Introduction to English Literature(2019-02)
 

´ÙÀ½Àº ¿¤·¹Áö¿¡ °üÇÑ ³» °­¿¬¹® Áß ÀϺθ¦ ¹ßÃéÇÑ °ÍÀÔ´Ï´Ù.

 

 

¿¤·¹Áö´Â ¸»ÇÏÀÚ¸é Àå·Ê½ÄÀ» ¹®ÇÐÀûÀ¸·Î ¾ç½ÄÈ­ÇÑ °ÍÀÔ´Ï´Ù. Àå·Ê½ÄÀº ƯÁ¤ÇÑ ¹®È­¿¡ °íÀ¯ÇÑ °ÍÀÌ°í, Àå·Ê½ÄÀº ±× ¹®È­ÀÇ ³»¼¼°üÀ» ¹Ý¿µÇÕ´Ï´Ù. µû¶ó¼­ ¿¤·¹ÁöÀÇ ³»¿ëÀº ¾ðÁ¦³ª ±×°ÍÀÌ ±â¹ÝÇÑ ¹®È­ÀÇ ³»¼¼°ü¿¡ µû¶ó ´Þ¶óÁú ¼ö¹Û¿¡ ¾ø½À´Ï´Ù. °¡·É, ±×¸®½º-·Î¸¶½Ã´ëÀÇ ¿¤·¹Áö´Â °íÀüÀûÀÎ ³»¼¼°ü¿¡ ÀÔ°¢ÇØ ÀÖ°í, ¸£³×½Ö½º½Ã´ëÀÇ ¿µ±¹½ÃÀεéÀº ±âµ¶±³ÀûÀÎ ³»¼¼°üÀ» ¹Ý¿µÇÑ ¿¤·¹Áö¸¦ ½è½À´Ï´Ù. ±× Â÷À̸¦ ÀÚ¼¼ÇÏ°Ô ¼³¸íÇÏÀÚ¸é ±ä À̾߱Ⱑ µÉ °ÍÀÔ´Ï´Ù.

 

°íÀüÀûÀÎ Àå·Ê½ÄÀº ±× Çü½ÄÀÌ ÀÏÁ¤ÇÑ °ü½ÀÀ¸·Î ¾ç½ÄÈ­µÇ¾î ÀÖ½À´Ï´Ù. ±× ¹®È­¸¶´Ù ±× ³»¿ëÀº ¸Å¿ì ´Ù¸£Áö¸¸, ±×·¯ÇÑ °ü½ÀµéÀÇ ÃÊÁ¡Àº °íÀÎÀÌ »õ·Î¿î ȯ°æ, ±×·¯´Ï±î Àú½ÂÀÇ »õ·Î¿î »ýÈ°¿¡ ¾ÈÂøÇÏ¿© ¹«»çÈ÷ ±×ÂÊ¿¡¼­ÀÇ »î¿¡ ÀûÀÀÇϵµ·Ï µ½´Â °ÍÀÔ´Ï´Ù. »ê »ç¶÷ÀÇ °¨Á¤º¸´Ù Á×Àº »ç¶÷ÀÇ Àú½Â¿¡¼­ÀÇ ¾ÈÀ§°¡ ´õ Áß¿äÇÕ´Ï´Ù. ±âµ¶±³½Ä Àå·Ê½Ä¿¡¼­µµ µ¹¾Æ°¡½Å ºÐÀ» ÃູÇÏ´Â °ÍÀÌ ¹°·Ð Áß¿äÇÏÁö¸¸, ±× ¸øÁö¾Ê°Ô ³²¾ÆÀÖ´Â »ç¶÷ÀÇ ¸¶À½µµ Áß¿äÇÕ´Ï´Ù. °íÀÎÀÌ¾ß ¾îÂ÷ÇÇ ÀÌÁ¦ ¿µÀûÀÎ ¼¼°è, ÇÏ´À´ÔÀÇ ³ª¶ó¿¡ µé¾î°¬±â ¶§¹®¿¡ °ÆÁ¤ÇÒ ÀÏÀÌ ¾ø½À´Ï´Ù. µû¶ó¼­ ±âµ¶±³¿¡¼­´Â µ¹¾Æ°¡½Å ºÐ°ú À̺°ÇÏ´Â À¯Á·À̳ª Á¶¹®°´µéÀÌ ±âº»ÀûÀ¸·Î ¸ð¼øÀûÀÎ »óȲ¿¡ Á÷¸éÇÕ´Ï´Ù. µ¹¾Æ°¡½Å ºÐ°úÀÇ Àý´ëÀûÀÎ ´ÜÀýÀÌ ¸Å¿ì °íÅ뽺·´Áö¸¸ ±× °íÅë¿¡ ³Ê¹« ºüÁ®µé¸é ¾ÈµË´Ï´Ù. ¿Ö³ÄÇϸé Á×À½Àº À̽¿¡¼­ÀÇ Á×À½À» ÀǹÌÇÒ »Ó, ±Ã±ØÀûÀ¸·Î´Â ¿µÀûÀÎ »îÀ¸·Î µé¾î°¡´Â Åë·Î¿¡ ºÒ°úÇϱ⠶§¹®ÀÔ´Ï´Ù. µû¶ó¼­ Á×À½Àº ½½ÇÄÀÌÀÚ µ¿½Ã¿¡ Ãູ°ú ±â»ÝÀ̾î¾ß ÇÕ´Ï´Ù. ÀÌ·¯ÇÑ ¸Æ¶ô¿¡¼­´Â Áö³ªÄ£ ½½ÇÄÀº ½Å¿¡ ´ëÇÑ ºÎÀÎÀÌ°í, ¹Ý±âµ¶±³ÀûÀÔ´Ï´Ù. µû¶ó¼­ ±âµ¶±³Àû Àå·Ê½ÄÀÇ ÃÊÁ¡Àº À¯Á·°ú Á¶¹®°´ÀÌ ¸¶À½²¯ ½½ÆÛÇÏ°Ô Çϸ鼭µµ, µ¿½Ã¿¡ Á×À½À» »îÀÇ ¿Ï¼ºÀ¸·Î ¹Þ¾ÆµéÀÌ°í °á±¹ À§·Î¹Þ°í ÆòÁ¤À» µÇãµµ·Ï ÇÏ´Â °ÍÀÔ´Ï´Ù.

 

¼Ð¸®´Â Adonais¸¦ ¾²¸é¼­ ±×¸®½º-·Î¸¶ÀÇ °íÀüÀû ¿¤·¹ÁöÀÇ ÀüÅë°ú ¸£³×½Ö½º ½Ã´ëÀÇ ±âµ¶±³Àû ¿¤·¹ÁöÀÇ ÀüÅëÀ» ÇÔ²² À̾î¹Þ¾Ò½À´Ï´Ù. °íÀüÀû ¿¤·¹Áö, Áï ¸ñ°¡Àû ¿¤·¹Áö(pastoral elegy)¿¡¼­´Â ¼­¼úÀÇ ÃÊÁ¡ÀÌ Á×Àº »ç¶÷ ÀÚü¿¡°Ô ¸ÂÃçÁ®ÀÖ°í È­ÀÚ Áï ¸ñµ¿µéÀÇ ½½ÇÄ ÀÚü´Â ´Ù¾çÇÑ ¸ñ°¡Àû °ü½À¿¡ Æ÷¼·µÇ¾î ¸Å¿ì ¾ç½ÄÈ­µÈ ¹æ½ÄÀ¸·Î¸¸ Ç¥ÃâµË´Ï´Ù. ±×·¯³ª ¿µ±¹ ¸£³×½Ö½º½Ã´ëÀÇ ±âµ¶±³Àû ¿¤·¹Áö¿¡¼­´Â ¸ÁÀÚÀÇ Á×À½ÀÌ ±× ÀÚü·Î Áß¿äÇÑ °ÍÀÌ ¾Æ´Ï¶ó »ê »ç¶÷µéÀÇ ¸¶À½ÀÌ ´õ Áß¿äÇÕ´Ï´Ù. ¸ÁÀÚÀÇ Á×À½Àº »ê ÀÚÀÇ »î°ú Á×À½¿¡ ´ëÇÑ ¸í»óÀÇ °è±â°¡ µË´Ï´Ù. »ê »ç¶÷µéÀÌ Àΰ£ÀÇ À¯ÇѼº(mortality)À» ¹Þ¾ÆµéÀÌ°í, ÀÚ½ÅÀÇ »îÀ» »î°ú Á×À½ÀÇ °Å´ëÇÑ Ã¼°è ¾È¿¡¼­ ´Ù½Ã È®¸³ÇÒ ¼ö ÀÖµµ·Ï ¸¸µì´Ï´Ù. ±×·¯ÇÑ Àǹ̿¡¼­ ¿¤·¹Áö´Â ½½ÇÄÀ» ¸¶À½²¯ Åä·ÎÇÏ´Â Àå¼ÒÀ̸鼭 µ¿½Ã¿¡ ±×·¯ÇÑ ½½ÇÄÀÇ Åä·Î¸¦ ÅëÇؼ­ ÀÚ½ÅÀÇ »îÀ» ´Ù½Ã È®¸³ÇÏ´Â Àڱ⼺ÂûÀÇ °è±âÀ̱⵵ ÇÕ´Ï´Ù. ÀÚ±âÁß½ÉÁÖÀÇ(Egotism)Àº ±âµ¶±³Àû ¿¤·¹ÁöÀÇ °¡Àå Å« Ư¡ÀÔ´Ï´Ù. ¿¤·¹Áö¿¡ °üÇÑ Äڿ︮ÁöÀÇ ¾ð±ÞÀº ±× Á¡À» Àß º¸¿©ÁÝ´Ï´Ù.

 

Elegy is a form of poetry natural to the reflective mind. It may treat of any subject, but it must treat of no subject for itself. but always and exclusively with reference to the poet(Coleridge 1835:268, original emphasis)

 

Specimens of the Table Talk of the late Samuel Taylor Coleridge, Volume II, London: John Murray.

 

±âµ¶±³Àû ¿¤·¹ÁöÀÇ ½ÇÁúÀûÀÎ °ü½É»ç´Â Ã߸ðÀÇ ´ë»óÀÌ µÇ´Â »ç¶÷ÀÌ ¾Æ´Ï¶ó Ã߸ðÇÏ´Â »ç¶÷ÀÔ´Ï´Ù. Ã߸ðÇÏ´Â »ç¶÷ÀÌ Ã߸ðÀÇ ´ë»óÀÌ µÇ´Â »ç¶÷ÀÌ °©Àڱ⠾ø¾îÁüÀ¸·Î Çؼ­ °Þ°Ô µÇ´Â Á¤½ÅÀû È¥¶õÀ» ¾î¶»°Ô ¼ö½ÀÇÏ´À³Ä, Áï ½½ÇÄ°ú ºñźÀÇ °¨Á¤À» ¾î¶»°Ô À§¾È°ú ÆòÁ¤ ¼ø°£À¸·Î ÀüȯÇÏ´À³Ä ÇÏ´Â °ÍÀÌ ±âµ¶±³Àû ¿¤·¹ÁöÀÇ ÃÊÁ¡ÀÔ´Ï´Ù.

 

°¡·É, ¿öÁî¿ö½º´Â ³ªÁß¿¡ Ãß°¡µÈ À̸¥¹Ù ¡°¹«³ÊÁø ¿ÀµÎ¸·¡±ÀÇ ¡°µµ´öÀû °á·ÐºÎ¡±¿¡¼­ È­ÀÚ¸¦ À§·ÎÇϸ鼭 ÀÌ·¸°Ô ¸»ÇÕ´Ï´Ù.

 

My friend, enough to sorrow have you given,/ The purposes of Wisdom ask no more: Be wise and cheerful, and no longer read/ The forms of things with an unworthy eye...and all the grief/ The passing shews of being leave behind,/Appeared an idle dream that could not live/Where meditation was. I turned away/And walked along my road in happiness."

(The Ruined Cottage, MS D, 521-525)

 

¿öÁî¿ö½ºÀÇ ÀÌ·¯ÇÑ °á·ÐÀº ±× ÀÚÀǼºÀ¸·Î ÀÎÇØ ¸¹Àº ºñ³­À» ¹Þ¾Ò½À´Ï´Ù. µµ´ëü ¹«½¼ ±Ù°Å·Î ±×·± Á¤¼­Àû ¹æÇâÀüȯÀ» ÇÑ °ÍÀ̸ç, ¶Ç ÇÑ´Ù ÇÏ´õ¶óµµ ±×°ÍÀº Á×Àº ¸¶°¡·¿¿¡°Ô´Â ³Ê¹« ¸ôÀÎÁ¤ÇÑ °Í ¾Æ´Ï³Ä´Â °ÍÀÌÁö¿ä. ƯÈ÷ ±âµ¶±³Àû ½ÅÀÇ ¼·¸®¸¦ °ø°³ÀûÀ¸·Î ³»¼¼¿ìÁö ¾Ê°í ±× ÀÚ¸®¿¡ ¡°ÀÚ¿¬¡±À» ¹Ð¾î ³ÖÀº ¿öÁî¿ö½º·Î¼­´Â ±×·¯ÇÑ ¹æÇâÀüȯÀ» ³³µæ½ÃÅ°´Â °ÍÀº ¸Å¿ì ¾î·Á¿î ÀÏÀ̾ú½À´Ï´Ù.

 

¼Ð¸® ¿ª½Ã Adonais¸¦ ¾²¸é¼­ ÀÌ·¯ÇÑ µô·¹¸¶¸¦ °øÀ¯Çß½À´Ï´Ù. Adonais´Â Çü½ÄÀûÀ¸·Î´Â Lycidasó·³ °íÀüÀû ¿¤·¹ÁöÀÇ °ü½ÀÀû ÀåÄ¡¸¦ Ãæ½ÇÇÏ°Ô À̾î¹ÞÀ¸¸é¼­µµ ³»¿ëÀûÀ¸·Î´Â ±âµ¶±³Àû ¿¤·¹ÁöÀÇ ³í¸®Àû ¼ö»ç¹ý°ú °³³äÀû ¸ðµ¨À» °è½ÂÇß½À´Ï´Ù. ¿öÁî¿ö½º´Â ±âµ¶±³Àû ½ÅÀ» ÀÚ¿¬À¸·Î ´ëÄ¡Çϱâ¶óµµ ÇßÁö¸¸ ¹«½Å·ÐÀÚ¿´´ø ¼Ð¸®´Â ±âµ¶±³Àû ³»¼¼°üÀÇ µµ¿òÀÌ ÀüÇô ¾øÀÌ ½½ÇÄ¿¡¼­ À§¾ÈÀ¸·Î ÀüȯÇØ¾ß Çß°í, ÀÌ°ÍÀº ³í¸®ÀûÀ¸·Î ´õ¿í ´õ ¾î·Á¿î ÀÏÀ̾ú½À´Ï´Ù.

 

¼Ð¸®´Â Adonais ¿¡¼­ ¿©·¯ °¡Áö ¿¤·¹ÁöÀÇ °ü½ÀÀ» Ãæ½ÇÇÏ°Ô ÀçÇöÇϸ鼭µµ °íÀüÀû ¿¤·¹Áö¿Í´Â ´Þ¸® ¸ÁÀÚÀÇ Á×À½À» ´ëÇÏ´Â »ê ÀÚµéÀÇ ½½ÇÄÀ» ´©±¸º¸´Ùµµ ÀýÀýÇÏ°Ô Ç¥ÇöÇÏ°í ÀÖ½À´Ï´Ù. ½Ã¸¦ ÀÚ¼¼È÷ ºÐ¼®ÇÒ ½Ã°£Àº ¾øÀ¸¹Ç·Î, Á¦°¡ °¡Àå ÁÁ¾ÆÇÏ´Â ÇÑ ¿¬À» ÀοëÇÏ°Ú½À´Ï´Ù. ¸ÁÀÚ¸¦ º¸³»¾ß ÇÏ´Â »ê ÀÚÀÇ ½½ÇÄ°ú È¥¶õÀ» ´©°¡ À̺¸´Ù ´õ ÀýÀýÇÏ°Ô Ç¥ÇöÇÒ ¼ö ÀÖ´ÂÁö Àß ¸ð¸£°Ú½À´Ï´Ù. È­ÀÚ´Â AdonaisÀÇ Á×À½À» ÀÌ·¸°Ô ¾ÖµµÇÕ´Ï´Ù.

 

Alas, that all we loved of him should be,

But for our grief, as if it had not been,

And grief itself be mortal! Woe is me!

Whence are we, and why are we? of what scene

The actors or spectators? Great and mean

Meet massed in death, who lends what life must borrow.

(Stanza 21, 181-186)

 

Àá½Ã ÈÄ, AdonaisÀÇ ¾î¸Ó´Ï·Î ¼³Á¤µÈ Urania´Â ÀÚ½ÄÀ» ¸ÕÀú º¸³½ ¾î¸Ó´ÏÀÇ ½ÉÁ¤À» ´ÙÀ½°ú °°ÀÌ Åä·ÎÇϱ⵵ ÇÕ´Ï´Ù.

 

I would give/ All that I am to be as thou now art!/ But I am chained to Time, and cannot thence depart!

(Stanza 26, 231-234)

 

ÀÌ·¯ÇÑ ÀýÀýÇÑ ½½ÇÄÀÌ ±Øº¹µÇ´Â °ÍÀº »î°ú Á×À½¿¡ ´ëÇÑ °ü½ÀÀûÀÎ Æò°¡¸¦ Àüº¹ÇÔÀ¸·Î½á °¡´ÉÇØÁý´Ï´Ù. »ç½Ç»ó À̽º¸´Ù Àú½ÂÀÇ »îÀ» ´õ °¡Ä¡·Ó´Ù°í »ý°¢ÇÏ´Â °ÍÀº ±âµ¶±³Àû °ü³äÀ̱⵵ ÇÕ´Ï´Ù. ±×·¯³ª ¿©±â¿¡¼­´Â ÀÌ·¯ÇÑ ÁÖÀåÀÌ ±âµ¶±³Àû ³»¼¼°ü¿¡ ÀÇÇØ Á¤´çÈ­µÇ´Â °ÍÀÌ ¾Æ´Ï¶ó ´ç´ë ¿µ±¹»çȸ¿¡ ´ëÇÑ ¼Ð¸®ÀÇ ½Å¶öÇÑ ºñÆÇÀÌ ½ÉÈ­µÈ Çü½Ä, ÀÏÁ¾ÀÇ ¿°¼¼Àû ¿ª¼³·Î ±¸Ã¼È­µË´Ï´Ù.

 

Peace, peace! he is not dead, he doth not sleep--/He hath awakened from the dream of life--/'Tis we, who lost in stormy visions, keep/ With phantoms an unprofitable strife,/ And in mad trance, strike with our spirit's knife/ Invulnerable nothings.--We decay/ Like corpses in a charnel; fear and grief/ Convulse us consume us day by day,/ And cold hopes swarm like worms within our living clay.

(stanza 39, 343-351)

 

Äڿ︮Áö°¡ ¿¤·¹ÁöÀÇ Æ¯¼ºÀ» ¡°always and exclusively with reference to the poet¡±¶ó°í Ç¥ÇöÇßµíÀÌ, ¼Ð¸®ÀÇ ÁÖµÈ °ü½ÉÀº °á±¹ Ã߸ðÇÏ´Â ¿ì¸® ÀڽŵéÀÌ°í, ±×´Â °á±¹ Å°ÀÌÃ÷ÀÇ Á×À½¿¡¼­ ÀÚ½ÅÀÇ ¿î¸íÀ» º¾´Ï´Ù. 31¿¬¿¡¼­ 34¿¬±îÁö°¡ ±× ºÎºÐÀε¥, ¼Ð¸®´Â ÀÚ½ÅÀ» Á¶¹®°´ÀÇ Çϳª·Î ºÐÀåÇÏ¿© µîÀå½Ãŵ´Ï´Ù. Urania´Â ÀÌ ¼ö»óÇÑ Á¶¹®°´¿¡°Ô ´Ù°¡°¡ ´©±¸³Ä°í ¹¯´ÂÁö¸¸ ±×´Â ´äÇÏÁö ¾Ê½À´Ï´Ù.

 

He answered not, but with a sudden hand/ Made bare his branded and ensanguined brow,/Which was like Cain's or Christ's--Oh! that it should be so!

(stanza 34, 304-306)

 

¼Ð¸®´Â AdonaisÀÇ Á×À½À» »îÀÇ ¿Ï¼ºÀ¸·Î ÀÌÇØÇÏ°í, °Å±â¿¡ ½ÃÀÎÀ¸·Î¼­ÀÇ ÀÚ±â ÀÚ½ÅÀÇ »îÀ» °ãÃijõ½À´Ï´Ù. ¡°¾ðÁ¦³ª, ¿À·ÎÁö ½ÃÀΰúÀÇ ¿¬°üÀ» ÅëÇؼ­¸¸¡± ŸÀÎÀÇ Á×À½À» ¾ÖµµÇÏ´Â ¡°ÀÚ±âÁß½ÉÁÖÀÇÀû¡± ¿¤·¹Áö´Â °á±¹ ½ÃÀÎÀÇ ÀھƸ¦ Ž±¸ÇÏ°í ¿Ï¼º½ÃÅ°´Â ¼ºÀå½Ã(the poetry of initiation)·Î ±Í°áµË´Ï´Ù. ½ÇÁ¦ÀÇ »î¿¡¼­ ÀÚ½ÅÀÇ Á×À½À» ¿¹°íÇÏ´Â µíÇÑ AdonaisÀÇ ÀλóÀûÀÎ ¸¶Áö¸· ¿¬Àº ±âµ¶±³Àû ¡°±¸¿ø¡±ÀÇ Àü¸ÁÀÌ ¾ø´Â ±âµ¶±³Àû ¿¤·¹Áö°¡ ³¶¸¸Àû ÀھƎ±¸¿Í ¸¸³ª ¾î¶² °á·Ð¿¡ µµ´ÞÇÏ´ÂÁö¸¦ ±ØÀûÀ¸·Î ¿¹ÁõÇÕ´Ï´Ù.

 

The breath whose might I have invoked in song/ Descends on me; my spirit's bark is driven,/ Far from the shore, far from the trembling throng/ Whose sails were never to the tempest given;/The massy earth and sphered skies are riven!/ whilst burning through the inmost veil of Heaven,/The soul of Adonais, like a star,/ Beacons from the abode where the Eternal are.

(stanza 55, 487-495)

 

¿¤·¹Áö´Â »î°ú Á×À½ÀÇ ´ÜÀýÀ̶ó´Â ¾öÁßÇÑ ÀÚ¿¬¹ýÄ¢À» »ê ÀÚ°¡ ¾î¶»°Ô ¹Þ¾ÆµéÀÌ´ÂÁö¸¦ º¸¿©ÁÝ´Ï´Ù. ¿¤·¹ÁöÀÇ ¾Öµµ¸¦ ÅëÇØ »ê ÀÚ´Â Á×Àº ÀÚ¿ÍÀÇ ¹°¸®Àû ´ÜÀýÀ» ¹Þ¾ÆµéÀÌ°í, Á¤½ÅÀû ÅëÇÕÀ» ÁöÇâÇÕ´Ï´Ù. ¼Ð¸®°¡ Å°ÀÌÃ÷ÀÇ Á×À½°ú »ó»óÀûÀ¸·Î °ãÃijõÀº ÀÚ½ÅÀÇ Á×À½Àº ÆĸêÀÌ ¾Æ´Ï¶ó ½ÃÀÎÀ¸·Î¼­ÀÇ »îÀÇ ¿Ï¼ºÀ» ¶æÇÕ´Ï´Ù. ÀÌ·± Àǹ̿¡¼­ ÇÑ ÀþÀº ½ÃÀÎÀÇ Á¤½ÅÀû ¼ºÀå±â¸¦ Á×À½¿¡ À̸£´Â ¿©Çà±â·Î ¹¦»çÇÑ ¼Ð¸®ÀÇ ½Ã AlastorÀÇ epigraph·Î ¾Õ¼­ ÀοëÇÑ ¿öÁî¿ö½ºÀÇ ½Ã±¸, ¡°The good die first, And they whose hearts are dry as summer dust/ Burn to the socket."°¡ ÀοëµÈ °ÍÀº °áÄÚ ¿ì¿¬ÇÑ ÀÏÀÌ ¾Æ´Ñ °ÍÀÔ´Ï´Ù.

 

 

 

 

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