테드 휴즈의 식물 시에 나타난 열평형과 엔트로피

성창규 한국영어영문학회 2023 영어 영문학 Vol.69 No.4

This paper delves into the analysis of Ted Hughes’s botanical poems, primarily drawn from Flowers and Insects, employing the frameworks of thermodynamics and entropy. Hughes incorporates references to thermal movement and equilibrium in poems such as “Narcissi,” interweaving the natural world and human civilization at their roots. In “Daffodils,” a reflective piece on Sylvia Plath, the speaker adopts a nomadic perspective and engages with entropy, elevating the daffodil to the status of a golden archangel presiding over primal birth and death. Likewise, in “Sunstruck Foxglove,” the grass is explored with medicinal and poisonous roots, and Hughes associates the plant with femininity and procreation. The poems such as “Thistles,” and “Brambles” illuminate the historical aspects of human conflict. In “Big Poppy,” allusions to war examine our relationship with animals, depicting them as both masculine figures in their drug-like qualities and femme fatale figures. Drawing parallels to the mythological character Cyclops, “Cyclamens in a Bowl” assigns femininity to the plant while capturing the ecological antagonism between its stem, leaf, and flower as an entropic ecosystem. In contrast to “The Thought-Fox,” which exemplifies fauna and initiation, “To Paint a Water Lily” explores flora and writing, evoking the luminosity of water lilies and the harmony between light and earth, or yin and yang. These botanical ideas, relationships with animals, and attempts at balance in the natural world are central themes in “A Green Mother.” Beyond Hughes’s unique observations of the flora and fauna, these botanical poems can be interpreted as posthumanist endeavors to transcend anthropocentric perspectives.

테드 휴즈와 실비아 플라스의 시적 대화: 격정 그리고 결별의 노래

오인용 세계문학비교학회 2022 世界文學比較硏究 Vol.81 No.-

Ted Hughes was a poet with a singular poetic vision who depicted in his poetry the life and death of animals in the acts of predation. Sylvia Plath, on the other hand, was a confessional poet, who had a unique voice that candidly expressed women’s physical and mental lives. However, the fact that these two poets had their poetic conversations in their works during their marriage has not drawn much attention yet. This paper analyzes the poems written from their courtship period to the time of separation just before Plath’s suicide. In their creative collaboration, they responded to each other’s call, using similar subject matters, images, and figures of speech in their poems. In their courtship, their love was expressed in the “combative rhetoric” of suggesting themselves as animals that track their prey. After they married, they respectively described, taking their cues from the images and figures of speech in each other’s works, the senses of anxiety and wonder they experienced while raising their children. And when they got to the point where they were destined to break up, they rendered the irreconcilable differences in their dispositions legible in their poems. The main purpose of this paper is to explore the poetic elements that contributed to their growth as poets by analyzing in detail the poems representing the experiences of their life-world shared by these two poets. 테드 휴즈는 포식(捕食)의 행위를 통해 피 흘리고 있는 동물의 세계를 시의 주제와 묘사의 대상으로 삼는 개성적인 시적 비전을 지닌 시인이다. 이에 비해 실비아 플라스는 고백파 시인 으로서 여성의 신체적, 정신적 삶을 솔직하게 표현하는 고유한 시 세계를 지닌 시인으로 평가 받는다. 하지만 이 두 시인이 그들의 결혼 이후 서로 생활을 공유하며 시적인 대화를 이어갔 다는 사실은 크게 부각 되지 않았던 것이 사실이다. 이 논문은 두 시인의 연애 시기부터 플라 스의 자살 직전 별거에 들어가기까지의 시기에 쓰인 작품들을 분석한다. 두 시인은 협력적 관계의 창작작업을 통해 유사한 시의 소재와 이미지, 비유 등의 표현 방식에서 상대방의 시에 응답하는 형식으로 여러 편의 작품을 남겼다. 그 작품들은 그들의 연애 기간에는 먹잇감을 추적하는 동물의 모습을 통해 자신들의 사랑을 “전투적 수사”로 묘 사하고, 결혼 이후 육아의 경험을 통해서는 자녀의 성장 과정에서 그들이 경험하게 된 불안감 과 경이감을 상대방의 시에서 전유한 이미지와 비유로 서술했다. 그리고 그들이 결별의 시점 에 이르게 되면서는 극복하기 어려웠던 시각의 차이를 시에 재현하게 된다. 이 논문은 이 두 시인이 공유했던 생활 세계의 경험을 표현한 작품들을 구체적으로 분석하여 시인으로서의 그 들의 성장에 영향을 미친 요소들을 탐구하는 것을 주된 목적으로 한다.

에드가 앨런 포우와 테드 휴즈의 까마귀

신원철 한국현대영미시학회 2011 현대영미시연구 Vol.17 No.2

We can read a kind of dark evilness in the poems of Edgar Allen Poe and Ted Hughes, and that is symbolized as a crow. They created crows as a poetic character which represents their tragic psychological situation. Poe seems to write his poem “The Raven” as a series with his dark novels and its poetic mood is sad and tragic. The poet yearns his dead woman to return, but instead of the woman, a big crow appears in front of him. It answers only “Never more” to the repeated asks of the sad poet. There is not any other accident or action in this poem but the monologue of the speaker without any answer from the crow, which makes the readers feel grotesque ambiguity. The crows of Ted Hughes are more mischievous than that of Poe. Even God cannot control this dirty and noisy crow. His crow is far more evil than Poe’s and it is also very well symbolized as an evil mentality. It is interesting to note this evilness is related with their failure of love and marriage life. Poe’s wife, Virginia Clemm died wretchedly in extreme poor financial condition. His poem “Annabel Lee” was written in the sadness after the death of his wife and “The Raven” is also related with it. Ted Hughes also experienced the suicides of two women whom he loved. Particularly the death of his wife, Sylvia Plath, was a big shock to him. But he silently stood all the reproach of the world for 35 years and published his last anthology Birthday Letters memorizing his last wife in his death year(1998). The death of women seems to cause these dark poems born and it can be another example for genius to create a good work of art in their deep depression.

전기적 고찰을 통한 테드 휴즈의 『생일편지』 읽기

신원철 한국현대영미시학회 2016 현대영미시연구 Vol.22 No.2

This paper examines Ted Hughes’s last collection, Birthday Letters, which is read here as displaying a different portrait of his relationship with Sylvia Plath. It is generally known that Plath suffered emotional torment during her complicated married life, largely because of Hughes’ philandering. But in Birthday Letters Hughes frankly records his fond memories of her and their troubled relationship, and this collection can be read as a source which sheds new light on the marriage of two poets. Doubtless, it was Hughes’ behaviors that caused the break-down of this relationship, but it can also be speculated that Plath was either too sensitive or too ambitious for her literary career to be content with being a famous poet’s wife. After all, Birthday Letters makes a frank confession of a guilty husband and at the same time constitutes a fine collection of poems that bear the signature of two competing poetic souls.

테드 휴즈 시의 ‘눈’(eye)

이철 한국중앙영어영문학회 2017 영어영문학연구 Vol.59 No.1

Recurrent word in a poem draws the attention of readers. Such a word is crucial to the interpretation of the poem’s meaning, especially when focus of the work is laid on the word. The word ‘eye’ in the poetry of Ted Hughes reflects the minds of main characters as a central organ in their bodies whether they are men or animals. Eye of a main character often plays the role of persona or speaker who describes and explains to readers what he sees. His eye may exert an aesthetic control over the structure of the poem for that reason. The farmer speaker of “The Hawk in the Rain” floundering in the mire of a field on a stormy day casts his eye upward at the hawk which he supposes is aloof and free from elemental forces. The eye of the hawk seems to be the mental ideal he strives toward. The spectator speaker of “The Jaguar” in a zoo stares at the eye of an enraged jaguar and becomes mesmerized. The jaguar seems to drill the darkness in his cage by his intense gaze. There’s no human speaker in “Hawk Roosting” where the hawk speaker shows off his omnipotence and omniscience. Readers could get the whole picture of the poem only through the limited eye of the hawk. Readers, however, need to heed on another ‘eye’ beside man’s and animal’s eyes in a poem whether they are the speakers of the poem or not. The hidden ‘eye’ between the lines is the eye of the author.

테드 휴즈 초기시의 폭력성 논쟁

이철 한국중앙영어영문학회 2015 영어영문학연구 Vol.57 No.4

This paper proposes to classify and analyze the debates on the violence in the poetry of Ted Hughes. Hughes’s early poetry in his oeuvre, which had the epithet of “poetry of violence”, enabled him to cross the threshold of a major English poet of our century. Muir’s phrase ‘admirable violence’ which he used in relation to the imagery of Hughes triggered the debates on the violence. One of the most heated debates concerning the violence in his poetry was on the question whether violence was his main theme or just a subordinate element in a poem’s meaning. Arguing against Rawson’s opinion Hainsworth asserted that violence was not the focus of Hughes’s poetry, though Hughes expressed violence very powerfully in his poems. Rawson counterattacked Hainsworth by refuting his points at issue one by one and insisted that violence was the crucial theme in Hughes’s poetry, though in some poems Hughes showed a humane attitude. Most of the critics who thought that his poetry had a preoccupation with violence as an end-in-itself underestimated his poetry, while the critics who appreciated it regarded violence as a symbol or a metaphor for a deep human psyche or an essential energy of the universe. Hughes himself interpreted ferocious animals in his poetry not just as animals but as symbols of some nature spirit or of man’s nature ‘shoved down to the id’ or of what the reader might want to select.

홉킨즈와 테드 휴즈 시에서의 원시성

신원철 한국중앙영어영문학회 2013 영어영문학연구 Vol.55 No.2

The poems of G. M. Hopkins and Ted Hughes are good examples of poetic expression of the primitivism. At first, we can read every creature is wriggling and moving endlessly, as vitality of lives, in Hopkins’ poems. His living things are dynamic and full of energy and, strangely, his poems are telling not female but only male. Even those males are not aristocratic or intelligent people but low classed physical workers whose bodies are strong and muscular. This can be understood as Hopkins loves a kind of primitive health which is not decayed from the complicated civilization. In Ted Hughes’ poems, we can also find the similar dynamic movements in which his animals are very impressive. He likes to express the animals in their movement, energetically and endlessly. The horse, badge, jaguar and even thistle are good examples which represent the primitive energy of nature. This is telling his preference for the primitivity, which is similar to Hopkins. These two poets are naturalists and Romantists, who loves the beautiful nature of Britain island, that of Yorkshire for Ted Hughes, Wales for Hopkins. They could not be satisfied in only looking at it but tried to feel it with all their senses.

실비아 플라스의 죽음연습

신원철 ( Shin¸ Won-chul ) 동국대학교 영어권문화연구소 2013 영어권문화연구 Vol.6 No.2

In Sylvia Plath's short life the pressure of death followed her endlessly. When she was only 9 years old, her father died because of his glycosuria which had forced him cut his leg. Sylvia Plath's mother had to bring up her children by herself and devote her whole life for them. Plath's early life can be said much chained to her mother's unreasonable love and we can read a kind of Electra Complex in her poems. Marrying Ted Hughes could not solve her problem but resulted in his betrayal and their separation. This unhappy family history seemed to make her write those dark poems in which her father, mother and husband were written as twisted characters. Her poems “Colossus,” “Daddy” and “Lady Lazarus” seem to be succeeded or related closely each other, the third is the climax of this succession. Plath wanted her freedom from all stress. At last she chose to kill herself in the cruelest and definite way.

피터 브룩의 보편적 연극언어 실험 《오가스트》 공연(1971년)을 중심으로

김미혜 ( Miy He Kim ) 한국연극학회 2004 한국연극학 Vol.0 No.24