Difference between revisions of "William Morris"
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=Defense of Guenevere= | =Defense of Guenevere= | ||
| − | * pub in volume The Defence of Guevevere and other Poems (1858) | + | * pub in volume The Defence of Guevevere and other Poems (1858) and then in Kelmscott edition (1892) |
*intertext with Malory’s Morte D’Arthur | *intertext with Malory’s Morte D’Arthur | ||
*interlocking pentameter tercets | *interlocking pentameter tercets | ||
| + | ** the [http://morrisedition.lib.uiowa.edu/images/guenevere1892/jpeg/pageflip1-50.html Kelmscott] lineation and typographic spacing deliberately obscure the clear tercet structure, emphasizing links across prosodic line | ||
*starts in medias res diagetically after Gauwaine’s accusation but also in media terms in conversation with Malory and the body of Arthurian literature (cf [[Cowan 2015]] on mediation and translation) | *starts in medias res diagetically after Gauwaine’s accusation but also in media terms in conversation with Malory and the body of Arthurian literature (cf [[Cowan 2015]] on mediation and translation) | ||
** with Christmas setting also Sir Gawain and the Green Knight (ln 62) | ** with Christmas setting also Sir Gawain and the Green Knight (ln 62) | ||
* 75-6 "let the clock tick, tick, / To my unhappy pulse, that beat right through / my eager body" | * 75-6 "let the clock tick, tick, / To my unhappy pulse, that beat right through / my eager body" | ||
| + | ** clock time part of the medieval remediation (like a Shakespearean anachronism) | ||
*elaborate nature simile 93-103 again classical feeling or medieval | *elaborate nature simile 93-103 again classical feeling or medieval | ||
*136-8 erotic charge within bounded imagery | *136-8 erotic charge within bounded imagery | ||
Latest revision as of 18:26, 19 February 2018
Defense of Guenevere
- pub in volume The Defence of Guevevere and other Poems (1858) and then in Kelmscott edition (1892)
- intertext with Malory’s Morte D’Arthur
- interlocking pentameter tercets
- the Kelmscott lineation and typographic spacing deliberately obscure the clear tercet structure, emphasizing links across prosodic line
- starts in medias res diagetically after Gauwaine’s accusation but also in media terms in conversation with Malory and the body of Arthurian literature (cf Cowan 2015 on mediation and translation)
- with Christmas setting also Sir Gawain and the Green Knight (ln 62)
- 75-6 "let the clock tick, tick, / To my unhappy pulse, that beat right through / my eager body"
- clock time part of the medieval remediation (like a Shakespearean anachronism)
- elaborate nature simile 93-103 again classical feeling or medieval
- 136-8 erotic charge within bounded imagery
- 165 "So, ever must I dress me to the fight”: adopting masculine language to continue persuading Gauwaine after mentioning his mother, who died because accused of infidelity
- again a masculine simile in 288-90
- 244-58 the containment of her gender roles ("For no man cares now to know why I sigh"), she cannot ask a man to speak to her in her room without suspicion.
- reminiscent of the more claustrophobic containment in "Mariana"
- 295 and ends in medias res with Launcelot coming
