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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 1999.2
- 수록면
- 145 - 175 (31page)
이용수
초록· 키워드
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With the year 1818 began a series of disappointments and disasters for the poet John Keats: two anonymous articles that attacked him as a poet and his Endymion, the sad news that his brother George lost all his money in an ill-advised investment, the helpless death of his younger brother Tom, his tuberculosis, and his impossible love with his lover Fanny Brawne in the late fall of 1818.
To our surprise, in this period of acute distress and emotional turmoil, Keats achieved the culmination of his brief poetic career. Between January and September of 1819, masterpiece followed masterpiece in astonishing succession.
These masterpieces reveal the problem of suffering and spiritual growth. Among these, Hyperion and The Fall of Hyperion are the most representative of his poems. Unlike the Titans, Apollo, the hero of Hyperion, learns the tragedy inherent in all processes―the inevitability of “dying into life”. Therefore, young Apollo becomes immortal and celestial with the true godhood. In The Fall of Hyperion, just as Moneta embodies the continual suffering of all ages, which makes her sickness immortal, so too has the dreamer’s, Keats’s, discrete agony given him a kind of immortality. Similarly, just as Moneta’s visage progresses “deathwards... To no death” but ultimately beams forth a “benignant light,” so too has the dreamer, Keats, moved towards death, only to live again and tell the Titans' story―that is, to become a true poet and pour out beautiful and immortal songs upon the world by himself revealing the universality of human sorrow.
We can see that Hyperion and The Fall of Hyperion are Keats’s declaration of faith in the possibility of spiritual growth through the difficult but morally necessary acceptance of the tragic vision in human existence. And so, in "To Autumn," we can hear the voice of a poet who has made peace with the world after his seeing the metamorphosis of the natural world momentarily caught in its everchanging and dying time.
Therefore this world can be seen not like “a vale of tears”, but like “The vale of Soul-making” in the eyes of Keats.
To our surprise, in this period of acute distress and emotional turmoil, Keats achieved the culmination of his brief poetic career. Between January and September of 1819, masterpiece followed masterpiece in astonishing succession.
These masterpieces reveal the problem of suffering and spiritual growth. Among these, Hyperion and The Fall of Hyperion are the most representative of his poems. Unlike the Titans, Apollo, the hero of Hyperion, learns the tragedy inherent in all processes―the inevitability of “dying into life”. Therefore, young Apollo becomes immortal and celestial with the true godhood. In The Fall of Hyperion, just as Moneta embodies the continual suffering of all ages, which makes her sickness immortal, so too has the dreamer’s, Keats’s, discrete agony given him a kind of immortality. Similarly, just as Moneta’s visage progresses “deathwards... To no death” but ultimately beams forth a “benignant light,” so too has the dreamer, Keats, moved towards death, only to live again and tell the Titans' story―that is, to become a true poet and pour out beautiful and immortal songs upon the world by himself revealing the universality of human sorrow.
We can see that Hyperion and The Fall of Hyperion are Keats’s declaration of faith in the possibility of spiritual growth through the difficult but morally necessary acceptance of the tragic vision in human existence. And so, in "To Autumn," we can hear the voice of a poet who has made peace with the world after his seeing the metamorphosis of the natural world momentarily caught in its everchanging and dying time.
Therefore this world can be seen not like “a vale of tears”, but like “The vale of Soul-making” in the eyes of Keats.
목차
Ⅰ. 서론
Ⅱ. 상반된 고통 : 새턴과 하이피리언, 그리고 아폴로의 경우
Ⅲ. 성숙한 시인의 탄생
Ⅳ. 결론
인용문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2009-840-015214210