[2] These last words are obscure, and none of the commentators explain them satisfactorily. I had a cord girt around me, and with it I had once thought to take the leopard of the dappled skin.[1] After I had loosed it wholly from me, even as my Leader had commanded me, I reached it to him wound up and coiled. Whereon he turned toward the right, and somewhat far from the edge threw it down into that deep abyss. “And surely some strange thing must needs respond,” said I to myself, “to the strange signal which the Master so follows with his eye.” [2] The leopard of the dappled skin, which had often turned back Dante from the Mountain to the Dark Wood (see Canto i.); the type of sensual sin. The cord is the type of religions asceticism, of which the poet no longer has need. The meaning of its use as a signal is not apparent. Ah! how cautious men ought to be near those who see not only the act, but with their wisdom look within the thoughts. He said to me: “Soon will come up that which I await, and what thy thought is dreaming must soon discover itself unto thy sight.” To that truth which has the aspect of falsehood ought one always to close his lips so far as he can, because without fault it causes shame;[1] but here I cannot be silent, and by the notes of this comedy, Reader, I swear to thee,—so may they not be void of lasting grace,—that I saw through that thick and dark air a shape come swimming upwards marvelous to every steadfast heart; like as he returns who goes down sometimes to loose an anchor that grapples either a rock or other thing that in the sea is hid, who stretches upward, and draws in his feet. [1] Because the narrator is falsely taxed with falsehood. CANTO XVII. Third round of the Seventh Circle: of those who have done violence to Art.—Geryon.—The Usurers.—Descent to the Eighth Circle. “Behold the wild beast with the pointed tail, that passes mountains, and breaks walls and weapons; behold him that infects all the world.”[1] Thus began my Leader to speak to me; and he beckoned to him that he should come to shore near the end of the trodden marbles.[2] And that loathsome image of fraud came onward, and landed his head and his body, but drew not his tail upon the bank. His face was the face of a just man (so benignant was its skin outwardly), and of a serpent all the trunk beside; he had two paws, hairy to the armpits; his back and breast and both his sides were painted with nooses and circles. With more colors of woof and warp Tartars or Turks never made cloth, nor were such webs woven by Arachne. [1] Dante makes Geryon the type and image of Fraud, thus allegorizing the triple form (forma tricorperis umbrae: Aeneid vi. 289; tergemini Geryonae; Id. viii. 292) ascribed to him by the ancient poets. [2] The stony margin of Phlegethon, on which Virgil and Dante have crossed the sand.