a gleam, | 10 | ····˘/˘··· |
| As of the dawn on some dark forest cast, | 10 | ·······/˘· |
| Seems on thy lifted forehead to increase; | 10 | ···/˘/˘·˘/ |
| Lethe and Eunoe--the remembered dream | 10 | /˘····˘/˘· |
| And the forgotten sorrow--bring at last | 10 | ··˘/˘/˘··· |
| That perfect pardon which is perfect peace. | 10 | ·˘//˘··˘/· |
| I lift mine eyes, and all the windows blaze | 10 | ·······/˘· |
| With forms of saints and holy men who died, | 10 | ·····/˘··· |
| Here martyred and hereafter glorified; | 10 | ·/˘·˘/˘/˘· |
| And the great Rose upon its leaves displays | 10 | ········˘/ |
| Christ's Triumph, and the angelic roundelays, | 11 | ·/˘···/˘··· |
| With splendor upon splendor multiplied; | 10 | ·/˘··/˘/˘· |
| And Beatrice again at Dante's side | 10 | ·/˘˘˘/·/˘· |
| No more rebukes, but smiles her words of praise. | 10 | ··˘/······ |
| And then the organ sounds, and unseen choirs | 10 | ···/˘··˘/· |
| Sing the old Latin hymns of peace and love, | 10 | ···/˘····· |
| And benedictions of the Holy Ghost; | 10 | ··˘/˘··/˘· |
| And the melodious bells among the spires | 10 | ··˘/˘····· |
| O'er all the house-tops and through heaven above | 10 | ·······/·· |
| Proclaim the elevation of the Host! | 10 | ˘/··˘/˘··· |
| O star of morning and of liberty! | 10 | ···/˘··/˘˘ |
| O bringer of the light, whose splendor shines | 10 | ·/˘····/˘· |
| Above the darkness of the Apennines, | 10 | ···/˘··/˘· |
| Forerunner of the day that is to be! | 10 | /·˘······· |
| The voices of the city and the sea, | 10 | ·/˘··/˘··· |
| The voices of the mountains and the pines, | 10 | ·/˘··/˘··· |
| Repeat thy song, till the familiar lines | 10 | ˘/····˘/˘· |
| Are footpaths for the thought of Italy! | 10 | ·/·····/˘˘ |
| Thy fame is blown abroad from all the heights, | 10 | ····˘/···· |
| Through all the nations, and a sound is heard, | 10 | ···/˘····· |
| As of a mighty wind, and men devout, | 10 | ···/˘···˘/ |
| Strangers of Rome, and the new proselytes, | 10 | /˘········ |
| In their own language hear thy wondrous word, | 10 | ···/˘··/˘· |
| And many are amazed and many doubt. | 10 | ·/˘·˘/·/˘· |
The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.