『페어리 여왕』 제 1권, ‘방황의 숲’에 차용된 오비디우스 여담의 기능
Ovidian Digressions in the ‘Wandering Wood’ Episode of The Faerie Queene, Book I
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This paper investigates the function of Ovidian digressions, focusing on the Wandering Wood in which Redcrosse Knight defeats the hybrid monster, Error. Spenser’s Ovidian digressions have long been treated as classicizing ornaments or decorative deviations from the main narrative of The Faerie Queene. However, Spenser uses these engagements with Ovidian digression to illuminate the means toward the allegorized virtues that the titular knights in each book of The Faerie Queene are struggling to achieve. In the Renaissance, when Spenser was writing, Ovid’s Metamorphoses was regarded as a romance, particularly with regard to its proliferating plots and characters and its narrative use of entrelacement and digressions. Contemporary readers recognized this multiplicity and variety as the source of poetic pleasure, and contemporary writers looked to Ovid as a poetic model to emulate. Drawing on Renaissance imitation theory, Spenser incorporates Ovid’s Metamorphoses into his own epic-romance, The Faerie Queene, simultaneously borrowing and transforming Ovidian digressions, both replicating Ovid’s art and rewriting it in moral terms. For example, Spenser actively expands the Ovidian trope of the labyrinth and complicating its aesthetic and moral implications through the Wandering Wood, itself a form of Ovidian digression. It is important, I argue, to recognize the Wandering Wood as a complex rhetorical space Spenser constructs with varying Ovidian allusions. In this space, Redcrosse faces a trial through which his reading ability is put to the test. The wisdom and spiritual maturity of Redcross Knight must be earned on the digressive way through error.
Abstract
This paper investigates the function of Ovidian digressions, focusing on the Wandering Wood in which Redcrosse Knight defeats the hybrid monster, Error. Spenser’s Ovidian digressions have long been treated as classicizing ornaments or decorative deviations from the main narrative of The Faerie Queene. However, Spenser uses these engagements with Ovidian digression to illuminate the means toward the allegorized virtues that the titular knights in each book of The Faerie Queene are struggling to achieve. In the Renaissance, when Spenser was writing, Ovid’s Metamorphoses was regarded as a romance, particularly with regard to its proliferating plots and characters and its narrative use of entrelacement and digressions. Contemporary readers recognized this multiplicity and variety as the source of poetic pleasure, and contemporary writers looked to Ovid as a poetic model to emulate. Drawing on Renaissance imitation theory, Spenser incorporates Ovid’s Metamorphoses into his own epic-romance, The Faerie Queene, simultaneously borrowing and transforming Ovidian digressions, both replicating Ovid’s art and rewriting it in moral terms. For example, Spenser actively expands the Ovidian trope of the labyrinth and complicating its aesthetic and moral implications through the Wandering Wood, itself a form of Ovidian digression. It is important, I argue, to recognize the Wandering Wood as a complex rhetorical space Spenser constructs with varying Ovidian allusions. In this space, Redcrosse faces a trial through which his reading ability is put to the test. The wisdom and spiritual maturity of Redcross Knight must be earned on the digressive way through error.
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