By Antonella Braida
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Additional resources for Dante and the Romantics
Dante’s ‘hard and uncouth phraseology’ (The Vision, 11) comes from the effort to 44 Dante and the Romantics give ‘a permanent stamp and character to the language in which he wrote’ (The Vision, 11). Dante’s Catholicism and the religious signiﬁcance of his allegory are toned down on the same grounds. The Divine Comedy, according to Cary, ‘comprises a description of the heavens and heavenly bodies; a description of men, their deserts and punishments, of supreme happiness and utter misery, and of the middle state between the two extremes’ (The Vision, 10).
Each episode portrays a strong passion either in the features of a sinner (Ugolino in Inferno, XXXIII, Gianciotto in Inferno, V) or of Dante (Inferno, X, XXIV–XXV, XXXIII). The need to emphasise emotions, claimed in different ways by Fuseli’s Swiss friend Bodmer and by Johann K. Lavater’s physiognomy, also satisﬁes the Pseudo-Longinus’ requirements for the sublime. Critics have pointed out the centrality of the debate on the sublime and the beautiful in the second decade of the eighteenth century.
28 The three supplementary essays are interesting evidence of a translator’s use of paratexts as a means of domestication of a foreign text. By foregrounding the allegorical dimension of Dante’s poetry, Boyd sees his role as ideological as well as literary: to render the source text acceptable to his Protestant readers. Cary, while distancing himself from Boyd’s work for its ‘latitude in its interpretation’ still admitted a debt to his predecessor ‘for the only view that has as yet appeared in English of the whole of the Divina Commedia’ (Inferno, viii).
Dante and the Romantics by Antonella Braida