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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2006.2
- 수록면
- 31 - 60 (30page)
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The joint publication of the Lyrical Ballads by William Wordsworth and Samuel Taylor Coleridge marks one of the characteristics of the Romantic friendship as well as the Romantic poetics. The two poets' intensely passionate friendship, however, is better traced in their series of Conversation Poems than the collection, the Lyrical Ballads. Trying to cope with the disillusioning aftermath of the French Revolution, Coleridge and Wordsworth respectively sought to carry out their "bloodless fights" in each of their writing. And their Conversation Poems reveal the trajectory through which the two poets endow their private lives with philosophical and public significance in an age that had lost the Revolutionary hope.
Removed from and disenchanted by the political atmosphere of the Revolution, the two poets continued to translate their political spirits into the words of philosophical reflection not simply on Nature as many Romanticists have assumed, but on the dichotomy of the private life of retirement and the public significance of the active life. The Conversation Poems, chiefly addressed to the poet-speaker's immediate family and intimate friends, attempt to resolve the conflicts and anxieties posed by the comfortable and emasculating private sphere and approve of its significance in the age of the post-Revolution. This paper argues that the mode of the Conversation Poems, especially the presence of the addressee helps the poet/speaker create their proxy in the poem's text who will eventually be subsumed into the expanding vision and voice of the male speaker's authority.
The Conversation Poems, or reveal more than the two poets' growing friendship. Each poet explores a possibility to secure his voice as a representative poet of England who succeeds Milton in theme, style and the spirit. By inviting into the texts their intimate friends, child or sibling, Coleridge and Wordsworth create their second selves who are to carry out or witness to their spiritual enlightenment which, they tend to believe, will ultimately resolve their anxieties about their life of retirement. Though Coleridge initiated this lyric conversation, the mode of the Conversation Poems is ultimately appropriated by Wordsworth, giving him the gigantic status who can silence his one time friend and joint venturer Coleridge into his surrogate self.
Removed from and disenchanted by the political atmosphere of the Revolution, the two poets continued to translate their political spirits into the words of philosophical reflection not simply on Nature as many Romanticists have assumed, but on the dichotomy of the private life of retirement and the public significance of the active life. The Conversation Poems, chiefly addressed to the poet-speaker's immediate family and intimate friends, attempt to resolve the conflicts and anxieties posed by the comfortable and emasculating private sphere and approve of its significance in the age of the post-Revolution. This paper argues that the mode of the Conversation Poems, especially the presence of the addressee helps the poet/speaker create their proxy in the poem's text who will eventually be subsumed into the expanding vision and voice of the male speaker's authority.
The Conversation Poems, or reveal more than the two poets' growing friendship. Each poet explores a possibility to secure his voice as a representative poet of England who succeeds Milton in theme, style and the spirit. By inviting into the texts their intimate friends, child or sibling, Coleridge and Wordsworth create their second selves who are to carry out or witness to their spiritual enlightenment which, they tend to believe, will ultimately resolve their anxieties about their life of retirement. Though Coleridge initiated this lyric conversation, the mode of the Conversation Poems is ultimately appropriated by Wordsworth, giving him the gigantic status who can silence his one time friend and joint venturer Coleridge into his surrogate self.
목차
Ⅰ. 공동의 시학인가
Ⅱ. 문학공동체의 이상
Ⅲ. 공적 활동과 은거
Ⅳ. 서정적 대화와 남성주체
Ⅴ. 대화의 종결: 남성 시인주체의 탄생
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