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By Antonella Braida (auth.)
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Additional resources for Dante and the Romantics
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).
59 It appeared in two volumes: the ﬁrst, comprising the ﬁrst seventeen cantos, was published in early 1805, the second the following year. This ﬁrst edition included facing Italian text, some explanatory notes at the end of each volume, and was preﬁxed by a ‘Chronological View of the Age of Dante’. The publication of the original text alongside the translation has a special signiﬁcance since this was the ﬁrst complete canticle of the Divine Comedy in Italian to be printed in England. 61 By October he was able to inform Price: My time is at present fully occupied in printing my translation, and in transcribing and amending my notes for it.
Cary left it as a result of his disappointment at not having been appointed Keeper of the Printed Books. The post went instead to the Italian Antonio Panizzi, now remembered for the extensive reforms that he introduced in the organisation of the library: Cary’s reaction shows that he still subscribed to the old view that a senior place was a reward for long service or special merits. 50 Henry Francis Cary’s The Vision 39 From 1821 to 1823 Cary published regularly in the London Magazine. This collaboration put him in contact with Charles Lamb, William Hazlitt, John Clare, Alan Cunningham and other writers and critics of the London literary scene.
Dante and the Romantics by Antonella Braida (auth.)