신고전주의와 그 불만--스위프트의 『걸리버 여행기』와 「숙녀의 화장방」을 중심으로
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Abstract
Hye-Soo Lee (Seoul National U)This essay takes issue of an established understanding in eighteenth-cen-tury studies that neoclassicism, the so-called dominant literary principle inthe period, epitomizes the aesthetics of Augustan satire. Satire has beenconceived as a representative neoclassical genre in which the author aims todeliver his / her definite moral intention to the reader, however circuitousthe process might be. Yet we repeatedly witness that there are so manydirty, monstrous, or grotesque images at work in Augustan satire (ratherthan decorous, clear or classical images) that it is hard to ignore the ponder-ous and consistent grotesque elements in Augustan satire. As critics likeGriffin or Hammond suggest, the eighteenth century is more like a hybrid,heterogeneous, or grotesque age than a period of order, harmony or propor-tion; Augustan satire is a product of the period’s intense heterogeneityrather than an embodiment of proportionate and neoclassical aesthetics.Swift’s Gulliver’s Travelsand “The Lady’s Dressing Room” not onlyevince abundant grotesque images but also illustrate that the leadingAugustan satirist and also an advocate of ‘the ancient’ does not straightlyadhere to the classical / Augustan ideal. In Gulliver’s Travels, theHouyhyhnms, a rational and speaking horse as well as a supposed ideal of
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