Titlebook: Dante and Italy in British Romanticism; Frederick Burwick,Paul Douglass Book 2011 Frederick Burwick and Paul Douglass 2011 English literat

Licentious

花費(fèi)

噱頭

Michael Macari,Abraham H. Dachmanh as ., recognizes that “Our destiny, our nature, and our home, / Is with infinitude, and only there” (11. 538–539). The moment is at once sublime and full of an affecting trust in “hope that can never die” (1. 540; see Jonathan Wordsworth 187–188).

TOXIN

Kenji Suzuki,Abraham H. Dachmanmans’s attire follows contemporary fashion, but, in keeping with the eclecticism of Regency style, it also sports an exotic air that partly distances her from a specifically English or British figurative canon. Presenting her as visually and culturally ambiguous, the engraved portrait posits Hemans

形上升才刺激

James D. Namnoum,Justin K. Williams current needs of the 1820s required. The defeat of Napoleon, the Bourbon restoration, and the age of Metternich brought about a repression of liberal reform on the Continent. And in Britain, because theater censorship prohibited satirical or polemical drama directed against the government, there wa

CURB

LAITY

MERIT

和平主義者

鋼筆記下懲罰

,Picturing Byron’s Italy and Italians: Finden’s Illustrations to Byron’s Life and Works,about Italy (Luzzi 54), and my essay grapples with this charge against Byron. In some ways his work was twisted by Finden and Brockedon, who elided Byron’s strong engagement with the politics and daily life of Italy while exaggerating the superfeminine aspects of his women protagonists.