T. S. Eliot’s Poetry of the First Voice:A Revision of the Dramatic Monologue
0
조회
0
다운로드
1
인용
0
참고문헌
키워드
초록
T. S. Eliot’s poetry of “the first voice,” distinguished from Browning’s dramatic monologue, which he called poetry of “the second voice,” is in fact his vision and revision of the traditional form of dramatic monologue. It signals an effort to find an objective form beyond traditional generic boundaries, in order to accommodate the highly subjective content of the modern self. This effort dates back to Browning, and continued by Yeats and Pound before Eliot took it. The objective of this essay is to investigate how much Eliot’s poetry of the first voice owes to Browning, Yeats, and Pound, and how far it moves from them by his re/vision. It is Browning who established the form dramatic monologue with its distinctive conventions, the idiosyncratic persona, the silent listener and the irony originating from the tension between the persona and the audience. Yeats’s theory of the Mask, seeing oppositions as a necessary ingredient of life and step towards a unity, modernized and developed it, introducing morality and a self divided within. Pound then elated its morality to the theological plane by coloring it with the Dantean voice, whereas Laforgue tightened it with his peculiar irony. Finally it is Eliot who, standing on these precursors’ efforts, completed it into a form of perspective, with the self vacillating between various points of view, where the inherently subjective content, the “psychic material,” is rendered impersonal.
Abstract
T. S. Eliot’s poetry of “the first voice,” distinguished from Browning’s dramatic monologue, which he called poetry of “the second voice,” is in fact his vision and revision of the traditional form of dramatic monologue. It signals an effort to find an objective form beyond traditional generic boundaries, in order to accommodate the highly subjective content of the modern self. This effort dates back to Browning, and continued by Yeats and Pound before Eliot took it. The objective of this essay is to investigate how much Eliot’s poetry of the first voice owes to Browning, Yeats, and Pound, and how far it moves from them by his re/vision. It is Browning who established the form dramatic monologue with its distinctive conventions, the idiosyncratic persona, the silent listener and the irony originating from the tension between the persona and the audience. Yeats’s theory of the Mask, seeing oppositions as a necessary ingredient of life and step towards a unity, modernized and developed it, introducing morality and a self divided within. Pound then elated its morality to the theological plane by coloring it with the Dantean voice, whereas Laforgue tightened it with his peculiar irony. Finally it is Eliot who, standing on these precursors’ efforts, completed it into a form of perspective, with the self vacillating between various points of view, where the inherently subjective content, the “psychic material,” is rendered impersonal.
참고문헌 (22)
- Abrams, M. H., "A Glossary of Literary Terms" (1988), Holt, Rinehart, and Winston
- Baldick, Chris, "The Concise Dictionary of Literary Terms" (2004), Oxford UP
- Berryman, Charles. W.B., "Yeats: Design of Opposites" (1967), Exposition Press
- Eliot, T. S., "A Commentary", pp.468~73 (1933), The Criterion
- Eliot, T. S., "Complete Poems and Plays of T. S. Eliot" (1971), Harcourt
- Eliot, T. S., "Knowledge and Experience in the Philosophy of F.H. Bradley" (1964), Farrar, Straus and Company
- Eliot,T.S., "On Poetry and Poets", Faber, ~ (1957)
- Eliot,T.S., "The Sacred Wood: Essays on Poetry and Criticism" (1960), Methuen
- Eliot,T.S.[SE, "Selected Essays" (1950), Harcourt,Brace,and Company
- Ellmann, Maud, "The Poetics of Impersonality: T. S. Eliot and Ezra Pound" (1987), Harvard UP
- Gordon, Lyndall, "Eliot’s Early Years" (1977), Oxford UP
- Harmon. William, "A Handbook to Literature, 6th Edition" (1992), Macmillan
- Jain, Manju, "A Critical Reading of the Selected Poems of T.S. Eliot" (1991), Oxford UP
- James,Henry, "The Art of the Novel: Critical Prefaces" (1935), Scribner
- Kenner, Hugh, "The Invisible Poet: T. S. Elio" (1965), Methuen
- Langbaum,Robert, "The Poetry of Experience: The Dramatic Monologue in Modern Literary Tradition" (1985), University of Chicago Press
- Oser,Lee, "The Ethics of Modernism: Moral Ideas in Yeats, Eliot, Joyce, Woolf and Beckett" (2007), Cambridge UP
- Posnock, Ross, "Henry James and the Problem of Robert Browning" (1985), University of Georgia Press
- Pound, Ezra, "Literary Essays of Ezra Pound, Ed. T. S. Eliot" (1954), Faber and Faber
- Stead,C.K., "The New Poetic: Yeats to Eliot" (1967), Penguin
- Yeats, William Butler, "The Collected Works of W. B. Yeats; Volume I: The Poems, 2nd Edition" (1997), Scribner
- Yeats, William Butler, "Per Amica Silentia Lunae , Mythologies" (1959), Macmillan