이재호 저 『 장미와 (薔薇) 무궁화 (無窮化) - 영문학산책 (英文學散策) 』

강대건 한국영어영문학회 1983 영어 영문학 Vol.29 No.4

Eliot의 觀念型

姜大虔 동국대학교 영어영문학과 1974 Dongguk review Vol.- No.5-6

Eliot의 예술을 시종일관하고 있는 것은 그 밑바닥에 깔려 있는 형이상학적 시점이라고 할 것이다. Eliot의 시에 있어서 사상과 감정이 혼연일체가 되어 있을 뿐 아니라 또한 “‘가장 진정한’ 철학은 가장 위대한 시인의 최량의 소재가 된다”고 하는 그의 발언을 염두에 둘 때 우리는 그의 중요한 몇 편의 시를 읽는 것으로 만족할 수는 없는 것이며, 그의 시와 비평의 밑바닥에 깔린 근본적인 세계관 혹은 관념형을 탐구하지 않을 수 없다. 변화무쌍한 어휘를 구사하여 시를 논하는 Eliot의 글을 읽을 때 우리는 흔히 그 무감한 용어의 숲에서 방향감각을 잃고 방황하게 마련이나 일단 그의 근본적인 세계관, 형이상학적 시점을 이해하는 입장에 선다면 그러한 일은 없게 될 것이다. Eliot은 인간이 정신과 육체를 함께 지니고 있다는 그 근본적 조건을 결코 잊지 않았으며 이러한 그의 의식은 모든 사물을 일면적으로 관찰하는 태도를 버리고 이상과 현실, 실재와 가상, 경험주의와 합리주의의 분기성을 이해하며 그것들을 변증법적으로 종합통일하는 장에서 그의 형이상학적 시점을 확립하고 있다. 따라서 그의 형이상학적 시점은 우리의 정신이 가리키는 세계와 우리의 육체가 가리키는 세계에 대한 조망을 다 같이 가능케 하는 것이다. 그의 형이상학적 관점에 서서 볼 때 세계는 “혼돈이 자연의 규칙이며 질서는 인간의 한갖 꿈”이 되고 있는 육체가 가리키는 세계로서 있는 동시에 만유를 얽어매고 그 만유로 하여금 있게 하며 또한 그 있는 상태가 궁극적으로 선할 수 밖에 없는 질서적 연관 즉 정신이 가리키는 세계로서 있는 것이다.

Eliot의 觀念型

姜大虔 서울대학교 1975 서울대학교 論文集 Vol.20 No.-

Apart from the comprehensiveness of his mind, apparent contradictions of Eliot’s poetic and critical formulations have given rise to continual controversies as to whether he has any coherent body of ideas. Resolution of these contradictions, however, may be effected by perceiving the common metaphysical premises which control these formulations. Majority of his poetic themes, as well as of his poetic theory and critical doctrines, may be restored to the matrix of his metaphysical vision, which, in its embryonic form, seems to be adumbrated in his doctoral dissertation of 1916. This paper takes up this clue, and tries to explore its critical possibilities, by relating his dialectic of reality and appearance to his major poems, and also to such of his literary concepts as those of the impersonality of poet, unified sensibility, objective correlative, and poetry as an art of “incarnation”; and it bring into focus that all of his poetry and its structuring principles, and of the theoretical concepts in his criticism, are proliferations of but one intellectual being of Eliot, and that they together “unite to form”the total ideological pattern based on his central vision of the world. It bring out in passing that Eliot’s successive career as metaphysician, poet­critic and religious thinker manifests the logical development of a man who started out his early life in search of reality, thus forming a continuous line which makes egregiously irrelevant the theory of his conversion from the “aesthetic” position to “moralistic.” Reality is merely postulated as a logical necessity in his early metaphysical scheme; so any realization of it had to be through “a direct sensuous apprehension”in his poetry; which, in turn, mediated, in the term of Northrop Frye, as “psychopomp”toward an ultimate religious apprehension of, and belief in, the Absolute Reality. Finally, his ideological pattern, thus established, is inspected n the context of the ideologist concept of the “concrete universal,” which, as a manny­in­one, or as an identity­in­difference, accomodates and reconciles all the contraries within it; and the interior logic of which ultimately constitutes that of the Eliotic ideological pattern.

Mock-Heroic Tone : The Rape of the Lock考 A Study of Rape of the Lock

姜大虔 서울대학교 1973 서울대학교 論文集 Vol.18 No.-

An essential clue to Pope's art in The Rape of the Lock lies in the effect of his mock-heroic tone which neither solely affirms nor solely denies Belinda's attitude. Using epic style and convention, following closely and yet improving on the mock-heroic tradition in his time, Pope diversifies his tone to a degree commensurate to the complexity of human experience couched in the particular experience of a speciman──Belinda. The richness of his tone can be demonstrated by the particular methods he employs, as well as the meaning he imparts to his poem. These methods, intricately inter-related as they are, may be categorized as descriptive-satiric, mock-heroic/burlesque, diminution-magnification, as well as juxtaposition, including the employment of zeugma as a rehtorical device. Using mock-heroic form as a large conscious frame of metaphor for the total poem, and exploiting the resources of couplet form amenable to balance and antithesis, Pope juxtaposes and manipulates simultaneously several planes of consciousness──epic and mundane, existential and pastoral, those of literal surface and deep meaning. Vital to the meaning of the poem is the imagery of the fall of china vessels, a traditional imagery symbolizing a woman, as well as the fragility of her beauty and chastity. This imagery, numerous throughout the poem, is employed with subtle variations to connote the fall of Belinda. Her fall is reinforced by several Miltonic parallels, thus entailing a possibility of her salvation. Clarissa's speech reveals the relevance of Sarpedon's speech for Belinda's situation; and "good humour" urged by her as an attitude appropriate for Belinda is an analogy to the graceful attitude with which Sarpedon faces the loss of his life. The terms of her salvation, therefore, resides in her gaining that kind of victory which is only possible to her by accepting gracefully her defeat and loss and thus transcending her fall, as did Sarpedon his with his gallantry and generosity of spirit. Pope's awareness of this paradox, the paradox of a kind of human experience which simultaneously involves loss and gain, fall and salvation, may provide a final account for the mixed and complicated quality of his attitude and his tone.

Thomas Gray의 "Elegy" : 對照와 均衡 Contrast and Balance

姜大虔 서울대학교 교양과정부 1970 論文集 Vol.2 No.-

This essay tries to define the terms in which Gray's Elegy is to be understood and appreciated. In its attempt to do so, the following procedure has been taken: (1) it adumbrates the socio-literary background from which the poem came into being and examines how much it owes to Gray's "individual talent" and to the Augustan literary "tradition' in which he is supposed to have written his poem; (2) it discusses the different texts of the poem and their relationships one with another as well as with the definitive text, limiting the detail of discussion to as much as is required to facilitate an understanding of the process in which Elegy is thought to have evolved from its original form of Stanzas; (3) It examines the evolution of Elegy from Stanzas on the basis of an assumption that one of the important structural problems in the poem depends on the pronoun references of "thee" and "these lines" in stanza 24, and propounds that the genetical aspect of the poem clearly points to a depersonalization in process, which involves the shifting of the focus of the poem from the poet himself in Stanzas to one of the rustics-the Stonecutter-in Elegy, and that "thee" and "these lines" in Elegy refer, not to the poet himself and Elegy Wrote in the Country Churchyard, but to the Stonecutter and the epitaphs he wrote for other rustics; (4) and it carried on further analysis on the rhetorical structure of the poem, i which it subsists, to elicit its themes and meaning content, and touches on the relevance of its language as well as the excellence of its technical devices. It argues that an examination of the poem as a whole suggests as its subject the inevitability of death and the desire for self-perpetuation, and that the rich-poor contrast is made, not to give a romanticized picture of the rustics, but to emphasize the negligibility of difference between these two classes, their essential similarity in death. It also argues that the balancing of the rich and the poor is only by way of illustration, carrying the generalization of the poem to its social limits of the rich and the poor and, therefore, that, to develop its themes, essential and relevant to Elegy are the neutral and realistic description of these social classes and the balanced meditation on both the unrealized virtues and vices of the poor. In concluding, it refers to the appropriateness of both the tone and the diction of the poem to which may be attributed its success, and it makes a strong case against the various criticism which represent misconceptions of the poem's structure by reading it either as a social criticism or a political document or as an autobiographical piece. Its final thesis is that the merit of the poem, though assessable in its context of literary history, must more appropriatelly and fully be established sub specie aeternitatis.

관념과 심상 : 시의 표현구조의 변천 Shift in the Expressive Mode of Poetry

姜大虔 한국영어영문학회 1985 영어 영문학 Vol.31 No.3

文學解釋上의 諸問題

姜大虔 한국영어영문학회 1978 영어 영문학 Vol.68 No.-

Pope의 The Dunciad : 構造的 아이러니

姜大虔 한국영어영문학회 1976 영어 영문학 Vol.59 No.-

詩的 措辭 : 그 起源과 規定 Its Origin and Definition

姜大虔 한국영어영문학회 1973 영어 영문학 Vol.48 No.-

Augustan Poetry 考 : 特히 그 Poetic Diction을中心으로

姜大虔 서울대학교 교양과정부 1971 論文集 Vol.3 No.-