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 163
... Shelley's eclectic poem , that is dense with the shadows of Goethe , Calderón , Comus , and Petrarch as well as of the Commedia itself.4 Shelley knew Dante's works better than any of the other Romantic poets did . As well as reading ...
... Shelley's eclectic poem , that is dense with the shadows of Goethe , Calderón , Comus , and Petrarch as well as of the Commedia itself.4 Shelley knew Dante's works better than any of the other Romantic poets did . As well as reading ...
Page 164
... Shelley's ardent , immature idealism . Dante's supposed power to ' make us see more definitely ' creates in The Triumph of Life , ' a new and profoundly serious concern for reality ' . " This judgement has become normal : Miriam Allott ...
... Shelley's ardent , immature idealism . Dante's supposed power to ' make us see more definitely ' creates in The Triumph of Life , ' a new and profoundly serious concern for reality ' . " This judgement has become normal : Miriam Allott ...
Page 166
... Shelley's parody allows his reader , therefore , to enter the reverie in which , Hogle claims , we are made free to practise freedom . This freedom is established when Shelley overturns Dante's theocratic authority : Shelley's opening ...
... Shelley's parody allows his reader , therefore , to enter the reverie in which , Hogle claims , we are made free to practise freedom . This freedom is established when Shelley overturns Dante's theocratic authority : Shelley's opening ...
Contents
Illustrating Dante | 39 |
Symbols in | 68 |
Morti li morti e i vivi parean | 119 |
Copyright | |
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allegory appear argues attention Beatrice becomes Blake Blake's Blake's illustrations Boyd Byron Cambridge canto Cary Cary's translation circle Coleridge Coleridge's Commedia continues contrast creates Critical damned Dante Alighieri Dante and Virgil Dante's Dantean divine Divine Comedy Don Juan Earthly Paradise English Essays eternal exile eyes Fall of Hyperion Farinata feelings Flaxman's Friend Fuseli's gentleness Heaven Hell Henry Fuseli human Hunt's ibid imagination implies Inferno Italian John John Keats Juan's judgement Keats Keats's Leila light lines London McGann Milton narrator nature numbers Oxford Paolo and Francesca passage pause perception poem poet poetic poetry political Purgatorio reader reading reveals rhyme Rimini Rollins Romantic Rousseau S. T. Coleridge Sapegno Schlegel seems sense Shelley Shelley's sorrow soul stanza Story of Rimini sublime symbolic sympathy T. S. Eliot terza rima thought tion Toynbee Triumph truth Ugolino Virgil vision vols waking dream Warton William Blake Wordsworth writing