By Frederick Burwick, Paul Douglass (eds.)
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Extra info for Dante and Italy in British Romanticism
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.
Of despair / And tyranny, and implements of death,” such as, one might add, in The Inferno. ” (see “Sonnets dedicated to Liberty and Order”) So, his sonnets addressed to Italy, Venice, Bologna, acknowledge great Italian history as a source of democratic ideals and heroic action, “Fair land! . ” In keeping with his character and his experiences in France, he advised the fallen and broken city-states of Italy to follow an evolutionary rather than the destructive revolutionary process, “by no mere fit / Of sudden passions roused shall men attain / True Freedom” (see Wordsworth’s three sonnets, At Bologna, in Remembrance of the Late Insurrection, 1837).
A throne, In just esteem, it rivals, though no style Be there of decoration to beguile The mind, depressed by thought of greatness flown. As a true man, who long had served the lyre, I gazed with earnestness, and dared no more. But in his breast the mighty Poet bore A Patriot’s heart, warm with undying fire. 5 For Robinson, sitting in the “Sasso” is a kind of tourist stunt, something he seems to have lured Wordsworth into doing, just to check out his reaction. ), and then, “Bold with the thought,” he takes his place “for a moment” as Dante’s heir and successor.
Dante and Italy in British Romanticism by Frederick Burwick, Paul Douglass (eds.)