래드클리프의 『숲속의 로맨스』에서의 자연경관 묘사의 의미와 역할
The significance of Landscape Description in Radcliffe's The Romance of the Forest
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Abstract
Inhwan ChoiAnn Radcliffe's The Romance of the Forest signals the culmination of the Gothic in the 1790‘s. Admittedly a pioneering piece of work in the genre, her novel also shares many aspects with travel literature which was at its vogue in her time. Borrowing from the aesthetic theories of Edmund Burke concerning the idea of the Sublime and the Beautiful, Radcliffe has the heroine undergo a number of aesthetic experiences. During her journey through the Alps and the Mediterranean, the heroine enjoys and reports about the Picturesque, which can be described as the third aesthetic category. As a female traveller, she experienced Picturesque tourism, which had normally been available only to 'patriotic,' 'male' tourists on their Grand Tour, and needed a 'transcendent' perspective. This paper reads The Romance of the Forest as a new type of Gothic that uses the contemporary aesthetic theories and the elements of landscape paintings as both thematic and strategic mainstays. By grafting aesthetic theories and landscape descriptions, the novel becomes 'poetic.' Indebted to the landscape paintings of France and Italy in the preceding century, Radcliffe tries to make a 'verbal equivalent' of the paintings. Admittedly, the appreciation of the landscape by the heroine is tied to the author's national consciousness as a British subject. It is also a safe, value-neutral way for a female author, for it 'distances' her from the delicate political issues of the time. The author frequently notes the emotions related to the ruins with which many contemporary travelers were obsessed. The response to the ruins, along with her enthusiasm for landscape description, moves to the realm of the aesthetic and the sentimental, heralding the ensuing ascendancy of Romanticism.
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