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존 클레어의 엘레지(Elegy) 연구: 인클로저와 헬프스톤
오호진 미래영어영문학회 2015 영어영문학 Vol.20 No.3
John Clare(1793-1864) wrote some elegies in protest at the social changes of his native village, Helpston, after the enclosure. Some of the changes were the closure of commons, the stopping of paths, loss of labour and of wages, the ploughing of meadows and the felling of trees. These were to affect not only the rural labouring poors of Helpston, but those of other villages of England. Interestingly, John Clare didn't focused on the loss of a most basic human freedom of access to land in order to have a home in which to live and the field in which to work. In “The Lament of Swordy Well” and “To a Fallen Elm,” we can see the ascription of human feelings and moral attributes to nature had the virtue of ironically emphasizing the inhumanity of enclosure. We can see that Clare's responses to the enclosure were shaped not only by his experiences as a labourer but by his acute consciousness of his identity and resources as a poet. For John Clare, the enclosure stands for both the economic suffering for the poor and the loss of the freedom to wander. Finally, he strongly emphasized that anyone can't possess every living thing in this world involving Helpston.
존 클레어의 엘레지에 나타난 ‘집’의 향수: 헬프스톤과 유년시절의 기억
오호진 대한영어영문학회 2018 영어영문학연구 Vol.44 No.2
At the age of 40, John Clare’s movement from Helpston to Northborough meant two different meanings for him: fortunately, his new home had a small field attached to it to make him independent, but to be independent and out of his old one was to exchange his knowledge for a way of life quite unknown. In Northborough, he wrote elegies about leaving home and feeling nostalgia of home. “Remembrances”(1832) is concerned with his changing attitude to Helpston, and contains the sense that the associations he has with it are with a place that disappeared with the Enclosure. It has the protests of a distressed and dejected poet against the destruction of his personal identity, which is located in this now changed rural setting. “The Flitting”(1832) is about homesickness and the crisis that is caused by severing the ties with home. To him, ‘flitting’ refers to the action of moving house, but also implies an inconstant, fleeing movement, and can be read as linking directly to the central theme of instability. Both “Remembrances” and “The Flitting” contain the nostalgia of home by the sense of estrangement. Here, a home symbolizes the stability and constancy like Helpston and the memory of his childhood.
오호진 현대영미어문학회 2011 현대영미어문학 Vol.29 No.3
“To Autumn” shows the main idea of Keats' deepest meditation on the natural world and man's relation to it. Jonathan Bate says “To Autumn” is “a meditation on how human culture can only function through links and reciprocal relations with nature. For Keats, there is a direct correlation between the self's bond with its environment and the bonds between people which make up society.” Keats suggested our happiness comes from good weather, clean water to wash and bathe in, unpolluted air in which to exercise in his letter. The eruption of Tambora volcano(1815) had injured the growth-capacity of organic life across every country of Europe for three years. Only in 1819 were there good weather in summer, a beautiful autumn, and then a full harvest again. The year was very notable and special for its abundance precisely because of the series of disastrous harvests which characterized many of the years immediately preceding. Keats said our happiness depends on sociability and warmth: in order to survive, our species needs both social and environmental networks, both human bonds and good weather. “To Autumn” is a poem about these networks, and then it shows the interdependence of the man and nature. Its world comes to resemble well-regulated ecosystem. Its ecosystem is something larger than an image of agribusiness. It is a poem of a thinking of fragile, beautiful, necessary ecological wholeness. Keats' vision of a ‘green world’ we live in is a fine example of the negatively-capable “acceptance” which Karl Kroeber has identified with ecological “competence”.
「성 아그네스 전야」("The Eve of St. Agnes")의 화자 역할과 시적 진행 구조
오호진 한국현대영어영문학회 2002 현대영어영문학 Vol.46 No.3
This study aims to discuss the relationship between the narrator's roles and the process of story in John Keats's 'The Eve of St. Agnes'. The narrator plays various roles in some dramatic scenes. With these roles, he leads readers to the correct understanding of the poem dramatically. He is an ironic narrator who imposes varying degrees of perspective on the story being told in the poem. Sometimes he may choose the posture of remaining largely invisible in many scenes of telling the story of this poem and may appear speaking in his own voice, and may make the story a reflection of his personal narratives. In other words, the narrator directly tells his own opinions on some situations of the poem to readers or characters, and also begs something of them. He gives some advices and maxims on its events to them. He prays to come true the same dreams with main characters, and shares some desires with readers. In conclusion, he shall be a main character, a reader, a main event, and a poet himself. These various roles of narrator make this poem be a dramatic one having the themes of relationship between the ideal love and the real love, the ideal world and the real world.
G. M. Hopkins의 詩 이해를 위한 한 考察 : "God's Grandeur"와 "The Starlight Night"를 중심으로
오호진 大田産業大學校 1993 한밭대학교 논문집 Vol.10 No.2
When we read Hopkins' two sonnets, "The God's Grandeur" and "The Starlight Night", we can comprehend his religious faith as a Jesuit priest. He had experienced some inner conflicts and sufferings from the materialism and the dehumanism being remarkable social phenomena in his day. But, with no changes, he had a true faith as a priest. And he also had tried to behold many beautiful natures and had felt God's love through the real communions with them. With this experience, he made efforts to write beautiful poems that admire God's love highly. In "The God's Grandeur", he praised God's grandeur and God's love with a Plain and eloquent speaking. He also expressed his real experience that he had felt God's creative power and God's kingly appearance in the stars 'beautiful world of a night sky through "The Starlight Night". In the result, we can say Hopkins' sonnets have two parts. The first part includes the close description of natures in this world, and the rest includes the eloquent and strange admiration for God's creativity.