The Circle of Our Vision: Dante's Presence in English Romantic PoetryThe sudden and spectacular growth in Dante's popularity in England at the end of the eighteenth century was immensely influential for English writers of the period; yet his impact on English writers has rarely been analyzed and its history has been little understood. Byron, Shelley, Keats, Coleridge, Blake, and Wordsworth all wrote and painted while Dante's work--its style, project, and achievement--commanded their attention and provoked their disagreement. The Circle of Our Vision discusses each of these writers in detail, assessing the nature of their engagement with the Divine Comedy and the consequences for their own writing. |
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Page 42
... Inferno xxiv - xxv ( see Plate 1 ) , Virgil's statuesque rigidity , lifted gaze , and his right fore- finger - raised in warning while the hand rests comfortingly on Dante's shoulder - all contrast starkly with Dante's violent hor- ror ...
... Inferno xxiv - xxv ( see Plate 1 ) , Virgil's statuesque rigidity , lifted gaze , and his right fore- finger - raised in warning while the hand rests comfortingly on Dante's shoulder - all contrast starkly with Dante's violent hor- ror ...
Page 53
... Inferno , xix . 88 , 122–3 , 118 , Sapegno , i . 216 , 219 ; Thomas , The Trilogy , i . 140. Cf. Hamlet , ш . ii . 254 ( stage direction ) : ' Powres the poyson in his eares ' . In Nathaniel Howard's translation , moralized disregard ...
... Inferno , xix . 88 , 122–3 , 118 , Sapegno , i . 216 , 219 ; Thomas , The Trilogy , i . 140. Cf. Hamlet , ш . ii . 254 ( stage direction ) : ' Powres the poyson in his eares ' . In Nathaniel Howard's translation , moralized disregard ...
Page 54
... Inferno xxv is echoed in Blake's illustration of the canto , but this and other similarities only reveal how profoundly Blake's portrayal of the Commedia and his understanding of the artist's role depart from those of Flaxman and Fuseli ...
... Inferno xxv is echoed in Blake's illustration of the canto , but this and other similarities only reveal how profoundly Blake's portrayal of the Commedia and his understanding of the artist's role depart from those of Flaxman and Fuseli ...
Contents
Illustrating Dante | 39 |
Symbols in | 68 |
Morti li morti e i vivi parean | 119 |
Copyright | |
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appear attention avoid Beatrice becomes begins Blake Byron canto Cary Cary's circle claim Coleridge Coleridge's Commedia complete consequence continues contrast creates Critical damned Dante Dante's describes Don Juan dream earlier earthly English Essays eternal experience eyes face Fall feelings finds follows Friend further gives Hell human Hyperion idea illustrations imagination implies Inferno interest involvement Italian Italy John judgement Keats Keats's later less letter light lines living London look McGann means Milton mind moves nature objects observation offers opening original Paradise particular passage perception person poem poet poetry political possible present Purgatorio reader reading relation remains reveals Romantic Rousseau Sapegno says seems seen sense Shelley Shelley's similar soul Studies sublime suffering suggests symbolic things thinking thought tion translation Triumph true truth turns Ugolino understanding Virgil vision vols waking writing