셰익스피어의 설화시 『루크리스의 능욕』에 나타난 에크프라시스
Ekphrasis in Shakespeare’s Narrative Poem, The Rape of Lucrece
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This paper aims at exploring Shakespearean ekphrasis in Shakespeare’s narrative poem, The Rape of Lucrece. Shakespeare’s interest in narrating the visual appears across the different genres in which he wrote. Especially, Shakespeare’s description of artworks in Lucrece, suggests Shakespeare’s interest in pictorial art, but it also highlights the vividness and seductiveness of Shakespeare’s narrative poem. At the beginning of the poem, Tarquin’s desire is inflamed by hearing Collatine’s description of Lucrece. Shakespeare makes language one of the central elements of his work as well as suggests that seeing is not necessarily superior to hearing and can be analogous to rhetorical persuasion. In other words, Lucrece implies the ways in which seeing itself is bound up with language, oratory and rhetoric. This paper also examines Lucrece’s attempts to articulate her plight-both her lengthy monologue and her letter to Collatine. Next, it explores Lucrece’s encounter with the painting of the fall of Troy and the ways in which we are invited to compare the poem we are reading with the imagined visual artwork. The verbal representation of the fall of Troy in Lucrece, can be the most explicit example of Shakespeare’s ekphrasis. This ekphrasis serves as an opportunity for Shakespeare to explore not only the paragone between poetry and painting but also the possibility of kind of symbiosis or reciprocity between different modes of representation: verbal and visual. In Lucrece, Shakespeare demonstrates the seductiveness of his narrative poetry and continues to ask his readers to bring forth visual images through the eye of mind.
Abstract
This paper aims at exploring Shakespearean ekphrasis in Shakespeare’s narrative poem, The Rape of Lucrece. Shakespeare’s interest in narrating the visual appears across the different genres in which he wrote. Especially, Shakespeare’s description of artworks in Lucrece, suggests Shakespeare’s interest in pictorial art, but it also highlights the vividness and seductiveness of Shakespeare’s narrative poem. At the beginning of the poem, Tarquin’s desire is inflamed by hearing Collatine’s description of Lucrece. Shakespeare makes language one of the central elements of his work as well as suggests that seeing is not necessarily superior to hearing and can be analogous to rhetorical persuasion. In other words, Lucrece implies the ways in which seeing itself is bound up with language, oratory and rhetoric. This paper also examines Lucrece’s attempts to articulate her plight-both her lengthy monologue and her letter to Collatine. Next, it explores Lucrece’s encounter with the painting of the fall of Troy and the ways in which we are invited to compare the poem we are reading with the imagined visual artwork. The verbal representation of the fall of Troy in Lucrece, can be the most explicit example of Shakespeare’s ekphrasis. This ekphrasis serves as an opportunity for Shakespeare to explore not only the paragone between poetry and painting but also the possibility of kind of symbiosis or reciprocity between different modes of representation: verbal and visual. In Lucrece, Shakespeare demonstrates the seductiveness of his narrative poetry and continues to ask his readers to bring forth visual images through the eye of mind.
참고문헌 (21)
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