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정경심(Kyung-Sim Chung) 신영어영문학회 2004 신영어영문학 Vol.27 No.-
T. S. Eliot’s dramatic projection in his early poetry is one of the most important techniques of impersonality. With no systematic theorization by Eliot, it cannot be discussed without referring to his studies on individual authors in 1910s, which shows his early fascination with the Elizabethan dramatists, the metaphysical poets, and the French Symbolists. The objective of this essay is to trace how these three traditions meet in Eliot’s dramatic method, evaluating both their influences and his revisions. It defines first Eliot’s peculiar use of the term “dramatic sense” as something that specifically indicates the quality of human mind capable of both “self-dramatization” and “self-deception” which is rooted in “self-consciousness.” Then the present essay looks into Eliot’s poetic application of it in “The Love Song of J. Alfred Prufrock,” “Portrait of a Lady,” and “Preludes.” Especially Browning’s dramatic monologue, James’s multiple point of view, and Laforgue’s irony are focused as sources of Eliot’s dramatic method, but his remake of them into the modern is equally stressed. Eliot is truly eclectic by devouring various strands of tradition and by transcending their limits as well, which finally results in a higher form of dramatic poetry, with a type of modern man, Prufrock, both self-dramatic and highly self-deceptive.
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Quest for the Impersonal Framework: The Mythical Method, Title & Notes in The Waste Land
정경심 ( Kyung-sim Chung ) 대한영어영문학회 2011 영어영문학연구 Vol.37 No.4
This essay looks into the literary contexts Eliot faced and felt in taking the three actions after the completion of The Waste Land: his revision of the title at the last moment, extraneous imposition of the lengthy Notes, and 1923 emphasis on “the mythical method.” First of all “the mythical method” was nothing new but had been exhaustively experimented and practiced by Eliot. In this light his short explication of the method as Joyce’s in Ulysses is rather misleading. The revision of the original title from Dickens’s novel, “He Do the Police in Different Voices,” diverted the reader’s attention from the art of presentation to the presence of a much broader horizon, the mythical framework with an archetypal pattern and moral consciousness. Then by adding the Notes, Eliot tried to extend the horizon further by the anthropological perspectives in the Grail Legend and The Golden Bough. The three acts are all meant to point out that there is a framework in the poem that controls and unifies the apparently anarchical and disordered fragments, which implies how apprehensive Eliot was of giving an order to the poem after Pound’s editing of the original manuscript. (Dongyang University)
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Paul Valéry & Stéphane Mallarmé Corrected: T. S. Eliot’s Ideas of Poetry, Language, and Poet
정경심(Kyung Sim Chung) 한국T.S.엘리엇학회 2015 T.S. 엘리엇 연구 Vol.25 No.1
엘리엇은 매우 포괄적인 시인이다. 그는 겉으로는 자신의 선배시인이나 비평가를 맹렬하게 공격하는 듯해도 실제 그들로부터 많은 것을 배우고 빌렸으며 이를 자신의 몰개성 시론에 적극 활용하였다. 프랑스 상징주의자의 경우도 예외는 아니어서 겉으로는 그럴듯하게 그들의 영향력을 가렸지만, 시의 자기충족성이나 시어의 기능, 그리고 시인의 임무나 역할과 같은 중요한 이론과 개념에서 많은 부분을 수용했다. 엘리엇의 몰개성 시론의 가장 근본이 되는 개념을 발레리와 말라르메가 그들의 이론에서 이미 예견하고 실행하였으니, 시는 자동성을 가진 몰개성적 존재이며, 창작의 과정은 인간이 노동력을 매개로 여러 파편을 융합하여 유기적이며 와해될 수 없는 총체적 존재를 만드는 것이고, 시어는 대중의 언어를 차용한 탓에 근본적으로 몰개성적인 것이며, 시인은 그 스스로가 보편인류를 대변하는 대행자라는 개념은 모두 엘리엇의 시학에 지대한 영향을 미쳤다. 비록 엘리엇이 시어와 시인의 역할 부분에서 이들과 거리를 두게 되었으나, 시의 자동성을 예술의 자기충족성으로, 상징의 몰개성적 특성을 객관적상관물로 전화하고, 궁극적으로는 시인으로부터 시의 독립성으로 나아간 데에는 이 두 상징주의 시인의 영향이 지대하였음에 틀림없다. Eliot is truly eclectic. He attacked his predecessors on the one hand and he took them as sources of his impersonal theory of poetry. Or in his words, whatever is bad is criticized and whatever is good is kept or revised into his own theories. French Symbolists are not an exception. In his ideas of “autotelic” nature of poetry, poetic language, and the poet, Eliot was heavily influenced by Paul Valéry and Stéphane Mallarmé, though he skillfully smoke-screened his debts to them. The basic concepts of Eliot’s impersonal poetics are already predicted by Valéry and Mallarmé in their ideas of the poem as something impersonal with autonomous life, the artistic process as “intimate and indissoluble fusion” out of “fragments” through “human labour,” the poetic language as Mob’s language with inherently impersonal nature, and the poet as “an agent” with “a kind of spiritual energy of a special nature” who is himself “Everyman.” Though Eliot eventually turned against them in the ideas of poetic language and the poet, he accepted the autonomy of poetry, revised symbol in his doctrine of objective correlative, and endorsed artistic independence from the author.
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Ezra Pound the Imagist: Major Source of T. S. Eliot`s Early Poetics
정경심 ( Kyung Sim Chung ) 21세기영어영문학회 2010 영어영문학21 Vol.23 No.3
Any discussion of T. S. Eliot`s early poetic theory is imperfect without commenting on the influence of Ezra Pound, whose Imagist movement served as a stepping stone for the younger poet`s declaration of impersonality in 1917. The impersonal theory of poetry, in fact, was prepared and vigorously experimented by Pound before Eliot became its official spokesman. Especially Pound`s idea of "tradition" and "Image," his use of persona, and the Symbolist irony became the foundations of Eliot`s key ideas and methods of impersonality: the doctrines of "tradition" and "objective correlative," the dramatic monologue dominant in early poetry, and the Laforguean irony to intensify and concretize language. Though the two poet-critics` different views of the final authority had prepared for their partings from the very beginning, Eliot`s thesis of impersonality as both traditional and modern was deeply indebted to Pound who took the lead in the theorization of modernism and bridged Eliot with major sources, especially Imagism and Symbolism.
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