The Understandable Failure of T. S. Eliot’s Sweeney Agonistes: Fragments of an Aristophanic Melodrama
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
Sweeney Agonistes is T. S. Eliot’s first exploration in dramatic form and generally regarded as a failure. But his inclusion of this poem in his collections of poems makes the readers speculate on its significance in his oeuvre. Following his guide that his departure from the apparent immaturity in his earlier works is a sign not of change or reversal but of expansion or development of his emotion, this poem is a first step to change ordinary people’s sensibility in spite of their propensity to sentimentalism. It should not be defined just as a “failure” but as a “successful failure” because it is an initiation into the final phase of maximizing the influence of his revolution in sensibility upon the audience like popular Marie Lloyd. As a result of its failure, the tone of humor is changed into that of seriousness in all the following poetic dramas, even though this alteration of his strategy to ask for his audience’s conscious attention is not good enough to change the spiritual values of his community, which is Eliot’s ultimate goal of revolution in sensibility.
Abstract
Sweeney Agonistes is T. S. Eliot’s first exploration in dramatic form and generally regarded as a failure. But his inclusion of this poem in his collections of poems makes the readers speculate on its significance in his oeuvre. Following his guide that his departure from the apparent immaturity in his earlier works is a sign not of change or reversal but of expansion or development of his emotion, this poem is a first step to change ordinary people’s sensibility in spite of their propensity to sentimentalism. It should not be defined just as a “failure” but as a “successful failure” because it is an initiation into the final phase of maximizing the influence of his revolution in sensibility upon the audience like popular Marie Lloyd. As a result of its failure, the tone of humor is changed into that of seriousness in all the following poetic dramas, even though this alteration of his strategy to ask for his audience’s conscious attention is not good enough to change the spiritual values of his community, which is Eliot’s ultimate goal of revolution in sensibility.
참고문헌 (28)
- Ackroyd, Peter, "T. S. Eliot" (1984), Hamilton
- Behr, Caroline, "T. S. Eliot: A Chronology of his Life and Works" (1983), Macmillan
- Brown, E. Martin, "The Making of T. S. Eliot’s Plays" (1970), Cambridge UP
- Brown, E. Martin, "T. S. Eliot: The Man and His Work", pp.116~132 (1966), Delacorte
- Bush, Ronald, "T. S. Eliot: A Study in Character and Style" (1983), Oxford UP
- Courtney, Richard, "A Dramatic Theory of Imagination", New Literary History, 2(3), pp.449~460 (1971)
- Dobree, Bonamy, "T. S. Eliot: The Man and His Work", pp.65~88 (1966), Delacorte
- Eliot, T. S., "Inventions of the March Hare: Poems 1909-1917 by T. S. Eliot" (1996), Faber
- Eliot, T. S., "On Poetry And Poets" (1957), Noonday
- Eliot, T. S., "Scylla and Charybdis", Agenda, 23(1-2), pp.5~21 (1985)
- Eliot, T. S., "Selected Essays" (1951), Faber
- Eliot, T. S., "Selected Prose of T. S. Eliot" (1975), Harcourt
- Eliot, T. S., "The Complete Poems and Plays of T. S. Eliot" (1969), Faber
- Eliot, T. S., "The Sacred Wood" (1997), Faber
- Eliot, T. S., "The Use of Poetry and the Use of Criticism" (1964), Faber
- Eliot, T. S., "The Waste Land: A Facsimile and Transcript of The Original Drafts Including The Annotations of Ezra Pound" (1971), Faber
- Eliot, T. S., "To Criticize The Critic and Other Writings" (1965), U of Nebraska P
- Gardner, Helen, "The Art of T. S. Eliot" (1979), Faber
- Hall, Donald, "Their Ancient Glittering Eyes: Remembering Poets and More Poets" (1992), Ticknor
- Henderson, J. L., "Stages of Psychological Development Exemplified in The Political Works of T. S. Eliot", Journal of Analytical Psychology, 2(1), pp.33~49 (1957)
- Kenner, Hugh, "The Invisible Poet: T. S. Eliot" (1974), Methuen
- Lentricchia, Frank, "Modernist Quartet" (1994), Cambridge UP
- Matthiessen, F. O., "The Achievement of T. S. Eliot" (1958), Oxford UP
- Sanders, Charles, "The Waste Land: The Last Minstrel Show?", Journal of Modern Literature, 8(1), pp.23~38 (1980)
- Skaff, William, "The Philosophy of T. S. Eliot" (1986), U of Pennsylvania P
- Smith, Carol H., "T. S. Eliot’s Dramatic Theory and Practice" (1963), Princeton UP
- Tate, Allen, "T. S. Eliot: The Man and His Work" (1966), Delacorte
- Wheeler, Lesley, "Undead Eliot: How ‘The Waste Land’ Sounds Now", Poetry, 204(5), pp.467~479 (2014)