travel – NASSR Graduate Student Caucus Resources for Graduate Students of Romanticism Fri, 08 Dec 2017 23:56:39 +0000 en-US hourly 1 118134998 Romantic Landscapes, Part II Fri, 02 Dec 2016 19:43:06 +0000 Continue reading Romantic Landscapes, Part II ]]> I was lucky enough, during one of the few trips I made into London from the West Country via rail, to catch a musical performance of Coleridge’s Rime of the Ancient Mariner by the Trad Academy Sea Shanty Choir at historic Wilton’s Music Hall. The show was at 7:30 pm on 15 July, a Saturday; and because the last train back to Templecombe would leave Waterloo Station at precisely 9:20, I had to find lodgings in London for that night or risk getting “locked out” and, possibly, forced to pay through the nose for a few restless hours in a room that didn’t fit into my budget (this had happened once before, but is a story for a different day). I booked a room for that night in a nearby Chamberlain’s (the pub chain) hotel about a ten minute walk from the music hall. I showed up there several hours early, ate fish and chips, requested “iced tea” as my complimentary beverage (to the utter dismay of the bartender), climbed the five flights of stairs to my room (for the lift was broken), and took a nap. After the 140-minute train ride in, and another two hour walk from the station (I refused to pay for a cab), I knew that I needed to sleep or I would be unable to savor the coming performance.

During that interim, in which I courted my refreshment, there descended upon my brain in its recuperatory doldrums, a vision most sublime  . . .

Just kidding. The sublimity held its breath until that evening, as I was sitting in the balcony at Wilton’s, early to my seat as was my preference, and the lights began to dim. Everything about the interior of the music hall, like a Gothic spire which is designed to draw the eye of the beholder up to heaven, seemed coordinated to put the spectator in a mood for gazing upon the drama of history. When the lights went down – slowly, but not all the way, not yet – a reddish haze rose up and filled the room, of a piece with the soft, placid curtains concealing the rear of the stage. The ceiling was high, slightly domed, and covered with ornate woodwork. The seats and railings alike were of an old wood, and no attempt had been made to restore imperfections in the finish. In some places, I thought, there was no finish at all. In gazing about, and getting a somewhat gestalt sense of the place, I felt it trying to reach back into a bygone era, but tiring out still about a hundred years or so away from contemporaneity with the author of the Rime. Still, it seemed to me that Coleridge would have liked the room, perhaps; and would have relished a performance there of one of his most celebrated poems.

When the Sea Shanty choir began to file out onto the stage, and then to disperse itself into a kind of synchronized mob, I was struck by an aura of youthfulness and spontaneity which did not inhere so much in the bodies of the singers, as it emerged piecemeal from their improvised garb (a great variety of striped shirts), their stomping and clapping, a practiced restlessness, and a beguiling habit of wooping and calling things out impromptu during the performance of the prefatory songs, which they sang before getting to the Rime. After they had sang four or five traditional sea shanties, which I guessed had probably been arranged by one or two of their own, I heard to my great delight, as one came forward alone to tell a tale “as it happened to me,” the opening lines of Coleridge’s great poem:

It is an ancient Mariner,
And he stoppeth one of three.
‘By thy long beard and glittering eye,
Now wherefore stopp’st thou me?

While I was thrilled to hear these lines, which I knew so well, sang to a room full of people who may not have heard them before, or not in many years, I did not feel the magic of the performance until the time came that the Mariner and his ship were trapped on the open sea, “like a painted ship upon a painted ocean.” The albatross, made entirely of white rope, which was in the shape of the bird, but also in the shape of the cross, hung around the neck of the Mariner, who assumed a Christ-like pose behind rows and rows of the bodies of his fellow seaman, the shanty-singers, who were all prone upon the stage. The Christian symbolism covertly or overtly (depending on one’s reading) situated in the poem, became reified by its central positioning on the stage and in the music hall, with the lifeless bodies of the singers, whom we had somewhat gotten to know, piled around the albatross-laden Mariner at the helm of the unmoving ship. And my heart leapt up, in rather a new way, when I heard the forlorn and forsaken Mariner utter those words, which to my mind (and I am not alone in this) constitute the poem’s poetic zenith:

O happy living things! no tongue
Their beauty might declare:
A spring of love gush’d from my heart,
And I bless’d them unaware:
Sure my kind saint took pity on me,
And I  bless’d them unaware.

If there was a triumph in a performance like this, aside from the obvious legwork that went into the practice, the costuming, the lighting, etc., and all which made the whole cohere, it was a triumph slightly divergent from that triumph which is attached to the rising action of the poem itself, which eventually climaxes in the Mariner’s reception of God’s grace. What we experienced was, in fact, a triumph of translation: bringing the drama of this very moment into the world, spoken in the language of objects and relational space. For as the Mariner spoke these words, all eyes saw the albatross, for so long stationary and dead, come alive again as it became magically unfastened from the doomed seaman’s neck, and then drop “like lead” onto the stage and out of sight; giving a sense, a real, lived sense, to the poematic action which only could have been understood within the chronologically ambivalent space of the imagination: whereas here, we experienced the dropping off of the albatross together, simultaneously and universally, as an event (to borrow a philosophical term). And at that moment Wilton’s Music Hall became, indeed, a kind of Romantic Landscape.

Romantic Landscapes, Part I Sat, 22 Oct 2016 16:08:17 +0000 Continue reading Romantic Landscapes, Part I ]]> I recently took a class in post-colonialism which was subtitled “Place and Space in Contemporary Anglo-American Literatures.” The professor wanted us to think like real estate agents: that is, to always be repeating the mantra “location, location, location” as we read various contemporary texts. One of the novels we read for class was V.S. Naipaul’s The Enigma of Arrival, the autobiographical story of a Trinidadian writer who retires to the English countryside in Wiltshire, living in a guest cottage on the edge of a manor that has fallen into disrepair.

Naipaul spends much of the novel reflecting on what it means to arrive in a new place and learn to live there. He finds that his experience of rural England diverges from his expectations of country life, which had been gleaned through a literary education strongly influenced by works of British Romanticism.

Since reading this book, and in truth, probably even before that, I have been thinking about what it means – or, as the professor of that class liked to say, where it means – to read British Romanticism as a literature invested in particular places. What is the connection between a poem like “Adventures on Salisbury Plain,” for example, and the real Salisbury Plain? Do we need to have an intimate knowledge of rural England to appreciate the lyrical Wordsworth, Coleridge, or Clare? Does knowing the history of political thought and literary trends and a few things about the artistic and cultural climate of the period give us the necessary equipage to read the Romantics? More generally, does a poem reach into the Earth in some way?

As an American student of British Romanticism; or, probably more accurately, as an American reader of British Romantic poetry, with an enthusiasm for these writings that is admittedly nonrational, I had never felt as if there was anything in particular that was being denied to me in experiencing them as texts, just because I had never been to England. But when I started to take a greater interest in “the Romantics” as a vaguely defined group of creative humans, when I read Holmes’ Coleridge or John Worthen’s The Gang, it was hard, less to see my experiences retroactively as filled with gaps, but not to feel as if the physical components of the lives that produced these texts were just as fascinating as the texts themselves.

And sure enough, this past summer I found myself in England with a BritRail SouthWest pass and a rented room above a pub in Templecombe, two hours from London, two hours from Bristol, and about twenty minutes away from all the Coleridge country you could shake a walking stick at. It was June and then it was July, and, in between unexpected rainstorms, the weather conspired to create beautiful prospects. The “green world” of my dim half-imagining which was one of my first great loves in life was really there! Though, sometimes leaving the path to chart a field along side of a rock wall, or tramping over one of the old public bridleways (which was a word I learned at the moment I encountered the thing itself), I would find that I had stumbled into someone’s private enclosure.

I am still reflecting on the month I spent in Somerset county. I traveled around somewhat randomly, yet tried to keep a mental map of where I had been, like coloring in a picture of something hopefully solid; you keep the lines close together to hide the blank slate beneath, as if it had never been there. But I was sure to visit Ottery St. Mary, the birthplace of Coleridge; and I went to St. Mary, the parish church where his father John was the rector, and stood in the graveyard, where the Friends of Ottery St. Mary plan to erect a statue of the (very) young Coleridge. I stayed at the Tumbling Weir, a seventeenth-century style hotel, named for the weir behind the old wool factory said to have launched the town into the industrial revolution. When I arrived in England, there was history which had to be cleared from history to see the environs of Romantic literature. But even to recollect for a moment that it was the “same” place was, again, too magnificent to be understood all at once.

The question remains open, where do we go when we read a poem? But in the interest of closure, I can say that I do not think, after having been to England, been a tourist, yes, but still been there, and walked in some of those places, that I could read at least a few of the poems again and not feel subtly different toward them, even if this difference would have come about regardless of my perambulations. There is something to it.

A Summer Scotland Tour Wed, 27 May 2015 01:49:46 +0000 Continue reading A Summer Scotland Tour ]]> I submitted final grades on Friday, and after granting myself a long weekend to relax (i.e. clean my house and sleep a full 8 hours each night), I am settling into my summer. I am on fellowship for the next year, and without teaching responsibilities, I am writing full time. But, I do have travel plans to punctuate the summer slog and give me much needed inspiration and respite. Like many of you, I have NASSR in Winnipeg this August, where I get to see friends, colleagues, and scholar-idols. But what’s foremost on my radar is the History of Distributed Cognition Workshop in Edinburgh next month.

As I have mentioned before, I have the pleasure of participating in this workshop at the University of Edinburgh to discuss and refine my chapter on Keats’s and Wordsworth’s contrasting visions of embodied reading. The workshop is only three days, but I’ve decided to stay abroad for a week. Initially, I toyed with the idea of traveling south after the workshop. My heart is and always will be in London, and I’m very comfortable traveling around England. I’ve been there often enough to feel a pseudo-mastery of navigating the country, and by now, I feel it’s my second home.

But, to play safe and travel south would be cheating. I’ve never spent more than a weekend in Scotland, and I’ve never been outside of Edinburgh, except to get off the tour bus for a photo op beside a “Welcome to Scotland” highway sign.

Young Renee visits Scotland, 2007
Young Renee visits Scotland, 2007

So, I opted to stay and give the Celtic fringe a proper chance. Aside from climbing Arthur’s Seat, going on a literary pub crawl, and having tea here, I have also scheduled day trips to the Highlands, Loch Ness, and Glasgow. I’m determined to do Scotland justice!

What I’m most excited for, however, is not a day trip out of Edinburgh, but a lecture on Robert Burns. Coincidentally, the University of Kansas’s British Summer Institute, a study abroad program for 25 or so undergraduate scholars of British culture, will be in Scotland at the same time as I am. The director of this program, Dr. Mary Klayder, and I sat down to talk all things British and all things teaching Brit Lit over a couple glasses of wine. Without much effort, she hooked me into attending a special presentation on Burns arranged every year for the students. What I have come to expect as a life-changing experience of poetry performance is generously provided by a woman named Betty Kirkpatrick. Writer and lexicographer, Kirkpatrick is a verified expert on language. Her biographical blurb on the Caledonian Mercury reads:

Betty Kirkpatrick is the former editor of several classic reference books, including Chambers Twentieth Dictionary and Roget’s Thesaurus. She is also the author of several smaller language reference books, including The Usual Suspects and Other Clichés published by Bloomsbury, and a series of Scots titles, including Scottish Words and Phrases, Scottish Quotations, and Great Scots, published by Crombie Jardine. She is a former columnist of the Herald.

Here is a fantastic series she publishes through the Caledonian Mercury titled, “Useful Scots Words,” for a little taste of her work.

Image from the Centre for Robert Burns Studies, University of Glasgow.
Image from the Centre for Robert Burns Studies, University of Glasgow.

Now I know very little of Burns, except what I’ve learned through Keats. Keats somewhat famously goes on a walking tour of Scotland with his friend Charles Armitage Brown in the summer of 1818. Often this anecdote is told through the lens of Keats’s death: he develops a cough from their rough fare and the inhospitable traveling conditions and has to leave the tour early, returning home to Hampstead and never fully recovering. Generally, scholars accept this as the beginning of the end for the consumptive Keats. Yet, I am most interested in Keats’s reading at the time of the tour.

Keats always traveled with a lot of books, and aside from Shakespeare, who he took almost everywhere, his traveling companions often included Milton and Chaucer. And companions are indeed how he envisions his relationship with the authors, a point my dissertation seeks to make –how immersive reading practices simulate the affect circulation of social situations. In Scotland, Keats identifies keenly with Robert Burns, a poet with whom he had little intimacy before the walking tour.

Doing a little research into connections between Keats and Burns, I came across a short article in the Keats-Shelley Review about language.  A.D. Harvey chooses to discuss Burns’s language through Wordsworth whose declarations for native language seem most in line with the Scottish poet’s linguistic practices. And yet, like many Romantic scholars, Harvey notes the lack of dialect in Wordsworth’s own poems despite his apparent commitment to dialect poets such as Robert Anderson of Cumberland (for whose book, Wordsworth donates subscription). Harvey writes, “Wordsworth did, however, possess a copy of the 1793 edition of Burns’s poems, with English equivalents written in the margins ‘In the hand-writing of my dear Sister’, and he claimed that ‘Familiarity with the dialect of the border counties of Cumberland and Westmorland made it easy for me not only to understand [Burns’s poems] but to feel them’” (118). This distinction between comprehension and affect is of course very interesting to me. The poet’s use of “familiarity” here underscores the social context of affective reading experiences. Comprehension of language is a lower-order experience than the emotional connection implied by “feeling” a poem.

But what of Keats’s own response to Burns?  I will zero-in on a single, serendipitous excerpt from a letter written to John Hamilton Reynolds, dated 3 May 1818: “for axioms in philosophy are not axioms until they are proved upon our pulses: we read fine things but never feel them to the full until we have gone the same steps as the Author.” This quotation precedes the “Chamber of Maiden Thought” passage so often cited, and it responds to Wordsworth’s achievements in human passions when compared with Milton. Interestingly, he makes the same distinction between reading and feeling seen from Wordsworth. Focusing on language comprehension (axioms), Keats states with a confident flourish that characterizes his letters to friends and family, feeling is Truth because it has been proven upon the pulses. Feeling, then, is a form of embodied reading, enabled by a sympathetic imagination, or walking, sometimes literally, in the same steps as Burns, as Wordsworth, Milton, Shakespeare, and Chaucer.

I think this is the experience of poetry my friend sets in motion for her students every year on the British Summer Institute–a tour abroad that enables connection in human experience across time and space, through the medium of language. The students feel the poetry (or novels, or drama, or visual art) as they walk around London, Oxford, Bath, Edinburgh, the Highlands.  And what an opportunity to hear dialect poetry revived from a Scots language expert!

Paired together, reading and traveling (for our Romantics, reading and walking) are still perhaps the most effective formula for life-changing experience. I wish you all a summer filled with much of both.


Harvey, A. D. “Keats, Wordsworth, Burns and the Real Language of Men.” Keats-Shelley Review 21 (2007): 115-21.



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The Romantic Poets’ Travel-Guide to Italy Thu, 23 Jan 2014 02:46:06 +0000 Continue reading The Romantic Poets’ Travel-Guide to Italy ]]> “Thy rare gold ring of verse (the poet praised) / Linking our England to his Italy!” Thus concludes Robert Browning’s masterwork The Ring and the Book (1868-69), a poem whose composition celebrates the longstanding artistic relationship between the two nations in the nineteenth century.

English literature is full of Italian journeys. There are honeymooners, though their marriages tend not to fare well (Dorothea and Casaubon; Gwendolen and Grandcourt; George Eliot’s own Venetian wedding-night debacle). There are ill-fated convalescents (Keats; Elizabeth Barrett Browning; Milly Thrale; Ralph Touchett). There are traveloguing or scholarly visitors (Sydney Owenson; John Ruskin; Byron in his late Childe Harold phase). There are also exiles (Byron and the Shelleys). And—finally—there are Italians émigrés in England (the Rossettis).

In this post, I recommend some enjoyable and Romantically-informed travels in Italy—and invite you to contribute adventures of your own in the comments section!


Like the Romantics, you may find yourself exploring thousands of years of history with the help of a guidebook – perhaps Italy, written by Sydney Owenson (Lady Morgan) in 1821. You might also consult Byron’s always entertaining prose. He wrote in 1817, “I am delighted with Rome—as I would be with a bandbox, that is, it is a fine thing to see, finer than Greece; but I have not been here long enough to affect it as a residence. [I have been] about the city, and in the city: all for which—vide Guide-book.”

But, apparently unsatisfied with the “Guide-book” in question, Byron developed his own vision of Rome in the fourth Canto of Childe Harold’s Pilgrimage, where he writes (with characteristic grandeur):

Rome—Rome imperial, bows her to the storm,
In the same dust and blackness, and we pass
The skeleton of her Titanic form,
Wrecks of another world, whose ashes still are warm. (IV. 46)


Oh Rome! my country! city of the soul!
The orphans of the heart must turn to thee,
Lone mother of dead empires! and control
In their shut breasts their petty misery. (IV. 78)

Rome admired Byron back, and it comes as no surprise that the poet is omnipresent in the city. In the Villa Borghese, for instance, look for the Byron statue at the entrance to the park. This is a copy of the famous Thorvaldsen bust of the poet, for which he posed in Rome in 1817 (the original statue, refused by Westminster Abbey, is at Trinity College, Cambridge).

Even classical sites like the Colosseum can be seen anew through a Byronic lens. The poet devotes six stanzas to the gladiatorial games that took place in that “enormous skeleton” in Childe Harold, Canto IV, and finishes with this epic misquotation of the Venerable Bede:

“While stands the Coliseum, Rome shall stand;
When falls the Coliseum, Rome shall fall;
And when Rome falls—the World.” (145)

Nearby, Trajan’s Column, now separated from the Colosseum and the Roman Forum by a Mussolini-era expressway, also gets the sublime Byronic treatment: “Whose arch or pillar meets me in the face, / Titus or Trajan’s? No—’tis that of Time…” (Childe Harold IV. 110).

Byron began writing Canto IV—the Italian leg of his peripatetic long poem—in 1817, at his Roman residence, Piazza di Spagna 66, which is located at the bottom of the famous Spanish Steps. The building now seems to be a dentist’s office—suitably befitting its red-tooth-powder-obsessed former resident.

Considerably more important, however, is Piazza di Spagna 26, a pink building across the square and directly next to the steps. This is now the Keats-Shelley House. Keats died here in 1821, and the building has since been converted into a museum celebrating the life and works of the second-generation Romantic poets, especially Keats.

Keats-Shelley House from the Spanish Steps
Keats-Shelley House from the Spanish Steps

The poet’s modest rooms, on the second floor, are particularly moving: on the wall is a brass plaque that commemorates his death, and the bedroom has been restored to its historical condition, including the original fireplace and period furniture. The museum displays many of Keats’s belongings and letters, and even his death-mask.

The Keats-Shelley House also boasts an excellent collection of over eight thousand volumes related to Romanticism, including many early editions, as well as plentiful (and sometimes disturbing) paraphernalia associated with the English poets. There are many well-preserved original letters in Mary Shelley’s hand. Look out for locks of hair belonging to Milton and the Brownings, and scraps from Byron’s red bed-curtains (dating to the night terrors he experienced during his marriage). Perhaps most uncanny is Byron’s wax mask, which he wore during the Carnival at Venice. You can even take a virtual tour of the Salone (the central room) without the cost of airfare to Rome.

Shelley’s impassioned response to Keats’s death in “Adonais” (1821) leads us to our final Romantic site in Rome. “Go thou to Rome,” Shelley urges, to see the “slope of green access / Where, like an infant’s smile, over the dead / A light of laughing flowers along the grass is spread” (433, 439-41)—that is, to the Protestant Cemetery, where not only Keats, but also Shelley’s son William (and ultimately Shelley himself) were buried. Other notable Romantics there include Keats’s friend Joseph Severn, and Shelley and Byron’s friend Edward Trelawny. Keats’s grave famously features only the inscription “Here Lies One Whose Name Was Writ in Water.” The map of the cemetery is available here.


Florence is known for its unparalleled art galleries, which were celebrated even in the time of the Romantics. Indeed, Byron’s letters attest to how little the collections have changed in two centuries:

“At Florence I remained but a day, having a hurry for Rome, to which I am thus far advanced. However, I went to the two galleries, from which one returns drunk with beauty. The Venus [dei Medici] is more for admiration than love; but there are sculpture and painting, which for the first time at all gave me an idea of what people mean by their cant, and what Mr. Braham calls “entusimusy” [enthusiasm] about those two most artificial of the arts. What struck me most were, the mistress of Raphael, a portrait; the mistress of Titian, a portrait; a Venus of Titian in the Medici gallery—the Venus; Canova’s Venus also in the other gallery: Titian’s mistress is also in the other gallery (that is, in the Pitti Palace gallery); the Parcae of Michael Angelo, a picture; and the Antinous—the Alexander—and one or two not very decent groups in marble; the Genius of Death, a sleeping figure, etc., etc.”

The Venus” (Byron’s eyebrows clearly raised) likely refers to the celebrated and controversial “Venus of Urbino,” which is still displayed in the Uffizi Gallery. The other portrait of “Titian’s mistress,” which the poet saw in the Pitti Palace (the former residence of the Medici family), has a particularly interesting history. Usually titled “La Bella,” this painting of an unknown woman (probably the same model used for the “Venus of Urbino”) was taken to France in 1800 during Napoleon’s conquest of Florence. (Napoleon briefly occupied the Pitti Palace itself, and his opulent bathrooms, which are still accessible to visitors, would likely have provided Byron with considerable entertainment). The painting was returned to Florence fifteen years later—only two years before the poet visited the Pitti Palace in 1817. When I visited the gallery in 2011, “La Bella” had just undergone an in-depth restoration, the details of which were explained in an extensive exhibit.

Today, the Pitti Palace also features Lorenzo Bartolini’s bust of Byron, for which the poet posed some years after his sitting with Thorvaldsen:

Bartolini's bust of Byron
Bartolini’s bust of Byron

Byron’s mistress, Teresa Guiccioli, offers an amusing account of the sculptor’s encounter with the poet:

“Bartolini, the sculptor, wrote to Lord Byron to ask permission to come to Pisa and carve a bust of him. Lord Byron liked very much to be surrounded by portraits of his friends and those whom he loved—but he was loath to pose himself. When he did , it was always to please friends. Thorwaldsen had sculptured his head and shoulders for Hobhouse, but Lord Byron did not even have a plaster cast. ‘It’s all very well,’ he said, ‘getting painted’ […] But to pose for a bust in marble struck him as vanity and pretentiousness, as wanting to obtrude oneself on posterity rather than leaving a private memento. […] When pressed, he replied that he would sit, provided it was not for himself, and that Bartolini would commit himself to doing a bust of Countess Guiccioli at the same time.

When [Bartolini] set eyes on Lord Byron, he announced that he could never do justice to such an original, since Lord Byron’s handsome appearance and his expression seemed to him to exceed the power of art. He was quite right […] His beauty was wellnigh superhuman in its manifestation, and Bartolini was far from being the man to overcome the difficulty.

Lord Byron himself […] was unfavorably impressed; and when the marble was destined for Murray, he wrote to him: ‘The bust does not turn out a good one, though it may be like for aught I know, as it exactly resembles a superannuated Jesuit.’ Then again: ‘I assure you Bartolini’s is dreadful.’ He also added that if it were like him, he could not be long for this world, for the bust made him look seventy.”

I leave Bartolini’s likeness to your judgment, though the partner bust of the Countess Guiccioli (normally held at the Istituzione Biblioteca Classense in Ravenna) strikes me as being quite serene and beautiful. And a reading of Browning’s “The Statue and the Bust” would not be amiss when visiting the Pitti Palace.

Bartolini's bust of Teresa Guiccioli
Bartolini’s bust of Teresa Guiccioli

Next, though not the grandest cathedral in Florence, the Basilica di Santa Croce is a fascinating historical site, and it too gets the Childe Harold treatment:

In Santa Croce’s holy precincts lie
Ashes which make it holier, dust which is
Even in itself an immortality,
Though there were nothing save the past, and this,
The particle of those sublimities
Which have relaps’d to chaos:—here repose
Angelo’s, Alfieri’s bones, and his,
The starry Galileo, with his woes;
Here Machiavelli’s earth, return’d to whence it rose.

These are four minds, which, like the elements,
Might furnish forth creation: —Italy! (IV. 54-55)

Santa Croce
Santa Croce

Though Harold was rhapsodically transported by the four great monuments within Santa Croce, Byron himself was less impressed: “The church of ‘Santa Croce’ contains much illustrious nothing. The tombs of Machiavelli, Michael Angelo, Galileo Galilei, and Alfieri, make it the Westminster Abbey of Italy. I did not admire any of these tombs—beyond their contents. That of Alfieri is heavy, and all of them seem to me overloaded. What is necessary but a bust and a name? and perhaps a date?” But in spite of Byron’s derision, Donatello’s frescoes are worth seeing, and more recent additions include a statue by Henry Moore and a monument to Florence Nightingale on the cathedral grounds.

Moving forward through the nineteenth century, a literary tour of Florence would be incomplete without a visit to Casa Guidi, where the Brownings lived from 1847 to Elizabeth Barrett Browning’s death in 1861. Casa Guidi is located on the piano nobile (second floor) at Piazza San Felice 8. Now owned by Eton College, the home has been restored as a museum. Look out for the Brownings’ personal collection of flea-market-acquired Renaissance art.

And, in true Browning spirit, when you visit one of Florence’s many street markets, bring along your copy of the Old Yellow Book, which Robert Browning bought at a Florentine market in 1860. The poet ultimately used the book’s voluminous correspondence about a 1698 murder case to develop his best-selling poem, The Ring and the Book.

La Spezia and the Bay of the Poets

A lovely day-trip from Florence will take you to the province of La Spezia in Liguria, located next to the Tuscan border. The area is most famous for the Cinque Terre, a collection of five tiny coastal villages now designated a UNESCO World Heritage Site, which are linked by a train and hiking trails. The stretch between La Spezia proper and Lerici, one of the many small towns in the area, has been renamed the Golfo dei Poeti (the Bay of the Poets) after the Shelleys and Byron, who lived in the area. The Shelleys’ home on the beach of San Terenzo, Casa Magni, now renamed the Villa Shelley, is accessible by coastal road. The villa is actually available for private rental, though the damage deposit alone might prove too much for a graduate student’s stipend… There is also a monument to Shelley in nearby Viareggio, where Shelley was cremated.

The Byron Grotto is just behind this promontory
The Byron Grotto is just behind this promontory

Portovenere, another UNESCO-protected village on the Ligurian coast, pays considerable homage to Byron. Most important is the Byron Grotto, which commemorates the “Immortal Poet, who as a Daring Swimmer Defied the Waters of the Sea” by swimming from Portovenere to the Shelleys’ home at Lerici.

Byron Grotto in Portovenere
Byron Grotto in Portovenere

The grotto isn’t a particularly appealing swimming-hole, as it’s filled with sharp rocks (perhaps of interest to Romantic geologists!), but there is a staircase that will take you near the water’s edge. Local shops and pizzerias are also named in memory of Byron. And be sure to sample some of the locally made pesto (the town holds a Feast of the Basil every year).


To set the tone for your final stop, begin by reading Byron’s letters and journals from 1817-1818. A sample: “I am just come out from an hour’s swim in the Adriatic; and I write to you with a black-eyed Venetian girl before me, reading Boccaccio…” Poetically, his first attempt at ottava rima, Beppo, is absolutely required reading for a Venetian stay.

There are a few key literary stops. First is the Palazzo Mocenigo, which Byron rented from the Mocenigo family in 1818. The palace has been turned into a museum of textiles, and much of the décor on the piano nobile dates back to the eighteenth century.  The palazzo’s library holds extensive collections of early editions, including literary works by Byron and the Gambas (Teresa Guiccioli’s family of origin).

The view from the Palazzo Mocenigo in San Stae. The building on the right is the Palazzo
The view from the Palazzo Mocenigo in San Stae. The building on the right is the Palazzo

But be warned: there are several Mocenigo palaces in Venice. This museum is in the San Stae district. When I visited in 2011, museum staff told me that Byron lived on the piano nobile of that building; unfortunately, subsequent searches suggest that the poet lived in another Mocenigo palace in the San Marco district, which I can confirm is closed to the public. But you can see the San Marco Mocenigo palace from a #1 vaporetto ride on the Grand Canal, and admire the balcony from which Margarita Cogni took her impassioned dive during a domestic squabble with the poet.

More rewarding for the poetically-inclined is the Brownings’ palazzo, Ca’Rezzonico, which is located on the Grand Canal and has its own water-taxi stop. Bought by Pen Browning, the poets’ son, and his heiress wife, this was Robert Browning’s last residence. Like the Palazzo Mocenigo, Ca’Rezzonico has also been converted into a museum dedicated to eighteenth-century Venice. It boasts a recreated apothecary’s shop on one of the upper floors, and a traditional enclosed gondola, “Just like a coffin clapt in a canoe” (Beppo ll. 150-51), in the main entrance. (And, as Shelley’s heroic couplets in “Julian and Maddalo” make clear, “gondola” really did rhyme with “way” in the nineteenth century). Browning’s rooms are on the ground floor; when I visited, they were closed for repairs. The museum café is lovely, though, and you can sit on the terrace overlooking the canal.

Located in the city centre, St Mark’s Square, is the Palazzo Ducale (Doge’s Palace), the historical residence of the democratically-elected rulers of Venice, and its annexed prison. Notably for Romanticists, the Doge’s Palace features the so-called Bridge of Sighs, a name fancifully coined by Byron to commemorate the sighs of the prisoners as they caught a final glimpse of the lagoon before being taken to their cells. As usual, Childe Harold says it best:

I stood in Venice on the Bridge of Sighs,
A palace and a prison on each hand;
I saw from out the wave her structures rise
As from the stroke of the enchanter’s wand:
A thousand years their cloudy wings expand
Around me, and a dying Glory smiles
O’er the far times, when many a subject land
Look’d to the wingèd Lion’s marble piles,
Where Venice sate in state, throned on her hundred isles! (IV.1)

The prisoners' last view from the Bridge of Sighs
The prisoners’ last view from the Bridge of Sighs

And, for eighteenth-century aficionados, the Doge’s Palace offers a splendid tour focused on Casanova’s imprisonment and dramatic flight from the allegedly “unescapable” prison.

My final suggestion, for those looking to emulate Casanova’s escape from Venice’s main tourist hub, is a short boat-journey to the Lido, the final stop on the #1 vaporetto line. Here, you can revisit the initial setting of Shelley’s conversation poem “Julian and Maddalo,” which was based on a series of philosophical debates he had with Byron in Venice in 1818. The “bank of land which breaks the flow / Of Adria towards Venice” was a favourite riding-place for the poets: “This ride was my delight.—I love all waste / And solitary places” (ll. 2, 14-15). And, looking West from the Lido at sundown, you can try to find the Maniac’s dwelling:

A building on an island; such a one
As age to age might add, for uses vile,
A windowless, deformed and dreary pile;
And on the top an open tower, where hung
A bell, which in the radiance swayed and swung… (99-103)

One final word of caution: take care not to travel to the Lido in a “heavy squall,” lest you, like Byron, return to an unexpected dressing-down: “Ah! Dog of the Virgin, is this a time to go to the Lido?”

Happy travels—and may you, like the poets, be creatively inspired by Italy—the “Mother of Arts, once our guardian, and still our guide” (Childe Harold IV. 47).

(All photos belong to Arden Hegele)

Practical and Not-So-Practical Tips for Getting into Switzerland Sun, 29 Jul 2012 07:24:02 +0000 Continue reading Practical and Not-So-Practical Tips for Getting into Switzerland ]]> In the last five months I’ve been to Switzerland at least ten times, maybe more. The Swiss border lies so close to Konstanz that it’s possible to buy an ice cream in Germany and enjoy eating it on a Swiss part of the lakeshore. This proximity leads to an interesting relationship between the Germans of Konstanz and the Swiss of Kreuzlingen and the other surrounding villages, one in which the buying power of the Swiss Franc against the Euro plays a major part. Everywhere around the Bodensee there are Swiss people spending and German people—here I am thinking of one example in particular, my first German instructor—bicycling across the border to make a little extra money.

I sense no resentment from either side, and in fact each side seems self-possessed and untroubled. Perhaps both the result and cause of this tranquility is the fact that the border goes largely (in my experience totally) unattended, unguarded, unobserved. I have walked into Switzerland, bicycled into Switzerland, driven a car into Switzerland, ridden a train into Switzerland, but I have never, not even once, had my passport checked going into Switzerland.

That was the not-so-practical part of this post. Now, for some ideas you might actually employ if you are attending NASSR 2012 in Neuchâtel…

SwissBahn, or the Swiss train and transit system, is expensive. Too expensive, I firmly believe. Nevertheless, a few things to know:

1. Buy a half-fare card. The half-fare card lets you pay half of the normal price for all travel using train, bus, boat, (some) gondolas, funiculars and mountain trains (this is Switzerland, after all). The card is good for a month, so plan your travel accordingly.

2. Never buy food on the train. The trains are lovely—so lovely—for having a snack of cheese and bread and watching the countryside flow by. And this loveliness increases when you’ve purchased your snacks at a grocery store, because €3,50 for a bottle of water does not a happy traveller make.

3. Use the toilet on the train. The toilets on the trains look space age and are fairly clean, so there’s no need to wait until you get to the station where you will inevitably be paying to use a public toilet.

4. Print your ticket. This does not apply if you purchase tickets at the station, because they will of course give those to you then and there. If you have purchased your ticket online, however, you will need a hardcopy on hand, as well as the credit card with which you booked the ticket.

5. Be there early: because your train will leave on time.

On Being Yourself in Another Language Sun, 10 Jun 2012 11:06:28 +0000 Continue reading On Being Yourself in Another Language ]]> The first day of language class our instructor asked us to say, in German, one positive and one negative thing about ourselves. There were about ten people in the class, and we went around in a circle answering the question. I was nervous. When it got to be my turn, I said, as a positive thing, that I am “kreativ” (which is basically English, let’s be honest) and, because the only negative adjective in German that I could think of in that moment was “faul,” which means lazy, I said that.

At that point onward, I felt my classmates had misconstrued some basic part of myself. From the three beautiful Swedes in the corner to our teacher, the ex-feminist ex-hippy from Berlin, they all looked at me like I was suddenly an artistic layabout: as anti-German as one could get, given the state of the EU’s economy at the moment.

So let’s be clear: I am not lazy. I am so far from being lazy, that I de-skin tomatoes before making pasta sauce. That I whip whipped-cream by hand. So not lazy, in fact, that I have been known to bicycle to Switzerland to buy cheese. But there it was. Faced with a dearth of vocabulary for the first time in my life, I’d created this negative space, which I felt destined to inhabit for the rest of the language class.

I’ve since worked it out. Now I have a much larger German vocabulary to draw upon and, more importantly, now I am much calmer in German-speaking scenarios. This means the words come to mind without the heart-pounding effort I experienced in that first classroom. I can try and think around the problem of self-expression and find a way to say what I mean, even if it sounds awkward and more complex than it needs to be. It’s a struggle and also kind of freeing. Ich traue mich zu probieren. (I dare myself to try). The result of this kind of work is that I am beginning to know just how hard it is and must be, really, to get at the heart of something in translation.

For one chapter of my dissertation, I am reading Friedrich Hölderlin’s poems and fragments; I think Hölderlin’s complicated, brittle elegies are fascinating. At the University of Konstanz, where I am currently on exchange, I have been meeting about every second Monday morning with Ulrich Gaier, Professor Emeritus and President of the Hölderlin Society.

Here is a synopsis of our relationship: I send him my ideas (which are largely based on translations and heavily influenced by English-language scholarship which may or may not also be in translation) and then we talk about the extent to which my resulting conclusions are mediated by the word choices of translators, are misconstrued derivations of certain words that I take to mean one thing but that, in German, have totally different connotations, or are unmoored from Hölderlin’s poetic tempo because I’ve missed the implied caesura between accented syllables in the German original (that was yesterday).

Professor Gaier’s immense generosity and insight are unmatched. I am so thankful that he is willing to spend time with me thinking about these issues; his big-heartedness has made this time in Germany so valuable and generative. And incredibly, I have found that from this discourse about what is lost in translation there has arisen one the most incredible things: an experience of being more completely myself. When you are truly out of your element, the impulse to take risks is not undermined by expectations of what you “should” be doing. The question you want to ask is the question you do ask, silly or no. Being yourself in another language: ich traue mich zu probieren.