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Thomas Gray의 "Elegy" : 對照와 均衡 Contrast and Balance
姜大虔 서울대학교 교양과정부 1970 論文集 Vol.2 No.-
This essay tries to define the terms in which Gray's Elegy is to be understood and appreciated. In its attempt to do so, the following procedure has been taken: (1) it adumbrates the socio-literary background from which the poem came into being and examines how much it owes to Gray's "individual talent" and to the Augustan literary "tradition' in which he is supposed to have written his poem; (2) it discusses the different texts of the poem and their relationships one with another as well as with the definitive text, limiting the detail of discussion to as much as is required to facilitate an understanding of the process in which Elegy is thought to have evolved from its original form of Stanzas; (3) It examines the evolution of Elegy from Stanzas on the basis of an assumption that one of the important structural problems in the poem depends on the pronoun references of "thee" and "these lines" in stanza 24, and propounds that the genetical aspect of the poem clearly points to a depersonalization in process, which involves the shifting of the focus of the poem from the poet himself in Stanzas to one of the rustics-the Stonecutter-in Elegy, and that "thee" and "these lines" in Elegy refer, not to the poet himself and Elegy Wrote in the Country Churchyard, but to the Stonecutter and the epitaphs he wrote for other rustics; (4) and it carried on further analysis on the rhetorical structure of the poem, i which it subsists, to elicit its themes and meaning content, and touches on the relevance of its language as well as the excellence of its technical devices. It argues that an examination of the poem as a whole suggests as its subject the inevitability of death and the desire for self-perpetuation, and that the rich-poor contrast is made, not to give a romanticized picture of the rustics, but to emphasize the negligibility of difference between these two classes, their essential similarity in death. It also argues that the balancing of the rich and the poor is only by way of illustration, carrying the generalization of the poem to its social limits of the rich and the poor and, therefore, that, to develop its themes, essential and relevant to Elegy are the neutral and realistic description of these social classes and the balanced meditation on both the unrealized virtues and vices of the poor. In concluding, it refers to the appropriateness of both the tone and the diction of the poem to which may be attributed its success, and it makes a strong case against the various criticism which represent misconceptions of the poem's structure by reading it either as a social criticism or a political document or as an autobiographical piece. Its final thesis is that the merit of the poem, though assessable in its context of literary history, must more appropriatelly and fully be established sub specie aeternitatis.
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The Subject of the English Gerund
KIM, IN-SOOK 서울대학교 교양과정부 1971 論文集 Vol.3 No.-
1. The purpose of the present study is to observe diachronically the subject of the English gerund and to state its aspects in terms of genitive and common case, and of synthetic and analytic genitive. For the purpose I took the following steps: first, to collect examples out of prose works carefully chosen, leaving and interval of one century between them; second, to classify the examples according to patterns and to enumerate their distribution. I owe my present study요 새 the works of many scholars, such as Jespersen, Poutsma, Zandvoort, Sweet, and Kellner; more than all, to the excellent work of Curme's "History of the English Gerund," English Studien, 45. Readers will easily notice that the present study in done chiefly under the influence of his work. 2.1. The origin of the gerund has been the subject of much consideration. When we look into the works on the gerund, we can at least reach an opinion that there are two views on the subject: first, the origin of the gerund is a pure substantive in Old English; second, its origin is and Old English dative infinitive. The former seems to be based on the form of the gerund, and the latter, on the function. When the gerund si considered as one of the verbals, its origin may well be sought in the Old English verbals. But it does not follow that the Middle or Modern English gerund form '-ung' or '-ing' derived from the Old English infinitive. Though in the Old English period the number of the gerund form '-ung' or 'ing' was limited, the form was used, together with the infinitive, from the earlier stage of the language. In other words, the gerund form in '-ung' or '-ing' existed from the earlier days of Old English as a pure substantive. Here we are inclined to support Poutsma's view on the subject: The main source of the gerund is the noun in '-ung' or '-ing', and a secondary source of the gerund is, perhaps, to be traced to the inflected infinitive. How is it that the main source of the gerund is not a verbal infinitive, but a pure substantive? It is interesting to follow the traces of the development of the gerund. The gerund began as a pure substantive. and seems to have been formed originally from nouns, such as shipping, shirting, stabling, flooring. As some of the nouns from which the gerund form derived had corresponding weak verbs, the gerund came to e looked upon as the base of the derivatives. Accordingly this led to the new formation from other weak verbs, even including French verbs. Gradually the boundary was extended to strong verbs, and after a long time (about the fifteenth century could be formed from practically any verb.)
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이병건 서울대학교 교양과정부 1970 論文集 Vol.2 No.-
Point Cotnter Point는 Aldous Huxley가 modern novel을 쓰고저 처음으로 시도한 실험적인 소설이다. 그의 소설들에서와는 달리, 이 소설에서는 modernity가 modern idea의 상호작용을 통해서만 얻어지는 것이 아니라. 그가 말하는 이른바 musicalization of fiction을 통해서 얻어지고 있다. FROM PHILIP QUARLES`S NOTEBOOK이라는 제목이 붙은 Chapter Twenty-two와 Twenty-six에 이 소설, Point Cotnter Point 자체에 대한 이해에 크게 도움을 주는 해설을 보게 되는데, 그 Quarles`s Notebook에 바로 이 musicalization of fiction에 대한 다음과 같은 설명이 있다.
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문우상 서울대학교 교양과정부 1972 論文集 Vol.4 No.-
이 소설에는 지루한 군말, 부주의하게 쓰인 부분이 많지만 Lawrence가 처음 목표한 바가 무엇인지를 옳바르게 파악하지 못한 결과 많은 부분을 졸열한 것으로 판단하고 있다. 그는 무엇보다 정치 소설을 쓸려고 노력하였으며 그가 해결하려든 문제는 정치소설이 당면한 문제였다. 전통적인 소설의 형식이 정치의 새로운 면을 어떻게 다룰수 있을까? Kangaroo는 혁명적인 것 Diggers가 제시하는 결국 실패로 돌아간 거짓 혁명과 Somers가 모색하고 있는 개인의 의식의 혁명을 다루고 있다. Somers가 추구하고 그의 이름으로 Struthers와 Kangaroo의 인습적인 정치적 호소를 물리치고 있는 혁명적인 'dark god'가 이 소설에서 결코 실현되지 않는다는 사실은 이 소설의 한가지 실패라고 하겠으나 이것은 이 소설이 혁명의 탐구를 결코 부정하고 있는 것은 아니다. 이 소설에는 유동과 변화, 변천하는 사상 Somers가 싸우고 있는 가치의 상대성이 소설의 형식으로 표현되고 있다. 이 소설에서 시도한 실험이 성공하였다고 말할 수 없겠으나 정치소설이 당면한 여러 문제점과 소재에 충실하고 그것을 일정한 plot나 형식에 맞추려고 손질함이 없이 원상을 유지하려는 어려움이 무엇인가를 추구하는 사람에게 크게 도움이 될 것이다.
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