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La Transmission D'un Archétype Poétique À Travers Le XVIII Siècle En La transmission d’un archétype poétique à travers le XVIIIe siècle en Angleterre. Stéphane ESPOSITO Université de Nantes Master 2 Cultures Langues et Littératures Étrangères Mémoire rédigé par Stéphane ESPOSITO Sous la direction du M. Pierre CARBONI. La transmission d’un archétype poétique à e travers le XVIII siècle en Angleterre. Université de Nantes Département d'Anglais Septembre 2013 N°6, 2014 Editions du CRINI © e-crini, 2014 ISSN 1760-4753 La transmission d’un archétype poétique à travers le XVIIIe siècle en ngleterre. Stéphane ESPOSITO Université de Nantes Sommaire Liste d’illustrations 2 Introduction 3 I. Le lyrique : l’expression de l’innocence du poète 11 1. La tranquillité arcadienne du poète 11 2. L’échec de la pastorale? 26 3. La question de la hiérarchisation des genres poétiques 38 II. La didaxis : l’illusion idyllique rompue par l’expérience du monde contemporain 49 1. L’état transitoire du poète : entre innocence et expérience 49 2. Un modèle réformiste contre les vices de la société 59 3. Les limites du genre didactique 72 III. L’épopée : sublimation poétique entre transgénéricité et paideia spirituelle 85 1. le modèle de la spirale : l’harmonie des contraires 85 2. La visée utopique de l’anaktisis poétique 101 3. La voix vatique du barde : divinisation du sujet et épopée du lecteur 117 Conclusion 135 Bibliographie 140 N°6, 2014 1 Editions du CRINI © e-crini, 2014 ISSN 1760-4753 La transmission d’un archétype poétique à travers le XVIIIe siècle en ngleterre. Stéphane ESPOSITO Université de Nantes Liste d’illustrations Jacob Philipp Hackert, Paysage arcadien, [Public domain], via Wikimedia Commons. 13 William Blake, Songs of Innocence, Plate 1, Frontispiece (Bentley 2), [Public domain], via Wikimedia Commons. 23 Nicolas Poussin, Et in Arcadia ego, [Public domain], via Wikimedia Commons. 32 William Blake, Europe Supported by Africa and America, [Public domain], via Wikimedia Commons. 70 William Blake, A Negro Hung Alive by the Ribs to a Gallows, [Public domain], via Wikimedia Commons. 71 William Blake, Milton a Poem, p. 1, [Public domain], via Wikimedia Commons. 94 William Blake, Milton a Poem, copy D, object 33 (Bentley 30, Erdman 30 [33], Keynes 30), [Public domain], via Wikimedia Commons. 96 William Blake, The Poems of Thomas Gray, Design 65, The Bard 13, [Public domain], via Wikimedia Commons. 131 John Martin, The Bard, [Public domain], via Wikimedia Commons. 132 N°6, 2014 2 Editions du CRINI © e-crini, 2014 ISSN 1760-4753 La transmission d’un archétype poétique à travers le XVIIIe siècle en ngleterre. Stéphane ESPOSITO Université de Nantes Introduction En raison de leur poésie à la fois prosaïque et très influencée par les classiques, les poètes augustéens Dryden et Pope ont profondément altéré l’homogénéité du canon littéraire anglais, à tel point que la poésie anglaise se scinde progressivement en deux écoles à première vue irréconciliables. D’un côté les fervents admirateurs et imitateurs de Spenser et Milton, de l’autre, ceux de Dryden, Boileau et Pope.1 Cette dissociation du canon littéraire national en deux est explicitée par l’affirmation de Samuel Johnson : “The work of Waller, Dryden, and Pope in refining poetry during the century before 1744 had been the true national achievement, and the Spenser-Milton tradition a regrettable falling away.”2 Par opposition, d’autres critiques tels que Joseph Warton remettent en question l’appartenance des poètes augustéens au canon poétique anglais au XVIIIe siècle. Cette controverse atteint d’ailleurs son paroxysme avec la “guerre des pamphlets” qui fait rage de 1819 à 1826.3 Toutefois, statuer sur l’anglicité de la poésie augustéenne reste un dilemme insoluble dans la mesure où il est difficile de donner une définition claire et exhaustive de l’art poétique, à tel point que selon Isaac D’Israeli : “To circumscribe poetry . by a definition will only show the narrowness of the definer.”4 L’une des critiques les plus vives énoncées par la première génération romantique anglaise à l’encontre de Dryden et de Pope est due au mélange d’influences inhérent à leur poésie, qui peut être vue comme un palimpseste, un kaléidoscope de plusieurs œuvres. Cette idée est controversée puisqu’elle engendre deux approches radicalement 1 Voir Vicesimus Knox, “On the Prevailing Taste in Poetry”, in The Works of Vicesimus Knox, D.D., Volume 2, http://books.google.fr/books?id=mXsAAAAAMAAJ&printsec=frontcover&hl=fr&source=gbs_ge_summa ry_r&cad=0#v=onepage&q&f=false, consulté le 05/01/2013, pp. 44-48 (p. 45). 2 David Fairer, “Creating a National Poetry: the Tradition of Spenser and Milton”, in The Cambridge Companion to Eighteenth-Century Poetry, ed. John Sitter, Cambridge, New York, Cambridge University Press, 2001, pp. 177-197 (p. 196). 3 Voir James Chandler, “The Pope Controversy, Romantic Poetry and the English Canon”, in Critical Inquiry, Vol. 10, No. 3 (Mar., 1984), published by The University of Chicago Press, http://www.jstor.org/stable/1343304, consulté le 05/01/2013, pp. 481-509. 4 Isaac D’Israeli, “review of Anecdotes of Books and Men by Joseph Spence, quarterly Review 66 (July 1820): 408”, cité dans James Chandler, “The Pope Controversy, Romantic Poetry and the English Canon”, op. cit., p. 498. N°6, 2014 3 Editions du CRINI © e-crini, 2014 ISSN 1760-4753 La transmission d’un archétype poétique à travers le XVIIIe siècle en ngleterre. Stéphane ESPOSITO Université de Nantes opposées du concept d’imitatio. En effet, l’imitation des classiques par un poète peut être considérée soit comme un manque d’inspiration qui nuit à la grandeur de son œuvre – le poète est alors étouffé par la magnificence poétique de ses précurseurs – ou, à l’inverse, comme la continuité du modèle antique selon lequel “les thèmes, les motifs, les arguments développés par les prédécesseurs sont considérés comme un bien commun, dans lequel il est possible de puiser, pour les arranger à son gré, en tâchant de surpasser ce qui a été produit auparavant”5. Cette vision de la poésie comme une source intarissable dans laquelle les poètes peuvent puiser leur inspiration est reprise par Dryden, qui, comparant Chaucer à l’état embryonnaire de la poésie anglaise, conclut que la poésie est en évolution permanente : “Nothing is brought to perfection at the first. We must be children before we grow men.”6 Percy Bysshe Shelley reprend cette idée d’un continuum poétique au XIXe siècle dans A Defense of Poetry : They may have perceived the beauty of those immortal compositions, simply as fragments and isolated portions: those who are more finely organized, or born in a happier age, may recognize them as episodes to that great poem, which all poets like the co-operating thoughts of one great mind have built up since the beginning of the world.7 À l’inverse, les poètes romantiques de la première génération éprouvent le besoin de créer une œuvre fondamentalement originale, ce qui explique leur rupture vis-à-vis des poètes du XVIIIe siècle. Comme l’écrit Blake dans la préface de son poème visionnaire Milton : “We do not want either Greek or Roman Models if we are but just & true to our own Imaginations.”8 Cette recherche d’une certaine originalité rappelle l’ambition prométhéenne de Milton au début de Paradise Lost : “It pursues / Things unattempted yet in prose or rhyme.”9 Cette citation, qui semble mettre en lumière toute l’originalité du poète anglais, est, en réalité, un plagiat d’Orlando Furioso : “I shall tell of Orlando, too, 5 Sylvie Laigneau, “Avant-Propos”, dans Virgile, Énéide, traduction de Maurice Lefaure, Paris, Le livre de poche, 2004, pp. 7-38 (p. 17). 6 John Dryden, “Preface to Fables Ancient and Modern”, in John Dryden The Major Works, ed. Keith Walker, Oxford, Oxford University Press, 2003, p. 560. 7 Percy Bysshe Shelley, A Defence of Poetry, in Percy Bysshe Shelley The Major Works, ed. Zachary Leader and Michael O’Neill, Oxford, Oxford University Press, 2003, pp. 674-701 (p. 687). 8 William Blake, “Preface to Milton”, in Blake Complete Writings, ed. Geoffrey Keynes, London, Oxford University Press, 1979, p. 480. 9 John Milton, Paradise Lost, ed. John Leonard, London, Penguin Books Ltd, 2003, p. 3. N°6, 2014 4 Editions du CRINI © e-crini, 2014 ISSN 1760-4753 La transmission d’un archétype poétique à travers le XVIIIe siècle en ngleterre. Stéphane ESPOSITO Université de Nantes setting down what has never before been recounted in prose or rhyme”10. De manière similaire, l’œuvre poétique de William Blake est enchevêtrée dans les classiques, et ce en dépit de sa volonté de forger une cosmogonie propre et résoudre de ce fait le dilemme au cœur de son poème visionnaire Jerusalem : “I must Create a System or be enslav’d by another Man’s / I will not Reason & Compare: my business is to Create.”11 Cependant, comme l’écrit Harold Bloom dans sa théorie poétique, The Anxiety of Influence, un poète ne peut se délivrer de l’influence de ses prédécesseurs : “Every poet is a being caught up in a dialectical relationship (transference, repetition, error, communication) with another poet or poets”12. En partant de ce postulat, nous essaierons de montrer à quel point l’œuvre poétique de Virgile a influencé la poésie anglaise du XVIIe au XIXe siècle. Tout d’abord, il convient de rappeler que les multiples traductions des poèmes de Virgile, qui voient le jour à partir du XVIIe siècle – notamment celle de l’Énéide par John Ogilby en 1654 – entraînèrent un engouement général des Anglais pour le poète latin. De plus, il est intéressant de noter que la tâche entreprise par John Dryden de traduire les classiques gréco-latins, depuis la Glorieuse Révolution de 1688 jusqu’à sa mort, est regardée aujourd’hui comme sa plus considérable contribution à la culture anglaise.
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