The popular and critically acclaimed translation of Dante's Divine Comedy into English was carried out by the Anglican Reverend H. F. Cary. He has an honoured place in the rediscovery of Dante's masterpiece in Romantic Britain. Shelley, Byron, Wordsworth and Coleridge lavished praise upon his translation and it was through Cary's The Vision of Dante that the beauty and intricacies of the Italian poem. The book examines crucial aspects of British culture in the 19th Century and throws light on the manifold transformations of Dante's imagery into English poetry.

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Milbank (English, U. of Cambridge) argues that an understanding of Victorianism's reception of Dante is essential for understanding its notions of history, nationalism, aesthetics, and gender as well as the often strange intersections between any two or more of them. She offers a new genealogy of literature in modern times, substituting a continuous Dantism for the conventional tale of Victorian realism and historicism challenged by modernist symbolism. She also finds Dante to be the first writer to historicize, fictionalize, and humanize the eternal realm, and therefore the route through which history, secularized fiction, and positivist humanism can be traced to a lost transcendent. Distributed in the US by St. Martin's Press. Annotation copyrighted by Book News, Inc., Portland, OR

This book is a history of the influence of Dante on English poetry. The focus us not primarily upon stylistic influences or attempts to imitate Dante's manner of writing, but rather on the different guises in which the enormous presence of Dante has made itself felt, and how that presence has affected some of the central concerns of the poets in question. The poets considered are Shelley, Byron, Browning, Rossetti, Yeats, Pound and Eliot. In addition to analysing the way Dante is approached by these poets in their major poetry, Dr Ellis also discusses relevant critical works: Shelley's Defence of Poetry, Pound's The Spirit of Romance and Yeats' A Vision. The critical survey is unified by the attempt to show certain recurrent preoccupations in the work of these writers, such as the need to define a tradition in which Dante is a necessary forerunner. Ellis also shows that Dante has been read in a very partial way by these poets and the images of him which emerge in their works are inevitably varied and contradictory.

In the one hundred and ten years covered by volume four of The Oxford History of Literary Translation in English, what characterized translation was above all the move to encompass what Goethe called 'world literature'. This occurred, paradoxically, at a time when English literature is often seen as increasingly self-sufficient. In Europe, the culture of Germany was a new source of inspiration, as were the medieval literatures and the popular ballads of many lands, from Spain to Serbia. From the mid-century, the other literatures of the North, both ancient and modern, were extensively translated, and the last third of the century saw the beginning of the Russian vogue. Meanwhile, as the British presence in the East was consolidated, translation helped readers to take possession of 'exotic' non-European cultures, from Persian and Arabic to Sanskrit and Chinese. The thirty-five contributors bring an enormous range of expertise to the exploration of these new developments and of the fascinating debates which reopened old questions about the translator's task, as the new literalism, whether scholarly or experimental, vied with established modes of translation. The complex story unfolds in Britain and its empire, but also in the United States, involving not just translators, publishers, and readers, but also institutions such as the universities and the periodical press. Nineteenth-century English literature emerges as more open to the foreign than has been recognized before, with far-reaching effects on its orientation.

The best introduction for the general reader to Georg Wilhelm Friedrich Hegel's Phenomenology of Spirit.