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김태규 고시계사 2021 考試界 Vol.66 No.5

Paradise Lost에 나타난 죄

김태규 한국밀턴학회 1993 중세근세영문학 Vol.3 No.-

It is to examine the nature of Sin in Milton's Paradise Lost. The sin of the fallen man was the result of his disobdience to God through abusing his free will. As for Eve, her pride caused by the weakness of her reason (BK. IX, 530-48) brings about her unbelief and deifies herself. On the other hand, as for Adam, the confusion of his reason and the weakness of his will are accelerated by Eve's beauty, and finally he idolizes Eve and challenges the Providence of creation. Milton regards it as the liability to fall, which men possess universally. Milton is more concerned with the explanation of the fallen state of mankind and the corruptive process instead of examining minutely the cause of the fall. Then, what is the most disastrous effect of the fall of mankind? In a word, it is "death". Disobedience takes away the eternal blessing from men. In the Christian Doctrine Milton distinguishes the kinds of death: 1) All those evils which lead to death 2) spiritual death 3) the death of body, and 4) the fourth and last degree of death. Of these the most disastrous kind of death is a spiritual death. It includes the consciousness of sin accompanied by all evil and terror which has entered into this world immediately after the Fall, the consciousness of despair resulted from the loss of God's grace, and the sense of disgrace that all men are corrupted. In sum, this kind of death means the loss of death means the loss of God's grace and Original Justice.

Milton`s Pedagogic Effects in Paradise Lost

김태규 한국밀턴학회 1994 중세근세영문학 Vol.4 No.-

It is meaningful to examine the pedagogic effects in Milton's paradise Lost, which the another starts from the fundamental idea of the eternal Providence which is God's way. The estimation or the value-theory which man keeps in mind is, all the way, a consequence of human consistent lesson. Although learned then anywhere, they must be instructed. Then the concept of value itself becomes an intended learning or an educational goal. Moreover, in a very desirable education must we not only maintain the intellectual, but spiritual. Since J.Milton was the teacher of all learning ancient and modern, his epic ranged over the entire realm of knowledge, specculation and insight. It contained classic literature and philosophy, contemporary literature, Biblical and political issue of his days. Therefore, for Milton when he decided to make the Fall Man 'doctrinal and examplary to a nation' by 'teaching over the whole book of sanctity and virtue', we may be sure that he wanted to make his teachings effective. In the side of self-demension may education be the process of 'self-discovery, self-reformation, self-accomplishment', but in the side of social demension 'society-improvement, culture-creation, motive power of nation prosperity.' And then education is a process of being intended to transform huamn behaviors. Author visualized the first cause of common Errors in the common infirmity of Human Nature, and so directed an inquiry into the reasons for the Fall of Man., Accordingly, the end of learning is to repair the ruins of our first parents by regaining to know God aright, and put of that knowledge to love him, to be like him. Raphael's concrete approach to Adam's instruction shows something more than any didactic fiction in his epic(book., V, 469-478). As Hume's allegory, poet revealed this fallen situation as consequence of Scripture and the Scale of Nature chain of being. He calls this 'a real visible Ladder' which leads us by steps in contemplation of created thing up to God, The invisible Creator of all things. At length the invisible elemants as the poet's may be called 'social spirit' 'temperance,' 'morality' 'wisdom' and 'scale of love' etc. Adam's solitude has a deep meaning in the down fall that human being had fallen from "the situation experiencing himself as a world-centre or a Creator of behavior" to "the situation that human being is to submit himself to one's behavior one's consequence, and to admire it or to be alienated him from other persons or himself." This alienation is that something is not as it should be. Although the Fall threatened to alienate Adam and Eve each other as well as from God, their moral chain-at least as mode of 'Provident Grace' - prepared them for diviners conciliation. Eventually poet must learn that Christ will save men (the fallen couple)from death ; alienation. This is the supreme example of "Patience and Heroic Martyrdom." But it must also be the supreme example of love; a scale of love. As a result, the conquest of human solitude could be supported only by a scale of love between "the visible realm and the invisible", "the huamn and the superhuman", and "the circumference and the center" in Paradise Lost.

『실락원』의 수사적 효과

김태규 한국밀턴학회 1995 중세근세영문학 Vol.5 No.-

It is meaningful to examine the rhetorical effects in Milton's Paradise Lost, which pertinaciously sticks to his theme 'To justify the way of God to men'. One of the greatest beauties of PL, I believe, lies in the transition from the supernatural to the natural, and the felicitous approach and descent to the close. There are endless numbers of rhetorical rhythms in the epic. I mean a matter of equilbrium; the paradox or antinomy of good coming out of evil, of death, not only penalty but a remedy, and even the 'gate of life'. This is really the unique problem of the drama, and an example of that 'balance or reconcilement of opposite or discordant qualities', which Coleridge expected in a poem. While the human pair was happy and guiltless, and woe was hung over them; once fallen, it is hope instead. It must be the contrasting 'duplicity' of rhetorical devices. Hence the poet has recourse to many rhetorical devices of the anscients, with a novel and mysterious effect. He employs abstraction and oxymoron, hyperbole and circulocution, both in the speech of the beings themselves and in the description of them and their shadowy abode (BK, 1:190-1) The imagery is drawn from legend, history, or the large, remote, and extraordinary phenomena of nature. From the moment of temptation on, the speeches of the pair are, except for some of Adam's lamentations and upbraidings, simple in expression; but now all are more complicated in matter, as befits those of a many-sided human nature. To this end I have elsewhere noticed or found rhetorical effect, attained by Dante, of continual interplay, parallelism and contrast, between life on earth and that in Hell, Purgatory, or Heaven. In Paradise Lost no such effect of compression and volume was possible. But instead there are the effects of rhythm and equilibrium, and also those of progression and graduation. There are, moreover, no such juxtaposition and interplay, but Hell and Heaven are intent upon the earth from the time of the fall of the angel. And so there is in keeping with this progress, and appropriate decrease in the magnitude, and increase in the complexity, of both the emotions and the expression, as we proceed through the great poem to its close.

Plotinus의 시간 이론

김태규 국제문화학회 1989 역사와 사회 Vol.2 No.-

『복락원』에 나타난 예형적(豫型的) 요소

김태규 한국밀턴학회 1996 중세근세영문학 Vol.6 No.-

In Paradise Regained the second of three main episodes is presented. The first is the original war in the Heaven in PL and the third the final failure of Satan in the second coming of Christ. The defeat of Satan, Tempter, fulfills the prophecy that the decendent of Adam shall "bruise the serpent's head (PR, 1:51-63)." The imagery suggests the romance theme of a knight-errant killing a dragon and visualizes one of typological images in the Bible. In the typology of the scriptures there are two parallel versions of the fall and redemption of a man. Adam falls from a garden into a wilderness and loses the tree of life and the water of life, yet Christ wins back the garden and restores to man the tree and river of life. Therefore, all the stories of Israel, Jerusalem, Joseph, and Job can prefigure the same typological patterns as in gospels. The epic is traditionally a poem of heroic action. All the patterns of temptations in PR are false heroic action devided into three aspect: Parthia as false power, Rome as false justice and Athens as false wisdom. The temptation of Parthia is the greatest, yet it takes up the entire third book. Milton refers to the Maccabees' movement in which their rebellion against Roman power enters into a typological image that most Jews expected Messiah to take. The temptation on the pinnacle, at that point, is equally a bodily and mental assault; Christ is tempted 'quasi homo' purely as a man. For Milton what man can do for himself is negative and iconoclastic. Man does not save himself, but, by clearing this world of idols he could be saved. In Satan's fall, he typolizes the position of the dragon under Christ's feet, the only place for himself, after his failure in entering Christ's body or mind. Besides, Christ's casting the devils out of heaven must prefigure the same typological principle as the cleansing of the temple. Here, with the end of temptations, Christ (the second Adam) chased the devils out of the temple of his own body and mind, and so restores the process for each human soul.

허버트와 밀턴의 예형적 요소

김태규 한국밀턴학회 1999 중세근세영문학 Vol.9 No.2

It is meaningful to examine the biblical typology on which has influenced G. Herbert and to compare Milton's with Herbert's. The word 'typos' is used in The New Testament for the marks of the nails left in Christ's hands and also signify the 'mold' after which things are made or done, and, by extension, 'moral example'. But in 'Romans' type is employed in its theological sense when Paul calls Adam the 'typos' of Christ, translated in the Authorized Version as 'the figure of him that was to come'. In biblical typology type is defined as a detail in The Old Testament that foreshadows its antitype in NT. The detail or allegory may be a person(Adam and Moses etc.), an event (the Passover and the crossing of the Red Sea) and an institution (the Levitical priesthood and the ritual of the old temple). The dedication of Herbert's The Temple combines two biblical sources, the one Mosaic, the other Pauline. The crossing of the river Jordan is a type of the redemption of mankind through Christ, whose sacrifice on Calvary is the antitype of all Mosaic sacrifices. But Paul speaks of 'Christ the first fruits'. After Calvary no external sacrifice of reconciliation is necessary or possible, and the only offering the Christian can bring is the fruit of praise. The invocation of PL makes explicit use of types. Adam foreshadows the greater Man, Christ, who regains Eden, 'the blissful seat'. Although Christ did not recall mankind in the original Garden of Eden, Milton's lines clearly identify Christ's restoration with man's return to Paradise, and the only logical result we can draw from the equation is that Eden serves for the poet as the type of man's ideal relationship with God. Milton's typology is not identical with that of Herbert. Although they both derive their types from the Scripture, they differ in the application of them. Herbert's interpretation is reminiscent of the Epistle to the Hebrews, in which OT types prefigure the antitypes of NT, and both in turn anticipate the full revelation of heaven. Milton's approach, on the other hand, usually recalls that of Paul: The New Dispensation has abrogated the claims of OT. Christ's Redemption is for Milton also a revolution that has transformed the world. The examples of typological usage in Herbert, and Milton should make it clear that in order to understand the greater portion of seventeen-century literature there is no substitute for a knowledge of Scripture. They constantly drew on the Bible for their diction and imagery. Since the writers of metaphysical poets, most English authors understood man, the world and the history of both in the light of Scripture. Their interpretations varied in style and ingenuity, but their perspective and method were remarkably similar and typical.

『실낙원』에 나타난 분리와 합일

김태규 한국밀턴학회 2000 중세근세영문학 Vol.10 No.2

This paper looks into the two diametrically opposed partnerships in Paradise Lost: between the God the Father and the Son, and Satan and Sin. More specifically, the nature of their separation and union will be the subject of this paper. The first of each pair is the originary entity from whom the second is separated, which implies both identity and difference, and the degree identity/difference determines the nature of their union. The identity and difference between the Father and the Son obtain in will and agency, The Son unites with the Father in will: the Father delights in the Son, and the Son delights in praising the Father. They differ in that the Son is the Father's 'word', his 'wisdom', and his 'effectual might'-the visible agent of the Father's will. The creation of Sin makes a parody of the Son's creation. Springing from Satan's head, Sin externalizes his mind and inspires his lust, the exact image of her radiant Father. But although Satan tells Sin (and Death) that they are his vicegerents on earth and that they derive power from him, parodying the way the Son performs the Father's agency, Sin (and Death) cannot fully become his agents, for their union is not of the will. That their wills are not united becomes is apparent when Satan cannot recognize Sin (or himself in Sin) at the Gates of Hell. Two statements in the poem refer explicitly to union with God in the end. The Son's assertion in book 6 that God shall be "All in All," echoing the Father's in book 3, remarkably illuminates the nature of deity, suggesting that the Son's individuality will be incorporated into the greater Father.

『복락원』에 나타난 소명적 요소 : Ⅰ,Ⅱ권을 중심으로

김태규 한국밀턴학회 1997 중세근세영문학 Vol.7 No.-

At the end of Book I, Christ declared himself God's prophet. But he extends his voational awareness by proclaiming himself his Father's priest whose function is to teach-by both precept and example-the doctrine of salvation and to lead men from darkmess into light. For the Son the experience in the wildermess is a voyage of self-discovery, indeed one other than Chist's deepening self-awareness, his growing recognition of his announced role as Savior and his attainment through trial of that self-knowledge and that vocational insight which are the prereguisites of his sacred mission. Before he sent forth to conquer' the two great toes, by humiliation and strong suffering (BK 1:157).,' the Son must be educated in the reguirements of his vocations as Messiah. Satan invites the Son to presume by performing a miracle and askes him to take the Law into his own hands and so to become, like Satan himself, not only disobedient but also the rebelling rival of God. But Christ, knowing that obedience does not always involve activity and that will to relax the will, to perform real acts in God's time and no pseud-acts in his own. The thematic pattern stressed in the opening half of BookⅡ in that of doubt and impatience yielding to faith and patience. Each of the characters- Apostles, Mary, Satan and Christ-begins with an experssion of doubt, But each, except Satan, succeeds in denying the importunate claims of his individual will and placing his trust in divine will, PR is concerned with the annihilation of the self and the stages by which the Son grows toward the final attainment of this ideal of theological' negative capability'. The protagonist of PR is more than a symbol of salvation, a examples and a model for human imitation.

Paradise Lost에 나타난 救援의 主體

金泰珪 한국밀턴학회 1992 중세근세영문학 Vol.2 No.-

The discussions of Milton's God naturally lead to the consideration of His execution, which begins with the work of creation. Creation is the beginning and basis of all divine revelation, and also the foundation of all ethical and religious life. The operation of creation can, however, be learned from no other source than Scripture and can be accepted only by Christian faith. It is equally opposed to a pantheistic confusion of God and the world, and to a deistic seperation of God from the world. This becomes evident in the doctrine of divine providence. It concerns the provision which God makes for attaining the ends of His government, and the care which He manifests for all creatures. In Milton's Paradise Lost the discussion of God who works out salvation is attempted made. He created the world and all creatures for the revelation of His own glory. The glory is to be revealed by the happiness and salvation of men whom He created, as well as their adoration and gratitude to Him. Therefore, for the all revelation of His providence God creates and preserves and guides His creature, men, to the right direction. For this purpose the Holy Spirit is sent to work among men under the names of the Spirit of Truth and the Spirit of Creation. The function of the Spirit of Truth is not only being a strict judge of the evil and the good, but also a redeemer of through love and grace.