컬리도어와 컬리파인: 선녀여왕 6권에 나타난 스펜서의 세계관

임성균 한국고전중세르네상스영문학회 2013 중세근세영문학 Vol.23 No.1

Edmund Spenser's The Faerie Queene, Book six deals, as we may clearly see in its subtitle "The Legend of S. Calidore or of Courtesie," with courtesy, a virtue generally manifested in how one properly reacts against others and particular circumstances. Courtesy may be defined as a display of one's good will and manners to others. When we passively take this virtue as a display, however, we may fail to understand the true meaning of Spenser's work, for the text forces us to accept the virtue of courtesy as an aggressive attitude towards the world. Courtesy, for Spenser, means a certain world view, with which a young Christian must fight against the evil, slanderous, and detractive forces in the world and crush them. This paper is to examine and analyse Spenser's courtesy and its limitations in the work through the actions of Calidore and Calipine, the two major knights of the work, so as to understand its possibilities in our own time. As both knights are endeavoring to accomplish courtesy in themselves and in the society they belong to, they do not see the fact that their real enemies are in their own minds and attitudes. Spenser tries to show that courtesy is an important virtue, which can transform the world into a better place to live. Yet the work as a whole does not seem to support that, to Spenser's disappointment, courtesy may prevail over the evils in his world, and ours as well.

“이런 변덕스런 인생”: 에드먼드 스펜서의 <뮤터빌리티 칸토> 읽기

임성균 한국고전중세르네상스영문학회 2010 중세근세영문학 Vol.20 No.2

Edmund Spenser’s The Mutabilitie Cantos, published posthumously in 1609, deals with the conflict between Mutabilitie and Jove for the sovereignty over the universe, including the world and the heaven. However, the final resolution provided by Nature is that both parties mutable beings and immutable classical gods should follow Nature’s principles and that the change and permanence are, in fact, simply two different forms of one discipline, the discipline of Nature or of God,the absolute. Although the publisher tells that the work is a part of unfinished Book 7 of The Faerie Queene, it is not clear if the work was indeed intended as a part of larger “legend,” for the work seems consistent, unified, and complete in itself, without hinting the need for an errant knight trying to achieve his/her task given by the Faerie Queen. The main character, Mutabilitie is a personified Titan, claiming that everything is under her legitimate power. More questions, however,arise as we read this somewhat simple tale. What does she represent allegorically? Why does she challenge Jove? How is the Faunus episode related to the main plot of Mutabilitie's revolt against gods? Why do all the supernatural beings, including Jove, look up Nature as their supreme judge? Is there a hierarchy among the superhuman characters?What is Nature? How does what she reveals at the end of the work contribute to the meanings of the work? This paper is to look for possible answers to these questions and then to search for consistent meanings manifested in the work, so as to understand what the poet tries to tell his readers, as well as us, with his last part of The Faerie Queene.

Metamorphosis of the Poetic Persona in Andrew Marvell's Poems

김봉은 한국고전중세르네상스영문학회 2004 중세근세영문학 Vol.14 No.2

Eun KimAndrew Marvell, perceiving the limitations of language, overcomes them by constantly transforming his poetic persona. Some critics interpret that the metamorphoses reflect the psychological distress of the persona, and others claim that they represent the complicated social condition of then-contemporary world. In four poems, "Damon the Mower," "The Garden," "The Gallery," and "The Nymph Complaining for the Death of Her Fawn," the transformation of the poetic persona is rather noticeable than in other poems by Marvell. In these poems, Marvell attributes different roles to the poetic persona. One of the common poetic techniques used for the metamorphosis corresponds to T. S. Eliot's "objective correlative." The association of seemingly irrelevant images without explanatory comments stimulates the reader's imagination. The significance of the poem depends upon the reader's thoughts, senses and experiences, thus yielding different reading for each reader and consequently separating both the reader and the poem from the poet. The identity of the poetic persona, in such a poetic context detached from the poet, becomes obscure on account of its constant metamorphosis. The objectification of the poetic persona as well as the poet erases the personal traces of Marvell from the poem. According to T. S. Eliot in "On Andrew Marvell," Marvell retreated from his public position at the political and social turmoil and chose to become a poet. If Eliot is right, Marvell's withdrawal from his poetic text through the metamorphosis of his poetic persona embodies his endeavor to conceal his personal traces even in literary sphere.

조지 허버트의 신앙과 모형시

강엽 한국고전중세르네상스영문학회 2002 중세근세영문학 Vol.12 No.2

George Herbert described his poetry as "a picture of the many spiritual Conflicts that have past betwixt God and my Soul, before I could subject mine to the will of Jesus My Master." He profited from every aspect of John Donne's style, but he always adapted it to his own temperament, and employed more than one hundred stanza forms, many of them extremely complicated. In "Easter Wings" and "The Altar" Herbert made the poems visual hieroglyphs to create them in a shape which formed an immediately apparent image relevant both to content and structure, whereas in "Aaron," "The Church-floore," and "Paradise" the patterns are valuable as contents, that is, they are used as the objects which crystallize the meanings of the poems, and the poems could be constructed as formal hieroglyphs which mirrored the structural relationships between the natural hieroglyphs, the poems, and the individual's life. Finally in "The Collar" Herbert ventured in hieroglyphic form. The object of imitation is the disordered life of self-will. He has given a formalized picture of chaos in the elaborate anarchy of the patterns of measure and rhyme. But the poetry of Herbert is so intimately bound up with his faith as a Christian and his practice as a priest that those who want to enjoy the poetry without sharing his faith may well feel some presumption in attempting to define the human, as distinguished from the specifically Christian, value of his work.

“인간은 섬이 아니다”: 영화 <어바웃 어 보이>에 나타난 존 던의 형제애와 불교의 연기적 세계관

이상엽 한국고전중세르네상스영문학회 2012 중세근세영문학 Vol.22 No.2

The purpose of this article is to explore the subject of “no man is an island” in John Donne's work, in Buddhism and in a movie. In Devotions Upon Emergent Occasions, John Donne, the seventeenth-century English poet, reaches beyond the isolation of each individual by affirming the invisible oneness that encompasses all of humankind saying, “No man is an island. entire of itself; every man is a piece of the Continent, a part of the main . . . any man’s death diminished me, because I am involved in Mankind; And therefore never send to know for whom the bell tolls; It tolls fir thee.” In other words, John Donne puts an emphasis on ‘brotherhood’ in that all human beings are living interdependently in this world. The message like this is also expressed in the Pratītya-Samutpāda (緣起論) of Buddhism. The Sanskrit word, Pratītya-Samutpāda, can be translated into a dependent co-origination, which means that all creations in this world exist interdependently. I can say that this motive could also be embodied in About a Boy, a movie adapted from a novel by Nick Hornby. At the start of About a Boy, a rich, self-centered, good-looking 38 years old bachelor Will Freeman (Grant) says, “All men are islands.” He likes to float around on his land in the sea of life. Being independently wealthy as a result of royalties from a popular jingle his father once wrote, Will doesn’t have a job or any other serious commitment. Thus, he spends his time watching TV, having his hair done, and shagging different women through London. At last he meets a 12-year-old boy named Marcus (Nicholas Hoult) by fate. Poor Marcus is desperately looking for a surrogate father in order to prevent his emotionally unbalanced, granola-eating mother, Fiona (Toni Collette), from killing herself. At first, Will doesn’t want Marcus around, but Marcus is as persistent as he is weird. Eventually, Will puts the boy stalker to good use by pretending to be his single-and-looking father. Slowly, the two develop a tentative relationship that is made more difficult by the jealous Fiona, who feels that Will is stealing her son from her. The selfish guy, Will, after all, learns to be a real nice, monogamous surrogate dad while Marcus learns to be less creepy by wearing cool sneakers and listening to rap music. A stage presentation at the boy’s school shows Will, Marcus and Fiona that human beings need social ties, and that real families are composed of caring, unselfish, non-suicidal members. In the end, Will maintains that he is still an island, but he realizes that he is part of an island chain because “below the surface of the ocean they’re actually connected.”

“웃음으로 진실을 말하다”: 『우신예찬』 읽기와 가르치기

이종우 한국고전중세르네상스영문학회 2014 중세근세영문학 Vol.24 No.2

This essay is an attempt to suggest a model for reading and teaching The Praise of Folly in terms of “telling the truth with a smile.” The Praise of Folly has been generally read and taught as a great achievement of Renaissance Humanism, reflecting the academic and cultural inclination of early modern Europe toward Desiderius Erasmus. Nevertheless, it is notable for Erasmus to anticipate ideal “fair-minded and honest“ readers for his work, urging them to comprehend hidden messages veined in deriding satires and complicated flows of tone. This means that Erasmus might have recommend a suitable way of reading The Praise of Folly to his readers, which is clearly explained in some letters, contrary to traditionally accepted reader-oriented reading influenced by Renaissance Humanism and Reformation. Erasmus’ way of reading the work can be epitomized as placing the folly in the source of vital life force, the true search of knowledge, the subversive and iconoclastic method of criticizing social and religious powers though laughter. In The Praise of Folly, goddess of Folly claims that life does not originate from immortal God or precious part of body but from Folly herself. By Folly's power of raising laughter, human race naturally without any logical hesitation can choose the excremental place, not the so-called respectable and sacred part of body, as the life-producing point. Instead of reason great philosophers support as an essential element of life, Folly, its opponent, provides humans with their root and meaning of life by breaking the binary opposition of wisdom and absurdity. Folly's strategy of deposing the inherited superior position of wisdom through laughter also bears on the efficacy of searching for knowledge. Sophisticated scholars like philosophers and theologians have devoted themselves in accumulating various kinds of knowledge, especially abstract and speculative knowledge. They cannot understand the true function and value of knowledge, confusing logic with rhetoric. However, Folly points out with smiling that knowledge should lead to happiness as a key to solving to the problems of everyday life. The search for knowledge can be justified or nullified by the criterion of whether happiness can be made or not. Considering the relationship between knowledge and happiness, Folly concludes that folly, innocence and ignorance, if they produce happiness, can be valuable to human beings rather than wisdom, experience knowledge. Folly’s attempts to tell the truth with a smile are completed in the act of exposing the hypocrisy and vain glory of the existing religious and political authorities who tended to distort the truth by exploiting knowledge. Citing the example of Christ, Folly emphasizes with both sarcasm and laughter that the authorities should take their own cross of humbleness, poverty and honesty. The reason is that the folly of Christ exemplifies an acme for the content and methods of telling the truth with a smile. Thus, following Erasmus’ writing intent, it is necessary that The Praise of Folly should be read and taught in the focus of the essence of the truth and its effective delivery.

이브를 어떻게 볼 것인가?

이성원 한국고전중세르네상스영문학회 2005 중세근세영문학 Vol.15 No.1

In teaching such a difficult poem as Milton's Paradise Lost to the undergraduates, one possible way to make the poem "approachable" even to students with insufficient literary training is to focuss our attention to the human pair. The way Milton depicts Adam and Eve in the Garden of Eden may well be approached in the tradition of Renaissance love-lyric and romance literature. Given the limited time and the students' ability to cope with Miltonic language, the instructor may choose to go directly to Bk IV, and go on to Bks V, VIII, and IX. Reading through those books allows the students to have the "key" experience of the epic, provided that the reading is supplemented by adequate explanations from the instructor.Of most importance is to let the students understand how Adam's love for Eve functions both as a psychological necessity for Adam to choose to eat from the forbidden tree and, thus, as a narratological necessity that makes the fall inevitably come to pass to the first parents of mankind. In doing this Milton radically redefines human subjectivity in relation to eros. Although Milton brings in the perplexing issue about physical love in Paradise, our task still remains to interpret how human sexuality is related to the primordial human experience of "the Fall."

내면의 갈등과 신과의 대화: 존 던의 종교시와 산문

최재현 한국고전중세르네상스영문학회 2006 중세근세영문학 Vol.16 No.1

Donne is chiefly remembered as a poet, but the greater part of his work is in prose. Of the prose works of Donne, the most popular was the Devotions upon Emergent Occasions (1624). It follows Donne's recovery from a dangerous sickness during the previous year, and takes the twenty-three days of illness as the basis of private meditation and prayer about the spiritual condition of himself and the world. "Death's Duel" is his last sermon delivered shortly before his death in 1631, and shows his obsession with the physical decay and the dissolution of the body. Written in a critical time, “Good Friday, 1613. Riding Westward” develops a feeling of conflict about the Good Friday in terms of eastward versus westward movement. Donne dramatizes his dilemma by placing himself as riding westward away from God. He wrote "A Hymn to God the Father" during a serious illness of 1623. Though Izaak Walton, Donne's biographer, assigns "Hymn to God my God, in my Sickness" to the last days of his life, it was probably written in December 1623. These two poems and Devotions then were written at the same period. Donne's agonistic and introspective religious poetry and prose are often dominated by spiritual anxiety and terror of damnation, and sense of sinfulness. They show Donne's inner struggle and record his dialogue with God. Donne's divine poems explore man's relation with God, often describing it in terms of human love. He exploits analogies between sexual and religious love and seeks to discover the true relation between man's love for woman and the love between God and man.(Kyungpook National University)

셰익스피어 소네트와 근대적 주체

이종우 한국고전중세르네상스영문학회 2013 중세근세영문학 Vol.23 No.2

This essay examines the ways in which the speaker persistently attempts to form self-identity as a modern subject in Shakespeare’s Sonnet 144. The speaker performs the interpretative journey to discover the true nature and meaning of love. In the process of refusing the conventional definition of love and constructing a new existence of love, the speaker self-consciously struggles to fashion himself on a basis of logical reasoning and material desire representing modernity. He is placed in a complex love relationship in which the speaker, a young man, and dark lady try to appropriate love in their own way. The young man tends to idealize love, defining love in terms of purity and physical beauty, while the lady pursues love physically and consumingly, approaching love as a means of sexual desire and temptation. The love of these characters is fragmented, selfish and static. Overcoming the negative aspects of love, the speaker examines the meaning of spirituality and physicality and seeks to redefine the relationship between spiritual love and physical love in a unifying method. In the course of confirming a new identity of love, the speaker grows into the modern subject through employing a modern way of thinking, critical doubt and logical examination. Especially he establishes himself as a modern subject by proving and strengthening the value and necessity of material desire shown in “a woman coloured ill”(4). He liberates himself from the closed system of the binary opposition between spirit and body, male and female, and furthermore advances to pontificate the power of material desire up to the point which it can bring the birth of modern man. His tireless quest for modernity satisfies the training and conditions needed to become a solid modern subject. In the last part of the sonnet, he once again stands to write a new love story containing the attempts of carrying out a modern spirituality rooted in material desire. He will certainly be a writing subject. Here lies the speaker's identity as a modern subject.

감정과 기도의 언어: 앤 로크의 『참회하는 죄인의 묵상』(1560)

정영진 한국고전중세르네상스영문학회 2016 중세근세영문학 Vol.26 No.1

This essay offers a reading of Anne Vaughan Lock’s Meditation of a Penitent Sinner (1560) with a special emphasis on the historical and religious significance of Lock’s use of affective devotional language. Meditation has long been discussed as a ground-breaking work in which Lock transforms Psalm 51, Miserere mei Deus, the most frequently recited penitential Psalm, into an expanded prayer as well as a paraphrase written in the manner of a sequential Petrarchan sonnet. Literary critics and historians have focused on the extent to which Lock appropriates Calvinist doctrine and rhetoric while employing this secular literary genre. What remains largely neglected is the way Lock’s affective language complicates the problem of prayer language in mid sixteenth-century England. Lock published Meditation just one year after the publication of the Elizabethan Book of Common Prayer and official Primer, both of which appeared in 1559 following England’s return to Protestantism. Together, these two works offered an authorized form and lexicon of prayer that subsumed individual emotions and verbal expressions under a mediated collective ‘common’ language of prayer. Read in dialogue with these contemporary works of officially sanctioned devotional language, Lock’s Meditation takes on a new significance due to its emphasis on affect and privacy in prayer. Analyzing the ways in which Lock brings the feelings of the penitential sinner into sharp focus through simple and yet varying poetic devices, I argue that Lock’s use of affective devotional language in this period of religious and liturgical transition engages with contested contemporary negotiations over the language of prayer.