‘초드라마틱’(ultra-dramatic) 패턴: T. S. 엘리엇 시 「머리나」

• 영문명: ‘Ultra-dramatic’ Pattern: T. S. Eliot’s Poem “Marina”
• 발행기관: 한국T.S.엘리엇학회
• 저자명: 양병현
• 간행물 정보: 『T. S. 엘리엇연구』제21권 제1호, 51~80쪽, 전체 30쪽
• 주제분류: 어문학 > 영어와문학
• 파일형태: PDF
• 발행일자: 2011.06.30

영문 초록

The poem “Marina” of T. S. Eliot technically takes the play Pericles of Shakespeare in terms of two voices: the surface pattern based on a dramatic story of Pericles, prince of Tyre, and the deep pattern based on a ultra-dramatic feature of solemn music. Shakespeare is regarded as a dramatist and poet in his later works, such as Pericles, in which he uses a system of related allusions in dramatic situations to reflect implicitly on drama and its program in a unity of poetry and music. Eliot technically steals it in a different way, called his own program, where he secures a solemnity by virtue of a gaiety of content, and a gaiety by virtue of a solemnity of content. His poem thus is poetry which uses the order in which Pericles is written and his technical relations to the play in conversational language and dramatic situations on the surface and in ultra-dramatic aspects in depth. In the ultra-dramatic presentation, musical pattern, and liturgical treatment of characters’ emotions proceed to comment on the recognition scene (V, i) of the play. In the poem, the ultra-dramatic aspects refer to “Eliot’s perspective on life that is as if from beyond life.” The hidden music from the recognition scene (V, i) of the play seems supernatural, as if we are taking part in a ritual. Finally in terms of synchronicity, Hercules, a stoical character in Seneca, is taken for Pericles in Shakespeare; and Senecan Shakespeare is almost certain to be produced in Eliot’s poem “Marina.” We can see this synchronicities value in Eliot’s view of stoical life, taken from Seneca and Shakespeare as well.

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키워드

T. S. 엘리엇 셰익스피어 세네카 드라마 초드라마틱 시와 음악 예배식 T. S. Eliot Shakespeare Seneca Drama Ultra-dramatic poetry and music liturgy