Tennyson's Poetry as Inspiration for Pre-Raphaelite Art
GRIN Verlag, 2007 - 56 pages
Seminar paper from the year 2003 in the subject English Language and Literature Studies - Literature, grade: 1,0 (A), Free University of Berlin (Institute for English Philology), course: The Pre-Raphaelites in Art and Literature, 19 entries in the bibliography, language: English, comment: Analysis of the Poems "Mariana" and "Lady of Shalott" from A. Lord Tennyson. Juxtaposition of poems and picture interpretations: Comparision between the poem "Mariana" (1830) and J. E. Millais' paintings(1851), Comparison between Tennysons "Lady of Shalott" and the paintings of W. Hunt (1889-92) and J. W. Waterhouse (1888) With bibliography and appendix (3 paintings), abstract: In 1848, at the peak of British industrialism and urbanization, a group of artists founded the Pre-Raphaelite Brotherhood, a movement which revolted against contemporary academic art. Searching for new themes of a higher truth and purity, the group did not only turn to artistic and literary sources of the Medieval Ages, the Renaissance and Romanticism but also to the poetic work of the contemporary Victorian Alfred Lord Tennyson. The Pre-Raphaelite Brotherhood and the poet laureate shared a poetic affinity with medieval literature and culture. The Middle Ages provided an ideal counter world of romance, chivalry, simple order, and religious faith. In an era of modern science, Darwinism, and religious scepticism, Tennyson found his sources of inspiration in Arthurian legends and Shakespearian drama. Between the mid 19th century and the end of World War I, Pre-Raphaelite artists produced a great number of paintings and illustrations, ie. the illustrated Moxon Edition of Poems (1857), based on the work of Alfred Tennyson. Significant thematic fascination was directed towards early romantic maiden poems, i.e. "Mariana" and "The Lady of Shalott," both published in 1832 and revised in 1842. This research paper will examine the structure, atmosphere, and symbolism of these Tennysonian ballads and analyze the
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19th century akademische Texte Alfred Lord Tennyson angel Annunciation scene archangel Art GRIN atmosphere aweary belong to Tennyson’s Camelot curse decay depict the climactic dreary Faerie Queene female femme fatale figure Gothic GRIN Verlag Hunt depicts Hunt’s Ibid illustration important narrative function Inspiration for Pre-Raphaelite John Everett Millais John William Waterhouse Knight Lancelot Lady of Shalott Lady’s late oil painting Leng level of meaning Lewis Tennyson's Poetry literature Lottes lover Angelo M.H. New York maiden poems Mariana is presented medieval Millais’s Mariana Millais’s painting mirror moated grange Moxon Edition Natalie Lewis Tennyson's oval paintings painter pictorial interpretation poem’s poet laureate Poetry as Inspiration poplar Präraffaeliten Pre-Raphaelite Brotherhood protagonist’s Raphaelite Art Raphaelite artists Romantic sexual Shakespearian social Spenser’s stanza symbol Tennyson created Tennyson’s ballad Tennyson’s early Tennyson’s Mariana Tennyson’s Poems Tennyson’s poetry Tennysonian tetrameters theme thick-moted sunbeam visual waste land Waterhouse’s weave William Holman Hunt window woman
Page 5 - Hard by a poplar shook alway, All silver-green with gnarled bark : For leagues no other tree did mark The level waste, the rounding gray. She only said, "My life is dreary, He cometh not," she said; She said, "I am aweary, aweary, I would that I were dead!
Page 16 - And at the closing of the day She loosed the chain, and down she lay; The broad stream bore her far away, The Lady of Shalott. Lying, robed in snowy white That loosely flew to left and right The leaves upon her falling light Thro...
Page 14 - Tirra lirra," by the river Sang Sir Lancelot. She left the web, she left the loom, She made three paces thro' the room, She saw the water-lily bloom, She saw the helmet and the plume, She look'd down to Camelot.
Page 6 - My life is dreary, He cometh not,' she said; She said, ' I am aweary, aweary, I would that I were dead ! ' The sparrow's chirrup on the roof, The slow clock ticking, and the sound Which to the wooing wind aloof The poplar made, did all confound Her sense ; but most she loathed the hour When the thick-moted sunbeam lay Athwart the chambers, and the day Was sloping toward his western bower. Then, said she, ' I am very dreary, He will not come...
Page 15 - The parable, as interpreted in this painting, illustrates the failure of a human Soul towards its accepted responsibility. The Lady typifying the Soul is bound to represent faithfully the workings of the high purpose of King Arthur's rule. She is to weave her record, not as one who mixing in the world, is tempted by egoistic weakness but as being 'sitting alone'; in her isolation she is charged to see life with a mind supreme and elevated in...
Page 16 - Did she look to Camelot. And at the closing of the day She loosed the chain, and down she lay ; The broad stream bore her far away, The Lady of Shalott.
Page 11 - As he rode down to Camelot: And from his blazoned baldric slung A mighty silver bugle hung, And as he rode his armor rung, Beside remote Shalott.
Page 10 - Qui conta come la damigella di Scalot mori per amore di Lancialotto de Lac » 110
Page 6 - The woman, with her single cry, is a state of mind and soul, a sickness unto death which is reflected by and further objectified in the grange and level waste The poem is monotonous and static without progressive movement.