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영어

T. S. Eliot’s poetry of “the first voice,” distinguished from Browning’s dramatic monologue, which he called poetry of “the second voice,” is in fact his vision and revision of the traditional form of dramatic monologue. It signals an effort to find an objective form beyond traditional generic boundaries, in order to accommodate the highly subjective content of the modern self. This effort dates back to Browning, and continued by Yeats and Pound before Eliot took it. The objective of this essay is to investigate how much Eliot’s poetry of the first voice owes to Browning, Yeats, and Pound, and how far it moves from them by his re/vision. It is Browning who established the form dramatic monologue with its distinctive conventions, the idiosyncratic persona, the silent listener and the irony originating from the tension between the persona and the audience. Yeats’s theory of the Mask, seeing oppositions as a necessary ingredient of life and step towards a unity, modernized and developed it, introducing morality and a self divided within. Pound then elated its morality to the theological plane by coloring it with the Dantean voice, whereas Laforgue tightened it with his peculiar irony. Finally it is Eliot who, standing on these precursors’ efforts, completed it into a form of perspective, with the self vacillating between various points of view, where the inherently subjective content, the “psychic material,” is rendered impersonal.

목차

I. Eliot's Poetry of the First Voice
 II. Dramatic Monologue Evolved as a Facade of Objectivity
 III. Eliot's Revision : Irony and the Modern Self
 Works Cited
 Abstract

키워드

극적독백 제1목소리의 시 서정시 아이러니 개성 자아 Dramatic Monologue Poetry of the First Voice Lyric Irony Personality the Self

저자

• Kyung Sim Chung [ 정경심 | Duksung Women's University ]

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