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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 1999.2
- 수록면
- 25 - 53 (29page)
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In “The Rhetoric of Temporality”, Paul de Man argues that early romantic literature finds its true voice when it prevents the self from an illusory identification with the non-self, though the symbols postulate the possibility of an identity or identification(207). In a sense, his view has some truth because romantic poets are aware of the Earth(or, die Erde in Heidegger) of beings in the world, or the otherness between self and non-self. But basically, de Man is bound by representational(Vorstellung) thinking. He presupposes that humankind cannot go beyond the horizon of representation or sign; in de Man's thinking, human with grim awareness is merely a subject devoid of being-in-the-worldness, without emotional engagement in the world.
This is evident in his interpretation of “A Slumber Did My Spirit Seal”. According to him, the light-hearted compliment of the first stanza moves into a grim awareness of the de-mystifying power of death in the second stanza; this grim awareness does not rise in the actual temporality of experience, but in the ideal self-created temporality. “The fundamental structure of allegory reappears here in the tendency of the language toward narrative, the spreading out along the axis of an imaginary time in order to give duration to what is, in fact, simultaneous within the subject”(225). According to him, the otherness of the dead person is less important than the de-mystifying process occurring in the linguistic subject of second stanza; but the dead person or her death is the very driving force that brings the awareness of the second stanza to the narrator, who is building the epitaph of her, having awakened into the Earth[the otherness] of her being. Her death has become “things forever speaking” in the world. Wordsworth, in this poem, illustrates the romantic attempt to reveal real language[symbol] which presents living experience of being-in-the-world.
In this sense, we should re-consider romantic emphasis on symbol against allegory. As Coleridge once said:
“...Imagination...gives birth to a system of symbols, harmoniously themselves, and consubstancial with the truths, of which they are the conductors”(Abrams 410).
This is evident in his interpretation of “A Slumber Did My Spirit Seal”. According to him, the light-hearted compliment of the first stanza moves into a grim awareness of the de-mystifying power of death in the second stanza; this grim awareness does not rise in the actual temporality of experience, but in the ideal self-created temporality. “The fundamental structure of allegory reappears here in the tendency of the language toward narrative, the spreading out along the axis of an imaginary time in order to give duration to what is, in fact, simultaneous within the subject”(225). According to him, the otherness of the dead person is less important than the de-mystifying process occurring in the linguistic subject of second stanza; but the dead person or her death is the very driving force that brings the awareness of the second stanza to the narrator, who is building the epitaph of her, having awakened into the Earth[the otherness] of her being. Her death has become “things forever speaking” in the world. Wordsworth, in this poem, illustrates the romantic attempt to reveal real language[symbol] which presents living experience of being-in-the-world.
In this sense, we should re-consider romantic emphasis on symbol against allegory. As Coleridge once said:
“...Imagination...gives birth to a system of symbols, harmoniously themselves, and consubstancial with the truths, of which they are the conductors”(Abrams 410).
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