카렐 차페크의 소설 『호르두발』의 대립적 이미지 체계

• 영문명: The Contrasting Image System of Karel Čapek's Novel Hordubal
• 발행기관: 한국중동부유럽학회
• 저자명: 권재일(Jae-Il Kwon)
• 간행물 정보: 『동유럽발칸학』동유럽발칸학 제3권 제2호, 138~164쪽, 전체 27쪽
• 주제분류: 사회과학 > 지역학
• 파일형태: PDF
• 발행일자: 2001.12.30

영문 초록

Karel Čapek's Novel Hordubal, especially the first part of the novel is remarkable for it's contrasting image system which is arranged on the axis of opposing images: cattle against horse, plateau against plain, herdsman against nomad, pure love against passion, and holiness against worldliness. The sries of former images represents the farmer Hordubal whereas his hired man Manya is symbolized by the series of latter images. Hordubal cares only for cattle and sleeps with cattle in the cowshed, while Manya cares only for horses and sleeps with the horses in the stable. Hordubal walks slowly with his head down to the ground like the cow who knows the burden of life, while Manya carries himself like the horse with his haed up to the air. Hordubal's cattle is peaceful and self sacrificing, while Manya's horse is wild and arrogant. When Polana introduces Manya to her hosuband Hordubal thought to himself: “Lord, what a raven!” Manya's color is the dark like his horse. Manya who had grown accusmed to breeding horse identifies himself with the stallion. He was so furious when he became to know that his master had sold the stallion that he cried out: “He sold a horse like that! Tt's a sin.” He suggests the vengeance for selling the stallion as a motive of murdder of his master. Here we can see to what extent he is attached to the horse. Hordubal also identifies Manya with the stallion. After he had driven out of his house Manya who intercepted his wife Polana he sold the stallion first of all. And then he wanted to get rid of the filly as well as the little mare, but he did not have any intention to sell the gelding, the casterated male horse. They were companions because Hordubal was also symbolically casterated. He was rejected by his wife Polana who had a liaison with the young worker Manya. When Hordubal realized that he could not get his wife's mind back to him he spontaniously withdrew himself from his wife. He sleeps in the cowshed with the cattle. He keeps sexual abstinence. One day he ordered a latch at the blacksmith's shop and fixed it up in the loft, so that Polana can lock herself in. In this action we can find his self-denial or ‘self-casteration.’ The motif of conscious or unconscious ‘self-casteration,’ makes it's appearance on frequent occasions. Sellf-sacrifice, devotion, and purity were characteristics of Hordubal's love for Polana. On the contrary, Manya's love for Polana marked with passion and greed. Hordubal did everithing what he was able to do for the love for Polana. He wrote the last will for the unfaithful Polana to give“all the chattels and effects, movable and immovable, for her fidelity, and conjugal love.” His self sacrificing love have reached the peak when he left his final word to get Manya and the stallion back home. By breaking off the confrontation voluntarily from his side Hordubal have presented an example of higher and dignified love. Manya, the native of the Hungarian lowland, goes down to the plain with his horses, where he feels most satisfied. However Hordubal, the native of the highland, goes up to the mountain with the cattle, where he meets “a great peace, so great that it was like a pain.” On the mountain top Hordubal sees the eyes of God. Hordubal's mountain top is close to the heavenly world, the world of God, from where he carries with him unworldly love for the worldly people like Polana and Manya. Hordubal's transcendental 'holy' love is in sharp contrast with the adultery criminal love of Manya and Polana.

목차

Ⅰ. 머리말

Ⅱ. 대립적 이미지 체계

Ⅲ. 맺음말

참 고 문 헌

Abstract