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Estratto del documento

Percy Bysshe Shelley

The Shelleys were Byron's friends;

They go to Venice and meet with Byron in 1818;

After Venice they move towards Rome on a journey.

In Este, the Shelleys lost their little daughter (state of particular prostration).

SHELLEY'S VENICE: Shelley presents a "falling" Italy and, as a consequence, the fall of Venice itself.

In "Lines written among the Euganean Hills" the poet describes past Venice as "Ocean's child and then his queen", and present Venice as a "Prey".

Similarly, in his letter written from Venice in 1818, Shelley claims that "Venice which was once a tyrant, is now the next worse thing, a slave".

However, in the first text the decay of Venice is described through the myth of the Minotaur, while in the second text Shelley has a matter-of-fact approach to the phenomenon, as he states that "[Venice] ceased to be free [...] from the moment that the oligarchy usurped the

Rights of the people". In conclusion, there is a correlation between the "queen" and the "tyrant", and between the "prey" and the "slave", considering that in both texts Shelley argues that Venice is to be blamed as the first responsible for its decay (in the letter the Venetians are described as less disgusting and vicious than the Austrians). Interesting to notice is the reference to the gondolas as "coffins"/"watery biers", both in the letter and in the poem.

Percy writes this poem, "Lines Written Upon Euganean Hills", in 1818. The poem is structured in 4 stanzas: Shelley is questioning what can sustain a man in sorrow, because he needs support while facing the deep sorrows of his life, and the stanzas offer the answers to his question.

  • The poem opens with an image of life as a journey (a voyage in a dangerous sea);
  • The voyage represents a dangerous type of life;
  • Shelley writes how visions
arising from the beautiful landscapes seen from a hill near Este had revived him from despair; - Romantic period and imagination: sorrow can help the poet heal and help him/her become a prophet of his/her own time; - The fall of Venice is represented through a myth which is evoked to explain its decay (Shelley is presenting a "falling" Venice connected to Greek mythology); - Venice is seen as a child/wife of the Ocean (Amphitrite is Poseidon's wife) and a labyrinth, (the labyrinth in King Minos palace in Crete); - Venice is somehow responsible for its sins, ("avarice, cowardice, superstition, ignorance, passionless lust, and all the inexpressible brutalities which degrade human nature") and for this reason it is falling; - Venice had disobeyed the gods, like Minos, and therefore they condemn it (the fall of Venice is represented through the myth of the Minotaur); - Venice is also associated with England; - Shelley attributes to Byron the possibility of

saving Venice, he is the only poet who can save her from her fate through his poetry;

“Bier”: coffin, image of death.

Minos prayed to the sea god Poseidon to send him a snow-white bull as a sign of the god's favour.

Minos was to sacrifice the bull to honour Poseidon but owing to the bull's beauty he decided instead to keep him. Minos believed that the god would accept a substitute sacrifice. To punish Minos, Poseidon made Minos' wife Pasiphaë fall in love with the bull. The monstrous Minotaur was the result: the unnatural offspring of a woman and a beast.

SAMUEL ROGER’S Venice (Victorian period)

S. Rogers, Italy, A Poem, 1830 (stanza IX)

These lines refer to the arrival in Italy (the poem talks about the itinerary from the UK to Italy).

Rogers already knew Italy before visiting it in person thanks to literature, art and travel guides, which had largely described the country’s cities and their attractions in advance. In stanza IX of “Italy,

A Poem", Rogers describes his arrival in Verona referring to Shakespeare's "Romeo and Juliet" (e.g., "Juliet at the Masque" and "Montague"). Roger's excitement is therefore linked to the astonishment he feels at being actually in Verona and finding all the references to literature that made Italy so popular over the centuries. These feelings are also shared to some extent by his fellow countryman Lord Byron, who defines Venice as "one of those places which I know before I see them". In Childe Harold's Pilgrimage, Byron introduces a "dying Glory", a city far away in time with a glorious past which has become immortal thanks to art and literature. In canto IV, stanza 2, Byron's description of Venice from afar ("At airy distance") is heavily influenced by Turner's paintings of the city, with whom he was familiar. In addition, in stanza 4, the poet mentions Shakespeare's "Shylock".and the Moor" and Otway's "Pierre", presenting a "literary" Venice which give new life to a city that cannot shine anymore. For Byron Venice is like a dream, a unique combination of beauty and decay, and a nourishment for his own imagination. VENICE Rogers had a quasi-religious adoration of art and looked out for the pictorial effect of the picturesque everywhere. The first pictorial effect which is remarkable in Rogers' work is the Dreamlike, visionary description of Venice, the "floating City" (Venice is beyond description). In addition, Gilpin's ideas of picturesque landscape composition heavily influence the description of the place, where we can find a constant coexistence between nature and art: the natural elements are always quoted concomitantly with material and architectural structures, such as in the following lines: ''and the salt sea-weed/Clings to the marble of her palaces.''. This complete fusionbetweenart and nature puts in evidence a second pictorial effect of Rogers’ poetry, which is the image of adissolving Venice into water: ‘‘The path lies o’er the Sea,/Invisible’’, ‘‘As to a floating City’’.This image reminds of Turner’s paintings and gives to Rogers’ Venice the aspect of a dream: ‘‘Andgliding up her streets as in a dream’’. Another example of a pictorial effect is the importance givento light, thanks to the frequency of expressions such as ‘‘glittering’’, ‘‘ eyes brighter’’, the ‘‘light oflove’’. In particular, light seems to be the metaphor of Venice’s past glory as in the following line:‘‘A scene of light and glory, a dominion/That has endured the longest among the men.’’ Venice andthe sea are fused into one harmonious whole: picturesque composition consists in uniting in

onewhole a variety of parts.

WOMEN’S TRAVEL WRITING

Early Victorian women’s approach and perception to/of Venice. Romantic legacy is very important to the Victorians, but they also try to find different ways to look at Venice (the city itself is changing).

Frances Milton Trollope (1780-1863), A Visit to Italy (1842)

  • Victorian woman, traditional (wife and mother of 8 children);
  • After some financial difficulties she moved with her family to the United States;
  • This journey (1827), made to improve the family’s finances, did not go well;
  • At that point she started writing (in her 50es) and became a writer (=34 novels; 6 travelogues; polemical articles).

Domestic Manners of the Americans (1832) = controversial work; she criticised the domestic life of the women in the States (their condition was backward compared to that of British women) and slavery*;

Belgium and Western Germany (1833) = travelogue, outcome of her journey;

Paris and the Parisians in 1835, 2 vols

(1836) letters; Vienna and the Austrians, 2 vols (1838) letters =anthropological interest in the people (e.g.,Austrians, Parisians); A Visit to Italy in 1841, 2 vols (1842) letters; Travel and Travellers. A Series of Sketches (1846).

*her son Anthony Trollope (novelist) will say in a later edition of Domestic Manners of the Americans that her approach was due to the fact that she has no knowledge of the context of the domestic sphere (she missed the broad perspective). Women’s observation have always had to come to term with the limited scope of their own approach (they were considered to be limited and they often put themselves in that position “I am just a woman”).

 Letter: sense of immediacy, authenticity, etc.

Letters have in British history of travelogues an important precedent: Lady Mary Wortley Montagu (1689 –1762). Lady Montagu was an aristocrat, and the wife of the ambassador in the Ottoman Empire. She wrote the letters about the life of the oriental

women giving some important insights into the life of women in the Islamic world. The letter from abroad sees as a model Lady Montagu's letters.

At some point, Trollope decides to write in the form of letters: "An important question when analysing a travel text is the relationship between the content and the style in which it is presented; that is, whether "the notebook/authentic journal" style provides more validity than a carefully constructed persona. The rhetorical device of apparently printing whatever was noted on the spot creates a sense of immediacy and an atmosphere of authenticity which suits the content well in many books."

Maureen Mulligan, "Women Travel Writing and the Question of Veracity", Women, Travel Writing and Truth, Clare Broom Saunders (ed.), Routledge, 2014, pp. 181-82.

Paris and the Parisians - PREFACE

"From the very beginning of reading and writing - nay from the very beginning of speaking - TRUTH, immortal TRUTH,

has been the object of ostensible worship to all who read and to all who listen; &,in the abstract, it is unquestionably held in sincere veneration by all: yet, in the detail of every daypractice, the majority of mankind often hate it, ... Preconceived notions generally take a much finerhold in the mind […]”.

People say that they pursue truth, but in reality they are not happy with it (they prefer tostick to preconceived notions);

British had quite difficult relationship with the French (rivalry);

She is saying that she wants to challenge these preconceived notions, starting from astrong statement (truth is there, people do not pay attention to it);

She will observe and report what she sees clearly;

The letter form enables her to talk about what she feels/thinks/sees freely.

First letter of Trollope (early letters of her visit to Italy);

Premise: nothing new can be said, everyone have already talked about Italy (all sorts of people);

Aims: to

Make these letters interesting for her audience?
Dettagli
Publisher
A.A. 2020-2021
68 pagine
SSD Scienze antichità, filologico-letterarie e storico-artistiche L-LIN/10 Letteratura inglese

I contenuti di questa pagina costituiscono rielaborazioni personali del Publisher 885233 di informazioni apprese con la frequenza delle lezioni di Cultura e letteratura inglese e studio autonomo di eventuali libri di riferimento in preparazione dell'esame finale o della tesi. Non devono intendersi come materiale ufficiale dell'università Università degli studi Ca' Foscari di Venezia o del prof Sdegno Emma.