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Ugo Foscolo's Tragic Vision in Italy and England PDF

237 Pages·2014·11.882 MB·English
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UGO FOSCOLO’S TRAGIC VISION IN ITALY AND ENGLAND This page intentionally left blank RACHEL A. WALSH Ugo Foscolo’s Tragic Vision in Italy and England UNIVERSITY OF TORONTO PRESS Toronto Buffalo London © University of Toronto Press 2014 Toronto Buffalo London www.utppublishing.com Printed in the U.S.A. ISBN 978-1-4426-4926-2 Printed on acid-free, 100% post-consumer recycled paper with vegetable- based inks. Toronto Italian Studies Library and Archives Canada Cataloguing in Publication Walsh, Rachel A., 1975–, author Ugo Foscolo’s tragic vision in Italy and England/Rachel A. Walsh. (Toronto Italian studies) Includes bibliographical references and index. ISBN 978-1-4426-4926-2 (bound) 1. Foscolo, Ugo, 1778–1827 – Criticism and interpretation. 2. Italian drama (Tragedy) – England. I. Title. II. Series: Toronto Italian studies PQ4691.W24 2014 852'.6 C2014-905022-4 This book was published with the support of the Anna Maglione-Sie Endowment for Italian Culture at the University of Denver. University of Toronto Press acknowledges the financial assistance to its publishing program of the Canada Council for the Arts and the Ontario Arts Council. University of Toronto Press acknowledges the financial support of the Government of Canada through the Canada Book Fund for its publishing activities. For Josh, Penny, Tad, and Lex This page intentionally left blank Contents Acknowledgments ix Chronology of Ugo Foscolo’s Life and Works xiii Introduction: Ugo Foscolo’s Tragic Vision 3 1 Setting the Stage 10 2 Debut, Acclaim, and Instruction 25 3 The Rise and Fall of Ajace 47 4 Ricciarda in Italy and in England 71 5 Curtain Call from Exile 98 Epilogue 112 Appendix: Original Reviews of Ajace 117 Notes 139 Selected Bibliography 191 Index 205 This page intentionally left blank Acknowledgments The subject of Foscolo the tragedian has been one of fascination for me for many years. I am deeply indebted to numerous individuals and institutions that have assisted me in various ways with this ob- session. The financial assistance I received from the University of Denver’s Faculty Research Fund, Internationalization Grants, Rosen- berry Fund, and the Anna Maglione-Sie Endowment Faculty Research Travel Grants allowed me to conduct valuable research in Italy in 2009 and 2011. I was warmly welcomed and supported by the Biblioteca Na- zionale Braidense and the Biblioteca Communale at Palazzo Sormani in Milan. The Biblioteca Nazionale Marciana and the Biblioteca d’Arte e Storia Veneziana del Civico Museo Correr were immensely helpful while I researched in Venice. I am extremely grateful for the University of Denver’s Anna Maglione-Sie Endowment for Italian culture, which also provided funding for this book’s publication costs. Individuals, not just institutions, have been instrumental figures along the way. I am most indebted to Francesco Bruni of the Università Ca’ Foscari di Venezia, whose steadfast counsel has been essential to this project, from when it was initially conceived many years ago in Chicago to my most recent trip to Venice. His astonishing intellect leaves me speechless, and he has provided me both erudite guidance and unrestricted access to the Ca’ Foscari libraries and resources. I am also extremely grateful to Paolo Cherchi for his unparalleled wisdom, scholarly backing, and camaraderie over the years. He has been im- mensely generous with his time and support. I also must thank my dissertation adviser, Elissa Weaver, whose unfaltering direction pushed me to understand better what I was doing, and why I was doing it, when this project first began. She tirelessly follows my work with great

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