“왕으로서의 나 자신”: 크리스티나 로제티의 종교시에 나타난 시적 자아
“Myself as King”: The Poetic Self in Christina Rossetti’s Religious Poetry
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Christina Rossetti’s religious poetry might be called the poetry of being, whose focus lies on the self, especially on the poetic self. For Rossetti, the poetic creativity and devotion interact in some kind of positive reciprocal relationship. The poetic creativity is stimulated by devotion, which redeems itself in the process of writing poetry. And Rossetti explores and establishes her poetic self in writing religious poetry. In “Symbol,” the restrained female self recalls the poetic self together with her devotion. “The World” is the poet’s profound criticism of the materialistic civilization, showing her spiritual absolutism. Rossetti’s religious poetry is also “the art of heart.” “Three Stages” and “The heart knoweth its own bitterness” represent the poetic self’s strong self-assertion centering on its heart. “A Better Resurrection” and “Good Friday” reveal the self- transformation from religious despair to resurrection with the help of the poetic creativity. In “An Old-World Thicket”, the poet, deliberately isolating herself from nature, retreats into and explores the solipsistic self and accomplishes self-transformation. In “The Thread of Life,” the poet repeatedly asserts “her own self,” establishing that self as king, and attains the happy unification with Christ her King, singing songs at his bidding.
Abstract
Christina Rossetti’s religious poetry might be called the poetry of being, whose focus lies on the self, especially on the poetic self. For Rossetti, the poetic creativity and devotion interact in some kind of positive reciprocal relationship. The poetic creativity is stimulated by devotion, which redeems itself in the process of writing poetry. And Rossetti explores and establishes her poetic self in writing religious poetry. In “Symbol,” the restrained female self recalls the poetic self together with her devotion. “The World” is the poet’s profound criticism of the materialistic civilization, showing her spiritual absolutism. Rossetti’s religious poetry is also “the art of heart.” “Three Stages” and “The heart knoweth its own bitterness” represent the poetic self’s strong self-assertion centering on its heart. “A Better Resurrection” and “Good Friday” reveal the self- transformation from religious despair to resurrection with the help of the poetic creativity. In “An Old-World Thicket”, the poet, deliberately isolating herself from nature, retreats into and explores the solipsistic self and accomplishes self-transformation. In “The Thread of Life,” the poet repeatedly asserts “her own self,” establishing that self as king, and attains the happy unification with Christ her King, singing songs at his bidding.
참고문헌 (18)
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