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자료유형
학술저널
저자정보
이상엽 (협성대학교)
저널정보
한국고전중세르네상스영문학회 고전중세르네상스영문학 밀턴과 근세영문학 제26권 제2호
발행연도
2016.1
수록면
55 - 88 (34page)

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This paper is aimed at suggesting that from a mannerist viewpoint it is possible to approach the dramatic elements in The Songs and Sonnets of John Donne. His dramatic techniques can be examined in the light of mannerism. He has been regarded as a mannerist poet by many literary critics and art historians such as Arnold Hauser, A. D. Cousins, Wylie Sypher, Louise L. Martz, Murray Roston, and James V. Mirollo. Mannerism, style in art and architecture of the 16th century, is characterized by the distortion of elements such as proportion and space. Mannerist artists and architects took the classical or idealized forms developed by Italian Renaissance artists of the early 16th century, but they exaggerated or used these forms in unconventional ways in order to heighten tension, power, and emotion. Donne never broke from the anchor of reality and revived the whole decayed composition of Elizabethan love poetry with a technique which is essentially dramatic. Many of his poems not only emanate out of the poetic imagination, but are, in essence, drama, either in form or substance, or in both form and substance. His complex rhythm which appears to be offhand and impromptu is built up with much care and conscious labour. It is not suitable for music. Its flexibility is an evidence of personal sincerity and concern for reality. It is governed by the emphasis by which he arrests as well as goads the reader, forcing him to pause here and to rush on there, in the same way as the genius of an actor sways his audience. He depends upon the diction and rhythm of speech for a situation. The general tone of the language of The Songs and Sonnets is colloquial. Colloquial language is another vivid characteristic of Donne’s poetry. The poems have the flexibility and liveliness of spoken language. This has the effect of making the poems seem to grow naturally out of definite situation in individual lives. And there are two or three characters in Donne's dramatic situation. The second is indeed a mute because his or her words are not written down. But we can guess how he or she acts and what he or she would say if he or she were granted utterance.

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