Recuperating Pictorialism: Leigh Hunt’s The Story of Rimini
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This essay examines Leigh Hunt’s The Story of Rimini, written during his incarceration in Horsemonger Lane Gaol, in terms of its aesthetic value of pictorial versification rather than its rebellious nature as evidenced by licentiousness and vulgarity. The essay argues that Hunt’s sensuous picturesque ekphrasis as experimented with in Rimini was his visual response to contemporary visual culture in how it reflects the cult of middle class visual leisure pursuits associated with ekphrasis, and played a pivotal role in recovering the value of the visual from the predominant anti-ekphrastic mode of Romantic poetry. First, it investigates how Hunt formed his novel ekphrastic mode, associated with Spenserian pictorialism in Rimini, and explores how this new poetics was applied to his textual gallery of sensuous poetic pictures. While attempting to interpret and analyze the verbal pictures of Rimini, the essay focuses on the fact that Hunt evoked visual pleasure through more visible beauty forms and discusses how his truth and beauty, perceived by the fact of their existence, required a poet’s pictorial capacities to generate superficial images. Although Hunt’s poetics in relation to pictorialism has been neglected as an example of the anti-Romantic nature of poetry, running against the prominent poetics of William Wordsworth, who valued internalized imageless images, the essay argues that Hunt’s aesthetic contribution to reviving the power of the image in Rimini enlarged the limited context of the Romantic imaginary visual world and potentially foresaw a new style of integrating the visual and the verbal, visible in literary annuals, Pre-Raphaelite pictorialism and even further.
Abstract
This essay examines Leigh Hunt’s The Story of Rimini, written during his incarceration in Horsemonger Lane Gaol, in terms of its aesthetic value of pictorial versification rather than its rebellious nature as evidenced by licentiousness and vulgarity. The essay argues that Hunt’s sensuous picturesque ekphrasis as experimented with in Rimini was his visual response to contemporary visual culture in how it reflects the cult of middle class visual leisure pursuits associated with ekphrasis, and played a pivotal role in recovering the value of the visual from the predominant anti-ekphrastic mode of Romantic poetry. First, it investigates how Hunt formed his novel ekphrastic mode, associated with Spenserian pictorialism in Rimini, and explores how this new poetics was applied to his textual gallery of sensuous poetic pictures. While attempting to interpret and analyze the verbal pictures of Rimini, the essay focuses on the fact that Hunt evoked visual pleasure through more visible beauty forms and discusses how his truth and beauty, perceived by the fact of their existence, required a poet’s pictorial capacities to generate superficial images. Although Hunt’s poetics in relation to pictorialism has been neglected as an example of the anti-Romantic nature of poetry, running against the prominent poetics of William Wordsworth, who valued internalized imageless images, the essay argues that Hunt’s aesthetic contribution to reviving the power of the image in Rimini enlarged the limited context of the Romantic imaginary visual world and potentially foresaw a new style of integrating the visual and the verbal, visible in literary annuals, Pre-Raphaelite pictorialism and even further.
참고문헌 (36)
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