Abstract
The pathos which characterised English poetic treatments of Italy in the 1820s was also a feature of the ‘Italian’ novel in the same period. Though they had the example of Byron before them, the tendency of the novelists’ exploration of Italy in these years was towards a feeling that any such creative relationship with Italy as Byron had achieved was purely exceptional, and that the more general truth lay rather in the direction of Madame de Staël’s finding, that the life-values represented by Italy were tragically unattainable to the northern spirit, however great its yearning for them.
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Chapter 5
See G. M. C. Cullum & F. C. Macauley, Inscriptions in The Old British Cemetery of Leghorn(Leghorn, 1906).
W. F. Monypenny, Life of Benjamin Disraeli vol. i (London, 1910) p. 109.
See B. R. Jerman, The Young Disraeli (Princeton, 1960) pp. 77–8;
J. A. LovatFraser, ‘With Disraeli in Italy’, Contemporary Review, cxxxviii (1930) 192–9.
L. Stephen, Hours In A Library 2nd series (London, 1876) pp. 389–90.
Bulwer Lytton, England and The English vol. ii (London, 1833) p. 211.
Martin’s painting was destroyed in the Tate Gallery flood of 1928. It is reproduced in M. Pendered, John Marlin, Painter, His Life & Times (London, 1923)
discussed in T. Balston, John Martin, 1789–1854, His Life & Works (London, 1947) eh. 8. Martin was also part of Gautier’s response to Italy;
see J. Seznec, John Marlin en France (London, 1964) p. 26.
Phrase used by Macaulay in his poem and by Walter Scott; see W. Gell, Reminiscences of Sir Walter Scott’s Residence in Italy,1832, ed. J. C. Corson (London, 1957) p. 8. Mary Shelley’s description is in her Rambles in Germany and Italy, vol. ii (London, 1844) p. 279.
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© 1980 Kenneth Churchill
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Churchill, K. (1980). Italy in English Fiction, 1820–37. In: Italy and English Literature 1764–1930. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-04642-3_5
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DOI: https://doi.org/10.1007/978-1-349-04642-3_5
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