眺めるものと眺められるもの : 'On the Queen's Repairing Somerset House'とジャンルについての一考察
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概要
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Some students of the 17^<th> century poetry have tried to draw a clear distinction between the country house poem and the topographical poem. 'On the Queen's Repairing Somerset House' by Abraham Cowley, however, in some points makes us doubt if there are 'the country house poem proper' or 'the topographical poem proper', at all. Cowley assigns one-third of the poem to the description of the destruction of Somerset House in the days of Interregnum and the reconstruction by Henrietta Maria after the Restoration. This part of the poem where much emphasis is put on the recovery of the palace from the former opponent, is filled with not a few conventions of the country house poem, as well as 'Upon Her Majesty's New Buildings at Somerset House' by Edmund Waller, another poem celebrating the reconstruction of the same palace. While Waller's poem, however, ends by referring briefly to the fine prospect from the palace, which is one of common praises heard in the country house poem, in 'On the Queen's Repairing Somerset House', the prospect-topic is far more developed in the latter two-thirds of the poem, and the lengthened description of the prospect over the surrounding places itself allows this poem to be akin to the topographical poem. In this part of the poem, two points are noteworthy. One is that here both what is nice to see and what is not are cleverly taken in the prospect from the palace, and serve to show the prestige of the mistress, which makes us remind, for example, both of the antipathy against the turbulent city seen far away in one of the topographical poems, and of the repulsion toward the winter-night scene surrounding the house in one of the country house poems, and makes us aware that the way of looking at the prospect is arbitrarily, in a sense, determined by the social and political stance. Secondly, in this part of the poem, the main object of the praise is changed from Henrietta Maria's Somerset House to Whitehall, the palace of her son, Charles II and then to King Charles' sovereign fleet at sea. Certainly, in the country house poem the praise of the master of the house is often turned to that of the descendant, but in that case, the parent and his or her descendant are supposed to belong to the same place in the symbolic sense; later in this poem, however, are introduced another palace than Somerset House, and the king's fleets as the symbols of sovereignty. In other words, the praise, at first, depends on one symbol, and then, on several kinds of symbols in this poem. This shift of the emphasis on those symbols suggests that from the standpoint of the manipulation of the symbols, the country house poem where one main symbol, that is, the house, is employed in the praise of its master and his virtue, does not differ so much from the topographical poem where it often happens that several kinds of things have each symbolic meaning and serve to praise one thing. 'On the Queen's Repairing Somerset House' does not look out on one genre of the poetry.
- 2004-03-01
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