토마스 캐리의 장원시: 자아형성의 도덕적 지형도
Thomas Carew’s Country House Poems as Moral Topographies of Self-Formation
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Thomas Carew’s “To Saxham” and “To my friend G. N. from Wrest” belong to the country house poetry genre, whose seminal work is Ben Jonson’s “To Penshurst.” As building or house can be a symbol or an analogy of forming a self, Carew’s literary localizations of Saxham and Wrest can be viewed as moral topographies of self-formation. In his country house poems, Carew repeatedly demarcates spaces in terms of the opposition of inside vs. outside, which plays an important role in the modern understanding of the self. The inwardness or interiority, privacy, and the distanced attitude are distinct features of these poems of public genre. They have been sometimes pointed out as Carew’s defects, but they could be manifestations related to the increasing interests in the inner self and privacy in seventeenth-century England. His continuous drawings of inner/outer boundaries may reflects his desires to build a firm self or identity and to give solid verities to himself and his royalist England. He is somewhat successful in “To Saxham.” However, the solidity of the distanced, self-sufficing inner world of Wrest is precariously disturbed by its transient beauties and pleasures of sense and sensuality and the looming threats of the Civil War.
Abstract
Thomas Carew’s “To Saxham” and “To my friend G. N. from Wrest” belong to the country house poetry genre, whose seminal work is Ben Jonson’s “To Penshurst.” As building or house can be a symbol or an analogy of forming a self, Carew’s literary localizations of Saxham and Wrest can be viewed as moral topographies of self-formation. In his country house poems, Carew repeatedly demarcates spaces in terms of the opposition of inside vs. outside, which plays an important role in the modern understanding of the self. The inwardness or interiority, privacy, and the distanced attitude are distinct features of these poems of public genre. They have been sometimes pointed out as Carew’s defects, but they could be manifestations related to the increasing interests in the inner self and privacy in seventeenth-century England. His continuous drawings of inner/outer boundaries may reflects his desires to build a firm self or identity and to give solid verities to himself and his royalist England. He is somewhat successful in “To Saxham.” However, the solidity of the distanced, self-sufficing inner world of Wrest is precariously disturbed by its transient beauties and pleasures of sense and sensuality and the looming threats of the Civil War.
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