Joseph Romano

What if the roots of English literature were not wholly English? How were the origins of Italian literature pollinated with Arabic philosophy? This course will explore these questions and more through two foundational texts—Dante’s Divine Comedy and Chaucer’s Canterbury Tales. Often read in isolation, we will instead study these works together—in historical, intellectual, and comparative context—charting how the high tide of Italian literary culture reached the shores of medieval England, how Dante’s vernacular epic of the afterlife helped shape Chaucer’s vernacular epic of earthly life. In fall, we will focus on Dante, treating his formation as a poet and thinker as a window into the formation of Italian literature itself. We will explore his engagement with the Occitan, Sicilian, and Tuscan lyric traditions; his reading of Aristotle through Arabic and Latin commentators; and his response to the burgeoning—and fraught—political and intellectual climate of medieval Florence. Having immersed ourselves in the life, times, and mind of Dante, we will then turn to the Comedy itself, reading all three canticles—the Inferno, Purgatorio, and Paradiso—with special attention to Dante’s evolving understanding of love and desire. In spring, we will turn to Chaucer and his role in inaugurating vernacular English literature through a rich, self-conscious dialogue with Dante and the other “corone,” or crowns, of Italian literature—Boccaccio and Petrarch. Chaucer’s travels to Genoa and Florence in 1373 and Milan in 1378 were formative for him as a person and poet. At a time when hardly anyone in England had heard of Dante, Boccaccio, or Petrarch, Chaucer read them in the original and responded to them by creating new literary forms. In doing so, Chaucer fashioned a future English literary audience; in a real sense, he wrote for us. We will read Chaucer’s House of Fame (a direct response to the Comedy) and Canterbury Tales, pairing each tale with its Italian analogues and influences. Throughout the year, we will practice comparative reading and source study, mapping how ideas and literary forms travel across, cultures, languages, and borders. In the process, we will encounter the profoundly interconnected intellectual world of Dante’s and Chaucer’s Middle Ages.

Julian of Norwich is the earliest known woman to author a text in English. In 1373, at the age of “thirty and a half,” Julian fell severely ill. On the brink of death, she experienced a series of visions, which she recorded as her “short text” or Shewings. Sometime after her recovery, she chose a life of solitude as an anchorite; and for the next 40 years, Julian contemplated and elaborated on her visionary experiences. The result is her “long text,” A Revelation of Divine Love, which has been called “the most important work of Christian reflection in the English language.’ The journey of this course will begin with Julian’s Shewings and end with her Revelation—her writings serving as a lens to various traditions of medieval mysticism. Along the way, we will encounter the “intellectual” and “erotic” threads of mysticism woven throughout Jewish, Christian, and Islamic spirituality—from the philosophy of Ibn Sina (Avicenna), Solomon ibn Gabirol (Avicebron), and Augustine of Hippo to the poetry of Ibn Arabi, Dante, and Jewish mystics. Next, we will examine how monks and mendicants such as Richard of St. Victor, William of St. Thierry, and Bonaventure understood the intersection of human and divine love, how the knowledge of self leads to the knowledge of God. We will then pause at the fraught waystation of mysticism and heresy to examine how Meister Eckhart’s and Marguerite Porete’s teachings of the soul’s total union with God were met with institutional hostility and violence. Finally, we will land once again in medieval England. After surveying Julian’s English contemporaries, we will embark on a sustained close reading of her Revelation of Divine Love—now with preparation to see how she understood the purpose of her visionary experiences: “Who showed it thee? Love. What showed he thee? Love. Wherfore showed he it thee? For love.”