T. S. 엘리엇을 통해서 본 던과 라포르그 시의 유사점
Similarities between Donne and Laforgue in Terms of T. S. Eliot
0
조회
0
다운로드
1
인용
0
참고문헌
키워드
초록
This paper attempts to find similarities between John Donne(1572〜1631) and Jules Laforgue(1860〜1887) in terms of T. S. Eliot(1888〜1965). During the course of the 1920s, Eliot did much to establish the importance of the school of Donne, both through his critical writing and by applying their method in his own work. Donne is considered a master of the metaphysical conceit, an extended metaphor that combines two vastly different ideas into a single idea, often using imagery. Unlike the conceits found in other Elizabethan poetry, most notably Petrarchan conceits, metaphysical conceits go to a greater depth in comparing two completely unlike objects. One of the most famous of Donne's conceits is found in “A Valediction: Forbidding Mourning.” His style is characterized by abrupt openings and various paradoxes, ironies and dislocations. These features, along with his frequent dramatic or everyday speech rhythms, his tense syntax and his tough eloquence, are both a reaction against the smoothness of conventional Elizabethan poetry and an adaptation into English of European baroque and mannerist techniques. Laforgue is one of the first French poets to write in free verse. Philosophically, he is said to be a pessimist and an ardent disciple of Schopenhauer. His poetry would be one of the major influences on Ezra Pound and the young Eliot. For example, “The Love Song of J. Alfred Prufrock” is regarded as an echo of Laforgue and the French symbolists to whom Eliot is indebted. Eliot is able to see that the French Symbolist poetry of the nineteenth century has certain fundamental resemblances to the English poetry of the age of Donne. These seem to be impressive achievements to have a very sound conception of the whole body of writing of the past and to draw the connection esthetically between the French Symbolism and the metaphysical poetry.
Abstract
This paper attempts to find similarities between John Donne(1572〜1631) and Jules Laforgue(1860〜1887) in terms of T. S. Eliot(1888〜1965). During the course of the 1920s, Eliot did much to establish the importance of the school of Donne, both through his critical writing and by applying their method in his own work. Donne is considered a master of the metaphysical conceit, an extended metaphor that combines two vastly different ideas into a single idea, often using imagery. Unlike the conceits found in other Elizabethan poetry, most notably Petrarchan conceits, metaphysical conceits go to a greater depth in comparing two completely unlike objects. One of the most famous of Donne's conceits is found in “A Valediction: Forbidding Mourning.” His style is characterized by abrupt openings and various paradoxes, ironies and dislocations. These features, along with his frequent dramatic or everyday speech rhythms, his tense syntax and his tough eloquence, are both a reaction against the smoothness of conventional Elizabethan poetry and an adaptation into English of European baroque and mannerist techniques. Laforgue is one of the first French poets to write in free verse. Philosophically, he is said to be a pessimist and an ardent disciple of Schopenhauer. His poetry would be one of the major influences on Ezra Pound and the young Eliot. For example, “The Love Song of J. Alfred Prufrock” is regarded as an echo of Laforgue and the French symbolists to whom Eliot is indebted. Eliot is able to see that the French Symbolist poetry of the nineteenth century has certain fundamental resemblances to the English poetry of the age of Donne. These seem to be impressive achievements to have a very sound conception of the whole body of writing of the past and to draw the connection esthetically between the French Symbolism and the metaphysical poetry.
참고문헌 (23)
- 김구슬, "T. S. 엘리엇과 F. H. 브래들리 철학" (2009), 동인
- 민희식, "피에로들, 라포르그" (1976), 민음사
- 이명섭, "현대문학비평이론의 전망", pp.1~102 (1994), 성균관대학교 출판부
- 이창배, "20세기 영미시의 형성" (1979), 민음사
- Bennett, Joan, "Five Metaphysical Poets: Donne, Herbert, Vaughan, Crashaw, Marvell" (1964), Cambridge UP
- Boase, Alan Martin, "The Poetry of France from André Chenier to Pierre Emmanuel; an Anthology, with Intro. and Notes" (1952), Methuen
- Brooks, Cleanth, "Modern Poetry and the Tradition" (1965), Oxford UP
- Chadwick, Charles, "Symbolism" (1971), Methuen
- Cruttwell, Patrick, "The Shakespearean Moment" (1970), Chatto and Windus
- Dawson, S. W., "Dramatic and the Dramatic" (1970), Methuen
- Duncan, Joseph E., "Discussions of John Donne" (1962), D. C. Heath and Company
- Eliot, T. S., "Selected Essays", pp.283~293 (1950), Harcourt Brace Jovanovich
- Eliot, T. S., "The Varieties of Metaphysical Poetry", pp.281~295 (1993), Harcourt Brace
- Eliot, T. S., "A Garland for John Donne", pp.1~19 (1931), Harvard UP
- Grierson, H. J. C., "Donne: Poetical Works" (1979), Oxford UP
- Houston, John Porter, "French Symbolist Poetry: an Anthology" (1980), Indiana UP
- Laforgue, Jules, "Essential Poems and Prose of Jules Laforgue" (2010), Black Widow Press
- Leishman, J. B., "The Monarch of Wit: an Analytical and Comparative Study of the Poetry of John Donne" (1966), Harper Torchbooks
- Matthiessen, F. O., "The Achievement of Eliot" (1959), Oxford UP
- Maxwell, D. E. S., "The Poetry of T. S. Eliot" (1952), Routledge
- Parmee, Douglas, "Twelve French Poets 1820-1900: An Anthology of 19th Century French Poetry" (1968), Longmans
- Symons, Arthur, "The Symbolist Movement in Literature" (1958), Dutton Paperback
- Williamson, George, "A Reader's Guide to T. S. Eliot" (1980), Thames and Hudson