삼손의 죽음이 주는 답변

황원숙 연세대학교 영어영문학회 1994 영어영문학연구 Vol.16 No.-

Milton은 서사시인 Paradise Lost과 Paradise Regained에서 신이나 천사까지 참여하는 대화를 통해서 많은 이야기를 전한다. Paradise Lost에서 아담은 처음 경험하는 모든 세계를 경이롭게 바라보며 모든 것을 알고자 질문을 하기 시작한다. 그는 자신과 주변의 자연에서 시작하여 우주와 창조에 이르는 모든 것을 묻고 알려고 한다. 아담의 질문이 너무나 지나친 것이라고 라파엘이 경고하지만 Paradise Lost에서 아담의 질문은 그 자신의 이성적 사고, 천사의 방문, 때로는 신의 목소리를 통해서 직접 답변을 얻는다. 아담이 에덴 동산에서 쫓겨날 때까지도 의혹과 분노보다는 미래의 약속을 믿고 기다릴 준비가 되어 있는 것은 신과 자신에 대한 많은 의혹이 해결되어 있기 때문이다. 사실 아담의 질문은 Paradise Lost의 독자들에게는 답이 이미 주어져 있는 경우가 많아 독자의 입장에서 아담의 질문은 어렵고 심각하기보다는 흥미를 유발하는 것들이다. Paradise Regained의 예수 자신도 궁금해하는 "하나님의 아들"이 무엇인가 하는 의문은 Paradise Regained의 중심되는 의문이며 예수는 물론 사탄도 꼭 풀어야 할 주제로서 양자의 대화의 중심이 되고 있다. 예수의 의문은 아담의 경우처럼 명확한 답이 주어지지는 않지만 예수의 삶 속에서 답변을 찾을 수 있다. Satan은 예수에게 하나님의 아들이 해야할 일과 그 방도를 제시한다. 그 것들은 예수의 의문에 일시적인 "해결책"처럼 보인다. 그러나 예수는 보다 긍극적인 것을 추구하기 위해서 사탄이 제시하는 모든 해결책이 유혹에 지나지 않는다며 거부한다. Paradise Regained에서도 역시 예수의 의문은 독자들에게 그다지 심각한 문제는 아니다. 기독교의 교리에 익숙한 사람이라면 이미 그 답변을 알고 있기 때문에 일시적 해결책을 예수가 거부할 것이라는 것을 알지만 그것이 아니라도 사탄의 제의를 반박하는 예수의 답변 속에서 설득력 있는 해답의 가능성을 보게 되기 때문이다.

기독교 비극 『투사 삼손』: 기독교 시인으로서의 밀턴의 갈등과 해결

황원숙 장로회신학대학교 기독교사상과 문화연구원 2010 장신논단 Vol.38 No.-

밀턴의 마스크에 나타난 자연

황원숙 신영어영문학회 2001 신영어영문학 Vol.18 No.-

In this ecological crisis, the ecocritical criticism is critical to many literary and cultural tradition including the general Christian viewpoint and its attitude toward nature and literary genre like pastoral literature. Pastoral literature has a very long history and it was accepted to Christian monotheistic world though it was born in the Greco-roman, polytheistic world. As the view of nature and the attitude toward it is one of the main themes of the pastoral literature, and those of the Greco-roman age and Christianity are radically different, the pastoral literature of the Christian world may contain conflicting elements in itself. We find that kind of conflict in Milton's pastoral works. Though many of his poems including the two epics contain some elements of pastoral tradition, two masques have pastoral elements as a part of the masque convention. Comus and 'Arcades' have many pastoral elements, which were modified and changed in Milton's world. The modified pastoral elements in these two masques allow them to overcome limitation of the pastoral anti-ecological attitude. Therefore their attitude toward nature in Milton's masques is different from the pastoral nature which solves problems of people with its natural healing power. The real healing power in Milton's masques is from the supernatural beings, like Thyrsis, Genius, and Sabrina. Human beings like the Lady in Comus rely on the guide of these supernatural beings to live safely in the wood, where fallen beings are threatening the good people. The supernatural beings protect good people from the threat of the nature as well. Basically they may justify their possible change and modification of nature for human goodness. Milton denounced the pastoral attitude toward nature, which is not favored by ecocritical point of view. He, however, put nature under the control of the supernatural moral decision, which very much sounds like Christian attitude. Lady's seemingly ecological insistence on 'temperance' should be taken by Thyrsis and Genius in their practice of supernatural power in natural world.

『투사 삼손』: 폭력, 죽음, 살아남은 자들의 선택

황원숙 한국고전중세르네상스영문학회 2004 중세근세영문학 Vol.14 No.2

It is not easy to read Milton's Samson Agonistes which has been the subject of dispute for its violence and massacre. After 911, John Carey wrote an article on Samson Agonistes and criticized Stanley Fish's, though not without waver, praise of Samson's act as moral act of God's chosen person. He pointed out the similarities between Samson and the real world violence of the 911, both of which could be justified as divine acts by the supporters. He, therefore, suggested to exclude Samson Agonistes from the reading list. In fact, in Samson Agonistes, we meet the characters who acknowledge the violent physical ability of Samson as disposition of Providence. Violence, however, is often criticized as well and is not always a signifier of God's grace, which becomes clearer after Samson destroyed the theater and killed (by accident, according to Milton's point of view) himself. The results of violence and massacre are left to be interpreted and are anything but indisputable God's grace. Samson Agonistes rather asks us to think about how to get oneself out of the unjust pressure and what is the result of the violence as a possible alternative in an impelling situation than simply exhorts us to praise his act. Therefore, even with deep understanding on Carey's worries and after the painful experience in the real world, Samson Agonistes should be kept in the reading list.

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.

성북구보건소 체력측정실 업무현황

황원숙 대한운동학회 1999 아시아 운동학 학술지 Vol.- No.1

밀턴의 『실락원』에 나타난 시각과 영적 지식의 문제

황원숙 한국밀턴학회 1998 중세근세영문학 Vol.8 No.-

Milton's blindness not only gives us a pathetic point of view on his life but also leads some critics to interpret his poems as confessional statements. But even in his so called occasional poems his blindness does not seem to paralyze or limit his poetic ability, which he takes as his calling as a Christian. But when we read his lines filled with visual imagery we cannot but hesitate to say that he is not regretful. He even writes lines which are related with the platonic idea that by looking at the sphere we can understand God's Idea. He does not deny that the sight, at least sometimes, can be a way to understand the inner truth and even the spiritual truth in Paradise Lost. But the limit and possible distortion of the sight-knowledge relationship is shown through the witness of the Heaven and Eden and Hell; that is Satan. At first he is an evidence of a sight-knowledge possibility: he reveals his lack of morality by losing his brightness. Soon his intentional perversion of the clear truth, his envy and hatred to the beautiful scene of the Garden of Eden show up as the counter-evidences to the sight-knowledge. Satan hides his intention by physical disguise and sham. Here we cannot but admit that human eyes could be easily deceived. That means we cannot depend on sight as a reliable source of spiritual knowledge. It is even more clear when Michael shows special vision to Adam after the fall. When the sight cannot be trusted as a stable source of spiritual reality, blindness is nothing deplorable to Milton who wants to be a prophetic poet. Even in his blindness, the narrator in Paradise Lost is revealed to the heavenly vision, which he successfully puts into human language in Paradise Lost.

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.

"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.

기독교 비극 『투사 삼손』 - 기독교 시인으로서의 밀턴의 갈등과 해결

황원숙 장로회신학대학교 장로회신학대학교 2010 장신논단 Vol.0 No.38

기독교의 전통과 고전의 전승을 진지하게 받아들인 기독교 인문주의자로서 존밀턴(John Milton)은 성서의 삼손 이야기를 비극 『투사 삼손(Samson Agonistes)』에반영하려했다. 그러기 위해서 밀턴은 비극 전승의 중요한 요소들을 더하였다. 성서의 기록에 어떤 이야기를 더하거나 뺀다는 것은 중요한 일이었다. 본 논문에서는밀턴이 사사기를 어떻게 변경하였으며 그 이유와 효과는 무엇인지 밝히려 한다. 주인공의 아버지인 마노아는 특별한 자신의 아들을 위해서 무엇이든 하려고 하지만그는 삼손의 죽음에 대한 비극적 경험은 하지 못한다. 들릴라가 삼손의 아내로 등장하는 것은 아주 중요한 변화이다. 들릴라는 단지 삼손의 여인들 중 한명이 아니라 삼손이 선택한 아내이기 때문이다. 들릴라는 아내로서의 지위를 얻게 되면서 법적으로 아내로서의 의무와 권리가 주어지게 된다. 이스라엘 사사의 아내라는 그녀의 위치에도 불구하고 그녀는 삼손과 이스라엘 민족의 반대편에 서게 된다. 들릴라는 그 삼손을 태어나게 한 하나님에 대한 믿음을 가지지 않았기 때문에 둘의 결혼은 시작부터 위태로운 것이었다. 들릴라의 배신으로 이들 관계의 진짜 문제는 겉으로 불거졌다. 아이러니하게도 본 작품에서 삼손 이외에 비극적 히브리스(hubris)를가진 유일한 인물이기도하다. 하라파는 거인족의 조상이며 삼손을 힘으로 위협하는 인물이다. 하지만 삼손은 하라파의 도전을 우습게 생각하며 그를 비웃고 쫓아보낸다. 삼손이 육체적으로 누가 더 강한가를 가리는 싸움과 그에 대한 자랑은 아무런 의미가 없다는 것을 깨달았음을 보여주는 대목이다. 하라파는 삼손의 과거 모습이다. 삼손은 보다 영적이며 자신의 힘의 의미를 생각하게 되었다. 코러스는 순수하게 밀턴이 전통적인 고전 비극의 관습을 따라 만든 인물들이고 비극적인 장치이다. 코러스는 삼손이 들릴라와 결혼하고 다곤 신전에 죽는 것을 이해하지는 못하지만 시종일관 삼손이 삼손에게 우호적이고 그를 위로하려 한다. 그들의 가장 중요한 임무는 드라마를 통해서 얻는 비극적 경험이다. 물론 드라마의 마지막 장면에서비극적인 경험과 카타르시스는 결국 독자들의 몫이다. 투사 삼손은 진정한 고전적인 의미의 비극이며, 성서 원문에서 비극 투사 삼손을 만들어 내기 위해 기독교의차원에서 비극적 경험을 이루어 내도록 쓰인 것이다.