「표 주세요」의 “거친 로맨스”에 담긴 의미 (A Reading of “a certain wild romance” in “Tickets, Please”)

서지정보

· 발행기관 : 한국로렌스학회
· 수록지 정보 : D.H. 로렌스 연구 / 17권 / 2호 / 123 ~ 142페이지
· 저자명 : 최선령

초록

As often in Lawrence’s fiction, the man and woman relationship explored in “Tickets, Please,” one of the war-time short stories can be more richly understood in the context of his view on the crisis of human relationship in capitalist modern age. Even if the settings obviously reflect the first world war’s impacts and the characters’ love relationship really takes a form of battle in “Tickets, Please,” the frame of battle between man and woman may unduly restrict the implications of this story. Rather “Tickets, Please” can be read as an exploration of a modern man and woman relationship with both dangerous recklessness and liberative vitality that the Midlands tram car also stands for. The revenge of the girl conductors against their elusive lover, John Thomas, is put into a dilemma because their “wild romance” aboard the tram car relies on their “dash and recklessness” and his very elusiveness itself as well.
In some sense, the romance between Annie, one of the girl conductors and the heroin of this story and John Thomas has a liberative power that they are supposed to explore and substantiate. But John Thomas and Annie just typically perform the conventional romantic love which the narrator parodies in the fairground scene by the insertion of many “of course’s” and “after all’s.” Likewise, Annie’s will to revenge for his betrayal as well as her assurance of his love is an old and ineffectual response to his liberative and reckless love. As the girls’ Bacchante-like attack subtlely intrigued with physical desire for John Thomas approaches the highest peak, and when John Thomas finally chooses Annie with full malice and violently confirms his male power, Annie finds herself in a kind of cul-de-sac. “Something” that “was broken in her” is the contradictory logic of the “certain wild romance” she and the conductor girls have involved in.
Presenting an analogy between the violent liberating rush of the tram car and the adventurous romance of the conductor girls, “Tickets, Please” explores a new relationship between men and women who live and love as “shipmates aboard this careering vessel of a tram-car” in modern age. Now that the liberative and reckless power of their romance also corresponds to the ambivalence of modernity, the significance of this peculiar romance represented in “Tickets, Please” cannot be overemphasized.

영어초록

As often in Lawrence’s fiction, the man and woman relationship explored in “Tickets, Please,” one of the war-time short stories can be more richly understood in the context of his view on the crisis of human relationship in capitalist modern age. Even if the settings obviously reflect the first world war’s impacts and the characters’ love relationship really takes a form of battle in “Tickets, Please,” the frame of battle between man and woman may unduly restrict the implications of this story. Rather “Tickets, Please” can be read as an exploration of a modern man and woman relationship with both dangerous recklessness and liberative vitality that the Midlands tram car also stands for. The revenge of the girl conductors against their elusive lover, John Thomas, is put into a dilemma because their “wild romance” aboard the tram car relies on their “dash and recklessness” and his very elusiveness itself as well.
In some sense, the romance between Annie, one of the girl conductors and the heroin of this story and John Thomas has a liberative power that they are supposed to explore and substantiate. But John Thomas and Annie just typically perform the conventional romantic love which the narrator parodies in the fairground scene by the insertion of many “of course’s” and “after all’s.” Likewise, Annie’s will to revenge for his betrayal as well as her assurance of his love is an old and ineffectual response to his liberative and reckless love. As the girls’ Bacchante-like attack subtlely intrigued with physical desire for John Thomas approaches the highest peak, and when John Thomas finally chooses Annie with full malice and violently confirms his male power, Annie finds herself in a kind of cul-de-sac. “Something” that “was broken in her” is the contradictory logic of the “certain wild romance” she and the conductor girls have involved in.
Presenting an analogy between the violent liberating rush of the tram car and the adventurous romance of the conductor girls, “Tickets, Please” explores a new relationship between men and women who live and love as “shipmates aboard this careering vessel of a tram-car” in modern age. Now that the liberative and reckless power of their romance also corresponds to the ambivalence of modernity, the significance of this peculiar romance represented in “Tickets, Please” cannot be overemphasized.

참고자료

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