Renaissance and Reformation in no way inferior to Tasso's "I'immortal beltà de I'auree stelle" (1. 62). Each ofthe Seven Days is accompanied by notes, which have been compiled by Professor Gaetano CipoUa and which elucidate the multifarious references in the poem. Many appear to have been translated from those provided by Petrocchi, who is only acknowledged once as a source, and then inaccurately (p. 223, note to 1. 102 of Day Two: the reference should be to p. 58), though ultimately this does not detract from their usefulness as aids to understanding. There is some duplication on page 218 of the information provided by Mr. Tusiani on pages xii-xiii of
While greatness could not be claimed for Daniel's ‘Rosamond,' it is a moderately complex poem, better and more unified than has been thought. The difficulty is that critics have overlooked the meaning of the celebrated casket. The central section of'Rosamond,’ as indicated by the picture on the casket, is a retelling of the myth of Io in terms of English history in order to inculcate the moral that the sin of lustful prostitution, particularly when adulterous, results in self-metamorphosis into a beast. This transformation occurs despite assurances by a procuress that a god or king can make his own morality and absolve any sin. The central allegorical myth is supported by other moralized myths of lust—those of Neptune and Amymone, Danae and Jove, Atalanta and Hippomenes, and Pasiphae and the bull.
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