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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 1999.2
- 수록면
- 55 - 78 (24page)
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Beginning to write poems from 1860s but publishing them with the title of Wessex Poems in 1898, Thomas Hardy composed poems that recorded his “unadjusted impressions” of his age such as ‘God-forgotten,’ ‘Hap,’ ‘Before Life and After,’ reflecting the philosophical pessimism and evolutionary meliorism of his age. But his perception of the world might have derived not only from the intellectual milieu of the latter part of 19th century but also from the condition of his unhappy life. In particular, from the disparagings and the scorn of people towards Jude the Obscure was composed the dark poems, entitled ‘in Tenebris.’
Hardy also revealed the prominent capacity for exhuming the deeply buried emotion and taking it out into the sunshine like a black and white picture preserved in the album for a long time. His poetic sequence about his dead wife, Emma Gifford, such as ‘The Going,’ ‘The Voice,’ ‘At Castle Botterel,’ ‘The Phantom Horsewoman’ shows the vivid image of a girl when he and Emma were exchanging love in Cornwall. And in ‘In Time of “The Breaking of Nations,”’ his perception of the world in the World War period coalesces with the farming incident in Cornwall and their love, resulting in the distancing effect of his world view.
We may be able to apply Benjamin’s conception of “shock” and “aura” to interpreting Hardy’s poetry. “In the age of mechanical reproduction,” man was always exposed to the shocking experiences from the large-scale like the railway down to the everyday details such as the telephone and the improvement of the already-existing camera. His poems about Emma and ‘In Time of “The Breaking of the Nations”’ seem to hover round or come upon a single instant, a series of disconnected incidents, and record the feeling of the shocks and camera-shots. A response to the theory of evolution and the decline of traditional religion, lacking a central, overriding moral authority, his poems are the records of “unadjusted impressions” and “exhumed emotions” in the age of mechanical reproduction.
Hardy also revealed the prominent capacity for exhuming the deeply buried emotion and taking it out into the sunshine like a black and white picture preserved in the album for a long time. His poetic sequence about his dead wife, Emma Gifford, such as ‘The Going,’ ‘The Voice,’ ‘At Castle Botterel,’ ‘The Phantom Horsewoman’ shows the vivid image of a girl when he and Emma were exchanging love in Cornwall. And in ‘In Time of “The Breaking of Nations,”’ his perception of the world in the World War period coalesces with the farming incident in Cornwall and their love, resulting in the distancing effect of his world view.
We may be able to apply Benjamin’s conception of “shock” and “aura” to interpreting Hardy’s poetry. “In the age of mechanical reproduction,” man was always exposed to the shocking experiences from the large-scale like the railway down to the everyday details such as the telephone and the improvement of the already-existing camera. His poems about Emma and ‘In Time of “The Breaking of the Nations”’ seem to hover round or come upon a single instant, a series of disconnected incidents, and record the feeling of the shocks and camera-shots. A response to the theory of evolution and the decline of traditional religion, lacking a central, overriding moral authority, his poems are the records of “unadjusted impressions” and “exhumed emotions” in the age of mechanical reproduction.
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