괴테의 초기 송가 『방랑자의 폭풍노래』 연구

임우영(Lim Woo-young) 한국외국어대학교 외국문학연구소 2002 외국문학연구 Vol.- No.12

The mythic figures in 『Wandrers storm song』 cannot be identified on the basis of the old mythology. “Genius”, “Jupiter Pluvius”, “Bromius” and “Apollo” are used always after the intentions of the poet, where his aesthetic opinions are to be represented symbolically. Thus Goethe mixes the Greek mythology with the Christian “genesis”, in order to let the creative artist reach a God similarity. On the other side he represents Gods such as Bromius (Baccus) and Apollo than representatives of a contemporary artistry, which does not produce true art after Goethe's view. Goethe rejects Theokrit and Anankreon, and Jupiter Pluvius and Pindar are the genius (protection God) of the ingenious and creative artist and the ideal model, which the artists of the recent time are to follow. Jupiter Pluvius is a creator God, which rules over the large natural phenomena (thunderstorm, hail weather), the wanderer as origin of his artistic experiences “glow”. The old-Greek poet Pindar wrote the Ode “victory song”, in which the courage of a car steering wheel is praised. That is after Goethe a model of the artist. Goethe presents into 〈Wanderers storm song〉 a “lyric I”, which wants to achieve a goal both from the life and from the art. Goethe refers to the scene of the Pindars of car steering wheel as the best symbolic paragon for the poets of the more recent time, where a hero down-floats regardless of the danger of the mountains. In this condition could the lyric I (one of ingenious artists) and the genius unite. But the other side of the ‘Wanderer’ in the Epode of the 3. Triad, where the proud wanderer recognizes himself as ‘an ingenious artist’ and directly as a “Unbehauster”(homeless), is to be compared with the Ikarus myth. The wanderer, who believes to be raised by the godlike inspiration like that glowing and to a “divinity” like the car steering wheel in the Pindars Ode, longs suddenly for a small “hut”, where he can stay on earth. He envies the small “feuerigen”(mettlesome) returning farmer and tries to overcome the terrestrial luck blessedness of the farmer by highest artist consciousness raised from Pindar. After his “high” flight he feels absolutely necessary to return again to the reality. Because he recognizes, that his genius cannot always remain for him and give him the ingenious inspiration. Here the loud statement of the wanderer is related that he is an ingenious artist like the Gods and therefore he can exceed the terrestrial limitation “godlike”. As in 〈Prometheus〉 and 〈Ganymed〉 an ambivalence is also shown in Goethe’s Ode 〈Wandrers storm song〉, which mentioned that “ingeniously” a young artist must come into a conflict between the godlike feeling artistry and not always with the “divinity” agree becoming reality. The mythic figures in 『Wandrers storm song』 cannot be identified on the basis of the old mythology. “Genius”, “Jupiter Pluvius”, “Bromius” and “Apollo” are used always after the intentions of the poet, where his aesthetic opinions are to be represented symbolically. Thus Goethe mixes the Greek mythology with the Christian “genesis”, in order to let the creative artist reach a God similarity. On the other side he represents Gods such as Bromius (Baccus) and Apollo than representatives of a contemporary artistry, which does not produce true art after Goethe's view. Goethe rejects Theokrit and Anankreon, and Jupiter Pluvius and Pindar are the genius (protection God) of the ingenious and creative artist and the ideal model, which the artists of the recent time are to follow. Jupiter Pluvius is a creator God, which rules over the large natural phenomena (thunderstorm, hail weather), the wanderer as origin of his artistic experiences “glow”. The old-Greek poet Pindar wrote the Ode “victory song”, in which the courage of a car steering wheel is praised. That is after Goethe a model of the artist. Goethe presents into 〈Wanderers storm song〉 a “lyric I”, which wants to achieve a goal both from the life and from the art. Goethe refers to the scene of the Pindars of car steering wheel as the best symbolic paragon for the poets of the more recent time, where a hero down-floats regardless of the danger of the mountains. In this condition could the lyric I (one of ingenious artists) and the genius unite. But the other side of the ‘Wanderer’ in the Epode of the 3. Triad, where the proud wanderer recognizes himself as ‘an ingenious artist’ and directly as a “Unbehauster”(homeless), is to be compared with the Ikarus myth. The wanderer, who believes to be raised by the godlike inspiration like that glowing and to a “divinity” like the car steering wheel in the Pindars Ode, longs suddenly for a small “hut”, where he can stay on earth. He envies the small “feuerigen”(mettlesome) returning farmer and tries to overcome the terrestrial luck blessedness of the farmer by highest artist consciousness raised from Pindar. After his “high” flight he feels absolutely necessary to return again to the reality. Because he recognizes, that his genius cannot always remain for him and give him the ingenious inspiration. Here the loud statement of the wanderer is related that he is an ingenious artist like the Gods and therefore he can exceed the terrestrial limitation “godlike”. As in 〈Prometheus〉 and 〈Ganymed〉 an ambivalence is also shown in Goethe’s Ode 〈Wandrers storm song〉, which mentioned that “ingeniously” a young artist must come into a conflict between the godlike feeling artistry and not always with the “divinity” agree becoming reality.

The research on color theory: Focused on the background of color theory

김미옥 한국일러스아트학회 2014 조형미디어학 Vol.17 No.4

Goethe and Newton represent the humanities and natural science. But they have something interesting in common. They did research in light and color. Goethe opposed seven different colors of Newton. Goethe maintained the three primary colors of red, yellow and blue. To each, green, violet and orange color, Goethe emphasized, responded to them as complementary color. Goethe, for the first time, insisted the psychological effect that red responded to passion and excitement and that blue responded to contraction and coolness. Painters welcomed color theory of Goethe. They thought to be true that Goethe’s color theory is accorded with the work of painters better than Newton’s color theory. They applied the psychological effect of color to their drawings. Goethe’s theory that the color is formed to the boundary between the light and darkness has no scientific basis. But his <Color Theory> deals with the problem that Newton can’t answer. Goethe answers the one that can’t be answerable. Goethe was not negligent at the research about natural phenomenon through his whole lifetime. The reason why Goethe’s <Color Theory> that was not acknowledged in those days, after many years, has been acknowledged is that Goethe’s <Color Theory> is not by product formed by a theoretical consequence, but the result obtained through progress of incessant experiment. In order to generalize and systematize his <Color Theory>, Goethe had an interest to an excellent interpretation about the absolutely aesthetic ideals in Greece of Winckelmann who is German philosopher at 18th century. Especially, through Herder Goethe possessed the freewheeling thought against the form and the rule of literature. Goethe also had hot passion toward nature and had the daring resistance against the social, artistic tradition. Through the research of Goethe’s <Color Theory>, I could know of the reason why he could form his own color theory, in spite of the pessimistic view in those days. That was because of his color theory systematized through diverse experience together with reaction of Newton’s color theory.

괴테 『파우스트 1』의 첫 세 장면에 나타나는 성서적인 요소

이선자(Yi Son-cha) 한국외국어대학교 외국문학연구소 2006 외국문학연구 Vol.- No.23

Throughout his life, Goethe maintained an interest in biblical subjects, languages and imagery. In the introductory section of this paper, the biblical themes, motives and languages of Goethe's characters are discussed. The second section approaches Goethe's biblical knowledge biographically, exploring how he acquired such erudition in his childhood and what biblical passages he was exposed to in his youth. Goethe employed biblical languages not only as a means of imparting spiritual and theological meanings through his writing but also as a form of literary expression. The third section explores the function of the biblical quotations in Prelude in the Theater, and compares some of the vocabulary used in that work to that of the Bible. In the language of the poet, the biblical sense of the meaning is expressed, while in that of the comedian and the director, despite their use of biblical vocabulary, the language has a secular touch. The fourth section, Prologue in Heaven depicts various biblical themes, such as the archangels' songs glorifying God's creation and Mephistopheles as Satan complaining of God's creation of human beings. The fifth section explores the great scholar's fall into despair following his fruitless intellectual efforts to penetrate the secrets of the universe. The scholar tries to enter the world of spirits in order to obtain the magical knowledge that he requires. Goethe uses biblical phrases to depict the scene, but beyond the lingual commonalities on the surface, Goethe's depiction drifts far beyond that of the Bible. In general, however, Goethe's biblical allusions maintain their inherent biblical meanings and, even further, shoulder secular, unbiblical meanings as well. At times, Goethe uses biblical material when its meaning is essential, but at other times the material is employed merely to set up scenes, portray characters, and to add artistic value. Throughout his life, Goethe maintained an interest in biblical subjects, languages and imagery. In the introductory section of this paper, the biblical themes, motives and languages of Goethe's characters are discussed. The second section approaches Goethe's biblical knowledge biographically, exploring how he acquired such erudition in his childhood and what biblical passages he was exposed to in his youth. Goethe employed biblical languages not only as a means of imparting spiritual and theological meanings through his writing but also as a form of literary expression. The third section explores the function of the biblical quotations in Prelude in the Theater, and compares some of the vocabulary used in that work to that of the Bible. In the language of the poet, the biblical sense of the meaning is expressed, while in that of the comedian and the director, despite their use of biblical vocabulary, the language has a secular touch. The fourth section, Prologue in Heaven depicts various biblical themes, such as the archangels' songs glorifying God's creation and Mephistopheles as Satan complaining of God's creation of human beings. The fifth section explores the great scholar's fall into despair following his fruitless intellectual efforts to penetrate the secrets of the universe. The scholar tries to enter the world of spirits in order to obtain the magical knowledge that he requires. Goethe uses biblical phrases to depict the scene, but beyond the lingual commonalities on the surface, Goethe's depiction drifts far beyond that of the Bible. In general, however, Goethe's biblical allusions maintain their inherent biblical meanings and, even further, shoulder secular, unbiblical meanings as well. At times, Goethe uses biblical material when its meaning is essential, but at other times the material is employed merely to set up scenes, portray characters, and to add artistic value.

토마스 만의「로테, 바이마르에 오다」에 나타난 상호텍스트성 - 괴테 작품과의 상관성을 중심으로

임홍배 한국괴테학회 2017 괴테연구 Vol.- No.30

In der vorliegenden Arbeit wird versucht, Aspekte der Intertextualität in Thomas Manns Lotte in Weimar (1939) zu untersuchen. Laut Julia Kristeva ist jeder Text ein ‘Mosaik von Zitaten’, die ‘Absorption und Transformation’ anderer Texte. Lotte in Weimar ist ein Musterbeispiel dafür. In der Erinnerung an die Werther-Szenen gelangt Lotte zur “Empfindung der Vergangenheit und Gegenwart in Eins”, wie Goethe in Dichtung und Wahrheit darstellt; Die Erzählzeit der Gegenwart und die erzählte Zeit der Vergangenheit überlagern sich. Darüber hinaus werden fiktive Ebene und erlebte Wirklichkeit getauscht und miteinander verschmolzen, wodurch sich die höhere Wirklichkeit als reale Wirklichkeit konstruiert. Während sich Lotte im Halbschlaf traumhaft an den einmaligen Kuss mit dem jungen Goethe erinnert, assoziiert Goethe zur gleichen Zeit den Geruch der Erdbeere mit dem Kuss, den Goethe als Höhepunkt der zugleich sinnlichen und platonischen Liebe empfindet. In der Erinnerung an die Frauen, die Goethe liebte, taucht die junge Lotte immer wieder als Urbild der Geliebten auf. So erfährt Goethe die Liebe als das ‘zeitenthobene Gedankenspiel’. Aber die Beziehung zwischen Goethes Sohn August und Ottilie gefährdet die scheinbare Harmlosigkeit dieses Liebesspiels, zumal sich Ottilie aufgrund des Goethekults entschließt, August quasi als den ‘jungen Goethe’ zu lieben und ihn zu heiraten. Deshalb bittet Ottilies enge Freundin Adele Schopenhauer Lotte darum, diese inzestuöse Heirat zu verhindern. Aber Lotte segnet die Heirat ab, weil sie sich mit August so schicksalshaft verbunden fühlt, dass er ihr Sohn sein könnte. So wird Lotte als ein symbolisches Familienmitglied in Goethes Leben eingebettet. Im Zwiegespräch mit dem Goethe-Phantom im letzten Kapitel wirft Lotte Goethe vor, die Frauen, die Goethe liebte, dem Altar von Goethes Dichtung geopfert zu haben. Darauf erwidert Goethe, er selber sei ‘die brennende Kerze’, “die ihren Leib opfert, damit das Licht leuchte.” Unter diesem Licht der Dichtung werden die Frauenbilder zu einem Urbild verklärt. Goethes letztes Wort―“welch ein freundlicher Augenblick wird es sein, wenn wir dereinst wieder zusammen erwachen.”―ist ein wörtliches Zitat aus den Wahlverwandtschaften und lässt sich als autoreferentielles Zitat verstehen, da Lotte und Goethe in Lotte in Weimar wieder zusammen erwachen.

芥川龍之介におけるゲ-テとイエス : 「或阿梅の一生」と 「西方の人」をめぐって

임훈식 ( Hoon Sik Lim ) 한림대학교 일본학연구소 2014 翰林日本學 Vol.0 No.25

本稿の硏究目的は、芥川龍之介にとってゲ-テとイエスはどういう存在であるかを、ゲ-テに焦点を合 わせると共にイエスにも照らしつつその意味を究めることにあった。自傳的な作品 「或阿梅の一生」と 「西方 の人」を中心として考察した結果、芥川は二人の人物を對照的な存在と把握していたことが分かった。 學生時代からゲ-テに傾倒していた芥川は、作家や政治家として精力的な活動ぶりを見せるゲ-テに 襁い憧れを感じた。デモ-ニッシュな<運命>に捕らわれずに、文芸面や政治家など、多方面ですぐれた 才能を發揮していたゲ-テは、芥川の目にはイエスよりも偉大な人物だったのである。と言うのは、芥川の 目に映ったイエスは<運命の子>として生まれ、生涯<運命>の支配を受けつつ人生の道を步んでいった からであった。したがって芥川は、ゲ-テは處世術に長ける人物と見たが、イエスは處世術の下手な人物であり人生での失敗者と見ていたのである。 要するに芥川は、ゲ-テからは 「超人」の樣子を見たのに比して、イエスからは人生の落伍者としての 「超阿梅」の實憤を見ていたことが分かった。このような芥川の視角には、芥川自身の過ぎし人生に對する觀 念が投影されていたのは言うまでもなかろう。つまり、ゲ-テは芥川自身の<願望の對象>であり、イエス は芥川の<悔恨の自話像>だったのである。 以上のような考察を通して、ゲ-テとイエスの人生の上には芥川自身の人生觀や運命觀が披瀝されて いたことが明らかになったと思う。 A purpose of this work is to study the meaning of the existences of Goethe and Jesus for Ryunosuke Akutagawa by focusing on Goethe and comparing Goethe with Jesus. After studying with emphasis on autobiographical works, The Man of the West and the Fool’s Life, it turned out that Akutagawa had realized Goethe and Jesus as the two contrasting figures. Akutagawa, who was devoted to Goethe, had strong admiration to Goethe’s vivid activities as an author and politician. Akutagawa considered Goethe as the greater being than Jesus, because Goethe showed amazing talents in various areas without being captured by the “destiny”, while he regarded Jesus as the one who was born as a “son of destiny” and lived His entire life governed by the “destiny”. In addition, Akutagawa thought Goethe knew how to get on well in the world, while he considered Jesus as the one unsuccessful in life due to His lack in worldly wisdom. After all, Akutagawa’s own notion about life is reflected in his such viewpoint. In summary, Goethe was the one on whom Akutagawa put his own hope, while Jesus was Akutagawa’s own portrait of repentance. Through this study, it turned out that Akutagawa’s viewpoints toward the life and destiny were represented in the lives of Goethe and Jesus.

괴테와 중국철학

안종수 새한철학회 2012 哲學論叢 Vol.69 No.3

The Purpose of this essay is to examine the similarities between Goethe's philosophy and Chinese philosophy. Goethe was interested in China, and read many chinese literature books. For instance, Goethe read Noël's Sinensis imperii libri classici sex, Du Halde's Detailed Description of the Chinese Empire, Marco Polo's De regionibus Orientalisbus, Martini's Atlas Sinensis, Lord Anson's Voyage Round the World, Davis' An Heir in His Old Age (Lao-sheng-erh), Perry's The Affectionate Pair (Hao-ch‘iu-chuan), Thoms' Chinese Courtship in Verse (Hua Ch‘ien Chi), Rémusat's Les deux Cousines (The Male and Female Brother). The result was the Chinesisch deutsche Jahres- und Tageszeiten. Written during the summer of 1827, these fourteen short poems blending Chinese and German themes constitute Goethe's final lyric cycle. They show Goethe as a mandarine who rests in his garden from the service at court and they breathe the air and the spirit of classic Chinese poetry. It is very interesting that there are correspondences between the philosophy of Goethe and that of Neo-confucianism. For example, there are the correspondences between Goethe's Pantheism and the Neo-confucian Pantheism, between Goethe's Polarity and the Chinese theory of the Yin-Yang, between Goethe's theory of Parts and Wholes and the Chinese theory of One Principle and Its Manifestations. In this essay is examined these correspondences between two philosophies. This work will show that in eastern and western philosophy exists Goethe's primal phenomenon, which is an instance worth a thousand, bearing all within itself. 괴테는 독일의 위대한 문학가로 우리에게 잘 알려져 있지만 철학과 과학의 분야에서도 탁월한 업적을 남겼다. 그는 평생 동안 다양한 분야에 관해 꾸준히 연구했고, 독창적인 견해를 내놓기도 했다. 만년에 그는 중국에 관심을 가지게 되어 중국 관련 서적들을 많이 읽었다. 특히 중국문학에 흥미를 보였고, 세계문학의 시대가 올 것이라고 예상하였다. 확실하게 그가 읽었다고 생각되는 책으로는 노엘의 번역서 「중국의 여섯 고전」, 뒤 알드의 「중국제국전지」, 마르코 폴로의 「동방견문록」, 마티니의 「중국지도첩」, 안손 경의 「세계일주」, 데이비드의 「노생아」번역서, 페리의 「호구전」번역서, 톰스의 「화전기」번역서 등이 있다. 이렇게 중국과 중국문학에 대한 지식을 축적한 그는 1827년에 「중국·독일의 4계절과 사시」라는 연작시를 쓰기도 하였다. 이 작품은 괴테 자신이 중국의 고관이 되어서 강가에서 친구들과 한가하게 술을 마시고 시를 지으면서 즐거운 시간을 보내는 그런 풍경을 그리고 있다. 현실의 정치와 업무에 지친 그가 잠시 모든 것을 잊고 중국의 시인들처럼 자연과 하나가 되고 싶었던 모양이다. 괴테와 중국의 인연은 여기서 끝나지 않는 것 같다. 그의 철학에서 몇 가지 중요한 이론이 중국철학의 이론과 상당히 유사한 면을 가지고 있어서 우리의 관심을 끈다. 본 논문에서는 특히 범신론, 양극성의 원리, 부분과 전체 등의 주제를 중심으로 괴테의 철학과 중국철학 사이에 보이는 유사성을 자세하게 살펴보았다. 뉴턴의 분석적인 방법을 싫어했던 괴테의 철학이 동양철학과 가까운 것은 어쩌면 당연한 일인지도 모른다.

『괴테가 한 아이와 주고받은 편지』와 베티나 폰 아르님

박광자 한국괴테학회 2004 괴테연구 Vol.0 No.16

Durch Goethes Briefwechsel mit einem Kinde(1835) gehört Bettina von Arnim den wenigen Schriftstellerinnen der Romanik, die sich die Namen in der Literaturgeschichte machten. Das Goethebuch aber diente Bettina, ihr Bild als Mignon zu beschränken, das ein androgynes Wesen, das nicht wachsen will. Am Anfang wollte Bettina eine Biographie über Goethe schreiben, aber als sie von seiner Arbeit an Dichtung und Wahrheit erfuhr, veränderte sich das Goethe-Projekt. Aus Goethes Biographie wurde ein Briefroman, dessen Hauptperson Bettina ist. Bettina benutzte die Form des Briefwechsels, den Dialog, um ihr Gefühl auszudrücken, sie brauchte Goethe als den Hörenden, den Gegenüber, den Spiegel, in dem sie sich spiegeln konnte. In diesem Sinne soll Bettinas Goethebuch nicht Goethes Briefwechsel mit einem Kinde, sondern Bettinas Briefwechsel mit Goethe genannt werden. Auf Bettinas zahlreiche, herzliche Briefe antwortet Goethe immer seltener, und im 3. Buch ist er ganz stumm: Bettina führt Tagebuch. In einem Aufsatz Goethe und Bettina nannte Herman Hesse Bettinas Goethe den Magnetberg, dem das Schiff namens Bettina entgegenstrebt. Hesse verglich Goethe mit einem chinesischen Magier oder einem geheimvollen alten Mann, der im Begriffe ist, sich mehr und mehr zu entpersönlichen und völlig in Anonyme zu entschwinden. Für Bettina ist Goethe keine reale Person, sondern der Göttliche, der Patriarch, durch den man sich geistig erhöhen kann.

슈베르트의 괴테-가곡 연구

김희열 ( Hi Youl Kim ) 한국괴테학회 2013 괴테연구 Vol.- No.26

Diese Arbeit behandelt analysierend die Fragen, wieweit Goethe das Lied beeinflusste, oder umgekehrt, wie die Einheit von Wort und Ton in den Goethe-Liedern von Franz Schubert verwirklicht wird, wie Schubert dadurch eine neue Musikgattung schuf, und wie die mit lyrischer Schonheit erfullte Dichtung Goethes zum Geist des deutschen Kunstliedes geworden ist. In der Geschichte des Liedes wurden die Gedichte Goethes nach denen von Heine am zweitmeisten vertont. Goethe leistete damit einen großen Beitrag zur Entwicklung und Entfaltung des Liedes, einer wichtigen Gattung der Musik, welche sich erst im 19. Jahrhundert etablierte. Unzahlige Liedkomponisten haben - mit Beginn des Liedschaffens von Johann Friedrich Reichardt - Goethes Gedichte vertont. Reichardt vertonte mit etwa 110 seiner Gedichte die meisten und war auch der Erste, der seine Gedichte vertonte. Der zeitgenossische Komponist Carl Friedrich Zelter, Goethes enger Musikfreund und -berater, vertonte ca. 70 Gedichte von Goethe, Schubert, Carl Loewe und Hugo Wolf uber 50 seiner Gedichte. Außerdem vertonten Goethes Dichtungen auch Mozart, Beethoven, Zumsteeg, Fanny Hensel, Robert und Clara Schumann, Brahms, Liszt, Wagner, Strauss, Schonberg, Anton Webern, Hindemith, Eisler, Berg, Othmar Schoeck, Rihm usw. Sie vertonten sowohl seine Lyrik als auch Texte aus dem 『Faust』, aus 『Wilhelm Meisters Lehrjahre』, 『Tasso』, 『Egmont』 oder 『Iphigenie auf Tauris』. Indem Schubert den poetischen Geist Goethes hervorragend interpretierte, bekam Goethes vertonte Dichtung - verglichen mit den Liedern von Reichardt und Zelter - damit ein ganz anderes, neues Leben. Die beiden, die als musikalische Interpreten großer Dichtung einen hohen Rang unter den Musikern ihrer Zeit hatten und von Goethe sehr anerkannt wurden, stellten dennoch die Musik unter die Dichtung und hielten die Vertonung, die den Sinn der Dichtung verdeutlicht, fur eine nebensachliche Funktion. Ihr Versuch, Goethes Dichtung musikalisch zu interpretieren, entstand unter dem Einfluss Goethes auf die Musik bzw. unter den personlichen Kontakten. Die Goethe-Lieder von Schubert waren Kunstlieder, die auf dem Gleichgewicht der Singstimme und des Klaviers beruhten. In allen wesentlichen und beispielhaften Fallen beruhte die asthetische Vollkommenheit der Liedkunst auf der Entsprechung von Dichtung und Musik, auf der Kongenialitat des Musikers mit dem Dichter, dessen Dichtungen er in seine Musik ubersetzte. In diesem Sinn ist Schubert der Komponist, der am deutlichsten und großartigsten Goethes Dichtung musikalisch interpretierte. Das schopferische Verstandnis der Dichtkunst Goethes zeugt ohne jeden Zweifel fur die Kunstlergroße Schuberts, eben kraft seiner Fahigkeit der Einfuhlung in die große Natur des Dichters.

芥川龍之介におけるゲーテとイエス :「或阿呆の一生」と「西方の人」をめぐって

林薫植 한림대학교 일본학연구소 2014 翰林日本學 Vol.0 No.25

본 논문의 목적은 아쿠타가와에게 있어 괴테와 예수란 어떤 존재인가라는 것을괴테에 초점을 맞추고 예수의 삶을 비추어 고찰하는 데 있다. 이에 본 논문에서는 아쿠타가와의 대표적인 자전적인 작품인 "어느바보의 일생" 과 "서방인"을 중심으로 분석하였다. 이른 통해, 아쿠타가와는 두 명의 인물을 대조적인 존재로 파악하고 있다는 것을 알 수 있었다. 학생 시절부터 괴테에 경도되었던 아쿠타가와는 작가와 정치가로서 정력적인 활동을보인 괴테에 대한 강한 동경을 보였다. 초인적인 <운명>에 사로잡히지 않고 문예 뿐 아니라과 정치가로서 다방면에 걸쳐 훌륭한 재능을 발휘한 괴테는 아쿠타가와의 눈에 예수보다도 위대한 인물이었다, 고 할 수 있다, 그 이유는 아쿠타가와의 눈에 비친 예수는 <운명적인 출생>과 생애 <운명>의 지배를 받으며 인생을 살아갔기 때문이다. 따라서 아쿠타가와는 괴테는 처세술에 능한 인물로 보이나 예수는 처세술에 능하지 못한 인물로 인생에서의 실패자로 보았던 것이다. 다시 말하면 아쿠타가와에게 괴테로부터는 초인의 모습을 찾은 반면 예수로부터는 인생의 낙와자로서 상바보의 실체를 보았던 것으로 보인다. 이러한 아쿠타가와의 시각에는 아쿠타가와 자신이 산 인생에 대한 관념이 투영되어 있던 것은 말할 것도 없을 것이다.괴테는 아쿠타가와 자신의 선망의 대상이었고 예수는 아쿠타가와의 회환의 자화상이었다고 할 수 있다. 이러한 고찰을 통해 괴테와 예수의 인생을 통해 아쿠타가와가 자신의 인생관 운명관이 피력되고 있음을 알 수 있었다. A purpose of this work is to study the meaning of the existences of Goethe and Jesus for Ryunosuke Akutagawa by focusing on Goethe and comparing Goethe with Jesus. After studying with emphasis on autobiographical works, The Man of the West and the Fool’s Life, it turned out that Akutagawa had realized Goethe and Jesus as the two contrasting figures. Akutagawa, who was devoted to Goethe, had strong admiration to Goethe’s vivid activities as an author and politician. Akutagawa considered Goethe as the greater being than Jesus, because Goethe showed amazing talents in various areas without being captured by the “destiny”, while he regarded Jesus as the one who was born as a “son of destiny” and lived His entire life governed by the “destiny”. In addition, Akutagawa thought Goethe knew how to get on well in the world, while he considered Jesus as the one unsuccessful in life due to His lack in worldly wisdom. After all, Akutagawa’s own notion about life is reflected in his such viewpoint. In summary, Goethe was the one on whom Akutagawa put his own hope, while Jesus was Akutagawa’s own portrait of repentance. Through this study, it turned out that Akutagawa’s viewpoints toward the life and destiny were represented in the lives of Goethe and Jesus.

괴테의 『로마 悲歌 Römische Elegien』에 나타난 에로티시즘

임우영(Lim, Woo Young) 한국외국어대학교 외국문학연구소 2007 외국문학연구 Vol.- No.25

괴테의 『로마 비가』(1788-1790)는 의식적으로 고대 비가의 전통적인 형식에 맞추려고 했던 그의 첫 연작시이다. 이 연작시에는 사랑, 로마, 그리고 고대 신들과 영웅들이 살아 숨쉬는 신화의 세계라는 세 가지의 모티브가 어우러져있다. ‘로마’는 1번 비가에서부터 ‘사랑’으로 이해되어 새롭고 다채로운 사랑의 양태를 선사하면서 영웅의 세계가 그 사랑의 모범을 보여준다. 괴테는 20편의 연작시에 이 테마들을 시간적, 공간적으로 서로 연결되게 구성하지는 않았다. 오히려 하나, 하나의 비가에는 시인이 있는 로마라는 공간에서, 고대의 예술 정신이 살아 숨쉬는 현재의 로마라는 공간에서 시인 자신이 경험하는 사랑의 모티브가 고대의 신화와 결합되어 시적인 모습으로 현재화되어 생생하게 나타난다. 『로마 비가』에 나타난 사랑은 그 이전 괴테의 시에 나타난 동경이나 열정이 아니라, ‘쾌락과 성취’이다. 괴테가 의도적으로 모방하려했던 고대 로마의 비가 시인 프로페르츠의 비가에 헬레니즘 시대가 반영되어 시인이 살던 시대의 정신과 삶의 감정으로 충만 되어 있는 것처럼, 괴테는 자신이 이탈리아에서 체험하는 현재의 생활감정을 이 고대 로마 시인의 비가의 형식에 담아 자신의 것으로 만들고 있다. 또한 괴테의 『로마 비가』는 관능적 요소를 우회적으로 묘사하는 전통을 거부하고, 작가의 개인적인 체험과도 거리를 두는 새로운 작가의식을 보여주려던 예술적 ‘실험’이었다고도 할 수 있다. Goethes Römische Elegien (1788-1790) is his first poem cycle, which he intentionally tried to fix in the traditional type of ancient elegy. There were two meanings in the elegy from ancient times. First, the elegy was a complaint poem (Klagegedicht), in which one deplored oneself painfully and gave up. Second, it was a two line poem (Distichon). Goethe accepted all of the traditional motives of the ancient elegy(god of love Amor, another gods and the heros and the jealousy) in Römische Elegien. At the same time he depicted what the german artist experienced in Rome in 18 century with the color of himself. Because of that, lovers often cheat on their partner in the ancient elegy but young widow appearing in Goethe's elegy is soft and sincere. The atmospheres which formed the ancient elegy were ardor, insecurity, pain and unaccomplished love.. Such an erotic motive appeared in Goethe's Römische Elegien too, but the important theme of the elegy was 'accomplished love' not 'pain of love'. In the Goethe's poem cycle these themes were not connected with each other in space and time. He just 'talks' several themes that there are no time binding forces in each elegy. Consequently the motive of love which poet experienced in the present Rome where the poet lives in (and where the art spirit of ancient times lives and breathes) appears freshly as poetic features combined with myth of ancient times in each elegy. The poem cycle tend to tie several important themes connected each other at one. The first important theme is love and second theme is Rome as the title of the poem shows. In Rome the historical past and the present time that Goethe experienced coexist. The third theme is the world of the myth where the ancient gods and heroes live in. These three motives harmonize in Roman elegy and the 'Rome' is understood with the 'love' from the first elegy. It also presents the diverse state of love and the world of the hero is playing a roll as model of love. Goethe combined the form and motive of 'love elegy' of the ancient times with Rome and Amor. And he applied that creatively. The love which appears in the Römische Elegien isn't adoration or ardor showed in Goethe's previous poem, but pleasure and the accomplishing. The poet doesn't deplore the pain caused by love with lover symbolized as Amor, but he enjoys fully the happiness that he got through the love. It is positive that Goethe tried to imitate Properz with consciousness. But the Roemische Elegien went over the dimension of the imitation. It was a monument for Properz built by a poet from north. As the Properz's elegy is filled with the author's spirit and sentiment of life and reflects from the Hellenism, Goethe made his feeling of the experiences in Italy with own thing in type of elegy of ancient Rome poet. But Römische Elegien refused the tradition to depict sensual elements indirectly and tried to show a new writer awareness to dissociate from author's personal experience.