LICEO ARTISTICO STATALE
“PAOLO TOSCHI”
PARMA
Modulo CLIL
SHAKESPEARE attraverso le opere di FUSSLI
Titolo del modulo CLIL SHAKESPEARE attraverso le opere di FUSSLI
Destinatario Classe 5 di Istituto d’Arte/Liceo Artistico
Periodo Primo quadrimestreDurata modulo 2 mesi (ottobre, novembre)
Discipline coinvolte Lingua e Cultura IngleseStoria dell’arte
Lingua veicolare Inglese
Introduction
Historical and literary background to English Renaissance Elizabethan drama William Shakespeare and the four big tragedies HAMLET, 1602: plot of tragedy, summaries of acts
First stepFrom images to text
1. Act 1, Scene 4 (ll. 38-91)o Description and analysis of the following engraving
“Hamlet, Horatio, Marcellus and the Ghost on the guard-platform of the castle”,plate XLIV from Volume II of Boydell's Shakespeare Prints; the illustration in Boydell is based on the original painting by Heinrich Fussli of 1789. The text accompanying the engraving: "Hamlet. Act I. Scene IV. A platform before the Castle of Elsineur. Hamlet, Horatio, Marcellus, and the Ghost. Painted by H. Fuseli, R. A. Engraved by R. Thew
Description and analysis of the following drawing by H Fussli, 1780-1785
2
“Amleto, Orazio, Marcello e lo spettro”, studio preliminare al dipinto, pennello, inchiostro grigio e nero, matita su carta, Kunsthaus Zurigo
Analysis of lines from the tragedy and identification of similarities and differences between visual and verbal description, comparison between emotions conveyed through images and words, personal response to both images and Shakespearean description.
HORATIO
Look, my lord, it comes!
Enter Ghost
HAMLET
Angels and ministers of grace defend us! Be thou a spirit of health or goblin damn'd, Bring with thee airs from heaven or blasts from hell, Be thy intents wicked or charitable, Thou comest in such a questionable shape That I will speak to thee: I'll call thee Hamlet, King, father, royal Dane: O, answer me! Let me not burst in ignorance; but tell Why thy canonized bones, hearsed in death, Have burst their escrements; why the sepulchre, Wherein we saw thee quietly inurn'd, Hath opened his ponderous and marble jaws, To cast thee up again. What may this mean,
3
That thou, dead corpse, again in complete steel Revisit'st thus the glimpses of the moon, Making night hideous; and we fools of nature So horridly to shake our disposition With thoughts beyond the reaches of our souls? Say, why is this? wherefore? what should we do?
Ghost beckons HAMLET
HORATIO
It beckons you to go away with it, As if it some impartment did desire To you alone.
MARCELLUS
Look, with what courteous action It waves you to a more removed ground: But do not go with it.
HORATIO
No, by no means.
HAMLET
It will not speak; then I will follow it.
HORATIO
Do not, my lord.
HAMLET
Why, what should be the fear? I do not set my life in a pin's fee; And for my soul, what can it do to that, Being a thing immortal as itself? It waves me forth again: I'll follow it.
HORATIO
What if it tempt you toward the flood, my lord, Or to the dreadful summit of the cliff That beetles o'er his base into the sea, And there assume some other horrible form, Which might deprive your sovereignty of reason And draw you into madness? think of it: The very place puts toys of desperation, Without more motive, into every brain That looks so many fathoms to the sea And hears it roar beneath.
HAMLET
It waves me still. Go on; I'll follow thee.
MARCELLUS 4
You shall not go, my lord.
HAMLET
Hold off your hands.
HORATIO
Be ruled; you shall not go.
HAMLET
My fate cries out, And makes each petty artery in this body As hardy as the Nemean lion's nerve. Still am I call'd. Unhand me, gentlemen. By heaven, I'll make a ghost of him that lets me! I say, away! Go on; I'll follow thee.
Exeunt Ghost and HAMLET
HORATIO
He waxes desperate with imagination.
MARCELLUS
Let's follow; 'tis not fit thus to obey him.
HORATIO
Have after. To what issue will this come?
MARCELLUS
Something is rotten in the state of Denmark.
HORATIO
Heaven will direct it.
MARCELLUS
Nay, let's follow him.
Exeunt
At this point students are asked to “transfer” their knowledge about Fussli’s art and works and the context he lived in:
Heinrich Fussli as a visionary painter, his poetics of the sublime, his literary, mythological and historical references as a Pre-romantic painter. Analogies and differences with the art of the Middle Ages and of the Neoclassical age. His representations of the subconscious and Michelangelo’s influence. The Northern
5
tradition versus the classical heritage. His interest in the theatre and his love for Shakespeare, “the master of human passions and lord of our souls”. His fear of the unknown and the anticipation of surrealism.
Edmund Burke as the philosopher of the sublime. Analysis of extracts from “A philosophical enquiry into the ideas of the beautiful and the sublime”.
Students are also asked to operate a detailed analysis of the various techniques (drawings, paintings, engravings, etc.) and of the visual codes of Fussli’s art.
Act 1, Scene 5 (ll 1-41)An open space at the foot of the castle. A door in the wall opens; the Ghost comes forth and Hamlet after, the hilt of his drawn sword held crosswise before him.
HAMLET
Where wilt thou lead me? speak; I'll go no further.
Ghost
Mark me.
HAMLET
I will.
Ghost
My hour is almost come, When I to sulphurous and tormenting flames Must render up myself.
HAMLET
Alas, poor ghost!
Ghost
Pity me not, but lend thy serious hearing To what I shall unfold.
HAMLET
Speak; I am bound to hear.
Ghost
So art thou to revenge, when thou shalt hear.
HAMLET
What?
Ghost
I am thy father's spirit, Doom'd for a certain term to walk the night, And for the day confined to fast in fires, Till the foul crimes done in my days of nature Are burnt and purged away. But that I am forbid
6
To tell the secrets of my prison-house, I could a tale unfold whose lightest word Would harrow up thy soul, freeze thy young blood, Make thy two eyes, like stars, start from their spheres, Thy knotted and combined locks to part And each particular hair to stand on end, Like quills upon the fretful porpentine: But this eternal blazon must not be To ears of flesh and blood. List, list, O, list! If thou didst ever thy dear father love--
HAMLET
O God!
Ghost
Revenge his foul and most unnatural murder.
HAMLET
Murder!
Ghost
Murder most foul, as in the best it is; But this most foul, strange and unnatural.
HAMLET
Haste me to know't, that I, with wings as swift As meditation or the thoughts of love, May sweep to my revenge.
Ghost
I find thee apt; And duller shouldst thou be than the fat weed That roots itself in ease on Lethe wharf, Wouldst thou not stir in this. Now, Hamlet, hear: 'Tis given out that, sleeping in my orchard, A serpent stung me; so the whole ear of Denmark Is by a forged process of my death Rankly abused: but know, thou noble youth, The serpent that did sting thy father's life Now wears his crown.
HAMLET
O my prophetic soul! My uncle!
2. Act 2, Scene 1 (ll 71-97) Istruzioni come per il punto 1
7
H. Fussli, “Hamlet and Ophelia”, 1775-1776, British Museum, London
H. Fussli, “ Hamlet and Ophelia in her closet”,
Enter OPHELIA
How now, Ophelia! what's the matter?
OPHELIA O, my lord, my lord, I have been so affrighted!
POLONIUS With what, i' the name of God?
OPHELIA
My lord, as I was sewing in my closet, Lord Hamlet, with his doublet all unbraced; No hat upon his head; his stockings foul'd,
8
Ungarter'd, and down-gyved to his ankle; Pale as his shirt; his knees knocking each other; And with a look so piteous in purport As if he had been loosed out of hell To speak of horrors—he comes before me.
POLONIUS Mad for thy love?
OPHELIA My lord, I do not know; But truly, I do fear it.
POLONIUS What said he?
OPHELIA He took me by the wrist and held me hard; Then goes he to the length of all his arm; And, with his other hand thus o'er his brow, He falls to such perusal of my face As he would draw it. Long stay'd he so; At last, a little shaking of mine arm And thrice his head thus waving up and down, He raised a sigh so piteous and profound As it did seem to shatter all his bulk And end his being: that done, he lets me go: And, with his head over his shoulder turn'd, He seem'd to find his way without his eyes; For out o' doors he went without their helps, And, to the last, bended their light on me.
3. Act 3, Scene 4 (ll. 116-136)Istruzioni come per il punto 1
9
H. Fussli, “Gertrude, Hamlet and his father’s ghost”, 1793, Fondazione Magnani Rocca, Parma
QUEEN GERTRUDE
Alas, how is't with you, That you do bend your eye on vacancy And with the incorporal air do hold discourse? Forth at your eyes your spirits wildly peep; And, as the sleeping soldiers in the alarm, Your bedded hair, like life in excrements, Starts up, and stands on end. O gentle son, Upon the heat and flame of thy distemper Sprinkle cool patience. Whereon do you look?
HAMLET
On him, on him! Look you, how pale he glares! His form and cause conjoin'd, preaching to stones, Would make them capable. Do not look upon me; Lest with this piteous action you convert My stern effects: then what I have to do Will want true colour; tears perchance for blood.
QUEEN GERTRUDE
To whom do you speak this?
HAMLET
Do you see nothing there?
QUEEN GERTRUDE
Nothing at all; yet all that is I see.
HAMLET 10
Nor did you nothing hear?
QUEEN GERTRUDE
No, nothing but ourselves.
HAMLET
Why, look you there! look, how it steals away! My father, in his habit as he lived! Look, where he goes, even now, out at the portal!
Exit GhosT
4. Act 4, Scene 7Istruzioni come per il punto 1Compare the various renderings of Ophelia’s death and choose the most suitable to the Shakespearian lines. Motivate your choice. Identify the periods and movements the various painters belong to and work out a development of the pictorial techniques used and the emotions and feelings each of them convey to the viewer.
J. E. Millais, “Ophelia”, 1851-1852, Tate Gallery, London
11
H Fussli, “Ophelia”,Roman drawings, 1770-1778, British Museum, London
Eugène Delacroix,”Ophelia’s death”, 1844, Louvre, Paris
12
Arthur Hughes, “Ophelia”, 1851-1853, Manchester City Art gallery
Enter QUEEN GERTRUDE How now, sweet queen!
QUEEN GERTRUDE
One woe doth tread upon another's heel, So fast they follow; your sister's drown'd, Laertes.
LAERTES
Drown'd! O, where?
QUEEN GERTRUDE
There is a willow grows aslant a brook, That shows his hoar leaves in the glassy stream; There with fantastic garlands did she come Of crow-flowers, nettles, daisies, and long purples That liberal shepherds give a grosser name, But our cold maids do dead men's fingers call them: There, on the pendent boughs her coronet weeds Clambering to hang, an envious sliver broke; When down her weedy trophies and herself Fell in the weeping brook. Her clothes spread wide; And, mermaid-like, awhile they bore her up: Which time she chanted snatches of old tunes; As one incapable of her own distress, Or like a creature native and indued Unto that element: but long it could not be
13
Till that her garments, heavy with their drink, Pull'd the poor wretch from her melodious lay To muddy death.
LAERTES
Alas, then, she is drown'd?
QUEEN GERTRUDE
Drown'd, drown'd.
Second stepFrom text to images
Macbeth (1606)
Summaries of acts
1 . Act 1 scene 3 (ll. 38-68)Enter MACBETH and BANQUO
MACBETH
So foul and fair a day I have not seen.
BANQUO
How far is't call'd to Forres? What are these So wither'd and so wild in their attire, That look not like the inhabitants o' the earth, And yet are on't? Live you? or are you aught That man may question? You seem to understand me, By each at once her chappy finger laying Upon her skinny lips: you should be women, And yet your beards forbid me to interpret That you are so.
MACBETH
Speak, if you can: what are you?
First Witch
All hail, Macbeth! hail to thee, thane of Glamis!
Second Witch
All hail, Macbeth, hail to thee, thane of Cawdor!
Third Witch
All hail, Macbeth, thou shalt be king hereafter!
BANQUO 14
Good sir, why do you start; and seem to fear Things that do sound so fair? I' the name of truth, Are ye fantastical, or that indeed Which outwardly ye show? My noble partner You greet with present grace and great prediction Of noble having and of royal hope, That he seems rapt withal: to me you speak not. If you can look into the seeds of time, And say which grain will grow and which will not, Speak then to me, who neither beg nor fear Your favours nor your hate.
First Witch
Hail!
Second Witch
Hail!
Third Witch
Hail!
First Witch
Lesser than Macbeth, and greater.
Second Witch
Not so happy, yet much happier.
Third Witch
Thou shalt get kings, though thou be none: So all hail, Macbeth and Banquo!
After reading the text students are asked to find and analyse Fussli’s works related to the lines by themselves, highlighting any differences and similarities between images and texts. The following are the most suitable images.
15
H.Fussli, “The weird sisters”, 1783, Kunsthaus Zurich
H.Fussli, “Macbeth, Banquo and the three witches”, 1793, Petsworth House, Sussex
2. Act 1, scene 7 (ll 47-61)Istruzioni come per il punto 1
ACT 1 scene 7
LADY MACBETH
What beast was't, then,
16
That made you break this enterprise to me? When you durst do it, then you were a man; And, to be more than what you were, you would Be so much more the man. Nor time nor place Did then adhere, and yet you would make both: They have made themselves, and that their fitness now Does unmake you. I have given suck, and know How tender 'tis to love the babe that milks me: I would, while it was smiling in my face, Have pluck'd my nipple from his boneless gums, And dash'd the brains out, had I so sworn as you Have done to this.
MACBETH
If we should fail?
LADY MACBETH
We fail! But screw your courage to the sticking-place, And we'll not fail.
H. Fussli, “Lady Macbeth”, 1815, Kunsthaus Zurigo
3. Act 2 scene 2 (ll. 14-54)Istruzioni come per il punto 1
Enter MACBETH My husband!
MACBETH
I have done the deed. Didst thou not hear a noise?
LADY MACBETH
I heard the owl scream and the crickets cry.
17
Did not you speak?
MACBETH
When?
LADY MACBETH
Now.
MACBETH
As I descended?
LADY MACBETH
Ay.
MACBETH
Hark! Who lies i' the second chamber?
LADY MACBETH
Donalbain.
MACBETH
This is a sorry sight.
Looking on his hands
LADY MACBETH
A foolish thought, to say a sorry sight.
MACBETH
There's one did laugh in's sleep, and one cried 'Murder!' That they did wake each other: I stood and heard them: But they did say their prayers, and address'd them Again to sleep.
LADY MACBETH
There are two lodged together.
MACBETH
One cried 'God bless us!' and 'Amen' the other; As they had seen me with these hangman's hands. Listening their fear, I could not say 'Amen,' When they did say 'God bless us!'
LADY MACBETH
Consider it not so deeply.
MACBETH
18
But wherefore could not I pronounce 'Amen'? I had most need of blessing, and 'Amen' Stuck in my throat.
LADY MACBETH
These deeds must not be thought After these ways; so, it will make us mad.
MACBETH
Methought I heard a voice cry 'Sleep no more! Macbeth does murder sleep', the innocent sleep, Sleep that knits up the ravell'd sleeve of care, The death of each day's life, sore labour's bath, Balm of hurt minds, great nature's second course, Chief nourisher in life's feast,--
LADY MACBETH
What do you mean?
MACBETH
Still it cried 'Sleep no more!' to all the house: 'Glamis hath murder'd sleep, and therefore Cawdor Shall sleep no more; Macbeth shall sleep no more.'
LADY MACBETH
Who was it that thus cried? Why, worthy thane, You do unbend your noble strength, to think So brainsickly of things. Go get some water, And wash this filthy witness from your hand. Why did you bring these daggers from the place? They must lie there: go carry them; and smear The sleepy grooms with blood.
MACBETH
I'll go no more: I am afraid to think what I have done; Look on't again I dare not.
LADY MACBETH
Infirm of purpose! Give me the daggers: the sleeping and the dead Are but as pictures: 'tis the eye of childhood That fears a painted devil. If he do bleed, I'll gild the faces of the grooms withal; For it must seem their guilt.
19
H. Fussli, “Lady Macbeth seizing the daggers”, 1812, Tate Gallery
H. Fussli, “Garrick and Mrs Pritchard in the roles of Macbeth and Lady Macbeth”, 1768, Kunsthaus Zurich
20
5. Act 4 scene 1 (ll. 61-111)Istruzioni come per il punto 1
First Witch
Speak.
Second Witch
Demand.
Third Witch
We'll answer.
First Witch
Say, if thou'dst rather hear it from our mouths, Or from our masters?
MACBETH
Call 'em; let me see 'em.
First Witch
Pour in sow's blood, that hath eaten Her nine farrow; grease that's sweaten From the murderer's gibbet throw Into the flame.
ALL
Come, high or low; Thyself and office deftly show!
Thunder. First Apparition: an armed Head
MACBETH
Tell me, thou unknown power,--
First Witch
He knows thy thought: Hear his speech, but say thou nought.
First Apparition
Macbeth! Macbeth! Macbeth! beware Macduff; Beware the thane of Fife. Dismiss me. Enough.
Descends
MACBETH
Whate'er thou art, for thy good caution, thanks; Thou hast harp'd my fear aright: but one word more,--
First Witch
21
He will not be commanded: here's another, More potent than the first.
Thunder. Second Apparition: A bloody Child
Second Apparition
Macbeth! Macbeth! Macbeth!
MACBETH
Had I three ears, I'ld hear thee.
Second Apparition
Be bloody, bold, and resolute; laugh to scorn The power of man, for none of woman born Shall harm Macbeth.
Descends
MACBETH
Then live, Macduff: what need I fear of thee? But yet I'll make assurance double sure, And take a bond of fate: thou shalt not live; That I may tell pale-hearted fear it lies, And sleep in spite of thunder.
Thunder. Third Apparition: a Child crowned, with a tree in his hand What is this That rises like the issue of a king, And wears upon his baby-brow the round And top of sovereignty?
ALL
Listen, but speak not to't.
Third Apparition
Be lion-mettled, proud; and take no care Who chafes, who frets, or where conspirers are: Macbeth shall never vanquish'd be until Great Birnam wood to high Dunsinane hill Shall come against him.
Descends
MACBETH
That will never be Who can impress the forest, bid the tree Unfix his earth-bound root? Sweet bodements! good! Rebellion's head, rise never till the wood Of Birnam rise, and our high-placed Macbeth Shall live the lease of nature, pay his breath To time and mortal custom. Yet my heart Throbs to know one thing: tell me, if your art Can tell so much: shall Banquo's issue ever Reign in this kingdom?
22
ALL
Seek to know no more.
MACBETH
I will be satisfied: deny me this, And an eternal curse fall on you! Let me know. Why sinks that cauldron? and what noise is this?
Hautboys
First Witch
Show!
Second Witch
Show!
Third Witch
Show!
ALL
Show his eyes, and grieve his heart; Come like shadows, so depart!
A show of Eight Kings, the last with a glass in his hand; GHOST OF BANQUO following
H. Fussli, “Macbeth in the witches cave”, 1793, Washington , Folger Shakespeare Library
6. Act 5 scene 1 (ll. 18-52)Istruzioni come per il punto 1
23
Enter LADY MACBETH, with a taper Lo you, here she comes! This is her very guise; and, upon my life, fast asleep. Observe her; stand close.
Doctor
How came she by that light?
Gentlewoman
Why, it stood by her: she has light by her continually; 'tis her command.
Doctor
You see, her eyes are open.
Gentlewoman
Ay, but their sense is shut.
Doctor
What is it she does now? Look, how she rubs her hands.
Gentlewoman
It is an accustomed action with her, to seem thus washing her hands: I have known her continue in this a quarter of an hour.
LADY MACBETH
Yet here's a spot.
Doctor
Hark! she speaks: I will set down what comes from her, to satisfy my remembrance the more strongly.
LADY MACBETH
Out, damned spot! out, I say!--One: two: why, then, 'tis time to do't.--Hell is murky!--Fie, my lord, fie! a soldier, and afeard? What need we fear who knows it, when none can call our power to account?--Yet who would have thought the old man to have had so much blood in him.
Doctor
Do you mark that?
LADY MACBETH
The thane of Fife had a wife: where is she now?-- What, will these hands ne'er be clean?--No more o' that, my lord, no more o' that: you mar all with this starting.
24
Doctor
Go to, go to; you have known what you should not.
Gentlewoman
She has spoke what she should not, I am sure of that: heaven knows what she has known.
LADY MACBETH
Here's the smell of the blood still: all the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh!
H. Fussli, “Lady Macbeth walking in sleep”, 1783, Louvre, Paris
VERIFICHE
(da adattare ai singoli lavori e alle varie occasioni, scritte o orali, in compresenza o meno con il docente di storia dell’arte)
25
1. Look at the picture. What particular moment of the scene does the picture refer to? What happens in the play afterwards/immediately before the scene?
2. Look at the characters’ faces. What do they express?
3. Describe the composition of the picture. Start from the position of the figures in relation to one another, then focus on the use of lines and the feelings and ideas they can suggest. Continue with the use of light and colour and the function they perform in the picture.
4. Compare the literary text and the picture.
5. Establish possible connections between the painting/drawing and the cultural atmosphere of the period.
6. Make a comparison of the pictures representing Ophelia’s death and choose the one that in your opinion better renders the sorrow in Gertrude’s words.
7. Set both artists (Shakespeare and Fussli) in their historical and cultural context and highlight any differences and similarities.
8. Find examples of other plays by Shakespeare and their visual counterparts in the history of art.
9. Match a painting or a sculpture of your choice to a poem or a literary extract you have recently studied.
10. Write an essay (200-250 words) about how art and literature can influence each other making reference to any works of your choice.
26