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== Thèmes ==
== Thèmes ==
Hunt chose the Paolo and Francesca episode from the ''Inferno'' to discuss problems relating to "setting authorized selfishness above the most natural impulses, and making guilt by mistaking innocence"<ref>Roe 2005 qtd p. 9</ref>. The tone of the work is one of compassion, and he promoted the idea of universal restoration, a view that came from the preaching of {{Lien|trad=Elhanan Winchester|fr=Elhanan Winchester|texte=Elhanan Winchester}} that was connected to the Universalism movement. Hunt's use of such beliefs was a source of criticism lodged against him<ref>Roe 2005 p. 29</ref>. Hunt also believed that wisdom was connected to understanding the workings of the human heart, and his understanding of it in ''The Story of Rimini'' was later developed in Hunt's ''Christianism'' and ''The Religion of the Heart''<ref>Roe 2005 p. 90</ref>. Part of the basis for the intimacy and the emotion within the story, especially when Francesca turns to her father before she is forced into marriage, is from Hunt's own emotional reaction after he was sentenced to jail for 2 years and separated from his brother<ref>Roe 2005 p. 181</ref>.
Leigh Hunt choisit l'épisode de Paolo et de Francesca tiré de l'[[Enfer (Divine Comédie)|''Enfer'']] de [[Dante]] pour débattre des problèmes relatifs {{citation|placer l'égoïsme autorisé au-dessus des pulsions les plus naturelles et culpabiliser en confondant l'innocence{{note|{{langue|en|setting authorized selfishness above the most natural impulses, and making guilt by mistaking innocence}}}}}}{{Sfn|Roe|2005|p=9}}. The tone of the work is one of compassion, and he promoted the idea of universal restoration, a view that came from the preaching of {{Lien|trad=Elhanan Winchester|fr=Elhanan Winchester|texte=Elhanan Winchester}} that was connected to the Universalism movement. Hunt's use of such beliefs was a source of criticism lodged against him{{Sfn|Roe|2005|p=29}}. Hunt also believed that wisdom was connected to understanding the workings of the human heart, and his understanding of it in ''The Story of Rimini'' was later developed in Hunt's ''Christianism'' and ''The Religion of the Heart''{{Sfn|Roe|2005|p=90}}. Part of the basis for the intimacy and the emotion within the story, especially when Francesca turns to her father before she is forced into marriage, is from Hunt's own emotional reaction after he was sentenced to jail for 2 years and separated from his brother{{Sfn|Roe|2005|p=181}}.


The landscape of Hampstead influenced the depictions of the land found within ''The Story of Rimini''. He described the land in an impressionistic manner like a painter with a mix of his political beliefs in regards to criticising land enclosure or other rural matters<ref name="roe166" />. When Hunt was forced to go to Taunton, the valley became the basis for Hunt's description of Ravenna within the work. The description also marked a change in Hunt's style, as he became more spontaneous in his writing and more familiar in his tone. However, he also made sure to political and social matters<ref>Roe 2005 pp. 169–170</ref>. When describing urban life, Hunt was quite different from William Wordsworth's repulsion regarding crowds; Hunt focused on the sights and sounds of the crowd to represent the human community that Wordsworth ignored<ref name="roe 209">Roe 2005 p. 209</ref>.
The landscape of Hampstead influenced the depictions of the land found within ''The Story of Rimini''. He described the land in an impressionistic manner like a painter with a mix of his political beliefs in regards to criticising land enclosure or other rural matters{{Sfn|Roe|2005|p=166}}. When Hunt was forced to go to Taunton, the valley became the basis for Hunt's description of Ravenna within the work. The description also marked a change in Hunt's style, as he became more spontaneous in his writing and more familiar in his tone. However, he also made sure to political and social matters{{Sfn|Roe|2005|p=169-170}}. When describing urban life, Hunt was quite different from William Wordsworth's repulsion regarding crowds; Hunt focused on the sights and sounds of the crowd to represent the human community that Wordsworth ignored{{Sfn|Roe|2005|p=209}}.


Hunt wanted the poem as a response to poetry written by those like [[Alexander Pope]] and "to break the set cadence for which Pope was the professed authority, as he broke through the set morals which had followed in reaction upon the licence of many reigns"<ref>Holden 2005 qtd. p. 81</ref>. Within the poem, Hunt attempted to follow the pattern of Wordsworth in ''Lyrical Ballads'' by relying on common speech. Hunt felt that too many works dealt with a written language and were disconnected from spoken language. This emphasis on what was deemed natural was in contrast to the 18th century emphasis on the neoclassical rules to poetry and language. Previously, those like Samuel Johnson viewed the common language like that of barbarians and that it was poetry's job to protect society against vulgarity. Although other Romantics turned to Scotland or rural England for their language, Hunt turned to Italian to basis his views of natural language<ref>Roe 2005 pp. 244–245</ref>.
Hunt wanted the poem as a response to poetry written by those like [[Alexander Pope]] and "to break the set cadence for which Pope was the professed authority, as he broke through the set morals which had followed in reaction upon the licence of many reigns"{{Sfn|Holden |2005|p=81}}. Within the poem, Hunt attempted to follow the pattern of Wordsworth in ''Lyrical Ballads'' by relying on common speech. Hunt felt that too many works dealt with a written language and were disconnected from spoken language. This emphasis on what was deemed natural was in contrast to the 18th century emphasis on the neoclassical rules to poetry and language. Previously, those like Samuel Johnson viewed the common language like that of barbarians and that it was poetry's job to protect society against vulgarity. Although other Romantics turned to Scotland or rural England for their language, Hunt turned to Italian to basis his views of natural language{{Sfn|Roe|2005|p=244-245}}.


== Réception critique ==
== Réception critique ==

Version du 11 janvier 2019 à 10:57

Utilisateur:Ange Gabriel/Brouillon
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The Story of RiminiVoir et modifier les données sur Wikidata
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L'histoire de Rimini (en anglais : The Story of Rimini est un poème composé par Leigh Hunt, publié en 1816. Le poème est basé sur ses lectures sur Paolo Malatesta et Francesca da Rimini en enfer. La version de Hunt décrit avec sympathie la manière dont les deux amants se sont unis en l'absence du mari de Francesca, le frère de Paolo, Gianciotto Malatesta. L'œuvre promeut la compassion pour l'humanité tout entière et le style utilisé contraste avec les conventions poétiques traditionnelles du XVIIIe siècle. Le travail a reçu des critiques mitigées, la plupart des critiques louant la langue.

Contexte

La première mention de l'Histoire de Rimini apparaît dans l'édition de The Feast of the Poets où il fait une allusion à l'écriture du poème[1]. En octobre 1811, Hunt commence à lire plusieurs livres pour trouver un thème pour son poème et il choisit l'épisode de Paolo et Francesca dans le Chant V de l'Enfer de Dante. Le poème devait être une satire de l'Angleterre en 1811 mais il a été modifié pour se concentrer sur la nature[2]. Hunt se rend à Hampstead pour travailler sur son poème[3]. Cependant, il est interrompu en 1812 lorsqu'il est menacé par un procès pour un pamphlet. Cependant, le procès est repoussé, et Hunt se rend à Taunton à la fin de l'été où il continue à travailler son poème[4].

À partir de septembre 1812, Hunt s'occupe du poème dans l'attente de son procès qui a lieu en décembre. Il est condamné à deux ans de prison où continuera à travailler son poème[5]. En 1813, le poète Lord Byron, lui rend visite et lui apporte des textes sur l'Italie pour aider Hunt à rédiger son poème[6]. Le poème est presque terminé quand Hunt sort de prison en 1815. Pour réunir 500 livres pour payer son amende, il vend The Story of Rimini, The Descent of Liberty et The Feast of the Poets à l'imprimeur Gale, Curtis and Fenner pour 450 livres. Cependant, Hunt ne lui livre par les œuvres, et la société revient sur l'accord de vente en décembre 1815. En octobre 1816, Hunt envoie des extraits de son poème à Byron pour approbation, et il effectuera les modifications selon sa réponse[7].

En novembre, Byron sert d'intermédiaire en Hunt et l'éditeur John Murray. Le 18 décembre, Hunt demande entre 450 et 500 livres à titre d'avance à Murray qui pense que le poème ne rapportera pas autant. Murray fait une contre-proposition d'une édition limitée où les bénéfices seraient partagés, les droits d'auteurs restant à Hunt. Hunt accepte rapidement car il a besoin d'argent et le poème est publié en février 1816[8]. En mars, le poème a permis à Hunt de gagner 45 livres, il propose alors de vendre les droits d'auteurs à Murray. Murray décline l'offre ce qui provoque une rupture entre eux[9].

Poème

L'Histoire de Rimini décrit le contexte de l'histoire de Paolo et Francesca tiré de L'Enfer de Dante. Le propos décrit comment Francesca peut toujours aimer Paolo même si les deux étaient en enfer. Le premier chant de l'œuvre traite de Ravenne et de la manière dont le duc de Ravenne souhaite unir sa fille Francesca avec le duc Giovanni de Rimini. Le poème commence par une description d'un environnement urbain centré sur l'agitation de la foule[10] :

For on this sparkling day, Ravenna's pride,
The daughter of their prince, becomes a bride,
A bride, to crown the comfort of the land:
And he, whose victories have obtained her hand,
Has taken with the dawn, so flies report.
His promised journey to the expecting court
With hasting pomp, and squires of high degree.
The bold Giovanni, lord of Rimini.
Already in the streets the stir grows loud
Of expectation and a bustling crowd.
With feet and voice the gathering hum contends.
The deep talk heaves, the ready laugh ascends:
Callings, and clapping doors, and curs unite.
And shouts from mere exuberance of delight,
And armed bands, making important way.
Gallant and grave, the lords of holiday.
And nodding neighbours, greeting as they run.
And pilgrims, chanting in the morning sun.

— Vers I:1–18

Bien que le premier chant se termine par un mariage qui semble avoir été bien accueilli, le second chant décrit en quoi son mariage était problématique. Giovanni n'es pas présent lui-même pour se marier, mais son frère Paulo a été envoyé pour le représenter dans un mariage par procuration[11] :

The truth was this:— The bridegroom had not come.
But sent his brother, proxy in his room.
A lofty spirit the former was, and proud,
Little gallant, and had a sort of cloud
Hanging for ever on his cold address
Which he mistook for proper manliness.
But more of this hereafter. (lines II:18–24)

— Vers II:18–24

Après ce mariage politique, Francesca se rend Rimini et décrit pendant ce voyage, la faible capacité de faire des choix libres dans la vie. À Rimini, elle est considérée comme une propriété et est isolée. Cependant elle tombe amoureuse de Paulo. Les amoureux lisent l'histoire de Lancelot du Lac, et pensent que l'histoire décrit leur propre situation. Ensemble, ils pensent connaître entrer dans une vie paradisiaque. Le chant IV explique comment la relation prend fin. Dans son sommeil, Francesca prononce des mots qui mettent en évidence la relation avec Paulo, ce qui provoque une attaque par Giovanni. Paulo est poignardé par Giovanni et Francesca meurt peu de temps après parce qu'elle ne supporte pas d'être sans Paulo[12].

Thèmes

Leigh Hunt choisit l'épisode de Paolo et de Francesca tiré de l'Enfer de Dante pour débattre des problèmes relatifs « placer l'égoïsme autorisé au-dessus des pulsions les plus naturelles et culpabiliser en confondant l'innocence[13] »[14]. The tone of the work is one of compassion, and he promoted the idea of universal restoration, a view that came from the preaching of Elhanan Winchester (en) that was connected to the Universalism movement. Hunt's use of such beliefs was a source of criticism lodged against him[15]. Hunt also believed that wisdom was connected to understanding the workings of the human heart, and his understanding of it in The Story of Rimini was later developed in Hunt's Christianism and The Religion of the Heart[16]. Part of the basis for the intimacy and the emotion within the story, especially when Francesca turns to her father before she is forced into marriage, is from Hunt's own emotional reaction after he was sentenced to jail for 2 years and separated from his brother[17].

The landscape of Hampstead influenced the depictions of the land found within The Story of Rimini. He described the land in an impressionistic manner like a painter with a mix of his political beliefs in regards to criticising land enclosure or other rural matters[3]. When Hunt was forced to go to Taunton, the valley became the basis for Hunt's description of Ravenna within the work. The description also marked a change in Hunt's style, as he became more spontaneous in his writing and more familiar in his tone. However, he also made sure to political and social matters[18]. When describing urban life, Hunt was quite different from William Wordsworth's repulsion regarding crowds; Hunt focused on the sights and sounds of the crowd to represent the human community that Wordsworth ignored[19].

Hunt wanted the poem as a response to poetry written by those like Alexander Pope and "to break the set cadence for which Pope was the professed authority, as he broke through the set morals which had followed in reaction upon the licence of many reigns"[20]. Within the poem, Hunt attempted to follow the pattern of Wordsworth in Lyrical Ballads by relying on common speech. Hunt felt that too many works dealt with a written language and were disconnected from spoken language. This emphasis on what was deemed natural was in contrast to the 18th century emphasis on the neoclassical rules to poetry and language. Previously, those like Samuel Johnson viewed the common language like that of barbarians and that it was poetry's job to protect society against vulgarity. Although other Romantics turned to Scotland or rural England for their language, Hunt turned to Italian to basis his views of natural language[21].

Réception critique

A review in the Edinburgh Review by William Hazlitt praised the poem as a "gem of great grace and spirit, and in many passages and in many particulars, of infinite beauty and delicacy"[22]. In a letter to Hunt, Hazlitt stated, "I have read the story of Rimini with extreme satisfaction. It has many beautiful & affecting passages. You have, I think, perfectly succeeded. I like the description of the death of Francesca better than any. This will do."[23] A review in the Quarterly Review attacked the poem, which Byron attributed to Hunt's poetic diction. Thomas Moore told Byron: "though it is, I own, full of beauties, and though I like himself sincerely, I really could not undertake to praise it seriously. There is so much of the quizzible in all he writes, that I never can put on the proper pathetic face in reading him."[24]

Nicholas Roe claimed that "Hunt reveals a keen observation of gestures, manners and motives: he could readily turn such details to satirical effect [...] but in his poem satirical disruption is smoothed into an attractively 'fluttering impatience' for what will follow [...] Hunt's master of townscape is highlighted by Wordsworth's repulsion from crowds"[25]. He later argued: "The Story of Rimini is structurally satisfying as a narrative, opening with the springtime pageant of Paulo's arrival at Ravenna and closing with a funeral cortege and an autumnal landscape" and that it is "an artful poem about artful behaviour, in which the malign intrigue of the two dukes is doubled and answered by the gentler dissimulation of the lovers—simultaneously transgressive and a discovery of truth."[26]

Références

  1. ↑ Roe 2005, p. 127.
  2. ↑ Roe 2005, p. 156-157.
  3. ↑ a et b Roe 2005, p. 166.
  4. ↑ Roe 2005, p. 168–169.
  5. ↑ Roe 2005, p. 175, 181, 208.
  6. ↑ Holden 2005, p. 80.
  7. ↑ Roe 2005, p. 241–244.
  8. ↑ Roe 200, p. 245–244.
  9. ↑ Holden 2005, p. 100.
  10. ↑ Roe 2005, p. 246, 208.
  11. ↑ Roe 2005, p. 246–247.
  12. ↑ Roe 2005, p. 247–249.
  13. ↑ setting authorized selfishness above the most natural impulses, and making guilt by mistaking innocence
  14. ↑ Roe 2005, p. 9.
  15. ↑ Roe 2005, p. 29.
  16. ↑ Roe 2005, p. 90.
  17. ↑ Roe 2005, p. 181.
  18. ↑ Roe 2005, p. 169-170.
  19. ↑ Roe 2005, p. 209.
  20. ↑ Holden 2005, p. 81.
  21. ↑ Roe 2005, p. 244-245.
  22. ↑ Holden 2005 qtd. p. 100
  23. ↑ Holden 2005 qtd. p. 101
  24. ↑ Holden 2005 qtd. pp. 100–101
  25. ↑ Erreur de référence : Balise <ref> incorrecte : aucun texte n’a été fourni pour les références nommées roe 209
  26. ↑ Roe 2005 p. 249

Bibliographie

  • Blainey, Ann. Immortal Boy. New York: St. Martin's Press, 1985.
  • Blunden, Edmund. Leigh Hunt and His Circle. London: Harper & Brothers Publishers, 1930.
  • Edgecombe, Rodney. Leigh Hunt and the Poetry of Fancy. Madison: Fairleigh Dickinson University Press, 1994.
  • Holden, Anthony. The Wit in the Dungeon. New York: Little, Brown and Company, 2005.
  • Roe, Nicholas. Fiery Heart. London: Pimlico, 2005.

Liens externes

{{DEFAULTSORT:Story of Rimini, The}} [[Category:Works by Leigh Hunt]] [[Category:1816 poems]]

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