T. S. 엘리엇과 하버드 대학교

안중은 한국T.S.엘리엇학회 2011 T.S. 엘리엇 연구 Vol.21 No.1

This paper aims to investigate T. S. Eliot at his alma mater, Harvard University, which he attended for seven years from 1906 to 1910 and from 1911 to 1914. Despite Eliot’s academic records displaying a range of subpar grades during his first and second years at Harvard, he succeeded in obtaining his BA and MA in four years. Simultaneously, Eliot contributed his early 10 Harvard poems including “Song: When we came home across the hill,” “Song: If space and time, as sages say,” “Before Morning,” “Circe’s Palace,” “On a Portrait,” “Nocturne,” “Humouresque,” “Spleen,” and “Ode” to The Harvard Advacate. Along with the French Symbolist poet Jules Laforgue, Irving Babbitt, professor and critic of New Humanism during his master’s course, Josiah Royce, pioneer philosopher at Harvard Department of Philosophy and Psychology, George Santayana, philosopher of pragmatism, Bertrand Russell, visiting professor to Harvard from Cambridge University during his doctoral course, deeply influenced the formation of Eliot’s poetic style and visions of Nobel laureate. A number of Eliot’s invaluable materials including his doctoral dissertation, Experience and the Objects of Knowledge in the Philosophy of F. H. Bradley, are now preserved at Harvard Houghton Library, which may be accessible only with a permission letter from Valerie Eliot.

T. S. Eliot’s Criticism of Paul Valery

안중은 한국현대영어영문학회 2007 현대영어영문학 Vol.51 No.1

This paper aims at investigating T. S. Eliot’s criticism on Paul Valéry, the last French Symbolist poet, displayed in his “Dante,” “A Brief Introduction to the Method of Paul Valéry,” “Leçon de Valéry,” “From Poe to Valéry,” “Scylla and Charybdis,” “Introduction” to The Art of Poetry, etc. Eliot first mildly denounces Valéry’s critical attitude against philosophical poetry by highly appreciating such philosophical poets as Dante, Lucretius, etc. Eliot then insists that Valéry, as the successor of Mallarmé, has developed the music and fluidity, as well as a variety of technical expressions, of Symbolism. And Eliot includes Valéry’s impersonality in his impersonal theory of poetry, and argues that from the viewpoints of structure and impersonality Valery’s “Le Cimetière marin” (1920) with its philosophical structure is greater than Thomas Gray’s “Elegy Written in a Country Churchyard” (1751). Furthermore, Eliot points out Valéry’s two characteristics: the extreme self-consciousness and the extreme skepticism. Eliot proceeds to maintain that Valéry’s anti-romantic poetics regarding the sonnet as the true quintessence of poetry is influenced by Poe’s, but it surpasses Poe’s “The Philosophy of Composition” and is more original. Meanwhile, Eliot critically subverts Valéry’s comparison of poetry with “dancing” and prose with “walking” or “running.” Finally, Eliot speaks highly of Valéry as the representative poet in the first half of the 20th century. In short, Eliot’s criticism in general of Valéry covering nearly 40 years has oscillated between negative and positive positions.

T.S. Eliot의 객관적상관물 이론

안중은 안동대학교 어학연구소 1989 솔뫼어문논총 = Solmoe review on language and literature Vol.1 No.1

T. S. Eliot's "objective correlative" in "Hamlet"(1919) is expressed in other terms such as "objective equivalents" in "Cyril Tourneur" and "concrete poetic equivalent", and "complete equivalent" in "Dante". The concept of Eliot's "objective correlative" is considered as (1) the "image correlative" by Ants Oras, R.W. Stallman, Grover Smith, Gertrude Patterson (2) the "situation correlative" by F. O. Matthiessen, Eliseo Vivas, Allen Austin, and (3) the "myth correlative" by Charles Moorman and A. G. George. 1 think it is best to regard Eliot's "objective correlative" as these three correlatives. The sources of Eliot's affirmed coinage, "objective correlative" can be variously traced to Ezra Pound, George Santayana, Washington Allston, Edmund Husserl, F. H. Bradley, Friedrich Nietzsche, Walter Pater, Sanskrit Aesthetics ; Rasa, S. T. Coleridge, R. W. Emerson, James Marsh, and to F. Viele-Griffin. But none of these suggestions is positively accepted as the only final source. The practical application of Eliot's "objective correlative" to his own poetry can be seen in the "image correlative" like "coffee spoons" meaning life, and "a pair of ragged claws" signifying Prufrock's wish to escape from reality in "The Love Song of J. Alfred Prufrock". A good example of the "situation correlative", i. e. a set of situations of Mr. Silvero, Ha-kagawa, Madame de Tornquist, Fraulein von Kulp concretely reveals the vacant world of Gerontion. and the whole six parts of "Ash-Wednesday" are the parallel correlations of the Catholic Mass. The Waste Land delineates concretely Eliot's personal agony by means of the "myth correlative", and "the still point" in Four Quartets is an excellent objective correlative of the Absolute. In conclusion, in so far as The Elder Statesman can be viewed as a sort of objective correlative of the European mind, the concept of the "objective correlative" implies a whole art work as well as image, situation and myth correlatives.

Greek and Roman Myths in Edmund Spenser’s The Faerie Queene, Book I, Cantos 1-6

안중은 신영어영문학회 2019 신영어영문학 Vol.74 No.-

For his Renaissance ideas of love, beauty, virtue, holiness, knighthood, and war, Spenser employs or alludes to Greek and Roman myths including: primordial deities, Nyx or Night and Demogorgon; the Titans, Oceanus, Tethys, Helios, Nereus, Tityus, and the Titaness Cybele or Rhea; major gods, Jove or Zeus or Jupiter, Juno, Neptune, Pluto, Proserpina, Phoebus Apollo, Cynthia or Diana, Mart or Mars, Venus, and Bacchus; minor deities, Muse, Clio, Cupid, Morpheus, Hecate, Graces or Charites or Gratiae, Hymen, Flora, Hesperus, Aurora, Proteus, Boreas, Furies, Aesculapius, Fauns, Satyrs, Sylvanus, Dryope, Pholoe, Hamadryades, and Naiades; mythological figures, Arcas, Tithon, Cassiopeia, Odysseus, Orion, Phaethon, Ixion, Sisyphus, Tantalus, Danaides, Hippolytus, and Sthenoboea; legendary creatures, Gorgon, Argus, Gryphon or Griffin, Cerberus, and Typhoeus or Typhon; mythological places, Styx, Lethe, Cocytus, Acheron, Phlegethon, and Avernus. The technique of manipulating Greek and Roman myths in Spenser’s The Faerie Queene, Book I, Cantos 1-6 underlies his complicated intentions, deepening his poetic symbolism, and broadening his literary perspective.

T. S. Eliot의 전통 이론과 몰개성 시론

안중은 安東大學 1989 安東大學 論文集 Vol.11 No.1

This paper connects Traditionalism with Impersonalism initially introduced in Eliot`s "Tradition and the Individual Talent"(1919). The concept of tradition to which a writer makes a continual self-sacrifice implies historical sense, order, amor intellectualis Dei, religious rite and conventional customs. Tradition also is ceaselessly changeable, not standing still, and right tradition is Christian orthodoxy as well as Christian tradition. Eliot uses the term "heresy", the opposite meaning of orthodoxy to severely criticize the traditionless authors, Pound, Yeats and Lawrence who are seeking after strange gods. From the viewpoint of this Traditionalism The Waste Land is heretical whereas Four Quartets is conventional. The gist of Impersonalism is that a new art emotion is produced through the process of depersonalization in which a poet`s personal emotions or private experiences are combined with feelings or images in his mind. But it is a pity that Eliot should suggest an inexact chemical analogy to explain this impersonal process. A careful examination of Eliot's critical essays will reveal that the puzzling terms of personality and impersonality are employed in both positive and negative senses. Thus the relationship between traditionalism and impersonalism may be interpreted as the surrender or extinction of bad personality to good (true) impersonality, tradition.

T. S. 엘리엇의 시에 나타난 여성관 : 전기적 비평양식을 중심으로

안중은 안동대학교 어학연구소 1993 솔뫼어문논총 = Solmoe review on language and literature Vol.5 No.1

The purpose of this paper is to investigate T. S. Eliot's view of women as reflected in his poetry mainly through a biographical approach. Eliot's secret relationships with his first wife (Vivienne Haigh-Wood), the ideal lady (Emily Hale), and his second wife (Valerie Fletcher) deeply affected the formation of his poetry. Some tentative conclusions drawn from this study are as follows : First, Eliot showed a severe "horror of women" as unclean creatures, as represented by Vivienne or low women in his earlier poems and The Waste Land (1922). Second, Eliot worshiped a woman like Emily as the Holy Mother in "Ash-Wednesday"(1930) and "The Dry Salvages IV" (1941). Third, Eliot revealed human affection toward a woman like Valerie in his last poem, "A Dedication to my Wife"(1958). Fourth, Eliot's view of women can be approached from both feminist and anti-feminist viewpoints, and thus it is a dialectic of negative and positive points of view. In conclusion, Eliot's view of women is that we can find women of animal, human and heavenly characteristics. For it was based upon Eliot's invaluable experience derived from his personal relationships with women. Therefore, Eliot's poetry reaches, to a certain degree, the realms of Hell, this World, and Heaven.

Aspects of Familial Relationship in Cathy Song's Poetry

안중은 한국현대영미시학회 2003 현대영미시연구 Vol.9 No.1

Greek and Roman Myths in John Milton’s Paradise Lost, Books I and II

안중은 한국영미어문학회 2019 영미어문학 Vol.- No.133

This paper explores Greek and Roman myths in the epic poem Paradise Lost, Books I and II (1667) by John Milton, the greatest poet in the 17th-century English Renaissance period. For his Renaissance ideas of freedom, rebellion, power, war, and revolution by means of Satan, Milton employs or alludes to Greek and Roman myths including: the primeval void, Chaos; primordial deities, Uranus, Gaia, Tartarus, Erebus, Nyx, and Demogorgon; the Titans, Tityos, Enceladus, Oceanus, Saturn, Atlas, the Titaness Rhea; major gods, Jove or Zeus or Jupiter, Mulciber or Hephaistos, Athena, and Orcus or Hades; minor deities, Muse, Alcides or Hercules, Furies, and Eris; mythological figures, Orion, Adonis, Tantalus, and Ulysses; legendary creatures, Briareos, Typhon or Typhoeus, Pygmies, Python, Medusa, Gorgon, Hydra, Chimera, Cerberus, Scylla, Hecate, and Gryphon or Griffin; mythological places, Aonia or Helicon, Tarsus, Tartarus, Phlegra, Pelorus, Aetna, Styx, Creet or Crete, Ida, Olympus, Delphi or Pytho, Dodona, Thebes, Ilium or Troy, Oeta, Euboea, Acheron, Cocytus, Phlegethon, Lethe, Serbonis, Bosporus, Scylla, and Charybdis. The technique of manipulating Greek and Roman myths in Milton’s Paradise Lost, Books I and II underlies his complicated intentions, deepening his poetic symbolism, and broadening his literary perspective.

T.S. Eliot의 "感受性分裂" 理論

안중은 安東大學 1988 安東大學 論文集 Vol.10 No.1

The purpose of this study is to investigate the origin of T. S. Eliot`s theory of "the dissociation of sensibility" and its aspects. Such critics as F.W. Bateson, Glenn S. Burne, Frank Kermode and Mowbray Allan regard Remy de Gourmont as the original propounder of Eliot`s theory, whereas Eric Thompson and Lewis Freed consider F.H. Bradley the theoretical originator. Both Bateson`s paradoxical assertions,"Sensibility is feeling, i. e. sensation" and "Sensibility is a synthesis of feeling and thinking" and Thompson`s conflicting view, "There is no absolute dissociated sensibility in Bradley`s philosophy" can be comprehended at once if we label "the unification of sensibility" as "crystallized sensibility" derived from Gourmont`s term, la sensibilite cristallisee and "the dissociation of sensibility" as "sterilized sensibility". Modern human beings are confronted with several dissociated aspects such as the dissociation of the senses, the dissociation of the feelings, and the dissociation of the identity. According to Timothy Steele, Eliot`s "the dissociation of sensibility" can be found in Cicero, Horace, Quintilian in ancient Rome and in Tasso in the 16th century but Kermode finds its phenomenon in somewhere between Cavalcanti and Petrarch in Italy in the 13th century as well as in the 17th-century English poetry. In conclusion, Eliot`s theory of "the dissociation of sensibility" is nothing but a new transformation of the previous aspects of "the dissociation of sensibility".

Greek and Roman Myths in Geoffrey Chaucer’s “The Knight’s Tale”

안중은 한국영미어문학회 2018 영미어문학 Vol.- No.128

This paper explores Greek and Roman myths mainly in “The Knight’s Tale” of Geoffrey Chaucer, the father of English poetry. For his medieval ideas of chivalric romance, courtly love, and didacticism, Chaucer employs or alludes to Greek and Roman myths including: the Titan Saturn, major gods, Jupiter, Juno, Venus, Mars, Phoebus Apollo, Diana, Mercury, Vulcan, and Pluto; minor deities, Zephyrus, Fortuna, Clemence, Cupid, Nymphs, Fauns, and Hamadryads; mythopoeic figures, Palamon, Arcite, and Emelye; mythological figures, Aegeus, Theseus, Hippolyta, Capaneus, Creon, Cadmus, Amphion, Callisto, Actaeon, Daphne, Atalanta, Meleager, and Hector; legendary creatures, Minotaur and Argus; mythical places, Troy, Crete, Athens, Thebes, Citheron, and Thrace. The mythical technique of employing Greek and Roman mythology in Chaucer’s poems unravels his complicated intentions, deepening his poetic symbolism, and broadening his literary perspective.