『클라리사』의 바로크: 테네브리즘(Tenebrism)과 균열의 알레고리

Abstract

This paper aims to reveal the baroque aura of Clarissa by focusing on the notion of allegory and tenebrism, the baroque artistic technique embodying the dynamic and dramatic contrast of light and darkness. Informed by Lacanian thought, the baroque can be defined as the art of jouissance with a Christian trait, the extreme enjoyment in pain. In this context, the baroque can be called the art of theological eroticism, which is powerfully manifested in the experience of the modern subject in its encounter with religious and corporeal excess. In Clarissa, Lovelace is a genius of the baroque in the erotic and delirious dramatization of ‘his perverted self-reflective vision of Clarissa’s virginity’ and ‘his conscience itself’ through tenebrism. In contrast, Clarissa reveals a deep repugnance for Lovelace’s erotically deceptive and excessive images, and aspires to create herself as the Protestant baroque virgin martyr through constructing her sacred father's house with austere, restrained and condensed language. Richardson ultimately aims to embody Clarissa as an absolutely idealized sacred icon through the mode of allegory grounded upon his stark dichotomous perspective on good and evil. As a result, the ending of Clarissa loses the intensity of the baroque that has been dramatically embodied in the masterful execution of tenebrism. Of importance here is that the core of Clarissa lies not in a moral and biblical allegory that Richardson intends to employ but in the allegory of rupture penetrated by the baroque jouissance that he cannot fully control. There is indeed a gap between the mode of allegory which Richardson strongly wishes to employ and the baroque allegory which he actually creates. Viewed thus, Richardson can be called a failed allegorist. Intriguingly, however, it is at the point of failure that Clarissa becomes a far richer and more fascinating baroque masterpiece.