Introduction : "The idea of divine providence in Orosius, Augustine, and Dante" -- "Destined lands and chosen fathers: Virgil, Livy, and the Bible" -- "Orosius defends the Roman Empire" -- "Augustine's theology of history" -- "Dante's monarchia with and against Augustine" -- "Dante's Commedia and the ascent to incarnational history" -- Conclusion : "The hand of God".

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Dante in Deutschland: An Itinerary of Romantic Myth by Daniel DiMassaBrenda Deen SchildgenDaniel DiMassa. Dante in Deutschland: An Itinerary of Romantic Myth. Lewisburg: Bucknell University Press, 2022. 242 pp., hardcover, $150.00. ISBN 9781684484195.Dante in Deutschland is an eloquently written study of the "itinerary," as the author labels it, of the myth of Dante's personage and his works in Germany from the Romantic period to the Second World War. (...) The latest book in Bucknell University Press's series New Studies in the Age of Goethe, edited by John B. Lyon, the book's central argument is that "to the Romantics, the Commedia was more than a touchstone—it was a lodestar, its author no less vital to them than Shakespeare had been to the Sturm und Drang" (3). This premise lays the foundation for a reception study that is a model of Comparative Literature research. As Daniel DiMassa explains, his approach does not just examine "the Romantics' attempt at a mythology, but their attempt at a Dantean mythology" (5). Combining philology, hermeneutics, and history, he promises to [End Page 276] "open new interpretations of Romantic works" and to "trace an itinerary of Romantic myth, highlighting the waystations of a path that has remained in obscurity" (5–6). Indeed, the book succeeds in this endeavor.In terms of utopian studies, this is not a consoling literary story, for as DiMassa demonstrates, this study turns our "attention to a familiar yet puzzling trajectory of Romanticism—its move from radicality and revolution to Catholicism and conservatism" (9) in Germany. But, in contrast to Lukács's "straight line from Schelling to Hitler," DiMassa proposes a Romanticism inflected by the myth of Dante and "culminat[ing] in a trio of figures who embodied one form of fascism or another—Hauptmann, Borchardt, and George" (9). In highlighting this trajectory, DiMassa provokes thought about the dangers of utopian ideologies as well as how to confront them.Following an introduction that succinctly lays out the argument and the methodology, DiMassa historically situates, in six thoughtful and thoroughly researched chapters, pivotal figures in German Romanticism and the neo-Romanticism of the twentieth century. He then provides close readings of their major texts to show how Dante and his Commedia are "recovered, repurposed, revered, and reduplicated" to shape "the origins of German Romanticism and the attempts at its rehabilitation" in the twentieth century (177). This review of the book cannot do justice to such a complex and fascinating argument, so this cursory overview of some of the chapters is intended as a recommendation to read the study in its entirety.Chapter 1, "Discovering Dante and Theorizing Myth," examines the "Schlegel Brothers and the Origins of the Romantic Project." The eighteenth century was the nadir of Dante's reception, even in Italy, but the "myth of Dante" burst onto the stage of cultural and political history in the nineteenth century. By the end of the eighteenth century, according to DiMassa, writers such as Bodmer, Herder, and Goethe had prepared the way for a new reception of long neglected "barbarians" like Dante. Signaling this imminent change in taste, framed in nationalistic terms, in a 1772 essay, "On German Architecture," having recently revisited Strasbourg Cathedral, Goethe exclaimed, "This is German architecture! Our architecture!"1 He insists, "what unexpected emotions seized me when I finally stood before the edifice! My soul was suffused with a feeling of immense grandeur."2 Earlier, Goethe had labeled medieval buildings "barbaric," he admits in the same essay,3 but his experience of the cathedral awakened a nationalist intensity suggestive of utopian emotion. A. W. Schlegel's projection of [End Page 277] Dante "as a man of action who, in an age devoid of political leadership, had drafted a poetry teeming with manliness and vitality" (25) smacks of the same Romantic enthusiasm, but A. W. Schlegel was eager to celebrate the once "barbaric" Dante as the apogee of an emerging "Weimar Classicism and Jena Romanticism" (25), an idyll of the contemporary romantic enthusiasm. In a decade, the work of early German Romantics, including A. W. Schlegel's translations, Schelling's lectures, and Friedrich Schlegel's advocacy, buried Dante's so-called barbarism... (shrink)