『 클라리사 』에 나타난 로맨스, 사실주의, 반-로맨스 서술의 충돌과 공존
The Collision and Coexistence of the Romantic, the Realistic, and the Anti-romantic Narratives in Samuel Richardson’s Clarissa
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Approaching Samuel Richardson’s Clarissa as a locus of an warfare of discordant narratives and their subsequent co-existence, the paper explores how the realistic narrative predominantly used by Clarissa and the romantic and the anti-romantic narratives mainly used by Lovelace fiercely collide and then ultimately coexist in one textual body. Adopting Eagleton’s claim that Clarissa shows both the realistic and the allegorical and McKeon’s hypothesis regarding the origins of the novel, I argue in this paper that the oppositional narratives of Clarissa and Lovelace tend to expand to each other’s boundary, particularly after the rape, and come to coexist as ‘one’ text that has to embrace heterogeneous narratives in it. Even after their death, their narratives still remain distinguishable as discordant voices, though mingled into ‘one.’ The paper closely examines how the narratives of Clarissa and Lovelace go through changes after the rape; Clarissa’s narrative gradually move toward the spiritual romance in which she yearns for oneness with the divine being, while Lovelace discards his earlier romantic posture and moves toward the anti-romance in his narrative as well as actions. The interactive move in part resembles McKeonian claim regarding Richardson and Swift, particularly in his emphasis on the dialectic movement of diverse narratives, including traditional romance, realism, and the anti-romantic skepticism. The final text we get is, however, not a product of dialectical interactions but rather an accidental mingling of heterogeneous narratives, still circulating on the axis of romance till the end despite each writer’s persistent negation of it.
Abstract
Approaching Samuel Richardson’s Clarissa as a locus of an warfare of discordant narratives and their subsequent co-existence, the paper explores how the realistic narrative predominantly used by Clarissa and the romantic and the anti-romantic narratives mainly used by Lovelace fiercely collide and then ultimately coexist in one textual body. Adopting Eagleton’s claim that Clarissa shows both the realistic and the allegorical and McKeon’s hypothesis regarding the origins of the novel, I argue in this paper that the oppositional narratives of Clarissa and Lovelace tend to expand to each other’s boundary, particularly after the rape, and come to coexist as ‘one’ text that has to embrace heterogeneous narratives in it. Even after their death, their narratives still remain distinguishable as discordant voices, though mingled into ‘one.’ The paper closely examines how the narratives of Clarissa and Lovelace go through changes after the rape; Clarissa’s narrative gradually move toward the spiritual romance in which she yearns for oneness with the divine being, while Lovelace discards his earlier romantic posture and moves toward the anti-romance in his narrative as well as actions. The interactive move in part resembles McKeonian claim regarding Richardson and Swift, particularly in his emphasis on the dialectic movement of diverse narratives, including traditional romance, realism, and the anti-romantic skepticism. The final text we get is, however, not a product of dialectical interactions but rather an accidental mingling of heterogeneous narratives, still circulating on the axis of romance till the end despite each writer’s persistent negation of it.
참고문헌 (27)
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