Commentary Par XXVI 73

The verb ab[b]or[r]ire (or, as we believe, ab[b]or[r]are) -- and both forms (along with others, as well) are found with orthographical variants in the interpretive tradition -- has caused a great deal of puzzlement.  See Casagrande (Casa.1997.2) for a thorough study of the history of the problem, concluding that (1) the verb is nearly certainly the first conjugation one, used by Dante twice in Inferno ([Inf XXV 144]; [Inf XXXI 24]); (2) it probably, on the basis of observations found in Uguccione da Pisa, derives from a Latin synonym for balbus (not speaking clearly [see [Purg XIX 7] and [Par XXVII 130] and [Par XXVII 133]]) and here means 'loses the power of speech.'  Casagrande, following Porena (DDP Porena.Par.XXVI.73-75), treats the form of the verb here as metaplasmic, that is, believing that Dante, his hand forced by the exigencies of rhyme, has switched conjugational endings (-ire) for (-are).  Our translation accepts the basic interpretation of Porena (as restated by Bosco/Reggio [DDP Bosco.Par.XXVI.73-75]) -- but does not accept the new reading proposed by Casagrande, for the reason that the action resulting from Beatrice's intervention is not that the protagonist can speak clearly so much as it is that he can see better (see [Par XXVI 79]).  Since what is revealed as the object of his eventually clear vision is still another soul, it would seem reasonable to argue that what at first appears unclear to the protagonist is that 'fourth light,' what turns out to be the radiance of Adam.  Bosco/Reggio (DDP Bosco.Par.XXVI.73-75) also follow Porena, but keep the sense of the verb as 'confound' (a matter of not seeing clearly), a view that Casagrande does not accept.