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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2000.2
- 수록면
- 167 - 196 (30page)
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Coleridge's “Christabel,” along with his two other supernatural poems, has been widely praised as one of his representative works. However, in comparison with two other ones, the poem, despite its fascinating story and its technical mastery, has not attracted satisfactory explications from scholars for almost two centuries. It is partly because Coleridge, for some or other reasons, was not able to complete the poem as he had planned and, as a result, it remains unfinished. Humphry House's view that the poem's “two parts differ so much from each other, that they scarcely seem to belong to the same poem” is typical of the negative appraisal of the poem as a fragment.
The form of the Gothic romance which the poem takes, on one hand, has rendered services to stimulating readers' interest in it, but, on the other hand, has served as an impediment to a serious understanding of it. Certainly, Coleridge exerted all possible efforts to collect materials for the poem over several years and many traces of his preoccupations with witch stories and demonology can be found here and there in the poem as it is. However, the poem should be considered not just as a variant of the traditional Gothic romance but as a product of Coleridge's serious efforts to elucidate in depth the significance of the experience of evil in the romance form. Above all, most of poetic interest in the poem stems from Coleridge's explorations of the ambiguous interactions or ambivalence between good and evil, love and hate, innocence and sensuality, and appearance and reality, dramatized in the complex personal relationships between major characters. The aim of this paper is to examine how the poem as a whole successfully embodies the experience of evil in its dramatic actions.
Explorations of the origin and nature of evil, and of the ultimate relationships between good and evil and love and hate, constitute his lifelong concerns, and his many prose works, especially notebooks, provide ample evidences of his serious inquiries. In “Christabel” Coleridge's dark desires and fears located in the abyss of his being are given dramatic expression in a fascinating manner, and, by transferring “from our inward nature a human interest and a semblance of truth,” he succeeds in procuring for the creations of his imagination “the willing suspension of disbelief for the moment, which constitutes poetic faith.”
The form of the Gothic romance which the poem takes, on one hand, has rendered services to stimulating readers' interest in it, but, on the other hand, has served as an impediment to a serious understanding of it. Certainly, Coleridge exerted all possible efforts to collect materials for the poem over several years and many traces of his preoccupations with witch stories and demonology can be found here and there in the poem as it is. However, the poem should be considered not just as a variant of the traditional Gothic romance but as a product of Coleridge's serious efforts to elucidate in depth the significance of the experience of evil in the romance form. Above all, most of poetic interest in the poem stems from Coleridge's explorations of the ambiguous interactions or ambivalence between good and evil, love and hate, innocence and sensuality, and appearance and reality, dramatized in the complex personal relationships between major characters. The aim of this paper is to examine how the poem as a whole successfully embodies the experience of evil in its dramatic actions.
Explorations of the origin and nature of evil, and of the ultimate relationships between good and evil and love and hate, constitute his lifelong concerns, and his many prose works, especially notebooks, provide ample evidences of his serious inquiries. In “Christabel” Coleridge's dark desires and fears located in the abyss of his being are given dramatic expression in a fascinating manner, and, by transferring “from our inward nature a human interest and a semblance of truth,” he succeeds in procuring for the creations of his imagination “the willing suspension of disbelief for the moment, which constitutes poetic faith.”
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