『페어리 여왕』 2권, 가이연의 “절제”된 알레고리적 읽기
Allegorical Reading of Guyon: The Knight of Temperance in The Faerie Queene, Book II
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
This paper examines the allegorical reading of Guyon who also allegorizes Temperance in The Faerie Queene, Bk II. Allegory has long been relatively ignored, but recent scholars emphasize a reader’s part in the allegorical narratives to be played in search for meanings kept in play by the writer. I will argue that Guyon acts as an active reader and Spenser’s virtue of Temperance is closely related with allegorical reading of spectacles Guyon has encountered in his narrative quest. Spenser exploits allegory to teach by entangling readers in the process of unfolding the truth hidden in fallen language. Guyon can be a representative reader who is consistently educated in “right” reading, which is enabled only when he is divorced from overly zealous passion. Guyon’s pedestrian progress signifies his training to become a knight in control of his passions and his steps mean an allegory for a model reader who overcomes the temptation of romance by using the power of reason. In order to correctly interpret, Guyon should keep the position of distance from that of involvement into the tragic spectacles he has confronted without pity. In addition, he should be pursuing the knightly labors to avoid misreading things which lead to destructive involvement. However, his violence without pity when he destroys the ‘Bower of Bliss’ shows how difficult it is to hold this distance which allows the allegorical interpretation to function. Guyon’s choice between one extreme and another reveals his blindness to aesthetic pleasure, which suggests his readerly limitations. Guyon is no longer an allegorical reader by his violence, but remains an allegorical figure which requires readers outside the text to actively interpret.
Abstract
This paper examines the allegorical reading of Guyon who also allegorizes Temperance in The Faerie Queene, Bk II. Allegory has long been relatively ignored, but recent scholars emphasize a reader’s part in the allegorical narratives to be played in search for meanings kept in play by the writer. I will argue that Guyon acts as an active reader and Spenser’s virtue of Temperance is closely related with allegorical reading of spectacles Guyon has encountered in his narrative quest. Spenser exploits allegory to teach by entangling readers in the process of unfolding the truth hidden in fallen language. Guyon can be a representative reader who is consistently educated in “right” reading, which is enabled only when he is divorced from overly zealous passion. Guyon’s pedestrian progress signifies his training to become a knight in control of his passions and his steps mean an allegory for a model reader who overcomes the temptation of romance by using the power of reason. In order to correctly interpret, Guyon should keep the position of distance from that of involvement into the tragic spectacles he has confronted without pity. In addition, he should be pursuing the knightly labors to avoid misreading things which lead to destructive involvement. However, his violence without pity when he destroys the ‘Bower of Bliss’ shows how difficult it is to hold this distance which allows the allegorical interpretation to function. Guyon’s choice between one extreme and another reveals his blindness to aesthetic pleasure, which suggests his readerly limitations. Guyon is no longer an allegorical reader by his violence, but remains an allegorical figure which requires readers outside the text to actively interpret.
참고문헌 (20)
- Brown, Georgia, "Redefining Elizabethan Literature" (2004), Cambridge UP
- Clifford, Gay, "The Transformations of Allegory" (1974), Routledge
- Coch, Chrisitine, "The Trials of Art: Testing Temperance in the Bower of Bliss and Diana’s Grove at Nonsuch", Spenser Studies, 20, pp.49~76 (2005)
- Giamatti, Bartlett A., "Poetic Traditions of the English Renaissance", pp.1~23 (1982), Yale UP
- Gohlke, Madelon S., "Embattled Allegory: Book II of The Faerie Queene", ELR, 8(1), pp.123~140 (1978)
- Greenblatt, Stephen J, "Renaissance Self-Fashioning from More to Shakespeare" (1980), U of Chicago P
- Helgerson, Richard, "The Elizabethan Prodigals" (1976), U of California P
- Helgerson, Richard, "Tasso on Spenser: The Politics of Chivalric Romance", The Yearbook of English Studies, 21, pp.153~167 (1991)
- Maccaffrey, Isabel G, "Spenser’s Allegory: The Anatomy of Imagination" (1976), Princeton UP
- Matz, Robert, "Defending Literature in Early Modern Literature: Renaissance Literary Theory in Social Context" (2000), Cambridge UP
- Murrin, Michael, "The Cambridge Companion to Allegory", pp.162~176 (2010), Cambridge UP
- Plato. Phaedrus, "Robin Waterfield" (2002), Oxford UP
- Quilligan, Maureen, "The Language of Allegory: Defining the Genre" (1979), Cornell UP
- Quilligan, Maureen, "Milton’s Spenser: The Politics of Reading" (1983), Cornell UP
- Scodel, Joshua, "Excess and the Mean in Early Modern England Literature" (2002), Princeton UP
- Silberman, Lauren, "‘The Faerie Queene,’ Book II and the Limitations of Temperance", MLS, 17(4), pp.9~22 (1987)
- Spenser, Edmund, "The Faerie Queene" (2001), Longman
- Teskey, Gordon, "From Allegory to Dialectic: Imagining Error in Spenser and Milton", PMLA, 101(1), pp.9~23 (1986)
- A. C. Hamilton, "The Spenser Encyclopedia" (1990), U of Toronto P
- Wofford, Susanne L., "The Choice of Achilles: The Ideology of Figure in the Epic" (1992), Stanford UP