クルックシャンクのたくらみ--『オリヴァー・トゥイスト』におけるホガース模倣 [in Japanese] Cruikshank's artful imitation of Hogarth in Oliver twist [in Japanese]
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This essay tries to bring to light Cruikshank's implicit imitation of Hogarth in his illustrations for Oliver Twist. Ronal Paulson, among others, has made a great contribution to the Hogarth-Cruikshank studies. However, he maintains that Cruikshank marks to the Hogarth-Cruikshank studies. However, he maintains that Cruikshank marks the end of the graphic, comic tradition beginning from, notably, Hogarth. In this connection, the case in point is the problem of emblems. According to Paulson, an illustration for a book can be an emblem in so far as it works as another text, a signifier, rather than a mere illustration representing things as signified by the author's text. To put it the other way, an emblematic illustration provides riddles that are to be solved by reading the illustration. My claim is that some of Cruikshank's illustrations for Oliver can be seen as signifiers, even if Paulson does not endorse this opinion. This is testified by figuring out the riddles embedded in the illustrations for Oliver. Riddles are dexterously put in such illustrations as Oliver introduced to the respectable old gentleman and Mr. Bumble and Mrs. Corney taking tea. Both of them pay tribute to Hogarth through equivocal quotations from him. The former covertly alludes to Hogarth's first plate of A Harlot's Progress by way of a Hogarthian motif of public execution or hanging, whereas the latter employs the theme of deceitful love by depicting a couple over tea. This scene is again cited from Hogarth's second plate of the Harlot series. It is, however, worth noting that Cruikshank does not forget his role as an illustrator for Dickens' texts. He only makes use of Dickens' literature, which is, as many critics have shown, definitely Hogarthian. But why did Cruikshank implicitly put difficult riddles into his illustrations for Oliver in spite of the fact that he more often than not overtly borrows from Hogarth? In my view, the answer is that Cruikshank follows the lead of Hogarth, who made his prints all the more emblematic by proposing formidable riddles to the reader as well as the viewer of his plates.
- Faculty of Literature & Social Sciences, Yamagata University annual research report
Faculty of Literature & Social Sciences, Yamagata University annual research report (7), 61-83, 2010-03