Titlebook: Dante and the Romantics; Antonella Braida Book 2004 Palgrave Macmillan, a division of Macmillan Publishers Limited 2004 epic.John Keats.Pe

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Andreas B. Imhoff,Matthias J. Feuchtsion partial’, according to Tinkler–Villani ‘to the end of his life Blake seems to have been of two minds, condemning Dante’s lack of radicalism in religion and politics, but still accepting the validity of his vision as a poet’.. As both critics point out, Blake’s approach to the Italian poet is th

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Introductionirty years earlier he had welcomed The Vision as ‘a(chǎn) great national work’, protesting that ‘it is a disgrace to the age that Cary has no church-preferment’.. In these thirty years The Vision became a bestseller by modern standards and opened a new phase of the reception of the Divine Comedy in Britai

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The Romantic Translation of the ,: Henry Francis Cary’s ised by the translator’s ‘invisibility’, that is to say, by the preference for domestication of foreign texts, literary translations have often become a metonymy for the source text; references to Harington’s ‘Ariosto’, Dryden’s ‘Virgil’, Chapman’s or Pope’s ‘Homer’, far from foregrounding the trans

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Dante and High Culture: the Romantic Search for the Epic connoisseurs for his lack of interest in Dante. According to Tinkler–Villani, Walpole’s neglect suggests that to the enthusiasts of the Gothic, Dante’s poem was a disappointment; Anna Seward, too, a fond reader of Gothic novels, perceptively complained that ‘the poet, being his own hero, involves b