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The Blessed Damozel”, Která Je První Analyzovanou Básní, Existuje Jako Obraz, Stejně I Jako Hudební Kompozice Složená Claudem

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The Blessed Damozel”, Která Je První Analyzovanou Básní, Existuje Jako Obraz, Stejně I Jako Hudební Kompozice Složená Claudem Univerzita Karlova v Praze Filosofická fakulta DIPLOMOVÁ PRÁCE PRAHA 2012 Linda FOŘTOVÁ i UNIVERZITA KARLOVA V PRAZE FILOSOFICKÁ FAKULTA ÚSTAV ANGLOFONNÍCH LITERATUR A KULTUR The Visual Aspect of Dante Gabriel Rossetti's Poetry DIPLOMOVÁ PRÁCE Vedoucí práce: PhDr. Soňa Nováková, CSc., MA. Zpracovala: Linda Fořtová Studijní obor: Anglistika-amerikanistika Iowa City, IA, duben 2012 ii A note of academic honesty: I declare that this thesis is my own work for which I used only the sources and literature mentioned. Also, in this thesis I have avoided using Internet sources and have used only physical publications with a few negligible exceptions. Likewise, I declare that I have cited every source in a proper manner, and that this thesis has not been used for purposes of another study program or for the acquisition of another or the same degree. Prague, August 2012 ..................................... Prohlašuji, že předloženou diplomovou práci jsem zpracovala samostatně a pouze na základě uvedených zdrojů a literatury. V této práci jsem nepoužívala internetové zdroje, pouze fyzické publikace s několika výjimkami. Zároveň prohlašuji, že všechny zdroje jsou správně citovány, a že práce nebyla využita pro účely jiného vysokoškolského studia či k získání jiného nebo stejného titulu. Praha, srpen 2012 ..................................... iii Souhlasím se zapůjčením diplomové práce ke studijním účelům. I have no objections to this MA thesis being borrowed and used for study purposes. ..................................... iv ACKNOWLEDGEMENTS First and foremost I wish to thank PhDr. Soňa Nováková, CSc., M.A., and PhDr. Zdeněk Beran, PhD for introducing me to the Pre-Raphaelites and Dante Gabriel Rossetti in Autumn 2007, and for encouraging my interest throughout the years. Professor Florence S. Boos of the University of Iowa also deserves plenty thanks for many inspiring discussions and conversations about all things Pre-Raphaelite, and for her kindness and time devoted to me. Likewise, I want to thank my friends for upholding my morale, Silvia Zignone for helping me with translations from Italian and French, Jana Fridrichovská for her help with Latin, and Professor David Hamilton for his valuable and inspiring observations concerning lyric structures that greatly broadened my perception of poetry, in a class I attended while in Iowa City. Last but not least, my thanks go to Eva Schoen PhD for keeping me sane. v Abstrakt Tato práce se zabývá analýzou tří básní Dante Gabriela Rossettiho. Výchozí myšlenkou práce je teorie “ut pictura poesis”, která zkoumá vztah básně a výtvarného umění. V případě Rossettiho je takováto teorie na místě, neboť Rossetti byl nejen básník, ale především malíř. “The Blessed Damozel”, která je první analyzovanou básní, existuje jako obraz, stejně i jako hudební kompozice složená Claudem Debussym. Druhá báseň v této práci, “The Card Dealer”, byla inspirována skutečným obrazem Theodora Van Holsta, který Rossetti vlastnil, byť v básnickém zpracování se značně odchýlil od originálu. Poslední básní je “My Sister's Sleep”, která vyniká živou dramatičností jednotlivých scén. Stejně jako dvě předchozí básně, i tato používá “malířské techniky” (rozložení postav na scéně, důraz na detaily, “vykreslení” scény a atmosféry, charakterizace, gesta, barvy, materiály, zpomalený běh času, statický charakter zobrazení, prodlužování tenzního momentu, k němuž celá báseň spěje, symbolika, mystika, atd.), kterými vyvolává snadno představitelný mentální obraz připodobnitelný ke skutečným obrazům, jaké malovali Prerafaelité. Tyto (a mnohé jiné) techniky Rossetti používá ve vícero básních, nicméně v těchto třech jsou dle mého názoru nejvíce prominentní. Cílem práce bylo zanalyzovat malířské prvky v Rossettiho poezii za pomoci zejména The Pictorialist Poetics Davida Scotta a Poetry and the Pre-Raphaelite Arts Elizabeth Helsingerové, a tím lépe porozumět Prerafaelitskému umění, estetice a vnímání krásy. Prerafaelitské hnutí se zrodilo v 19. století jako odpověď na stav současného umění, načež se na přelomu století zvrátilo v dekadenci, které významně hnulo měřítky vnímání “krásna.” Předložená diplomová práce tudíž měla za úkol přiblížit Prerafaelitské vnímání krásy skrze Rossettiho poezii a tím zpřístupnit jeho složitou poetiku a odhalit určité rysy jeho tvorby, které charakterizují tu méně známou stránku Prerafaelitského umění, totiž poezii. Rossettiho Sonnets for Pictures a další “double works of art” jsou analyzovány odděleně v jiné práci, v níž větší důraz se klade na postupné převracení Prerafaelitské estetiky v následnou dekadenci. Keywords: Dante Gabriel Rossetti, the Pre-Raphaelites, 19th century, poetry, visual arts, ekphrasis, colours, music, aesthetics, “ut pictura poesis” Klíčová slova: Dante Gabriel Rossetti, Pre-Rafaelité, 19. století, poezie, výtvarné umění, ekphrasis, barvy, hudba, estetika, “ut pictura poesis” vi TABLE OF CONTENTS: Abstract...................................................................................................................................................................v. CHAPTER I: Introduction...................................................................................................................................1 CHAPTER II: History and Development of Ut Pictura Poesis....................................................................5 CHAPTER III: Dante Gabriel Rossetti and the Pre-Raphaelite Brotherhood.........................................18 i. Introduction....................................................................................................................................18 ii. Painting and Influences................................................................................................................18 iii. Mystery.............................................................................................................................................19 iv. Medievalism and Archaism.........................................................................................................20 v. “Damozel”.......................................................................................................................................21 vi. Ruskin and Pater............................................................................................................................22 vii. Poetic Influences: Keats and Blake............................................................................................23 i. Tennyson...........................................................................................,.............................................24 i. “The Last Romantic”.....................................................................................................................25 CHAPTER IV: “The Blessed Damozel”: The Coloured World of the Pre-Raphaelite Poetry..............27 i. Introduction....................................................................................................................................27 ii. Stanza...............................................................................................................................................28 iii. The Painting and the Poem..........................................................................................................30 iv. Time..................................................................................................................................................31 v. Space.................................................................................................................................................32 vi. Symbiosis........................................................................................................................................33 vii. Synesthesia......................................................................................................................................34 viii. Colour.............................................................................................................................................35 ix. Colours in “The Blessed Damozel”: Gold................................................................................39 x. Colours in “The Blessed Damozel”: White...............................................................................40 xi. Colours in “The Blessed Damozel”: Other...............................................................................40 xii. Atmosphere.....................................................................................................................................41 xiii.Appeal to Senses..........................................................................................................................42 xiv. Spatial Dimension.........................................................................................................................45 xv. Foregrounded Signifiers: Names................................................................................................48 xvi. Foregrounded Signifiers: Numbers & Mysticism.................................................................66 - Mysticism....................................................................................................................................68 - Numbers......................................................................................................................................72 xvii. Foregrounded Signifiers: Capitalization.................................................................................73
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