Jose Saramago와 W. B. Yeats의 소설 연구: The Year of The Death of Ricardo Reis와 The Secret Rose and Other Stories를 중심으로

서지정보

ㆍ발행기관 : 한국예이츠학회 ㆍ수록지정보 : The Yeats Journal of Korea / 11권
ㆍ저자명 : 김석현

영어 초록

I have just read two of the greatest writers of the 20th century, W. B. Yeats and Jose Saramago. As there is almost no source of Saramago for reference or for study, the only and best way to study them was to read him closely. As a matter of fact, it seems to me the best to measure up the depth and width of Saramago as novelist by going deep into his novel, The Year of the Death of Ricardo Reis. The workmanship of Saramago, as in the case of Yeats, is extremely delicate and precise. Every image, every syllable of every word, each counts while in the process of the story as well as toward the end of the story. Saramago casts away the quotation marks when he has a dialog; as a result, when reading a dialog, you can’t tell who is who. But no problem arises, for once you read it, you enjoy being forced to go along the dialog, understanding and appreciating every syllable of the words in the sentences, as if you are part of the dialog. This is one secret attraction to Saramago. That is, he is a great, inventive stylist. Another characteristic is that Saramago makes no distinction between the visible and the invisible world. Just as Yeats did, before him, Saramago treats the invisible as if it is alive and lives with you. Compared with Saramago, Yeats is read through one of his best stories, “The Crucifixion of the Outcast.” Yet, as Yeats had been studied for quite a long time, both in English-speaking world and in other countries, like Korea, I could have more than enough materials with me. So, I decided to use his Letters exclusively. As in other stories of The Secret Rose, Yeats’s use of punctuation is traditional, as in his poetry; yet, if you look closer, you will see Yeats is different from other traditional writers. He has gone much farther than his contemporaries. Yeats as novelist should be reevaluated. His workmanship as short storyteller compares well with his French counterparts. Yeats could be a great novelist, if he had worked on it further, as Robert Bridges had once advised him to do. But as he is, Yeats as novelist should be thought of highly, as the finest novelists of the 20th century, like Saramago (who might have been influenced by Yeats’s stories) must been inspired by the fire Yeats has just bought from heaven.

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