Canto I. About to sing of a region where human spirits are purged of their sins and prepared to enter heaven, Dante invokes the aid of the muses. Then, gazing about him, he discovers he is in an atmosphere of sapphire hue, all the more lovely because of the contrast with the infernal gloom whence he has just emerged. It is just before dawn, and he beholds with awe four bright stars,—the Southern Cross,—which symbolize the four cardinal virtues (Prudence, Justice, Fortitude, and Temperance).

After contemplating these stars awhile, Dante, turning to the north to get his bearings, perceives Virgil has been joined in this ante-purgatorial region by Cato, who wonderingly inquires how they escaped "the eternal prison-house."

Virgil's gesture and example have meantime forced Dante to his knees, so it is in this position that the Latin poet explains how a lady in heaven bade him rescue Dante—before it was too late—by guiding him through hell and showing him how sinners are cleansed in Purgatory. The latter part of Virgil's task can, however, be accomplished only if Cato will allow them to enter the realm which he guards. Moved by so eloquent a plea, Cato directs Virgil to wash all traces of tears and of infernal mirk from Dante's face, girdle him with a reed in token of humility, and then ascend the Mount of Purgatory,—formed of the earthy core ejected from Hades,—which he points out in the middle of a lake with reedy shores.

Leading his charge in the early dawn across a meadow, Virgil draws his hands first through the dewy grass and then over Dante's face, and, having thus removed all visible traces of the passage through Hades, takes him down to the shore to girdle him with a pliant reed, the emblem of humility.

Canto II. Against the whitening east they now behold a ghostly vessel advancing toward them, and when it approaches near enough they descry an angel standing at its prow, his outspread wings serving as sails. While Dante again sinks upon his knees, he hears, faintly at first, the passengers in the boat singing the psalm "When Israel went out of Egypt."

Making a sign of the cross upon each passenger's brow, the angel allows his charges to land, and vanishes at sunrise, just as the new-comers, turning to Virgil, humbly inquire the way to the mountain. Virgil rejoins that he too is a recent arrival, although he and his companion travelled a far harder road than theirs. His words making them aware of the fact that Dante is a living man, the spirits crowd around him, eager to touch him. Among them he recognizes the musician Casella, his friend. Unable to embrace a spirit,—although he tries to do so,—Dante, after explaining his own presence here, begs Casella to comfort all present by singing of love. Just as this strain ends, Cato reappears, urging them to hasten to the mountain and there cast aside the scales which conceal God from their eyes. At these words all the souls present scatter like a covey of pigeons, and begin ascending the mountain, whither Virgil and Dante slowly follow them.

      "As a wild flock of pigeons, to their food
  Collected, blade or tares, without their pride
  Accustom'd, and in still and quiet sort,
  If aught alarm them, suddenly desert
  Their meal, assail'd by more important care;
  So I that new-come troop beheld, the song
  Deserting, hasten to the mountain's side,
  As one who goes, yet, where he tends, knows not."

Canto III. While painfully ascending the steep slope, Dante, seeing only his own shadow lengthening out before him, fears his guide has abandoned him, and is relieved to see Virgil close behind him and to hear him explain that disembodied spirits cast no shadow. While they are talking, they reach the foot of the mountain and are daunted by its steep and rocky sides. They are vainly searching for some crevice whereby they may hope to ascend, when they behold a slowly advancing procession of white-robed figures, from whom Virgil humbly inquires the way.

      "As sheep, that step from forth their fold, by one,
  Or pairs, or three at once; meanwhile the rest
  Stand fearfully, bending the eye and nose
  To ground, and what the foremost does, that do
  The others, gathering round her if she stops,
  Simple and quiet, nor the cause discern;
  So saw I moving to advance the first,
  Who of the fortunate crew were at the head,
  Of modest mien, and graceful in their gait.
  When they before me had beheld the light
  From my right side fall broken on the ground,
  So that the shadow reach'd the cave; they stopp'd,
  And somewhat back retired: the same did all
  Who follow'd, though unwitting of the cause."

These spirits too are startled at the sight of a living being, but, when Virgil assures them Dante is not here without warrant, they obligingly point out "the straight and narrow way" which serves as entrance to Purgatory. This done, one spirit, detaching itself from the rest, inquires whether Dante does not remember Manfred, King of Naples and Sicily, and whether he will not, on his return to earth, inform the princess that her father repented of his sins at the moment of death and now bespeaks her prayers to shorten his time of probation.

Canto IV. Dazed by what he has just seen and heard, Dante becomes conscious of his surroundings once more, only when the sun stands considerably higher, and when he has arrived at the foot of a rocky pathway, up which he painfully follows Virgil, helping himself with his hands as well as his feet. Arrived at its top, both gaze wonderingly around them, and perceive by the position of the sun that they must be at the antipodes of Florence, where their journey began. Panting with the exertions he has just made, Dante expresses some fear lest his strength may fail him, whereupon Virgil kindly assures him the way, so arduous at first, will become easier and easier the higher they ascend.

Just then a voice, addressing them, advises them to rest, and Dante, turning, perceives, among other spirits, a sitting figure, in whom he recognizes a friend noted for his laziness. On questioning this spirit, Dante learns that this friend, Belacqua, instead of exerting himself to climb the mount of Purgatory, is idly waiting in hopes of being wafted upward by the prayers of some "heart which lives in grace." Such slothfulness irritates Virgil, who hurries Dante on, warning him the sun has already reached its meridian and night will all too soon overtake them.

Canto V. Heedless of the whispered comments behind him because he is opaque and not transparent like the other spirits, Dante follows Virgil, until they overtake a band of spirits chanting the Miserere. These too seem surprised at Dante's density, and, when assured he is alive, eagerly inquire whether he can give them any tidings of friends and families left on earth. Although all present are sinners who died violent deaths, as they repented at the last minute they are not wholly excluded from hope of bliss. Unable to recognize any of these, Dante nevertheless listens to their descriptions of their violent ends, and promises to enlighten their friends and kinsmen in regard to their fate.

Canto VI. Because Virgil moves on, Dante feels constrained to follow, although the spirits continue to pluck at his mantle, imploring him to hear what they have to say. Touched by the sorrows of men of his own time or famous in history, Dante wistfully asks his guide whether prayers can ever change Heaven's decrees, and learns that true love can work miracles, as he will perceive when he beholds Beatrice. The hope of meeting his beloved face to face causes Dante to urge his guide to greater speed and almost gives wings to his feet. Presently Virgil directs his companion's attention to a spirit standing apart, in whom Dante recognizes the poet Sordello, who mourns because Mantua—his native city as well as Virgil's—drifts in these political upheavals like a pilotless vessel in the midst of a storm.

Canto VII. Virgil now informs Sordello that he, Virgil, is debarred from all hope of heaven through lack of faith. Thereupon Sordello reverently approaches him, calling him "Glory of Latium," and inquiring whence he comes. Virgil explains how, led by heavenly influence, he left the dim limbo of ante-hell, passed through all the stages of the Inferno, and is now seeking the place "Where Purgatory its true beginning takes." Sordello rejoins that, while he will gladly serve as guide, the day is already so far gone that they had better spend the night in a neighboring dell. He then leads Virgil and Dante to a hollow, where, resting upon fragrant flowers, they prepare to spend the night, with a company of spirits who chant "Salve Regina." Among these the new-comers recognize with surprise sundry renowned monarchs, whose doings are briefly described.

Canto VIII. Meantime the hour of rest has come, the hour described by the poet as—

      Now was the hour that wakens fond desire
  In men at sea, and melts their thoughtful heart
  Who in the morn have bid sweet friends farewell,
  And pilgrim newly on his road with love
  Thrills, if he hear the vesper bell from far
  That seems to mourn for the expiring day.

Dante and Virgil then witness the evening devotions of these spirits, which conclude with a hymn so soft, so devout, that their senses are lost in ravishment. When it has ended, the spirits all gaze expectantly upward, and soon behold two green-clad angels, with flaming swords, who alight on eminences at either end of the glade. These heavenly warriors are sent by Mary to mount guard during the hours of darkness so as to prevent the serpent from gliding unseen into their miniature Eden. Still led by Sordello, the poets withdraw to a leafy recess, where Dante discovers a friend whom he had cause to believe detained in hell. This spirit explains he is not indeed languishing there simply because of the prayers of his daughter Giovanna, who has not forgotten him although his wife has married again.

Dante is just gazing with admiration at three stars (symbols of Faith, Hope, and Charity), when Sordello suddenly points out the serpent, who is no sooner descried by the angels than they swoop down and put him to flight.

              "I saw not, nor can tell,
  How those celestial falcons from their seat
  Moved, but in motion each one well descried.
  Hearing the air cut by their verdant plumes,
  The serpent fled; and, to their stations, back
  The angels up return'd with equal flight."

Canto IX. Dante falls asleep in this valley, but, just as the first gleams of light appear, he is favored by a vision, wherein—like Ganymede—he is borne by a golden-feathered eagle into a glowing fire where both are consumed. Wakening with a start from this disquieting dream, Dante finds himself in a different spot, with no companion save Virgil, and notes the sun is at least two hours high.

Virgil now assures him that, thanks to Santa Lucia (type of God's grace), he has in sleep been conveyed to the very entrance of Purgatory. Gazing at the high cliffs which encircle the mountain, Dante now perceives a deep cleft, through which he and Virgil arrive at a vast portal (the gate of penitence), to which three huge steps of varying color and size afford access. At the top of these steps, on a diamond threshold, sits the Angel of Absolution with his flashing sword. Challenged by this warder, Virgil explains that they have been guided hither by Santa Lucia, at whose name the angel bids them draw near. Up a polished step of white marble (which typifies sincerity), a dark step of cracked stone (symbol of contrition), and one of red porphyry (emblem of self-sacrifice), Dante arrives at the angel's feet and humbly begs him to unbar the door. In reply the angel inscribes upon the poet's brow, by means of his sword, seven P's, to represent the seven deadly sins (in Italian peccata), of which mortals must be purged ere they can enter Paradise.

After bidding Dante have these signs properly effaced, the angel draws from beneath his ash-hued mantle the golden key of authority and the silver key of discernment, stating that when St. Peter entrusted them to his keeping he bade him err "rather in opening than in keeping fast." Then, the gate open, the angel bids them enter, adding the solemn warning "he forth again departs who looks behind."

Canto X. Mindful of this caution, Dante does not turn, although the gates close with a clash behind him, but follows his guide along a steep pathway. It is only after painful exertions they reach the first terrace of Purgatory, or place where the sin of pride is punished. They now pass along a white marble cornice,—some eighteen feet wide,—whose walls are decorated with sculptures which would not have shamed the best masters of Greek art. Here are represented such subjects as the Annunciation, David dancing before the Ark, and Trajan granting the petition of the unfortunate widow. Proceeding along this path, they soon see a procession of spirits approaching, all bent almost double beneath huge burdens. As they creep along, one or another gasps from time to time, "I can endure no more."

Canto XI. The oppressed spirits fervently pray for aid and forgiveness, while continuing their weary tramp around this cornice, where they do penance for undue pride. Praying they may soon be delivered, Virgil inquires of them where he can find means to ascend to the next circle, and is told to accompany the procession which will soon pass the place. The speaker, although unable to raise his head, confesses his arrogance while on earth so incensed his fellow-creatures that they finally rose up against him and murdered him. Stooping so as to catch a glimpse of the bent face, Dante realizes he is talking to a miniature painter who claimed to be without equal, and therefore has to do penance.

                          The noise
  Of worldly fame is but a blast of wind,
  That blows from diverse points, and shifts its name,
  Shifting the point it blows from.

Canto XII. Journeying beside the bowed painter (who names some of his fellow-sufferers), Dante's attention is directed by Virgil to the pavement beneath his feet, where he sees carved Briareus, Nimrod, Niobe, Arachne, Saul, etc.,—in short, all those who dared measure themselves with the gods or who cherished overweening opinions of their attainments. So absorbed is Dante in contemplation of these subjects that he starts when told an angel is coming to meet them, who, if entreated with sufficient humility, will doubtless help them reach the next level.

The radiant-faced angel, robed in dazzling white, instead of waiting to be implored to help the travellers, graciously points out steps where the rocks are sundered by a cleft, and, when Dante obediently climbs past him, a soft touch from his wings brushes away the P. which stands for pride, and thus frees our poet of all trace of this heinous sin. But it is only on reaching the top of the stairway that Dante becomes aware of this fact.

Canto XIII. The second ledge of purgatory, which they have now reached, is faced with plain gray stone, and Virgil leads his companion a full mile along it ere they become aware of a flight of invisible spirits, some of whom chant "They have no wine!" while the others respond "Love ye those who have wrong'd you." These are those who, having sinned through envy, can be freed only by the exercise of charity. Then, bidding Dante gaze fixedly, Virgil points out this shadowy host, clothed in sackcloth, sitting back against the rocks, and Dante takes particular note of two figures supporting each other. He next discovers that one and all of these victims have their eyelids sewn so tightly together with wire that passage is left only for streams of penitential tears.

When allowed to address them, Dante, hoping to comfort them, offers to bear back to earth any message they wish to send. It is then that one of these spirits informs Dante that on earth she was Sapia, a learned Siennese, who, having rejoiced when her country was defeated, is obliged to do penance for heartlessness. Marvelling that any one should wander among them with eyes unclosed, she inquires by what means Dante has come here, bespeaks his prayers, and implores him to warn her countrymen not to cherish vain hopes of greatness or to sin through envy.

Canto XIV. The two spirits leaning close together, in their turn question who Virgil and Dante may be? When they hear mention of Rome and Florence, they hotly inveigh against the degeneracy of dwellers on............