Interiority in Early Modern Allegory: Empathy in Spenser’s The Faerie Queene, Book 2
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Critics of The Faerie Queene, Book 2, have thus far read that Guyon’s empathy with characters other than the Palmer is tempered, restrained, or repressed through the Palmer’s education. The student– master relationship between Guyon and the Palmer is similar to the dual structure of allegory—namely, vehicle and tenor. This is true when Guyon asks the meaning of things and creatures around him as they appear to him in the journey with the Palmer, and the Palmer provides the answers. This connection between the narrative structure and personal relationships is my contribution to the current scholarship. As Spenser’s allegory does not mean the tenor in the sacrifice of the vehicle, but rather suspends the two in what C. S. Lewis calls “mood” as opposed to “passion,” Guyon’s emotion is not as repressed as it may seem, but is carefully balanced with his emotion in tune with the Palmer. I call this tuning empathy—a word that did not exist at the time for Spenser to use—to differentiate it from sympathy, when the other’s pain overwhelms the self, and from compassion, when the self dominates the other’s pain. Such instances of sympathy and compassion are exemplified in Amavia and the Palmer, different from the empathy evident in Guyon. Both the subjects who practice the fellow-feelings and the objects toward whom the fellow-feelings are directed do matter, as Guyon returns his attention from Amavia to the Palmer in the process of growth.
Abstract
Critics of The Faerie Queene, Book 2, have thus far read that Guyon’s empathy with characters other than the Palmer is tempered, restrained, or repressed through the Palmer’s education. The student– master relationship between Guyon and the Palmer is similar to the dual structure of allegory—namely, vehicle and tenor. This is true when Guyon asks the meaning of things and creatures around him as they appear to him in the journey with the Palmer, and the Palmer provides the answers. This connection between the narrative structure and personal relationships is my contribution to the current scholarship. As Spenser’s allegory does not mean the tenor in the sacrifice of the vehicle, but rather suspends the two in what C. S. Lewis calls “mood” as opposed to “passion,” Guyon’s emotion is not as repressed as it may seem, but is carefully balanced with his emotion in tune with the Palmer. I call this tuning empathy—a word that did not exist at the time for Spenser to use—to differentiate it from sympathy, when the other’s pain overwhelms the self, and from compassion, when the self dominates the other’s pain. Such instances of sympathy and compassion are exemplified in Amavia and the Palmer, different from the empathy evident in Guyon. Both the subjects who practice the fellow-feelings and the objects toward whom the fellow-feelings are directed do matter, as Guyon returns his attention from Amavia to the Palmer in the process of growth.
참고문헌 (33)
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