Robert Louis Stevenson and the ‘Optic Nerve’. Portraiture in Weir of Hermiston
This paper focuses on Stevenson’s last and unfinished novel, according to James ‘a splendid and tragic fragment’. Not much has been written so far about the marked visuality in the opening chapters and the influence of the Scottish painter Raeburn on Stevenson’s writing. I shall try to demonstrate t...
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| Format: | Article |
| Language: | English |
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Presses Universitaires de la Méditerranée
2006-12-01
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| Series: | Cahiers Victoriens et Edouardiens |
| Online Access: | http://journals.openedition.org/cve/12493 |
| Summary: | This paper focuses on Stevenson’s last and unfinished novel, according to James ‘a splendid and tragic fragment’. Not much has been written so far about the marked visuality in the opening chapters and the influence of the Scottish painter Raeburn on Stevenson’s writing. I shall try to demonstrate that, while delineating the powerful image of the Scottish Judge, Lord Braxfield, the writer had in mind his portrait by Raeburn. Stevenson seems also to have followed Raeburn’s technique in the juxtaposition between Lord Braxfield and his son. |
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| ISSN: | 0220-5610 2271-6149 |