First Steve Pollock wrote:
> During the ensuing discussion on the TSE list, it was mentioned that
> when TSE uses Italian, it is reasonable to suspect a reference to the
> Commedia, although, at the time, no one on the list could point to a
> specific Canto
Then Rick Parker wrote:
> I've read the three cantos and I have to agree that if any is an
> allusion it would be the one with Francesca and Paolo.
Then Rick Seddon wrote:
> Couldn't he have just liked the way the Italian sounded?
> No allusion, just word borrowing.
Possibly. And possibly there was no hunt for a statue either. But
note Steve's message about the reasonableness of an allusion. If
there is an allusion to Dante, one to Eliot's favorites of Francesca
and Paolo seems to be a good one. It deals with love and seperation
as, while they are together in hell, they are also forever apart from
Talking about allusions and borrowing, do you agree with Singleton's
comment about Dante alluding to Virgil in the Francesca passage or do
you lean toward a borrowing or just a coincidence?
> I'm mulling over Singleton's claim that the speech of Francesca
> alludes to Dido and Aeneas. I can see where both couples can claim
> their undoings on fate but I wonder if we shouldn't just see
> Francesca's sobbing and telling her story as a borrowing instead of an
> allusion. Do you or Singleton have any thoughts on this?