T. S. 엘리엇의 『황무지』 제 1연: 극적 독백의 서술구조
The Dramatic Monologue in the First Stanza of T. S. Eliot’s The Waste Land
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The aim of this paper is to claim that the first stanza of T. S. Eliot’s The Waste Land has the narrative structure of the dramatic monologue. To clarify the claim, I first refute the extant views that the stanza is uttered by two speakers, the poet/narrator and Marie. Such views are contradictory to one another as well as not clearly justified by the context of the poem, since they are not reliably founded on the compositions of the text. Instead, they depend on the preconceptions imbued by biographical and historical information about the poet and Countess Marie Larisch. To the contrary, this paper understands the whole stanza as spoken by a single person to an auditor in the same poetic situation. As Robert Langbaum and other explicators unanimously indicate, “some interplay of the speaker and the listener,” among others, is the most unfailing characteristic of the dramatic monologue. My contextual analysis of the stanza points out line 12, spoken in German, and line 17, “In the mountains, there you feel free,” as two decisive evidences of such dramatic interplay taking place. Thus, in the first stanza of The Waste Land, Eliot is not featuring two (or, even, more) speakers but is presenting the single speaker Marie, who relates some fragments of her present and past life and psyche to her specific listener in the form of the dramatic monologue.
Abstract
The aim of this paper is to claim that the first stanza of T. S. Eliot’s The Waste Land has the narrative structure of the dramatic monologue. To clarify the claim, I first refute the extant views that the stanza is uttered by two speakers, the poet/narrator and Marie. Such views are contradictory to one another as well as not clearly justified by the context of the poem, since they are not reliably founded on the compositions of the text. Instead, they depend on the preconceptions imbued by biographical and historical information about the poet and Countess Marie Larisch. To the contrary, this paper understands the whole stanza as spoken by a single person to an auditor in the same poetic situation. As Robert Langbaum and other explicators unanimously indicate, “some interplay of the speaker and the listener,” among others, is the most unfailing characteristic of the dramatic monologue. My contextual analysis of the stanza points out line 12, spoken in German, and line 17, “In the mountains, there you feel free,” as two decisive evidences of such dramatic interplay taking place. Thus, in the first stanza of The Waste Land, Eliot is not featuring two (or, even, more) speakers but is presenting the single speaker Marie, who relates some fragments of her present and past life and psyche to her specific listener in the form of the dramatic monologue.
참고문헌 (27)
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