“우리의 고요한 나날들” (Our Halcyon Days): 찰스 1세 시대의 평화주의와 토머스 캐리의 작품 (“Our Halcyon Days”: Caroline Pacifism and the Works of Thomas Carew)

서지정보

· 발행기관 : 서울대학교 인문학연구원
· 수록지 정보 : 인문논총 / 59호 / 265 ~ 302페이지
· 저자명 : 김윤경

초록

Though in the past many literary critics have criticized Caroline literature
as idle gentlemen’s flippant entertainment, or worse, shameless flattery,
mostly referring to historical studies that criticizes Charles I’s dysfunctional
reign, some recent historiographies describe the period as culturally rich and
economically stable. When we reconsider the period, Cavalier poetry, and
in particular, Thomas Carew’s works can be reevaluated aga in. This article
examines two representative pieces of Carew’s political literature in the
1630s, “In Answer of an Elegiacall Letter Upon the death of the King of
Sweden from Aurelian Townshend” and Coelum Britannicum, and argues
that Carew’s vindication of Caroline pacifism in these works shows the
poet’s consistent aesthetic vision and his conviction in the superiority of
England over Europe in the period.
In the elegy, being asked to mourn the Swedish king Gustavus Adolphs,
the great Protestant hero who died in 1632, Carew reassesses the king’s
military achievements, comparing them with peaceful lives and entertainments
at the English court. After pointing out that blind glorification of Adolphs’
numerous battles misses the dismal state of Europe that was left after his death, Carew carefully distinguishes the state of England from that of
Europe. Additionally, the poet proposes a morally superior, aesthetically
attractive, and practically less disastrous world of pastoral that Caroline
literature and culture frequently created, and he also persuades his
addressees, including Townshend, to enjoy the peaceful state of their own
country.
Utilizing effectively various literary and theatrical conventions of masque,
a representative genre of court entertainments, and particularly using two
complementary voices of Momus and Mercury, in Coelum Britannicum Carew
positions an idealized version of Caroline England as the climatic point in
historical and cultural progress. While as a court poet Carew does not
neglect to praise the royal couple in this piece, his vision of a morally
reformed and aesthetically refined world at the end of the masque makes
this work as a masterpiece of the genre and testifies Carew’s artistic
maneuver.

영어초록

Though in the past many literary critics have criticized Caroline literature
as idle gentlemen’s flippant entertainment, or worse, shameless flattery,
mostly referring to historical studies that criticizes Charles I’s dysfunctional
reign, some recent historiographies describe the period as culturally rich and
economically stable. When we reconsider the period, Cavalier poetry, and
in particular, Thomas Carew’s works can be reevaluated aga in. This article
examines two representative pieces of Carew’s political literature in the
1630s, “In Answer of an Elegiacall Letter Upon the death of the King of
Sweden from Aurelian Townshend” and Coelum Britannicum, and argues
that Carew’s vindication of Caroline pacifism in these works shows the
poet’s consistent aesthetic vision and his conviction in the superiority of
England over Europe in the period.
In the elegy, being asked to mourn the Swedish king Gustavus Adolphs,
the great Protestant hero who died in 1632, Carew reassesses the king’s
military achievements, comparing them with peaceful lives and entertainments
at the English court. After pointing out that blind glorification of Adolphs’
numerous battles misses the dismal state of Europe that was left after his death, Carew carefully distinguishes the state of England from that of
Europe. Additionally, the poet proposes a morally superior, aesthetically
attractive, and practically less disastrous world of pastoral that Caroline
literature and culture frequently created, and he also persuades his
addressees, including Townshend, to enjoy the peaceful state of their own
country.
Utilizing effectively various literary and theatrical conventions of masque,
a representative genre of court entertainments, and particularly using two
complementary voices of Momus and Mercury, in Coelum Britannicum Carew
positions an idealized version of Caroline England as the climatic point in
historical and cultural progress. While as a court poet Carew does not
neglect to praise the royal couple in this piece, his vision of a morally
reformed and aesthetically refined world at the end of the masque makes
this work as a masterpiece of the genre and testifies Carew’s artistic
maneuver.

참고자료

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