Transcript 拉猆爾前派之詩與畫
國立高雄師範大學文學院 94學年度第一學期院週會專題演講 拉猆爾前派之詩與畫 The Pre-Raphaelite: Paintings and Poetry 2005年11月18日（週五） • The Pre-Raphaelite Brotherhood (PRB) • mid-nineteenth-century avante garde painters associated with Ruskin, Morris, Edward Burne- Jones • Founded in 1849 by William Holman Hunt • D.G. Rossetti • John Everett Millais • William Michael Rossetti • James Collinson • Thomas Woolner • F. G. Stephens • • • • • • Dante Gabriel Rossetti John Everett Millais William Holman Hunt Tomas Woolner Edward Coley Burne-Jones William Morris • • • • • • The Staples Ruskin—artist as prophet Create an art suitable for the modern age Testing and defying all conventions of art Pyramidal groupings of figures One major source of light at one side matched by a lesser one on the opposite • Emphasis on rich shadow and tone at the expense of color • Brilliant perversity painted bright-colored, evenly lit pictures • Emphasized precise, almost photographic representation of even humble objects • Topological symbolism • Magic or symbolic realism • Subjects taken from Shakespeare, Keats, and Tennyson • http://65.107.211.206/victorian/painting/prb/1.html Dante Gabriel Rossetti • • • • • • • • Poet, designer and painter, born in 1828 The Blessed Damozel (1847) Student at the Royal Academy Antique School Subjects for Painting Religious themes Mythical symbolism (The Girlhood of Mary Virgin 1849) (Ecce Ancilla Domini –The Annunciation 1850) http://www.ibiblio.org/wm/paint/auth/rossetti/annunciatio n.jpg • Arthurian stories • Romantic Love • Married Elizabeth Siddal in 1860 La Belle Dame Sans Merci • La Belle Dame Sans Merci by John Keats • "I met a lady in the meads, Full beautiful -a faery's child, Her hair was long, her foot was light, And her eyes were wild. I made a garland for her head, And bracelets too, and fragrant zone; She looked at me as she did love, And made sweet moan. I set her on my pacing steed, And nothing else saw all day long, For sidelong would she bend, and sing A faery's song. She found me roots of relish sweet, And honey wild, and manna dew, And sure in language strange she said 'I love thee true.'" 'La Belle Dame Sans Merci‘ by Frank Cadogan Cowper 'La Belle Sans Merci‘ by Sir Frank Dicksee 'La Belle Sans Merci‘ by John William Waterhouse La Belle Dame Sans Merci • La Belle Dame sans Merci • Ancient stories of humans in love with unearthly creatures • Morris—The Hill of Venus • Swinburne—Laus Veneris • Frederich de la Motte Fouque’s Undine • Romanticism and escapism Romantic Escapism • The romantic artist seeks refuge in an imagenary world he has created, refuge from the pain or tedium of a mundane existence. Keats’s La Belle Dame • William Morris—Keats’s poem was a germinal poem for his own circle of Victorian poets • Title borrowed from Alan Chartier • Leanage in French literature • Morgain la Fee • Femme fatale, Circe, Siren • Unattainable temptress who keeps her admirer in a perpetual state of longing Symbolic Otherworld • The hero who leaves the world to experience sensuous and sensual joy in a magic realm • The belle dame, however, lacks of pity for the mortal she lures from the world • The creature excluded from God’s mercy is to be pitied • The nature of the other world—a land of dreams—symbolic value? man’s descent into his consciousness?—return motif— disillusion • met a lady in the meads, Full beautiful - a faery's child; Her hair was long, her foot was light, And her eyes were wild. • V • I set her on my pacing steed, And nothing else saw all day long, For sideways would she lean, and sing A faery's song. • VI • I made a garland for her head, And bracelets too, and fragrant zone; She look'd at me as she did love, And made sweet moan. • VII • She found me roots of relish sweet, And honey wild, and manna dew; And sure in language strange she said 'I love thee true.' • VIII • She took me to her elfin grot, And there she gazed, and sighed deep, And there I shut her wild wild eyes So kiss'd to sleep. • IX • And there we slumber'd on the moss, And there I dream'd - Ah! woe betide! The latest dream I ever dream'd On the cold hill side. • X • I saw pale kings, and princes too, Pale warriors, death-pale were they all; They cried - 'La Belle Dame sans Merci Hath thee in thrall!' • XI • I saw their starved lips in the gloam, With horrid warning gaped wide, And I awoke, and found me here On the cold hill side. • XII • And this is why I sojourn here, Alone and palely loitering, Though the sedge is wither'd from the lake, And no birds sing. • Published I • Ah, what can ail thee, wretched wight, Alone and palely loitering? The sedge is wither'd from the lake, And no birds sing. • II • Ah, what can ail thee, wretched wight, So haggard and so woe-begone? The squirrel's granary is full, And the harvest's done. • III • I see a lily on thy brow, With anguish moist and fever dew; And on thy cheek a fading rose Fast withereth too. Swinburne’s Faustine • Let me go over your good gifts That crown you queen; A queen whose kingdom ebbs and shifts Each week, Faustine. Bright heavy brows well gathered up; White gloss and sheen; Carved lips that make my lips a cup To drink, Faustine, Wine and rank poison, milk and blood, Being mixed therein Since first the devil threw dice with God For you, Faustine.... • As if your fed sarcophagus Spared flesh and skin, You come back face to face with us, The same Faustine. She loved the games men played with death, Where death must win; As though the slain man's blood and breath Revived Faustine. Nets caught the pike, pikes tore the net; Lithe limbs and lean From drained-out pores dripped thick red sweat To soothe Faustine. The Lady of Shalott Alfred Lord Tennyson • • • • • • • • • But in her web she still delights To weave the mirror's magic sights, For often through the silent nights A funeral, with plumes and lights And music, went to Camelot: Or when the moon was overhead, Came two young lovers lately wed; "I am half sick of shadows," said The Lady of Shalott. (Part 2) • http://charon.sfsu.edu/TENNYSON/TENNLADY.HTML 'I am Half-Sick of Shadows' said The Lady of Shalott by John William Waterhouse 'Lady of Shalot' by John William Waterhouse 'The Lady of Shalott' by John William Waterhouse Symbolic Realism/ Topological Symbolism • http://www.victorianweb.org/painting/whh/replete/intro.ht ml “Sister Helen” by Rossetti • • • • • • • • • • • • • • “Why did you melt your waxen man Sister Helen?” “To-day is the third since you began.” “The time was long, yet the time ran, Little brother." (O Mother, Mary Mother, Three days to-day, between Hell and Heaven!) "But if you have done your work aright, Sister Helen, You'll let me play, for you said I might." "Be very still in your play to-night, Little brother." (O Mother, Mary Mother, Third night, to-night, between Hell and Heaven!) • http://members.tripod.com/preraphs/writing/dgrossetti/sisterhelen.html John William Waterhouse • • • • • • • Biography Born in 1849 Poetical and mythological subjects 1895 member of Royal Academy Lady of Shalott and other paintings Not a member of the brotherhood http://www.jwwaterhouse.cjb.net/ Paintings by Waterhouse • Ophelia • http://www.thegoodtimes.ca/~jwwaterhous e/paintingsO-S/ophelia.html • Lady of Shalott • http://www.thegoodtimes.ca/~jwwaterhous e/paintingsL-N/lady_of_shalott_2.html 風 格 • The Pre-Raphaelites, being young, talented, and having many ideas of their own, felt stifled by the rigidity of the Royal Academy's idea of what tasteful, beautiful art should be. The PRB held the haughty belief that the only true great art came from before the 16th century Italian painter, Raphael (hence the society's name). Raphael represented high renaissance, a time when painters, instead of letting their subjects dictate their qualities to the artist, would manipulate the subject into their own ideal of beauty. Thus, all realism was lost. The PRB, with full spirit, denounced this art of idealization, and led the way to produce works based on real landscapes and real models, and paid intense attention to accuracy of detail and color. • http://www.nouveaunet.com/prbpassion What is so special about their art? • These painters had a specific agenda. Instead of painting the typical still-lifes, landscapes and seascapes, they drew their subject matters from medieval tales, bible stories, classical mythology, and nature. Using bright colors on a white background, the artists were able to achieve great depth and brilliance. • / http://www.nouveaunet.com/prbpassion The End