In 1848, at the peak of British industrialism and urbanization, a group of artists founded the Pre-Raphaelite Brotherhood, a movement which revolted against contemporary academic art. Searching for new themes of a higher truth and purity, the group did not only turn to artistic and literary sources of the Medieval Ages, the Renaissance and Romanticism but also to the poetic work of the contemporary Victorian Alfred Lord Tennyson. The Pre-Raphaelite Brotherhood and the poet laureate shared a poetic affinity with medieval literature and culture. The Middle Ages provided an ideal counter world of romance, chivalry, simple order, and religious faith. In an era of modern science, Darwinism, and religious scepticism, Tennyson found his sources of inspiration in Arthurian legends and Shakespearian drama.
Between the mid 19th century and the end of World War I, Pre-Raphaelite artists produced a great number of paintings and illustrations, ie. the illustrated Moxon Edition of Poems (1857), based on the work of Alfred Tennyson. Significant thematic fascination was directed towards early romantic maiden poems, i.e. "Mariana" and "The Lady of Shalott", both published in 1832 and revised in 1842. This research paper will examine the structure, atmosphere, and symbolism of these Tennysonian ballads and analyze the corresponding paintings of John Everett Millais, William Holman Hunt, and John William Waterhouse.
Table of Contents
- Introduction
- Tennyson's Mariana (1830)
- Millais's pictorial interpretation of Mariana (1851)
- Tennyson's The Lady of Shalott (1832, revised 1842)
- Hunt's pictorial interpretation of The Lady of Shalott (1889-92/1886-1905)
- Waterhouse's pictorial interpretation of The Lady of Shalott (1888)
- Conclusion
Objectives and Key Themes
This research paper aims to examine the structure, atmosphere, and symbolism of Tennyson's poems "Mariana" and "The Lady of Shalott," and to analyze their corresponding pictorial interpretations by Pre-Raphaelite artists Millais, Hunt, and Waterhouse. The paper explores the relationship between Tennyson's poetry and Pre-Raphaelite art, focusing on how the artists translated the poems' themes and imagery into visual form.
- The influence of Tennyson's poetry on Pre-Raphaelite art.
- The depiction of female characters and their psychological states in Tennyson's poetry and Pre-Raphaelite paintings.
- The use of symbolism, atmosphere, and setting to convey meaning in both literary and artistic works.
- A comparative analysis of literary and artistic techniques.
- The Pre-Raphaelite Brotherhood's artistic and philosophical ideals.
Chapter Summaries
Introduction: The introduction establishes the context of the research paper, highlighting the Pre-Raphaelite Brotherhood's revolt against contemporary academic art and their fascination with past artistic and literary sources. It emphasizes the shared affinity between the Brotherhood and Alfred Lord Tennyson for medieval literature and culture, particularly in their shared idealization of a romanticized medieval world in contrast to the modern era. The paper focuses on Tennyson's "Mariana" and "The Lady of Shalott" and their visual representations by Millais, Hunt, and Waterhouse.
Tennyson's Mariana (1830): This chapter delves into Tennyson's early poem "Mariana," exploring its origins in Shakespeare's *Measure for Measure* and its focus on the psychological state of the abandoned Mariana. The analysis examines the poem's structure, specifically its use of ballad form, iambic tetrameters, and the repetitive refrain, emphasizing how these elements contribute to the poem's atmosphere of melancholy and isolation. The chapter details the visual imagery employed—the decaying grange, the poplar tree, and the surrounding desolate landscape— and how these images, including subtle sexual undertones, contribute to the portrayal of Mariana's depression and hopelessness. Finally, the chapter unpacks the use of auditory imagery to further emphasize the silence and isolation surrounding Mariana.
Keywords
Pre-Raphaelite Brotherhood, Alfred Lord Tennyson, Mariana, The Lady of Shalott, John Everett Millais, William Holman Hunt, John William Waterhouse, Victorian poetry, Pre-Raphaelite art, medievalism, romanticism, symbolism, psychological portrayal, visual interpretation, ballad form, imagery, atmosphere.
Frequently Asked Questions: A Comparative Analysis of Tennyson's Poetry and Pre-Raphaelite Art
What is the focus of this research paper?
This research paper examines the structure, atmosphere, and symbolism of Alfred Lord Tennyson's poems "Mariana" and "The Lady of Shalott," and analyzes their pictorial interpretations by Pre-Raphaelite artists John Everett Millais, William Holman Hunt, and John William Waterhouse. It explores the relationship between Tennyson's poetry and Pre-Raphaelite art, focusing on how the artists translated the poems' themes and imagery into visual form.
What are the key themes explored in the paper?
Key themes include the influence of Tennyson's poetry on Pre-Raphaelite art; the depiction of female characters and their psychological states in both the poetry and paintings; the use of symbolism, atmosphere, and setting to convey meaning; a comparative analysis of literary and artistic techniques; and the Pre-Raphaelite Brotherhood's artistic and philosophical ideals.
Which poems and paintings are specifically analyzed?
The paper focuses on Tennyson's poems "Mariana" (1830) and "The Lady of Shalott" (1832, revised 1842), and their respective pictorial interpretations by Millais (Mariana, 1851), Hunt (The Lady of Shalott, 1889-92/1886-1905), and Waterhouse (The Lady of Shalott, 1888).
What is covered in the chapter summarizing Tennyson's "Mariana"?
This chapter explores the poem's origins in Shakespeare's *Measure for Measure*, its focus on Mariana's psychological state, its use of ballad form and iambic tetrameters, the repetitive refrain creating atmosphere, the visual imagery (decaying grange, poplar tree, desolate landscape), subtle sexual undertones, and the use of auditory imagery emphasizing silence and isolation.
What is the introduction's main purpose?
The introduction sets the context, highlighting the Pre-Raphaelite Brotherhood's rebellion against academic art, their fascination with past sources, and their shared affinity with Tennyson for medieval literature and culture, emphasizing their shared idealization of a romanticized medieval world.
What are the keywords associated with this research?
Keywords include: Pre-Raphaelite Brotherhood, Alfred Lord Tennyson, Mariana, The Lady of Shalott, John Everett Millais, William Holman Hunt, John William Waterhouse, Victorian poetry, Pre-Raphaelite art, medievalism, romanticism, symbolism, psychological portrayal, visual interpretation, ballad form, imagery, atmosphere.
- Quote paper
- Natalie Lewis (Author), 2003, Tennyson's Poetry as Inspiration for Pre-Raphaelite Art, Munich, GRIN Verlag, https://www.grin.com/document/26978
