詩的 이미지에 관한 考察

徐壽轍 釜山大學校 師範大學 1977 교사교육연구 Vol.4 No.1

The purpose of this paper is to study -the poetic imges examining Imgists' doctrine of images, it's influence on modern verse and C.Day Lewis' the Poetic Image, since he insists thta novelity. audacity, fertility of images are strong-point, the presiding demon of contemporary verse. E.Pound insisted, "An 'image' is that which presents an intellectual and emotional complex in an instant of time. It is the presentation of such 'complex, instantaneously which gives that sense of sudden liberation: that sense of sudden growth, which we experience in the presence of the greatest works." Pound's view on -image formation in poetry has influenced on growing younger poets in America, especially T.S.Eliot, W.C. Williams, W.Stevens, E.E.Cummings, M. Moore, and they could modernized their poetry. The aims for Imagist poets to achieve in poetry were these six principles. (1) the language of common speech, and the exact rather than decorative word:(2)New rhythms-as the expression of new moods, not free verse as the only method of writing poetry, but as a principle of liberty; (3)absolute freedom in the choice of subject; whether modern or old: affirming the artistic value of modern life: (4) To present an image (they were not a school of painter, but they believed that poetry school render particulars exactly: (5) To produce poetry that is hard and clear, never blurred or indefinite: and (6) concentration of the very essence of poetry. Pound insisted, "The image is not an idea. It is a radiant node or cluster: it is what I can, and must perforce, call a VORTEX, from which, and through which, and into which, ideas are constantly rushing." In case of C.Day, Lewis, he mainly discussed the poetic images with the matter of imagery. According to his treatment of image, (1) the image is constant in all poetry: (2) poem is itself an imge: (3) By the idea that imagery iss at the core of poem, apoem may be itself an image composed from a multiplicity of images: (4) It is a picture made out of words: (5) It- is a word-picture charged with emotion or passion: (6) An epithet, a metaphor, a simile, a phrase or passage may create an image, so every poetic image is to some degree metaphorical: (7) Though trends come and go, diction alters, metrical fashions change, even the elemental subject-matter may change almost out of recognition, metaphor, remains, the life-principle of poetry, the poet's chief test and glory. As a conclusion, it seems that poetry should be composed with clear, hard, emotional as well as intellectual images grown by metaphorial expressions of poetical truth found undermeath the things and phenomena, but that the images ought to be clustered with a dominant image.

T.S. Eliot의 詩作에 있어서 神話와 象徵的 表現에 관한 考察 : With Special Refe ence to The Waste Land The Waste Land를 中心으로

徐壽轍 釜山大學校 1982 人文論叢 Vol.21 No.1

T.S. Eliot의 詩劇에 關한 考察 : The family reunion을 中心으로

徐壽徹 釜山大學校 師範大學 1980 교사교육연구 Vol.7 No.2

This paper attempts to present the art of Eliot's poetic play, with special reference to the texture of The Family Reunion and the world of consciousness in this play emphasized by his poetic spirit. This play presents Eliot's experience of "Ash Wednesday": the discovery inexperience of a meaning which re-integrates the whole personality, and changes the direction of the will. This experience is at the centre of the play. We can find the greatest poetry in the scenes between Harry and Mary, and Harry and Agatha, which are both highly dramatic and highly poetic. The story of the play is a modern story, which translates the myth of Orestes pursued by the Furies into terms of everyday life. The tragicomic event has its root in the incongruities of family life: The irony of family conclaves over the younger generation: the malice that salts family conversation: and the personal dislike that can co-exist with a strong sense of the family bond. And the interaction of the three dramas… the true drama of 'sin and expiation': Amy's projected drama of a future not built upon the past: and the chorus's attempted drama of detection… is handled with remarkable skill. In "A Dialogue on Dramatic Poetry", Eliot says that "the human soul, in intense emotion, strives to express itself in verse… The tendency, at any rate, of prose drama is to emphasize the ephemeral and superficial: if we want to get at the permanent and universal we tent to express ourselves in verse". This play depicts two different worlds. The 'normal' world of the play is subdillided into different orders of reality according to the potentialities of characters moving within it. The people in the play whose vision is circumscribed by purely natural law are shallow, almost flat, lacking complexity. They see only events, but they can not interpret motives except by the selfish standards of profit and loss. The strongest character of them is Amy, mother of Harry, the hero of the play. The spiritual world of this play has only one representative, Harry's aunt Agatha, sister of Amy, Agatha is like an inhabitant of the world of vital spirituality and is a gardian or Harry. Harry, the selfstyled wife-murderer, does not submit to the authority of Amy and her world. He exists rather 'between sleep and waking', and he is too sensitive and acute, yet spiritually too childish without Agatha's gardian. The reality of Harry seems that to suffer or endure is to live: to live is inevitably to act. He thinks that right actionr reuires humility, the refinement of will under oppression. So the departure of Harry from Wishwood expresses his discovery that his obligation is to God. And his departure, in a sense, suggests that he is one of those who are called to 'leave all and follow

T.S. Eliot의 詩에 나타난 時間과 無時間性(Ⅱ)

서수철 釜山大學校 師範大學 1984 교사교육연구 Vol.9 No.1

This study attempts to examine and clarify the images and the meanings of 'time and the timeless' in the poetry of T.S. Eliot, from Prufrock and Other Observations to "The Hollow Men". Time itself has no meaning. When human life, however, is reflected upon time, time has meaning for human beings. Man finds himself in a world of changing and becoming, man has striven to formulate for himself some conception of existence different from the mere time-process of events. Just as he finds that the history of his own personality involves a constant succession of events, but yet manifests a certain unity, so he shapes his reflections upon the mirror of time and contrasts the changing with the unchanging, the temporal with the eternal. T.S. Eli6t was a poet of the historical sense of the timeless and the temporal together. He expressed his conception of time as a fragmentary union in his early poems of Prufrock and Other Observations (1917). The poet showed us in the poems what universe of changing and becoming in human life had been. It is the world of 'a thousand sordid images', through which the poet described the quality of the twentieth century's civilization reflected in his consciousness. The evening is not a placid, peaceful city sunset. It fills the poet's imagination with the thoughts of disease and helplessness; of the ether which was not the breath of spirit, but the deadener of consciousness. The time for the poet is the burntout ends of smoky days, with eternal repetition without any direction or order. He says, The morning comes to consciousness Of faint stale smell of beer…… With the other masquerades That time resumes…… In other words, time for his consciousness was a hell covered with inimical clouds of yellow fog and smoke. In this atmosphere, he measured his life with a coffee spoon. He could not speak a word to the women who were such practical without any idea of eternity, as thinking only 'Birth, and copulation, and death, that's all'. In a word his experience of time was boring and meaningless in his early poems. Eliot expressed a unified sense of time in The Waste Land for the first time. By his historical sense he has unified the time of Fisher King from Jessie L. Weston's book on The - Grail legend; From Ritual to Romance, the time of Greek myths of Adonis, Attis, Osiris from Sir James Frazer's Golden Bough, the time of Hinduism and Buddhism as well as Christianism, the time of Dante and Ovid and Shakespeare. Above all, Eliot has united all the rest with Tiresias' consciousness of Greek myth. According to Stephen Spender's Remembering Eliot, he was seriously considered to become a Buddhist when he was writing TAe Waste Land. So a Buddhist is as immanent as Christian in The Waste Land. The influence of Buddhism on Eliot has been so great that emptiness is overflowing in his early poems, The Waste Land and "The Hollow Men". As D. T. Sujuki says Buddhist philosophy is the philosophy of 'Emptiness', it is the philosophy of self-identity. So Eliot seems to have applied this philosophy to his poetry. Throughout his early poems he suggests the emptiness of human behavior, and shows us that human beings will find the meaning of time and life when they have the consciousness of the timeless with time.

Tennyson의 'In Memoriam'에 關한 考察

徐壽轍 釜山工業大學校 1969 論文集 Vol.8 No.-

T. S. Eliot's Four Quartets : 그 主題와 構成 및 表現

徐壽撤 釜山大學校 師範大學 1975 교사교육연구 Vol.2 No.1

This paper is to examinethe the themes, the structure and the poetic method of Four Quartets, taking a consideration with three original problems in poetry: on an order in ordinary reality, on the muse, and onlife and death. Four Quartets is a personal and social study of the significance of man within the context of time. Various aspects of both time and significance being described and examined by him, Eliot's poetry is concerned with a search fortrue meaning or meaningless hidden under the exterior aspect of things. Particulary the search for the reality of the human situation made him a religious poet since "Ash-Wednesday." The Christianity of Eliot's poetry is a purgatorial Christianity as Dante's, Eliot, like Dante his great master, helped to revivify English Christian poetry and' to show that philosophic and religious statement can be used as the subject matters of Four Quartets. So the major themes are of the Creator immanent in the Creation, the Redeemer incarnate as a man suffering for the sin of men in his healing Passion, the Virgin as Intercessor, and the Holy Spirit descending in Pentecostal flame, challenging men with the fire of justice, the fire of purification and the lament fire of union in Paradise of rose garden. The structure of Four Quartets is of a four-in-one. The division of the physical universe in Four Quartets is made into the four elements of air, water and fire. And the elements,are used symbolically to express the elements in the nature of man which make him the microcosm out of the macrocosm. His powers of abstraction are air, the chemical composition of his body is earth, the lifestream in his blood is water, and his spirit is fire. Each poem emphasizes one element in particular. Each poem too creates one of four different ways of looking at time: time as memory; time as cyclical pattern; time as flux; time as the revelation of the meaning of human history. The title of each poem is the name of a place. The four seasons are related to four periods in the life of man comparing it with the movements of sonata in music. The poetic expression is of the objective correlatives. The method of symbolism, work-ing by implication and meed: the method of myth, which is closely allied to symbolism and the method of parallel and contrast, which works by the simultaneous evocation and juxtaposition of situations. If one tried to improve one's faith by writing a pcem about God, the result would be a bad poem and a lack of spiritual progress. But Eliot has written consistently about religious experience. And so for him it is more real, more charged with significance than any other level of reality, and therefore forms the strongest and best material for Four Quartets.

Henry James의 The Art of Fiction에 關한 考察 : The Wings of the Deve를 中心으로

徐壽轍 釜山工業大學校 1969 論文集 Vol.9 No.-

詩作에 있어서 想像力說 : S.T.Coleridge를 中心으로 With Special Reference to S.T. Colerirge

徐壽轍 부산대학교 사범대학 1976 교사교육연구 Vol.3 No.1

T.S. Eliot의 Four Quartets에 나타난 時間과 無時間性 : With Special Reference to the Background of His Thought 그의 思想的 背景을 中心으로

徐壽轍 釜山大學校 1983 人文論叢 Vol.24 No.1

This study attempts to examine and clarify the irnages and the meanings of ‘time and the timeless’ in the poetry of T. S. Eliot, with special reference to philosophical influences of Bergson and Heraclitus, and religious influences of Hinduism and Buddhism in Four Quartets. According to Bergson's conception of time, time is ‘pure duration' which reflects our consciouness and experience as a unity of the whole, This conception of time influenced Eliot's historical sense of the temporal as well as of the timeless. Unifying this conception of time with Heraclitus' Logos, Chritian God, Nirvana of Buddhism, and Krishna, Eliot has incarnated ‘the Still Point' which is the most important element in Four Quartets. To experience the eternal, the still point of the turning world, is to transcend the temporal and to contemplate the ultimate eternal union with the reality or God. Four Quartets represents four ways of which we might experience the reality, or God, in three different Kinds of time and in a timeless dimension. Time in "Burnt Norton" is the moment which comes and goes, revealing the reality to us. This is the image of recollection as the timeless reality. The subject of "East Coker" is personal and social time; the lifetime of a man and the succession of men's lifetime. This is the cyclical pattern of time, from birth to death, with newborn generation to succeed the old. The reality in “East Coker” is God the son. Time in "Dry Salvages" is that of flux and universal history. In this Quartets time is the destroyer as well as the preserver. The reality in this Quartets is Krishna symbolized as Christ. Finally time in "Little Gidding" is the timeless as the revelation of the meaning of human history. 'The communication of the dead is tongued with fire beyond the language of living'. This is a pattern of the intersection of the timeless moment with time. Throughout Four Quartets Eliot suggests the lesson that we can hope to learn from our living in the flux of time. That is the wisdom of humility; 'humility is endless' And in Eliot's lifelong search for the meaning of fragmented experiences in the flux of time with 'becoming and changing' he finds an answer in the relationship that such experiences bear to eternity. At the end of his spiritual journey searching for the meaning of time, he concludes as follows; 'all shall be well and/All manner of thing shall be well/When the tongues of flame are in-folded/Into the crowned 0.lot of fire/And the fire and the rose are one'. This means that when the divine love and the spiritual rose become one as a mystic onion, all shall be well.

T.S.Eliot의 詩와 韓龍雲의 詩에 나타난 禪사상

徐壽轍 동아대학교 인문과학대학 영어영문학과 1989 동아영어영문학 Vol.5 No.-