역할 모델로서의 존 던의 완전한 사랑

저작시기 2006.05 |등록일 2011.03.23 파일확장자어도비 PDF (pdf) | 18페이지 | 가격 6,000원
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발행기관 : 한국밀턴과근세영문학회 수록지정보 : 밀턴과 근세영문학 / 16권 / 1호
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한국어 초록

According to the dictionary, "Role Model" means "a person whose behaviour in a particular role is worshipped and copied or is likely to be worshipped and copied by others." Some of The Songs and Sonnets show male speaker, or a couple of lovers, who embody "perfect love" faithfully enough to be role models. These poems include "The Canonization", "Twicknam garden", "Anocturnall upon S. Lucies day", "A Valediction: forbidding mourning", "The Relique", "Negative love", "The Paradox", "Farewell to love", and "The Baite". For one thing, in "The Canonization" I can read such a passage as this, "Beg from above / A patterne of your love!"(37-45: italics mine), which evidently represents a role model as perfect love.
Donne"s perfect love as a role model seems to be related to a strong desire for engraving his peculiar personality in his works. According to J. E. V. Crofts, most of the sentences of John Donne begin with the pronoun "I" (133). He suggests that for Donne everything begin and end in this manner, which means that throughout his life he is a man self-haunted, unable to escape from his own drama, unable to find any window that will not give him back the image of himself. Even the mistress of his love poems, who must be a real person, remains for him a mere abstraction of sex: a thing given. In this respect I can say that it is not of her that he writes, but of his relation to her: not of love, but of himself loving. After all, every word of Donne is resonant with his voice: every line seems to bear the stamp of his self-assertion.

영어 초록

According to the dictionary, "Role Model" means "a person whose behaviour in a particular role is worshipped and copied or is likely to be worshipped and copied by others." Some of The Songs and Sonnets show male speaker, or a couple of lovers, who embody 'perfect love' faithfully enough to be role models. These poems include "The Canonization", "Twicknam garden", "Anocturnall upon S. Lucies day", "A Valediction: forbidding mourning", "The Relique", "Negative love", "The Paradox", "Farewell to love", and "The Baite". For one thing, in "The Canonization" I can read such a passage as this, "Beg from above / A patterne of your love!"(37-45: italics mine), which evidently represents a role model as perfect love.
Donne's perfect love as a role model seems to be related to a strong desire for engraving his peculiar personality in his works. According to J. E. V. Crofts, most of the sentences of John Donne begin with the pronoun "I" (133). He suggests that for Donne everything begin and end in this manner, which means that throughout his life he is a man self-haunted, unable to escape from his own drama, unable to find any window that will not give him back the image of himself. Even the mistress of his love poems, who must be a real person, remains for him a mere abstraction of sex: a thing given. In this respect I can say that it is not of her that he writes, but of his relation to her: not of love, but of himself loving. After all, every word of Donne is resonant with his voice: every line seems to bear the stamp of his self-assertion.

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