예이츠의 『연옥』: 의식, 재현, 그리고 “정화되지 않은 이미지”
Yeats's Purgatory: Consciousness, Representation and “Unpurged Images”
0
조회
0
다운로드
1
인용
0
참고문헌
키워드
초록
William Butler Yeats’s one-act play Purgatory has consistently drawn critical attention, but some of its problematic aspects remain untouched. It is my intention to explore the questions of consciousness and representation in this deceptively simple and straightforward play, which dramatizes Yeats’s occult belief that the dead repeatedly experience, that is, in the form of dreaming, important events in their lives. The structural and thematic complexity of Purgatory can be readily traced back to the practical question of how to represent the consciousness of the dead on the stage. Purgatory features only two characters, “Old Man” and his bastard son, “Boy,” and the overall structure of the play hinges on the Old Man's tormented consciousness, which significantly mirrors and participates in the state of his aristocratic mother's soul caught in the re-living of her wedding night. Her transgression was to forget what Stanfield calls “her genetic responsibility” and marry a stable-hand, and as one who staunchly believes in caste, he blames his father for the downfall of his mother's great family. However, it is crucial to note at this point that the Old Man is also caught in his own vicious cycle as can be seen, for example, in his murders of his father and son using the same jack-knife; and that the play reflects his consciousness in the way the typical lyric represents a single speaker's voice and consciousness. The Old Man kills his son as an act of purgation, but the reiterated sound of hoof-beat―the “unpurged image” of his parents’ consummation―indicates the futility of his desperate effort to free his mother's soul from her dreaming. The play ends in an impasse and appropriately so, because the Old Man embodies an “unpurged image” himself, rich with aesthetically productive tensions and historical implications, including the playwright’s own profound dissatisfaction with the cultural degeneration in Ireland and Europe.
Abstract
William Butler Yeats’s one-act play Purgatory has consistently drawn critical attention, but some of its problematic aspects remain untouched. It is my intention to explore the questions of consciousness and representation in this deceptively simple and straightforward play, which dramatizes Yeats’s occult belief that the dead repeatedly experience, that is, in the form of dreaming, important events in their lives. The structural and thematic complexity of Purgatory can be readily traced back to the practical question of how to represent the consciousness of the dead on the stage. Purgatory features only two characters, “Old Man” and his bastard son, “Boy,” and the overall structure of the play hinges on the Old Man's tormented consciousness, which significantly mirrors and participates in the state of his aristocratic mother's soul caught in the re-living of her wedding night. Her transgression was to forget what Stanfield calls “her genetic responsibility” and marry a stable-hand, and as one who staunchly believes in caste, he blames his father for the downfall of his mother's great family. However, it is crucial to note at this point that the Old Man is also caught in his own vicious cycle as can be seen, for example, in his murders of his father and son using the same jack-knife; and that the play reflects his consciousness in the way the typical lyric represents a single speaker's voice and consciousness. The Old Man kills his son as an act of purgation, but the reiterated sound of hoof-beat―the “unpurged image” of his parents’ consummation―indicates the futility of his desperate effort to free his mother's soul from her dreaming. The play ends in an impasse and appropriately so, because the Old Man embodies an “unpurged image” himself, rich with aesthetically productive tensions and historical implications, including the playwright’s own profound dissatisfaction with the cultural degeneration in Ireland and Europe.
참고문헌 (24)
- Auden, W. H, "Collected Poems" (1976), Random House
- Bradley, Anthony, "William Butler Yeats" (1979), Frederick Ungar
- Clark, David R, "Yeats and the Theatre of Desolate Reality" (1993), Catholic U of America
- Eliot, T. S, "On Poetry and Poets" (1957), Faber
- Ellmann, Richard, "Yeats: The Man and the Mask" (1961), Faber
- Flannery, "Yeats and the Idea of a Theatre: The Early Abbey Theatre in Theory and Practice" (1976), Macmillan
- Henn, T. R, "The Lonely Tower: Studies in the Poetry of W. B. Yeats" (1965)
- Knowland, A. S. W. B, "Yeats, Dramatist of Vision" (1983), Barnes and Noble
- Macrae, "Yeats: A Literary Life" (1995), St. Martins
- Maddox, Brenda, "Yeats's Ghosts: The Secret Life of W. B. Yeats" (1999), HarperCollins
- Mill, John Stuart, "Dissertations and Discussions: Political, Philosophical, and Historica" (1859), John W. Parker and Son
- Miller,Liam.The Noble Drama of W.B, "Yeats" (1977), Dolmen
- Nathan, Leonard E, "The Tragic Drama of William Butler Yeats: Figures in a Dance" (1965), Columbia UP
- Parkin, Andrew, "The Dramatic Imagination of W. B. Yeats. Dublin: Gill and Macmillan" (1978), Barnes and Noble
- Rosenthal, M. L, "Running to Paradise: Yeats's Poetic Art" (1994), Oxford UP
- Stanfield, Paul Scott, "Yeats and Politics in the 1930s" (1988), Macmillan
- Taylor, Richard, "A Reader's Guide to the Plays of W. B. Yeats"
- Taylor, Richard, "A Reader's Guide to the Plays of W. B. Yeats" (1984), St. Martin's
- Ure, Peter, "Yeats the Playwright: A Commentary on Character and Design in the Major Plays" (1963), Routledge and Kegan Paul
- Whitaker, Thomas R, "Swan and Shadow: Yeats's Dialogue with History", U of North Carolina, pp.1964~ (1964), U of North Carolina P
- Yeats,W.B, "Autobiographies:Reveries over Childhood and Youth and The Trembling of the Veil" (1926), Macmillan
- Yeats, W. B, "The Collected Poems of W. B. Yeats. A new edition" (1989), Macmillan
- Yeats, W. B, "The Variorum Edition of the Plays of W. B. Yeats. Ed. Russell K. Alspach and Catharine C. Alspach" (1966), Macmillan
- ---, "A Vision" (1965), Macmillan