From Literature to Song Three Cases of Intermedial Transposition Diplomarbeit zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Michael Franz LANG am Institut für Anglistik Begutachter: Ao. Univ.-Prof. i. R. Mag. Dr. phil. Walter Bernhart Graz, 2009 TABLE OF CONTENTS 1. INTRODUCTION................................................................................................. 4 2. MUSIC: MCKENNITT, WORDS:TENNYSON – “THE LADY OF SHALOTT”.... 6 2.1. Introduction............................................................................................................................................. 6 2.2. Overview of Tennyson’s “The Lady of Shalott” .................................................................................. 6 2.2.1. Victorian Society ................................................................................................................................. 6 2.2.1.1. Rise of the Industrial Age........................................................................................................... 6 2.2.1.2. (Dis)Trust in Modernity ............................................................................................................. 7 2.2.1.3. Tennyson and Victorian Social Values....................................................................................... 8 2.2.1.4. Science vs. Religion ................................................................................................................... 9 2.2.1.5. The Gothic Revival (Victorian Medievalism and Historicism)................................................ 10 2.2.2. Tennyson’s Career ............................................................................................................................. 10 2.2.3. Tennyson’s Reputation ...................................................................................................................... 11 2.2.4. The Pre-Raphaelite Brotherhood........................................................................................................ 12 2.2.5. The Poem: “The Lady of Shalott”...................................................................................................... 12 2.2.5.1. Form ......................................................................................................................................... 13 2.2.5.2. Outline...................................................................................................................................... 13 2.2.5.3. Interpretation/Readings ............................................................................................................ 14 2.3. The song................................................................................................................................................. 14 2.3.1. Formal Structure of the Song ............................................................................................................. 14 2.3.2. Harmonic and Melodic Structures ..................................................................................................... 15 2.3.2.1. The D-major-stanzas ................................................................................................................ 16 2.3.2.2. The B-minor-Stanzas................................................................................................................ 19 2.3.3. Interpretation...................................................................................................................................... 20 2.3.3.1. Tonality .................................................................................................................................... 20 2.3.3.2. Present vs. Past ......................................................................................................................... 21 2.3.3.3. Stasis vs. Dynamics.................................................................................................................. 24 2.3.3.4. The Role of Women ................................................................................................................. 27 2.3.3.5. Artist vs. Public ........................................................................................................................ 30 2.4. Summary ............................................................................................................................................... 32 3. PUTTING A RIME INTO A RIME, AGAIN: “THE RIME OF THE ANCIENT MARINER” ............................................................................................................... 34 3.1. Introduction........................................................................................................................................... 34 3.2. The Rise of Romanticism ..................................................................................................................... 34 3.2.1. Characteristic Features of Romanticism ............................................................................................ 35 3.2.2. Coleridge and Wordsworth: Lyrical Ballads ..................................................................................... 36 3.3. Coleridge’s Approach to Poetry .......................................................................................................... 37 3.3.1. Coleridge on Imagination................................................................................................................... 38 3.3.2. Coleridge and the Supernatural.......................................................................................................... 39 3.3.3. Coleridge and Morals......................................................................................................................... 40 3.4. “The Rime of the Ancient Mariner” ................................................................................................... 41 3.4.1. Form................................................................................................................................................... 42 3.4.2. Outline ............................................................................................................................................... 42 3.4.3. Interpretations / Readings .................................................................................................................. 43 2 3.5. The Song by Iron Maiden .................................................................................................................... 46 3.5.1. Musical Form..................................................................................................................................... 46 3.5.1.1. Part One.................................................................................................................................... 46 3.5.1.2. Part Two ................................................................................................................................... 47 3.5.1.3. Part Three ................................................................................................................................. 48 3.5.1.4. Part Four................................................................................................................................... 48 3.5.2. Lyric Form ......................................................................................................................................... 48 3.5.3. Close Analysis of Music and Lyrics .................................................................................................. 50 3.5.3.1. Part One.................................................................................................................................... 50 3.5.3.2. Part Two ................................................................................................................................... 55 3.5.3.3. Part Three ................................................................................................................................. 57 3.5.3.4. Part Four................................................................................................................................... 58 3.5.3.5. Part Five ................................................................................................................................... 60 3.6. Summary ............................................................................................................................................... 64 4. FROM LITERATURE TO FILM TO SONG: HEART OF DARKNESS .............. 67 4.1. Introduction........................................................................................................................................... 67 4.2. Joseph Conrad ...................................................................................................................................... 67 4.2.1. Conrad’s Time ................................................................................................................................... 69 4.2.1.1. Historical Background and Politics .......................................................................................... 69 4.2.1.2. Literature and Art ..................................................................................................................... 70 4.2.1.3. Philosophical Tendencies ........................................................................................................