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The 1989 edition of the Guide des collections of the Louvre makes no mention of cannibalism in its commentary on the painting. In fact, the twentieth-century viewer may see little else. Instead, the cannibalism was symbolized by physical intimacy between statuesque nude men.Ī twentieth-century viewer of the painting cannot help but notice what a twentieth-century viewer would call homoeroticism.
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That was too grotesque to be depicted, if Géricault was to accord the survivors a measure of heroism. On the actual raft of the Medusa, the survivors kept a pile of corpses on board for scavenging and hung flesh out to dry. Many of the men are nude, and they are draped over each other in affectionate stupor. Their torsos are still perfectly - appetizingly - sculpted. Despite a dozen days without food and water, there is no sign of inanition in the men. But however dark the painting may be, cannibalism is not even hinted. Under an apocalyptic sky, fifteen survivors huddle conspiratorially, are sprawled out in fatal exhaustion, or stare off into the ocean in deep melancholy. Le radeau de la Méduse is a dark painting. The story inspired the young painter Théodore Géricault to attempt a work of epic scale on a modern topic, the first such in the history of French art. We tremble with horror at being obliged to mention that which we made use of! we feel our pen drop from our hand a deathlike chill pervades all our limbs our hair stands erect on our heads! - Reader, we beseech you, do not feel indignation towards men who are already too unfortunate but have compassion on them, and shed some tears of pity on their unhappy fate. …an extreme resource was necessary to preserve our wretched existence. In a bestselling memoir, two survivors, Jean-Baptiste Henri Savigny and Alexandre Corréard, begged their readers for understanding: Desperate from hunger, the survivors resorted to eating the bodies of the men on board who had already died from exposure. But it was the survivors’ cannibalism that inflamed the popular imagination. The cowardice of the captain, who simply fled, and of the ship’s officers, who cut loose the raft instead of towing it from the lifeboats as they had promised to those who boarded it, outraged the public. It was a great scandal to the prestige of the newly restored French monarchy. In its day, the wreck of the Medusa was infamous. Twelve days later, only fifteen survivors were picked up by the passing vessel Argus.
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One hundred forty-nine people boarded the raft. To save themselves, the crew and passengers lashed together a raft from lumber and twine pried from the sinking ship and its rigging. The captain deserted the ship early, rowing his family away in a precious and nearly empty lifeboat. In 1816, off the coast of Africa, the French frigate La Méduse, through the gross incompetence of its captain, was wrecked and sunk. Originally published in American Literature 66.1 (March 1994): 25–53.