청교주의와 에밀리 디킨슨
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Abstract
Hyesook SonEmily Dickinson's poetry is an emanation of the Puritanism of the Connecticut River Valley, the orthodox Protestant tradition of which Taylor and Edwards are her most notable literary forebears. Her "Puritan Spirit" reveals in her adoption of the Calvinist orthodoxy, her constant use of hymn form and conventional Puritan language, and her absorption of the Puritan rhetorics and the stereotypic Puritan psychology. Especially the fascicles, her private form of self-publication, reveals that she intended a deep structural and thematic unity echoing Puritan meditative tradition. However, much of deconstructionist and feminist criticism fails to fully explain the Puritan construct in Dickinson's mind and her paradoxical attitude toward self and language inherited down from New England Puritans. Though she seems to be rebellious against the very inheritance, her speech is in no way destructive of the faith but revives it constantly, for her poetry is given meaning not by the struggle itself but by the Puritan structure against which she struggled. Her poetry is a way of responding to modernity, synthesizing two apparently contradictory directions in the culture a rejection of and a need for the past, resulting in her unique poetic style. Dickinson suggests that God encounters man on a limit, on her "circumference" which does not submit to human knowledge. Therefore her lyric self shouldn't be understood of its own but in a relationship with God, 'the Other,' though the mainstream of Dickinson studies since 1980s has focused on the myth of incarcerated female subject based on the notion of Cartesian unitary self.
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