밀턴과 요한복음의 장님

이병은 한국중세근세영문학회 2010 중세르네상스 영문학 Vol.18 No.2

This study begins with a suggestion that Milton identifies himself with the blind man in John 9. It is an attempt to prove that Milton imagines himself to be similar to this man in the following respects: that he was especially chosen by God to become blind and therefore to serve some remarkable purpose; that he was stronger, rather than weaker, for his affliction since it enabled him to see with deeper insight the true light of God; and that his blindness was not the result of sin. Milton leans heavily on these points of comparison to defend himself against his political and literary enemies who challenged that his was deprived of his eyesight as punishment for writing sinful, hostile, and reactionary pamphlets. However, I hope to show further that this identification with the blind man in John 9 was not just a defense weapon with which Milton defied his accusers, but that Milton adopted it also as a sedative for his own conceit--to satisfy and console his ego with the idea that blindness could be good, purposeful, or even divinely ordained.

"천소영(千素英) 저(著), 고대국어(古代國語)의 어휘연구(語彙硏究)

이병선(李炳銑) 국어국문학회 1991 국어국문학 Vol.- No.105

선한 사티로스와 파우니 : 『리시다스』에 대한 죤슨의 반응에 대한 반응 A Response to Samuel Johnson`s Reaction to Lycidas

이병은 한국밀턴학회 2000 중세근세영문학 Vol.10 No.1

Samuel Johnson passed his verdict upon Milton's use of satyrs and fauns in Lycidas by dubbing them "irreverent combinations" and accused Milton of "impiety," claiming that Milton had "mingled the most awful and sacred truths" with "trifling fictions." In response to this criticism, many Milton scholars have defended Milton, arguing that the pagan characters were used as a part of the pastoral convention or as biographical images. This short paper is aimed at further defending Milton by insisting that he used the satyrs and fauns as types of saints who greet Lycidas in heaven. In this interpretation, Jesus and the saints are antitypes, and the Swain, the satyrs and fauns are types. This typology becomes more appropriate when we compare the pastoral scene of lines 25-36 with the heaven scene of lines 172-181. In these two scenes the atmospheres, characters, sound, time, and settings are related enough to support the typology. Furthermore, the mythological tradition of satyrs as earthly creatures seems clearly related to the Dionysian ritual of death and rebirth, showing a link similarly shown in the tragic but hopeful content of Lycidas.

Characters and Audiences in Jonson’s Volpone

이병은 한국고전중세르네상스영문학회 2015 중세근세영문학 Vol.25 No.1

Critics have often expressed hesitation and confusion when they attempt to classify Jonson’s Volpone into conventional literary categories. This paper thinks that we need to see drama as a configuration of changing relationships between character and audience, with irony the controlling element. The literary hybrids in Volpone which arise from the blending of comedy and tragedy often function as satire. Despite the disdain and skepticism towards society, the satiric effects in the work ― alternately titillating and repelling us with his protagonist’s vitality and perversion ― demonstrate Jonson’s shared belief in the power of art and his faith in the conscious and aware decision of an individual. Forcing the audience into the dual perspective of juror and critic, Jonson illustrates the problematic nature of judgment based on generalized precepts and untrustworthy value systems; therefore, one must turn to himself or herself to consciously discover a moral center. We cannot judge the success of Jonson’s drama based on the traditional literary categories, for this play goes far beyond those guidelines to express the relationship between the audience and a work of art. To develop that relationship, Jonson creates a bleak world where even the justice system is totally ineffective. Because of the double role we have maintained throughout the play as juror and critic, we are simultaneously able to understand the necessity for Volpone’s punishment and to appreciate the object of the satire, which is not external to us, but within ourselves. When we cannot rely on societal precepts to distinguish between right and wrong, we must turn within ourselves to discover a moral standard to measure, as Mosca says early in the play, “By your own scale.” That we cannot simply condemn Volpone does not allow us to sit back smugly in complacent judgment. Instead, by evoking a complex response from his audience and reminding us that all has been a play, Jonson causes us to acknowledge the power of art. As a catalyst, art can help us make conscious decisions based on what we have witnessed and at the end of Volpone, we “fare jovially, and clap hands.”

밀턴의 1645 년 시집에 나타난 귀족주의

이병은 한국밀턴학회 1999 중세근세영문학 Vol.9 No.1

Since there was no class like the "middle class" until the end of 18th-century the English who did not belong to the aristocracy were technically villeins. The English of the 17th-century endorsed the social hierarchy, and villeins and the lesser gentry tried to climb to the aristocracy, which provided many social and political advantages. Consequently, class-consciousness preoccupied the minds of them, and Milton was no exception. Milton was born as a gentleman: his family had a coat of arms. He also had an aristocratic education including Cambridge and a Grand Tour, and his early writings are well matched with his early aristocratic life, as his Poems of 1645 shows. Most of his early poems are aristocratically oriented and reveal his social class-consciousness. He praised the peacefulness and idleness of pastoral scenery and life; even peasants in his poems enjoy country life and their work. Furthermore, his class-consciousness shown some poems was based on the Renaissance medical concept of a hierarchy of humours, especially in the word "melancholy." In his funereal poems his attitude towards death was very much dependent on the social status of the dead. He also wrote two masques, a genre created to celebrate the hierarchical aristocratic establishment, in which pre´ciosite´ appears. His depiction of aristocratic characters came from the typical renaissance English image of aristocrats and emphasized their noble heritage. The fact that his Poems was published in 1645 is meaningful because the antiprelatical and divorce pamphlets, which were released before 1645, showed that his aristocratic class-consciousness slowly changed with political changes. The change was not, however, abrupt. He in 1645 seemed to straddle the two opposing ideas, the idea of blood-based hierarchy and the idea of egalitarianism. His Poems clearly shows his aristocratic class-consciousness.

Milton and Druids

이병은 한국밀턴학회 1997 중세근세영문학 Vol.7 No.-

Among the ancient Celts, the Druids were priests, judges, teachers, poets, and magicians. They believed that the soul was immortal and passed at death from one person into another. They sacrificed human victims; huge wickerwork images were filled with living men and then burned. They even ate human flesh. Milton, although he was an ardent Puritan, extolled these extreme pagans as poets or philosophers in some of his early poems and Areopagitica. In Lycidas they are described as "famous" poets, and in "Mansus" they are called singing British heroes. Milton intimated that they even had some Christian qualities. In some of his prose works Milton judged them to be better magicians than Persian Magi: he said that they handed over their wisdom to the Persians. He also praised them as great philosophers who taught the Gauls, ancestors of the French. But he criticized them harshly as pagans in his The History of Britain which was published in 1670. According to Milton scholars, Milton prepared for The History of Britain in 1639-41 and wrote it in 1643-48, which means that Milton well knew the identity of the Druids when he praised them. Here we see Milton's nationalism clearly. Furthermore, Milton never mentioned the Druids in his late Christian masterpieces because, I think, nationalism was no longer meaningful to him after the Restoration.

밀턴의 후기 시에 나타난 계급의식

이병은 한국밀턴학회 1996 중세근세영문학 Vol.6 No.-

In his early works Milton showed his strong aristocratic bias. Most of his works were about the aristocrats, praising their faith, virtue, courage, chastity and patriotism. And he usually disregarded the base-bom. But his aristocratic class-consciousness changed with the Revolution. He criticized the hierarchical system of Episcopacy and asserted the freedom of the people. In his middle years, however, he seemed to straddle the two opposing ideas, the idea of blood-based hierarchy and the idea of egalitarianism. He claimed popular sovereignty and at the same time he depended on a few aristocrats to rule his country. The Restoration came and his social view of the aristocracy changed. He lost his sense of the special value of the aristocracy that he had maintained throughout his life and espoused Christian egalitarianism. Almost every image of aristocrats appearing for praise in his early and middle years he now used to disparage them. In Paradise Lost, he denied every hereditary advantage of the aristocrats, who desired to be deferred to by persons of lower blood quality. His range of vision also changed from England to the world. His notion of people was not confined to the English any more since after the Restoration to him all believers became equal sons of God. In Paradise Regained, Jesus, who descended hierarchically to save mankind, is described as a commoner, and denies the heroic courage of the aristocrats and education as a way to wealth, rank and fame. In Samson Agonistes, Milton emphasizes Samson's low-class social status before and after his fall and final triumph over his enemies, Dalila, Harapha, and Philistine nobles, all aristocratic in general contemporary thought. As his life unfolded, Milton gradually sloughed his aristocratic bias under an inspiration and a compulsion to sing the themes of classless, essential Christianity.

『실락원』의 愚人들과 그들의 운명

이병은 한국밀턴학회 1995 중세근세영문학 Vol.5 No.-

In Book Ⅲ of Paradise Lost, Milton makes one place for the vain souls "who built their fond hopes of glory or lasting fame" in the earth: the Paradise of Fools. The inhabitants are not perfect sinners in Milton's view. They are not capable of sin: they do not possess the reasoning power to control their free will. Milton says that they will be there "till final dissolution," that is, till they will be annihilated. Some critics, including David Berkeley, E. L. Marilla, Frank L. Huntley, have speculated on the source of Milton' "dissolution," but no speculations have offered full explanation about the source. Unfortunately, this paper can not pin down the exact source with full proof for Milton's annihilationism, either. But it at least can suggest the possible sources critics have failed to notice. First, Rabbi Hillel's idea, along with Shammai's idea, of annihilation of the soul, which is recorded in Rosh haShanah, needs to be considered. Hillel taught that intermediate sinners are punished in Gehenna for twelve months and after twelve months their bodies and souls are burnt up and scattered as dust. Secondly, Arnobius of the fourth century believed in the annihilation of the wicked after they should have undergone just punishment proportioned to their sins. Thirdly, the doctrine of Socinianism declared that the wicked, after suffering "excruciating agonies," would be annihilated. Milton's annihilation of the fools's soul shows his humanistic aspect, insisting upon merciful God's love to His children whose lack of reasoning power and free will spared them from spending eternity in Hell.

물방울에 의한 터빈 블레이드 침식 모델 개발 ( Development of a water droplet erosion model for steam turbine blade )

이병은,류제욱,박성진,이채수 대한기계학회 1999 대한기계학회 춘추학술대회 Vol.- No.-

밀턴과 영국의 식민 정책

이병은 한성대학교 인문과학연구원 2004 소통과 인문학 Vol.2 No.-

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