John Keats marvelous depicted an enigmatic power of women to seduce and possess the whole spirit of a man in his “La Belle Dame Sans Merci" (1884). This type of women is called magna mater or femme fatale.
3. 誰と誰？ 季節は？ 場所は？
I.
O WHAT can ail thee, knight-at-arms,
Alone and palely loitering?
The sedge has wither’d from the lake,
And no birds sing.
4. 誰と誰？ 季節は？ 場所は？
O WHAT can ail thee, knight-at-arms,
Alone and palely loitering?
The sedge has wither’d from the lake,
And no birds sing.
1. 聞き手と騎士→ただし聞き手は誰？
2. 晩秋→ただし「鳥が鳴かない」不思議
3. 湖畔→ただしどこなのか不明 the lake
5. なぜ前連の繰り返し？
騎士の姿は？
II.
O what can ail thee, knight-at-arms!
So haggard and so woe-begone?
The squirrel’s granary is full,
And the harvest’s done.
6. なぜ前連の繰り返し？
騎士の姿は？
O what can ail thee, knight-at-arms!
So haggard and so woe-begone?
The squirrel’s granary is full,
And the harvest’s done.
1. 騎士が無回答→言葉が通じないの
か？
2. 憂鬱→恋愛の定型
8. ユリとバラは何を象徴？
III.
I see a lily on thy brow
With anguish moist and fever dew,
And on thy cheeks a fading rose
Fast withereth too.
9. ユリとバラは何を象徴？
I see a lily on thy brow
With anguish moist and fever dew,
And on thy cheeks a fading rose
Fast withereth too.
1. 死の象徴→かなり切迫している
ユリは露のおかげで本来は元気なはず。
2. 愛の象徴→衰えかかるが、騎士の生気
がないため。
愛があるのに生気がない矛盾
11. 誰の言葉？ ただ美しいだけか？
なぜ「妖精の子」とわかるのか？
I met a lady in the meads,
Full beautiful—a faery’s child,
Her hair was long, her foot was light,
And her eyes were wild.
1. 騎士は喋れる→憂鬱だがコミュニケー
ション可能
2. 妖精の子→超自然的存在
3. 姿、動き、目つきが常人とは異なる。
12. 花で飾ればどうなるか？
肉体関係はあるのか？
V.
I made a garland for her head,
And bracelets too, and fragrant zone;
She look’d at me as she did love,
And made sweet moan.
13. 花で飾ればどうなるか？
肉体関係はあるのか？
I made a garland for her head,
And bracelets too, and fragrant zone;
She look’d at me as she did love,
And made sweet moan.
1. 乙女がさらに美しく見える
→花は寿命が短く衰える 死が間近に迫る
2. 肉の交わり
←中世騎士道恋愛（トルバドール）との違い
14. 乙女だけを見つめる騎士の精神
状態は？
VI.
I set her on my pacing steed,
And nothing else saw all day long,
For sidelong would she bend, and sing
A faery’s song.
15. 乙女だけを見つめる騎士の精神
状態は？
I set her on my pacing steed,
And nothing else saw all day long,
For sidelong would she bend, and sing
A faery’s song.
乙女に心が完全に奪われている
19. 特別な食事を騎士は食べたか？
別な言葉なのになぜ理解できるのか？
She found me roots of relish sweet,
And honey wild, and manna-dew,
And sure in language strange she said-
"I love thee true.“
1. 確実に食べた
2. 乙女と同様な存在に変身した
超自然的存在へ
21. 乙女が泣く理由は何か？
騎士が乙女の目を閉じる理由は？
She took me to her elfin grot,
And there she wept, and sigh'd full sore,
And there I shut her wild wild eyes
With kisses four.
1. 騎士は元の人間に戻れない。半ば
超自然的存在へ
2. 変わった騎士の姿を悲しむ乙女の悲
しみを止めるため
23. 「夢」とわざわざ繰り返すことで、騎
士にはどのような気持ちがあるか？
And there she lulled me asleep,
And there I dream'd-Ah! woe betide!
The latest dream I ever dream'd
On the cold hill's side.
1. 夢幻とは思えないほどはっきりと見えた
2. 騎士としては信じがたいことだから→乙
女が人殺し？
24. 何時の時代の話なのか？
X.
I saw pale kings and princes too,
Pale warriors, death-pale were they all;
They cried-"La Belle Dame sans Merci
Hath thee in thrall!"
25. 何時の時代の話なのか？
I saw pale kings and princes too,
Pale warriors, death-pale were they all;
They cried-"La Belle Dame sans Merci
Hath thee in thrall!"
中世的→ “La Belle”はルネッサンス・フラン
ス詩人（15世紀）の作品
27. 唇は何に飢えているのか？
乙女はどこにいるのか？
I saw their starved lips in the gloam,
With horrid warning gaped wide,
And I awoke and found me here,
On the cold hill's side.
1. 乙女とのキス
2. 別な男性を探している→その意
図は不明？ 男性たちには自
分たちの気持ちが収まらない
28. 第一連の繰り返しはなぜ？
XII.
And this is why I sojourn here,
Alone and palely loitering,
Though the sedge is wither'd from the
lake,
And no birds sing.
29. 第一連の繰り返しはなぜ？
And this is why I sojourn here,
Alone and palely loitering,
Though the sedge is wither'd from the lake,
And no birds sing.
同じ出来事がこれからも繰り返して起こる。
→乙女の魔性は衰えない
37. イメージ群
Lilies （ 9行目）およびRoses （11行目）はそれぞれ何を象徴しているか。
are often associated with death in Western culture, so the "lily" on the knight's
forehead doesn't bode well for him. We can also be pretty sure that the knight
doesn't have a flower glued to his forehead, so the speaker is employing
a metaphor when he says that he "see[s] a lily on thy brow." Besides the association
with death, lilies are pale white, so a slightly less morbid reading of this line would
be that the knight isn't dying, but is just sickly pale.
乙女を花で飾ることは騎士のどのような気持ちをあらわしているか。またそれは何を暗示し
ているか。何を象徴しているか。: are often associated with love in Western culture
(hence all the advertisements around Valentine's Day), but the knight's "rose" is
"fading" and "wither[ing]." Sounds like a pretty clear metaphor for the end of a
romantic relationship. But like the lily, the rose describes the knight's complexion.
The rose is "fading" from the knight's "cheeks." So the rose metaphor is doing double
duty – it's describing both his "fading" love affair, and his increasingly pale
complexion.
Lines 17-18: The knight makes a flower "garland" and "bracelets" for the fairy lady.
He decks her out in flowers. If the knight associates flowers with love and life the
way we usually do, it's pretty clear that he's totally in love (or at least in lust) with
her.
66. 1. 恋愛は結婚に至らない、そして結婚は恋愛を保てない：
Gillian Flynn, Gone Girl (2012) , 村上春樹『ノルウェーの森』(1987)
2. 聖書が示す恋愛と結婚愛：
John Milton, Paradise Lost (1664) 第4および6巻：
3-5. 恋愛にはパタンと教養が必要：
William Shakespeare, Romeo and Juliet (1595)
6. 中間発表 (1)：小テスト, 意見文発表, 作品暗誦
7-8.深い相思相愛は結婚愛へと成就しない：
Emily Bronte, Wuthering Heights (1847)
9-10.恋愛から結婚へと主導権を握る女性
William Shakespeare, The Merchant of Venice (1598)
11. 恐るべき女の愛の力
John Keats, "La Belle Dame Sans Merci" (1884)
12. 中間発表 (2)：小テスト, 意見文発表, 作品暗誦
13-14. 地位と安定を目指す結婚が永続する不思議
Jane Austen, Pride and Prejudice (1813)
71. 1. 恋愛は結婚に至らない、そして結婚は恋愛を保てない：
Gillian Flynn, Gone Girl (2012) , 村上春樹『ノルウェーの森』(1987)
2. 聖書が示す恋愛と結婚愛：
John Milton, Paradise Lost (1664) 第4および6巻：
3-5. 恋愛にはパタンと教養が必要：
William Shakespeare, Romeo and Juliet (1595)
6. 中間発表 (1)：小テスト, 意見文発表, 作品暗誦
7-8.深い相思相愛は結婚愛へと成就しない：
Emily Bronte, Wuthering Heights (1847)
9-10.恋愛から結婚へと主導権を握る女性
William Shakespeare, The Merchant of Venice (1598)
11. 恐るべき女の愛の力
John Keats, "La Belle Dame Sans Merci" (1884)
12. 中間発表 (2)：小テスト, 意見文発表, 作品暗誦
13-14. 地位と安定を目指す結婚が永続する不思議
Jane Austen, Pride and Prejudice (1813)
Editor's Notes
Frank Dicksee, La belle dame sans merci c.1901
Oil on canvas, 137.2 x 188 cm
Collection: Bristol Museums, Galleries & Archives
Life[edit]
He was born in Bayeux, to a family marked by considerable ability. His eldest brother Guillaume became bishop of Paris; and Thomas became notary to the king. Jean Chartier, a monk of St Denis, whose history of Charles VII is printed in vol. III. of Les Grands Chroniques de Saint-Denis (1477), was not, as is sometimes stated, also a brother of the poet.
Alain studied, as his elder brother had done, at the University of Paris. His earliest poem is the Livre des quatre dames (1416), written after the battle of Agincourt. This was followed by the Débat du reveille-matin (1422–26?), La Belle Dame sans mercy (1424), and others.
He followed the fortunes of the dauphin, afterwards Charles VII, acting in the triple capacity of clerk, notary, and financial secretary.
In 1422 he wrote the famous Quadrilogue invectif. The interlocutors in this dialogue are France herself and the three orders of the state. Chartier lays bare the abuses of the feudal army and the sufferings of the peasants. He rendered an immense service to his country by maintaining that the cause of France, though desperate to all appearance, was not yet lost if the contending factions could lay aside their differences in the face of the common enemy.
In 1424 Chartier was sent on an embassy to Germany, and three years later he accompanied to Scotland the mission sent to negotiate the marriage of James I's daughter, Margaret, then not four years old, with the dauphin, afterwards Louis XI. In 1429 he wrote the Livre d'esperance, which contains a fierce attack on the nobility and clergy. He was the author of a diatribe on the courtiers of Charles VII. entitled Le Curial, translated into English by William Caxton about 1484.
The date of his death is to be placed about 1430. A Latin epitaph, discovered in the 18th century, says, however, that he was Archdeacon of Paris, and declares that he died in the city of Avignon in 1449. This is obviously not authentic, for Alain described himself as a simple clerc and certainly died long before 1449.
Was there a possible happy ending for the knight and the fairy lady, or was their romantic relationship doomed from the start?
Was there a possible happy ending for the knight and the fairy lady, or was their romantic relationship doomed from the start?
http://www.romtext.org.uk/teaching-romanticism-x-john-keats/
I also use selected passages from Keats’s letters to Fanny Brawne and poems he wrote to her, in order to show how Keats’s idea of love frequently borders on complete surrender and willed self-annihilation. We discuss the problematic discourse of infatuation which can account for the charges of effeminacy brought against the poet. Strikingly, although Keats expresses love and devotion in his letters and love poetry, at the same time he articulates much more ambivalent attitudes towards femininity in general. Here I also mention the concept of the chameleon poet that ‘has no self.’
igned and dated lower left F C Cowper 1946, signed again, dated and inscribed on a label attached to the reverse "La Belle Dame Sans Merci" (Keats) watercolour painted by F Cadogan Cowper RA. A Version of the larger picture in oils painted in 1926 and exhibited at the Royal Academy the same year".
