스위프트의 『통 이야기』의 알레고리와 사실적 서술
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This paper examines Jonathan Swift’s attempt in A Tale of a Tub of writing a satire against religion and learning in a ‘new’ style. In this experimental work, he begins juxtaposing two oppositional narrative modes, the romantic allegory in the anti-romantic form and the realistic narrative in the digressive form. At least in the beginning of the Tale, Swift seems to have a full control over these two disparate forms. While the Tale develops, however, he is gradually trapped by his own narrative devices and is forced to join in the flow of the digressive, fragmentary consciousness of the persona. In the end, the Tale turns out to be confusingly chaotic, with two apparently oppositional narrative modes immersing into each other, the anti-romantic allegory turning to the realistic and the realistic narrative turning to the allegorical. The collapsing of the once differentiated narrative modes coincides with Swift’s letting go of his control as writer. Readers also forget about the Tale’s satiric nature, partly due to the persona’s sophistry in the Aeolian philosophy of wind and that of happiness based on delusion, both of which, despite their apparent levity, superficiality, and excessively simplified logic, strongly appeal to them. Along with the above claims, I also argue in this paper that the prevalent digressive form of the Tale fully embodies the Lockean concept of personal identity, the irregular, discontinuous, and fragmentary nature of human consciousness.
Abstract
This paper examines Jonathan Swift’s attempt in A Tale of a Tub of writing a satire against religion and learning in a ‘new’ style. In this experimental work, he begins juxtaposing two oppositional narrative modes, the romantic allegory in the anti-romantic form and the realistic narrative in the digressive form. At least in the beginning of the Tale, Swift seems to have a full control over these two disparate forms. While the Tale develops, however, he is gradually trapped by his own narrative devices and is forced to join in the flow of the digressive, fragmentary consciousness of the persona. In the end, the Tale turns out to be confusingly chaotic, with two apparently oppositional narrative modes immersing into each other, the anti-romantic allegory turning to the realistic and the realistic narrative turning to the allegorical. The collapsing of the once differentiated narrative modes coincides with Swift’s letting go of his control as writer. Readers also forget about the Tale’s satiric nature, partly due to the persona’s sophistry in the Aeolian philosophy of wind and that of happiness based on delusion, both of which, despite their apparent levity, superficiality, and excessively simplified logic, strongly appeal to them. Along with the above claims, I also argue in this paper that the prevalent digressive form of the Tale fully embodies the Lockean concept of personal identity, the irregular, discontinuous, and fragmentary nature of human consciousness.
참고문헌 (19)
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