Yeats : Prosody and Poetic Forms

Rajeev S. Patke 한국예이츠학회 2012 한국예이츠 저널 Vol.37 No.-

예이츠는 테니슨 이후 가장 기교가 뛰어난 시인으로, 스펜서의 시학, 셸리의 시학을 자신의 시학과 연결 짓는 전통을 소중히 여겼다. 그의 현대시에 대한 공헌은 지대하며, 그는 결코 영문학의 시작법을 버리지 않고, 시어, 신택스, 리듬, 톤을 현대화 시킨다. 그는 “현대 시”(1936)에서 “시란 일상어의 리듬을 다듬은 것이고, 그 리듬을 깊은 정서와 엮어주는 것이다.”고 말한다. Yeats is perhaps the best metrist in English after Tennyson, who has a deep respect for the tradition that links the poetics of Spenser’s era to that of Shelley’s and his own. His contribution to modern poetry is great; he has never abandoned the prosodic heritage of English by bringing diction, syntax, rhythm, and tone up to date. Yeats says in “Modern Poetry” (1936) that “[a] poem is an elaboration of the rhythms of common speech and their association with profound feeling.”

Moving in and Out of Borders: Othello, Caliban, and Conrad in Tayeb Salih`s Season of Migration to the North

( Rajeev S Patke ) 한국영어영문학회 2013 영어 영문학 Vol.59 No.3

Borders can be lines on a map, marked with flags, fences, or barbed wire, or they can be boundaries and limit conditions, as much a part of mental baggage as to do with zones of geographical and political demarcation. In postcolonial experience, a border is a cultural barrier more often breached than respected. This paper examines the kind of breaking through boundaries represented in the novel Season of Migration to the North (1966) by the Sudanese novelist Tayib Salih. In his narrative, the protagonist is characterized in a manner that hovers and moves to-andfro across boundaries such as that between realism and allegory, between autobiography and intertexuality, and between literal and figurative acts of translation. The protagonist crosses the literal border from his colonized South to the North where the colonizer lives. He also breaks down the barriers that separate civility and being civilized from rapacity and barbarism. Salih`s novel crosses over into the mode of a fable, which negotiates a crossing between a tale set in England and the Sudan and a fable in which a North African assumes and inverts the typologies and stereotypes associated with Shakespeare`s Othello and Caliban. Salih`s fiction provides a fascinating reflection on a singular aspect of the postcolonial condition which the paper attempts to explicate: the compulsion to create psychic borders, and the equally strong compulsion to break through such borders and boundaries.

Yeats and Stevens : Poetry and Aging

Rajeev S. Patke 한국예이츠학회 2013 한국예이츠 저널 Vol.41 No.-

이 글은 W. B. 예이츠와 왈러스 스티븐스의 노년과 죽음에 대한 태도를 비교한다. 비교는 두 가지로, 먼저, 늙어감의 함축과 암시로 인해 시인 내부에 촉발된 무의식 작용과 대응의 범위를 보여주고, 죽음의 두려움뿐 아니라 노화와 연상되는 감정을 다루는 창조적 상상력에서 찾는 여러 수단들을 보여준다. 본 논지는 시 기법 면에서 놀라운 새로운 통찰을 보이는 시의 기법을 제시한다는 것이다. 예이츠와 스티븐스의 예는 드문 현상이다. 즉, 몸이 쇠퇴하면서, 마음은 나이를 극복하는 새 방법을 동원한다; 죽음이 다가오면, 상상력은 새로운 형태의 창조성으로 대응하는데, 이때 적음이 많음이 되며, 나이는 젊음에는 없는 새로운 표현법을 발견한다. The paper compares the attitudes to old age and impending mortality between W. B. Yeats and Wallace Stevens. The point of the comparison is twofold: first, to illustrate the range of strategies and involuntary mechanisms triggered in poets by the implications and intimations of aging; second, to demonstrate the resources drawn upon by the creative imagination in dealing with the complex of emotions and feelings associated with increasing age and apprehensions of mortality. The aim of the argument is to demonstrate the ways in which the poetry of old age has remarkable new insights to offer in respect of poetic technique. Cases such as Yeats and Stevens exemplify a rare phenomenon: as the body ages, the mind comes up with novel ways of dealing with age; as death approaches, the imagination responds with new forms of creativity, in which less is more, and age discovers modes of expression unknown to youth.

W.B. Yeats and T.S. Eliot: A Mutually Ambivalent Relationship

Rajeev Patke 한국예이츠학회 2017 한국예이츠 저널 Vol.54 No.-

Both Yeats and Eliot adopted a careful tone in writing about the other’s poetry: fundamentally unsympathetic, but willing to concede grudgingly to the power of the other. While Yeats was more unguardedly critical and negative in his reaction to Eliot’s poetry and what he took it to symptomatize about contemporary culture, the younger man was defensively cagey about his view of Yeats, and wrote two formal essays on him, which were not without deference to the older poet’s writing, though fully aware of all the many ways in which it represented the antithesis to what he aspired to in his own work.

Becoming Modern: Pound and Yeats

Rajeev Patke 한국예이츠학회 2018 한국예이츠 저널 Vol.57 No.-

This essay surveys the complex relationship between Ezra Pound (1885-1972) and W. B. Yeats (1865-1939), with special reference to the role played by Pound in Yeats’s self-transformation from late Romantic to early Modernist poet. The essay will also dwell on the distinctive nature of Pound’s contribution to literary modernism, and on how Yeats responded with sympathy to aspects of Pound that he found inimical in the modernism of Pounds’ friend T. S. Eliot (1888-1965). The paper will conclude with reflections on how literary modernism might be understood not simply through tenets of composition but as a phase in literary culture whose history was complexly intertwined with London as a metropolis, which became a home away from home for many expatriate writers. This part of the paper will revisit the kinds of argument associated with Donald Davie’s claim, from Thomas Hardy and British Poetry (1972), that literary modernism was an un-English development largely connected with the influence on English metropolitan culture, of “foreign” authors such as Pound, Eliot, and Yeats.

The Shaping of Yeats’s The Tower and The Winding Stair

Rajeev S. Patke 한국예이츠학회 2012 한국예이츠 저널 Vol.39 No.-

열정적 톤과, 영감을 일으키는 리듬과 구문으로 된, 탑 (1928년)과 나선형 계단과 기타 시들 (1933년)은 우울함과 분노로 차 있으나, 절망을 거부하는 힘으로, 비통함에서 긍정적 정신을 짜낸다. 한 마디로 이런 특징을 정의하면, 확신−즉, 수사적, 극적, 자기 극화적, 영웅적−확신이라 할 수 있는데, 시인은 이것으로 경험의 공적, 사적 영역 사이의 놀라운 결합을 만들어 낸다. Impassioned in tone, inspired in rhythm and syntax, The Tower (1928) and The Winding Stair and Other Poems (1933) speak of depression and rage, but with energy that defies misery, wring spirited affirmations from bitterness. If one had to sum up their striking qualities within a single proposition, it would stress the conviction−rhetorical, theatrical, self-dramatizing, but also heroic−with which the poet brings about a series of surprising conjunctions between the private and public spheres of experience.

Irish Poetry in the Long Shadow of W. B. Yeats

Rajeev S. Patke 한국예이츠학회 2014 한국예이츠 저널 Vol.45 No.-

예이츠 이후의 시적 자세와 태도를 일견하면, 그의 시가 나중에 쓰여 지는 많은 시의 근거가 된다는 점에서 예이츠 이후의 시인들은 그의 그늘에 있다. 그가 황소고 그들이 개미라는 뜻이 아니라, 하나의 태양이 어떤 지형에 하나의 그림자를 던진다는 뜻이다. 그리고 같은 땅 내의 한 부분에서 일한다는 것은 하나의 개미의 그림자가 보다 큰 다른 개미의 그림자와 겹치거나 우연일치가 되며, 그의 그림자의 윤곽은 앞으로 보다 큰 그림자가 나타날 때까지 기준이 된다는 뜻이다. What a brief survey of poetic stances and attitudes indicates is that poets after Yeats have remained in the shade because his work continues to provide the terms of reference for much that continues to preoccupy writing. Not because they are ants to his ox, but because a common sun casts a shadow on all that cover some part of a common terrain, and working one’s patch of ground within it is bound to have an ant’s shadow merge and coincide with that of a larger ant, one whose outline sets a standard for largeness until such time as another ant might come one day who might merge his larger shadow with the others.

Yeats’s Use of the Poetic Refrain

Rajeev S. Patke 한국예이츠학회 2016 한국예이츠 저널 Vol.51 No.-

이 논문은 시의 후렴을 예이츠가 어떻게 사용하는지 보기 위해 전반적 이고 개별적인 가까이 읽기를 한다. 요약, 강조, 및 전후 연결도구로서 구어시에서 생 긴 것이 후렴이다. 예이츠는 이 구어시의 기법을 평생 사용하는데, 시의 모티브와 주 제를 강하게 표현하는 방법으로 반복을 사용한다. 그는 초기시와 말기시에서 이 후렴 을 집중적으로 사용한다. 자유시가 범람하는 당대의 시에서, 오랜 시의 전통에서 얻은 예이츠의 예는 좋은 모델이 된다. 「긴 다리 소금쟁이」같은 시들의 면밀한 분석은 예 이츠가 후렴을 사용하여 얻는 미묘하고 강렬한 의미 만들기의 예를 잘 보여준다. The paper provides both an overview and selected close readings of Yeats’s practice in respect of the poetic refrain. Oral poetry first established the refrain as a device for recapitulation, reinforcement, and structural linking. Yeats used this device from oral traditions throughout his career, making its seeming repetition a formal means for powerful enhancement of a poem’s motif and thematic drive. He made extensive use of the refrain during the early stages of his career, and in the final years of his life. In a contemporary world where poets are habitually addicted to free verse, the example of Yeats offers a salutary lesson from the long past of poetry. The detailed analysis of poems such as “Long-Legged Fly” demonstrates the nuanced and powerful signification Yeats is able to accomplish through the use of the refrain.