Purgatorio, Canto 26
Dante Alighieri · Italian original · new English translation and commentary by Text Atlas
Overview
Dante's living shadow draws the lustful souls' attention inside the seventh terrace fire. Two groups meet briefly, kiss, and cry examples of Sodom and Pasiphae before separating. Guido Guinizzelli explains the groups, names himself, and receives Dante's reverence as a father of sweet love rhymes. Guido points to Arnaut Daniel as the greater maker of the mother tongue, asks for prayer, and Arnaut speaks in Provençal before vanishing into the refining flame.
Narrative arc
- Dante's shadow reddens the fire and the souls notice his living body
- A thirsty soul asks how Dante still casts a shadow
- The two lustful groups kiss briefly, cry their shame, and part
- Dante explains his living journey and asks the souls' identities
- Guido explains the opposed groups and names himself
- Dante honors Guinizzelli as father of sweet love rhymes
- Guido points to Arnaut and asks for fitting prayer
- Arnaut speaks in Provençal and disappears into the refining fire
Central themes
- fire
Dante's shadow reddens the fire and the souls notice his living body XXVI.1–15
1Mentre che sì per l’orlo, uno innanzi altro,
ce n’andavamo, e spesso il buon maestro
diceami: «Guarda: giovi ch’io ti scaltro»;
feriami il sole in su l’omero destro,
5che già, raggiando, tutto l’occidente
mutava in bianco aspetto di cilestro;
e io facea con l’ombra più rovente
parer la fiamma; e pur a tanto indizio
vidi molt’ ombre, andando, poner mente.
10Questa fu la cagion che diede inizio
loro a parlar di me; e cominciarsi
a dir: «Colui non par corpo fittizio»;
poi verso me, quanto potëan farsi,
certi si fero, sempre con riguardo
15di non uscir dove non fosser arsi.
1While thus along the edge, one before another,
we went, and often the good master
said to me: “Watch: may my warning make you wary”;
the sun was striking me on the right shoulder,
5and already, raying out, the whole west
was changing from blue to a white aspect;
and with my shadow I made the flame
seem more red-hot; and at just such a sign
I saw many shades, as they went, take notice.
10This was the cause that gave them their start
to speak of me; and they began
to say: “That one does not seem a fictive body”;
then toward me, as far as they could come,
some drew near, always careful
15not to step beyond the burning limit.
Commentary
The passage gives the right-shoulder sun, the whitening west, Dante's shadow reddening the flame, and the souls' careful approach without leaving the purifying fire. The translation keeps scaltro as Virgil making Dante wary in a dangerous single-file path.
XXVI.1–3 Scaltro is kept as practical warning and sharpened caution while Dante walks the exposed edge beside the fire.
XXVI.1–3 Scaltro is kept as practical warning and sharpened caution while Dante walks the exposed edge beside the fire. Line 3: Scaltro is kept as practical warning and sharpened caution while Dante walks the exposed edge beside the fire.
XXVI.3 Scaltro is kept as practical warning and sharpened caution while Dante walks the exposed edge beside the fire. Scaltro is kept as practical warning and sharpened caution while Dante walks the exposed edge beside the fire.
XXVI.10–12 Fittizio is rendered as fictive to keep the contrast between a real living body and an apparent shade body.
XXVI.10–12 Fittizio is rendered as fictive to keep the contrast between a real living body and an apparent shade body. Line 12: Fittizio is rendered as fictive to keep the contrast between a real living body and an apparent shade body.
XXVI.12 Fittizio is rendered as fictive to keep the contrast between a real living body and an apparent shade body. Fittizio is rendered as fictive to keep the contrast between a real living body and an apparent shade body.
A thirsty soul asks how Dante still casts a shadow XXVI.16–27
16«O tu che vai, non per esser più tardo,
ma forse reverente, a li altri dopo,
rispondi a me che ’n sete e ’n foco ardo.
Né solo a me la tua risposta è uopo;
20ché tutti questi n’hanno maggior sete
che d’acqua fredda Indo o Etïopo.
Dinne com’ è che fai di te parete
al sol, pur come tu non fossi ancora
di morte intrato dentro da la rete».
25Sì mi parlava un d’essi; e io mi fora
già manifesto, s’io non fossi atteso
ad altra novità ch’apparve allora;
16“O you who go, not for being slower,
but perhaps out of reverence, behind the others,
answer me, who burn in thirst and fire.
Your answer is needed not only by me;
20for all these have greater thirst for it
than Indian or Ethiopian for cold water.
Tell us how it is that you make of yourself a wall
against the sun, just as if you had not yet
entered within the net of death.”
25So one of them spoke to me; and I would
already have shown myself, if I had not been intent
on another new wonder that appeared then;
Commentary
The passage joins the thirst/fire question and the living body's wall-like shadow. The translation keeps thirst for explanation inside the purgatorial desire field rather than treating the inquiry as curiosity alone.
XXVI.18 The soul’s thirst inside the purifying fire turns the desire for explanation into part of Purgatory’s trained appetite. The whole group shares a thirst greater than the geographical thirst for cold water, but what they desire is knowledge of Dante’s living shadow. Curiosity is recast as a communal longing for truth within purification.
The two lustful groups kiss briefly, cry their shame, and part XXVI.28–48
28ché per lo mezzo del cammino acceso
venne gente col viso incontro a questa,
30la qual mi fece a rimirar sospeso.
Lì veggio d’ogne parte farsi presta
ciascun’ ombra e basciarsi una con una
sanza restar, contente a brieve festa;
così per entro loro schiera bruna
35s’ammusa l’una con l’altra formica,
forse a spïar lor via e lor fortuna.
Tosto che parton l’accoglienza amica,
prima che ’l primo passo lì trascorra,
sopragridar ciascuna s’affatica:
40la nova gente: «Soddoma e Gomorra»;
e l’altra: «Ne la vacca entra Pasife,
perché ’l torello a sua lussuria corra».
Poi, come grue ch’a le montagne Rife
volasser parte, e parte inver’ l’arene,
45queste del gel, quelle del sole schife,
l’una gente sen va, l’altra sen vene;
e tornan, lagrimando, a’ primi canti
e al gridar che più lor si convene;
28for through the middle of the burning path
people came with faces turned against this group,
30which held me suspended, looking on.
There I saw, from every side, each shade
hasten and kiss one with another
without stopping, content with a brief gladness;
so within their dark troop
35one ant noses another,
perhaps to learn their way and their fortune.
As soon as they part from the friendly welcome,
before the first step there has passed,
each strains to outshout the other:
40the new-come people: “Sodom and Gomorrah”;
and the other: “Pasiphae enters the cow,
so that the young bull may run to her lust.”
Then, like cranes that toward the Rhipaean mountains
might fly in part, and part toward the sands,
45these shunning frost, those shunning sun,
one people goes away, the other comes on;
and, weeping, they return to their first songs
and to the cry that most befits them;
Commentary
The passage gives the two opposed groups, brief kiss, ant simile, Sodom/Gomorrah cry, Pasiphae cry, and crane simile. The translation keeps both shame-cries as purgative self-reproach while avoiding explanatory expansion inside the line text.
XXVI.40–42 The cry names the group moving opposite Guido's group and functions as self-accusation rather than accusation from outside. The Pasiphae example keeps the beast/appetite field visible for Guido's later explanation.
XXVI.40–42 The cry names the group moving opposite Guido's group and functions as self-accusation rather than accusation from outside. Line 40: The cry names the group moving opposite Guido's group and functions as self-accusation rather than accusation from outside. Line 42: The Pasiphae example keeps the beast/appetite field visible for Guido's later explanation.
XXVI.40 The cry names the group moving opposite Guido's group and functions as self-accusation rather than accusation from outside. The cry names the group moving opposite Guido's group and functions as self-accusation rather than accusation from outside.
XXVI.42 The Pasiphae example keeps the beast/appetite field visible for Guido's later explanation. The Pasiphae example keeps the beast/appetite field visible for Guido's later explanation.
Dante explains his living journey and asks the souls' identities XXVI.49–66
49e raccostansi a me, come davanti,
50essi medesmi che m’avean pregato,
attenti ad ascoltar ne’ lor sembianti.
Io, che due volte avea visto lor grato,
incominciai: «O anime sicure
d’aver, quando che sia, di pace stato,
55non son rimase acerbe né mature
le membra mie di là, ma son qui meco
col sangue suo e con le sue giunture.
Quinci sù vo per non esser più cieco;
donna è di sopra che m’acquista grazia,
60per che ’l mortal per vostro mondo reco.
Ma se la vostra maggior voglia sazia
tosto divegna, sì che ’l ciel v’alberghi
ch’è pien d’amore e più ampio si spazia,
ditemi, acciò ch’ancor carte ne verghi,
65chi siete voi, e chi è quella turba
che se ne va di retro a’ vostri terghi».
49and they draw near me again, as before,
50those same ones who had prayed me,
eager to listen in their looks.
I, who twice had seen their eagerness,
began: “O souls secure
of having, whenever it may be, a state of peace,
55neither unripe nor mature were left
my limbs back there, but they are here with me
with their blood and with their joints.
From here I go upward, so I may be blind no more;
a lady is above who wins grace for me,
60by which I carry my mortal part through your world.
But may your greatest longing
soon become sated, so that the heaven may house you
which is full of love and spreads most wide,
tell me, so I may still write pages of it,
65who you are, and who is that crowd
that goes away behind your backs.”
Commentary
The passage gives Dante's body answer, the lady above who wins grace, and the request to write the souls' identities. The translation keeps the line-aligned prayer-wish syntax without turning it into prose exposition.
XXVI.58 Dante defines his upward journey as a cure for blindness and attributes its possibility to grace won by the lady above. The living body is not merely a marvel carried through Purgatory. Its ascent belongs to the poem’s education of sight, and Beatrice’s intercession keeps that education dependent on grace rather than self-directed achievement.
Guido explains the opposed groups and names himself XXVI.67–93
67Non altrimenti stupido si turba
lo montanaro, e rimirando ammuta,
quando rozzo e salvatico s’inurba,
70che ciascun’ ombra fece in sua paruta;
ma poi che furon di stupore scarche,
lo qual ne li alti cuor tosto s’attuta,
«Beato te, che de le nostre marche»,
ricominciò colei che pria m’inchiese,
75«per morir meglio, esperïenza imbarche!
La gente che non vien con noi, offese
di ciò per che già Cesar, trïunfando,
“Regina” contra sé chiamar s’intese:
però si parton “Soddoma” gridando,
80rimproverando a sé com’ hai udito,
e aiutan l’arsura vergognando.
Nostro peccato fu ermafrodito;
ma perché non servammo umana legge,
seguendo come bestie l’appetito,
85in obbrobrio di noi, per noi si legge,
quando partinci, il nome di colei
che s’imbestiò ne le ’mbestiate schegge.
Or sai nostri atti e di che fummo rei:
se forse a nome vuo’ saper chi semo,
90tempo non è di dire, e non saprei.
Farotti ben di me volere scemo:
son Guido Guinizzelli, e già mi purgo
per ben dolermi prima ch’a lo stremo».
67Not otherwise is the mountain man stupefied
and troubled, and staring round falls mute,
when, rough and wild, he enters the city,
70than each shade became in his appearance;
but after they were unloaded of wonder,
which in high hearts is quickly quieted,
“Blessed are you, who from our marches,”
began again the one who first had asked me,
75“take experience aboard, so as to die better!
The people who do not come with us offended
in that for which Caesar, triumphing once,
heard 'Queen' called out against himself:
therefore they part, crying “Sodom,”
80reproaching themselves as you have heard,
and they aid the burning by their shame.
Our own sin was hermaphrodite;
but because we did not keep human law,
following appetite like beasts,
85as our reproach, we read aloud,
when we part, the name of her
who made herself beastlike in the beast-shaped planks.
Now you know our acts and what we were guilty of:
if perhaps by name you wish to know who we are,
90there is no time to say, and I could not.
I will at least satisfy your wish about me:
I am Guido Guinizzelli, and already I purge myself
because I sorrowed well before the end.”
Commentary
The passage gives the Caesar taunt, Pasiphae reference, and Guido Guinizzelli identification. The translation preserves hermaphrodite and the beast/appetite language because the canto purges desire by naming its chosen disorder.
XXVI.73–75 Imbarche keeps the unusual shipping metaphor for Dante carrying back purgatorial knowledge into mortal life.
XXVI.73–75 Imbarche keeps the unusual shipping metaphor for Dante carrying back purgatorial knowledge into mortal life. Line 75: Imbarche keeps the unusual shipping metaphor for Dante carrying back purgatorial knowledge into mortal life.
XXVI.75 Imbarche keeps the unusual shipping metaphor for Dante carrying back purgatorial knowledge into mortal life. Imbarche keeps the unusual shipping metaphor for Dante carrying back purgatorial knowledge into mortal life.
XXVI.76–78 The Caesar taunt is left compressed in the line; its historical-sexual context is not loaded onto the translation.
XXVI.76–78 The Caesar taunt is left compressed in the line; its historical-sexual context is not loaded onto the translation. Line 78: The Caesar taunt is left compressed in the line; its historical-sexual context is not loaded onto the translation.
XXVI.78 The Caesar taunt is left compressed in the line; its historical-sexual context is not loaded onto the translation. The Caesar taunt is left compressed in the line; its historical-sexual context is not loaded onto the translation.
XXVI.82–84 The startling term is retained because it marks Guido's group by contrast with the group crying Sodom.
XXVI.82–84 The startling term is retained because it marks Guido's group by contrast with the group crying Sodom. Line 82: The startling term is retained because it marks Guido's group by contrast with the group crying Sodom.
XXVI.82 The startling term is retained because it marks Guido's group by contrast with the group crying Sodom. The startling term is retained because it marks Guido's group by contrast with the group crying Sodom.
XXVI.85–87 The Pasiphae myth is translated through the repeated bestia pressure rather than smoothed into a detached mythological label.
XXVI.85–87 The Pasiphae myth is translated through the repeated bestia pressure rather than smoothed into a detached mythological label. Line 87: The Pasiphae myth is translated through the repeated bestia pressure rather than smoothed into a detached mythological label.
XXVI.87 The Pasiphae myth is translated through the repeated bestia pressure rather than smoothed into a detached mythological label. The Pasiphae myth is translated through the repeated bestia pressure rather than smoothed into a detached mythological label.
Dante honors Guinizzelli as father of sweet love rhymes XXVI.94–114
94Quali ne la tristizia di Ligurgo
95si fer due figli a riveder la madre,
tal mi fec’ io, ma non a tanto insurgo,
quand’ io odo nomar sé stesso il padre
mio e de li altri miei miglior che mai
rime d’amore usar dolci e leggiadre;
100e sanza udire e dir pensoso andai
lunga fïata rimirando lui,
né, per lo foco, in là più m’appressai.
Poi che di riguardar pasciuto fui,
tutto m’offersi pronto al suo servigio
105con l’affermar che fa credere altrui.
Ed elli a me: «Tu lasci tal vestigio,
per quel ch’i’ odo, in me, e tanto chiaro,
che Letè nol può tòrre né far bigio.
Ma se le tue parole or ver giuraro,
110dimmi che è cagion per che dimostri
nel dire e nel guardar d’avermi caro».
E io a lui: «Li dolci detti vostri,
che, quanto durerà l’uso moderno,
faranno cari ancora i loro incostri».
94As, in the grief of Lycurgus,
95the two sons became on seeing their mother again,
so I became, though I do not rise so high,
when I heard him name himself the father
of me and of others better than I
who ever used sweet and gracious rhymes of love;
100and without hearing or speaking I went, thoughtful,
a long while gazing at him,
nor, because of the fire, did I draw nearer.
Then, when I had fed myself with looking,
I offered myself wholly ready for his service
105with the pledge that makes another trust.
And he to me: “You leave such a trace,
by what I hear, in me, and so clear,
that Lethe cannot take it or make it dim.
But if your words just now swore true,
110tell me what is the cause why you show,
in speech and look, that you hold me dear.”
And I to him: “Those sweet words of yours,
which, as long as modern usage lasts,
will make their very inks still dear.”
Commentary
Dante reveres Guido as poetic father, in repeated language of sweetness, love rhymes, memory, and Lethe. The translation keeps literary gratitude within purgatorial purification rather than making it simple authorial vanity.
XXVI.97 Dante names Guinizzelli as poetic father while placing literary inheritance inside the purifying fire. The encounter honors the sweet love rhymes and their lasting trace, but the scene does not isolate poetic fame from the canto’s moral discipline. Admiration, memory, service, and judgment all pass through the same refining flame.
Guido points to Arnaut and asks for fitting prayer XXVI.115–132
115«O frate», disse, «questi ch’io ti cerno
col dito», e additò un spirto innanzi,
«fu miglior fabbro del parlar materno.
Versi d’amore e prose di romanzi
soverchiò tutti; e lascia dir li stolti
120che quel di Lemosì credon ch’avanzi.
A voce più ch’al ver drizzan li volti,
e così ferman sua oppinïone
prima ch’arte o ragion per lor s’ascolti.
Così fer molti antichi di Guittone,
125di grido in grido pur lui dando pregio,
fin che l’ha vinto il ver con più persone.
Or se tu hai sì ampio privilegio,
che licito ti sia l’andare al chiostro
nel quale è Cristo abate del collegio,
130falli per me un dir d’un paternostro,
quanto bisogna a noi di questo mondo,
dove poter peccar non è più nostro».
115“O brother,” he said, “this one whom I point out
for you with my finger,” and he pointed to a spirit ahead,
“was a better smith of the mother tongue.
In verses of love and prose romances
he surpassed them all; and let the foolish talk,
120who believe the Limousin surpasses him.
To clamor more than truth they turn their faces,
and so they fix their opinion
before art or reason is heard by them.
So many ancients did with Guittone,
125giving him praise only from cry to cry,
until truth has conquered among more people.
Now if you have so wide a privilege
that it is lawful for you to go to the cloister
in which Christ is abbot of the college,
130say for me to him one Paternoster,
as much as is needed for us in this world,
where power to sin is no longer ours.”
Commentary
Guido names Arnaut Daniel as the better maker of the mother tongue, criticizes reputation placed before art and reason, corrects Guittone, and asks for a Paternoster limited to what souls beyond sin still need.
XXVI.115–117 Miglior fabbro is kept as better smith for its compact craft metaphor and later literary importance.
XXVI.115–117 Miglior fabbro is kept as better smith for its compact craft metaphor and later literary importance. Line 117: Miglior fabbro is kept as better smith for its compact craft metaphor and later literary importance.
XXVI.117 Miglior fabbro is kept as better smith for its compact craft metaphor and later literary importance. Miglior fabbro is kept as better smith for its compact craft metaphor and later literary importance.
XXVI.130–132 Guido asks only for the portion of the Lord's Prayer needed by souls who can no longer sin.
XXVI.130–132 Guido asks only for the portion of the Lord's Prayer needed by souls who can no longer sin. Line 130: Guido asks only for the portion of the Lord's Prayer needed by souls who can no longer sin.
XXVI.130 Guido asks only for the portion of the Lord's Prayer needed by souls who can no longer sin. Guido asks only for the portion of the Lord's Prayer needed by souls who can no longer sin.
Arnaut speaks in Provençal and disappears into the refining fire XXVI.133–148
133Poi, forse per dar luogo altrui secondo
che presso avea, disparve per lo foco,
135come per l’acqua il pesce andando al fondo.
Io mi fei al mostrato innanzi un poco,
e dissi ch’al suo nome il mio disire
apparecchiava grazïoso loco.
El cominciò liberamente a dire:
140«Tan m’abellis vostre cortes deman,
qu’ieu no me puesc ni voill a vos cobrire.
Ieu sui Arnaut, que plor e vau cantan;
consiros vei la passada folor,
e vei jausen lo joi qu’esper, denan.
145Ara vos prec, per aquella valor
que vos guida al som de l’escalina,
sovenha vos a temps de ma dolor!».
Poi s’ascose nel foco che li affina.
133Then, perhaps to give place to another
who was close by, he vanished through the fire,
135as a fish through water, going to the bottom.
I moved a little toward the one shown,
and said that for his name my desire
was preparing a gracious place.
He began freely to say:
140“Your courteous request so pleases me,
that I cannot, and do not wish to, hide from you.
I am Arnaut, who weep and go singing;
sorrowing, I see the past folly,
and joyful, I see ahead the joy I hope for.
145Now I beg you, by that virtue
which guides you to the summit of the stair,
remember my pain in due time!”
Then he hid himself in the fire that refines them.
Commentary
Guido disappears like a fish, and Arnaut discloses himself in Provençal with past folly, hoped-for joy, stair imagery, and return into refining fire. The translation translates the Provençal directly while marking its distinctive language in line notes.
XXVI.139–141 Lines 140-147 translate Arnaut Daniel's Provençal speech directly rather than normalizing its linguistic distinctiveness.
XXVI.139–141 Lines 140-147 translate Arnaut Daniel's Provençal speech directly rather than normalizing its linguistic distinctiveness. Line 140: Lines 140-147 translate Arnaut Daniel's Provençal speech directly rather than normalizing its linguistic distinctiveness.
XXVI.140 Lines 140-147 translate Arnaut Daniel's Provençal speech directly rather than normalizing its linguistic distinctiveness. Lines 140-147 translate Arnaut Daniel's Provençal speech directly rather than normalizing its linguistic distinctiveness.