https://www.um.edu.mt/library/oar/handle/123456789/126514 2026-05-01T22:04:39Z https://www.um.edu.mt/library/oar/handle/123456789/127462 Title: Journal of Anglo-Italian Studies : volume 7 Authors: Vassallo, Peter Abstract: Table of Contents:; - Shakespeare's debt to Berni: Roger Prior; - Verba versus res in Shakespeare's reversal of Petrarchan epideictic rhetoric: Gloria Lauri Lucente; - Henry Francis Cary and John Taaffe Junior: the translator of Dante and a comment on the Divine Comedy: Antonella Braida; - Portraits in Italy: Lord Byron and the Countess Giuccioli: Edna C. Southard; - Florentine Shadows: death, duty and Santa Croce in George Eliot's Romola: Anne O'Brien; - Ruskin, Vernon Lee, and the cultural possession of Italy: Francis O'Gorman; - Living with Dante and Petrarch. "Monna innominata" by Christina Rossetti: Francesco Marroni 2002-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/127460 Title: Shakespeare's debt to Berni Authors: Prior, Roger Abstract: The extent of Shakespeare's knowledge of Italian has long been a disputed question, but there is now compelling evidence that he read Ariosto in the original. Recent research shows that he used a passage of eight stanzas from the latter's romantic epic Orlando Furioso as a source for both Love's Labour's Lost (V.ii.638-659) and Othello (III.iv.62-75). Ariosto was not his only Italian source for Othello. He almost certainly read the source-story for that play, Cinthio's tale of the Moor in the Hecatommithi, in the original language. In this article I shall show that he had at hand a third Italian work as he wrote Othello - Francesco Berni's Orlando Innamorato - and that he also made use of it when writing Love's Labour's, just as he did with Ariosto. 2002-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/127400 Title: Verba versus res in Shakespeare's reversal of Petrarchan epideictic rhetoric Authors: Lauri Lucente, Gloria Abstract: One of the crucial strategies underlying Shakespeare's sonnet sequence is the paradox of praise, or the reversal of Petrarchan epideictic rhetoric. This strategy is deeply intertwined with an equally significant issue regarding the relationship between verba and res, a relationship that has to do with the referential meaning of words. Shakespeare's paradox of praise will be studied in light of the Petrarchan model, particularly with regard to questions of negation and celebration as well as absence and desire. The analysis, carried out along the thematic paths I have sketched, will proceed by way of special attention to the Dark Lady sequence, in particular Sonnet 138. Questions concerning the treachery and the truth of desire together with notions of linguistic duplicity will also be studied within the specific framework of epideictic rhetoric, with particular reference to Sonnet 5 of Petrarch's Canzoniere. 2002-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/127170 Title: Henry Francis Cary and John Taaffe Junior : the translator of Dante and a comment on the Divine Comedy Authors: Braida, Antonella Abstract: Else that 9th book is the finest in the volume, an exquisite combination of the ludicrous & the terrible, - I have never read either even in translation, but such I conceive to be the manner of Dante & Ariosto. Charles Lamb's letter to Coleridge on Joan of Ark, Book IX expresses so well the English approach to Dante in 1796. When Lamb was writing to Coleridge no complete translation of the poem existed in English. Contrary to what has often been claimed,. the Divine Comedy had already received considerable attention in the English literary world by the beginning of the nineteenth century. In 1792 Samuel Rogers published the first English translation of the Inferno, followed in 1795 by Henry Boyd's Inferno and in 1802 by his complete translation of the Divine Comedy. Lamb's letter expresses a need of the times: the desire to understand the foreign poet by way of known categories, and, eventually to "anglicise" him. Henry Francis Cary's blank verse translation best fulfilled these expectations by creating an "English" Dante, soon dutifully compared and studied together with the English Milton and the English Homer, the latter translated by Chapman, Pope and, more recently, Cowper. 2002-01-01T00:00:00Z