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시의 즐거움과 사회적 효용성 : 영국 낭만주의 문학론의 한 단면 A Chapter in English Romantic Poetics
이상섭 연세대학교 인문과학연구소 1994 人文科學 Vol.72 No.-
When we hear Dr. Johnson declare, "The end of writing is to instruct, the end of poetry is to instruct by pleasing," we admire the succinctness of expression of this adamant classicist, but we are almost nauseated by its banality at the same time. The long career of the Horatian formula dulce et utile, especially its traditional reformulation as moral teaching by pleasant means, had run out of its persuasiveness toward the end of the Eighteenth Century. The pleasure, excitement, moving, and even fun that were most palpably experienced in reading poetry were no longer felt subservient to instruction, teaching, preaching, and moral coercion. The particular kind of pleasure "true" poetry could give as an end of its own. All true poetry, according to Wordsworth, was "the spontaneous overflow of powerful feelings." The spontaneity and power of feeling are in the order of pleasure rather than of duty. The true poet was concerned, not with what moral instruction he had to inculcate in his readers, but with giving "immediate pleasure" to the ordinary, natural human being not biassed by his particluar occupation or learning. Wordsworth took an especial care not to be taken for a hedonist, by adding that the necessity of giving immediate pleasure was not the degradation of the poet´s art but the naturual acknowledgement of the beauty of the universe. Here we see pleasure and beauty, rather than pleasure and teaching, become the inseparable pair we are now familiar with in discussions of poetry as well as art. For Hazlitt, who accepted many of Wordsworth and Coleridge´s concepts, poetry resided in powerful feeling. Free indulgence in strong emotion was poetic enough, because it gave the purest kind of satisfaction, that is, "immediate" pleasure. Tragedy gave the most pleasure because it allowed free indulagence in the strongest emotion of untrammelled sorrow. Shelley´s politics was to save the world, with the kind of pleasure provided by true poetry, from total destruction by the utilitarian drive. He was convinced that the ultimate phase of social corruption was the destruction of all human sensibility for pleasure due to the mechanization of human ife. Pleasure, instead of being inimical to morality as traditional ethics usualy avers, it here positively proposed as the prime agent of defending and upholding social satity. Wordsworth had said that poetry was the rock of defence for humanity. In the Romantic Age, literary thought was still based almost exclusively on poetry. The novel, fast gaining wide readership, especially among young women, obviously gave misgivings to the critics of the time. Novels were written for the express purpoose of giving pure delight. But the critics hesitated to enlist the novels for their cause, and tended to relegate them to the category of entertainment whose power of absorbing interest was an object to be rather warned against than not. In a way the the pleasure of "true" poetry seems to have become an austere sort of pleasure demanding the dutiful attention of people who are constantly tempted by the delight promised by the poplular novel. In a strange paradox pleasure was becoming duty. This may be another case of "tables turned" so often encountered in human history.
李商燮 연세대학교 인문과학연구소 1963 人文科學 Vol.9 No.-
Ellipsis is defined as 'omission from a sentence of words needed to complete the construction or the sense.' It is not arbitrary in that what is omitted can be inferred from the remaining part. Poetry is composed of syntactically disconnected parts : it is elliptical in structure, but is put together mentally into coherent context or a perfect form. Poetry and prose, in a stricter sense, may not be elliptical ; but the elliptical nature is essential to poetry. The act of connecting apparently disconnected parts into a consistent whole in the mind is one of the factors that constitute the so called 'pleasures of poetry.' We perceive a whole form by connecting parts which, by themselves, do not represent a consistent whole. This may be explained at least in part by gestalt psychology, which enables us to perceive a whole square when four points are in a certain relationship with one another.