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G. M. 홉킨스의 스프렁 리듬 연구: 브리지스의 비평을 중심으로
한규만 현대영미어문학회 2011 현대영미어문학 Vol.29 No.1
G. M. Hopkins is often hailed as a brilliant innovator of modern poetic technique, while his poems are sometimes criticized for oddity and obscurity. The central subject of his prosody is concerned with the importance of sound in his ideas of poetry. ‘Sprung Rhythm’ is G. M. Hopkins' coinage for a complex and very technical system of rhythm, which he applied to The Wreck of the Deutschland. Specifically opposed to 'common' syllabic rhythm, the sprung rhythm provides a variety of stress patterns with either ‘rising’ or ‘falling’ rhythm. Though misunderstandings on sprung rhythm are widespread, more detailed analysis of R. Bridges's and Hopkins' comments on the poet's prosody illuminate that sprung rhythm is used to carry the rhythm of people's daily speech, and that the speech rhythm of accentual verse and alliteration originate from Old English prosody. Consequently sprung rhythm is the poetic medium by which Hopkins expresses the powerful energy or inscape, and is supported by the techniques of Old English prosody such as accentual rhythm and alliteration. And the sprung rhythm was not invented but rediscovered by Hopkins.
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도약율(Sprung Rhythm)에 나타난 언어적 제약
손일권(Sohn Il Gwon) 언어과학회 2003 언어과학연구 Vol.26 No.-
Hopkins` Sprung Rhythm is probably the famous and perplexing case of a meter from the view of conventional meter. A syllable is corresponded to a metrical position in conventional meter, but this one-to-one correspondence does not occur in Sprung Rhythm. In Sprung Rhythm, the number of strong positions is fixed in each line, but the number of weak positions between them is free. Sprung Rhythm is said to be the most natural and rhythmical meter for reciting. To prove this fact, I have shown that Sprung Rhythm is based on a mora foot. I suggested the following rules for each position and outriders. 1) A weak position contains at most a M or a ρ. 2) A strong position must contain a M. 3) If a weak position contains a ρ or a M, the syllables after its preceding strong position(M) become a outrider except the mora foot of a weak position. 4) A mora foot is formed in following constraint ranks : NoCoda ≫ S→W, Align-μ, Nonfinality (in the case of VCV), and S→W ≫ Nonfinality (in the case of a word-final stressed syllable).
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제라드 맨리 홉킨스가 로버트 세이모어 브리지스의 시적 실험에 미친 영향
김연규 한국현대영미시학회 2023 현대영미시연구 Vol.29 No.1
This essay analyzes the influence of Hopkins’ poetics on his fellow poet, Bridges, in late 19th century England. Bridges was inspired by Hopkins’ new rhythms and formal experiments since their university days. Despite being known to dislike Hopkins’ poetry, Bridges tried to apply Hopkins’ poetic experiments to his own. First, the Sprung Rhythm, invented by Hopkins to challenge the rules of regular rhythms by freely adding weak syllables in a foot and not clinging to iambic or trochaic meters, greatly inspired Bridges. This resulted in poems like “A Passer-by,” his first recognized poem with the Sprung Rhythm. Secondly, Hopkins’ Alexandrine rhythm, in hexameter with a mid-line pause, had a tremendous effect on Bridges’ poetics, as shown in his verse drama The Feast of Bacchus, and his concept of ‘loose Alexandrines.’ Moreover, the inspiration for the “Neo-Miltonic syllabic” form that is representative of Bridges’ later poetics also came from Hopkins. Bridges’ poetic experiments illustrate the widespread of Hopkins’ rhythmic experimentation during his time. .
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손일권 한국영어영문학회 2004 영어 영문학 Vol.50 No.1
In this paper, I consider two cases of the fixed meters in English Poetry by stress : accentual-syllabic meter and sprung rhythm. Firstly, in accentual-syllabic meter, a syllable is corresponded to a metrical position and a stressed syllab1e is mostly connected with a strong position according to W≤S. But the one-to-one correspondence between a metrical position and a syllable does not occur in reading poetry when a peak is connected with a weak position. Accordingly, most poets try to avoid violating the constraint Peak that a peak must not be connected with a weak position. The peak connected with a weak position is divided according as it is a monosyllabic word or a lexical stress. For the lexical stress mismatched with a weak metrical position, "W⇒Strength is established by the concept of the strong syllable. The monosyllabic word mismatched with a weak position is divided according to which side of the boundary of a phonological domain it is adjacent to. I suggest [Peak for the mismatched peak which is adjacent to the left boundary of a phonological domain, and Peak] and Adjacency Constraint for the mismatched peak which is adjacent to the right boundary of a phonological domain. Secondly, Sprung Rhythm is the meter where quantity is added to stress. In this meter, the number of strong positions is fixed, but the number of syllables in a weak position is free. Hopkins limited the quantity of each metrical position. I suggest the following constraints for each position by a mora foot(M). (1) a. A weak position contains at most a M. b. A strong position must contain a M. If a weak position contains a mora foot, the syllables between the mora foot and its preceding strong position become a outrider not to violate (la). In conclusion, Sprung Rhythm is more natural by reflecting linguistic characteristics of English than accentual-syllabic meter.
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장인수 현대문학이론학회 2019 現代文學理論硏究 Vol.0 No.78
이 논문에서는 성찬경 시 연구에서 그동안 거의 논의 되지 않은 그의 영문학 논문들을 검토함으로써 성찬경 시론 형성의 비밀을 밝혀보고자 한다. 딜런 토머스는 작시 상 많은 이미지를 활용하고, 이미지들을 변증법적으로 확장하는 방식을 취한다. 그는 이미지에 많은 에너지를 투입하여 시적 밀도를 높이고자 한다. 성찬경은 토머스의 이미지들이 막대한 에너지의 투입이 필요한 시 자체의 ‘기구’와 같은 것에 의해 점점 확장해간다고 본다. 그 ‘기구’ 같은 것을 성찬경은 ‘밀핵’이라는 조어로 구체화한다. 성찬경의 ‘반투명’이라는 개념은 윌리엄 블레이크의 ‘상상력’에서 착안한 것이다. 블레이크에게 상상력이란 하느님의 존재, 영원성을 느끼게 해주는 정신적인 감각이다. 상상력이야말로 유한한 인간이 신을 느낄 수 있게 하는 매개라는 것이다. 그런 점에서 상상력은 블레이크에게 예수 그리스도였다. 성찬경은 이 상상력 개념을 ‘반투명’으로 바꾸어 부른다. 그의 그리스도에 대한 희구로서 ‘반투명’은 1980년대의 정치적 상황과도 겹쳐서 읽어볼 만한 지점이 있다. 성찬경의 ‘요소시’는 의미의 밀도를 추구한 ‘밀핵시론’을 형태상의 밀도 추구로 혁신하고자 한 시도이다. ‘밀핵시’와 ‘요소시’를 그가 연속선상에서 파악할 수 있었던 것은 제라드 맨리 홉킨스의 일기에서 발견한 어휘들의 나열 덕택이었다. 홉킨스의 어휘들은 가공하지 않은 질료 자체만으로도 충분히 아름다울 수 있다는 점을 성찬경에게 알려주었다. 또 일상 회화와 작성된 산문의 중간 형태의 리듬인 홉킨스의 돌발 리듬을 성찬경은 ‘우주율’이라는 조어로 변형하여 수용한다. 성찬경의 영문학 논문들은 이 복잡한 창작 개념들을 한데 묶어 자기만의 시적 체계를 세우려고 한 그의 강한 지성과 의지의 편린들을 담고 있거니와, 그의 시와 시론을 이해하기 위해서는 그의 영문학 논문들을 검토하는 것이 반드시 필요하다.
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