From “The Lady of Shalott” to “Rapunzel”: The Lady Weavers in British Aestheticism
|關鍵字:||織女;丁尼生;〈夏洛特之女〉;默睿思;〈蕊芳梭〉;英國美學主義;前拉斐爾派;the lady weaver;Lord Alfred Tennyson;“The Lady of Shalott”;William Morris;“Rapunzel”;British aestheticism;Pre-Raphaelitism||公開日期:||2011||摘要:||本論文探討丁尼生的〈夏洛特之女〉以及默睿思的〈蕊芳梭〉兩首詩中的織女意象與十九世紀中英國美學主義的關聯。此兩首詩皆創作於詩人尚未成名之初，反映出詩人對於創作的焦慮，織女作為創作者的化身，協助詩人在此關鍵時刻反思創作者角色之於世界的關係。自丁尼生〈夏洛特之女〉創作問世，夏洛特之女形象風行於維多利亞世紀，成為無數繪畫與插畫主題，是已溢出文本外的文化圖像，並激發許多以深閨織女為主題的詩與畫。這一類型文本除了承載維多利亞世紀對於深閨女子的集體想像，亦是詩人及畫家檢討藝術與創作的媒介，因此筆者視〈夏洛特之女〉為英國美學主義之先驅文本。
This thesis examines the trope of the “lady weaver” in two poems – Lord Alfred Tennyson’s “The Lady of Shalott” and William Morris’s “Rapunzel” – in relation to mid-nineteenth-century British aestheticism. Both poems are composed at an early, anxious stage in the poets’ career. The weavers, as proxies of their creators, assist them to renegotiate their role as creator and its relation to the world. At its publication, the Lady of Shalott enthralls Victorian artists and audience alike, rendering itself a cultural icon which inspires numerous pictorial renditions as well as other poems and paintings that feature embowered weaving ladies. This recurrent image not only carries a collective cultural fantasy of the woman in the bower but also plays the medium via which poets and artists examine the creative enterprise; therefore I see “The Lady of Shalott” as the pioneering text in British aestheticism. Suffering critical rebuff for his first collection, Tennyson had to renegotiate poetic autonomy at the composition of “The Lady of Shalott.” The curse he devises for the lady weaver figures the irreconcilable contradiction in creative enterprise: that between art’s claimed autonomy and its inevitable subjection to and reliance on the external world. The poet ultimately leaves the exclusive, privileging creative sphere in the tower for the world, leaving the curse of the creative paradox for his proxy weaver to bear. Her impenetrable corpse shields the purity of art and creation, while the poet moves on in compromise. Frustrated as an apprentice painter and cultivated with radical political thinking, Morris disavows the narcissistic weavers portrayed by Tennyson and the Pre-Raphaelites. Morris seeks to resolve the creative paradox by incorporating artistic creation and social production, thereby reintroducing aesthetic experience to everyday life. Rapunzel’s weaving is no longer a curse, but an empowering skill of self-help. This thesis bridges the two poems and Pre-Raphaelite paintings through the trope of the weaver, and presents the two poets’ respective aesthetics and view on creation.
在 IR 系統中的文件，除了特別指名其著作權條款之外，均受到著作權保護，並且保留所有的權利。