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이문재 한국중앙영어영문학회 2001 영어영문학연구 Vol.43 No.4
"Ash-Wednesday" often reads as a text portraying the conflict of the speaker`s spiritual salvation and human desire. Eliot`s use of Christian imagery and allusions, in relation to his own conversion to Anglican Church in 1927, contributes to the poetic effects of the text as a confessional religious work. In fact, the unity of consciousness resulting from the choice of the single voice of one speaker, compared with the multiple perspectives in The Waste Land, and the lyric style similar to those of "The Love Song J. Alfred Prufrock" and "Gerontion", seem to make "Ash-Wednesday" as a confessional text. But both Eliot`s use of images of multiple connotations, in particular that of the Lady suggesting three feminine types at the same time, and his paradoxical statements reveal that "Ash-Wednesday" does not represent a simple two-dimensional poetic world. Rather, the text conveys indefinitely suggestive meanings in it precise images to the readers. It is noticeable that the images` indefinite associations in consequence of the poet`s unique treatment of his imagery in indefinite suggestive ways prove that Eliot`s own cognitive method was rooted in F.H. Bradley`s epistemology. Above all Bradley`s "immediate experience"(/"feeling") plays a key role in our understanding of Eliot`s poetic ideal, "unification of sensibility" which means the combination of thought and sense, and Bradley "immediate experience" which indicates the primary experience in which the distinction of subject and object does not exist, reflect their common monistic epistemology. In conclusion, the ambiguity of Eliot`s poetic world derives from his monistic epistemology, which shows the influence of Bradley on Eliot`s poetics.
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브레들리의 인식 틀에서 본 엘리엇의 "감수성의 통합"론
이문재 한국중앙영어영문학회 2002 영어영문학연구 Vol.44 No.3
“Dissociation of sensibility” or “unification of sensibility” indicates T. S. Eliot’s poetic ideal. “Dissociation of sensibility” and its opposite poetic state, “unification of sensibility” are two poetic concepts revealing Eliot’s critical or poetical attitude. Like the two sides of a coin, they can’t be separately discussed. Eliot used the term “dissociation of sensibility” which means the separation of thought from feeling (/sense) to characterize the poetic situation in British literature since the seventeenth century. This critical attitude of Eliot’s suggests that Eliot’s poetic ideal was the representation of “unification of sensibility” in his major poems. “Unification of sensibility” reflects Eliot’s monistic attitude, which means his disapproval of the dualistic perception of our experiences. It is noteworthy that this monistic attitude reveals the same epistemological frame as F. H. Bradley’s monistic perception of experiences. In particular, Bradley’s “immediate experience” or “feeling” in which “as yet neither any subject nor object exists” can be a key word in our understanding of the influence of his philosophy on Eliot’s poetics, because Eliot’s “unification of sensibility” and Bradley’s “immediate experience” result from the same monistic epistemology. In a respect, Eliot’s “unification of sensibility” seems to be a poetic adaptation from Bradley’s “immediate experience."
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시적 주체의 ‘문제화’: ‘극적 독백’과 [J. 앨프리드 프루프록의 사랑 노래]
이문재 한국중앙영어영문학회 2005 영어영문학연구 Vol.47 No.1
Dramatic monologues appear in T. S. Eliot’s major poems. Eliot’s use of the dramatic monologues that are not always perfect in the Victorian poetic terms reflects his poetic or aesthetic ideals that poetry should represent a unified or immediate experience, that is, a unification of thought and feeling. Especially Eliot’s preference for the unconventional dramatic monologue forms, which contributes to the characterization of his poetic style as a modernist poetics, results in our critical debates about them. For example the critical difference in our approach to “The Love Song of J. Alfred Prufrock” between as a dramatic monologue and as an interior monologue derives from Eliot’s strategically ambiguous treatment of the forms. The ultimate poetic aim of Eliot’s ambiguous use of the dramatic forms lies in the ‘problematization’ of poetic subjects or lyrical selves to attack on the conventional concept of autonomous subjects. The ambiguous voices of unidentifiable poetic subjects or speakers in Eliot’s major poems reveal his modernist view of human subject, anticipating the postmodernist one. Paradoxically, the ambiguous voices of unidentifiable subjects that often appear in divided consciousness help to represent a unified experience in the poems. In short, Eliot’s use of the unconventional dramatic monologues suggests his modernist poetics which focuses on the idea of the aimlessly drifting human subjects who, nevertheless, do not give up seeking for the absolute truth or authority to refer to.
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