¿öÁî¿ö½ºÀÇ "°³¾Ïµû±â" Àбâ(A Reading of Wordsworth's "Nutting")

 

ÀÌ ±Û¿¡¼­´Â WordsworthÀÇ ¡°Nutting¡±À» µÎ °¡Áö Ãø¸é¿¡¼­ ÀÐÀ¸·Á°í ÇÑ´Ù. Çϳª´Â ÀÌ ½Ã°¡ romance, ƯÈ÷ chivalric quest¶ó°í Çϴ  romanceÀÇ frameworkÀ» ä¿ëÇÏ¿© ±×°ÍÀ» ÆзεðÇÏ°í Àִµ¥, °á°úÀûÀ¸·Î ÀÌ Æзεð´Â ÆзεðÀÇ ¼ö»ç¹ýÀ» °¡·Î¸·´Â µµ´öÁÖÀÇÀû ¾î¹ý°ú Àü·Ê¾ø´Â °­·ÂÇÑ ¼ºÀû À̹ÌÁöµé¿¡ ÀÇÇØ ¿Ö°îµÇ¾îÀÖ´Ù´Â °ÍÀÌ º» ¹ßÇ¥ÀÇ ¡°Nutting¡± ÀÌÇØÀÇ ±âº»ÀÌ´Ù.  ÇÁ¶û½ºÇõ¸í ÀÌÈÄ ¿µ±¹¿¡¼­´Â Burke-PaineÀÇ ³íÀïÀ» ÃàÀ¸·Î ÇÏ¿© ÀÏ·ÃÀÇ ¡°Pamphlet War¡±°¡ ¹ú¾îÁ³´Âµ¥ ¿©±â¿¡¼­ ¡°Chivalry¡±´Â ÇÑÆíÀ¸·Î´Â Áß¼¼Àû °¡Ä¡ÀÇ »ó¡À¸·Î ´Ù¸¥ ÇÑÆíÀ¸·Î´Â Áøº¸¼¼·ÂÀÇ Á¤Ä¡Àû ÀÌ»óÁÖÀÇÀÇ Ç¥ÇöÀ¸·Î ¹Þ¾Æµé¿©Áö¸é¼­ Á¤Ä¡Àû ³íÀïÀÇ Çٽɿ¡ ÀÚ¸®Àâ°í ÀÖ¾ú´Ù. »ç½Ç»ó 18¼¼±â ¸»¿¡ ¿À¸é ÀüÇüÀûÀÎ ±â»çµµ¶õ Á¶·Õ°ú dzÀÚÀÇ ´ë»óÀ̾ú°í, WordsworthÀÇ ÀÌ ½Ãµµ ±×·¯ÇÑ À¯Çà¿¡ ºÎÇÕÇÏ´Â °ÍÀ̾ú´Ù. ±×·¯³ª Chivalry°¡ ´ç´ë¿¡ °¡Á³´ø Á¤Ä¡ÀûÀÎ ÇÔÀÇ¿Í WordsworthÀÇ ¹¦ÇÑ Á¤Ä¡Àû ÀÔÀåÀº ¾Ö´çÃÊ ÀǵµÇß´ø ±â»çµµ Æзε𸦠¾î·Æ°Ô ¸¸µé¾ú°í, ±× ´ë½Å ±×·Î ÇÏ¿©±Ý quest theme ÀÚü°¡ ´ã°íÀÖ´Â Ä¡¿­ÇÑ ¼ºÀû °æÇè¿¡ Ž´ÐÇÏ°í ±×°ÍÀÇ °¡Ä¡¸¦ Àç¹ß°ßÇϱ⿡ À̸¥´Ù.  ¿©±â¿¡ Ç¥ÇöµÈ ¼ºÀû ¿å¸Á°ú ±× Ç¥ÇöÀº ´Ù¸¥ ¿öÁî¿ö½º ½Ã¿Í ºñ±³Çغ¼ ¶§ ´ë´ÜÈ÷ ÆÄ°ÝÀûÀÌ´Ù. ¾î¸° ½ÃÀýÀÇ »ç¼ÒÇÑ °æÇèÀÌ ÁøÁöÇÏ°í ½ÉµµÀÖ°Ô È¸°í/Ž±¸µÇ°í ÀÖ´Â ºñ½ÁÇÑ ·ùÀÇ ´Ù¸¥ ¿¡ÇǼҵåµé, ¿¹ÄÁ´ë, Boat-Stealing Episode °°Àº °Í°ú´Â ´Þ¸® ¿©±â¼­ÀÇ ¼ºÀû °æÇèÀº ¾î¶² ´Ù¸¥ ¸ñÀû¿¡ ºÀ»çÇÏ´Â ÇϳªÀÇ °úÁ¤, °¡·É ÀÚ¿¬ÀÇ ¼·¸®¸¦ ±ú´Þ¾Æ°¡´Â °è±â¶óµçÁö, ¾Æ´Ï¸é ÀÚ½ÅÀÇ ½ÃÀû ÀÚ¾ÆÀÇ ¼ºÀåÀ» À§ÇÑ ÇÑ ´ÜÃʷμ­ ±× Àǹ̰¡ ºÎ¿©µÇ´Â °ÍÀÌ ¾Æ´Ï¶ó öÀúÇÏ°Ô ¼ºÀû °æÇèÀÚü·Î¼­ Ãß±¸µÇ°í Ç¥ÇöµÇ¸ç ±àÁ¤µÇ±â ¶§¹®ÀÌ´Ù. ¹°·Ð ÈĹݺο¡ µµ´öÀû ±³ÈÆÀÌ ³¢¾îµé±ä ÇÏÁö¸¸ ±×°ÍÀº ¾Ö´çÃÊ Àǵµ´ë·Î ÀÏ°ü¼ºÀ» °¡Áö°í Á¦½ÃµÈ °Íµµ ¾Æ´Ï¾ú°í, ±× °úÁ¤ÀÇ °æÇè¿¡ Á¦´ë·Î Àǹ̸¦ ºÎ¿©ÇÏ°í ÀÖ´Â °Íµµ ¾Æ´Ï¸ç, ¼Ò³âÀÇ ÀÚ±â¹Ý¼ºÀ¸·Î¼­ ³³µæÀÌ °¡µµ·Ï Á¦½ÃµÇ´Â °Íµµ ¾Æ´Ï´Ù.  ¿öÁî¿ö½º°¡ ÀÌ·¸µí romance Æзεð¶ó´Â ¾Ö´çÃÊÀÇ ¸ñÀûÀ» ´Þ¼ºÇÏÁö ¸øÇÏ°í, romanceÀû ¿ä¼Ò¸¦ ´Ù °®Ãß°í ÀÖÀ¸¸é¼­µµ romanceµµ ¾Æ´Ï°í ±× Æзε𵵠¾Æ´Ñ ¾îÁ¤ÂÄÇÑ ÀÛÇ°À» ¸¸µé¾î³½ °ÍÀº ±×°¡ »õ·Î ¹ß°ßÇÑ ¼ºÀû °æÇèÀÇ °¡Ä¡°¡ Åë»óÀûÀ¸·Î ¹Þ¾Æµé¿©Áö´Â chivalryÀÇ °¡Ä¡¿Í ºÎÇÕÇÏÁö ¾Ê±â ¶§¹®ÀÌ´Ù.  Åë»óÀûÀÎ chivalryÀÇ ÀÌ»óÀ̶õ ±× ³»¿ëÀÌ ¼ºÀû ¼ø°á, »ç¶ûÀ» À§ÇØ ¸ñ¼ûÀ» ´øÁö´Â ÀǸ®, ±×°ÍÀ» ÅëÇØ ÀÌ·èµÇ°í À¯ÁöµÇ´Â Á¤Ä¡Àû Á¤ÀÇ µî, ±×°ÍµéÀº ÇÑ°á°°ÀÌ Àΰ£ °³°³ÀÎÀÇ ±¸Ã¼ÀûÀÎ ¿å¸Á°ú À°Ã¼Àû ÇÊ¿ä¿¡ ±Ù°ÅÇÑ °ÍÀ̶ó±â º¸´Ù´Â ÇϳªÀÇ Áý´ÜÀ¸·Î¼­ÀÇ Àΰ£, ±×µéÀÌ °¡Á³À¸¸®¶ó ¹Ï¾îÁö´Â Ãß»óÀûÀÎ °¡Ä¡¸¦ ü°èÈ­ÇÑ °ÍÀ̾ú´Ù. ¿öÁî¿ö½º°¡ romance Æзε𿡠¾î·Á¿òÀ» °ÞÀº  °ÍÀº ±×·¯ÇÑ Æзεð ¾çÆí¿¡ À§Ä¡ÇÑ °¡Ä¡ÀÇ ºó°ïÇÑ Ãß»ó¼ºÀ» ÀÎÁöÇßÀ½À» ÀǹÌÇÏ°í, ±×°ÍÀ» ´ëÄ¡ÇÒ ¼ö ÀÖ´Â ´Ù¸¥ Á¾·ùÀÇ °æÇè, Áï ¼ºÀûÀÎ °æÇèÀÇ ÀáÀç·ÂÀ» Àç¹ß°ßÇß´Ù´Â Á¡À» ½Ã»çÇÑ´Ù.  ±×·¯°í º¸¸é ¿öÁî¿ö½º ½Ã·ÐÀÇ ÇÙ½ÉÀû °³³äµé, °¡·É, Pleasure, Love, Sensation, Stimulation, FeelingÀÌ º¸Åë Ãß»óÀûÀ¸·Î ÀÌÇصǰí ÀÖ±ä ÇÏÁö¸¸ »ç½Ç»ó À°Ã¼ÀûÀÌ°í ¼ºÀûÀÎ Àΰ£ÀÇ ¹ÝÀÀÀ» Àü´ÞÇϱâ À§ÇÑ ¾îÈÖ¶ó´Â Á¡À» »õ»ï½º·¹ »ó±âÇÏ°Ô µÇ°í ³ª¾Æ°¡ Èʳ¯ Wordsworth°¡ ü°èÈ­ÇÏ´Â ÀÚ¿¬°ú Àΰ£¿¡ ´ëÇÑ ÀÌÇØ, ±×¸®°í ±×°ÍÀ» Æ÷°ýÇÏ´Â »õ·Î¿î ½ÃÇÐÀÇ ÇÙ½ÉÀûÀÎ ±Ù°Å´Â ¹Ù·Î ±×·¯ÇÑ ¼ºÀû °æÇè¿¡¼­ ºñ·ÔµÇ´Â °ÍÀÌ ¾Æ´Ò±î ÇÏ´Â ÀǽÉÀ» Çغ¼ ¼ö ÀÖ´Â °ÍÀÌ´Ù

 

·Î¸Ç½º Æзεð·Î¼­ÀÇ ¡°Nutting¡±: ÀÌ ½Ã´Â The PreludeÀÇ ´Ù¸¥ ¾î¸°½ÃÀý ÀÏÈ­µé°ú ¸¶Âù°¡Áö·Î ¾î¸¥ È­ÀÚ°¡ ¾î¸° ½ÃÀý ÀÚ¿¬À¸·ÎÀÇ expeditionÀ» ȸ»óÇÏ´Â Çü½ÄÀ¸·Î µÇ¾îÀÖ´Ù. ¡°Nutting¡±ÀÇ °æ¿ì¿¡´Â ÀÌ·¯ÇÑ  expeditionÀÌ ¡°½£¡±À¸·Î °¡¼­ ¿­¸Å¸¦ µû¿À´Â episode·Î µÇ¾îÀ־ ´Ù¸¥ °æ¿ìº¸´Ù Á»´õ ¿Ï°áµÈ ÇüÅÂÀÇ romance Àûchivalric quest ±¸Á¶¸¦ °¡Áö°í ÀÖ´Ù°í ÇÒ ¼ö ÀÖ´Ù.  ÀÌ ½ÃÀÇ µ¶Æ¯ÇÑ Á¡Àº SpenserÀÇ The Faerie QueeneÀÇ II. xiiÀÇ Bower of Bliss allusion¿¡¼­ ¾Ë ¼ö ÀÖ´Ù½ÃÇÇ, ÀüÅëÀûÀÎ chivalric questÀÇ ¹®¹ýÀ» »ç½Ç»ó Àüº¹½ÃÅ°°í ÀÖ´Ù´Â Á¡ÀÌ´Ù. ÀÌ ½Ã¸¦ ³»¿ë Àü°³»ó 1-20, 20-44, 45-55 ¼¼ ºÎºÐÀ¸·Î ³ª´©¾úÀ» ¶§, ù ºÎºÐ¿¡¼­´Â ÇöÀçÀÇ ¾î¸¥ È­ÀÚ°¡ ¾î¸° ½ÃÀýÀÇ ÀÚ½ÅÀ» µ·Å°È£Å×¿Í °°Àº ¾ûÅ͸® ±â»ç·Î parodyÇϴ ŵµ¸¦ ÃëÇÏ°í ÀÖÁö¸¸, µÎ¹ø°  ºÎºÐ¿¡ °¡¸é È­ÀÚ¿Í ¼Ò³â±â»ç¿ÍÀÇ ½É¸®Àû °Å¸®°¡ »ç¶óÁö°í °©ÀÚ±â questÀÇ °úÁ¤ ÀÚü¿¡ ¸ôÀÔÇÏ°í, ¼¼¹ø° ºÎºÐ¿¡ °¡¸é ´Ù½Ã ¾î¸¥ÀÇ ÀÔÀåÀ¸·Î µÇµ¹¾Æ¿Í ±× üÇèÀ¸·ÎºÎÅÍ µµ´öÀûÀÎ Àǹ̸¦ ºÎ¿©ÇÑ´Ù.

 

ù ºÎºÐÀÇ ¹¦»ç´Â ÀüÇüÀûÀÎ ±â»çÀÇ ÃâÁ¤Àå¸éÀ» Èä³»³»¸ç ±â»çÀÇ ¸ð½ÀÀ» dzÀÚÀûÀ¸·Î Á¦½ÃÇÑ °ÍÀÓÀ» ½±°Ô ¾Ë ¼ö ÀÖ´Ù. ¡°sallied forth¡±¶ó´Â ¸»µµ ¡°¾ÕÀ¸·Î ¶Ù¾î³ª°¬´Ù¡±´Â ¸»ÀÌÁö¸¸ ±º»çÀû ¿ë¾î·Î ¡°ÀûÀ» °©ÀÛ½º·´°Ô µ¤Ãļ­ °ø°ÝÇÏ´Ù¡±¶ó´Â ¶æÀ̱⵵ ÇÑ °ÍÀ» º¸¸é ¼Ò³âÀ» ÀÛÀº ±â»ç·Î ¼³Á¤ÇßÀ½À» ¾Ë ¼ö ÀÖ´Ù. ¼Õ¿¡´Â â´ë½Å ¡°A nutting crook¡±¸¦ µé°íÀִµ¥, crook ¿ª½Ã ¡°¹«±â¡±¶ó´Â ¶æÀ» °¡Áö°í ÀÖÀ» »Ó¸¸ ¾Æ´Ï¶ó, ¡°¿ÇÄ¡ ¸øÇÑ ÇàÀ§¡±³ª ¡°»ç¼ú(Þñâú)¡±À» ¶æÇϱ⵵ Çؼ­, ÀÌ ¼Ò³â ±â»çÀÇ ÃâÁ¤ ¸íºÐÀÌ µµ´öÀûÀ¸·Î Á¤´çÇÏÁö ¾Ê´Ù´Â °ÍÀ» óÀ½ºÎÅÍ ºÐ¸íÈ÷ ÇÏ°í ÀÖ´Ù. µû¶ó¼­ ¼Ò³âÀÇ ¸ð½ÀÀ» ÁؼöÇÑ ¹Ì³² ´ë½Å ¡°±«»óÇÑ Â÷¸²»õ(a figure quaint)¡±¶ó°í Ç¥ÇöÇÑ °ÍÀÌ´Ù. ±×ÀÇ Â÷¸²»õ´Â Æ°Æ°ÇÑ °©¿Ê ´ë½Å ¡°°Å··¹ðÀÌ¿Ê(beggar-weeds)¡±À¸·Î À§ÀåÇÏ¿© °¡½Ã´ýºÒÀ̳ª ¼öÇ® µûÀ§´Â ¿ô¾î³Ñ±æ ¼ö ÀÖ´Â ¿ë±â¸¦ °®ÃèÁö¸¸, ¾Ë·Ï´Þ·Ï ¿ì½º²Î½º·´°í, »ç½Ç»ó nuttingÀ» ÇÏ·¯°¡±â¿¡´Â ÇÊ¿äÀÌ»óÀ¸·Î ¡°°ÅÄ£(ragged) º¹ÀåÀ̾ú´Ù. ÀÌ·¯ÇÑ Ç¥ÇöµéÀ» º¸¸é È­ÀÚ°¡ ¼Ò³â±â»ç¸¦ ¹¦»çÇϴµ¥ À־ dzÀÚÀûÀÎ °Å¸®¸¦ °ßÁöÇÒ »Ó¸¸ ¾Æ´Ï¶ó, ÀÏ·ÃÀÇ µµ´öÀûÀÎ ÆÇ´ÜÀ» ÀüÁ¦·Î ÇÏ°í ÀÖÀ½ÀÌ ºÐ¸íÇÏ´Ù. ±×¸®°í ÀÌ ½ÃÀÇ ±ä ÆǺ»ÀÎ MS 15¿¡¼­ ÀÌ·¯ÇÑ ¼Ò³âÀÇ ÀÏÈ­°¡ ½£À» °ÅÄ¥°Ô ´Ù·ç´Â ¿©Àο¡ ´ëÇÑ ÈÆ°èÀÇ ÀϺημ­ È°¿ëµÇ°í ÀÖÀ½À» º¸¸é, ÀÌ ½Ã°¡ ¼Ò³â±â»ç¸¦ ÇϳªÀÇ ±â»çÀû Àι°·Î ¼³Á¤Çϸ鼭 µ¿½Ã¿¡ ¾ÇÇÑ¿¡ ÇØ´çÇÏ´Â ¿ªÇÒÀ» ºÎ¿©ÇßÀ½À» ºÐ¸íÈ÷ ¾Ë ¼ö ÀÖ´Ù.  ¡°Nutting¡±°ú ÈçÈ÷ ºñ±³µÇ´Â The Faerie QueeneÀÇ Sir GuyonÀÇ ¹¦»ç¸¦ ºñ±³Çغ¸¶ó. ¡°A goodly knight all armd in harnesse meete,/ That from his head no place appeared to his feete. / His carriage was full comely and upright,/ his countenaunce demure and temperate,/ But yet so sterne and terrible in sight,/ that cheard his friends, and did his foes amate.(II.i.st.5-6)  Spenser´Â ¿©±â¿¡¼­ Sir GuyonÀ» the knight of temperance·Î ¼³Á¤ÇÏ°í, OdysseyÀÇ SirenÀÇ ½ÅÈ­¸¦ Â÷¿ëÇÏ¿© Acrasia¶ó´Â ¸¶³à°¡ ±â»çµéÀ» À¯È¤ÇÏ¿© µÅÁö·Î ¸¸µå´Â Bower of Bliss¸¦ ã¾Æ°¡¼­ ÀÚ½ÅÀÇ Çö¸íÇÑ guide PalmerÀÇ µµ¿òÀ¸·Î ±× Äè¶ôÀÇ À¯È¤À» ¹°¸®Ä¡°í ±â»ç Verdant¸¦ ±¸Çس½ ÈÄ µÅÁö°¡ µÈ ±â»çµéÀ» ¿ø·¡ÀÇ ¸ð½ÀÀ¸·Î µÇµ¹·Á ³õ´Â´Ù´Â À̾߱⸦ ÇÏ°í ÀÖ´Ù. ´©±¸³ª ¡°ÀýÁ¦¡±ÀÇ ¹Ì´öÀ» ÀØ°í ¼ºÀûÀÎ Äè¶ô¿¡ Ž´ÐÇϸé Àΰ£¼ºÀ» »ó½ÇÇÏ´Â °ÍÀ̶ó´Â µµ´öÀû ±³ÈÆÀ» Àü´ÞÇÏ´Â Moral  AllegoryÀÎ °ÍÀÌ´Ù.   Sir GuyonÀÇ expeditionÀÇ ¸ñÇ¥´Â À̼º¿¡ ÀÇÇÑ ¼ºÀû Ã浿ÀÇ Å¸µµÀÌ°í, ÅõÀïÀÇ ³»¿ëÀº ÀÚ½ÅÀÌ ´À³¢´Â ¼ºÀû ¿å¸ÁÀÇ ¾ï¾ÐÀÎ ¼ÀÀÌ´Ù.  ¡°Nutting¡±ÀÇ ¼Ò³â±â»ç´Â Á¤È®ÇÏ°Ô ±× ¹Ý´ëÀÇ ÀÓ¹«¸¦ ¼öÇàÇÑ´Ù.  Sir Guyon°ú °°ÀÌ Æø·ÂÀ» Çà»çÇϱä ÇÏÁö¸¸ ¿å¸ÁÀÇ ¾ï¾ÐÀ» À§Çؼ­°¡ ¾Æ´Ï¶ó ±× Æı«ÀûÀÎ ¹ß»êÀ¸·Î¼­ Çà»çÇÏ´Â °ÍÀÌ´Ù.  ¸¹Àº ºñÆò°¡µéÀÌ ÁöÀûÇÏµí ¡°Nutting¡±ÀÇ µÎ¹ø° ºÎºÐÀº NuttingÀÇ °úÁ¤À» ÀÏÁ¾ÀÇ ¡°°­°£¡±À¸·Î, ȤÀº SadismÀû ¼ºÇàÀ§·Î ÀÐÀ» ¼ö ÀÖ´Ù. NuttingÀÇ ¸ñÀûÀÎ ¡°hazels¡±°¡ ¡°Tall and erect, with milk-white clusters hung,/ A virgin scene!¡±À̶ó´Â ´ë¸ñÀ» ³õ°í °­°£ÀÇ ÁÖüÀ» ¿©¼ºÀ¸·Î º¸°í ÀÌ°ÍÀ» Female SexualityÀÇ ¹ßÇö°ú ±× ¾ï¾ÐÀÇ À̾߱â·Î Àд °æ¿ìµµ ÀÖÁö¸¸,  ¹ßÇ¥ÀÚ°¡ º¸±â¿¡´Â ÀÌ°ÍÀ» ÀÚ½ÅÀÇ ½É¸®Àû(ȤÀº »ý¸®Àû) »óȲÀÇ Åõ»ç·Î º»´Ù¸é ¼Ò³â±â»ç¸¦ male rapist·Î º¸´Âµ¥ ¾Æ¹« ¹®Á¦°¡ ¾ø´Ù. ¹ßÇ¥ÀÚ°¡ º¸±â¿¡ ƯÀÌÇÑ °ÍÀº 20ÇàºÎÅÍ È­ÀÚÀÇ ½ÃÁ¡ÀÌ ¼Ò³âÀÇ ±×°ÍÀ¸·Î °©Àڱ⠰íÁ¤µÇ¸é¼­ ¼ºÀû ¿å¸ÁÀÌ ÃË¹ßµÇ°í ¹ßÇöµÇ´Â °úÁ¤ÀÌ ´ë´ÜÈ÷ ±¸Ã¼ÀûÀÌ°í ¼¼¹ÐÇÏ°Ô, ¸¶Ä¡ ÀüüÀûÀÎ ±×¸²À» Æijë¶ó¸¶·Î Àâ´Ù°¡ °©ÀÚ±â ƯÁ¤ºÎÀ§¸¦ Ŭ·ÎÁî¾÷ÇÏ¿© ½½·Î¿ìºñµð¿À·Î º¸¿©ÁÖ´Â °Íó·³ ±× °úÁ¤À» È­ÀÚ ½º½º·Îµµ À½¹ÌÇÏ°í µ¶ÀÚ¿¡°Ôµµ ±×°ÍÀ» °øÀ¯Çϵµ·Ï ÇÏ´Â ¹æ½ÄÀ¸·Î µÇ¾îÀÖ´Ù´Â °ÍÀÌ´Ù. ±×¸®°í ±× ³»¿ëÀÌ ¼º¿åÀÇ ¾ïÁ¦°¡ ¾Æ´Ï¶ó ±×°ÍÀ» ÃÖ´ëÇÑÀ¸·Î ¿¬ÀåÇÏ¿© Áñ±â´Â °ÍÀ¸·Î ¹¦»çÇÏ´Â °ÍÀÌ´Ù.  ±×·¯¸é¼­ Sir GuyonÀÇ À̾߱⸦ ¿ÏÀüÈ÷ µÚÁý°í ÀÖ´Ù. ¡°such suppression of heart¡±´Â ¿å¸ÁÀÇ ¾ï¾ÐÀÌ ¾Æ´Ï¶ó ¿å¸ÁÀÇ ¹ß»ýÀ» ¸»ÇÏ°í ÀÖ°í, ¡°with wise restraint¡±´Â The Faerie Queene¿¡¼­´Â PalmerÀÇ Á¸Àç¿Í ¿ªÇÒÀ» ¶æÇÏÁö¸¸ ¿©±â¿¡¼­´Â ¿å¸ÁÀÇ ºÎÁ¤ÀÌ ¾Æ´Ï¶ó ¿å¸ÁÀÇ ÃæÁ·À» ±Ø´ëÈ­Çϱâ À§ÇÑ ÀåÄ¡ÀÎ °ÍÀÌ´Ù.  33ÇàÀÇ ¡°And with my cheek on one of those green stones/ That, fleeced with moss, beneath the shady trees,/ Lay round me, scattered like a flock of sheep, I heard the murmur and the murmuring sound,..¡±´Â sexual intercourse(¡°rude intercourse¡±¶ó´Â ¸»ÀÌ MS 15¿¡ ³ª¿È)ÀÇ °úÁ¤À» ¹¦»çÇÑ °ÍÀ̱⵵ ÇÏ°í, »ì¾ÆÀÖ´Â ÀÚ¿¬°úÀÇ ±³°¨À» ¹¦»çÇÏ´Â ÀüÇüÀûÀÎ ¹æ½ÄÀ̱⵵ ÇÏ´Ù. ´ÜÁö ÀüÇüÀûÀÎ ¿öÁî¿ö½º½Ã¿Í ´Ù¸¥ °ÍÀº ±× ¹¦»ç°¡ ³ë°ñÀûÀ¸·Î ¼ºÀûÀÎ ¿¡³ÊÁö·Î Ã游ÇÑ ¸Æ¶ô¿¡ ³õ¿©Á® ÀÖ´Ù´Â »ç½ÇÀÌ´Ù.  ´Ù¸¥ ½Ã °°À¸¸é ÀÌ·¯ÇÑ ¹¦»ç°¡ ÀÚ¿¬°ú Çϳª°¡ µÇ´Â ¹æ½ÄÀ¸·Î Á¦½ÃµÇ°ÚÁö¸¸,  ¿©±â¿¡¼­´Â MurmuringÇÏ´Â ÀÚ¿¬ÀÌ ¡°indifferent things¡±¿¡ ºÒ°úÇÔÀÌ µå·¯³ª°í, Á»´õ ÀÚ±ØÀûÀÎ ±³°¨ÀÇ ¹æ½ÄÀ» ¿ä±¸ÇÑ´Ù.  ±×¸®ÇÏ¿© ¡°merciless ravage¡±°¡ ±× ºÎÁ¤ÀûÀÎ µµ´öÀû ´ÜÁË¿¡µµ ºÒ±¸ÇÏ°í ´ç¿¬ÇÏ°Ô ÀÚÇàµÈ´Ù.  Sir GuyonÀÇ °æ¿ì¿¡´Â Bower of Bliss·Î °¡´Â µµÁß¿¡ ²ÉÀ¸·Î Àå½ÄµÈ ¿¬¸ø¿¡¼­ ¸ñ¿åÇÏ´Â ¹ú°Å¹þÀº µÎ ¿©Àο¡ ´ëÇÏ¿© ¿å¸ÁÀ» ´À³¢Áö¸¸ ±×ÀÇ ¿å¸ÁÀº ±×ÀÇ Á¾ÀÚÀÎ Palmer¿¡ ÀÇÇØ Áï½Ã Á¦Áö´çÇÏ°í, °á±¹ AcrasiaÀÇ Bower of Bliss·Î ³ª¾Æ°¡ Äè¶ôÀÇ ¼Ò±¼À» ´Ü¼û¿¡ Ãĺμö°í µµ´öÀû ½Â¸®¸¦ °ÅµÎ°Ô µÈ´Ù.  ¡°Nutting¡±¿¡¼­µµ ¶È°°ÀÌ Æø·ÂÀ» ¾²Áö¸¸ Äè¶ôÀÇ Æı«°¡ ¾Æ´Ï¶ó Äè¶ôÀÇ ÃÖÁ¾ÀûÀÎ ¿Ï¼ºÀ¸·Î¼­ Çà»çµÇ´Â °ÍÀÌ´Ù.  ¡°Nutting¡±¿¡¼­´Â Chivalric knight°¡ Äè¶ôÀ» Ãĺμö´Â °ÍÀÌ ¾Æ´Ï¶ó ±×°Í¿¡ Æø·ÂÀûÀ¸·Î Ž´ÐÇÏ°í, ¾Æ¿¹ ±× ÆíÀÌ µÇ¾î¹ö¸°´Ù. The Faerie  Queene¿¡¼­Ã³·³ Temptation°ú Seduction¸¦ À̱â°í QuestÀÇ ¸ñÀûÀ» ´Þ¼ºÇÏ´Â °ÍÀÌ ¾Æ´Ï¶ó QuestÀÇ ¸ñÀûÀÌ ¾î´À»õ Temptation ÀÚü¿Í µ¿ÀϽõǰíÀÖ´Ù. QuestÀÇ Ç¥¸éÀûÀÎ ¸ñÀûÀÎ nutÀÇ È¹µæÀº °í³­ÀÇ °úÁ¤ÀÌ ¾Æ´Ï¶ó Äè¶ôÀÇ °úÁ¤ÀÌ°í, ±â»ç´Â ±×°Í¿¡ öÀúÈ÷ Ž´ÐÇÏ°í, ±×°ÍÀ» ¸ñÀûÀ¸·Î »ï¾Æ¹ö¸°´Ù.  Chivalry¿¡ ´ëÇÑ Ç³ÀÚ¸¦ ÅëÇؼ­ ±× Á¤½ÅÀ» ºñÆÇÇÏ·Á´Â °ÍÀÌ ÀÌ ½ÃÀÇ ¸ñÀûÀ̶ó¸é À̾߱âÀÇ ÀÌ·¯ÇÑ Àü°³´Â ÀÌÇØÇÒ ¸¸ÇÑ °ÍÀÌ´Ù. ¡°¾ÇÇÑ¡±ÀÎ ±â»ç°¡ expeditionÀ» ÅëÇÏ¿©  Sir GuyonÀÇ µµ´öÀû ½Â¸®¿Í´Â ¹Ý´ëµÇ´Â °ÍÀ» ¼ºÃëÇÏ°Ô µÇ´Ï±î. »ç½Ç ¡°from the bower I turned away/ Exulting, rich beyond the wealth of kings¡±¿¡¼­ º¼ ¼ö ÀÖµíÀÌ ±× °á°ú°¡ ¾î¸¥ È­ÀÚÀÇ µµ´öÁÖÀÇÀû °üÁ¡°ú Ãæµ¹ÇÑ´Ù ÇÏ´õ¶óµµ ¼Ò³â ÀÚ½ÅÀÌ ÀÚ½ÅÀÇ ¿øÁ¤ÀÇ ¸ñÀû ´Þ¼ºÀ» ±â»µÇÏ´Â °ÍÀº ±× Æзεð·Î¼­ÀÇ ÀÏ°ü¼ºÀ» À¯ÁöÇÑ´Ù´Â ¸é¿¡¼­´Â ´ç¿¬ÇÏ´Ù. ±×¸®°í ¡°Touch – for there is a Spirit in the woods¡±¶ó´Â ÀÌ»óÇÑ µµ´öÀû °á·ÐÀº È­ÀÚ°¡ ¼Ò³â±â»ç¿¡°Ô ºÎ°úÇϴ  ¡°sense of pain¡±, Áï ÀÚ¿¬À» ¿åº¸ÀÎ °Í¿¡ ´ëÇÑ µµ´öÀû ¹Ý¼º¿¡ ±Ù°ÅÇÑ ±³ÈÆÀ¸·Î¼­´Â ³³µæÀÌ µÇÁö ¾ÊÁö¸¸, ±×°ÍÀÌ °á±¹ Äè¶ôÀÇ ¿øõÀÎ AcrasiaÀÇ ¸ñ¼Ò¸®¸¦ ´ëº¯ÇÑ´Ù´Â Á¡¿¡¼­ À¯È¤¿¡ ³Ñ¾î°¡¹ö¸²À¸·Î½á questÀÇ ¸ñÀûÀ» ´Þ¼ºÇÏ´Â ¡°¾ÇÇÑ¡± ±â»çÀÇ expeditionÀÇ °á·ÐÀ¸·Î¼­´Â ¿ÀÈ÷·Á ÀûÀýÇØ º¸ÀδÙ.  NuttingÀ» ½Ç¿ëÀû °üÁ¡¿¡¼­ ÀÌÇØÇÏ°í Àå·ÁÇÏ´Â ¡°my frugal Dame¡±ÀÇ °üÁ¡°úµµ °á°úÀûÀ¸·Î´Â Àß µé¾î¸ÂÁö¾Ê´Â°¡.

 

±â»çµµ¿¡ ´ëÇÑ Æзε𸦠¹æÇØÇÏ°í ÀÖ´Â °ÍÀº ù ºÎºÐ¿¡ ´ëÇÑ ºÐ¼®¿¡¼­ ÀÌ¹Ì ºÐ¸íÇÏ°Ô µå·¯³µ°í, ¼Ò³âÀÇ expeditionÀ» ÀÚ¿¬¿¡ ´ëÇÑ ´É¿åÀ̶ó°í ÆľÇÇÏ´Â È­ÀÚÀÇ µµ´öÁÖÀÇÀû ÀÚ¼¼ÀÌ´Ù. ÀÚ¿¬À» »ì¾ÆÀÖ´Â »ç¶÷ó·³ ¼ÒÁßÈ÷ »ý°¢ÇØ¾ß ÇÑ´Ù´Â ÀÚ¿¬º¸È£ÁÖÀÇÀÚÀû ¸Þ½ÃÁö°¡ È­ÀÚÀÇ Ç¥¸éÀûÀÎ ÁÖÀåÀÌÁö¸¸ ÀÌ°ÍÀº ±â»çµµ¿¡ ´ëÇÑ Æзεð¶ó´Â ÀÌ ½ÃÀÇ ±¸Á¶Àû Ư¼º°ú ½ÃÁ¾ÀÏ°ü Ãæµ¹ÇÑ´Ù. »Ó¸¸ ¾Æ´Ï¶ó ÀÌ ½ÃÀÇ ÀÌ µÎ¹ø° ºÎºÐ¿¡¼­´Â ¾î¸¥ È­ÀÚ ÀÚ½ÅÀÌ ¡°merciless ravage¡±ÀÚü¿¡ ³Ê¹«³ª ¸ôÀÔÇÏ°í ÀÖ´Ù´Â Á¡¿¡¼­ ±× µµ´öÁÖÀÇÀÇ ÀÏ°ü¼ºÀ» ÀÒ°í ÀÖ´Ù. ÀÌ ºÎºÐ¿¡´Â Æзε𿡠ÀÖ¾î¾ß ÇÏ´Â È­ÀÚ¿Í ¼Ò³â°£ÀÇ ºñÆÇÀû °Å¸®µµ ¾ø°í, µµ´öÀû °üÁ¡ÀÌ ¿ä±¸ÇÏ´Â ÃÖ¼ÒÇÑÀÇ ÀýÁ¦µµ ¾ø´Ù. ÀÌ ºÎºÐÀº Wordsworth°¡ Æзεð ÀÛ°¡·Î¼­µµ, ¶Ç MS 15ÀÇ µµ´öÀû ¼³±³°¡·Î¼­µµ ÀÏÅ»ÇÏ´Â ºÎºÐÀÌ´Ù.  ¡°unless I now/ Confound my present feelings with the past¡±´Â ½ÃÁ¡À» °üÂûÀÚ ½ÃÁ¡À¸·Î µÇµ¹¸®´Â µ¿½Ã¿¡ ¡°°­°£ Àå¸é¡±¿¡ ´ëÇÑ È­ÀÚ ÀÚ½ÅÀÇ Å½´Ð¿¡¼­ ¹þ¾î³ª¸é¼­ È­ÀÚÀÇ µµ´öÀû °üÁ¡À» ȸº¹ÇÏ´Â ÁöÁ¡Àε¥,  À̸¦ À§ÇØ È­ÀÚ°¡ ¼Ò³â ±â»ç¿¡°Ô ºÎ°úÇϴ  ¡°a sense of pain¡±Àº ¼Ò³â±â»çÀÇ ¹Ý¼ºÀ¸·Î¼­ ¼³µæ·ÂÀ» °®±â º¸´Ù´Â È­ÀÚ ÀÚ½ÅÀÇ ÀÏÅ»¿¡ ´ëÇÑ ¹Ý¼ºÀÇ Ç¥ÇöÀ¸·Î ÁÖ¾îÁø °ÍÀ¸·Î º¸ÀδÙ.  È­ÀÚÀÇ ÀÏÅ»Àº ÀÏÂ÷ÀûÀ¸·Î ÀÚ½ÅÀÌ ½ÉÁ¤ÀûÀ¸·Î °¡´ãÇÑ ¼Ò³â ±â»çÀÇ ¡°´É¿å¡±¿¡ ´ëÇÑ È­ÀÚÀÇ µµ´öÀû ÆÇ´ÜÀÌ¿ä, ±×°Í¿¡ Àڱ⵵ ¸ð¸£°Ô µ¿Á¶ÇÑ Àڽſ¡ ´ëÇÑ µµ´öÀû ¹Ý¼ºÀÌ´Ù. ÀÌ°ÍÀº °á±¹ ÀÚ½ÅÀÌ ¼öÇàÇÏ°íÀÖ´Â Chivalry Æз¯µðÀÇ À¯È¿¼º¿¡ ´ëÇÑ È¸ÀÇ°ú ÀÚ½ÅÀÇ ¹®ÇÐÀû ±âȹÀÇ Á¤Ä¡Àû ÇÔÀÇ¿¡ ´ëÇÑ ÀÚÀǽÄÀûÀÎ ¹Ý¼ºÀÇ Ç¥ÇöÀ¸·Î º¼ ¼öµµ ÀÖÀ» °ÍÀÌ´Ù.

 

1790³â´ëÀÇ ¿µ±¹¿¡¼­ ±â»çµµ¿¡ ´ëÇÑ parody´Â ±× Á¤Ä¡ÀûÀÎ »ö並 ÇÇÇÒ ¼ö ¾ø¾ú´Ù.  ³íÀïÀÇ ´ÜÃÊ´Â Reflections on the Revolution in France¿¡¼­ Burke°¡ ´ÙÀ½°ú °°ÀÌ ÁÖÀåÇÏ´Â °Í¿¡¼­ ÁÖ¾îÁ³´Ù.

 

It is now sixteen or seventeen years since I saw the queen of France, then the dauphiness, at Versailles; and surely never lighted on this orb, which she hardly seemed to touch, a more delightful vision.  I saw her just above the horizon, decorating and cheering the elevated sphere she just began to move in, --glittering like the morning-star, full of life, and splendor, and joy.  Oh! What a revolution! And what an heart must I have, to contemplate without emotion that elevation and that fall!¡¦ Little did I dream that I should have lived to see such disasters fallen upon her in a nation of gallant men in a nation of men of honour and of cavaliers.  I thought ten thousand swords must have leaped from their age of chivalry is gone. –That of sophisters, oeconomists, and calculators, has succeeded; and the glory of Europe is extinguished for ever.  Never, never more, shall we behold that generous loyalty to rank and sex, that proud submission, that dignified obedience, that subordination of the heart, which kept alive, even in servitude itself, the spirit of an exalted freedom.  The unbought grace of life, the cheap defence of nations, the nurse of manly sentiment and heroic enterprixe is gone!  It is gone, that sensibility of principle, that chastity of honour, which felt a stain like a wound, which inspired courage whilst it mitigated ferocity, which ennobled whatever it touched, and under which vice itself lost half its evil, by losing all its grossness.(Reflections on the Revolution in France, Penguin, 1969, 169-170)

 

Burke¿¡°Ô Chivalry´Â ÇÁ¶û½ºÇõ¸íÀÌ Æı«ÇÏ°íÀÖ´Â ±âÁ¸ üÁ¦ÀÇ Á¤½ÅÀÌ¿ä, ±× ÀÚü°¡ ÀÚ¿¬Áú¼­ÀÇ Ç¥ÇöÀ̾ú´Ù.  ÀÌ°Í¿¡ ´ëÇÑ °¡Àå ±ØÀûÀÎ ¹Ý·ÐÀº Thomas PaineÀ¸·ÎºÎÅÍ ³ª¿Ô´Ù.

 

Wen we see a man dramatically lamenting in a publication intended to be believed, that, ¡®The age of chivalry is gone!¡¯ that ¡®The glory of Europe is extinguished for ever!¡¯ that ¡®The unbought grace of life¡¯(if any one knows what it is), ¡®the cheap defences of nations, the nurse of manly sentiment and heroic enterprise, is gone!¡¯ and all this because the Quixote age of chivalry is gone, what opinion can we form of his judgement, or what regard can we pay to his facts? In the rhapsody of his imagination, he had discovered a world of windmills, and his sorrows are, that there are no Quixotes to attack them. But if the age of aristocracy, like that of chavalry, should fall, (and they had originally some sonnection), Mr Burke, the trumpeter of the Order, may continue his parody to the end, and finish with exclaiming, ¡®Othell¡¯s occupation¡¯s gone!¡¦Not one glance of compassion, not one commiserating reflection, that I can find throughout his book, has bestowed on those who lingered out the most wretched of lives, a life without hope, in the most miserable of prisons¡¦.He pities the plumage, but forgets the dying bird. (¡°The Rights of Man¡±, in The Thomas Paine Reader, Penguin, 1987, 211-213)

 

°á±¹ 1790´ë ÇÁ¶û½ºÇõ¸í ³íÀïÀ̶ó´Â ¸Æ¶ô¿¡¼­´Â chivalry¿¡ ´ëÇÑ parody´Â ±âº»ÀûÀ¸·Î PaineÀÇ Burke ºñÆÇ°ú ºÐ¸®Çؼ­ »ý°¢ÇÒ ¼ö°¡ ¾ø´Ù.  ±×·± ¶æ¿¡¼­ ¡°Nutting¡±Àº ±âº»ÀûÀ¸·Î ±×ÀÇ radical sympathy¸¦ µå·¯³»´Â ½ÃÀÌÁö¸¸,  David DuffÀÇ ÁöÀû´ë·Î RadicalµéÀÌ ·Î¸Ç½º¸¦ ¿ÏÀüÈ÷ ¹þ¾î³µ´Ù°í´Â ¸»ÇÒ ¼ö°¡ ¾ø´Ù. ±×µéÀÇ Á¤Ä¡Àû ÀÌ»óÁÖÀÇ ¿ª½Ã ·Î¸Ç½ºÀÇ UtopianismÀ» °è½ÂÇÑ Ãø¸éÀÌ ÀÖ´Â °ÍÀÌ´Ù.  Wordsworth ÀÚ½ÅÀÌ ÈÄÀÏ ±â¼úÇÑ ÇÁ¶û½ºÇõ¸íÀÇ Á¤½ÅÀº ÀÌ·¯ÇÑ Ãø¸éÀ» Á÷Á¢ÀûÀ¸·Î Àß º¸¿©ÁØ´Ù.

 

Bliss was it in that dawn to be alive,/ But to be young was very heaven! Oh! Times,/ In which the meagre stale forbidding ways/ Of custom, law, and statute, took at once/ The attraction of a country in Romance!/ When Reason seem¡¯d the most to assert her rights,/ when most intent on making of herself/ A prime Enchanter to assist the work,/ Which then was going forward in her name!(The Prelude, 1850, XI, 105-116)

 

Burke¿¡°Ô´Â ÇÁ¶û½ºÇõ¸íÀÌ chivalryÀÇ °¡Ä¡¸¦ ÀÏ°Å¿¡ Æı«ÇÏ´Â °ÍÀ̾ú°í, PaineÀº BurkeÀÇ ³í¸®¸¦ chivalry¿¡ ´ëÇÑ parodyÀÎ Quixote¸¦ ÀοëÇϸ鼭 ÀÏ°Å¿¡ ¹«³Ê¶ß·ÈÁö¸¸, Wordsworth´Â ÇÁ¶û½ºÇõ¸íÀÇ ¿øµ¿·ÂÀÎ ¡°Reason¡±À» romance¿¡ ³ª¿À´Â ¡°Enchanter¡±¿¡ ºñÀ¯ÇÏ¸ç ´ç´ëÀÇ È¯Èñ¿¡ Âù ÀÚ½ÅÀÇ Çõ¸íÀû ¿­Á¤À» ȸ°íÇÑ´Ù.  ÀÚ½ÅÀÇ Á¤Ä¡Àû ½º½ÂÀÎ Beaupuy¿¡ ´ëÇÑ ¹¦»ç¿¡¼­µµ ±×¸¦ ·Î¸Ç½ºÀÇ ÁÖÀΰøó·³ Á¦½ÃÇÑ´Ù.

 

Man he loved/ As man; and, to the mean and the obscure,/ And all the homely in their homely works,/Transferred a courtesy which had no air/ Of condescension;/ but did rather seem/ A passion and a gallantry, like that/ Which he, a soldier, in his idler day/ Had paid to woman: somewhat vain he was,/ Or seemed so, yet it was not vanity,/ But fondness, and a kind of radiant joy/ Diffused around him, while he was intent/ On works of love or freedom, or resolved/ Complacently the progress of a cause,/ Whereof he was a part(IX. 306-316)

 

ÀÌ·¯ÇÑ ¹¦»ç¼Ó¿¡ ÀÌ¹Ì BurkeÀû ³í¸®°¡ ÀÛ¿ëÇÏ°í ÀÖ´Ù°í ÆòÇÏ´Â ÇÐÀÚµµ ÀÖÁö¸¸, ¿öÁî¿ö½º¿¡°Ô À־µµ ·Î¸Ç½ºÀÇ parody´Â ÇϳªÀÇ ¹®ÇÐÀû ÀÛ¾÷ ÀÌ»óÀ̾ú´ø °Í¸¸Àº ºÐ¸íÇÏ´Ù.  ¡°Nutting¡±ÀÌ Ã³À½ ¾²¿©Áø 1798³â °Ü¿ïÀº ¿öÁî¿ö½º°¡ ¿µ±¹¿¡¼­ Çö½ÇÀûÀÎ Çõ¸íÀû Àü¸ÁÀ» ¿ÏÀüÈ÷ Æ÷±âÇÑ Á÷ÈÄÀ̸ç, ±×ÀÇ Á¤Ä¡Àû ¿­Á¤À» ½ÃÀû ¿­Á¤À¸·Î ¿Å¾Æ°¡´ø ½ÃÁ¡ÀÌ°í, ÀÚ½ÅÀÇ ½ÃÀû ÀÚ¾ÆÀÇ Å½±¸¸¦ º»°ÝÈ­ ÇÒ ¹«·ÆÀ̾ú´Ù.  ´ç½ÃÀÇ ¿öÁî¿ö½º´Â ÀÚ½ÅÀÇ Çõ¸íÀû ¿­Á¤À» ¿ÏÀüÈ÷ ºÎÁ¤ÇÒ ¸¸Å­ º¯ÀýÇÏÁö´Â ¾Ê¾ÒÁö¸¸ Paine-Godwin·ùÀÇ Á¤Ä¡Àû ÀÌ»óÁÖÀÇÀÇ Ã߻󼺰ú Á¤Ä¡Àû ºñ½ÇÈ¿¼ºÀ» ±ú´ÞÀ» ¸¸Å­Àº º¯ÇØÀÖ¾ú´Ù.  Paine·ùÀÇ ·Î¸Ç½º ÆзεðÀ» ±×´ë·Î µû¸£±â¿¡´Â BurkeÀÇ ½Ã´ëÂø¿ÀÀû Chivalry ¿¹Âù¸¸Å­À̳ª ºñÇö½ÇÀûÀÌ°í Ãß»óÀûÀÎ radicalµéÀÇ À̳äÀû ¹®Á¦Á¡À» Àß ÀνÄÇÒ ´Ü°è¿¡ ¿Í ÀÖ¾ú´Ù. ¡°Nutting¡±¿¡¼­ Romance Parodist·Î¼­ÀÇ È­ÀÚ°¡ PaineÀûÀÎ ¿öÁî¿ö½º¿´´Ù¸é, ½ÃÁ¾ÀÏ°ü ¼Ò³â ±â»çÀÇ ÇàÀ§¸¦ µµ´öÀû ¾îÈÖ·Î ´ÜÁËÇÏ´Â È­ÀÚ´Â BurkeÀûÀÎ ¿öÁî¿ö½º¿´´Ù. ±×·¯³ª ´ç½ÃÀÇ ¿öÁî¿ö½º¿¡°Ô ÁøÁ¤À¸·Î ÇÊ¿äÇß´ø °ÍÀº romanceÀû Ã߻󼺿¡¼­ ±Ùº»ÀûÀ¸·Î ¹þ¾î³ªÁö ¸øÇÏ´Â ¾ç Áø¿µÀÇ °ø¹æ¿¡¼­ ¿ÏÀüÈ÷ ¹þ¾î³ª´Â ÀüÇô ´Ù¸¥ Â÷¿øÀÇ °æÇèÀ̾ú´ÂÁöµµ ¸ð¸¥´Ù. ±×¸®°í ±×°ÍÀº ¾çÂÊ ¸ðµÎ¿¡ ¼ÓÇÏÁö ¾Ê´Â ¼Ò³âÀÇ ¼ºÀû ÇàÀ§¿¡ ¿­·ÄÈ÷ µ¿Á¶ÇÏ´Â ¾î¸¥ È­ÀÚÀÇ ¸ð½ÀÀ̾ú°í ±×°ÍÀº °ð ¿öÁî¿ö½º°¡ »õ·Ó°Ô ¹ß°ßÇØ°¡°í ÀÖ¾ú´ø ½ÃÀû âÁ¶¼ºÀÇ ¿øõÀ̾ú´Ù.

 

¡°Nutting¡±Àº ¿ø·¡ The PreludeÀÇ ÇÑ ºÎºÐÀ¸·Î »ç¿ëÇϱâ À§ÇÏ¿© ¾²¿©Á³´Ù°¡ ÈÄÀÏ µ¶¸³ÀûÀ¸·Î ÃâÆǵǾú´Ù. ÀÚ½ÅÀÇ ½ÃÀû ÀھƸ¦ ¼³¸íÇØ ³»±âÀ§ÇÑ ÇϳªÀÇ ÀÚ·á·Î¼­ ¾î¸° ½ÃÀýÀÇ ´Ù¸¥ ÀÏÈ­µé°ú ÇÔ²² ±¸»óµÇ¾ú´Âµ¥, ¿öÁî¿ö½º°¡ ±×·¯ÇÑ ÀÏ·ÃÀÇ ÀÏÈ­µéÀ» ÅëÇÏ¿© À籸¼ºÇÏ°íÀÚ Çß´ø ¾î¸°½ÃÀýÀÇ °æÇèÀº Tintern AbbeyÀÇ ÇÑ ´ë¸ñ¿¡¼­ ¡°ÇöÀ硱 ÀÚ½ÅÀÇ °üÁ¡°ú ±¸ºÐÇÏ¿© ´ÙÀ½°ú °°ÀÌ ¹¦»çµÇ°í ÀÖ´Ù. ±× ´ç½Ã´Â ¡°like a roe/ I bounded o¡¯er the mountains, by the sides/ Of the deep rivers, and the lonely streams, Wherever nature led: more like a man/ Flying from something that he dreads, than one/ Who sought the thing he loved./ For nature then/(The coarser pleasures of my boyish days,/ And their glad animal movements all gone by)/ To me was all in all – I cannot paint /What then I was.  The sounding cataract/ Haunted me like a passion: the tall rock,/ The mountain, and the deep and gloomy wood,/ Their colours and their forms, were then to me/ An appetite: a feeling and a love/ that had no need of a remoter charm, /by thought supplied, or any interest/ Unborrowed from the eye.(67-83)

 

ÀÌ ½Ã±â°¡ ¾î¶®¾ú´ÂÁö¸¦ ±×¸± ¼ö ¾ø´Ù°í ÇßÁö¸¸ ¿öÁî¿ö½º´Â The PreludeÀÇ 1-2±Ç¿¡¼­ ±×°ÍÀ» ³î¶øµµ·Ï »ý»ýÇÏ°Ô ±×·Á³ÂÀ» »Ó¸¸ ¾Æ´Ï¶ó, ¿©±â¿¡¼­Ã³·³ ÇöÀçÀÇ ¿ø¼÷ÇÑ °üÁ¡°ú ±¸ºÐµÇ´Â ¹Ì¼÷ÇÑ °æÇèÀÇ ¿¹·Î¼­°¡ ¾Æ´Ï¶ó ¿ÀÈ÷·Á Áö±ÝÀº °¡´ÉÇÏÁö ¾ÊÀº ¾î¶² ½Åºñ·Î¿î Èû¿¡ ´ëÇÑ ¾Ï½Ã¸¦ ´ã°íÀÖ´Â ¿øÇüÀû üÇèÀ¸·Î¼­ Çü»óÈ­ÇÏ°í ÀÖ´Â °ÍÀÌ´Ù. Boat-stealing Episode, Snare-Snatching Episode µî ¡°the characters of danger and desire¡±¸¦ ´ã°íÀÖ´Â ÀÏÈ­µéÀº ¿öÁî¿ö½ºÀÇ ¼­¼úÀû ÅëÁ¦ÇÏ¿¡¼­ ±×ÀÇ ½ÃÀû ¿µÈ¥ÀÇ Áß¿äÇÑ Àç·á·Î¼­ ½ÃÀû ¼ºÀåÀÇ ´ÜÃʷμ­ Á¦½ÃµÇ°íÀÖ´Ù. À§¿¡¼­´Â ¡°coarser pleasures of my boyish days¡±¶ó°í »ç¼ÒÇÏ°Ô ¾ê±âÇßÁö¸¸ ¿©±â¼­ Á¦½ÃµÈ µ¿¹°Àû »ý±â, º»´ÉÀûÀÌ°í ±¸Ã¼ÀûÀÎ ¿å¸Á ±×¸®°í ±×·¯ÇÑ »ý±â¿Í ¿å±¸ÀÇ °¡Â÷¾ø´Â ¹ßÇöÀÌ ÇöÀçÀÇ È­ÀÚ¿¡°Ô ºÒ·¯ÀÏÀ¸Å°´Â µµ´öÀû(Àΰ£Áß½ÉÀû) °¥µî°ú ÁËÀǽÄÀÌ ¡°Nutting¡±À» Æ÷ÇÔÇÏ´Â ÀÏ·ÃÀÇ ¾î¸° ½ÃÀýepisodeµéÀÇ ³»¿ëÀÌ´Ù. ±×·¯³ª ¡°Nutting¡±ÀÌ ¡°Boat-Stealing¡± Episode¿Í ´Ù¸¥ °ÍÀº ¼ºÀû ÀΠüÇè ÀÚü°¡ parody¶ó´Â Çü½ÄÀû ³í¸®¿¡ ÈûÀÔ¾î »ó´ëÀûÀ¸·Î ¾ï¾Ð¾øÀÌ °¡Àå ¼ÖÁ÷ÇÑ ÇüÅ·ΠǥÃâµÇ¾ú´Ù´Â Á¡ÀÌ´Ù. °¡·É ¡°Boat-Stealing¡± Episode °°Àº °÷¿¡¼­´Â ¡°Nutting¡±¿¡ ºñ°ßÇÒ ¸¸ÇÑ ¼ºÀû ÈïºÐ°ú ±â´ë°¨ÀÌ ºÒ·¯ÀÏÀ¸ÄÑÁöÁö¸¸ ±×°ÍÀº °ð ¡°Nutting¡±ÀÇ °æ¿ìº¸´Ù ÈξÀ ´õ ±¸Ã¼ÀûÀÎ ÁËÀǽİú µµ´öÀû °¡Ã¥¿¡ ÀÇÇØ ¿ÏÀüÇÏ°Ô Æ÷ÀåµÈ´Ù.

 

But huge and mighty forms, that do not live/ Like living men, moved slowly through the mind/ By day, and were a trouble to my dreams./ Wisdom and Spirit of the universe!/ Thou Soul that art the eternity of thought,/ That giv¡¯st to forms and images a breath/ And everlasting motion, not in vain/ By day or star-light thus from my first dawn/Of childhood didst thou intertwine for me/ the passions that build up our human soul.(I. 398-407)

 

ÀÌÈÄ Coleridge¿¡ ÀÇÇØ ÁÖ¾îÁö´Â One-Life Philosophy´Â The Prelude¸¦ ÇʵηΠÇÑ ¡°The Recluse¡± ÇÁ·ÎÁ§Æ®¸¦ Áö¹èÇÏ´Â °ø½ÄÀûÀÎ À̳äÀ¸·Î ÀÚ¸®ÀâÁö¸¸ ¿öÁî¿ö½º°¡ ½ÇÁ¦·Î ¹ß°ßÇÑ ÀڽŸ¸ÀÇ Ã¢Á¶Àû ¿øõÀº ¡°coarse pleasure¡±ÀÇ ¼¼°è¿´´ÂÁöµµ ¸ð¸¥´Ù. ÀÌ ¹ßÇ¥ÀÇ ¹üÀ§¸¦ ³Ñ¾î¼­´Â °ÍÀÌÁö¸¸ ¹ßÇ¥ÀÚÀÇ °¡Àå ±Ã±ØÀûÀÎ °ü½ÉÀº ¡°coarse pleasures of my boyish days¡±¿¡ ´ëÇÑ ¿öÁî¿ö½ºÀÇ ºÎÁ¤Àû(ȤÀº Á¦ÇÑÀûÀÚ¿¬ÀÇ ½Åºñ·Î¿î °¡¸£Ä§À» Ã˹ßÇÏ´Â °è±â·Î¼­¸¸ Çؼ®ÇÑ´Ù´Â ¸é¿¡¼­ Á¦ÇÑÀûÀ̶ó´Â ¶æ)Çؼ®°ú´Â »ó°ü¾øÀÌ(ȤÀº ¹Ý´ë·Î) ¿ì¸®°¡ ÈçÈ÷ ÀüÇüÀûÀÎ ¿öÁî¿ö½ºÀû ÃÊ¿ùÀÇ °æÇè, °¡Àå Ãß»óÀûÀÌ°í µµ´öÀûÀÌ¸ç ¿µÀûÀΠüÇèÁ¶Â÷µµ »ç½ÇÀº ¡°coarser pleasure¡±ÀÇ Ã¼Çè¿¡ ÀÔ°¢ÇÑ °Í, Äè¶ôÀÇ ¾ð¾î·Î µÇ¾îÀÖ´Ù´Â °ÍÀ» °¡¼³ÀûÀ¸·Î º¸¿©ÁÖ´Â °ÍÀÌ´Ù. ±×°ÍÀÌ ¿öÁî¿ö½º°¡ ÀÚ¿¬½ÃÀÎÀÎ ÀÌÀ¯ÀÌ°í, ±×ÀÇ ½Ã°¡ °®´Â ±¸Ã¼¼ºÀÇ Á¤Ã¼ÀÎÁöµµ ¸ð¸¥´Ù. ±×·¯ÇÑ Á¡ÀÌ ¼³µæ·ÂÀÖ°Ô ÁÖÀåµÉ ¼ö ÀÖ´Ù¸é, ±×°ÍÀ̾߸»·Î Annette Vallon¿¡ ´ëÇÑ À°Ã¼Àû Á¤¿­°ú ÇÁ¶û½ºÇõ¸í¿¡ ´ëÇÑ(ȤÀº Beaupy¿¡ ´ëÇÑ) Á¤½ÅÀû(À̵¥¿Ã·Î±âÀû) Á¤¿­ÀÌ °°Àº ½Ã±â¿¡ ¹ßÇöµÈ ÀÌÀ¯¸¦ Àß ¼³¸íÇÒ ¼ö ÀÖ°í, ¡°Preface to Lyrical Ballads¡±¿¡ Á¦½ÃµÈ ½Ã·ÐÀÇ ±â¹Ý¿¡ Passion°ú Pleasure°¡ ÀÚ¸®Àâ°í ÀÖ´Â ÀÌÀ¯¸¦ Àß ÀÌÇØÇÒ ¼ö ÀÖÀ» °ÍÀÌ´Ù. °¡·É ´ÙÀ½°ú °°Àº ´ë¸ñÀ» º¸¶ó.

 

Nor let this necessity of producing immediate pleasure be considered as a degradation of the poet¡¯s art.  It is far otherwise.  It is an acknowledgement of the beauty of the universe, an acknowledgment the more sincere, because it is not formal, but indirect; it is a task light to him who looks at the wolrd in the spirit of love: further, it is a homage paid to the native and anked dignity of man, to the grand elementary principle of pleasure, by which he knows, and feels, and lives, and moves.  We have not sympathy but what is propagated by pleasure:  I would not be misunderstood; but wherever we sympathize with pain it will be found that the sympathy is produced and carried on by subtle combinations with pleasure. We have no knowledge, that is, no general principles drawn from the contemplation of particular facts, but what has been built up by pleasure, and exists in us by pleasure alone.

 

ÀÌ·¯ÇÑ ´ë¸ñÀº ¹°·Ð Pleasure/ PainÀ̶ó´Â BenthamÀûÀÎ binary oppositionÀ» ¿¬»ó½ÃÅ°±âµµ ÇÏÁö¸¸ ¹®ÇÐÀÇ ±¸Ã¼¼º°ú ¹®ÇÐÀû Áö½ÄÀÇ ÁøÁ¤¼ºÀ» °­Á¶ÇÏ´Â ¸Æ¶ô¿¡¼­ ³ª¿Ô´Ù´Â Á¡¿¡¼­ ¿öÁî¿ö½º°¡ ¡°Nutting¡±°ú °°Àº ½ÃÀ» ¾²¸é¼­, ¶Ç ±×°ÍÀ» The PreludeÀÇ ¸Æ¶ô¿¡¼­ À߶󳻸鼭 »õ·ÎÀÌ ¹ß°ßÇÏ°Ô µÈ ¼ºÀûÀÎ °æÇèÀÇ Ã¢Á¶¼º°ú ¿ªµ¿¼ºÀ» ÀÌ·ÐÈ­Çß´Ù°í ¸»ÇÒ ¼ö ÀÖÀ»Áöµµ ¸ð¸¥´Ù.  ÀÌ·¯ÇÑ ¸Æ¶ô¿¡¼­¸¸ Hagsrum°°Àº »ç¶÷ÀÌ snowdon episode¸¦ ¼ºÀûÀÎ ´ã·ÐÀ¸·Î Àд ¹æ½ÄÀÌ ÀÏÁ¤ÇÑ Á¤µµÀÇ ¼³µæ·ÂÀ» °¡Áú ¼ö ÀÖÀ» °ÍÀÌ´Ù.  Chivalry¿¡ ´ëÇÑ ºÒ¿ÏÀüÇÑ parody¾È¿¡ °­·ÂÇÑ ¼ºÀû üÇè±â°¡ ºÒ¾ÈÁ¤ÇÏ°Ô Æ÷¼·µÇ¾îÀÖ´Â ¡°Nutting¡±ÀÇ ¾ç»óÀº ¿öÁî¿ö½º°¡ ±ÞÁøÀûÀÎ °³Çõ°¡ÀÇ Àü¸ÁÀ» Æ÷±âÇÏ°í ½ÃÀÎÀÇ Àü¸ÁÀ» ȹµæÇÏ°Ô µÇ´Â °úÁ¤ÀÇ ¹Ý¿µÀ̶ó°í ÇÒ ¸¸ÇÏ´Ù.  Romance¸¦ µÑ·¯½Ñ Ãß»óÀûÀÌ°í ºñÇö½ÇÀû °¡Ä¡Ã¼°è ȤÀº Á¤Ä¡À̳äÀÇ °ø¹æÀÌ Àΰ£ÀÇ ¼ºÀû ¿å±¸¿Í µ¿¹°Àû º»¼º¿¡ ´ëÇÑ Ã¶ÀúÇÑ ÀνĿ¡ ÀÔ°¢ÇÑ Àΰ£Á¤½ÅÀÇ °³ÇõÀ̶ó´Â »õ·Î¿î ¿¹¼úÀû ¸ñÇ¥·Î ´ëÄ¡µÇ¾úÀ½À» ¡°Nutting¡±ÀÌ Áõ»óÀûÀ¸·Î º¸¿©ÁÖ°í ÀÖ´Â °ÍÀÌ´Ù.

 

Reference

 

David Duff, Romance and Revolution: Shelley and the Politics of a Genre, Cambridge UP, 1994.

Jean H. Hagstrum, The Romantic Body: Love and Sexuality in Keats, Wordsworth, and Blake, Tennessee UP, 1985.

Gregory Jones, ¡°¡¯Rude intercourse¡¯: uncensoring Wordsworth¡¯s ¡®Nutting¡¯¡±, Studies in Romanticism 35(Summer 1996), 213-43.

David D. Joplin, ¡°The deep ecology of ¡°Nutting¡±: Wordsworth¡¯s reaction to Milton¡¯s antnropocentrism.¡±, English Language Notes 35(December 1997), 18-27.

Robert Burns Neveldine, ¡°Wordsworth¡¯s ¡°Nutting¡± and the Violent End of Reading¡±, ELH 63(1996), 657-680.

Jonathan Arac, ¡°Wordsworth¡¯s ¡°Nutting¡±¡±: Suspension and Decision, in Critical Genealogies: Historical Situations for Postmodern Literary Studies,  Columbia UP, 1987.

 

 

 

 

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