단테의 『신생』 : 새로운 사랑, 새로운 삶

한국밀턴과근세영문학회 2008 중세근세영문학 Vol.18 No.2

<P>In Vita Nuova, Dante begins his love of Beatrice with the tradition of the stilnovisti ( dolce stil nuovo) which adds philosophical dimension to the troubadour lyrics ( canso). While drawing upon the philosophy of love by such poets as Guido Guinizelli and Guido Cavalcanti, however, Dante renovates it to be a new idea of love. By opening up the blockage of love as death (Cavalcanti) and extending the concept of the angel-like lady (Guinizelli), Dante elevates Beatrice to be a channel of divine love and thus a new life. The first half of Vita Nuova consists of three encounters and visions: 1) Dante meets Beatrice who answers his attention with greeting, and afterwards, he suffers from the stilnovisti phenomena of erotic illness; 2) due to the misunderstanding caused by Dante’s having the screen ladies, Beatrice refuses greeting to him, and the God of Love stops using the screen (“simulacra”) to hide Dante’s love for Beatrice. 3) Beatrice’s death, as a postfiguration of Christ’s death, induces Dante to have a glimpse of the love of divine nature. It can be said that by the three visions Dante’s soul experiences the outward/inward/ upward movement.</P><P> In the process, Dante transforms Guinizelli’s poetics of simile to his own poetics of metaphor, or the incarnational poetics: for Dante, the lady is no more like an angel, but she is a divine being. And this new love and new life of Dante serves as a reply to Cavalcantian definition of the love as “death.” But this is not to say that Dante’s soul advances in an orderly fashion from the exterior realm via the interior to the superior, or from the typical stilnovisti manner of love as death via Guinizelli’s angelic lady to Beatrice as a mediatrix to redemption. Not only does Dante relapse into the love of a substitute for Beatrice (a noble lady at the window) in the latter half of Vita Nuova; the mode of “simile” is also prevalent in Vita Nuova as a whole. The God of Love, the two screen ladies and the lady at the window, all represent simulacra of Christ or Beatrice. Further, the human language is always lame, falling short of the divine entity of Logos, which Dante might be able to learn how to express in the Divine Comedy. In Vita Nuova as a realm of memory and visio imaginativa, Dante’s attempt is, at best, to find a way to caritas, being oftentimes astray from it.</P>

Preaching to Adam

Jin Sunwoo 한국밀턴과근세영문학회 2012 중세근세영문학 Vol.22 No.1

While Milton"s decision to become a poet-priest rather than an ordained minister is commonly regarded as an expression of Milton"s preference for a poetic vocation over that of a ministerial vocation within the Anglican Church, it is the view of this paper that what Milton is actually does is transforms and expands the traditional role of a poet to include the ministerial function, thereby bringing poetry and preaching together. The result of such an expanded view of poetry espoused by Milton, besides elevating the layman as equal to that of the priest in matters of faith, is that it led to a corresponding expansion of the possibilities in the area of religious poetry. Certain subject matters, such as sermons and biblical exegesis, previously deemed unsuitable for the laity, can now be broached openly with equal justification. A good case in point is the angelic discourses in Milton"s Paradise Lost where the poet appropriates the voice of the angel Michael in order to teach and correct in book 11 and 12. Considering that a "sermon intends Exhortation principally and Edification and a holy stirring of religious affections" (Donne VIII 3.10-11), it is possible to read the voice of Michael as an attempt to teach (or edify) the fallen about God"s mercies as following the sermonic format for sermonic ends, which is to exhort the fallen to correct their wrong. And, such an effort to teach and exhort through poetry may be at the heart of Milton"s vocation as a poet-priest.

밀턴의 新天地: [실낙원]의 이사야적 요소

박영원 한국밀턴과근세영문학회 2000 밀턴연구 Vol.10 No.1

땅과 인간의 회복 : 제라드 윈스턴리의 디거즈 활동 시기의 팸플릿

한국밀턴과근세영문학회 2009 중세근세영문학 Vol.19 No.1

<P>Like many radicals of the English Civil War, Gerrard Winstanley, one of the leaders of so-called "True Levellers" or "Diggers," composed several pamphlets in order to defend his group and search for possible comrades. The pamphlets published while he worked for the Digger community, notably "The True Leveller"s Standard Advanced," "A Declaration from the Poor Oppressed People of England," and "A New-Year"s Gift for the Parliament and Army" illustrate a distressed commoner"s responses to the major political, economic, and social problems of the seventeenth century. In these three pamphlets Winstanley criticizes mostly land enclosure and proposes alternative ways to understand and imagine the relationship between the earth and human beings as well as the significances of the earth in human lives.</P><P> While a number of contemporary people defended land enclosure because of its economic efficacy, Winstanley regards the earth and human beings as closely related parts of creation, or an extension of a universal spirit of love. He also represents the earth as the major foundation of communal agrarian labor, opposing to commercial approaches to the earth; since he respects the values of medieval agrarian society, agrarian labor had the undeniable priority in his vision. When Winstanley reconstructs the history of mankind, concentrating on human beings" struggle over land, he interprets the Bible in original and radical ways. Millenarianism of the English Civil War significantly influenced the author"s historical consciousness and let him see his own present moment as a highly critical time for his countrymen; thus he urges the English people to fulfill their mission by achieving economic and political reformation such as abolishing the enclosure of common land.</P>

“제왕의 교만함으로”

임성균(Sung-kyun Yim) 한국밀턴과근세영문학회 2012 중세근세영문학 Vol.22 No.1

This paper is to explore the possibility that Spenser’s Mutabilitie provides Milton with a model for his Satan. As a manifestation of pride and classical heroism, Milton’s Satan in Paradise Lost shares certain significant features with Spenser’s Mutabilitie in The Faerie Queene. Close examination of Mutabilitie’s personality and her action may enable us to conjecture that she might be, at least an important part of, Satan’s prototype. Not only in her ambition and audacity in obtaining what she desires, but also in her conviction that Jove, the king of gods, is not necessarily above herself, may we find the essence of Milton’s Satan in a different shape and context. They both are proud, ambitious, self-righteous, and deeply assured of their native right. Mutabilitie’s rise and fall yield striking similarities to those of Satan. Like Satan, she is self-contradictory. While presenting evidences that the entire universe moves within the principle of mutability, she neglects that she, too, is a part of that change. Satan shares her self-serving attitude towards the absolute and permanence. Thus, the more they strive for dominance, the faster do they approach their own doom, for they are ultimately part of the far greater providence ordained either by God or Nature.

밀턴의 부조리: 『리시다스』에 나타나는 언어적 모순과 모호성

박영원 한국밀턴과근세영문학회 2003 밀턴연구 Vol.13 No.2

에로티시즘의 정치학 - 로버트 헤릭의 ��헤스페리데스��를 통해 살펴본 성애와 죽음

한국밀턴과근세영문학회 2008 중세근세영문학 Vol.18 No.2

<P>This paper investigates the interconnectivity between Robert Herrick"s anti-Puritan politics and his erotic poetry. Reinterpreting Hesperides through Georges Bataille"s analysis of eroticism, this paper argues that Herrick"s erotic poetry takes political dimension through its sketch of intermingling of eroticism with death at the moment of the decease of Royalist culture. Hesperides was published in 1648, a year before the decapitation of Charles Ⅰ, when Herrick was ousted from his post of Dean Prior. Thus, not only Herrick"s publication of Hesperides but also the erotic poetry in it should be seen as a declaration of political and poetical allegiance to the leadership of William Laud, Archbishop of Canterbury. In his erotic poetry, Herrick brings into play religious rituals, eroticism, and death, through which the momentary perpetuity is led into the poetic world. This perpetual world governed by the rule of eroticism works as anti-Puritan as it fights against the changing power of Reformation. Thus, this paper implicates erotic poetry of Hesperides with the seventeenth-century political context and further attempts to see the volume as constituting an organic whole, not a jumble of variegated poetic moods and ideas.</P>