존 던(John Donne)의 시에 나타난 극적 요소 : The Elegies를 중심으로 focus on The Elegies = The Dramatic Element in John Donne's Poetry

다국어 초록 (Multilingual Abstract)

Donne possessed the dramatic power in his love poetry, The Elegies and The Songs and Sonnets. Many critics define "dramatic" in Donne's love poetry as primarily a real interchange and interaction between the speaker and listener. But the dramatic element is indebted to Ovid. Donne takes its themes and attitude from Ovid's Amores rather than Petrarchan sonnet. Donne borrows the simple structure of Ovid's Amores and recreates the complex structure of the dramatic representation by the speaker and auditor in his elegies : Ovid describes the static or given situation and contemplates them from the outside in detachment. Donne is more dramatic, continually throwing himself into a part. while Ovid's narrators typically describe an event which happened in the past, while Donne shows the event taking place in the present. The essential distinction is not one spatial but of temporal perspective.
Donne's elegies are dramatic monologue. They are spoken by a dramatic personae, rather than by the poet himself. Their narrators are marks or disguises which Donne has created for the purpose of pursuing certain strategies or expounding certain doctrines. The attitudes of the personae are his attitudes toward woman and toward the love relationship. As in Amores, further, one senses in Donne's Elegies the actual physical presence of an auditor - a man or a woman, a friend or the mistress of the speaker - to whom the monologue is addressed. The most dramatically successful of Donne's Elegies are those in which he manages to imply a real interchange or interaction between speaker and auditor. The
Elegies are addressed not to the reader but to the silent auditor of the poems. The silent auditor in a dramatic poem should exert a perceptible influence upon the direction of the speaker's discourse. The male speaker persuades the mute, female silent auditor for the strategies and doctrines which are maintained by his rhetoric, arguments, pseudo-logic than his psychological peculiarities. The male speaker in the poem does all the talking, but his mistress, the silent speaker is there, listening, objecting, responding. Her ‘lines’are not written in but, her reaction is indicated by, and influences throughout the male speaker's oaths, appeals, orders and advice.

목차 (Table of Contents)

• Ⅰ. 서 론
• Ⅱ. 르네상스 연가의 전통과 Donne의 모방
• Ⅲ. 극적 독백 : Amores와 Elegies
• Ⅳ. 결 론
• Lists of Works Cited
• Abstract