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This work treats the reception of "Ophelia-motives" in the modem german lyrics in connection with the theme of ruin and corruption in early expressionism.
In Shakespeare's Hamlet (scene Ⅳ,7) we heard the death of Ophelia from the report given by Ophelia's brother Laertes. This poetic report exerted strong influence on the fantasy of poets. Arther Rimbaund's poem also based itself in this scene. In this poem the white, sorrowful beauty in gentle madness flows in the landscape. A total unit of nature and figure of Ophelia is developed here. Ophelia, a symbol of affliction, was described as a legendary and mythic figure by Rimbaud.
Compared with Rimbaud's, the "Ophelia" of Georg Heym includes the modem industry. Ophelia slided over the water through the historical time. The final submerged corpse of Ophelia revealed the catastrophe of a ruin regardless of self-will. Therefore this poem is related to 'ruin' - the theme of pre-expressionism.
Gottfried Benn's poem, "Schone Jugend", seems to be affected by Heym's scene of the nest of young rats - rat motives. However the atrocious procedure of animalization ("Animalisierung") and materialization ("Verdinglichung") of the drowned woman is still advanced. The "Schone Jugend" illustrates the lapse-a theme of expressionism as well. In the gruesome scene of the drowned woman, who was laid on the table, being corroded revealed the real circumstances of machine civilization time before World War I.
In the poem of Bertolt Brecht "Vom ertrunkenen Madchen" the first three strophes are similar to the poetic expression of the death in Rimbaud's. But the drowned woman becomes "Carrion in the river with the other carrions" for the organic nature laws. With this disillusioned last strophe Brecht's poem approaches rather Hey㎳ and Benn's world of death. When the Ophelia-motive in Brecht's takes the theme of "ruin and corruption", Brecht connects his formation of the motive with the lyrics of pre-expressionism.
In Shakespeare's Hamlet (scene Ⅳ,7) we heard the death of Ophelia from the report given by Ophelia's brother Laertes. This poetic report exerted strong influence on the fantasy of poets. Arther Rimbaund's poem also based itself in this scene. In this poem the white, sorrowful beauty in gentle madness flows in the landscape. A total unit of nature and figure of Ophelia is developed here. Ophelia, a symbol of affliction, was described as a legendary and mythic figure by Rimbaud.
Compared with Rimbaud's, the "Ophelia" of Georg Heym includes the modem industry. Ophelia slided over the water through the historical time. The final submerged corpse of Ophelia revealed the catastrophe of a ruin regardless of self-will. Therefore this poem is related to 'ruin' - the theme of pre-expressionism.
Gottfried Benn's poem, "Schone Jugend", seems to be affected by Heym's scene of the nest of young rats - rat motives. However the atrocious procedure of animalization ("Animalisierung") and materialization ("Verdinglichung") of the drowned woman is still advanced. The "Schone Jugend" illustrates the lapse-a theme of expressionism as well. In the gruesome scene of the drowned woman, who was laid on the table, being corroded revealed the real circumstances of machine civilization time before World War I.
In the poem of Bertolt Brecht "Vom ertrunkenen Madchen" the first three strophes are similar to the poetic expression of the death in Rimbaud's. But the drowned woman becomes "Carrion in the river with the other carrions" for the organic nature laws. With this disillusioned last strophe Brecht's poem approaches rather Hey㎳ and Benn's world of death. When the Ophelia-motive in Brecht's takes the theme of "ruin and corruption", Brecht connects his formation of the motive with the lyrics of pre-expressionism.
목차
Ⅰ. 서론
Ⅱ. 랭보의 전설적, 신화적 형상으로서의 “오펠리아”
Ⅲ. 하임의 근대 산업사회의 집단적 운명으로서의 “오펠리아”
Ⅳ. 벤의 “아름다운 청춘”에 나타난 환상의 파괴와 시적 마력의 소멸
Ⅴ. 브레히트의 “익사한 처녀에 관하여” - 오펠리아 - 모티프의 결산
Ⅵ. 결론
[Abstract]
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