지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
A long poem, Endymion which Keats wrote in 1817, having determined his destiny as a poet, and his desire to get a fame, reveals the contrast between reality and dream, mortality and immortality, naturalism and supernaturalism, and earth and heaven. Keats also finds melancholy in delight, and pleasure in pain through the various encounters in the poem. It is very oxymoronic view closely related paradox.
Keats's oxymoronic view is unfolded by “Negative Capability,” based on his theory of beauty, happiness, and a human being’s achievement of the soul in Endymion. “Negative Capability” makes Keats perceive beauty of everything around himself and leads him to happiness, and releases his imprisoned soul in his body when he unifies into a whole with the object by annihilating himself, and catches the identity of it objectively. Therefore, Keats overcomes limitations of his earthly life and achieves his soul through this. But this ability is effective only when he is willing to accept the suffering and misery in his life. For, to Keats, the negative factors like pain, sorrow, and melancholy in life are forces for life affirmation through suggesting the principle of spiritual transcendence which can absorb the melancholic vision.
The achievement of the soul is presented by contradictory linguistic terms to indicate a high intensity of being, which are such as “sweet paining,” “joy and pain,” “tears and smiles,” “joys and woes,” “loving and hatred,” and “imprisoned liberty.” Keats uses synaesthesia, the contrast of language, the paradoxical passages in addition to oxymoron. He also uses cinematic technique to reinforce his thematic view. All these techniques help his poem to make more perfect and beautiful. The setting in the poem is also as significant as the vision itself. It is a wonderful evocation of harmonious reciprocity within nature and between nature and man. Pan, the god who is celebrated as the presiding deity of the world of natural process, is the vital principle itself as an oxymoronic and paradoxical being.
We can at last see the aesthetics of an ultimate union thematically based on oxymoronic view and coexistence in this poetic romance. Through Book Ⅰ, Ⅱ, Ⅲ, and Ⅳ, the typical romantic hero, Endymion desires to make love with an ideal and immortal goddess, Cynthia, but he fails and feels the despair and dissatisfaction at being so momentary with unreal pleasure in the vision. He returns to reality and happens to meet with an Indian maid, earthy mortal being. They fall in love with each other and then Endymion accepts her as his lover instead of Cynthia. At a moment, she reveals the disguised Cynthia. Although Endymion’s fate is mostly a series of frustrations, he ultimately achieves his quest only by abandoning it. The oneness of Cynthia and Indian maid means Endymion’s fulfillment of an ideal, and that he achieves immortality.
In Endymion, Keats makes his hero achieve perfect love which optimistically symbolizes the poetic and personal destiny for which he hoped, whereas Shelley’s hero ends pessimistically after wandering in search of an ideal love in Alastor written in 1816. Unlike other Romantic poets, Keats, shunning self-expression, wished to write the most objective form of poetry. These goals lead up to the conclusion that his poetic goal turned towards the ultimate union and harmony for everything.
Keats's oxymoronic view is unfolded by “Negative Capability,” based on his theory of beauty, happiness, and a human being’s achievement of the soul in Endymion. “Negative Capability” makes Keats perceive beauty of everything around himself and leads him to happiness, and releases his imprisoned soul in his body when he unifies into a whole with the object by annihilating himself, and catches the identity of it objectively. Therefore, Keats overcomes limitations of his earthly life and achieves his soul through this. But this ability is effective only when he is willing to accept the suffering and misery in his life. For, to Keats, the negative factors like pain, sorrow, and melancholy in life are forces for life affirmation through suggesting the principle of spiritual transcendence which can absorb the melancholic vision.
The achievement of the soul is presented by contradictory linguistic terms to indicate a high intensity of being, which are such as “sweet paining,” “joy and pain,” “tears and smiles,” “joys and woes,” “loving and hatred,” and “imprisoned liberty.” Keats uses synaesthesia, the contrast of language, the paradoxical passages in addition to oxymoron. He also uses cinematic technique to reinforce his thematic view. All these techniques help his poem to make more perfect and beautiful. The setting in the poem is also as significant as the vision itself. It is a wonderful evocation of harmonious reciprocity within nature and between nature and man. Pan, the god who is celebrated as the presiding deity of the world of natural process, is the vital principle itself as an oxymoronic and paradoxical being.
We can at last see the aesthetics of an ultimate union thematically based on oxymoronic view and coexistence in this poetic romance. Through Book Ⅰ, Ⅱ, Ⅲ, and Ⅳ, the typical romantic hero, Endymion desires to make love with an ideal and immortal goddess, Cynthia, but he fails and feels the despair and dissatisfaction at being so momentary with unreal pleasure in the vision. He returns to reality and happens to meet with an Indian maid, earthy mortal being. They fall in love with each other and then Endymion accepts her as his lover instead of Cynthia. At a moment, she reveals the disguised Cynthia. Although Endymion’s fate is mostly a series of frustrations, he ultimately achieves his quest only by abandoning it. The oneness of Cynthia and Indian maid means Endymion’s fulfillment of an ideal, and that he achieves immortality.
In Endymion, Keats makes his hero achieve perfect love which optimistically symbolizes the poetic and personal destiny for which he hoped, whereas Shelley’s hero ends pessimistically after wandering in search of an ideal love in Alastor written in 1816. Unlike other Romantic poets, Keats, shunning self-expression, wished to write the most objective form of poetry. These goals lead up to the conclusion that his poetic goal turned towards the ultimate union and harmony for everything.
목차
Ⅰ. 시작하는 말
Ⅱ. 미와 행복, 인간의 영혼 성취
Ⅲ. 시의 배경에 나타난 상반요소의 공존성
Ⅳ. 공존의 미학을 위한 고통의 탐색
Ⅴ. 모순어법
Ⅵ. 궁극적 합일
Ⅶ. 맺는 말
인용문헌
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
Keats, Adolescent Melancholy, and Oriental "Pleasure Thermometer"
19세기 영어권 문학
2013 .02
-
키이츠의 정치적 로망스 : 『엔디미언』(Endymion)
신영어영문학
2000 .02
-
존 키츠의 『엔디미언: 시적 로맨스』에 나타난 이상화의 진실
새한영어영문학
2014 .11
-
Endymion에서의 시적 상상력
새한영어영문학
1991 .12
-
존 키츠의 『엔디미언』에 나타난 주체화 과정: 우울에서 애도로
새한영어영문학
2013 .08
-
Keats’s Political Romance : Endymion and Isabella
신영어영문학
2004 .11
-
키츠의 로맨스와 ‘진실’의 베일
19세기 영어권 문학
2008 .08
-
KEATS'S VIEW OF WOMEN & LOVE
코기토
1975 .12
-
존 키츠의 송시들 : 역설의 작용
새한영어영문학
2006 .02
-
미완의 신화
영어영문학연구
2010 .01
-
John Keats의 시의 원형으로서의 Shakespeare
새한영어영문학
1998 .05
-
Hyperion과 The Fall of Hyperion 분석 : 삶을 “영혼생성 계곡” (The vale of Soul ― making)으로 만들기
19세기 영어권 문학
1999 .02
-
John Keats의 서사시와 신화의 상징성
새한영어영문학
1996 .02
-
Keats's Statuary : Poetical Characters and Sculptural Postures in Keats's Poetics
19세기 영어권 문학
2008 .08
-
키츠의 『레이미어』 읽기 : 몽상가에서 성숙한 시인으로 '털갈이'하기
19세기 영어권 문학
2001 .02
-
Keats의 5大 Ode 硏究
통일인문학
1992 .08
-
Self-Fashioning in John Keats’s Early Sonnets
영어영문학연구
2017 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-840-016410798