De Quincey’s Transgression: The “Dark Sublime” in Confessions of an English Opium Eater
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De Quincey’s poetic illumination of the idea of the sublime in Confessions of an English Opium Eater illustrates his dialectical engagement with Kant and Wordsworth. De Quincey has created the new sort of the sublime that blurs Kant’s logical distinction between the Beautiful and the Sublime and lacks Kant’s key element of innate negativity which posits the Sublime in Kant’s work. Compared to Wordsworth’s Romantic sublime, epitomized by Wordsworth’s poetry of self-mastery and unity with nature, De Quincey’s opium-induced delirium stresses the masochistic humiliation and pains of addiction caused by the damaged self-boundary with no Wordsworthian sense of a final resolution or triumph of subjectivization of the objective world. However, De Quincey’s apparent “failure” to emulate with these philosophical and literary masters is an ironic indication of his subversive act to transgress the aesthetic rules set by the authority, which in itself is sublime.
Abstract
De Quincey’s poetic illumination of the idea of the sublime in Confessions of an English Opium Eater illustrates his dialectical engagement with Kant and Wordsworth. De Quincey has created the new sort of the sublime that blurs Kant’s logical distinction between the Beautiful and the Sublime and lacks Kant’s key element of innate negativity which posits the Sublime in Kant’s work. Compared to Wordsworth’s Romantic sublime, epitomized by Wordsworth’s poetry of self-mastery and unity with nature, De Quincey’s opium-induced delirium stresses the masochistic humiliation and pains of addiction caused by the damaged self-boundary with no Wordsworthian sense of a final resolution or triumph of subjectivization of the objective world. However, De Quincey’s apparent “failure” to emulate with these philosophical and literary masters is an ironic indication of his subversive act to transgress the aesthetic rules set by the authority, which in itself is sublime.
참고문헌 (20)
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