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Digital Dante
The Divine Comedy by Dante Alighieri · Digital Dante Edition with Commento Baroliniano · MMXIV-MMXX · Columbia University
The Epic Hero
- Florentine imperial ambitions are castigated by Dante in the opening apostrophe (contrast Guittone d’Arezzo in Ahi, lasso, or è stagion de doler tanto )
- “Ulyssean” lexicon and metaphors are sutured into the DNA of the Commedia : this poem’s foundational metaphor, in which Dante equates flying with the desire to know, is coded in this canto as Ulyssean
- Dante did not read Greek and did not read Homer‘s Odyssey (the verses in Inferno 26 that sound uncannily like the opening of the Odyssey he learned through Horace’s Ars Poetica )
- the transmission of the Ulysses-myth: it came to the Middle Ages from Latin writers, mainly from Vergil and Cicero
- the transmission of the Ulysses-myth led to a bifurcated critical reception, as explained below
- in this canto an epic hero is remarkably writ into the vernacular
- Dante’s “upside down pedagogy”: the Greek hero Ulysses is a counter-intuitive Dantean signifier for Biblical Adam
[1] Inferno 26 presents one of the Commedia ’s most famous characters: the Greek hero of Homer’s Odyssey , Odysseus, known to Dante by his Latin name, Ulysses.
[2] Inferno 26 opens with a scathingly sarcastic apostrophe to Florence. Enjoy your greatness, Florence! You have reached such pinnacles of greatness, says the poet to his natal city, that you beat your wings over sea and land and spill your name throughout Hell. Let us consider both parts of that statement. The first part (“over sea and land you beat your wings”) conjures the metaphor of flying, which will be so important in this canto:
[3] The poet’s second denunciation, “through every part of Hell your name extends!”, is further elaborated in the canto’s second tercet, which lets us know, retrospectively, that the five souls whom we see in the bolgia of thieves in Inferno 25 are all Florentines. (This retrospective technique is not uncommon: for instance, Dante adopts it at the beginning of Inferno 6, where he tells us retrospectively that the lovers Paolo and Francesca of Inferno 5 are “cognati”, in-laws.) Here Dante protests his shame at seeing five fellow Florentines midst the serpents of Inferno 25:
[4] The first tercet of Inferno 26 launches the canto’s theme of epic quest and journey, by framing Florentine imperial ambitions and expansionism with the metaphor of flying. This is language that is deeply sutured into the DNA of this poem: the first verse of the Commedia introduces the metaphor of a land-journey (a cammino ) and the first simile in Inferno 1 is that of a mariner whose ship is lost at sea. The opening apostrophe of Inferno 26 features Florence as a giant bird of prey that beats its wings relentlessly over all the world: “ per mare e per terra” — over both sea and land.
[5] The wings of the beautiful Ulyssean image that is sealed in the collective imaginary from later in this canto, that of the hero’s turning his oars into wings for his mad flight — “ de’ remi facemmo ali al folle volo” (we made wings of our oars in a wild flight [ Inf. 26.125]) — are thus at the outset of Inferno 26 presented as the wings of a giant and malignant bird of prey.
[6] Let me note, à propos Florentine expansionism, that Dante was atypical in castigating his native city for her imperial ambitions. An inscription of 1255 on the Palazzo del Bargello in Florence celebrates the city “who possesses the sea, the land, the whole world”: “quae mare, quae terram, quae totum possidet orbem” (cited by commentators, for instance Chiavacci Leonardi and Sapegno). There is no sarcasm about Florentine imperialism in the inscription on the Bargello; it is celebratory.
[7] Whereas Dante is an outlier, the poet Guittone d’Arezzo (circa 1230-1294) offers a useful benchmark for contemporary feeling in his political canzone Ahi, lasso, or è stagion de doler tanto , written after the defeat of Florence at Montaperti in 1260. Guittone deplores the political decline of Florence, which until then had been the most powerful city in Tuscany, and uses biting sarcasm: not to criticize Florentine imperialism, but in an attempt to reawaken Florentine imperial ambitions.
[8] The opening verses of Inferno 26 also forecast the canto’s great protagonist. Florence is “grande” in verse 1 (“ poi che se’ sì grande ”) and Ulysses is grande — a great hero. Whereas Florence’s greatness is punctured immediately by the author’s sarcasm, Ulysses’ is not.
[9] The Ulysses episode is not cast in the mode of sarcasm or irony but of tragic, heroic, flawed greatness. The author does not intend to cut his hero down to size as he does Capaneus and Vanni Fucci, at least not within the borders of Inferno 26. The adjective grande that stands at the threshold of the bolgia that houses the Greek hero casts an epic grandeur over the proceedings, an epic grandeur and solemnity that Dante maintains until the beginning of Inferno 27.
[10] In The Undivine Comedy , I noted the “anti-oratorical high style” of Inferno 26, a rhetorical mode that Dante uses to endow “the cadences of authentic grandeur” upon his epic hero, Ulysses:
The rhetoric of canto 26 is austere, sublimely simple. The opening apostrophe to Florence carries over from the oratorical flourishes and virtuoso displays of the preceding bolgia . As the canto progresses the narrative voice takes on more and more the note of dispassionate passion that will characterize its hero, that indeed makes him a hero, until finally the voice flattens out, assumes the divine flatness of God’s voice, like the flat surface of the sea that will submerge the speaker, pressing down his high ambitions. The anti-oratorical high style that culminates at the end of Inferno 26 is perhaps the most telling index of the poet’s commitment to the canto’s protagonist, upon whom he endows the cadences of authentic grandeur. ( The Undivine Comedy , p. 89)
[11] As noted above, the opening apostrophe of Inferno 26 engages Dante’s self-consciously “Ulyssean” lexicon, dipping into the deep reservoir of metaphoric language related to quest and voyage that Dante has been using since the beginning of his poem. This code and lexicon will persist long after we leave Inferno 26, indeed it will persist to the end of the poem, where the poet’s wings finally fail him at the end of Paradiso 33 : “ma non eran da ciò le proprie penne” (and my own wings were not up to that [ Par . 33.139]).
[12] The description in verse 2 of Florence as a giant bird whose wings beat over land and sea causes Dante to invoke all three modalities of journeying: by land, by sea, and by air. The metaphor of Florence’s wings that beat in flight takes us back mentally to the pilgrim’s flight down to the eighth circle on Geryon’s back ( Inferno 17 ), with its comparison of Dante to the mythological failed flyers Phaeton and Icarus. The metaphor of battere le ali also forecasts the great verse spoken by Ulysses later in this canto, when he conjures the heroic quest as a passionately exuberant and indeed reckless flight: “ de’ remi facemmo ali al folle volo” (we made wings of our oars in a wild flight [ Inf. 26.125]).
[13] The opening description of Florence as a giant bird of prey also anticipates the brooding eagle as a figure for tyrannical rule in Inferno 27: “l’aguglia da Polenta la si cova, / sì che Cervia ricuopre co’ suoi vanni” (the eagle of Polenta shelters it /and also covers Cervia with his wings [ Inf. 27.41-2]). The Polenta dynastic eagle does not offer the simple and positive “shelter” of Mandelbaum’s translation above, but the more sinister control and “cover” (“ricuopre” in Inf. 27.42) offered by tirannia . For Dante’s views of tirannia , see the Commento on Inferno 12 and the Commento on Inferno 27.
[14] Because of the metaphorics of desire as flying that the Commedia codes as Ulyssean, the Greek hero has a wholly unique status among sinners . Ulysses has a sustained presence in the poem: he is named in each canticle, not only in Inferno 26 but also in Purgatorio 19, where the siren of Dante’s dream claims to have turned Ulysses aside from his path with her song, and in Paradiso 27, where the pilgrim, looking down at Earth, sees the trace of “il varco / folle d’Ulisse” (the mad leap of Ulysses [ Par. 27.82-83]). The poet could not have written a more stunning reminiscence of the “folle volo” of I nferno 26.125 than “il varco / folle d’Ulisse” of Paradiso 27.82-3, where he conjures the hero’s “mad leap” against a cosmic backdrop and in the enjambment that leaps over the abyss between verses 82 and 83.
[15] As “folle volo” and “varco / folle” indicate, Ulysses and his surrogates, other failed flyers like Phaeton and Icarus, are connected to one of the Commedia ’s most basic metaphorical assumptions: if we desire sufficiently, we fly; if we desire sufficiently, our quest takes on wings. Dante explicitly establishes this equivalence in Purgatorio 4, telling us that in order to climb the steep grade of lower Purgatory one needs to fly with the wings of great desire:
[16] Ulysses is an embodiment of Dante’s fundamental trope of voyage. He is the dramatic expression of the Commedia ’s metaphorization of desire as flight.
[17] The first thing to know before tackling Inferno 26, the canto of Ulysses, is that Dante did not read Greek and never read the Iliad or the Odyssey. Homer’s works were not available in the West until later humanists recovered the knowledge of ancient Greek and the texts of Greek antiquity. Dante’s Ulysses is entirely mediated through Latin texts, in particular through Book 2 of Vergil’s Aeneid and through Cicero’s De Finibus .
[18] Both negative and positive versions of Ulysses reached the Middle Ages from classical antiquity. The negative Ulysses is portrayed in Book 2 of Vergil’s Aeneid , where he is labeled “dirus” (dreadful [ Aen. 2.261]) and “scelerum inventor” (deviser of crimes [ Aen. 2.164]). Vergil’s portrayal came to dominate the Latin tradition and later the medieval tradition, producing the stereotype of a treacherous and sacrilegious warrior that leads directly to Dante’s fraudulent counselor, who is punished in one flame with his comrade-in-arms Diomedes, since “insieme / a la vendetta vanno come a l’ira” (together they go to punishment as they went to anger [ Inf . 26.56-57]).
[19] However, Dante’s Ulysses is a complex creation that goes far beyond Vergil’s negative portrayal . Dante borrowed also from the positive rendering of Ulysses that was preserved mainly among the Stoics, for whom the Greek hero exemplified heroic fortitude in the face of adversity. Horace praises Ulysses in the Epistle to Lollius for his discernment and endurance and especially for his ability to withstand the temptations that proved the undoing of his companions: “Sirenum voces et Circae pocula” (Sirens’ songs and Circe’s cups [ Epistles 1.2.23]). From the Ars Poetica , where Horace cites the opening verses of the Odyssey , Dante learned that Ulysses “saw the wide world, its ways and cities all”: “mores hominum multorum vidit et urbes” ( Ars Poetica , 142).
[20] And, most suggestively, in De Finibus , Cicero celebrates the mind’s innate craving of learning and of knowledge, what he calls the “lust for learning”: “discendi cupiditas” ( De Finibus 5.18.49). As his exemplary lover of wisdom, Cicero presents none other than Ulysses. Cicero interprets Homer’s Sirens as givers of knowledge and Ulysses’ response to their invitation as praiseworthy. He endorses Ulysses’ quest, writing: “It is knowledge that the Sirens offer, and it was no marvel if a lover of wisdom held this dearer than his home” ( De Finibus 5.18).
[21] Dante’s reconfiguring of Ulysses is a remarkable blend of the two traditional characterizations that also succeeds in charting an entirely new and extremely influential direction for this most versatile of mythic heroes. For Dante invents a new story, never told before. His Ulysses departs from Circe directly for his new quest, pulled not by the desire for home and family, but by the lure of adventure, by “ the longing / I had to gain experience of the world / and of the vices and the worth of men”: “l’ ardore / ch’i’ ebbi a divenir del mondo esperto / e de li vizi umani e del valore” ( Inf . 26.97-99). As the classicist W. B. Stanford points out in The Ulysses Theme : “ In place of [Homer’s] centripetal, homeward-bound figure Dante substituted a personification of centrifugal force” (p. 181).
[22] Stanford offers a remarkable tribute to the importance of Dante’s contribution to the Ulysses myth: “Next to Homer’s conception of Ulysses, Dante’s, despite its brevity, is the most influential in the whole evolution of the wandering hero” ( The Ulysses Theme , p. 178). The wings of Dante’s alta fantasia may fail him at the end of the journey but they vouchsafe him remarkable insights along the way. It is indeed a testament to that fantasia that Dante was able to summon the authentic Ulyssean spirit in his brief episode, and to impress his version of that spirit upon our collective imagination.
[23] The critical reception of Inferno 26 reflects the bifurcated Ulysses of the tradition that Dante inherited from antiquity.
[24] Dante criticism has been divided on the subject of Ulysses essentially since its inception. Among the Commedia ’s fourteenth-century commentators, Buti takes a moralizing position critical of the Homeric hero, while Benvenuto sees him as exciting Dante’s admiration. For documentation and analysis of the Ulysses debate, beginning with the early commentators and moving to later critics, see The Undivine Comedy , Chapter 3, “Ulysses, Geryon, and the Aeronautics of Narrative Transition”, and my article “Ulysses” in The Dante Encyclopedia , cited in Coordinated Reading.
[25] We can sketch the positions of various modern critics around the same polarity demonstrated by Buti and Benvenuto in the fourteenth century. There is a pro-Ulysses group, spearheaded by Fubini, who maintains that Dante feels only admiration for the folle volo , for the desire for knowledge that it represents, and for the sinner’s oration that justifies it. (Fubini’s supporters include Sapegno, Pagliaro, and Forti.) Then there is a less unified group that emphasizes the Greek hero’s sinfulness and seeks to determine the primary cause for his infernal abode.
[26] Discussion of Ulysses’ suitability for the eighth bolgia is further complicated by Dante’s avoidance of this pit’s label until the end of the next canto. Only at the end of Inferno 27 does a devil, cited in Guido da Montefeltro’s account of the dramatic altercation that occurred at his death, clarify that Guido is located in the eighth bolgia “perché diede ’l consiglio frodolente” (because the counsel that he gave was fraudulent [ Inf. 27.116]).
[27] Within the Ulysses debate, the more negative critical camp can be subdivided into those who see the folle volo itself as the chief of Ulysses’ sins and those who concentrate instead on the sin of fraudulent counsel. Those in the latter group focus on Ulysses’ rhetorical deceitfulness as manifested in his “orazion picciola” ( Inf. 26.122), the “little speech” with which he persuades his men to follow him. (This group includes Padoan and Dolfi.)
[28] Most influential in the first category has been the position of Nardi, who argues that Dante’s Ulysses is a new Adam, a new Lucifer, and that his sin is precisely Adam’s: trespass, the “trapassar del segno” (going beyond the limit) of which Adam speaks in Paradiso 26.117. Ulysses is thus a transgressor, whose pride incites him to seek a knowledge that is beyond the limits set for man by God, in the same way that Adam’s pride drove him to a similar transgression, also in pursuit of a knowledge that would make him Godlike.
[29] We can consider the positions of Dante scholars within the Ulysses querelle along a continuum with extreme positions at either end. At one extreme are those critics, like Fubini, who maintain that Dante feels only admiration for Ulysses’ voyage and that the folle volo has nothing whatever to do with the hero’s damnation. At the other extreme are those critics, like Cassell, who deny Ulysses any special importance, telling us that the poet feels nothing but scorn for his creature and that to see anything else at work in the canto is to read it through anachronistic romantic eyes.
[30] Both these readings are wrong. They rob the episode of its tension and deflate it of its energy: on the one hand, by making the fact that Ulysses is in Hell irrelevant and, on the other, by denying that this particular sinner means more to the poem than do his companions. Fubini’s simple admiration fails to deal with the fact that Dante places Ulysses in Hell; Cassell’s simple condemnation fails to take into account the structural and thematic significance that the Greek hero bears for the Commedia as a whole.
[31] The encounter with Ulysses belongs to the eighth bolgia , but Dante does not tell us that the eighth bolgia houses fraudulent counselors until the end of Inferno 27. A deliberate ambiguity is thus structured into the presentation of Ulysses. On the one hand it is clear (at least retrospectively, after we read Inferno 27) that Ulysses is guilty of fraudulent counsel: in Dante’s account he urges his men to sail with him past the pillars of Hercules, and so leads them to their deaths. On the other hand, it is equally clear that Dante’s narrative does not focus on fraudulent counsel but on the idea of a heroic quest that leads to perdition.
[32] For more on the critical responses to Ulysses, see The Undivine Comedy , where my goal is to achieve an integrated critical response, as Dante’s hero himself integrates the complex and polysemous mythic hero who came down through the centuries.
[33] Dante is most often a both/and writer, rather than an either/or writer. So much of his language is susceptible to multiple meanings, not in the banal sense of allegory but in the living sense of language that goes in multiple directions, all psychologically true and real to life. In Inferno 26 Dante weaves together both the deceptive Ulysses of the Aeneid and the lover of knowledge praised by Cicero in the De Finibus. Dante’s brilliance is to capture both strands in a polysemous whole.
[34] Dante’s placement of Ulysses among the sinners of fraud, and specifically among the fraudulent counselors, depends heavily on the anti-Greek and pro-Trojan propaganda of imperial Rome; this is the sentiment that Dante found in the Aeneid . Aeneas, mythic founder of Rome, is a Trojan, and Vergil’s Ulysses reflects the tone of the second book of the Aeneid , in which Aeneas recounts the bitter fall of Troy. After ten long years of war, Troy fell — not because of military superiority but because of Ulysses’ deceitful strategem: the Trojan horse.
[35] In Inferno 26 Virgilio recites a list of Ulyssean crimes that recall the “scelera” (crimes) narrated by Vergil in Aeneid Book 2, where he calls the Greek hero “scelerum inventor” (deviser of crimes [ Aen. 2.164]). Ulysses is guilty first and foremost of the Trojan horse: “l’agguato del caval che fé la porta / onde uscì de’ Romani il gentil seme” ( the horse’s fraud that caused a breach — / the gate that let Rome’s noble seed escape [ Inf. 26.59-60]). He is guilty also of the trick by which Achilles was lured to war and the theft of the Palladium:
[36] On the other hand, despite this damning recital, countless readers have felt compelled to admire Ulysses’ stirring account of his journey beyond the Pillars of Hercules (the name given in antiquity to the promontories that flank the entrance to the strait of Gibraltar). He wants to experience that which is “ beyond the sun, in the world that is unpeopled ”: “ di retro al sol, del mondo sanza gente ” ( Inf. 26.117).
[37] Like humans then who were involved in the European explorations of the Atlantic that were just beginning in Dante’s day, like humans today who seek to go further into the solar system, Ulysses wants to go beyond the markers of the known world.
[38] In order to persuade his old and tired companions to undertake such a “folle volo” (mad flight [ Inf. 26.125]), Ulysses deploys his forceful eloquence in an “orazion picciola” (little oration [ Inf. 26.122]). Rightly or wrongly, his oration has moved generations of readers and (quite divorced of its infernal context) has achieved proverbial status in Italy. Ulysses exhorts his companions to follow him to the unknown, framing such a voyage as a pursuit of knowledge:
[39] The inspiring words spoken by Dante’s Ulisse in the orazion picciola were recast in English in the poem “Ulysses”, written by the nineteenth-century British poet Alfred, Lord Tennyson:
We are not now that strength which in old days Moved earth and heaven, that which we are, we are; One equal temper of heroic hearts, Made weak by time and fate, but strong in will To strive, to seek, to find, and not to yield.
[40] In its infernal context, this oration exemplifies fraudulent counsel, since through it Ulysses leads his companions to their destruction. But the oration also powerfully evokes the authentic spirit of the Ciceronian discendi cupiditas : the lust for knowledge.
[41] Here we have a classic example of Dante’s both/and brilliance as a writer: his damnation of Ulysses for fraudulent counsel does not blind him to the authentic grandeur of his Ciceronian heroic quest . If anything, the opposite is true. Dante is a little too un-blinded, a little too susceptible to the discendi cupiditas . Ulysses’ damnation is, at least in part, the poet’s response to the need to subdue the lust for knowledge in himself. As I wrote in The Undivine Comedy : “Ulysses is the lightning rod Dante places in his poem to attract and defuse his own consciousness of the presumption involved in anointing oneself God’s scribe” (p. 52) … “Thus Ulysses dies, over and over again, for Dante’s sins” (p. 58).
[42] The cupiditas or lust for learning that Cicero’s Ulysses feels is perfectly captured by his “ardor” to see all that there is to see:
[43] The desire to see and to know is a long-term Dantean quest, celebrated in the opening of the Convivio , where Dante cites Aristotle’s Metaphysics . Aristotle begins the first book of the Metaphysics thus:
All men by nature desire to know. An indication of this is the delight we take in our senses; for even apart from their usefulness they are loved for themselves; and above all others the sense of sight. For not only with a view to action, but even when we are not going to do anything, we prefer seeing (one might say) to everything else. The reason is that this, most of all the senses, makes us know and brings to light many differences between things.
[44] Although Virgilio gives a concise account of all the deceits and tricks for which Ulysses was famous, Dante focuses Inferno 26 on the heroic quest. His Ulysses presents himself as a fearless — perhaps reckless — voyager into the unknown who leaves behind all the ties of human affect and society to “pursue virtue and knowledge”: “per seguir virtute e canoscenza” ( Inf. 26.120). He incites his men to a mad flight to uninhabited lands beyond the known world. Sailing the watery and uninhabited wastes of the southern hemisphere, Ulysses eventually sees a mountain in the distance, “the highest mountain I had ever seen” ( Inf. 26.133-135). This is Mount Purgatory, unapproachable except by way of an angel’s boat, as we will see in Purgatorio 1 and 2. The end of Purgatorio 1 , in particular, is suffused with Ulyssean tropes, whose function is to make evident the contrast between Ulysses and Dante-pilgrim.
[45] Indeed, the sighting of Mount Purgatory makes inescapable the connection between Dante and Ulysses, a connection that in any case the narrator of Inferno 26 has underscored throughout the episode. Dante tells us explicitly from the outset that the materia of this canto grieves and concerns him in a particular way:
[46] The idea that he must curb his own ingegno , restraining it from running recklessly, reflects Dante’s fears with respect to his own quest. Dante first expresses these fears in Inferno 2 , a canto devoted to both declaring and preemptively defusing Dante’s self-identification with trespass, the trespass that he figures as Ulyssean. In Inferno 2 Dante brands his own journey with the Ulyssean adjective “folle”: “temo che la venuta non sia folle ” (I fear my venture may be wild and empty [ Inf. 2.35]). Is one’s quest for knowledge a self-motivated search for personal glory or is it a divinely sanctioned journey undertaken to help others? We remember that in his reply to Cavalcante de’ Cavalcanti in Inferno 10 — “da me stesso non vegno” (my own powers have not brought me [ Inf. 10.61]) — Dante very deliberately puts his journey at the opposite end of the spectrum from Ulysses’ self-willed voyage.
[47] But the pilgrim’s self-association with Ulyssean trespass is very strong . In this bolgia , the souls are not visible in human form: they are tongues of flame that flicker like fireflies in the summer twilight ( Inf. 26.25-33). When Dante learns from Virgilio of Ulysses and Diomedes encased in a twinned flame (an interesting reprise of the “two in one” theme from the previous canto), his desire to make contact overwhelms him, causing him to incline toward the “ancient flame”: “vedi che del disio ver’ lei mi piego!” (see how, out of my desire, I bend toward it! [ Inf. 26.69]). Later in the poem we learn that the bending or inclination of the soul toward an object of desire is love: “quel piegare è amor” (that bending is love [ Purg . 18.26]).
[48] T he narrator also creates a fascinating linguistic opportunity for dissociating the pilgrim from Ulysses. Virgilio suggests that he, a writer of great epic verse, must address the twinned flame, because the epic heroes housed therein would be disdainful towards Dante’s Italian vernacular:
[49] In our discussion of the next canto we will return to this important passage, where Dante suggests that it is best for an epic poet to address epic heroes. Virgilio referred before to ”l’alta mia tragedìa” ( Inf. 20.113); now — in speaking to Ulysses — he refers to his “alti versi” ( Inf. 26.82). At the beginning of Inferno 27, Dante will pick up this idea of a correspondence between the Latin poet and the Greek heroes whose adventures he narrated.
[50] For now, let us note that here Dante scripts for Virgilio language that — while written in Italian — sounds as much like Latin epic as it is possible for the vernacular to sound. Virgilio’s lofty words to Ulysses resound with the high accents of heroic undertakings and noble deeds. These are the noble deeds that it is the duty of the epic poet to immortalize in verse, a duty that Virgilio underscores in his anaphoric “s’io meritai di voi“:
[51] Ulysses himself will maintain this lofty diction. His language is solemn, sublime, noble — modulating from the unfettered excitement of his ardor to know and the charismatic humanism with which he summons his men to his dignified and lapidary final submission to the higher power that sends him to a watery grave. The waters close over him, but he remains heroic: one of the few figures in the Inferno to utter no complaint.
[52] This final note touches on what I call the “upside down pedagogy” of the Commedia .
[53] As we have seen in the above commentary, Dante gives his Ulysses an Adamic function. In Dante’s very idiosyncratic and personal mythography, Ulysses inhabits a moral space analogous to that of Adam in the Christian tradition. Ulysses is a signifier of what Dante’s Adam will call “il trapassar del segno” ( Par . 26.117).
[54] When we meet Dante’s Adam in Paradiso 26 , Adam names another figure who also signifies trespass. This is Nembrot, the Biblical builder of the Tower of Babel. Nembrot, whom we encounter in Inferno 31 , is for Dante the emblem of linguistic trespass and consequent fall. He is cited by Adam for his “ovra inconsummabile” (unaccomplishable task [ Par. 26.125]). The task of the Tower of Babel was “unaccomplishable” because it was sinfully hubristic, which is why God stopped it.
[55] Nembrot is the only Dantean sinner, other than Ulysses, whom Dante names in each canticle of the Commedia (see The Undivine Comedy , p. 115). By the time we reach Paradiso 26, and indeed by the time we reach the Garden of Eden, this strange constellation — Ulysses, Nembrot, Adam — makes sense to us.
[56] But it is worth noting that Dante, a Christian author, leads his readers on a very counter-intuitive course to the understanding that we eventually attain. It would have been far simpler, in other words, to have presented Adam himself — rather than Ulysses — as the signifier of Adamic trespass. The fact that in the Commedia we work backwards, arriving at the idea of Christian trespass through Dante’s incarnation of the Greek hero, is itself worthy of note.
[57] Of course, at a fundamental level this happens because Dante has us read Inferno before Purgatorio and Paradiso , thus introducing much material to the reader in its negative variant. The effect of this in malo reading experience must inevitably be to complicate matters, since we get hold of ideas from the wrong end first and have to disentangle them to get them back to right. For instance, we have to wrestle with feeling compassion in Hell and learn why it is wrong rather than avoiding such an arduous lesson until we are well versed in the requisite theology. For a fuller discussion of Dante’s upside down pedagogy, see “Dante, Teacher of his Reader”, in Coordinated Reading.
[58] But the experience of backward reading is not in itself sufficient to account for Ulysses as Dante’s avatar of Adam. After all, Nembrot alone would have been able to fulfill that function more straightforwardly, confronting one Biblical character with another.
[59] What is remarkable is the choice of a classical figure for the personification of Adamic trespass, a choice that creates a yet more steep learning curve for the reader.
[60] The choice of Greek Ulysses is one for which we are prepared by the presence of other classical trespassers in Inferno , particularly by Capaneus, one of the Seven Against Thebes. At the same time, Capaneus is a figure for whom the author elicits no sympathy, whom he keeps at arm’s-length and to whom Virgilio speaks with disdain. Ulysses, by contrast, is a figure to whom Virgilio speaks with great respect and with whom the pilgrim identifies .
[61] The identification of the pilgrim with Ulysses is one that the poet has been building since Inferno 1-2, through voyage and maritime imagery, through a specific metaphoric code, through a dedicated lexicon. From the beginning of the Commedia we are schooled in Dante’s personal rhetoric and mythography, so that we can navigate a poetic journey saturated in early humanism and classical antiquity, a poetic journey that is the poet’s own varco folle . It is a sign of Dante’s having consummated his own “ovra inconsummabile” — of his having done the un-doable — that we now take his mythography for granted and give so little consideration to an upside down pedagogy that starts with Ulysses and finally arrives at Adam.
Coordinated Reading
The Undivine Comedy (Princeton: Princeton U. Press), Chapter 3, “Ulysses, Geryon, and the Aeronautics of Narrative Transition”, especially pp. 48-58, p. 77, p. 89; Dante’s Poets (Princeton: Princeton U. Press, pp. 228-29, 232-33; “Ulysses”, in The Dante Encyclopedia , ed. Richard Lansing (New York and London: Garland Publishing, 2000), pp. 842-47; W. B. Stanford, The Ulysses Theme: A Study in the Adaptability of a Traditional Hero , 2 nd ed., Ann Arbor: U. of Michigan Press, 1968; T. Barolini, "Dante, Teacher of his Reader", in Approaches to Teaching Dante’s Divine Comedy , 2 nd ed., eds. Christopher Kleinhenz and Kristina M. Olson (New York: Modern Language Association of America, 2020), pp. 36-44.
Recommended Citation
Barolini, Teodolinda. “ Inferno 26: The Epic Hero.” Commento Baroliniano , Digital Dante. New York, NY: Columbia University Libraries, 2018. https://digitaldante.columbia.edu/dante/divine-comedy/inferno/inferno-26/ <paragraph number>
Commento Table of Contents
1 Godi, Fiorenza, poi che se’ sì grande 2 che per mare e per terra batti l’ali, 3 e per lo ’nferno tuo nome si spande!
4 Tra li ladron trovai cinque cotali 5 tuoi cittadini onde mi ven vergogna, 6 e tu in grande orranza non ne sali.
7 Ma se presso al mattin del ver si sogna, 8 tu sentirai, di qua da picciol tempo, 9 di quel che Prato, non ch’altri, t’agogna.
10 E se già fosse, non saria per tempo. 11 Così foss’ ei, da che pur esser dee! 12 ché più mi graverà, com’ più m’attempo.
13 Noi ci partimmo, e su per le scalee 14 che n’avean fatto iborni a scender pria, 15 rimontò ’l duca mio e trasse mee;
16 e proseguendo la solinga via, 17 tra le schegge e tra ’ rocchi de lo scoglio 18 lo piè sanza la man non si spedia.
19 Allor mi dolsi, e ora mi ridoglio 20 quando drizzo la mente a ciò ch’io vidi, 21 e più lo ’ngegno affreno ch’i’ non soglio,
22 perché non corra che virtù nol guidi; 23 sì che, se stella bona o miglior cosa 24 m’ha dato ’l ben, ch’io stessi nol m’invidi.
25 Quante ’l villan ch’al poggio si riposa, 26 nel tempo che colui che ’l mondo schiara 27 la faccia sua a noi tien meno ascosa,
28 come la mosca cede a la zanzara, 29 vede lucciole giù per la vallea, 30 forse colà dov’ e’ vendemmia e ara:
31 di tante fiamme tutta risplendea 32 l’ottava bolgia, sì com’ io m’accorsi 33 tosto che fui là ’ve ’l fondo parea.
34 E qual colui che si vengiò con li orsi 35 vide ’l carro d’Elia al dipartire, 36 quando i cavalli al cielo erti levorsi,
37 che nol potea sì con li occhi seguire, 38 ch’el vedesse altro che la fiamma sola, 39 sì come nuvoletta, in sù salire:
40 tal si move ciascuna per la gola 41 del fosso, ché nessuna mostra ’l furto, 42 e ogne fiamma un peccatore invola.
43 Io stava sovra ’l ponte a veder surto, 44 sì che s’io non avessi un ronchion preso, 45 caduto sarei giù sanz’ esser urto.
46 E ’l duca che mi vide tanto atteso, 47 disse: «Dentro dai fuochi son li spirti; 48 catun si fascia di quel ch’elli è inceso».
49 «Maestro mio», rispuos’ io, «per udirti 50 son io più certo; ma già m’era avviso 51 che così fosse, e già voleva dirti:
52 chi è ’n quel foco che vien sì diviso 53 di sopra, che par surger de la pira 54 dov’ Eteòcle col fratel fu miso?».
55 Rispuose a me: «Là dentro si martira 56 Ulisse e Dïomede, e così insieme 57 a la vendetta vanno come a l’ira;
58 e dentro da la lor fiamma si geme 59 l’agguato del caval che fé la porta 60 onde uscì de’ Romani il gentil seme.
61 Piangevisi entro l’arte per che, morta, 62 Deïdamìa ancor si duol d’Achille, 63 e del Palladio pena vi si porta».
64 «S’ei posson dentro da quelle faville 65 parlar», diss’ io, «maestro, assai ten priego 66 e ripriego, che ’l priego vaglia mille,
67 che non mi facci de l’attender niego 68 fin che la fiamma cornuta qua vegna; 69 vedi che del disio ver’ lei mi piego!».
70 Ed elli a me: «La tua preghiera è degna 71 di molta loda, e io però l’accetto; 72 ma fa che la tua lingua si sostegna.
73 Lascia parlare a me, ch’i’ ho concetto 74 ciò che tu vuoi; ch’ei sarebbero schivi, 75 perch’ e’ fuor greci, forse del tuo detto».
76 Poi che la fiamma fu venuta quivi 77 dove parve al mio duca tempo e loco, 78 in questa forma lui parlare audivi:
79 «O voi che siete due dentro ad un foco, 80 s’io meritai di voi mentre ch’io vissi, 81 s’io meritai di voi assai o poco
82 quando nel mondo li alti versi scrissi, 83 non vi movete; ma l’un di voi dica 84 dove, per lui, perduto a morir gissi».
85 Lo maggior corno de la fiamma antica 86 cominciò a crollarsi mormorando, 87 pur come quella cui vento affatica;
88 indi la cima qua e là menando, 89 come fosse la lingua che parlasse, 90 gittò voce di fuori e disse: «Quando
91 mi diparti’ da Circe, che sottrasse 92 me più d’un anno là presso a Gaeta, 93 prima che sì Enëa la nomasse,
94 né dolcezza di figlio, né la pieta 95 del vecchio padre, né ’l debito amore 96 lo qual dovea Penelopè far lieta,
97 vincer potero dentro a me l’ardore 98 ch’i’ ebbi a divenir del mondo esperto 99 e de li vizi umani e del valore;
100 ma misi me per l’alto mare aperto 101 sol con un legno e con quella compagna 102 picciola da la qual non fui diserto.
103 L’un lito e l’altro vidi infin la Spagna, 104 fin nel Morrocco, e l’isola d’i Sardi, 105 e l’altre che quel mare intorno bagna.
106 Io e ’ compagni eravam vecchi e tardi 107 quando venimmo a quella foce stretta 108 dov’ Ercule segnò li suoi riguardi
109 acciò che l’uom più oltre non si metta; 110 da la man destra mi lasciai Sibilia, 111 da l’altra già m’avea lasciata Setta.
112 “O frati”, dissi, “che per cento milia 113 perigli siete giunti a l’occidente, 114 a questa tanto picciola vigilia
115 d’i nostri sensi ch’è del rimanente 116 non vogliate negar l’esperïenza, 117 di retro al sol, del mondo sanza gente.
118 Considerate la vostra semenza: 119 fatti non foste a viver come bruti, 120 ma per seguir virtute e canoscenza”.
121 Li miei compagni fec’ io sì aguti, 122 con questa orazion picciola, al cammino, 123 che a pena poscia li avrei ritenuti;
124 e volta nostra poppa nel mattino, 125 de’ remi facemmo ali al folle volo, 126 sempre acquistando dal lato mancino.
127 Tutte le stelle già de l’altro polo 128 vedea la notte, e ’l nostro tanto basso, 129 che non surgëa fuor del marin suolo.
130 Cinque volte racceso e tante casso 131 lo lume era di sotto da la luna, 132 poi che ’ntrati eravam ne l’alto passo,
133 quando n’apparve una montagna, bruna 134 per la distanza, e parvemi alta tanto 135 quanto veduta non avëa alcuna.
136 Noi ci allegrammo, e tosto tornò in pianto; 137 ché de la nova terra un turbo nacque 138 e percosse del legno il primo canto.
139 Tre volte il fé girar con tutte l’acque; 140 a la quarta levar la poppa in suso 141 e la prora ire in giù, com’ altrui piacque,
142 infin che ’l mar fu sovra noi richiuso».
Be joyous, Florence, you are great indeed, for over sea and land you beat your wings; through every part of Hell your name extends!
Among the thieves I found five citizens of yours—and such, that shame has taken me; with them, you can ascend to no high honor.
But if the dreams dreamt close to dawn are true, then little time will pass before you feel what Prato and the others crave for you.
Were that already come, it would not be too soon—and let it come, since it must be! As I grow older, it will be more heavy.
We left that deep and, by protruding stones that served as stairs for our descent before, my guide climbed up again and drew me forward;
and as we took our solitary path among the ridge’s jagged spurs and rocks, our feet could not make way without our hands.
It grieved me then and now grieves me again when I direct my mind to what I saw; and more than usual, I curb my talent,
that it not run where virtue does not guide; so that, if my kind star or something better has given me that gift, I not abuse it.
As many as the fireflies the peasant (while resting on a hillside in the season when he who lights the world least hides his face),
just when the fly gives way to the mosquito, sees glimmering below, down in the valley, there where perhaps he gathers grapes and tills—
so many were the flames that glittered in the eighth abyss; I made this out as soon as I had come to where one sees the bottom.
Even as he who was avenged by bears saw, as it left, Elijah’s chariot— its horses rearing, rising right to heaven—
when he could not keep track of it except by watching one lone flame in its ascent, just like a little cloud that climbs on high:
so, through the gullet of that ditch, each flame must make its way; no flame displays its prey, though every flame has carried off a sinner.
I stood upon the bridge and leaned straight out to see; and if I had not gripped a rock, I should have fallen off—without a push.
My guide, who noted how intent I was, told me: “Within those fires there are souls; each one is swathed in that which scorches him.”
“My master,” I replied, “on hearing you, I am more sure; but I’d already thought that it was so, and I had meant to ask:
Who is within the flame that comes so twinned above that it would seem to rise out of the pyre Eteocles shared with his brother?”
He answered me: “Within that flame, Ulysses and Diomedes suffer; they, who went as one to rage, now share one punishment.
And there, together in their flame, they grieve over the horse’s fraud that caused a breach— the gate that let Rome’s noble seed escape.
There they regret the guile that makes the dead Deidamia still lament Achilles; and there, for the Palladium, they pay.”
“If they can speak within those sparks,” I said, “I pray you and repray and, master, may my prayer be worth a thousand pleas, do not
forbid my waiting here until the flame with horns approaches us; for you can see how, out of my desire, I bend toward it.”
And he to me: “What you have asked is worthy of every praise; therefore, I favor it. I only ask you this: refrain from talking.
Let me address them—I have understood what you desire of them. Since they were Greek, perhaps they’d be disdainful of your speech.”
And when my guide adjudged the flame had reached a point where time and place were opportune, this was the form I heard his words assume:
“You two who move as one within the flame, if I deserved of you while I still lived, if I deserved of you much or a little
when in the world I wrote my noble lines, do not move on; let one of you retell where, having gone astray, he found his death.”
The greater horn within that ancient flame began to sway and tremble, murmuring just like a fire that struggles in the wind;
and then he waved his flame—tip back and forth as if it were a tongue that tried to speak, and flung toward us a voice that answered: “When
I sailed away from Circe, who’d beguiled me to stay more than a year there, near Gaeta— before Aeneas gave that place a name—
neither my fondness for my son nor pity for my old father nor the love I owed Penelope, which would have gladdened her,
was able to defeat in me the longing I had to gain experience of the world and of the vices and the worth of men.
Therefore, I set out on the open sea with but one ship and that small company of those who never had deserted me.
I saw as far as Spain, far as Morocco, along both shores; I saw Sardinia and saw the other islands that sea bathes.
And I and my companions were already old and slow, when we approached the narrows where Hercules set up his boundary stones
that men might heed and never reach beyond: upon my right, I had gone past Seville, and on the left, already passed Ceuta.
‘Brothers,’ I said, ‘o you, who having crossed a hundred thousand dangers, reach the west, to this brief waking—time that still is left
unto your senses, you must not deny experience of that which lies beyond the sun, and of the world that is unpeopled.
Consider well the seed that gave you birth: you were not made to live your lives as brutes, but to be followers of worth and knowledge.’
I spurred my comrades with this brief address to meet the journey with such eagerness that I could hardly, then, have held them back;
and having turned our stern toward morning, we made wings out of our oars in a wild flight and always gained upon our left—hand side.
At night I now could see the other pole and all its stars; the star of ours had fallen and never rose above the plain of the ocean.
Five times the light beneath the moon had been rekindled, and, as many times, was spent, since that hard passage faced our first attempt,
when there before us rose a mountain, dark because of distance, and it seemed to me the highest mountain I had ever seen.
And we were glad, but this soon turned to sorrow, for out of that new land a whirlwind rose and hammered at our ship, against her bow.
Three times it turned her round with all the waters; and at the fourth, it lifted up the stern so that our prow plunged deep, as pleased an Other,
until the sea again closed—over us.”
REJOICE, 0 Florence, since thou art so great, That over sea and land thou beatest thy wings, And throughout Hell thy name is spread abroad !
Among the thieves five citizens of thine Like these I found, whence shame comes unto me, And thou thereby to no great honour risest.
But if when morn is near our dreams are true, Feel shalt thou in a little time from now What Prato, if none other, craves for thee.
And if it now were, it were not too soon; Would that it were, seeing it needs must be, For ’twill aggrieve me more the more I age.
We went our way, and up along the stairs The bourns had made us to descend before, Remounted my Conductor and drew me.
And following the solitary path Among the rocks and ridges of the crag, The foot without the hand sped not at all.
Then sorrowed I, and sorrow now again, When I direct my mind to what I saw, And more my genius curb than I am wont,
That it may run not unless virtue guide it; So that if some good star, or better thing, Have given me good, I may myself not grudge it.
As many as the hind (who on the hill Rests at the time when he who lights the world His countenance keeps least concealed from us,
While as the fly gives place unto the gnat) Seeth the glow—worms down along the valley, Perchance there where he ploughs and makes his vintage
With flames as manifold resplendent all Was the eighth Bolgia, as I grew aware As soon as I was where the depth appeared.
And such as he who with the bears avenged him Beheld Elijah’s chariot at departing, What time the steeds to heaven erect uprose
For with his eye he could not follow it So as to see aught else than flame alone, Even as a little cloud ascending upward,
Thus each along the gorge of the intrenchment Was moving; for not one reveals the theft, And every flame a sinner steals away.
I stood upon the bridge uprisen to see, So that, if I had seized not on a rock, Down had I fallen without being pushed.
And the Leader, who beheld me so attent, Exclaimed: “Within the fires the spirits are; Each swathes himself with that wherewith he burns.”
‘My Master,” I replied, “by hearing thee I am more sure; but I surmised already It might be so, and already wished to ask thee
Who is within that fire, which comes so cleft At top, it seems uprising from the pyre Where was Eteocles with his brother placed.”
He answered me: “Within there are tormented Ulysses and Diomed, and thus together They unto vengeance run as unto wrath.
And there within their flame do they lament The ambush of the horse, which made the door Whence issued forth the Romans’ gentle seed;
Therein is wept the craft, for which being dead Deidamia still deplores Achilles, And pain for the Palladium there is borne.”
“If they within those sparks possess the power To speak,” I said, “thee, Master, much I pray, And re—pray, that the prayer be worth a thousand,
That thou make no denial of awaiting Until the horned flame shall hither come; Thou seest that with desire I lean towards it.”
And he to me: “Worthy is thy entreaty Of much applause, and therefore I accept it; But take heed that thy tongue restrain itself.
Leave me to speak, because I have conceived That which thou wishest; for they might disdain Perchance, since they were Greeks, discourse of thine.”
When now the flame had come unto that point, Where to my Leader it seemed time and place, After this fashion did I hear him speak:
“O ye, who are twofold within one fire, If I deserved of you, while I was living, If I deserved of you or much or little
When in the world I wrote the lofty verses, Do not move on, but one of you declare Whither, being lost, he went away to die.”
Then of the antique flame the greater horn, Murmuring, began to wave itself about Even as a flame doth which the wind fatigues.
Thereafterward, the summit to and fro Moving as if it were the tongue that spake It uttered forth a voice, and said: “When I
From Circe had departed, who concealed me More than a year there near unto Gaeta, Or ever yet Aenas named it so,
Nor fondness for my son, nor reverence For my old father, nor the due affection Which joyous should have made Penelope,
Could overcome within me the desire I had to be experienced of the world, And of the vice and virtue of mankind;
But I put forth on the high open sea With one sole ship, and that small company By which I never had deserted been.
Both of the shores I saw as far as Spain, Far as Morocco. and the isle of Sardes, And the others which that sea bathes round about.
I and my company were old and slow When at that narrow passage we arrived Where Hercules his landmarks set as signals,
That man no farther onward should adventure. On the right hand behind me left I Seville, And on the other already had left Ceuta.
‘O brothers, who amid a hundred thousand Perils,’ I said, ‘ have come unto the West, To this so inconsiderable vigil
Which is remaining of your senses still Be ye unwilling to deny the knowledge, Following the sun, of the unpeopled world.
Consider ye the seed from which ye sprang; Ye were not made to live like unto brutes, But for pursuit of virtue and of knowledge.’
So eager did I render my companions, With this brief exhortation, for the voyage, That then I hardly could have held them back.
And having turned our stern unto the morning, We of the oars made wings for our mad flight, Evermore gaining on the larboard side.
Already all the stars of the other pole The night beheld, and ours so very low It did not rise above the ocean floor.
Five times rekindled and as many quenched Had been the splendour underneath the moon, Since we had entered into the deep pass,
When there appeared to us a mountain, dim From distance, and it seemed to me so high As I had never any one beheld.
Joyful were we, and soon it turned to weeping; For out of the new land a whirlwind rose, And smote upon the fore part of the ship.
Three times it made her whirl with all the waters, At the fourth time it made the stern uplift, And the prow downward go, as pleased Another,
Until the sea above us closed again.”
This illustration traces Dante and Virgilio’s journey from the seventh bolgia to the eighth, that of the fraudulent counselors. First, Dante and Virgilio watch the Ovidian transformations and interminglings of the thieves and serpents. Then, passing into the eighth bolgia, they see that each sinner has been turned into a tongue of flame. Dante spots a double flame and Virgilio tells him that it contains Ulysses and Diomedes, who were responsible for the Trojan horse and the sacking of Palladium. Ulysses recounts his death and the deaths of men in a shipwreck. Dante also speaks with Guido da Montefeltro.
Related video
Reading by francesco bausi: inferno 26.
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General Data
See also: boats for sale.
- Giumma STARRY 26
- Beneteau First 27
- Beneteau First Class 8
- MacGregor MacGregor 26 M
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Waterline length:, maximum beam:, displacement:, straightening:, sail details mq, equipments:.
Review of Inferno 28
Basic specs..
The hull is made of fibreglass. Generally, a hull made of fibreglass requires only a minimum of maintenance during the sailing season. And outside the sailing season, just bottom cleaning and perhaps anti-fouling painting once a year - a few hours of work, that's all.
The boat equipped with a fractional rig. A fractional rig has smaller headsails which make tacking easier, which is an advantage for cruisers and racers, of course. The downside is that having the wind from behind often requires a genaker or a spinnaker for optimal speed.
The Inferno 28 is equipped with a fin keel. A boat with a fin keel is more manoeuvrable but has less directional stability than a similar boat with a full keel.
The keel is made of lead. Compared with iron, lead has the advantage of being 44% heavier, which allows a smaller keel and hence less water resistance and higher speed.
The boat can enter most marinas as the draft is just about 1.50 - 1.60 meter (4.92 - 5.22 ft) dependent on the load. See immersion rate below.
The boat is typically equipped with a Volvo Penta engine.
Sailing characteristics
This section covers widely used rules of thumb to describe the sailing characteristics. Please note that even though the calculations are correct, the interpretation of the results might not be valid for extreme boats.
What is Capsize Screening Formula (CSF)?
The capsize screening value for Inferno 28 is 2.39, indicating that this boat would not be accepted to participate in ocean races.
What is Theoretical Maximum Hull Speed?
The theoretical maximal speed of a displacement boat of this length is 6.4 knots. The term "Theoretical Maximum Hull Speed" is widely used even though a boat can sail faster. The term shall be interpreted as above the theoretical speed a great additional power is necessary for a small gain in speed.
The immersion rate is defined as the weight required to sink the boat a certain level. The immersion rate for Inferno 28 is about 133 kg/cm, alternatively 747 lbs/inch. Meaning: if you load 133 kg cargo on the boat then it will sink 1 cm. Alternatively, if you load 747 lbs cargo on the boat it will sink 1 inch.
Sailing statistics
This section is statistical comparison with similar boats of the same category. The basis of the following statistical computations is our unique database with more than 26,000 different boat types and 350,000 data points.
What is Motion Comfort Ratio (MCR)?
What is L/B (Length Beam Ratio)?
What is a Ballast Ratio?
What is Displacement Length Ratio?
What is SA/D (Sail Area Displacement ratio)?
What is Relative Speed Performance?
Maintenance
When buying anti-fouling bottom paint, it's nice to know how much to buy. The surface of the wet bottom is about 23m 2 (247 ft 2 ). Based on this, your favourite maritime shop can tell you the quantity you need.
Are your sails worn out? You might find your next sail here: Sails for Sale
If you need to renew parts of your running rig and is not quite sure of the dimensions, you may find the estimates computed below useful.
| Usage | Length | Diameter | ||
| Mainsail halyard | 29.8 m | (97.8 feet) | 8 mm | (5/16 inch) |
| Jib/genoa halyard | 29.8 m | (97.8 feet) | 8 mm | (5/16 inch) |
| Spinnaker halyard | 29.8 m | (97.8 feet) | 8 mm | (5/16 inch) |
| Jib sheet | 8.4 m | (27.7 feet) | 10 mm | (3/8 inch) |
| Genoa sheet | 8.4 m | (27.7 feet) | 10 mm | (3/8 inch) |
| Mainsheet | 21.1 m | (69.3 feet) | 10 mm | (3/8 inch) |
| Spinnaker sheet | 18.6 m | (61.0 feet) | 10 mm | (3/8 inch) |
| Cunningham | 3.6 m | (11.8 feet) | 8 mm | (5/16 inch) |
| Kickingstrap | 7.2 m | (23.6 feet) | 8 mm | (5/16 inch) |
| Clew-outhaul | 7.2 m | (23.6 feet) | 8 mm | (5/16 inch) |
This section is reserved boat owner's modifications, improvements, etc. Here you might find (or contribute with) inspiration for your boat.
Do you have changes/improvements you would like to share? Upload a photo and describe what you have done.
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If you have any comments to the review, improvement suggestions, or the like, feel free to contact us . Criticism helps us to improve.
Pricelist for sails for Inferno 26
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Inferno 26 - Sailboat Sheets
Pre-Spec sailboat sheets for your Inferno 26. Genoa, gennaker and spinnaker shets to fit your cruising or racing sailing style. Full range of options.
MAURIPRO Rigging shop brings years of expertise to the sailing community. Our riggers are constantly working with sailboat owners to provide high-quality genoa, mainsail and spinnaker sheets for their cruising or racing sailboats. From traditional polyester double braid to the latest on high tech lines made out of Dyneema or Stirotek, we offer a wide range of materials and diameters to fit any need of sailboat sheets.
We at MAURIPRO Sailing are looking forward to helping you the best way we can, but most importantly, we are looking forward to seeing you on the water. Let's Go Sailing!
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Innehåll Inferno 26
- Beskrivning
- Forumdiskussioner
- Referenser o länkar
Inferno 26 såldes även under namnet Tabasco 26. Hon tillverkades bland annat av Tabasco Marine i Finland. Hon presenterades 1984. Jag vet inte hur länge tillverkningen pågick eller hur många exemplar som tillverkades
- Båttyp Segelbåt
- Konstruktör Håkan Södergren
- Tillverkare Uppgift saknas
Denna båtmodell finns i flera utföranden
| Last Name | Score |
|---|---|
| Längd över allt(m) | 7.9 |
| Skrovlängd(m) | |
| Längd vattenlinjen(m) | 6.8 |
| Bredd (m) | 2.48 |
| Höjd(m) | |
| Vikt/Deplacement(kg) | 1700 |
| Djupgående (m) | 1.5 |
| Minsta djupgående (m) |
Konstruktion
| Konstruktör | Håkan Södergren |
| Tillverkare | |
| Tillverkningsår | År 1984 - |
| Költyp | Fenköl |
| Kölmaterial | |
| Kölvikt (kg) | 800 |
| Roder | Innanpåliggande |
| Akter | Negativ |
| Skrov | Plast |
Utrustning & Motor
| Motor | Utombordare. Mot tillägg Volvo Penta MB2 50S 7Hk |
| Typ av framdrivning | |
| Bränsletank (Liter) | 0 |
| Vattentank (Liter) | 0 |
| Typ av rigg | Partialrigg |
| Rigg beskrivning | 7/8-del. Ett par bakåtsvepta spridare |
| Riggmått I (m) | |
| Riggmått J (m) | |
| Riggmått P (m) | |
| Riggmått E (m) | |
| Övrigt |
| Total segelarea (m2) | |
| Storsegel (m2) | 19.6 |
| Fock (m2) | |
| Självslående fock (m2) | 13.2 |
| Genua (m2) | 22.3 |
| Genua 2 (m2) | 16.8 |
| Spinnaker (m2) | 60 |
Köp segel till Inferno 26:
Storsegel från 22 200 SEK Fock från 25 200 SEK Spinnaker från 39 500SEK
Till babord om nedgångstrappan finns ett utdragbart pentry (skjuts in under sittbrunnen när det inte används) med gasolkök och en diskbalja. Till styrbord om nedgångstrappan finns ett utdragbart navigationsbord. Två längsgående soffor i salongen. Mellan förpiken och salongen finns garderober. Traditionell förpik med två kojer. Under förpiken finns plats för kemtoalett.
| Höjd i kabin (m) | |
| Antalet kojplatser (st) | 4 - 4 |
SRS Klassificering
| SRS | 0.918 |
| SRS utan undanvindssegel | 0.898 |
Proffsbesiktning
Priser ny båt
| År | Pris | Typ |
|---|---|---|
| 1984 | 142000 SEK | Färdigbyggd med Volvo Penta MB2 |
| 1984 | 123000 SEK | Färdigbyggd |
Priser begagnade båtar
Inga priser finns inrapporterade. Bidrag gärna med prisstatistik genom att rapportera in en båtaffär.
Diskuterat i forumet
Det finns inga inlägg i forumet relaterade till "Inferno 26".
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Cary Translation
Norton translation.
Browse the cantos of the Inferno:
The Inferno 26 is a 25.92ft fractional sloop designed by Håkan Södergren and built in fiberglass since 1984.
The Inferno 26 is a light sailboat which is a high performer. It is very stable / stiff and has a low righting capability if capsized. It is best suited as a racing boat.
Inferno 26 for sale elsewhere on the web:
Main features
| Model | Inferno 26 | ||
| Length | 25.92 ft | ||
| Beam | 8.14 ft | ||
| Draft | 4.92 ft | ||
| Country | ?? | ||
| Estimated price | $ 0 | ?? |
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| Sail area / displ. | 21.81 | ||
| Ballast / displ. | 40.53 % | ||
| Displ. / length | 163.95 | ||
| Comfort ratio | 16.49 | ||
| Capsize | 2.04 |
| Hull type | Monohull fin keel with spade rudder | ||
| Construction | Fiberglass | ||
| Waterline length | 22.31 ft | ||
| Maximum draft | 4.92 ft | ||
| Displacement | 4078 lbs | ||
| Ballast | 1653 lbs | ||
| Hull speed | 6.33 knots |
We help you build your own hydraulic steering system - Lecomble & Schmitt
| Rigging | Fractional Sloop | ||
| Sail area (100%) | 347 sq.ft | ||
| Air draft | 0 ft | ?? | |
| Sail area fore | 160.18 sq.ft | ||
| Sail area main | 186.54 sq.ft | ||
| I | 31.50 ft | ||
| J | 10.17 ft | ||
| P | 33.46 ft | ||
| E | 11.15 ft |
| Nb engines | 1 | ||
| Total power | 0 HP | ||
| Fuel capacity | 0 gals |
Accommodations
| Water capacity | 0 gals | ||
| Headroom | 0 ft | ||
| Nb of cabins | 0 | ||
| Nb of berths | 0 | ||
| Nb heads | 0 |
Builder data
| Builder | ?? | ||
| Designer | Håkan Södergren | ||
| First built | 1984 | ||
| Last built | 0 | ?? | |
| Number built | 0 | ?? |
Modal Title
The content of your modal.
Personalize your sailboat data sheet
Folly Beach Tiki Boat
Specifications
Ratings & reviews, boat location.
- Response rate: N/A
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Things to know
Allowed on boat, cancellation policy flexible.
- Free cancellations until 24 hours before the booking start time.
- Cancellations within 24 hours of the booking start time are non-refundable.
Commercial owner
This boat belongs to a Commercial Owner, an independent boat rental company. A Commercial Owner is an independent, Boatsetter-approved boat rental company who provides their own insurance to their guests.
Security deposit
A security deposit hold (not a charge) will be placed on your credit card 48 hours before your booking starts to cover any incidental damage that may occur during your rental. This hold is released 48 hours after the booking is complete, if no claims are made. The security deposit amount for the boat you are booking will be outlined during the check-out process.
Captain info
If requested, the owner can provide a list of available captains for bareboat charter or the renter can use their own qualified captain. If the boat is being time chartered, the owner will provide the Captain.
| , CANTO XXVI | Remounting by the steps, down which they had descended to the seventh gulf, they go forward to the arch that stretches over the eighth, and from thence behold numberless |
| thy wings Thou beatest, and thy name spreads over hell. Among the plund'rers, such the three I found Thy citizens; whence shame to me thy son, And no proud honor to thyself redounds. But if our , when dreaming near the dawn, Are of the truth presageful, thou ere long Shalt feel what (not to say the rest) Would fain might come upon thee; and that chance Were in good time, if it befel thee now. For as wears me, I shall grieve the more. | |
| Noi ci partimmo, e su per le scalee che n'avea fatte i borni a scender pria, rimontò 'l duca mio e trasse mee; e proseguendo la solinga via, tra le schegge e tra ' rocchi de lo scoglio lo piè sanza la man non si spedia. Allor mi dolsi, e ora mi ridoglio quando drizzo la mente a ciò ch'io vidi, 20 e più lo 'ngegno affreno ch'i' non soglio, perchè non corra che virtù nol guidi; sì che, se stella bona o miglior cosa m'ha dato 'l ben, ch'io stessi nol m'invidi. | We from the depth departed; and my guide Remounting scal'd the flinty , which late We downward trac'd, and drew me up the steep. Pursuing thus our solitary way Among the crags and splinters of the rock, Sped not our feet without the help of hands. Then sorrow seiz'd me, which e'en now revives, As my thought turns again to what I saw, And, more than I am , I rein and curb The powers of nature in me, lest they run Where Virtue guides not; that if aught of good My gentle star, or something better gave me, I envy not myself the precious boon. |
| Quante 'l villan ch'al poggio si riposa, nel tempo che colui che 'l mondo schiara la faccia sua a noi tien meno ascosa, come la mosca cede a la zanzara, vede lucciole giù per la vallea, forse colà dov' e' vendemmia e ara: 30 di tante fiamme tutta risplendea l'ottava bolgia, sì com' io m'accorsi tosto che fui là 've 'l fondo parea. E qual colui che si vengiò con li orsi vide 'l carro d'Elia al dipartire, quando i cavalli al cielo erti levorsi, che nol potea sì con li occhi seguire, ch'el vedesse altro che la fiamma sola, sì come nuvoletta, in sù salire: tal si move ciascuna per la gola 40 del fosso, ché nessuna mostra 'l furto, e ogne fiamma un peccatore invola. | As in that season, when the sun least veils His face that lightens all, what time the fly Gives way to the shrill gnat, the peasant then, Upon some cliff reclin'd, beneath him sees Fire-flies innumerous spangling o'er the vale, Vineyard or tilth, where his day-labour lies; With flames so numberless throughout its space Shone the eighth chasm, apparent, when the depth Was to my view expos'd. As he, whose The bears aveng'd, at its departure saw Elijah's chariot, when the steeds erect Rais'd their steep flight for heav'n; his eyes, meanwhile, Straining pursu'd them, till the flame alone, Upsoaring like a misty speck, he kenn'd: E'en thus along the gulf moves every flame; A sinner so enfolded close in each, That none exhibits token of the theft. |
| Io stava sovra 'l ponte a veder surto, sì che s'io non avessi un ronchion preso, caduto sarei giù sanz' esser urto. E 'l duca, che mi vide tanto atteso, disse: "Dentro dai fuochi son li spirti; catun si fascia di quel ch'elli e inceso." "Maestro mio," rispuos' io, "per udirti son io più certo; ma già m'era avviso 50 che così fosse, e già volvea dirti: chi è 'n quel foco che vien sì diviso di sopra, che par surger de la pira dov' Eteòcle col fratel fu miso?" Rispuose a me: "Là dentro si martira Ulisse e Dïomede, e così insieme a la vendetta vanno come a l'ira; e dentro da la lor fiamma si geme l'agguato del caval che fé la porta onde uscì de' Romani il gentil seme. 60 | Upon the bridge I forward bent to look, And grasp'd a flinty mass, or else had fall'n, Though push'd not from the height. The guide, who mark'd How I did gaze attentive, thus began: "Within these ardours are the spirits, each Swath'd in confining fire."--"Master! thy word," I answer'd, "hath assur'd me; yet I deem'd Already of the truth, already wish'd To ask thee who is in yon fire, that comes So parted at the summit, as it seem'd Ascending from that funeral where lay The Theban brothers." He replied: "Within, Ulysses there and Diomede endure Their penal tortures, thus to vengeance now Together hasting, as erstwhile to wrath. |
| Piangevisi entro l'arte per che, morta, Deïdamià ancor si duol d'Achille, e del Palladio pena vi si porta." "S'ei posson dentro da quelle faville parlar," diss' io, "maestro, assai ten priego e ripriego, che 'l priego vaglia mille, che non mi facci de l'attender niego fin che la fiamma cornuta qua vegna; vedi che del disio ver' lei mi piego!" Ed elli a me: "La tua preghiera è degna 70 di molta loda, e io però l'accetto; ma fa che la tua lingua si sostegna. Lascia parlare a me, ch'i' ho concetto ciò che tu vuoi; ch'ei sarebbero schivi, perch' e' fuor greci, forse del tuo detto." | Those in the flames with ceaseless groans deplore The ambush of the , that open'd wide A portal for that goodly seed to pass, Which sow'd imperial Rome; nor less the guile Lament they, whence, of her Achilles 'reft, Diedamia yet in death complains. And there is rued the strategem, that Troy Of her Palladium spoil'd."--"If they have power Of utt'rance from within these sparks," said I, "O Master!" think my prayer a thousand fold In repetition urg'd, that thou vouchsafe To pause, till here the horned flame arrive. See, how toward it with desire I bend." He thus: "Thy prayer is worthy of much praise, And I accept it therefore; but do thou Thy tongue refrain: to question them be mine, For I divine thy wish; and they perchance, For they were , might shun discourse with thee." |
| Poi che la fiamma fu venuta quivi dove parve al mio duca tempo e loco, in questa forma lui parlare audivi: "O voi che siete due dentro ad un foco, s'io meritai di voi mentre ch'io vissi, 80 s'io meritai di voi assai o poco quando nel mondo li alti versi scrissi, non vi movete; ma l'un di voi dica dove, per lui, perduto a morir gissi." | When there the flame had come, where time and place Seem'd fitting to my guide, he thus begun: "O ye, who dwell two spirits in one fire! If living I of you did merit aught, Whate'er the measure were of that desert, When in the world my lofty strain I pour'd, Move ye not on, till one of you unfold In what clime death overtook him self-destroy'd." |
| Lo maggior corno de la fiamma antica cominciò a crollarsi mormorando, pur come quella cui vento affatica; indi la cima qua e là menando, come fosse la lingua che parlasse, gittò voce di fuori e disse: "Quando mi diparti' da Circe, che sottrasse 90 me più d'un anno là presso a Gaeta, prima che sì Enëa la nomasse, dolcezza di figlio, né la pieta del vecchio padre, né 'l debito amore lo qual dovea Penelope far lieta, vincer potero dentro a me l'ardore ch'i' ebbi a divenir del mondo esperto e de li vizi umani e del valore; ma misi me per l'alto mare aperto 100 sol con un legno e con quella compagna picciola da la qual non fui diserto. L'un lito e l'altro vidi infin la Spagna, fin nel Morrocco, e l'isola d'i Sardi, e l'altre che quel mare intorno bagna. Io e ' compagni eravam vecchi e tardi quando venimmo a quella foce stretta dov' Ercule segnò li suoi riguardi acciò che l'uom più oltre non si metta; da la man destra mi lasciai Sibilia, 110 da l'altra già m'avea lasciata Setta. | Of the old flame forthwith the greater horn Began to roll, murmuring, as a fire That labours with the wind, then to and fro Wagging the top, as a tongue uttering sounds, Threw out its voice, and spake: "When I escap'd From Circe, who beyond a circling year Had held me near Caieta by her charms, Ere thus Æneas yet had nam'd the shore; Nor fondness for my , nor reverence Of my old father, nor return of love, That should have crown'd Penelope with joy, Could overcome in me the zeal I had To' explore the world, and search the ways of life, Man's evil and his virtue. Forth I sail'd Into the deep illimitable main, With but one bark, and the small faithful band That yet cleav'd to me. As Iberia far, Far as Marocco either shore I saw, And the Sardinian and each isle beside Which round that ocean bathes. Tardy with age Were I and my companions, when we came To the strait , where Hercules ordain'd The bound'ries not to be o'erstepp'ed by man. The walls of Seville to my right I left, On the' other hand already Ceuta past. |
| 'O frati,' dissi, 'che per cento milia perigli siete giunti a l'occidente, a questa tanto picciola vigilia d'i nostri sensi ch'è del rimanente non vogliate negar l'esperïenza di retro al sol, del mondo sanza gente. Considerate la vostra semenza: fatti non foste a viver come bruti, ma per seguir virtute e canoscenza.' \120 con questa orazion picciola, al cammino, che a pena poscia li avrei ritenuti; e volta nostra poppa nel mattino, de' remi facemmo ali al folle volo, sempre acquistando dal lato mancino. Tutte le stelle già de l'altro polo vedea la notte, e 'l nostro tanto basso, che non surgëa fuor del marin suolo. Cinque volte racceso e tante casso 130 lo lume era di sotto da la luna, poi che 'ntrati eravam ne l'alto passo, quando n'apparve una montagna, bruna per la distanza, e parvemi alta tanto quanto veduta non avëa alcuna. Noi ci allegrammo, e tosto tornò in pianto; ché de la nova terra un turbo nacque e percosse del legno il primo canto. Tre volte il fé girar con tutte l'acque; a la quarta levar la poppa in suso e la prora ire in giù, com' altrui piacque, 140 infin che 'l mar fu sovra noi richiuso." | 'O brothers!' I began, 'woe to the west 'Through perils without number now have we reach'd; 'To this the short remaining watch, that yet 'Our senses have to wake, refuse not proof 'Of the unpeopled world, following the track 'Of Phoebus. Call to mind from whence ye sprang: 'Ye were not form'd to live the life of brutes, 'But virtue to pursue and knowledge high.' With these few words I sharpen'd for the voyage The mind of my associates, that I then Could scarcely have withheld them. To the dawn Our poop we turn'd, and for the witless flight Made our oars , still gaining on the left. Each star of the' other pole night now , And ours so low, that from the ocean-floor It rose not. Five times re-illum'd, as oft Vanish'd the light from underneath the moon, Since the deep way we enter'd, when from far Appear'd a mountain , loftiest methought Of all I e'er beheld. Joy seiz'd us straight, But soon to mourning chang'd. From the new land A whirlwind spring, and at her foremost side Did strike the vessel. it whirl'd her round With all the waves, the fourth time lifted up The poop, and sank the prow: so fate decreed: And over us the booming billow ." |
|
For he can spread thy name o'er lands and seas. Namque sub Auroram, jam dormitante lucernâ,
"I shall feel all calamities more sensibly as I am advanced in life."
Venturi, after Daniello and Volpi, explains the word in the original, "borni," to mean the stones that project from a wall for other buildings to be joined to, which the workmen call "toothings."
"When I reflect on the punishment allotted to those who do not give sincere and upright advice to others, I am more anxious than ever not to abuse to so bad a purpose those talents, whatever they may be, which Nature, or rather Providence, has conferred on me." It is probable that this declaration was the result of real feeling in the mind of Dante, whose political character would have given great weight to any opinion or party he had espoused, and to whom indigence and exile might have offered strong temptations to deviate from that line of conduct which a strict sense of duty prescribed.
The flame is said to have divided on the funeral pile, which consumed the bodies of Eteocles and Polynices, as if conscious of the enmity that actuated them when living. Ecce iterum fratris primos ut contigit artus
By this it is, perhaps, implied that they were haughty and arrogant. So in our Poet's twenty-fourth Sonnet, if which a translation is inserted in the Life prefixed, he says-- Ed ella mi ripose, come un greco.
Virgil, Æneid, lib. vii. 1.
Imitated by Tasso, G.L. c. viii. st. 7. Ne timor di fatica ò di periglio, This imagined voyage of Ulysses into the Atlantic is alluded to by Pulci:-- E soprattutto commendava Ulisse,
The straits of Gibraltar.
Oud' eueire' eretma, ta te ptera neiusi pelontai xi. 124. So Chiabrera, Canz. Eroiche. xiii. And Tasso, Ibid. 26.
Petrarch is here cited by Lombardi:-- Ne là su sopra il cerchio della luna
The mountain of Purgatory.-- Amongst the various opinions of theologians respecting the situation of the terrestrial paradise, Pietro Lombardo relates that "it was separated by a long space, either of sea or land, from the regions inhabited by men, and placed in the ocean, reaching as far as to the lunar circle, so that the waters of the deluge did not reach it." lib. ii. dist. 17. Thus Lombardi. -----Ast illum ter fluctus ibidem Venturi refers to Pliny and Solinus for the opinion that Ulysses was the founder of Lisbon, from whence he thinks it was easy for the fancy of the poet to send him on yet further enterprizes. Perhaps the story (which it is not unlikely that our author will be found to have borrowed from some legend of the middle ages), may have taken its rise partly from the obscure oracle returned by the ghost of Tiresias to Ulysses (see the eleventh book of the Odyssey), and partly from the fate which there was reason to suppose had befallen some adventurous explorers of the Atlantic ocean. |
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- Sailboat Guide
Inferno 31 is a 31 ′ 0 ″ / 9.5 m monohull sailboat designed by Håkan Södergren and built by Finngulf (FIN) starting in 1983.
Rig and Sails
Auxilary power, accomodations, calculations.
The theoretical maximum speed that a displacement hull can move efficiently through the water is determined by it's waterline length and displacement. It may be unable to reach this speed if the boat is underpowered or heavily loaded, though it may exceed this speed given enough power. Read more.
Classic hull speed formula:
Hull Speed = 1.34 x √LWL
Max Speed/Length ratio = 8.26 ÷ Displacement/Length ratio .311 Hull Speed = Max Speed/Length ratio x √LWL
Sail Area / Displacement Ratio
A measure of the power of the sails relative to the weight of the boat. The higher the number, the higher the performance, but the harder the boat will be to handle. This ratio is a "non-dimensional" value that facilitates comparisons between boats of different types and sizes. Read more.
SA/D = SA ÷ (D ÷ 64) 2/3
- SA : Sail area in square feet, derived by adding the mainsail area to 100% of the foretriangle area (the lateral area above the deck between the mast and the forestay).
- D : Displacement in pounds.
Ballast / Displacement Ratio
A measure of the stability of a boat's hull that suggests how well a monohull will stand up to its sails. The ballast displacement ratio indicates how much of the weight of a boat is placed for maximum stability against capsizing and is an indicator of stiffness and resistance to capsize.
Ballast / Displacement * 100
Displacement / Length Ratio
A measure of the weight of the boat relative to it's length at the waterline. The higher a boat’s D/L ratio, the more easily it will carry a load and the more comfortable its motion will be. The lower a boat's ratio is, the less power it takes to drive the boat to its nominal hull speed or beyond. Read more.
D/L = (D ÷ 2240) ÷ (0.01 x LWL)³
- D: Displacement of the boat in pounds.
- LWL: Waterline length in feet
Comfort Ratio
This ratio assess how quickly and abruptly a boat’s hull reacts to waves in a significant seaway, these being the elements of a boat’s motion most likely to cause seasickness. Read more.
Comfort ratio = D ÷ (.65 x (.7 LWL + .3 LOA) x Beam 1.33 )
- D: Displacement of the boat in pounds
- LOA: Length overall in feet
- Beam: Width of boat at the widest point in feet
Capsize Screening Formula
This formula attempts to indicate whether a given boat might be too wide and light to readily right itself after being overturned in extreme conditions. Read more.
CSV = Beam ÷ ³√(D / 64)
Similar to the CROWN 31 and FINNFULF 31. See FINNGULF 31 for more details.
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It takes into consideration "reported" sail area, displacement and length at waterline. The higher the number the faster speed prediction for the boat. A cat with a number 0.6 is likely to sail 6kts in 10kts wind, a cat with a number of 0.7 is likely to sail at 7kts in 10kts wind. KSP = (Lwl*SA÷D)^0.5*0.5
Inferno 26 is a 25′ 11″ / 7.9 m monohull sailboat designed by Håkan Södergren starting in 1984. Great choice! Your favorites are temporarily saved for this session. ... Sail area in square feet, derived by adding the mainsail area to 100% of the foretriangle area (the lateral area above the deck between the mast and the forestay). D: ...
The immersion rate is defined as the weight required to sink the boat a certain level. The immersion rate for Inferno 26 is about 112 kg/cm, alternatively 632 lbs/inch. Meaning: if you load 112 kg cargo on the boat then it will sink 1 cm. Alternatively, if you load 632 lbs cargo on the boat it will sink 1 inch.
The Inferno 26 is a 25.92ft fractional sloop designed by Håkan Södergren and built in fiberglass since 1984. The Inferno 26 is a light sailboat which is a high performer. It is very stable / stiff and has a low righting capability if capsized. It is best suited as a racing boat. This boat has a good score and ranks in the top quarter.
Buy new custom sails for Inferno 26 sailboats. Browse through popular models and create your own custom mainsail or headsail online.
[1] Inferno 26 presents one of the Commedia's most famous characters: the Greek hero of Homer's Odyssey, Odysseus, known to Dante by his Latin name, Ulysses. [2] Inferno 26 opens with a scathingly sarcastic apostrophe to Florence. Enjoy your greatness, Florence! You have reached such pinnacles of greatness, says the poet to his natal city, that you beat your wings over sea and land and ...
Sailing boat; Model: Inferno 26; Designer: Håkan Södergren; See also: boats for sale. Giumma STARRY 26 Beneteau First 27 Beneteau First 27 Beneteau First Class 8 MacGregor MacGregor 26 M Boat Files General Data. Overall length: 7.9 m; Waterline length: 6.8 m; Maximum beam: 2.48 m; Draught: 1.5 m; Displacement: 1850 kg; Ballast: 750 kg ...
The Inferno 28 aka Saint 28 is a sailboat designed by the Swedish maritime architect Håkan Södergren in the mid eighties. Here we would have liked to show you nice photos of the Inferno 28. ... The SA/D for Inferno 28 with ISO 8666 reference sail is 26.1, with a 135% genua the SA/D is 30.4.
Inferno 29 is a 28′ 10″ / 8.8 m monohull sailboat designed by Håkan Södergren and built by NaBoats (FIN) starting in 1982. ... Max Speed/Length ratio = 8.26 ÷ Displacement/Length ratio.311 Hull Speed = Max Speed/Length ratio x √LWL 7.95 knots. ... Sail area in square feet, ...
Your Inferno 26 requires the best sails. You'll find those sails here. Order and calculate the price for your new sails online at Resen Sails. ... Inferno 26 boat data. Length 7,90 meter. Width 2,48 meter. Depth 1,50 meter. Weight 1.850 kg. LYS-value 1,130. SRS-value 1,117. SRS-value without spinnaker 1,090.
Canto 26. FLORENCE exult! for thou so mightily. Hast thriven, that o'er land and sea thy wings. Thou beatest, and thy name spreads over hell! Among the plund'rers such the three I found. Thy citizens, whence shame to me thy son, And no proud honour to thyself redounds. But if our minds, when dreaming near the dawn,
Pre-Spec sailboat sheets for your Inferno 26. Genoa, gennaker and spinnaker shets to fit your cruising or racing sailing style. Full range of options.
Inferno 26. Inferno 26 såldes även under namnet Tabasco 26. Hon tillverkades bland annat av Tabasco Marine i Finland. Hon presenterades 1984. Jag vet inte hur länge tillverkningen pågick eller hur många exemplar som tillverkades. Båttyp. Segelbåt. Konstruktör. Håkan Södergren.
Inferno 28 is a 27′ 8″ / 8.5 m monohull sailboat designed by Håkan Södergren starting in 1986. ... Max Speed/Length ratio = 8.26 ÷ Displacement/Length ratio.311 Hull Speed = Max Speed/Length ratio x √LWL 8.07 knots. Classic formula: 6.35 knots.
Inferno: Canto XXVI. Rejoice, O Florence, since thou art so great, That over sea and land thou beatest thy wings, And throughout Hell thy name is spread abroad! Among the thieves five citizens of thine. Like these I found, whence shame comes unto me, And thou thereby to no great honour risest. But if when morn is near our dreams are true,
Nyt myynnissä Inferno 26 Sailing boat 1991 Savonlinna Etelä-Savo Klikkaa tästä kuvat ja lisätiedot. ... Inferno 26 1GM. FIN8349, Nettivene ID 913307 8 900 € Contact Seller PAAVO Kosonen. Send message ...
1991. 7 900 €. Savonlinna, PAAVO Kosonen. Send message. Osta tai myy Inferno purjevene. Nettiveneessa on parhaillaan myynnissä 14 Inferno purjevene kohdetta.
The Inferno 26 is a 25.92ft fractional sloop designed by Håkan Södergren and built in fiberglass since 1984. The Inferno 26 is a light sailboat which is a high performer. It is very stable / stiff and has a low righting capability if capsized. It is best suited as a racing boat.
Nyt myynnissä Inferno 26 Sailing boat 1985 Jyväskylä Keski-Suomi Klikkaa tästä kuvat ja lisätiedot.
It takes into consideration "reported" sail area, displacement and length at waterline. The higher the number the faster speed prediction for the boat. A cat with a number 0.6 is likely to sail 6kts in 10kts wind, a cat with a number of 0.7 is likely to sail at 7kts in 10kts wind. KSP = (Lwl*SA÷D)^0.5*0.5
26 ft. Boat length. Up to 12. Passengers. Captained. This boat is rented with a captain. N/A. Owner's response rate. The boat. Discover the magic of our secluded hideaways. Dive into an adventure where the dolphins play and the tiki vibes sway. ... Your Tiki Tour Boat Experience: Our knowledgeable crew is dedicated to ensuring your comfort ...
Inferno 26 By Dante Alghieri: from The Vision; or Hell, Purgatory, and Paradise, Of Dante Alghieri Translated by The Rev. Henry Francis Cary, A.M. London: Printed for Taylor and Hessey, Fleet Street. 1819. Volume I: Inferno, CANTO XXVI. Argument. Remounting by the steps, down which they had descended to the seventh gulf, they go forward to the ...
Dinesh Raj wasn't at home with his six-year-old when the fire broke out. He got the call at 03:00 BST on Monday that flames were racing up the side of the tower block in east London, he told the ...
A measure of the stability of a boat's hull that suggests how well a monohull will stand up to its sails. The ballast displacement ratio indicates how much of the weight of a boat is placed for maximum stability against capsizing and is an indicator of stiffness and resistance to capsize. Formula. 23.26. <40: less stiff, less powerful.