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The symbols of crumbling towers, deep wells or fountains, and impassable thresholds belong to Yeats as much as they belong to Maeterlinck, indeed as they belong to a whole generation. So, this paper focuses on similarities and disparities in the symbolism of Yeats and Maeterlinck, that is, in their conception and use of symbols. In their essays, Yeats and Maeterlinck express a similar conception. Literature is by essence symbolic. To them, symbol is not the simple image of an abstract idea; symbol has its roots beyond reason; it is of divine essence. The comparison between two plays, On Baile’s Strand by Yeats and The Death of Tintagiles by Maeterlinck, will reveal a special form of “dramatic symbolism” that emerges from those ideas, at the turn of the 19th century: Maeterlinck goes as far as believing that the author must be a passive receptor of the divine symbols whereas Yeats believes in the writer’s creative power. It explains greatly the different dramaturgical choices they made.
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참고문헌 (20)
참고문헌 신청
/ 2003 / Grand Dictionnaire de la philosophie / Larousse : 1019 ~ 1022
Bowra, C. M / 1967 / The Heritage of Symbolism / Macmillan
Donoghue, Denis / 1984 / The Symbolist Movement in the Literature of European Language / John Benjamins Publishing
Genet, Jacqueline / 1995 / Le Theatre de William Butler Yeats / Presses Universitaires du Septentrion
Gorceix, Paul / 2005 / Maurice Maeterlinck: L’Arpenteur De L’invisible: Essai / Le Cri
Bowra, C. M / 1967 / The Heritage of Symbolism / Macmillan
Donoghue, Denis / 1984 / The Symbolist Movement in the Literature of European Language / John Benjamins Publishing
Genet, Jacqueline / 1995 / Le Theatre de William Butler Yeats / Presses Universitaires du Septentrion
Gorceix, Paul / 2005 / Maurice Maeterlinck: L’Arpenteur De L’invisible: Essai / Le Cri
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