『서곡』에 나타난 윌리엄 워즈워스의 서사시적 숭엄: 누른도요, 갈가마귀의 알, 보트 훔치기의 일화
William Wordsworth’s Epic Sublime in The Prelude: Episodes of Stealing Woodcocks, Raven’s Eggs, and a Boat
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This paper examines William Wordsworth’s epic sublime analyzing his childhood episodes in nature. Wordsworth’s defines epic with two main terms: the sublime and the religious. Those two words characterize his epic. As this definition implies some influences from Longinus and Dennis, Wordsworth’s practical application of it in The Prelude seems to be quite original. Wordsworth does not directly link the sublime and the religious with God’s wrath and Man’s ineluctable fear. Rather, he supposes the sublime comes from the mind’s interaction with outward beings; accordingly, he suggests the religious subject should focus not on God’s will or providence but on man’s creative sensibility and its influence. Although Wordsworth introduces himself as a Nature’s chosen son and presents Nature as an epic machinery, his religious subject is mainly concerned with the discovery of divinity in man’s mind instead of the deification of Nature. The Prelude, as the embodiment of Wordsworth’s own epic rules, can be read both a traditional and experimental epic, of which the sublime episodes are constructed with his own recollected inglorious anecdotes.
Abstract
This paper examines William Wordsworth’s epic sublime analyzing his childhood episodes in nature. Wordsworth’s defines epic with two main terms: the sublime and the religious. Those two words characterize his epic. As this definition implies some influences from Longinus and Dennis, Wordsworth’s practical application of it in The Prelude seems to be quite original. Wordsworth does not directly link the sublime and the religious with God’s wrath and Man’s ineluctable fear. Rather, he supposes the sublime comes from the mind’s interaction with outward beings; accordingly, he suggests the religious subject should focus not on God’s will or providence but on man’s creative sensibility and its influence. Although Wordsworth introduces himself as a Nature’s chosen son and presents Nature as an epic machinery, his religious subject is mainly concerned with the discovery of divinity in man’s mind instead of the deification of Nature. The Prelude, as the embodiment of Wordsworth’s own epic rules, can be read both a traditional and experimental epic, of which the sublime episodes are constructed with his own recollected inglorious anecdotes.
참고문헌 (16)
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