제국주의자 사탄 : 신세계와 제국주의에 관한 밀턴의 견해

황원숙(Hwang Weon-Suk) 신영어영문학회 2002 신영어영문학 Vol.21 No.-

The image of the new world is presumed to be important in Milton’s poetry. In Milton’s Paradise Lost, the new world is important and the imperialistic threat of Satan to the new world is also one of the major interests in this epic. Satan launches into the chaos to find the new world with some curiosity for the new world and its dwellers. Satan, however, betrays his distorted view on the new world and its people, which we can find in the European new world explorers. Satan’s journey to the new world also looks like the explorer of the new world and merchants from the colonized land. Eden is described with realistic geographical details. With its firm root in geography Eden seems to be more real than just an imaginary paradise. Satan is looking at the garden of Eden with the eye of an imperialist. And we are introduced to Eden by and with Satan. Satan also sees beyond the outward meaning of Eden, which the residents seem to overlook. But his imperialistic insight deteriorates the meaning of Eden. Milton employs the image of the middle age maps which placed the world in the middle and with the outer world full of monsters and horrible things. Satan journeys from the monstrous world to the new, paradisiacal land. Satan is conscious of his journey to the new land. It means that he has the identity of the old world. Here, not only imperialism, in which Satan seems to believe, but also the old world, which supports the causes for the imperialism is heavily criticized. The new world in this epic which the imperialists want to colonize is in the religious and political level.

밀턴의 자연관

황원숙(Hwang, Weon-Suk) 한국신학연구소 2015 신학사상 Vol.0 No.171

본 논문의 목적은 밀턴의 시에 나타난 자연관을 보는 것이다. 나아가 '밀턴의 자연관'을 통해 산업사회 이후 왜곡된 자연관을 극복하기 위한 관점을 찾으려 한다. 밀턴의 시대인 계몽주의시개에 인간은 자연과 분리되고 자연을 지배하게 되었다. 밀턴은 그 시대의 자연의 위치를 부정한다. 산업혁명 이후 자연과 생태계 파괴, 인간 중심적 사고가 심각한 문제가 되었다. 몰트만, 틸리히, 판넨베르크, 그리핀 등은 유신론적 인격신의 한계를 넘어서는 자연에 대한 인식을 제공한다. 밀천의 자연관을 파악하기 위해 현대 신학자들의 사상에 비춰보는 과정을 거치려 한다. 밀천의 시에서 이들과 유사한 자연에 대한 사고가 드러난다. 자연이 가지는 회복력, 낙원적인 성격, 그리고 인간의 지배를 벗어난 가치 등이다. 본 논문은 밀턴의 자연관에서 세 가지 점에 초점을 기울일 것이다. 첫째, 자연의 주체성에 대해서이다. 둘째, 자연이 인간과 동일한 운명을 가지는지 보겠다. 셋째, 종말론적 차원에서 자연을 보려한다. 밀턴의 자연관은 21세기의 생태계 회복에 대한 중요한 통찰로서, 기독교와 타종교 모두에게 생태적 관점의 유대를 맺도록 영감과 방향을 제시할 수 있을 것이다. This thesis is to understand Milton’s view of nature in his poems. With the understanding of Milton’s nature we find the ways to overcome the view on nature distorted after the industrial age. At the Age of the Enlightenment, to which Milton belonged, human beings began to separate themselves from the nature and to subdue nature. Milton, however, did not approve the placement of nature in his time. After the industrial revolution, the destroyed nature and the eco-system and the human-centered thought have raised serious problems. Moltmann, Tillich, Pannenberg, and Griffin proposed understandings on nature which surpassed the limitations of the theism. In order to grasp Milton’s nature, we reviewed his idea under the light of the modern theologians. Milton’s poems showed the view of nature similar to the modern theologians; the power of self-recovery of nature, the paradisiacal elements, and the inherent significance independent from the human power. This thesis focuses on three aspects of Milton’s nature. Firstly, the nature has sovereignty free from human beings. Secondly, nature and human being in Milton share same prospect. Thirdly, we appraise nature in the apocalyptic dimension. Milton’s view on nature gives us important perspectives on the recovery of the ecology in the 21st century, which propose inspirations and the direction to consolidate the Christianity and other religions for the ecological recovery.

파스토랄, 자연의 변화와 위기에 따른 전원교회의 정체성에 대한 제언

황원숙(Hwang Weon Suk) 한신대학교 신학사상연구소 2014 신학사상 Vol.0 No.167

파스토랄(Pastoral)은 목가시의 전승을 말한다. 목가시의 전승은 성경의 양과 목자라는 비유와 만나며 서양에서는 그리스도교적으로 낙원, 낙원의 삶이란 뜻으로 쓰여 왔다. 파스토랄의 전승은 한국에 들어오면서 전원, 목회적이라는 두 단어로 번역되었다. 전원이란 말은 동양의 전승에서 이상적인 자연이라는 의미와 도시와 세속을 떠난다는 도피 장소라는 개념으로 사용되었다. 한국에서는 전원교회라는 형식의 교회가 생겨났고 그 교회들은 자연에서의 휴식을 목회적 목표로 삼고 있다. 세계적인 산업화와 개발은 자연과 파스토랄이란 의미를 위태롭게 한다. 파스토랄의 전승은 파괴된 자연과 그것을 주동하는 사고와 권력들에 대처하는 형식으로 변화하기 시작했다. 자연 위에 군림하는 인간의 힘에 의해 자연의 생태조차 위기에 처하게 되었기 때문이다. 이를 위해서 전원교회는 생태계의 파괴를 주동하는 정치적, 경제적 힘과 논리에 대응하는 정체성을 가져야 한다. 더 나아가서 전원교회의 목회는 그리스도교적 이상향을 추구하면서 영적인 치유를 위한 목회라는 주체성을 가져야 할 것이다. 이러한 전원교회의 정체성은 공간적 개념을 넘어 자연과 영성의 회복을 가능하게 하며, 선교의 한 모델이 될 수 있을 것이다. Pastoral is a genre in literature, which deals with the idyllic life since Greek Roman age in western culture. This is a classical literary genre and the way of life described in the tradition. This tradition met with the idyllic elements of the Bible and the pastoralism began to mean the earthly paradise and leadership in the Christian church. When this tradition came into Korea the word pastoral is translated into two words: junwon(전원[田園])and mokhoe(목회[牧會]: pastoral work in churches). The first word has its own tradition in Asian tradition, which is closely related with the perfect nature, or natural paradise. It also means the life in the countryside far from the central political positions. The second translation is still used only related with the Christian church and its clerical leadership. Recently in Korea, we have churches called themselves "Junwon church", which are located in the countryside. The vocabularies used in that churches are related with the pastoral tradition of the western culture. They can be the places of rest and offer healthy life styles like organic farming and the ways of eating and living, which is very limited and can be offered by the non-christian organizations as well. The identity of the junwon churches can be very limited and blurred with the secular non-government organizations as well. One of the major challenges for them is the pastoral tradition itself is changed facing danger in the industrial age where nature is ravaged by human beings even the most natural areas in the Earth. Junwon churches cannot be just churches in the countryside anymore. They need to define themselves not just by the environment they are situated. The clerical pastoral leaders should show the congregation what they should do instead of just escape into the natural environment of the junwon churches in the rural area, where they do not know how long could it be rural in the future. They should recognize that junwon as in traditional meaning

찬송 가사로서의 시편 번역: 존 밀턴의 시편 번역을 중심으로

황원숙(Hwang Weon-suk) 한신대학교 신학사상연구소 2013 신학사상 Vol.0 No.162

초기 기독교 전승을 이어받은 유럽의 국가에서는 시편의 번역은 언어교육을 받는 사람들에게 언어 훈련을 위한 과제였다. 신학적인 시인이 되는 것을 소명으로 삼았던 밀턴에게 자신의 시편 번역이 단순히 뜻을 옮기는 것이 아닌 것은 지극히 당연한 일이었다. 밀턴은 시편의 시적 표현과 음률을 살리는 번역을 시도했다. 물론 이러한 번역은 성시집이 번역된 모든 나라의 시인들이 시도하려 했던 일이었고 항상 성공적인 결과를 내지는 못했다. 밀턴이 초기 습작시절부터 시작한 시편의 번역은 같은 시대, 같은 나라 사람들이 같은 언어로 번역한 것에 비해서 음악적인 면에 충실한 번역이다. 아직도 브리튼의 국교회인 영국 성공회와 스코틀랜드 장로교회 성가집의 일부로 예배 중에 찬송으로 사용되고 있고, 또 한편으로는 충실한 번역시로 회자되고 있다. 본 논문은 밀턴의 시편 번역의 뛰어난 언어적 능력에만 주목하는 것은 아니다. 예배에서 어떤 찬송을 어떤 방법으로 부르는가 하는 것은 종종 스코틀랜드 자유교회의 경우처럼 진지한 신학적 논쟁이 되기도 한다. 밀턴의 신학적 소양과 입장은 그의 번역이 아직 살아남아 있게 하는 중요한 요인이라고 필자는 생각한다. 우리나라에도 예배 찬송에 시편의 전승을 더 많이 도입하기 위해서는 신학적으로 시편의 음악적 사용의 범위를 넓혀 주어야 할 것이다. 밀턴의 시편 번역이 중요한 참고자료가 될 수 있는 것은 밀턴이 신학과 시적 자유를 결합한 시인이기 때문이다. The translation of the Psalter was a very important linguistic exercise for the students of the languages in the early age of Christianity among the scholars and poets in the European countries . The translation of the Psalter has been long and important, however, not all the translations could be said to be successful. Translating Psalter involves linguistic skills, which contains semantical correctness and poetical expressions. In the long history of the translation the English Puritan Poet, John Milton's translations have survived a lot of contentious arguments. The main reason for this can be found not just in his poetical genius; it is from his solid theological background, which enables thriving and extensive expressions. In Korean churches, church music is important and almost overwhelming, but theological background is frequently unasked and unanswered. Theological background for the music and songs in the church should encourage the artistic and pious translation into Korean lyrics to use in services for the ordinary congregation.

Milton's View on Transient Time:Carpe Diem과 연관해서

黃圓熟 慶一大學校 1997 論文集 Vol.14 No.1

It is very hard for Milton, the puritanist, to accept Carpe Diem as the right view of time in this world. Carpe Diem is a well-Known, popular motif with the heathen background. Milton, though it is not the main idea of his world view, sonetines inclines to Carpe Diem, in his regret to the swift time and in his ambitious plan for the country and the society. But in Comus he wants to make sure that Carpe Diem is not only religiously but also morally wrong. Sometimes this motif comes to us with a sound moral background and reasonable motives, as is shown in Sata's temptation in Paradise Regained. Satan urges Jesus to do good things for the people in the world. When we confront with such a moral aspect of temptation, it is very hard to find the reason why we cannot accept that. Here Milton shows us that Satan's temptation is based on the view of time which we can see in Carpe Diem; that is you have to do good things to do good inb this world before this world ends. The focus lies on this world. Milton, who is against Carpe Diem, asks us to shift our focus, from this corporal world to the eternal world and warns us that this is not an easy job.

John Milton과 George Herbert의 서정시 세계

黃圓熟 慶一大學校 1998 論文集 Vol.15 No.1

The metaphysical poets in the 17th century were generally religious poets and so was Milton. But their similarity in their religiosity cannot be the conveincing point of reference because the age was very religious. Though many metaphysical poets seemed to be in contact with Milton, it would be worth while to compare George Herbert and John Milton with their similarities and differences. They were both puritans and worte religious lyrics. Both of them invoked the power of Holy Spirit. For Herbert, Holy Spirit-inspired poems could not contain the secular emotions like erotic love. For Milton, the personal and profane emotions and occasions, as are shown in his sonnets, could raise questions against the sacred promise of the paradise. By secluding himself from the secular emotions, Herbert could solve all the unsacred inner conflict in the name of the sacredness, while Milton more and more sensitively perceived the unsolvable problems in life by enlarging his lyric world to his unsacred emotions. Among his unsolvable problems his personal pain and conflicts are included. So thier worlds of lyric are quite opposite in directions, though their religiosity is rooted in the same origin. Herbert put himself as a model who successfully solved the problems in life, which was also the role of the priest in Herbert's opinion. Milton, who continuously sought the way to take a role as a priest-poet, which was achieved in his epic world, was never satisfied with his role as a lyric poet. Even in his lyrical world, Milton looked forward to arriving in the world of epic world.

하늘나라의 이미지와 선악과 : 『낙원의 상실』 에 나타난 자연 The Nature in Paradise Lost

황원숙 한국밀턴학회 1996 중세근세영문학 Vol.6 No.-

The most impressive aspect of the Garden of Eden in Milton's Paradise Lost is its nature, which is superior to any type of garden in history and in human imagination. Human beings could have led the best of life with the harmonious relationship with the nature in the Garden of Eden. But only by human care and concern, nature can be kept as harmonious and benevolent. Why did Milton choose such imperfect nature as the nature in the Garden of Eden? Even heavenly wisdom can be, though, of course, partly, understood through the nature in Eden. The nature in the Garden of Eden is an image of heaven where human beings can meet the supernatural beings. But these supernatural and theological meaning of nature is related with the innocent state of human being. The nature only has the possibility of morality and order as long as human beings are innocent. Without understanding the promise concerning the the Fruit of Knowledge, which can be one of the worst parts of the nature in Eden, Milton's nature cannot be correctly understood. Satan tempts Eve to eat the fruit by saying that the fruit itself has supernatural power of godly knowledge. Eve, after taking the fruit, praises the power which seems to be within the fruit. The significance of the act comes from the promise not to have the fruit, which is the covenant between God and man. The importance of the Fruit of Knowledge is not in the power but in its meaning which human being intends to attach to it when they pick and eat the fruit. Though nature seems to have various aspects in the Garden of Eden, the meaning of nature depends upon the human choices and will, which are making history. Nature is to be buried in the Chaos, while future human history should be led to regeneration in Providence. Human beings are not part of nature though they are closely related with each other. Nature is only within the historical possibility of human choice.

밀턴의 시에 나타나는 기도와 기원

黃圓熟 慶一大學校 1999 論文集 Vol.16 No.4

이십세기에 종교시인을 말하는 것이 적합하지 않을지도 모른다는 두려움을 가질 만큼 적어도 서구사회에서 이십세기는 종교에서 벗어나려는 시대였다. 그러나 지나 간 천년을 돌아보는 의미에서 종교시인을 언급한다는 것을 서구 문화의 핵심인 종교적인 유산을 정리하는 의미로 자리잡을 수 있다. 종교시인의 한 사람으로서 밀턴을 말하는 것은 영국문학에서 종교시인(기독교 시인)이 가장 융성했던 한 시대의 시를 돌아보는 이상의 의미가 있을 수 있다는 생각한다. 종교나 문학이나 언어에 관한 의식은 세심한 것이며 종교 시인의 언어에 관한 의식은 종교적인 전통과 문학적인 전통 양쪽을 계승하고 있다. 밀턴은 더구나 기독교인의 소명으로서 시인의 길을 선택한 사람으로 사는 단지 말이 아니라 종교적인 의미이다. 종교적인 의미를 어떻게 전달하는가 하는 것은 많은 밀턴의 고민처럼 궁극적으로는 타락한 인간이 부딪히는 문제였다. 타락 이전 아담과 이브의 기도가 시적이며 동시에 즉각적인 것이고 그것이 그들에게 합당한 고백을 담고 있다는 면에서 그들의 기도는 응답의 증거이며 시이기도 하다. 타락한 아담과 이브는 응답에 대한 확신을 얻고 있지 못하며 기도의 내용 역시 혼란스러워지고 있다. 밀턴은 역사를 돌아보고 종말을 확신하는 시인으로서 혼란스럽고 불안에 찬 말을 하기 원하지 않았다. 왜냐하면 그의 궁극적인 목표는 예언자적 시인이기 때문이다. 밀턴은 그에 대한 해결책으로 신에게 기원하는데 그것은 서양문학의 전통을 따른 것이기도 하지만 밀턴으로서는 절실한 문제이기도 했다. 그의 시는 그의 기원을 담고 있지만 동시에 그의 기원의 응답의 증거이기도 한다.

"L`Allegro" 와 "Il Penseroso"

황원숙 한국밀턴학회 1995 중세근세영문학 Vol.5 No.-

Milton's poems are generally thought to be very serious and sincere. "L' Allegro" and "Il Penseroso" are not so serious compared to his later long poems. But young Milton always reminds us of the serious aspects of life as a poet even in his joyful poems. These two poems, which were considered as twin description of joyuful life, can be understood as an expression of Milton's process of understanding for human life and his responsibility as a poet. In "L' Allegro" the narrator has been seeking for the sheer joy of life, which he fails to get in joyful life. In "Il Penseroso" a seemingly thoughtful, solitary narrator wants to get "prophetic strain", which turns out to the metamorphoses of old experience. It is the experience of everyday life that he escaped from. The narrator fails to get the spiritual understanding even in his private life. Here Milton implies that we can live under the false satisfaction, just as the people in "L' Allegro" or the narrator in "Il Penseroso" must have believed to be so, as if we could find the true joy of life. Milton urges us to realize that the false belief in Mirth or Melancholy does not enable us to grasp the meaning of life. In these poems, even Milton cannot find or show us the true way to get the comprehensive understanding of human life. As we know, he finally succeeds to find the way to understand it when he writes Paradise Lost, in which he tells us about creation and human beings in history. His success in Paradise Lost owes very much to the help of the Holy Spirit, from which he receives the true inspiration. Therefore, "L' Allegro" and "Il Penseroso" show us Milton's failed experiment in seeking for the true poetic inspiration.

밀턴의 종말관에 나타나는 정치의 의미

황원숙 한국밀턴학회 1997 중세근세영문학 Vol.7 No.-

Milton's poetry cannot be free from the discussion of the political aspect. It is not only because that he is one of the important members of the puritan revolution but also he shows interest in the movement of power in heaven, earth and even in hell. Milton's view of history is based upon the Christian view of history, which promises the deliverance of the chosen human beings. In "On the Morning of the Christ's Nativity" Milton shows pure joy of Christ's nativity, which means the already achieved deliverance of fallen human beings on earth. But human history is not that simple as young Milton saw it in 1629. Sonnet 15 shows even the people who keep the pure faith go through the cruel ordeal and the poet feels that something should be done politically, but for which he has no power in reality. His bitter realization of his lack of power in real practice makes him pray using the forceful words in imperative form. But in his painful experience he also learns that some political action should and could be done in real world with the hope of the Christian eschatology. Political activities, if it is done in the Christian view of history, could accelerate the development of the history toward the deliverance of the human beings. He shows his change of thought in Samson Agonistes, in which Samson's activity finally achieves the political liberation of the Israelites, though limited. Samson's final activity has political power and is an anti-type of the eschatology. As a poet in exile, Milton's only political activity is his poetry. His political discourse in his poetry is a way to perform his responsibility as a Christian poet.