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Theodore Roethke의 시의 주요 이미지와 상징적 의미
이옥남 全南大學校 人文科學硏究所 1994 용봉인문논총 Vol.23 No.-
<Abstract> The use of imagery enables the poet to effectively and concretely present his ideas and experiences and helps the reader to understand what the poet intends to say. Roethke also employs imagery as the vehicle for conveying his experiences. As his experiences are of the private, subjective and spiritual nature, however, some of his specific images are likely to be deep images. Roethks's imagery can variously be categorized in differet groups based on the criteria: the literal images, the perceptual, and the conceptual; the conventional, the personal; the psychological and the archetypal or the mythical; the physical and the transcendental or the mystical. The natural imagery which comprises most of Roethks's imagery can be divided into the animate, the inanimate and the elemental. But the categorizing for its own sake is meaningless. In general, an image means only what it is. Roethke's images, however, are not always fixed ones referring to one thing only, but protean. Sometimes they so easily shade off into symbols that it is difficult to distinguish, and different interpertations of them are possible. He deepens even his minimal imagery into a complex symbolism during the course of his career. His images, therefore, must be understood not only in terms of the individual poem in which they app[ear, but also in the context of his poetic world as a whole. Since they are closely related with the theme, they grow, develop and change as the theme does and as the poet undergoes transformation and enlargement of his consciousness. Roethke himself said that "Intensely seen, image becomes symbol" and that "He [the poet] must be able to telescope image and symbol." Besides, many images are derived from his biographical facts, and so they are difficult to understand what they symbolize without knowing them. Roethke's main life-long concern was about the human existence: how to form the self, how to preserve it from the threat of imminent nonbeing, and how to transcend the sensual world, thus resolving the conflicts between opposites such as flesh and spirit, life and eternity. He said that "the human problem is to find out what one really is." It has been by now all too well-known that the corpus of Reothke's poems is the record of his incessant struggle for the psychological and spiritual growth on the journey in quest of his true self-identity and its relation-ship with the Absolute. This study deals with Roethke's use of the major images in his poetry and their symbolic meanings in communicating his personal subjective experiences in the process of his search for the self and the Absolute. In considering them, major representative images are selected and discussed, some in detail and at length and some briefly, by cross-checking and drawing together the evidence gathered from the poems and by showing how Roethke uses the images so that they serve the theme. For this purpose are focussed such images as the green-house and in relation to it, the lost child and the father, illumination and the threshold attendant on it, meditation, the abyss, darkness, light-flame-fire, the rose, the dance. Following the basic regression-progression pattern of his spiritual journey, Roethke goes back, "in order to go forward," to his early childhood, to the green-house and its ambience which he called "my symbol for the whole of life, a womb, a heaven-on-earth." Going back to the greenhouse symbolizes going back to nature, to the origin of life. There in the greenhouse world he reexperiences the whole process of life?irth, growth, decay and death. The plant life serves for him as analogies for the human life. Wondering at the life force of the plants, their effort to be born again and grow up, he images the human struggle for spiritual birth and growth in quest of true self-identity, thus uniting the inner and outer realities and attempting to establish the self. Then is discussed the lost child image along with the father image. In what is known as the lost son sequenc, Roethke regresses to unconscious world, to his origin as a human being. As the child-hero matures, he goes out to open nature, which symbolizes the expansion of the selfs consciousness. The relation-ship with nature is no longer confined to the plant world, but also include all objects, animate or inanimate, in anture. There in open nature, Roethke reexperiences the sense of union with nature and the joy of illumination which he has lost. As the protagonist grows old and his progressive journey nears death which in-evitably must be faced, he meditates on the threat of nonbeing and meaninglessness of life. For the explanation of the meditation image are focussed three meditative poems: "The Dying Man," "Meditations of an Old Woman" and "North American Sequence." Finally, some images of the mystic nature as they appear in his later poems are discussed: the abyss, darkness, light-flame-fire, the rose, and the dance. Roethke uses these images in order either to show how he, confronted with death, attempts to transcend the physical world and to resolve all kinds of conflicts be-tween opposites, or to describe his visionary experience of mystical union with the Absolute. The use of imagery enables the poet to effectively and concretely present his ideas and experiences and helps the reader to understand what the poet intends to say. Roethke also employs Imagery as the vehicle for conveying his experiences. As his experiences are of the private, subjective and spiritual nature, however, some of his specific images are likely to be deep images. Roethks's imagery can variously be categorized in different groups based on the criteria : the literal images, the perceptual, and the conceptual ; the conventional, the personal ; the psychological and the archetypal or the mythical ; the physical and the transcendental or the mystical. The natural imagery which comprises most of Roethks's imagery can be divided into the animate, the inanimate and the elemental. But the categorizing for its own sake is meaningless. In general, an image means only what it is. Roethke's images, however, are not always fixed ones referring to one thing only, but protean. Sometimes they so easily shade off into symbols that it is difficult to distinguish, and different interpertations of them are possible. He deepens even his minimal imagery into a complex symbolism during the course of his career. His images, therefore, must be understood not only in terms of the individual poem in which they appear, but also in the context of his poetic world as a whole. Since they are closely relateed with the theme, they grow, develop and change as the theme does and as the poet undergoes transformation and enlargement of his consciousness. Roethke himself said that "Intensely seen, image becomes symbol" and that "He [the poet] must be able to telescope image and symbol." Besides, many images are derived from his biographical facts, and so they are difficult to understand what they symbolize without knowing them. Roethke's main life-long concern was about the human existence : how to form the self, how to preserve it from the threat of imminent nonbeing, and how to transcend the sensual world, thus resolving the conflicts between opposites such as flesh and spirit, life and eternity. He said that "the human problem is to find out what one really is." It has been by now all too well-known that the corpus of Reothke's poems is the record of his incessant struggle for the psychological and spiritual growth on the journey in quest of his true self-identity and its relationship with the Absolute. This study deals with Roethke's use of the major images in his poetry and their symbolic meanings in communicating his personal subjective experiences in the process of his search for the self and the Absolute. In considering them, major representative images are selected and discussed, some in detail and at length and some briefly, by cross-checking and drawing together the evidence gathered from the poems and by showing how Roethke uses the images so that they serve the theme. For this purpose are focussed such images as the greenhouse and in relation to it, the lost child and the father, illumination and the threshold attendant on it, meditation, the abyss, darkness, light-flame-fire, the rose, the dance. Following the basic regression-progression pattern of his spiritual journey, Roethke goes back, "in order to go forward," to his early childhood, to the greenhouse and its ambience which he called "my symbol for the whole of life, a womb, a heaven-on-earth." Going back to the greenhouse symbolizes going back to nature, to the origin of life. There in the greenhouse world he reexperiences the whole process of life-birth, growth, decay and death. The plant life serves for him as analogies for the human life. Wondering at the life force of the plants, their effort to be born again and grow up, he images the human struggle for spiritual birth and growth in quest of true self-identity, thus uniting the inner and outer realities and attempting to establish the self. Then is discussed the lost child image along with the father image. In what is known as the lost son sequenc, Roethke regresses to unconscious world, to his origin as a human being. As the child-hero matures, he goes out to open nature, which symbolizes the expansion of the self's consciousness. The relationship with nature is no longer confined to the plant world, but also include all objects, animate or inanimate, in anture. There in open nature, Roethke reexperiences the sense of union with nature and the joy of illumination which he has lost. As the protagonist grows old and his progressive journey nears death which inevitably must be faced, he meditates on the threat of nonbeing and meaninglessness of life. For the explanation of the meditation image are focussed three meditative poems: "The Dying Man," "Meditations of an Old Woman" and "North American Sequence." Finally, some images of the mystic nature as they appear in his later poems are discussed: the abyss, darkness, light-flame-fire, the rose, and the dance. Roethke uses these images in order either to show how he, confronted with death, attempts to transcend the physical world and to resolve all kinds of conflicts between opposites, or to describe his visionary experience of mystical union with the Absolute.
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