Robert B. Wellisch - Dante and the Victorians = (review)

From: Subject: Robert B. Wellisch - Dante and the Victorians (review) - Victorian Studies 43:3 Date: Mon, 3 May 2004 20:40:24 -0700 MIME-Version: 1.0 Content-Type: multipart/related; boundary="----=_NextPart_000_0134_01C4314E.DC5F26D0"; type="text/html" X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1409 This is a multi-part message in MIME format. ------=_NextPart_000_0134_01C4314E.DC5F26D0 Content-Type: text/html; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/journals/victorian_studies/v043/43.3wellisch.html Robert B. Wellisch - Dante and the Victorians = (review) - Victorian Studies 43:3

= Copyright =A9 2001 The Trustees of Indiana = University.=20 All rights reserved.

Victorian = Studies=20 43.3 (2001) 484-486=20

[Access=20 article in PDF]=20

Book Review

Dante and the Victorians =

Dante and the=20 Victorians, by Alison Milbank; pp. x + 277. Manchester and = New=20 York: Manchester University Press, 1998, =A345.00, $79.95. =

Alison Milbank states near the beginning of = Dante and=20 the Victorians that she intends to use Dante "as a key to = unlock whole=20 areas of Victorian cultural discourse, in particular the challenge = to=20 Romantic aesthetics" (5). In this she clearly distances herself = from works=20 with a more limited focus, such as Ralph Pite's The Circle of = Our=20 Vision: Dante's Presence in English Romantic Poetry (1994). = Milbank=20 situates Dante within the general story of the revival in England = of an=20 interest in, and enthusiasm for, Italian literature and = aesthetics. From=20 the mid-eighteenth century on, a taste for Italy was politically = correct,=20 whig, liberal.=20

Dante fitted into that reading of Italian = history very=20 well; as Milbank notes, "the conception of a public poet who is = also the=20 scourge of tyranny is akin to whig readings of Milton" (14). She = points to=20 passages comparing Dante to John Milton in the works of Samuel = Taylor=20 Coleridge, Henry Hallam, and Thomas Babington Macaulay, the latter = especially in an 1825 review of Milton's long-lost De Doctrina=20 Christiana.=20

The political Dante, especially for the = Victorians at the=20 time of the Risorgimento, seemed obviously important. Milbank = cites=20 Elizabeth Barrett Browning, Harriet Hamilton King, Oscar Wilde, = Algernon=20 Charles Swinburne, and George Eliot as writers who praise Dante as = an=20 Italian patriot and (in King, Wilde, and Swinburne) a forerunner = of=20 Mazzini and Garibaldi.=20

One of the great Victorian re-imaginers of = history was,=20 of course, John Ruskin, and Ruskin had recourse to Dante as = providing "a=20 de-centring episteme of the present" (45). Milbank distinguishes = two sorts=20 of history writing based on "the necromantic or apocalyptic = aspects of=20 Dante" (49). There are those with a cyclical view, mostly liberal=20 Anglicans like Henry Hart Milman, Richard Whately, and Thomas = Arnold. And=20 there are those who re-tailor Dante to modern needs, and so make = him=20 "present"; the big example is Thomas Carlyle, especially in "The = Hero As=20 Poet" (1841). [End Page 484]=20

Besides its political side, Italy had much to = offer of a=20 visual and picturesque sort. It is in this context that Milbank = places=20 Leigh Hunt's Dante-inspired The Story of Rimini (1816), = with its=20 "picturesque precision" (21). In other words, the discovery of, = and=20 attraction to, the hard-edged materiality of early Italian art and = literature contributed significantly to a change in aesthetics, = from=20 Romantic idealism and mistiness toward mid- Victorian realism.=20

Aesthetics is Milbank's main interest, and she = sees=20 Dante's greatest influence on the Victorians here. First of all, = Milbank=20 studies the focus shown on the historical Beatrice by most = Victorians,=20 almost as if they balked at her ideal side. Even Coventry Patmore, = James=20 Thomson, and Ruskin, "all celebrated for attention to the = idealised woman"=20 (109), were more realistic about women than they are sometimes = credited=20 with being.=20

In Chapter Seven, "Drawn Within the Circle," = Milbank=20 studies the appropriation of Dante by the Rossetti family = beginning with=20 the father, Gabriele, who wrote a series of books on the "secret = lore" he=20 believed locked up in Dante's work, revealing the poet as a covert = Freemason and freethinker (see especially Disquisitions on the=20 Antipapal Spirit Which Produced the Reformation [1831]). The = younger=20 son, William Michael, continued some of the father's thought, as = in the=20 1907 Democratic Sonnets. The elder Rossetti son, Dante = Gabriel, was=20 more drawn to the personal side of Dante, especially as it = impinged on=20 himself. Milbank has surprisingly little to say about Dante = Gabriel's=20 tragic wife-as-Beatrice, Elizabeth Siddal Rossetti, but in her = final=20 chapter she has some interesting suggestions on Dante Gabriel's = influence=20 on Ezra Pound. The daughter, Christina, imitated Dante also, but = less in=20 her content than in her style, with its Dante-esque "precision, = immediacy=20 and realism" on the "literal level" (135).=20

In the following chapter, Milbank examines one = popular=20 passage of the Commedia, Canto Five of the Inferno, = the=20 episode of Paolo and Francesca da Rimini. "In contrast to = Beatrice, who is=20 both lauded and displaced by nineteenth-century writers, Francesca = holds=20 centre-stage" (150). Francesca and her lover are consistently = romanticized=20 and forgiven.=20

Dante's influence on Victorian ideas of an = afterlife is=20 Milbank's topic in Chapter Nine. She points out one important = reason for=20 this influence: "For the Victorians, Dante's was the only example = of this=20 medieval genre [picturing heaven and hell] culturally available" = (164).=20 Milbank has some interesting observations on Victorian visions of = the=20 afterlife. In Edward Henry Bickersteth's Yesterday, Today and=20 Forever (1866), for example, she finds that "all, even the = martyrs,=20 are still in the intermediate state, and thus subject to = temporality=20 (something like purgatory until the General Resurrection)" (169). = In John=20 Henry Newman's The Dream of Gerontius (1865), moreover, = "the=20 individualism of perspective and the absence of saints [. . .] = make this=20 poem, despite its overt Catholic ritual, an essentially protestant = conception, as (surprisingly) does the character of its = presentation of=20 purgatory" (171). The afterlife fantasies of Charles Kingsley and = George=20 MacDonald likewise show Dante's influence.=20

Milbank goes into a more detailed analysis of = Alfred=20 Tennyson's debt to Dante. She presents Arthur Henry Hallam in = In=20 Memoriam (1850) as an echo of Beatrice, a part of "the = occluded=20 influence on the sequence of the Vita Nuova" (187). Milbank = even=20 goes so far as to aver that "the apogee of the Victorian cult of = Beatrice=20 is [. . .] the poet laureate's male friend, who is also an = immanent=20 Christ" (195).=20

In her final chapter, Milbank moves into the = borderland=20 between the Victorians [End Page 485] and the moderns. = Milbank has=20 interesting things to say about James Joyce, Pound, and T. S. = Eliot in=20 particular, the latter partly in connection with his appropriation = not=20 only of Dante but of James Thomson, whose The City of Dreadful = Night=20 (1874) Milbank reads as an important source for The Waste Land = (1922). She=20 is also strong on Dante's connection with the influential Sir = James=20 Frazer, and "association with Frazer is a [. . .] way in which = Dante is=20 enabled to survive into twentieth-century culture" (215).=20

The glory of Dante and the Victorians, = and also=20 its problem, is that it tries to cover so much. Milbank is an = erudite=20 scholar with many good critical perceptions, but it is hard for = her, and=20 her reader, to achieve a sense of coherence with so much material. = The=20 book is also annoyingly marred by a sprinkling of editorial = mistakes.=20 Scholars remain indebted to Milbank, however, for pulling so much = material=20 together so suggestively. This book usefully demonstrates the = central role=20 that Dante played in the development of the Victorian imagination. =

Robert B. Wellisch =
University of St. Thomas =

Robert B. Wellisch, = Associate=20 Professor of English at the University of St. Thomas in St. Paul,=20 Minnesota, is currently working on two projects: the Victorians = and Italy,=20 and the revival of monastic orders in Victorian England. =

http://0-muse.jhu.edu.opac.sfsu.edu:80/journals/victorian_studi= es/v043/43.3wellisch.html=20

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