T. S. Eliot의 詩에 나타난 '시간' 연구 = Time in the Poetry T. S. Eliot

다국어 초록 (Multilingual Abstract)

'Time' has been considered, by many critics. as one of the most important themes in Eliot's poetry. All of his poems can be explained in terms of time because it is deeply rooted in them.
There is no single consistent concept of time which is present throughout Eliot's poetry. Instead, we find a development and change in the nature of time throughout the poems. So, it is misleading to lable Eliot's concept of time "Bergsonian," "Heraclitean." "Bradleyan." or "Neo-Platonic," though it contains elements of them all. He synthesizes all of these concepts in his own "Christian" doctrine. The changing view of time parallels "the movement from boredom. frustration and despair to significant action, acceptance and serenity."
In the 1917 poems, time seems comparable to Bergson's flux, but unlike Bergson, Eliot finds no grounds for optimism in a world of change without direction or final purpose. The emptiness of Prufrock's life is largely due to his failure to apprehend a timeless dimension above the aimless futility of daily social life. In The Waste Land, the speaker's failure to apprehend the timeless reality is intensified by the Hellish experience of the characters, who are confined within the prison of self. In later poems, the question of time becomes overtly religious. Ash- Wednesday seems to provide a turning point from time-bound world to timeless reality.
The feeling of this poem moves from a total renunciation, combined with a submission of the will to God, to a rebaptism of nature. But the tension between time and eternity is not resolved until "time is conquered" in Four Quartets.
Central to the Four Quartets is what Eliot calls "the proper relation of the Eternal and the Transient." The concepts of time which appeared throughout Eliot's work reappear in Four Quartets in a distinct pattern with each concept carrying implications for human life and for man's relation with God.
The serenity finally achieved at the end of "Little Gidding" is reached through a reconciliation of time and eternity by which temporal life becomes a pattern directed toward God.