『황무지』와「게론티온」—왜 엘리엇이「게론티온」을 『황무지』서시로 사용하려 했었나?
“Gerontion” and The Waste Land: Why Did Eliot Intend to Make “Gerontion” a Preface to The Waste Land?
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
Eliot’s The Waste Land represents the last century in many respects. While working on the poem in cooperation with Pound, Eliot intended to make “Gerontion” a prelude in The Waste Land. But, as we read in his letter to Eliot, Pound advised him against it. As a result, Eliot had excluded it from The Waste Land. “Gerontion” was published separately, as an independent poem. Between “Gerontion” and The Waste Land, we find that the theme and the techniques are very much alike. However, for this very reason Eliot and Pound must have had thought differently. Eliot must have thought that “Gerontion” would serve well as a preface to the long poem, The Waste Land. It will provide a good introduction to the long poem, he may have thought. In the meantime, Pound must have thought that such similarities in theme and techniques would weaken both works, which would be redundant. To Pound, it would be too much to have the summary of everything that is to be repeated in The Waste Land. Eliot intuitively followed Pound’s judgment. Both “Gerontion” and The Waste Land have similarities in theme and techniques. The theme of both works is “aimlessness, spiritual sterility, barrenness” in modern man living in the waste land. For example, in “Gerontion,” there appear an old man Gerontion, Mr. Silvero, Hakagawa, Madame de Tornquist, Fraulein von Kulp, who are representative of spiritual barrenness of modern world; in the same context, in The Waste Land those who are most representative of modern world are the Typist, clerk, Thames’s daughters, Madamn Sosostris, Tiresias, Phelabas. And in terms of techniques, “Gerontion” and The Waste Land both use dramatic monologues, allusions, and the techniques of modern art, such as montage and mosaic. Here in these works Eliot in fact practises his theory of the “Objective Correlative” that he has invented.
Abstract
Eliot’s The Waste Land represents the last century in many respects. While working on the poem in cooperation with Pound, Eliot intended to make “Gerontion” a prelude in The Waste Land. But, as we read in his letter to Eliot, Pound advised him against it. As a result, Eliot had excluded it from The Waste Land. “Gerontion” was published separately, as an independent poem. Between “Gerontion” and The Waste Land, we find that the theme and the techniques are very much alike. However, for this very reason Eliot and Pound must have had thought differently. Eliot must have thought that “Gerontion” would serve well as a preface to the long poem, The Waste Land. It will provide a good introduction to the long poem, he may have thought. In the meantime, Pound must have thought that such similarities in theme and techniques would weaken both works, which would be redundant. To Pound, it would be too much to have the summary of everything that is to be repeated in The Waste Land. Eliot intuitively followed Pound’s judgment. Both “Gerontion” and The Waste Land have similarities in theme and techniques. The theme of both works is “aimlessness, spiritual sterility, barrenness” in modern man living in the waste land. For example, in “Gerontion,” there appear an old man Gerontion, Mr. Silvero, Hakagawa, Madame de Tornquist, Fraulein von Kulp, who are representative of spiritual barrenness of modern world; in the same context, in The Waste Land those who are most representative of modern world are the Typist, clerk, Thames’s daughters, Madamn Sosostris, Tiresias, Phelabas. And in terms of techniques, “Gerontion” and The Waste Land both use dramatic monologues, allusions, and the techniques of modern art, such as montage and mosaic. Here in these works Eliot in fact practises his theory of the “Objective Correlative” that he has invented.
참고문헌 (38)
- 이창배, "T. S. 엘리엇 전집" (2001), 동국대학교 출판부
- 이홍필, "T. S. 엘리엇과 로버트 로월－문명과 불만족", 현대영미시연구, 14(2), pp.125~159 (2008), 한국현대영미시학회
- Bishop, Jonathan, "A Handful of Words: The Credibility of Language in ‘The Waste Land.’", Texas Studies in Literature and Language, 27(2), pp.154~177 (1959)
- Bloom, Harold, "T. S. Eliot’s The Waste Land" (2008), Viva Books Private Ltd
- Bush, Ronald, "T. S. Eliot: A Study in Character and Style" (1983), Oxford UP
- Coles, "T. S Eliot’s Major Poems and Plays" (1981), Coles Publishing Company Ltd.
- Cuda, Anthony, "T. S. Eliot’s Etherized Patient", Twentieth Century Literature, 50(4), pp.394~420 (2004)
- Dale, Alzina Stone, "T. S. Eliot: The Philosopher-Poet" (1988), Harold Shaw Publishers
- Dilworth, Thomas, "Eliot’s The Waste Land", The Explicator, 61(1), pp.43~ (2002)
- Drew, Elizabeth, "T. S. Eliot: The Design of His Poetry" (1949), Charles Scribner’s Sons
- Eliot, T. S., "For Lancelot Andrews: Essays on Style and Order" (1970), Faber and Faber
- Eliot, T. S., "To Criticize The Critic And Other Writings" (1965), Nebraska UP
- Eliot, T. S., "The Complete Poems and Plays of T. S. Eliot" (1969), Faber & Faber
- Eliot, T. S, "The Sacred Wood: Essays on Poetry & Criticism" (1960), Methuen & Co Ltd.
- Eliot, T. S., "T. S. Eliot: Selected Essays 1917-1932" (1932), Harcourt, Brace and Company
- Ellmann, Maud, "The Poetics of Impersonality: T. S. Eliot and Ezra Pound" (1987), Harvard UP
- Gibson, M. William, "Sonnets in T. S. Eliot’s The Waste Land", American Literature, 32(4), pp.465~466 (1961)
- Hargrove, Nancy Duvall, "Landscape As Symbol in the Poetry of T. S. Eliot" (1978), Mississippi UP
- Kenner, Hugh, "The Invisible Poet: T. S. Eliot" (1959), Macdowell, Obolensky
- Korg, Jacob, "Modern Art Techniques in The Waste Land", The Journal of Aesthetics and Art Criticism, 18(4), pp.456~463 (1960)
- Martin, Jay, "The Waste Land: A Collection of Critical Essays" (1968), Prentice-Hall, Inc.
- Matthiessen, F. O., "The Achievement of T. S. Eliot 3rd. ed." (1976), Oxford UP
- Mayer, John. T., "T. S. Eliot’s Silent Voices" (1989), Oxford UP
- Miller, James E. Jr., "T. S. Eliot’s Personal Waste Land: Exorcism of the Demons" (1977), The Pennsylvania UP
- Moody, David, "T. S. Eliot Poet" (1980), Cambridge UP
- Moody, David, "The Waste Land in Different Voices" (1974), ST. Martin’s Press
- North, Michael, "The Waste Land" (2001), W. W. Norton & Company
- Paige, D. D., "The Letters of Ezra Pound: 1907-1941" (1951), Faber and Faber
- Sencourt, Robert, "T. S. Eliot: A Memoir" (1971), Garnstone Press Limited
- Suarez. Juan A., "T. S. Eliot’s The Waste Land, the Gramophone, and the Modernist Discourse Network", New Literary History, 32(3), pp.747~768 (2001)
- Tamplin, Ronald, "A Preface to T. S. Eliot" (1988), Longman
- Tate, Allen, "T. S. Eliot: The Man and His Work" (1971), Penguin Books Ltd.
- Thormahlem, Marianne, "The Waste Land: A Fragmentary Wholeness" (1978), CWK Gleerup Lund
- Traversi, Derek, "T. S. Eliot: The Longer Poems" (1976), Harcourt Brace Jovanovich
- Vickery, John. B., "Critics on T. S. Eliot" (1973), George Allen & Unwin Ltd.
- Williamson, George, "A Reader’s Guide to T. S. Eliot" (1966), Farrar, Straus & Giroux
- Williamson, George, "A Reader’s Guide to T. S. Eliot: A poem by poem analysis" (1953), The Noonday Press
- Williamson, George, "The Structure of “The Waste Land.”", Modern Philosophy, 47(3), pp.191~206 (1950)