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양순덕 현대영미어문학회 2000 현대영미어문학 Vol.17 No.2
This paper aims to examine the market-economic imagery in Shakespeare's Sonnets. Shakespeare's sonnets are full of market-economic imagery whose language mingles with the language of the merchandise, market value and marketplace. Judging from the critical heritage on Shakespeare's Sonnets, we see that they are interpreted as the poet's autobiographical projection and the society of his times. Shakespeare's poems, the Fair Youth, and their entanglements with the Dark Lady are all tinged with pecuniary implication. Behind such market-economic images there seems to be a tension between liquidity and stagnation, use and nonuse, or stability and instability. Financially loaded words and expressions strike one as the more ironic and contradictory because the poet indicates his anti-market mentality. The instability of values in Shakespeare's days may be reflected in the poet's debunking the theme of artistic eternization, his manifested anxiety over the obsolescene of his work of art that will sooner or later turn into yellowed leavess, or more specifically, in a metaphor such as the poet's fearing the obsolescence of the fairness of the youth. Shakespeare's language is infiltrated with market-economic imagery even though he wants to talk about a love that should be incalculable; the fluid state of the Sonnets is amplified as the sequence unfolds- the amorous relationships described in the Sonnets cannot help reckoning time and fluctuating with it even though the poet wishes to believe that love alters not with time's brief hours and weeks. The interests of commerce would have required a more aroused time-consciousness in the period because profits are dependent in crucial ways on time. Money demands that greater attention be paid to time. Shakespeare's sonnets are subject to the economic circumstances in which he works.
John Keats의 시의 원형으로서의 Shakespeare
양순덕 신한영미어문학회 1998 새한영어영문학 Vol.39 No.-
This study reveals that Shakespeare exerted a shaping influence on John Keats' artistic and intellectual development. As an almost perfect model of Keats' poetic progress, Shakespeare emerges as, that is, Keats' guide, inspirer, and mentor. Keats' earliest use of Shakespeare is largely conventional in its phraseology and allusions, but his sonnets reveal increasing experimentation with Shakespearean methods, imagery and verbal echoes. Keats' experimentation was intended to gain technical control over his craft, to express emotional and intuitive insights, and to achieve artistic distance and universality through discipline, restraint, and intensity. Although Keats studied various models in order to learn poetic techniques and principles, he was largely a self-taught poet. When Keats began to write Endymion, he claimed Shakespeare as his presider and undertook an intensive study of Shakespearean principles, techniques, and philosophy-a study so thorough that it has been called Keats' "Shakespearean spring." Out of this study the young poet formulated three poetic axioms that form the basis of his aesthetic philosophy-intensity, movement of imagery, and depth of experience and thought. From this principles he developed the concept of negative capability as the salient quality of the great poet. Moreover, he analyzed Shakespeare's language patterns and discerned techniques and methods that led to his own mastery of craft. In addition, Shakespeare's dramatic method and philosophy helped him to present and accept life's sorrows as well as joys. Shakespeare helped Keats to understand not only the purpose of poetry but also its characteristics.
양순덕 ( Yang¸ Soon-deog ) 현대영미어문학회 1995 현대영미어문학 Vol.13 No.-
In Isabella, The Eve of St. Agnes, Lamia, and “La Belle Dame sans Merci,” the dominant myth-traits reappear directly or under parodistic inversion. The brides in these poems all have otherworld characteristics, whether by virtue of social standing, special family taboos, fairy nature, or combinations of social and supernatural barricades. The taboo on the bride is articulated with a taboo on the setting; the hero must win his way into the castle by force or cunning, against prohibitions of his own or the bride's kin; or the setting itself is supernatural showing the intricacies typical of the maze. The odes offer special and beautiful condensations of the myth-thoughts. Technically, the problem in “Ode on a Grecian Urn” is about one of coherences embodied in the mythical sequences. There is the objective urn that depicts the bride, the paraphernalia of initiation, the mysterious priest, the sacrificial heifer, and the altar. The principal motif of the myth—configuration in “Ode to a Nightingale,” is that of the burial, the “underground journey.” But in “Ode to Psyche” Keats quite simply and straightforwardly says that the whole dramatic business of myth is a commitment and an activity of the mind, working out its own purpose and reality and meaning. The various forms taken by the hero’s objective identity are an intellectual and emotional development of the hero’s mythologizing impulse. The identity which forms the object of the hero’s quest is the homogeneous selfhood, that is, the permanent oneness of feeling.