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The aim of this article is to pursue Eliot's 'horror' vision in his early poems, especially of "The Love Song of J. Alfred Prufrock" in Inventions of the March Hare and the original drafts of The Waste Land. I have started this pursuit on the belief that as a follower of Dante Eliot is not only poet of a vision but also explorer "beyond the frontiers of ordinary consciousness."
In his "Prufrock" of March Hare Eliot adopted as its epigraph Dante's "Purgatorio" XXIV, which he later exchanged with the present "Inferno" epigraph in the 1917 edition of Prufrock. When I studied "Prufrock" in relation to the "Purgatorio" epigraph and with "Prufrock's Pervigilium," I have found that Eliot had a deep concern over the spiritual good and evil and implied the sexual sin and the repentance in Prufrock's "overwhelming question." With exchanging the former epigraph with "Inferno" one and excising "Prufock Pervigilium" with the 'horror' visions Eliot should postpone his role as a spiritual reporter on the problem of man's sin and salvation to his next poem, The Waste Land.
On the other hand, in the original drafts of The Waste Land Eliot planned to use Joseph Conrad's Heart of Darkness as an epigraph but it also was deleted by Ezra Pound's revision and replaced with Satricon by Petronius, which has resulted in changing Eliot's previous intention to reveal his personal 'boredom and despair' along with a personal sterility and instead in expressing the sterility of the modern society and the moral ways to be saved from it. Like Marlow, who witnessed Kurtz's horrific visions in his deathbed with his glimpse of the "threshold of the invisible" and expressed his humiliation over the unconscious, foolish crowd, Eliot wanted to report with visions of 'horror' and 'boredom.' the spiritual state of modern people living in death and a need to be saved from their sexual immorality. With Pound's cutting of the former epigraph of Conrad's novel, however, Eliot should wait for the next work, Ash Wednesday to achieve his personal aim of the spiritual salvation through repentance.
When we understand Eliot's "horror' vision of the early poems to The Waste Land in the whole development to the 'beatific vision' of the later poems, I discovered that from the first poem of "Prufrock," Eliot is shown as a poet of vision pursing man's sin and damnation moving through horror and boredom toward beatitude with his spiritual awareness over the“frontiers of the ordinary consciousness."
In his "Prufrock" of March Hare Eliot adopted as its epigraph Dante's "Purgatorio" XXIV, which he later exchanged with the present "Inferno" epigraph in the 1917 edition of Prufrock. When I studied "Prufrock" in relation to the "Purgatorio" epigraph and with "Prufrock's Pervigilium," I have found that Eliot had a deep concern over the spiritual good and evil and implied the sexual sin and the repentance in Prufrock's "overwhelming question." With exchanging the former epigraph with "Inferno" one and excising "Prufock Pervigilium" with the 'horror' visions Eliot should postpone his role as a spiritual reporter on the problem of man's sin and salvation to his next poem, The Waste Land.
On the other hand, in the original drafts of The Waste Land Eliot planned to use Joseph Conrad's Heart of Darkness as an epigraph but it also was deleted by Ezra Pound's revision and replaced with Satricon by Petronius, which has resulted in changing Eliot's previous intention to reveal his personal 'boredom and despair' along with a personal sterility and instead in expressing the sterility of the modern society and the moral ways to be saved from it. Like Marlow, who witnessed Kurtz's horrific visions in his deathbed with his glimpse of the "threshold of the invisible" and expressed his humiliation over the unconscious, foolish crowd, Eliot wanted to report with visions of 'horror' and 'boredom.' the spiritual state of modern people living in death and a need to be saved from their sexual immorality. With Pound's cutting of the former epigraph of Conrad's novel, however, Eliot should wait for the next work, Ash Wednesday to achieve his personal aim of the spiritual salvation through repentance.
When we understand Eliot's "horror' vision of the early poems to The Waste Land in the whole development to the 'beatific vision' of the later poems, I discovered that from the first poem of "Prufrock," Eliot is shown as a poet of vision pursing man's sin and damnation moving through horror and boredom toward beatitude with his spiritual awareness over the“frontiers of the ordinary consciousness."
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참고문헌 (25)
참고문헌 신청
김명옥 , 2004 , T. S. 엘리엇과 영미시 비평 , 한국외국어대학교 출판부
이창배 , 1989 , T. S. 엘리엇 연구: 인간과 文學 , 민음사
황철암 , 1993 , T. S. 엘리어트의 詩 , 충북대학교출판부
Abrams, M. H , 1974 , The Norton Anthology of English Literature. Fifth Ed. Vol. 2. (NA) , London: W. W. Norton & Company
Brooker, Jewel Spears , 1991 , The Placing of T. S. Eliot , Columbia: U of Missouri Press
이창배 , 1989 , T. S. 엘리엇 연구: 인간과 文學 , 민음사
황철암 , 1993 , T. S. 엘리어트의 詩 , 충북대학교출판부
Abrams, M. H , 1974 , The Norton Anthology of English Literature. Fifth Ed. Vol. 2. (NA) , London: W. W. Norton & Company
Brooker, Jewel Spears , 1991 , The Placing of T. S. Eliot , Columbia: U of Missouri Press
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