By Frederick Burwick and Paul Douglass (Editors)
Beginning with a brand new realizing of what Romantic-era literature is—and who wrote it—the essays the following think again British Romanticism in gentle of Dante, Ariosto, Tasso, Alfieri, and modern Italian figures similar to Paganini and the improvvisatore Tommaso Sgricci. The British absorption of Italian literature and tradition was once mediated by way of authors dwelling in Florence, Naples, Pisa, and Rome, together with Wordsworth, Coleridge, Hunt, Byron, the Shelleys, and Hemans. supplying perception on issues from the creative perform of improvisation to the politics of nationalism, this discovered quantity breaks new flooring and considerably extends our figuring out of the kinfolk among British and Italian tradition.
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Beginning with a brand new knowing of what Romantic-era literature is—and who wrote it—the essays right here think again British Romanticism in mild of Dante, Ariosto, Tasso, Alfieri, and modern Italian figures akin to Paganini and the improvvisatore Tommaso Sgricci. The British absorption of Italian literature and tradition used to be mediated by way of authors living in Florence, Naples, Pisa, and Rome, together with Wordsworth, Coleridge, Hunt, Byron, the Shelleys, and Hemans.
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Extra info for Dante and Italy in British Romanticism (Nineteenth-Century Major Lives and Letters)
83) Confronted with such instances, one is tempted to extend to Byron the criticism that a reviewer in the New Yorker once made of the filmmaker Peter Greenway: “He chews with his mouth open—we can identify almost every piece of art that has fed his imagination” (Rafferty). This is the very opposite of assimilative, digestive reading. But Byron is not, in fact, like Greenaway, whose allusions betray an anxious desire to be taken seriously as an artist. 4 The instances of formal and stylistic imitation or appropriation, as opposed to parody, that can plausibly be attributed to him tend, therefore, to be localized and independent of the overall project of the poem, with the obvious exception of the stanzaic form.
On no evidence, Zuccato, in Petrarch in Romantic England, claims Wordsworth “disliked” Petrarch (ix), accuses him of a “life long campaign of erasure,” of being a “conservative opportunist” for dismissing “Petrarch the love poet” as “a rhetorician and a liar” (146). See Wood, “Crying Game: Operatic Strains in Wordsworth’s Lyrical Ballads” (2004) and “The Castrato’s Tale” The Wordsworth Circle 38 (2008): 74–79, which was later revised as Chapter 3 in Wood’s Romanticism and Music Culture in Britain, 1770–1840: Virtue and Virtuosity (2010).
Mr. Miers said that shortly before leaving Italy he had called on the mother of Mazzini to ask her commands for her son. ” Mr. 12 Now this encounter, and these discussions, are happening at the very time that Wordsworth is writing his Memorials of a Tour in Italy, and beginning to conceive of them as a sequence of poems. So although it is perhaps too restrictive to suggest that Mazzini himself is Wordsworth’s target audience, the young Wordsworth to the elder Wordsworth’s Beaupuy, it seems all but certain that the poet had in mind the growing numbers of Italian political exiles in Britain, men, like his teacher Agostino Isola, who had dreams of a united Italy, and now had the hope and numbers and leadership and financial support to begin to bring it about.