The Prelude의 Bodily Eyes와 External Nature에 나타난 Wordsworth의 신비정신-유년 및 전기 소년시절을 중심으로

정식헌 영미어문학회 1995 영미어문학연구 Vol.11 No.-

Wordsworth의 Poetic Eye

정식헌 한국영어영문학회 경남지부 1987 현대영미어문학 Vol.4 No.-

This essay is researched Wordsworth's poetic eye in his most important poems. It is supposed that Wordsworth's poetic eye is distinguished to two eyes; one is the bodily eye in the external sense from his conscious world and the other is the inward eye in the internal sense from his self-conscious world. In general Wordsworth's bodily eye and inward eye are originated from his experience and memory of sense perception with his childhood and early boyhood of nature. By these eyes, Wordsworth is observed and appreciated the order, harmony, and variation of nature in the same quality of representation from his experience and memory. Wordsworth's bodily eye and inward eye are an initial activity and absolute essential energy with godlike faculties and senses from his idealistic spirit of childhood and early boyhood. When Wordsworth's this faculty probes the same object from his internal nautre to his external nature, or from his external nature to his internal nature, in Wordsworth's poetic spirit and by the relational principle in action his sense perception constantly connects the inward eye with the bodily eye, as if the two worked against each other to produce a single knot of active power. But the range of representation in the bodily eye and inward eye is opposed from Wordsworth's sense perception process: the former is the external nature from his sensuous structure and the latter is the internal nature from his logical structure. The bodily eye seems to be the eye of the sensuous faculty which examines closely the objects of the external nature when it carries out the intuitive, observant, apperceptive power seeking for the ultimate unity of sense for nature. And this bodily eye observes and intuits not only the bodily depths of life but the deepen meanings on the sympathy between Wordsworth's sense and external nature. On the contrary, we can consider the inward eye as the eye of the spiritual faculty which probes relentlessly the objects of the internal nature when its mental power works in the contemplative, meditative, and restorative spirit searching for the ultimate unity of being for nature. And this inward eye contemplates and meditates the profounder meanings on the affinity between Wordsworth's mind and internal nature as well as the spiritual depths of life. This embodiment of the bodily eye and the inward eye is characteristic not only of Wordsworth's poetry but of art as such.

The Prelude에 나타난 Wordsworth의 유년시절과 전기 소년시절의 물활론적인 자연에 대한 일 연구(Ⅰ)

정식헌 慶尙大學校 1979 論文集 Vol.18 No.2

This essay is studied a part of wordstworth's Animistic Nature of his childhood and early boyhood in The Prelude. Accordingly, the world of Wordsworth's nature, precisely in its first and most immediate forms, appears, closely hound up with the world of natural objects. Here lies the core of the animistic nature view, which is saturated with this atmosphere of efficacy, which is indeed nothing more than his translation and tranportation of the great whole of animistic emotions and drives into a subconsciousness, objective existence and presence. And so we can consider Wordsworth's nature in the books I-Ⅳ of The Prelude as primitive animism from his spiritual and mythic objects.

Ode to the West Wind에 나타난 Shelley의 사상에 대하여

정식헌 한국영어영문학회 경남지부 1995 현대영미어문학 Vol.12 No.-

This study is to examine Shelley's thought in the west wind as the objective correlative of a destroyer and a preserver in his Ode to the West Wind. It is, so to speak, to research the thoughts from the poet's spiritual will, which are connected with the autumn west wind as the destroyer and the spring west wind as the preserver. Shelley learned a deep and wide knowledge of his life concerning to the stance and the plight between man and man from the affliction of his personal miseries, and he tried to break down a thick wall between the actual and the ideal. Such his strong desire was spouted from Ode to the West Wind, He wished eagerly a happy and peaceful world without fraud and hatred, poverty and suffering, and evilness and oppression in Ode to the West Wind. In Ode to the West Wind, Shelley gathered up the information of meteorology, botany, astronomy, aerodynamics, and hydrodynamics as a circumference in representing his will of spirit, or his thought. In the center of the circumference of the information, he spreaded and penetrated concretely the reformistic thought of 'a destroyer' and 'a preserver' into his west wind as the objective correlative. Shelley took the dead leaves, the clouds, and the waves as the equivalents of the autumn west wind, but the pursuit of his 'the thought of destroyer' could be made through the dead leaves in chief with it. And he adopted the sky, the seeds, and the clarion as the equivalents of the spring west wind. The main aspect of his 'the thought of preserver' in the spring west wind could be pursued from the seeds above all of them. He mainly examined the cycle of the dead leaves which was the equivalents as a creative destruction in the related part with the autumn west wind. And he took the appreciation in the cycle of the seeds which was the equivalents as a creative preservation in that part of spring west wind. Through the autumn went wind, the poet explicitly brought the thought of destroyer in the core of 'renovation' and 'revolution'. It was a claim that he stood for defeating and destroying the old social system in order to create the new social system with a moving and cleansing power. The spirit and the thought was his 'anarchic idealism' from Godwin's reformistic thought. In the spring west wind, he apparently adopted the quintessence of 'birth' and 'rebirth' as the thought of preserver, which was an aspiration that he sought for constructing and preserving the new social order or the new social system with the spiritual and moral force. Such spirit and thought was his 'platonic idealism' from Plato's reformistic thought. In his Ode to the West Wind he transferred this notion to the real world to bring Plato into line with Godwin. And he made the transition not via the obviouslink- from Godwin's utopia to Plato's from Political Justice to The Republic-but via the simple Socratic dialogues. On the correspondence or the correlation between the dead leaves, destruction, and death in the autumn and the seeds, creation, and rebirth in the spring, it is clear that Shelley contemplated the seasonal cycle and the life-cycle as a reciprocal connection in the west wind. The cycle of natural objects, which has gone and has come, was the same cycle of the season and life. And the life-cycle is to die and to bear, or to bear and to die. It is the relationship cycle between death and rebirth. This life-cycle is a kind of death in life and life in death. This rotation of death and life means the transmigration of Buddhism, which is the root of Buddhistic philosophy. In Ode to the West Wind, we could find out Shelley's 'Buddhistic transmigration thought' from some cycles except his idealistic reformation thought.

The Prelude에 나타난 Wordsworth의 유년시절과 전기 소년시절의 Mystic spirit에 대하여 : Mind's Abyss를 중심으로 On His Mind's Abyss

정식헌 한국영어영문학회 1984 영어 영문학 Vol.30 No.3

King Lear의 二元的 劇構造의 解析

하해성,정식헌 慶尙大學校 1982 論文集 Vol.21 No.2

This study is to analyze the duel construction in King Lear. This play consists of the conflict between the essential human dualities, as it were, that of body and spirit. Therefore the conflict makes a basic element in hero's experience, the division of which provides the cores of drama. King Lear constitutes both themes in its duel plot. Lear-find himself caught in a conflict between reason and intuition embodied by his daughters, while Gloucester is caught in the conflict between appearance and reality embodied by his sons. Therefore Lear's Passion journey parallels Glucester's. Through their individual passion trip Lear loses reason, Gloucester loses sight. They are purged. In the dramatic construction this play's two plots fusing in Ⅲ. iv. supports only one plot composed of two elements. The experiment of this play has resulted in a construction which makes up for shakespeare's plays' earlier imperfection.

The Prelude에 나타난 Wordsworth의 유년시절과 전기 소년시절의 조형적인 힘에 대한 일 연구

황소부,정식헌 慶尙大學校 1978 論文集 Vol.17 No.2

This essay is studied the peculiarities of Wordsworth's 'plastic power' with the faculty of integrating and forming, in a close or intimate connection with breeze and memory, to be appreciated and described the growth of his own mind of his childhood and early boyhool's nature from Bk. I to Bk. IV in The Prelude by virtue of his retrospection and recollection. As it si researched, we consider the 'plastic power' as his spiritual faculty in the world of objective spirit by evoking the holy life of musci and of verse from the breeze of his nature and soul, which is his creative or imaginative power of integrating and froming his spiritual interior and exterior, subject and object, sensation and perception, and consciousness and unconsciousness. When the work of this imagination , sensation and perception, and consciousness and unconsciousness. When the work of this imagination serizes upon natural objects, it fuses impressions into a new and irrefrangible unity And we consider his memory as his spiritual ability of becoming his vivifying power and the focus of his poetic imagtination in the mind, evoking past experience, and adding new experience in the evocation, but uncovering no origins. Thus his 'plastic power' has something to do with his memory in the latent implication. Wordsworth's poems are produced from the 'plastic power' and memory which make the essential characteristics of his poetic contemplation and description of nature.

〈겨울이야기〉의 劇構造의 分析 : 특히 自然과 藝術을 중심으로 centering on nature and art

河海成,政湜憲 慶尙大學校 1983 論文集 Vol.22 No.2

The construction in The Winter's Tale consists of contrast between tragic possibilities through Leontes's blind action and the restoration of Hermione's statue(from Leontes's artistic experience to his realistic experience.) There are fifteen scenes in the play; they play an important part of providing contrast between courtly and rustic life. Their functions advance the plot, to creat and resolve mystery and complication, and they display the development of characters and allow to move from Sicilia to Bohemia. The divison of play into scenes can give the impression that time is passing. This consists of a gap of sixteen years between ActIII, Scene3 and Act IV, Scene I. A personified Time, Chorus, explains what has happened during the intervening period and this appearance helps the transition from the hatred, dissension and evil of the first part of the play to love, joy and reconciliation of the second. The Winter's Tale seems to me to fall into two section, the first section ending with the disintegration of leontes's family life and the second leading to the restoration of peace and harmony. But through the instrument of Camillo this play completes the circle in that it takes place in Sicilia and show how the evil and sadness of the first part can redeemed by love and joy of second: Paulina's art makes Hermione' statue live; it is noble art to recover nature. Therefor I see it as the result of grafting nature and art --a long deception practized on Leontes by Paulina and Hermione, --and a little masque-like drama within the play.

Wordsworth의 Poetic Eye

정식헌 ( Jeong¸ Sheek-hyen ) 현대영미어문학회 1986 현대영미어문학 Vol.4 No.1

This essay is researched Wordsworth’s poetic eye in his most important poems. It is supposed that Wordsworth’s poetic eye is distinguished to two eyes; one is the bodily eye in the external sense from his conscious world and the other is the inward eye in the internal sense from his self-conscious world. In general Wordsworth’s bodily eye and inward eye are originated from his experience and memory of sense perception with his childhood and early boyhood of nature. By these eyes, Wordsworth is observed and appreciated the order, harmony, and variation of nature in the same quality of representation from his experience and memory. Wordsworth’s bodily eye and inward eye are an initial activity and absolute essential energy with godlike faculties and senses from his idealistic spirit of childhood and early boyhood. When Wordsworth’s this faculty probes the same object from his internal nautre to his external nature, or from his external nature to his internal nature, in Wordsworth’s poetic spirit and by the relational principle in action his sense perception constantly connects the inward eye with the bodily eye, as if the two worked against each other to produce a single knot of active power. But the range of representation in the bodily eye and inward eye is opposed from Wordsworth’s sense perception process; the former is the external nature from his sensuous structure and the latter is the internal nature from his logical structure. The bodily eye seems to be the eye of the sensuous faculty which examines closely the objects of the external nature when it carries out the intuitive, observant, apperceptive power seeking for the ultimate unity of sense for nature. And this bodily eye observes and intuits not only the bodily depths of life but the deepen meanings on the sympathy between Wordsworth’s sense and external nature. On the contrary, we can consider the inward eye as the eye of the spiritual faculty which probes relentlessly the objects of the internal nature when its mental power works in the contemplative, meditative, and restorative spirit searching for the ultimate unity of being for nature. And this inward eye contemplates and meditates the profounder meanings on the affinity between Wordsworth’s mind and internal nature as well as the spiritual depths of life. This embodiment of the bodily eye and the inward eye is characteristic not only of Wordsworth’s poetry but of art as such.

Salome에 나타난 Oscar Wilde의 유미주의에 대한 연구

정식헌,하해성 慶尙大學校 1982 論文集 Vol.21 No.2

This study is researched the tragic structure and the death of three heroes of Oscar Wilde's aestheticism in Salome. The tragic structure through distinct cause and effect seems to be a battle of wills that consists of the 'tragic man' from the instinctive element of the individual and his relation to himself, and the deep conflicts from the different object of each other in seeking for love. These tragic men and conflicts are produced in mutual ignoring and misunderstanding. In a word, characters either neglect each other, misunderstand each other, or are rejected by each other. The Young Syrian is ignored by Salome. Salome is ignored by Jokanaan who sees in her the abominations of the inaccessible and untouchable. And as it is researched, we consider Salome as a simple plot is in accord with the completeness and unity of dramatic dianoia. In the death of tree heroes; The Young Syrian, through the humility of love which lies in self-sacrifice to his Platonic spirit in his great spiritual beauty, is embraced to the physical sublimation to be originated in his respondence and accordance of making him from spirit ot spirit in his inner mind. Jokanaan, through the imperishability of faith which is based on self- sacrifice to his communion soul with God in his absolute and spiritual love, is embraced to the martyrized sublimation to be created in his unchanged eternity of keeping him from faith to faith in his internal world. Salme, by being engaged herself to the intensity of love which grows in aesthetic self-hyphosis to her physical spirit of beauty in her passionary and visionary spiritual beauty, is devoted herself to the spiritual sublimation to be derived from her yearning and purification of growing her from physical form to spiritual form in her interior spirit. As it is examined, the target of Wilde's aestheticism in Salome seems to be the most beautiful and important love's sublimation of a human being. And in the maximum value of heroes' sublimated death, we can consider what Wilde seeking for as the mystical in Art, the mystical in Life, and the mystical in Nature from his love of the concrete. Thus the essence of Wild's aestheticism in Salome can be though that his 'art for art's sake' of pure aestheticism is sought into the 'love for love's sake' with developing Salome's spirit of love.