난봉꾼에서 신사로: 왕정복고기와 18세기 영국드라마의 자기전복성

전인한 ( In Han Jeon ) 영미문학연구회 2007 영미문학연구 Vol.13 No.-

This paper aims to probe the subversiveness of the libertine in the Restoration and the Eighteenth-century English drama. In the libertine dramas of this period, this paper argues, despite the flamboyant refusal of the social convention of the contemporary society, the libertine`s raison d`etre is questioned continuously, not by the attack from the outside but by the internal paradox. The libertine dramas of this period expose inadvertently the libertine`s insecurity behind his insatiable quest for women and his will to dominate. William Wycherley`s The Country Wife(1675) reveals how the libertine`s attempt to flout social convention is frustrated by impregnable societal hierarchy. Horner`s strategy, that is, to conquer the high-class ladies by assuming the odium of eunuch, fails as he still remains a eunuch in a society where appearance governs reality. In this conservative society, the real heroes of the play are the so-called "virtuous gang," as they demonstrate their thorough understanding of the society`s inner dynamics in their exploitation of Horner`s imperfect understanding and in their challenge against the patriarchs who attempt to maintain societal hierarchy through the oppression and suppression of their desires. While Horner reveals how a libertine gives up his will to dominate for his quest for lust, Dorimant, the hero of George Etherege`s The Man of Mode(1676), discloses how the libertine`s unceasing quest for domination defeats himself. Dorimant reveals his desire to stand on the apex of society through demonstrating his ability to flout society`s norms when he exercises his never-ending and often ungrounded aggression on the people around him. Yet, when he attacks the convention of the heroic play of the past, this paper argues, he attacks himself inadvertently, as the hero and heroine of the heroic play and he share the same dominant characteristics, that is, to be distinguished from others and thus to lord them over on the top of societal hierarchy. Dorimant further comes to the painful recognition that, as he falls in love with Harriet and feels the "pangs of love" he has despised in other people before, the life as libertine cannot go on as before. In William Congreve`s The Way of the World(1700), Fainall represents a Dorimant who has chosen to remain as libertine and Mirabel embodies a Dorimant who has given up the libertine way of life. Mirabell defeats Fainall in the struggle for the Wishfort estate through the trust he attains from Mrs. Fainall and his compact with Millamant, so the newly-emerged honnete homme who operates to the principles of trust triumphs over the old-style libertine/patriarch who still believes in the sovereign male prerogative. The proviso scene in which Mirabell and Millamant agree to their marriage, however, reveals that the libertine and patriarch did not vanish away as Mirabell attempts to restrict Millamant`s liberty with libertine`s cunning and discloses his primal instinct as patriarch in his ardent desire for a male heir who will inherit his estate by the right of birth.

사려는 남성들, 안 팔려는 한 여성: <머리타래의 겁탈>에 투사된 남녀간 권력투쟁

전인한 ( In Han Jeon ) 한국18세기영문학회 2014 18세기영문학 Vol.11 No.2

This paper aims to examine the intra-gender power struggle projectedin Alexander Pope`s The Rape of the Lock. This paper investigates howBelinda assumes and exercises power in the so-called beau monde and,in so doing, argues that Belinda cleverly utilizes the operating rules ofemerging mercantilist society to acquire power when she commodifiesherself as a chaste and sexually enticing maid to attract strong demandsfrom men of her world only to reject their advances. This strategy ofattracting and rejecting men can be understood as an effective way ofstrengthening her power, as it guarantees her continuing circularity as ahighly desired commodity. The Baron`s cutting/rape of her lock, thesymbol of her chastity and physical attractiveness, this paper proposes, isa reply of patriarchy to a woman who dares to challenge male authorityby not accepting her status as a subordinate being in the periphery ofsociety as well as by acquiring and exerting some power that is notsupposed to belong to a woman. Thus, the Baron`s cutting of Belinda`slock can be interpreted as the Baron`s stopping Belinda`s circularity, forthis act forever damages Belinda`s worth as a commodity in themarriage market and thus deprives her of the foundation of her power. Then, this paper investigates how Thalestris`s and Clarissa`s speeches represent different attitudes towards the male domination in apatriarchal-cum-mercantilist society. This paper proposes that bothwomen`s speeches cannot offer any viable ways in which Belinda cancope with the all too powerful male domination and the inevitableonslaught of time. The ensuing battle of Belinda and the Baron, thispaper reads, symbolizes the materialization of the loss of Belinda`schastity following the loss of Belinda`s symbol of chastity, as this battleis nothing but an allusion to the love-making of the two. In this battleor love-making, the Baron emerges as a seriously shamed loser, as he isproved not to have any claim to Belinda`s lock when his masculinepower is questioned. This paper concludes that the ascension of Belinda`s lock in the skyin the conclusion of the poem is Alexander Pope`s and patriarchy`s finalreply to the intra-gender power struggle in the contemporary society. Inconfirming Belinda`s lock as nobody`s thus everybody`s property,patriarchy speaks through Alexander Pope that women in their societycannot have any exclusive claim to any property including chastity andthus cannot have any meaningful status but the subordinate one in themargin of their society.

Adieu to the Public Function of Satire: The Art of Life in Alexander Pope`s Imitations of Horace

전인한 ( In Han Jeon ) 한국18세기영문학회 2007 18세기영문학 Vol.4 No.2

The purpose of this paper is to analyze the cause of the separation of satirist`s private integrity from the public function of satire in Alexander Pope`s later satires. This paper first points out that in the Epilogues to Satires (1738), Pope`s last formal verse satire, Pope advocates his personal integrity at the expense of the public function of satire unlike in Satire II. i (1733), where Pope`s advocation of the corrective function of his satire is closely related with the vindication of his personal integrity. This paper argues that we can conceive why and how Pope has come to give up the public function of satire through analyzing some of Pope`s Horatian imitations written between 1733 and 1738. Satire II. ii (1734) is a rare occasion, this paper asserts, in that in this satire is witnessed Pope`s conviction that private morality can be a basis of public engagement. Yet, the conviction of this kind is not to last, as, in Epistle II. ii (1737), the possibility of achieving private morality, that is, the art of life, is seriously doubted. This kind of doubt verges on pessimism, as Pope reveals the urgent need to tend to the perfection of his inner self. While Epistle II. ii reveals Pope`s doubt whether he can achieve the ideal of the art of life, To Murray (1738) shows Pope`s belief that politics and the active involvement in the world is futile and thus should be the object of "not to admire." Epistle II. ii and To Murray can be regarded as a pair of poems that demonstrates Pope`s inner conflict between his public self and private self. In these poems, Pope is very reluctant to acknowledge the need to sever the link between his public self and private self, as the possibility of achieving inner perfection is doubted at the same time as his desire to engage in the contemporary world is secretly recognized. Yet, at last in To Bolingbroke (1738), the need to sever the link is no longer resisted. In this poem, the room for the public function of satire is put aside for the more urgent need of achieving and maintaining personal integrity, as Pope`s powerful yearning for personal improvement struggles hard against inner doubt and the fear of failure.

것을 얻는 남자: 아프라 벤의 「방랑자」에 형상화된 가부장 사회의 위력

전인한 ( In Han Jeon ) 한국18세기영문학회 2015 18세기영문학 Vol.12 No.2

This paper purposes to examine Aphra Behn’s challenge to patriarchy in The Rover, Part I and II through the investigation of her heroines’ various attempts to frustrate their objectification in patriarchal society. In part I, despite their efforts, Angellica and Florinda fail to become ‘desiring subjects,’ for Angellica cannot devise a way out of her status as a commodified courtesan while Florinda acquiesces to her status as a prized property under male protection. However, Hellena seems to succeed to become a subject in her attempt to lure Willmore the libertine into a marriage that is free from the conventional constraints of patriarchy and in which she and Willmore both act as equal agents. Hellena achieves this through creating a new identity whore/virgin and by refusing to give her over to her lover once and for all. This success seems to be repeated in Part II in which the courtesan La Nuche wins against Ariadne in the battle over Willmore’s love and the two promise to love each other outside the oppressive social institution that is marriage. However, this paper points to the enduring power of patriarchy latent in The Rover. In Part I, despite her creation of a new identity, Hellena only succeeds in deferring her becoming finally a wife, for she cannot imagine her life with Willmore outside marriage. In Part II, La Nuche gets her union with Willmore only through her self-exile from society and as a result ends up being totally dependent upon Willmore’s faith for her happiness, losing her subject status in the relationship with Willmore. In this respect, Aphra Behn inadvertently affirms male authority in patriarchal society paradoxically through her challenge to it. This paper argues that, at the end of each part, the eventual winner is not Aphra Behn’s heroines but Willmore who never abandons his instinct as a libertine and succeeds in winning the hearts of innumerable women and bedding them without any punishment. In this respect, contrary to Aphra Behn’s intention, The Rover confirms the fatal attraction of male body and the enduring male authority in patriarchal society.

시장에서 태어난 신사: ‘전업 작가’ 알렉산더 포우프의 자기모순

전인한 ( In-han Jeon ) 한국18세기영문학회 2017 18세기영문학 Vol.14 No.2

The purpose of this paper is to investigate the self-contradiction in Alexander Pope’s attempt to fashion himself as a gentleman born of the literary market. For this purpose, this paper examines the cause of Pope’s desire to detach himself from the emerging eighteenth-century literary market that brought him huge commercial success and thus his independence from patrons, publishers and even politicians. Through the analysis of “An Epistle to Dr. Arbuthnot,” it examines how Pope fashions himself as a new ‘manly’ elitist distinguished from the mob of the literary market and corrupt traditional aristocracy. Pope creates himself, it is argued, as the champion of traditional masculine elite culture as opposed to the emerging feminized commercial culture. In the reading of the 1743 Dunciad, it analyzes how Pope criticizes and feminizes the literary mob of the Grub Street; how Pope deplores the diffusion of commercial and feminized culture in the presentation of the final triumph of the goddess Dulness; how, in so doing, Pope manages to fashion himself as a lone gentleman born of the market in a nation subsumed by vulgar and thus corrupting literary culture. Finally, this paper identifies the innate contradiction in Pope’s fashioning of himself as a gentleman through the analysis of contemporary counter-attacks on him that expose the commercial motive of his attacks on Grub Street, condemn his femininity, and celebrate the commercial literary market as a new mode of literary production.

자질의 권위와 계승의 권위: 드라이든의 『그라나다의 정복』과 『아우랑제브』에 형상화된 권위의 문제

전인한 ( In-han Jeon ) 한국18세기영문학회 2018 18세기영문학 Vol.15 No.2

The purpose of this paper is to investigate the problem of authority in the most famous heroic dramas of John Dryden, The Conquest of Granada (1670, 1671) and Aureng-Zebe (1675). The aim of heroic dramas can be understood to be the justification of the authority of the restored kingship in Restoration England. These works attempt to vindicate the God-given authority of the king by representing heroes who save their states from deep crises with their rare prowess even as they are ultimately discovered to be the long-lost heir of the king. Heroic dramas argue for the authority of the king by conjoining the authority of qualification with the authority of succession. This paper, however, contends that John Dryden’s two heroic dramas fail to achieve their goal, as they reveal the problems of heroes who are found out not to have enough qualification as a leader of a state nor enough authority of succession. In The Conquest of Granada, the succession of Granada’s throne from Boabdelin to Almanzor does not function as a model of rightful succession of kingship and Almanzor is not portrayed as achieving a satisfactory development from noble savage to responsible leader of a state. In Aureng-Zebe the problem of succession inherent in the Moghul empire is not solved by the succession of Aureng-Zebe as the new emperor. While Aureng-Zebe’s passive filial piety is portrayed as a heroic quality for a private man, it is revealed to be a liability for a leader of an empire. The failure of these dramas in justifying the authority of the king reflects the impossibility Dryden faced in the task of justifying the absolute authority of a king made one by invitation of parliament.

자유무역의 가면을 쓴 보호무역주의 : 중상주의 시대 영문학에 형상화된 국가이기주의

전인한 ( Jeon In-han ) 영미문학연구회 2017 안과 밖 Vol.0 No.42

The purpose of this paper is to examine the operation of selfish nationalism in trade projected in eighteenth-century British literature. For this purpose, this paper first analyzes the various discourses concerning the ever-expanding trade in the mercantilist age, concentrating on how the discourses supporting free trade co-existed with and were overshadowed by jealous protectionism that regards trade surplus as summum bonum of a nation`s economy. Second, this paper investigates Alexander Pope`s Winsor Forest that celebrates Pax Britannica after the Treaty of Utrecht. The paper interprets the poem as a thinly disguised propaganda for impenalistic Britain`s ascendency in the world trade and British imperialism. The paper then interprets Daniel Defoe`s The Life and Strange Surprising Adventures of Robinson Crusoe, Further Adventures of Robinson Crusoe, and The Life, Adventures and Piracies of the Famous Captain Singleton, regarding these works as a kind of trilogy that projects Daniel Defoe`s zeal for the South Sea where one can engage in an exclusive and immensely lucrative trade. Finally, after analyzing literary texts that argues for British ascendency in world trade at the expense of other nations, this paper investigates how Jonathan Swift reacted to harsh measures Britain took against Ireland that deprived the latter of means to develop domestic industries and expand trade with other nations. The paper concludes that the idea of free trade was an impossible notion from the very beginning, as the notion of free trade is rooted in self-centeredness that refuses to tolerate any kind of trade deficit.

근대의 모순: 디포의 『로빈슨 크루소』에 형상화된 개인의 완성과 붕괴

전인한 ( In Han Jeon ) 영미문학연구회 2004 영미문학연구 Vol.7 No.-

This paper purposes to examine and debunk the so-called ``the myth of the individual`` projected in Daniel Defoe`s Robinson Crusoe (1719), by scrutinizing the process through which the discourse of ``the sacredness of the autonomous individual`` is established and at the same time collapsed. To achieve this purpose, this paper discusses first how ``the sacredness of autonomous individual`` is established by the order of the Glorious Revolution (1688/9), projected in the Bill of Rights and the Toleration Act, and how Robinson Crusoe can be the literary agent of that order. This paper argues that Crusoe completes his modern individuality through acquiring political and economical autonimity grounded on his religious conversion, which indeed signifies his religious autonimity. Yet, this paper also points out that the religion Crusoe espouses is the Calvinistic one that stresses one`s voluntary isolation in this sinful world to keep one`s soul intact, thus draws attention to the possible outcome of Crusoe`s autonimity based on this religion-that is, the invulnerability of one`s individual sphere leading to one`s incapability of forming a social relationship with others. Crusoe`s relationship with Friday signifies the isolation of the modern individual: the modern individual`s inability to constitute a valuable association with others is revealed as Crusoe regards Friday as one who violates his sacred sphere and thus tries to make him subjected as his shadowy self. Crusoe`s troublesome relationship with others including Friday is thus the collapse of the individual, as one`s incapability of shaping a valuable relationship with others indicates the impossibility of forming a mutually beneficent society for which the discourse of ``the sacredness of autonomous individual`` is originally conceived. This paper concludes that the process of completing the concept of the modern individual is actually one of collapsing the individual, in that the sphere in which the modern individual exists and exerts his right to happiness as a social individual is negated ironically by the very process of guaranteeing that individual`s inviolability.

풍자가와 풍자대상 사이의 거리: 『런던』과 『인간 욕망의 헛됨』의 풍자시로서의 성취

전인한 ( In Han Jeon ) 영미문학연구회 2002 영미문학연구 Vol.3 No.-

The purpose of this paper is to substantiate the importance of the distance between the satirist and his object of satire in guaranteeing the corrective function of satire. In criticizing Samuel Johnson`s London, this paper argues that London has a twofold purpose: that is, to attack the corruption of London on the one hand and, on the other hand, to express covertly the desire to achieve worldly success in London, the very object of satire. Johnson achieves this complex purpose by creating the fictive persona Thales who is distinguishable from himself and then by manipulating the distance between himself and Thales which in turn ensures distance between himself and the primary object of his satire, London. In the interpretation of another satire of Johnson`s, The Vanity of Human Wishes, this paper argues that, unlike London, this poem fails to achieve its goal, whether that goal is a qualified attack on the vanity of human wishes or the expression of compassion on the painful condition of human existence. This paper construes the reason of the failure as Johnson`s inability to maintain the proper distance between himself and some objects of his consideration, as he occasionally collapses the distance between himself and the objects and then identifies himself with them. In so comparing the success of London with the failure of The Vanity of Human Wishes as satires, this paper emphasizes the crucial importance of the concept of the persona that secures the distance between the satirist and his victims of satire.

왕과 나: 스튜어트 왕가에 대한 만가(挽歌)로서의 존 드라이든의 『돈 세바스티안』과 『클레오메네스』

전인한 ( In-han Jeon ) 한국18세기영문학회 2021 18세기영문학 Vol.18 No.2

The purpose of this paper is to examine John Dryden’s appraisal of his relationship with Post-1688 Britain as a non-juror in his last two tragedies, Don Sebastian (1689) and Cleomenes (1692). This paper argues that Dryden takes an ambivalent stance towards the Stuart monarchy to which he is still loyal in his dramatization of historical figures who lost their thrones, Don Sebastian of Portugal and Cleomenes of Sparta. In Don Sebastian Dryden debunks the myth of the Glorious Revolution by revealing the self-interest operating behind its slogans such as ‘religion,’ ‘property,’ and ‘law.’ However, Dryden does not believe in the possibility of another restoration as he exposes covertly the royal flaws of James II through the incest of Sebastian and Almeyda that causes the failure of their restoration to their thrones. Dryden’s skepticism about the possibility of another restoration is repeated and even intensified in Cleomenes. In Cleomenes, Cleomenes’s heroic quality as a rightful king is acclaimed only to be deflated, as his heroic quality comes to be under constant stress and his impotence to control the circumstance is repeatedly revealed. This paper argues that, though Cleomenes’s final suicide seems on the surface heroic and honourable, it only confirms his inability to work a restoration. In this respect, Don Sebastian and Cleomenes are Dryden’s elegies on the Stuart monarchy that reveals yesterday cannot return to become the present. However, this paper asserts that Dryden also uses these dramas to argue for his worth as a dramatist who can turn his plight as a non-juror and skepticism about his master into a worthy art and a commercial success.