By Frederick Burwick, Paul Douglass (eds.)
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Extra resources for Dante and Italy in British Romanticism
Thus the third Bologna sonnet ends with a simile that describes the consequences of too hasty reform, a simile that may also allude, more obliquely, to Dante’s cantos on the grafters: Alas! with most, who weigh futurity Against time present, passion holds the scales: Hence equal ignorance of both prevails, And nations sink; or, struggling to be free, Are doomed to flounder on, like wounded whales Tossed on the bosom of a stormy sea. (ll. 9–14) So, as one would expect, the Wordsworth in 1837 Italy is very different from the Wordsworth in 1790 and 1792 France.
To endeavour to produce or enlarge this capability is one of the best services in which, at any period, a Writer can be engaged . . especially so in the present day. ” To Wordsworth, The Inferno was another intense and inescapable example (more dangerous and sinister because Dante was such a powerful writer) of the sickly genres that he believed had destroyed the sensibility of the nation. The Inferno was offensive to Wordsworth for personal as well as aesthetic reasons; it violated political principles and religious beliefs on which he had built his life.
398). 14. The standard account in English of Leopardi’s death can be found in Origo (251–255). 1 I too hope not to need the Sphinx, but I shall not be able to explain myself without elaborating on the implied promise to situate Byron between Ariosto and Tasso—and not merely alphabetically. 40, 39)? The question is worth asking less for the specific reasons that Byron repeatedly links the two poets and in Don Juan adopts their stanzaic form, ottava rima, than for the general reason that none of the three poems conforms fully or uncontestedly to the traditional conventions of the genre with which each asks primarily to be identified, heroic poetry, or epic.
Dante and Italy in British Romanticism by Frederick Burwick, Paul Douglass (eds.)