Paul Valéry & Stéphane Mallarmé Corrected: T. S. Eliot’s Ideas of Poetry, Language, and Poet
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Eliot is truly eclectic. He attacked his predecessors on the one hand and he took them as sources of his impersonal theory of poetry. Or in his words, whatever is bad is criticized and whatever is good is kept or revised into his own theories. French Symbolists are not an exception. In his ideas of “autotelic” nature of poetry, poetic language, and the poet, Eliot was heavily influenced by Paul Valéry and Stéphane Mallarmé, though he skillfully smoke-screened his debts to them. The basic concepts of Eliot’s impersonal poetics are already predicted by Valéry and Mallarmé in their ideas of the poem as something impersonal with autonomous life, the artistic process as “intimate and indissoluble fusion” out of “fragments” through “human labour,” the poetic language as Mob’s language with inherently impersonal nature, and the poet as “an agent” with “a kind of spiritual energy of a special nature” who is himself “Everyman.” Though Eliot eventually turned against them in the ideas of poetic language and the poet, he accepted the autonomy of poetry, revised symbol in his doctrine of objective correlative, and endorsed artistic independence from the author.
Abstract
Eliot is truly eclectic. He attacked his predecessors on the one hand and he took them as sources of his impersonal theory of poetry. Or in his words, whatever is bad is criticized and whatever is good is kept or revised into his own theories. French Symbolists are not an exception. In his ideas of “autotelic” nature of poetry, poetic language, and the poet, Eliot was heavily influenced by Paul Valéry and Stéphane Mallarmé, though he skillfully smoke-screened his debts to them. The basic concepts of Eliot’s impersonal poetics are already predicted by Valéry and Mallarmé in their ideas of the poem as something impersonal with autonomous life, the artistic process as “intimate and indissoluble fusion” out of “fragments” through “human labour,” the poetic language as Mob’s language with inherently impersonal nature, and the poet as “an agent” with “a kind of spiritual energy of a special nature” who is himself “Everyman.” Though Eliot eventually turned against them in the ideas of poetic language and the poet, he accepted the autonomy of poetry, revised symbol in his doctrine of objective correlative, and endorsed artistic independence from the author.
참고문헌 (15)
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