Introduction to English Literature(2019-03)
 
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1. armytage 6. Picturing¿¡¼­ .personification ³»¿ë¿¡ Sleep is personified as the "second self" of Death (that is as a kind of "double" for death[line8])À̶ó°í ³ª¿ÍÀִµ¥ doubleÀÌ ¹» ¸»ÇÏ´ÂÁö ¸ð¸£°Ú¾î¿ä.. ±×¸®°í SleepÀÌ DeathÀÇ µÎ¹ø° ÀÚ¾Æ?·Î ÀÇÀÎÈ­µÇ¾ú´Ù´Â ¶æÀÌ ¸Â³ª¿ä? ±×·±µ¥ line8ÀÌ [That time of year thou mayst in me behold]½Ã¿¡¼­ black night ÀÌ death's second self·Î ºñÀ¯µÈ °Å¶ó°í ¼³¸íÇϼ̴µ¥ black night ÀÌ sleepÀ» ¸»Çϴ°ǰ¡¿ä?

´ä: ¡°double¡±Àº ÀÚ±â¿Í ¶È°°ÀÌ ´àÀº ½ÖµÕÀÌ °°Àº Á¸À縦 ¸»ÇÕ´Ï´Ù. µµÇð»¾î ¹¹ ±×·± °É ¸»ÇÏÁö¿ä. ¹®ÇÐÀÛÇ°¿¡¼­´Â ±×·± Àι°µéÀÌ Á¾Á¾ µîÀåÇÕ´Ï´Ù. °¡·É ÁÖÀΰøÀÇ ÀÇ½Ä ¼Ó¿¡ ¼û¾îÀÖ´Â ³»¹ÐÇÑ »ý°¢µéÀ» Ç¥ÇöÇÏ´Â Àι°ÀÌ ¸¶Ä¡ ´Ù¸¥ Àι°ÀÎ °Íó·³ µîÀåÇÏ´Â °ÍÀÌÁö¿ä. ÀÌ·¯ÇÑ Àι°ÀÌ ²À »ç¶÷ÀÌ ¾Æ´Ò ¼öµµ ÀÖ½À´Ï´Ù. ¾Æ¹ÌƼÁö ¼³¸íÀº ±³°ú¼­ÀÇ ¼³¸íÀ» ±×´ë·Î ¿Å°Ü¿Â °ÍÀÔ´Ï´Ù. black nightÀÌ sleepÀ» ¸»ÇÏ´Â °Ô ¾Æ´Ï°í, SleepÀÌ deathÀÇ doubleÀ̶ó´Â °ÍÀÌÁÒ. ¿ì¸®°¡ Á×À½À» ¾ê±âÇÏÁö¸¸, Á¤ÀÛ Á×À½À» °æÇèÇغ» »ç¶÷ÀÌ ¾ø±â ¶§¹®¿¡ Á×À½ÀÌ Á¤¸» ¹ºÁö ¸ð¸£Àݾƿä. ±×·¯´Ï±î Á×À½À» ½Ç°¨³ª°Ô ¼³¸íÇϱâ À§ÇÏ¿© »ì¾ÆÀÖ´Â »ç¶÷ÀÌ °æÇèÇÏ´Â ¡°ÀᡱÀ» Á×À½ÀÇ ´àÀº ²Ã·Î ¼³¸íÇÏ´Â °ÍÀÔ´Ï´Ù.

2. An Analysis of My Papa's Waltz¿¡¼­ ¸¶Áö¸· ºÎºÐ¿¡ The syntax implies that she has to maintain the frown, and the falling of the pans almost seems to be for her benefit. À̶ó´Â ¹®ÀåÀÌ Àß ÀÌÇØ°¡ µÇÁö ¾Ê½À´Ï´Ù. ¾î¸Ó´Ï°¡ Âô±×¸° Ç¥Á¤À» À¯ÁöÇؾ߸¸ Çß´Ù´Â °ÍÀÇ ±Ù°Å´Â ¾î¶»°Ô ãÀ» ¼ö ÀÖ°í, ÆÒÀÌ ¶³¾îÁø °Ô ¿ÀÈ÷·Á ±×³à¿¡°Ô ÁÁÀº °ÍÀ¸·Î Àνĵȴٴ °ÍÀº ¾î¶² ÀÌÀ¯¿¡¼­ÀÎÁö ¸ð¸£°Ú¾î¿ä.

´ä: ¾ö¸¶´Â ¸ø¸¶¶¥ÇÏ´Ù´Â µí Âô±×¸° Ç¥Á¤À» ÇÏÁö¸¸, ±×·¸´Ù°í Á÷Á¢ °³ÀÔÇÏ¿© ÃãÀ» Ãß´Â ¾Æºü¿Í ¾ÆÀ̸¦ ¸·Áö´Â ¾Ê°í ±×³É ¹æ°üÀÚ·Î ³²¾ÆÀִ´ٴ °Í. ÇÁ¶óÀÌÆÒÀÌ ¶³¾îÁö´Â °ÍÀº ºÐ¸íÈ÷ ¾ö¸¶¿¡°Ô´Â ¸ø¸¶¶¥ÇÑ ÀÏÀÌÁö¸¸, ¸¶Ä¡ ±×°ÍÀÌ ¾ö¸¶¿¡°Ô µµ¿òÀÌ µÇ´Â ÀÏÀÌ¶óµµ µÈ´Ù´Â µíÀÌ.

3. connotationÀÇ Á¤ÀÇ°¡ suggestions of emotional coloration that imply our attitude and invite a similar one from our hearers¶ó°í µÅ Àִµ¥ À̶§ colorationÀº ¸Æ¶ô»ó ¾î¶² ¶æÀÎÁö, ±×¸®°í invite a similar attitude´Â µ¶ÀÚ·Î ÇÏ¿©±Ý ºñ½ÁÇÑ Åµµ¸¦ °®°ÔÇÑ´Ù? ¶ó´Â ÀǹÌÀΰ¡¿ä? connotationÀÌ ÇÔÃàÀ» ¸»ÇÏ´Â ¿ë¾î¶ó´Â °Í°ú ±³¼ö´ÔÀÇ ¼³¸íÀº ÀÌÇØ°¡ µÇ¾ú´Âµ¥, ÀÌ Á¤ÀÇ°¡ Á¤È®È÷ ¿Í´êÁö°¡ ¾Ê¾Æ¿ä

´ä: ÇÔÃàÀûÀÎ Àǹ̸¦ º¸¸é ±×°ÍÀ» ¸»ÇÏ´Â »ç¶÷ÀÌ ±×°Í¿¡ ´ëÇØ °¡Áö´Â ŵµ¸¦ ¾Ï½ÃÇÏ´Â Á¤¼­Àû Ç¥ÇöÀÌ µé¾îÀÖ°í, ±×°ÍÀ» ÅëÇØ ±×·± Ç¥ÇöÀ» µè´Â »ç¶÷¿¡°Ô ºñ½ÁÇÑ Åµµ¸¦ À¯µµÇÏ´Â °ÍÀ̶ó´Â ¶æ.

1. Because I could not stop for Death¿¡¼­ 1¿¬¿¡ The carriage held but just ourselves and immortality¶ó´Â ±¸ÀýÀÌ ¹«½¼ ÀǹÌÀÎÁö ¸ð¸£°Ú½À´Ï´Ù. carriage°¡ Á×À½À» ºñÀ¯ÇÑ °Å¶ó¸é Á×À½Àº ¿ì¸®¿Í ºÒ¸êÀ» °¡Á®°¬´Ù°í Á÷¿ªÇÒ ¼ö Àִ°ǰ¡¿ä? ¿ì¸®´Â immortality¸¦ °¡Áö°í ÀÖÁö ¾Ê´Ù´Â °É·Î ÀÌÇØÇصµ µÇ³ª¿ä..?


´ä: ¿©±â¼­ ¸¶Â÷ÀÇ ¸¶ºÎ°¡ ÀÇÀÎÈ­µÈ Á×À½ÀÔ´Ï´Ù. ±× ¸¶Â÷¿¡´Â ¸¶ºÎ(Á×À½)¿Í ³ª(È­ÀÚ) ¸»°í ¶Ç ÇÑ »ç¶÷ÀÌ Àִµ¥, ±×°Ô ºÒ¸ê¼º(¿µ¿øÇÔ)ÀÎ °ÍÀÌÁö¿ä. Á×À½ÀÌ ¸ð´Â ¸¶Â÷¸¦ ÅÀ´Ù´Â °ÍÀº Á×À½ÀÇ ¼¼°è·Î °£´Ù´Â °ÍÀÌ°í, °Å±â¿¡ ºÒ¸ê¼ºÀÌ °°ÀÌ Å¸°í °£´Ù´Â °ÍÀº Á×À½ÀÌ ¿Ï¼ºµÇ¸é, ±×·¯´Ï±î ±× ¸¶Â÷ÀÇ Á¾ÂøÁö¿¡ °¡¸é ºÒ¸ê¼ºÀ» ¾ò°Ô µÈ´Ù´Â ¶æÀÔ´Ï´Ù.

2. That time of year thou mayst in me behold ¿¡¼­´Â ¹Ø¿¡¼­ ¼¼¹ø° ÁÙÀÎ Consumed with that which it was nourished by´Â ºÒÀ» Å°¿öÁá´ø °Í¿¡ ÀÇÇØ ºÒ±æÀÌ ¼ÒÁøµÆ´Ù´Â °Çµ¥ ±× whichÀýÀÌ ¼ö½ÄÇÏ´Â ¸í»ç°¡ ¹«¾ùÀΰ¡¿ä? ºÒÀ» Å°¿öÁá´ø °ÍÀÌ passionÀ̶ó°í ¾ð±ÞÇϼ̴ø °Í °°Àºµ¥ ±×·³ ±× passion¿¡ ÀÇÇØ ºÒ±æÀÌ ¼ÒÁøµÈ´Ù´Â ¶æÀ̶ó¸é Á» ÀÌÇØ°¡ ¾ÈµÅ¼­¿ä¤Ð¤Ð

´ä: whichÀÇ ¼±Çà»ç´Â ´ç¿¬È÷ thatÀÔ´Ï´Ù. ¡°ºÒÀ» Å°¿öÁá´ø °ÍÀÌ passion¡±À̶ó±âº¸´Ù´Â ¡°ºÒ¡±ÀÌ ¡°passion¡±ÀÇ metaphor¶ó°í ÇÒ ¼ö ÀÖÁö¿ä. ¸ð´ÚºÒµµ ÀÏ´Ü ºÒ±æÀÌ È® ºÙ¾î¾ß Àß Å¸Àݾƿä. ±×¸®°í ±×·¸°Ô È°È° Ÿ´Â ºÒ±æÀº °á±¹ ´Ù Ÿ¼­(½º½º·Î¸¦ Å¿ö¼­) ¼Ò¸êÇÏ°Ô µÇ´Â °Å±¸¿ä. ±×·¯´Ï±î ±×°ÍÀ» ºÒ±æÀÌ ½º½º·Î ¶ª°¨À» Á¦°øÇÑ´Ù°í Ç¥ÇöÇÑ °ÍÀÔ´Ï´Ù. ¸¶Âù°¡Áö·Î passionµµ ½º½º·Î ºÒ±æó·³ Ÿ¿Ã¶ú´Ù°¡ ¹Ù·Î ±× Ÿ¿À¸¥ ºÒ±æ¿¡ ÀÇÇØ °á±¹ ¼Ò¸êµÈ´Ù´Â °ÍÀÔ´Ï´Ù.


I. Identify the author and the title of the following passages(5).
II. Explain the meaning of the following terms briefly(5).
III. Explain the poetical meaning of the following passages with reference to the contexts in which they are located(10).

1. ¿ì¼±, 2¹ø¿¡ ÇØ´çÇÏ´Â ³»¿ëÀÌ ½Ã ¼ÓÀÇ ÀϺκÐÀ» Çѱ¹¾î·Î ±×´ë·Î ¹ø¿ªÇÏ´Â °ÍÀ» ¿ä±¸Çϴ°ÇÁö, ¾Æ´Ï¸é ¿µ¹®Çп¡¼­ ¾²ÀÌ´Â ¿ë¾î(¿¹¸¦ µé¾î tone°ú °°ÀÌ)¸¦ ¼³¸íÇ϶ó´Â ¶æÀÎÁö ¿©Â庸°í ½Í½À´Ï´Ù.

´ä: ¼ö¾÷½Ã°£¿¡ ³ª¿Ô´ø ¹®Çпë¾îµéÀ» ¼³¸íÇÏ´Â °ÍÀÔ´Ï´Ù. °­ÀǾȿ¡ ³ª¿Í ÀÖ´Â ¹®Çпë¾î¸¦ Àß °øºÎÇؼ­ ¾²¸é µË´Ï´Ù.

2. ±×¸®°í, 3¹øÀº ÁÖ¾îÁø ½Ã ¼ÓÀÇ ÀϺκÐÀÌ ½Ã ¼Ó¿¡¼­ ¾î¶°ÇÑ ¿ªÇÒÀ» ÇÏ°í ÀÖ´ÂÁö, ¾î¶°ÇÑ Àǹ̸¦ °¡Áö°í ÀÖ´ÂÁö ÀÚÀ¯·Ó°Ô ¾²¸é µÇ´Â °ÇÁö ¿©Â庸°í ½Í½À´Ï´Ù.

´ä: ÁÖ¾îÁø ºÎºÐ ÀÚüÀÇ ¶æÀÌ ¹«¾ùÀÌ°í, ÀÛÇ° ÀüüÀÇ ¸Æ¶ô ¾È¿¡¼­ ¾î¶² Àǹ̸¦ °¡Áö´ÂÁö¸¦ ¼³¸íÇÏ¸é µË´Ï´Ù. ¡°ÀÚÀ¯·Ó°Ô¡± ¾²´Â °ÍÀÌ ¾Æ´Ï°í ÀÚ½ÅÀÌ »ý°¢ÇÏ´Â Á¤´äÀ» ½á¾ß ÇÕ´Ï´Ù.^^

1. The Carriage held but just Ourselves -
And Immortality¿¡¼­ Immortality°¡ ¿µ¿øÀÇ »î, ºÒ¸êÀ̶ó´Â °ÍÀº ¾Ë°Ú´Âµ¥..... "carriage held -- immortality" ¸é Á×À½ÀÇ ¸¶Â÷°¡ ºÒ¸ê°ú ¿ì¸®¸¦ ³öµÎ°í °¬´Ù.. Àΰ£Àº mortal(?)ÇÏ´Ù´Â ¶æ °°Àºµ¥.....



´ä: ¿©±â¼­ ¡°held¡±´Â ¡°³öµÎ°í °¬´Ù¡±°¡ ¾Æ´Ï°í ¸¶Â÷¿¡ ½Æ°í ÀÖ¾ú´Ù´Â ¶æÀÌ¿¡¿ä. ±×·¯´Ï±î ³ª¿Í Á×À½, ±×¸®°í ºÒ¸ê¼º, Áï ½Ã°£À» ÃÊ¿ùÇÑ ¿µ¿ø¼º¸¸ Ÿ°í ÀÖ¾ú´Ù´Â °Í. °á±¹ Á×À½À¸·Î °¡´Â ±æÀº ½Ã°£À» ÃÊ¿ùÇÑ ¿µ¿ø¼ºÀÇ ¼¼°è·Î °£´Ù´Â ¶æÀÌ°ÚÁö¿ä.

2. Since then 'tis Centuries - and yet
Feels shorter than the Day¿¡¼­ '¼ö¼¼±â°¡ Èê·¯°£ °Íó·³' ÀÌ ¾Æ´Ï¶ó '¼ö¼¼±â°¡ Èê·¶´Âµ¥ ¸¶Ä¡ ³»°¡ Á×Àº ±× ³¯Ã³·³ ª°Ô ´À²¸Á³´Ù'°¡ ¸Â´Â Çؼ®Àΰ¡¿ä..?

´ä: Á׾ ¹«´ýÀÌ ¸¸µé¾îÁø ÀÌÈÄ ¿©·¯ ¼¼±â°¡ Èê·¶´Âµ¥µµ, Á׾ ¹¯Èù ¹Ù·Î ±×³¯ ÇϷ纸´Ùµµ ´õ ªÀº °Íó·³ ´À²¸Áø´Ù´Â °Í. ¸¶Â÷¸¦ Ÿ°í ¿µ¿ø¼º°ú ÇÔ²² Á×À½ÀÌ ¸ð´Â ¸¶Â÷¸¦ Ÿ°í °¡´Â °úÁ¤À̹ǷΠȭÀÚ´Â »î ¼ÓÀÇ ½Ã°£À» ÃÊ¿ùÇÏ°í ÀÖ´Ù´Â °ÍÀ» º¸¿©ÁÖ´Â °Í.

3. I first surmised the Horses' Heads
Were toward Eternity - Horses' Heads´Â Áö±Ý °¡´Â ±æÀÇ ¹æÇâ, Á×À½ÀÇ ¹æÇâ(?)°°Àº Çؼ®ÀÌ µÇ°ÚÁö¸¸ "toward eternity"´Â ¾î¶»°Ô Çؼ®ÀÌ µÇ´Â°Ç°¡¿ä? ±³¼ö´Ô²²¼­ ¼³¸íÇϽŠ'½Ã°ø°£À» ³ÑÀº ±×°÷À» ¸»ÇÏ´Â °Ç°¡¿ä?

´ä: ±×·¯´Ï±î (ÀÚ±â-µüÈ÷ Àڱ⠹«´ýÀ̶ó°í ¸í½ÃµÇÁö´Â ¾Ê¾ÒÁö¸¸) ¹«´ýÀÌ ¿©·¯ ¼¼±â°¡ Èê·¯ ¹«³ÊÁ®³»¸° °ÍÀ» º¸°í, ÀڱⰡ Á׾ ½Ã°£À» ÃÊ¿ùÇÑ ¼¼°è¿¡ ¼ÓÇØ ÀÖÀ½À», Áï Á×À½À̶ó´Â °ÍÀº ½Ã°£À» ÃÊ¿ùÇÑ ¼¼°è¿¡ ¼ÓÇÏ°Ô µÇ´Â °ÍÀ̶ó´Â °ÍÀ» ºñ·Î¼Ò ¾Ë°Ô µÇ¾ú´Ù´Â °ÍÀÌ°ÚÁö¿ä.

1. I wandered lonely as a cloud¿¡¼­ 2¿¬ÀÇ milky way´Â daffodils°¡ ÇϾé°Ô ÆÛÁ®ÀÖ´Â ¸ð½ÀÀ» ºñÀ¯(ÀºÀ¯)ÇÑ °Í ¸Â³ª¿ä?

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2. To His Coy Mistress¿¡ 3¹ø° ÆÄÆ®¿¡¼­ And yonder all before us lie Deserts of vast eternity¶ó´Â ±¸ÀýÀÌ ½Ã°£ÀÌ ¾øÀ½À» ¸»ÇÏ´Â ¸Æ¶ô¿¡¼­ ³ª¿Â°Çµ¥
¿Ö ¿µ°ÌÀÇ »ç¸·ÀÌ ÆîÃÄÁ® ÀÖ´Ù´Â ¸»À» ÇÏ´Â °ÅÁÒ? ¿µ°ÌÀÇ »ç¸·Àº ¿µ¿øÀ» ¶æÇÏ´Â °Å´Ï±î ½Ã°£ÀÌ ¾ø¾î¼­ Ã˹ÚÇÏ´Ù´Â ¶æ°ú ¹Ý´ë ¾Æ´Ñ°¡¿ä?

´ä: ¿©±â¼­ ¸»ÇÏ´Â ¿µ°ÌÀÇ »ç¸·Àº Á×À½ ÀÌÈĸ¦ ÀǹÌÇÕ´Ï´Ù. µû¶ó¼­ »ì¾ÆÀÖ´Â ¸öÀ¸·Î »ç¶ûÀ» ³ª´­ ¼ö ÀÖ´Â ½Ã°£ÀÌ ¾Æ´Ï´Ï±î ¡°»ç¸·¡±ÀÎ °ÍÀÌÁö¿ä. µû¶ó¼­ µÚ¿¡¼­´Â ½Ã°£ÀÌ ³¯°³´Þ¸° ¸¶Â÷ó·³ ÂѾƿÀ°í, ¾Õ¿¡´Â Á×À½ÀÌ ±â´Ù¸®´Ï ½Ã°£ÀÌ ¾ø´Â °ÍÀÔ´Ï´Ù.

3. Leaving the MotelÀÇ 2¿¬¿¡¼­ Unrumpled, as agreed?¶ó´Â ±¸ÀýÀ» ÅëÇØ dramatic monologueÀÓÀ» ¾Ë ¼ö ÀÖ´Ù°í ÇϽŠ°É ÇʱâÇسù´Âµ¥ ¿Ö ±× ±¸Àý¿¡¼­ ÀÌ ½Ã°¡ dramatic monologue ¶ó´Â °É µµÃâÇÒ ¼ö ÀÖ´ÂÁö ¸ð¸£°Ú¾î¿ä.

´ä: µü ±× ºÎºÐ¿¡¼­ dramatic monologue¶ó´Â °ÍÀ» ¾Ë ¼ö ÀÖ´Â °ÍÀÌ ¾Æ´Ï¶ó ±×Âë¿¡¼­´Â º¸ÀÌÁö ¾Ê´Â ûÀÚÀÇ Á¸Àç°¡ È®½ÇÇÏ°Ô µå·¯³­´Ù´Â ¶æÀÔ´Ï´Ù. line 2¿¡¼­µµ ¡°your¡±¶ó´Â Ç¥ÇöÀÌ ³ª¿ÀÁö¸¸, ±× ´ÙÀ½ ¿¬¿¡ °¡¼­¾ß È­ÀÚÀÇ ¾ê±â¸¦ µè°í ÀÖ´Â »ç¶÷ÀÇ Á¸Àç°¡ ´õ ºÐ¸íÇÏ°Ô È®Àε˴ϴÙ. ±×·± Àǹ̿¡¼­ ±× ÁöÁ¡¿¡¼­ ÀÌ ½Ã¸¦ dramatic monologue¶ó°í ÆÇ´ÜÇÒ ¼ö ÀÖ´Ù°í ÇÑ °ÍÀÔ´Ï´Ù.

1. ù ÁÖ 'What is Literature?' ¸¦ ¹è¿ì¸é¼­ ²Ä²ÄÈ÷´Â ¾È º¸¾ÒÁö¸¸ °£´ÜÇÏ°Ô ³»¿ëÀ» ¼³¸íÇØÁֽŠ½Ã°¡ ¸î °¡Áö ÀÖ½À´Ï´Ù. ÀÌ ½Ãµé ¶ÇÇÑ ½ÃÇè ¹üÀ§¿¡ ÇØ´çÇÏ´Â °ÍÀÎÁö ¿©Â庸°í ½Í½À´Ï´Ù.

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2. ¶ÇÇÑ, ¾ÕÀ¸·Î ½Ã¸¦ °øºÎÇÒ ¶§¿¡ À־ ÇÊ¿äÇÑ ±âº»ÀûÀÎ Áö½ÄÀ¸·Î 'Iambic Pentameter'¿Í °°Àº ¿ë¾îµéÀ» ¾Ë·ÁÁ̴ּµ¥, ÀÌ ¶ÇÇÑ ½ÃÇè ¹üÀ§¿¡ ÇØ´çÇÏ´Â °ÍÀÎÁö ´Ù½Ã Çѹø È®ÀÎÇغ¸°í ½Í¾î¼­ ÀÌ·¸°Ô ¿©Â庸°Ô µÇ¾ú½À´Ï´Ù.

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´ÙÀ½À¸·Î´Â, ¹è¿î ½Ã¿Í °ü·ÃµÈ Áú¹®µéÀÔ´Ï´Ù.

1. William WordsworthÀÇ 3¿¬ 1Çà¿¡¼­ÀÇ waves¿Í 2ÇàÀÇ sparkling waves´Â ²ÉÀÌ ¾Æ´Ñ, ÁøÂ¥ °­¹°À» ÀǹÌÇÏ´Â °ÍÀÎÁö ¿©Â庸°í ½Í½À´Ï´Ù.

´ä: °­¹°ÀÌ ¾Æ´Ï°í È£¼öÀÇ ¼ö¸éÀÌ ¹Ù¶÷¿¡ Èçµé¸®¸é¼­ ¹Ý¦°Å¸®´Â °ÍÀ» ¹¦»çÇÑ °ÍÀÔ´Ï´Ù. ±×

2. W. D. SnodgrassÀÇ ¿¡¼­ È­ÀÚ´Â ¿©¼º°ú ÇÔ²² º¸³½ ½Ã°£À» ¼û±â°í ½Í¾îÇÏ°í µÚ ¼³¸í¿¡ ÀÇÇÏÀÚ¸é ¡®they wish to hide any deep feelings¡¯À̶ó ÀûÇôÀÖ½À´Ï´Ù. ±×·¸´Ù¸é È­ÀÚÀÇ toneÀº ¿©¼º°úÀÇ °ü°è¸¦ µéÅ°±â ½È¾îÇÏ´Â °¨Á¤ + ÀÌ ¿©¼º°ú ´õ ±í¾îÁö°í ½ÍÀº °¨Á¤ + ÇÏÁö¸¸ ±×·³¿¡µµ ´ÙÀ½ ¸¸³²À» ±â¾àÇÒ ¼ö ¾ø°í ¿ì¸®ÀÇ °ü°è´Â ÀÌÁ¦´Â ³¡À̶ó´Â °¨Á¤ÀÌ ¸ðµÎ ¼¯¿©ÀÖ´Ù°í º¼ ¼ö ÀÖ´Â °ÇÁö ±Ã±ÝÇÕ´Ï´Ù.

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3. Theodore RoethkeÀÇ °¡ impersonal ÇÑ ½Ã¶ó°í ¼³¸íÇØÁ̴ּµ¥, °ú°Å ¾Æ¹öÁö¿ÍÀÇ ±â¾ïÀ» ¶°¿Ã·È±â ¶§¹®¿¡ personal ÇÑ ½Ã¶ó°í º¼ ¼ö´Â ¾ø´Â °ÇÁö ±Ã±ÝÇÕ´Ï´Ù.

´ä: À̶§ ¡°Impersonal¡±ÇÏ´Ù´Â °ÍÀº È­ÀÚÀÇ ÅæÀÌ ±×·¸´Ù´Â °ÍÀÌÁö ¼ÒÀç°¡ impersonalÇÏ´Ù´Â ¶æÀÌ ¾Æ´Õ´Ï´Ù.

4. ShakespeareÀÇ ¿¡¼­ ÁßøµÇ´Â ºñÀ¯°¡ Å« Ư¡À̶ó°í ¼³¸íÇØ Áּ̰í, 1¿¬ 1Çà¿¡ ¡°that time of year¡±°¡ vehicle ±×¸®°í my life °¡ tenor, 1¿¬ 2ÇàÀÇ ¡°those boughs¡±°¡ vehicle ±×¸®°í °¡À»°ú my old age°¡ µÑ ´Ù tenor°¡ µÉ ¼ö ÀÖ´Ù°í ÀÌÇØÇß½À´Ï´Ù. ±×·¸´Ù¸é ¡°that time of year¡±, ¡°those boughs¡± ±×¸®°í 1¿¬ 4Çà¿¡ ³ª¿À´Â ¡°bare ruined choirs¡±±îÁö ¼­·Î¸¦ ºñÀ¯ÇÏ°í ÀÖÁö¸¸, µ¿½Ã¿¡ ¸ðµÎ °øÅëÀûÀ¸·Î ¡°my life¡±¸¦ tenor·Î µÎ°í ÀÖ´Ù°í »ý°¢Çصµ µÉÁö ¿©Â庸°í ½Í½À´Ï´Ù.

´ä: my life Áß Á߳⿡ µµ´ÞÇÑ ½Ã±â°¡ tenorÀÌ°í, ¡°that time of year¡± Áï ³«¿±ÀÌ ¶³¾îÁö´Â °¡À»ÀÌ ÇϳªÀÇ vehicle. ¶Ç my life°¡ tenorÀÌ°í, those boughs°¡ vehicleÀÔ´Ï´Ù. ¶Ç Çϳª´Â my life°¡ tenor, ±³È¸°¡ vehicle, my lifeÁß Áß³âÀÌ tenor, ¡°bare ruined choir¡±°¡ vehicleÀÔ´Ï´Ù. ¡°my life¡±Áß Áß³âÀ̶ó´Â ƯÁ¤ÇÑ ºÎºÐÀ» tenor·Î »ï°í, ¡°that time of year,¡± ¡°bare ruined choir¡±¸¦ °¢°¢ vehicle·Î »ï¾Ò½À´Ï´Ù.



1. she dwelt among the untrodden ways ¿¡¼­ the difference to me!ÀÇ significance¿¡ ´ëÇØ ¼­¼úÇÒ ¶§ because the speaker is a being who feels unity with nature, the loss of the girl makes him sad¶ó°í ÇÒ ¼ö ÀÖ´Ù´Â °ÍÀ» ¾Ë°í ÀÖ½À´Ï´Ù. ´Ù¸¸ speaker is a part of natureÀÎÁö ¾Æ´Ï¸é speaker is nature itselfÀΰÇÁö´Â È®½ÇÇÏÁö ¾Ê¾Æ¼­ ¿©Â庾´Ï´Ù.

´ä; ±»ÀÌ ¸»ÇÏÀÚ¸é ÀüÀÚÀÌ°ÚÁö¿ä. È­ÀÚ°¡ ÀÚ¿¬°ú unity¸¦ ´À²¼´Ù´Â °ÍÀº º»ÁúÀûÀ¸·Î ÀÚ¿¬°ú µ¿Áú°¨À» ´À³¤´Ù´Â °ÍÀÔ´Ï´Ù.

2. ½Ã ¾È¿¡¼­ È­ÀÚÀÇ ¼ºº°À» ¾Ë ¼ö ¾øÀ» ¶§ ¾î¶² ¿ë¾î·Î ÁöĪÀ» ÇؾßÇÏ´Â °ÍÀÎÁö ±Ã±ÝÇÕ´Ï´Ù.
ÁöĪÀ» ÇÒ ¶§¸¶´Ù speaker ȤÀº 'I'¶ó°í ÀÛ¼ºÀ» ÇØ¾ß ÇÏ´Â °Ç°¡¿ä? ¿¹¸¦ µé¾î I wandered lonely as a cloud¿¡¼­ È­ÀÚ¸¦ ÁöĪÇÒ ¶§ he¶ó´Â ´ë¸í»ç¸¦ ½á¼­ ¼­¼úÇصµ µÇ´ÂÁö ±Ã±ÝÇÕ´Ï´Ù.

´ä: È­ÀÚÀÇ ¼ºº°ÀÌ ¾ø´Ù¸é it¶ó°í Çؾ߰ÚÁö¿ä. ¼ºº°ÀÌ ºÐ¸íÇÑ ³²ÀÚ³ª ¿©ÀÚ¸é he ȤÀº she·Î Çصµ µË´Ï´Ù.

1. Petrarchan conceit¶ó´Â ¿ë¾î°¡ metaphysical conceit°ú ÇÔ²² ³ª¿À´Âµ¥ Â÷ÀÌÁ¡ÀÌ ¹º°¡¿ä..? Petrarchan conceitÀÇ Á¤ÀÇ°¡ Àß ÀÌÇØ°¡ ¾È°©´Ï´Ù.

´ä: ÀÌ°É Àо¼¼¿ä

The Petrarchan conceit, which was especially popular with Renaissance writers of sonnets, is a hyperbolic comparison most often made by a suffering lover of his beautiful mistress to some physical object—e.g., a tomb, the ocean, the sun. Edmund Spenser¡¯s Epithalamion, for instance, characterizes the beloved¡¯s eyes as being ¡°like sapphires shining bright,¡± with her cheeks ¡°like apples which the sun hath rudded¡± and her lips ¡°like cherries charming men to bite.¡±

The metaphysical conceit, associated with the Metaphysical poets of the 17th century, is a more intricate and intellectual device. It usually sets up an analogy between one entity¡¯s spiritual qualities and an object in the physical world and sometimes controls the whole structure of the poem. For example, in the following stanzas from ¡°A Valediction: Forbidding Mourning,¡± John Donne compares two lovers¡¯ souls to a draftsman¡¯s compass:

2. 'To his coy mistress'¿¡¼­ 'and while thy willing soul transpires at every pore with instant fires' ¸¦ '±â²¨ÀÌ »ç¶û¿¡ ÀÀÇÏ´Â ±×´ëÀÇ ¿µÈ¥ÀÇ ÀþÀ½ÀÌ ³ÑÃijª´Â µ¿¾È'À̶ó°í ¾Ë¾Æµé¾ú´Âµ¥ Çؼ®ÀÌ ¸Â³ª¿ä? Á» ¾î»öÇÏ°í Àǹ̰¡ ÀÌÇØ°¡ ¾È°¡¼­¿ä!

´ä: ±â²¨ÀÌ »ç¶û¿¡ ÀÀÇÏ´Â ±×´ëÀÇ ¿µÈ¥ÀÌ ±Ý»õ Ÿ¿À¸£´Â ºÒ±æ·Î (ÀÎüÀÇ) ¸ðµç ±¸¸Û¿¡¼­ »Õ¾î³ª¿À´Â µ¿¾È

3. '¿¤·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.' ¶ó´Â Áö¹®ÀÌ armytage¿¡ ÀÖ¾ú´Âµ¥ funeral blues´Â ºñ°üÀûÀÎ ¿£µùÀÌ À־ ¿¹¿ÜÀΰ¡¿ä? º¸ÅëÀÇ conventionalÇÑ elegy¿Í funeral blues´Â Â÷ÀÌÁ¡ ¶§¹®¿¡ µû·Î ºÁ¾ßÇÏ´Â °Ç°¡¿ä?

´ä: ³×. funeral blues´Â ¿¤·¹ÁöÀÇ ÀϹÝÀûÀÎ °ü½ÀÀ» µû¸£Áö ¾Ê¾Ò½À´Ï´Ù. ¸ðµç ÀÛÇ°µéÀÌ ¸ðµç °üÇàÀ» ´Ù µû¸£´Â °ÍÀº ¾Æ´Õ´Ï´Ù.


 
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