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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2000.2
- 수록면
- 139 - 165 (27page)
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This paper explores Wordsworth's attempt to put his inner experience into words in The Prelude. He tries to erect his ‘poetic self’ in the process of ‘journeying’ into his mind, which makes his stance precarious as his present wishes are being projected into the interpreted past. That makes the problems of language and representation pivotal in understanding the text with any significance.
Modern critics often read The Prelude through deconstructive method of analysis and assume the essential figurality of the poetic language in the text. As a system of signs that refer to each other, they say, poetic language cannot make any ‘real’ connection with the referents. Hence their readings focused on the fissures in the narrative structure of the text or the power of the text to violate its own movement toward unity. Paul de Man's reading of “Simplon Pass” exemplifies such standpoint, presenting the ‘hymn to imagination’ as a hymn to the moment of interpretation as a recognition of ‘the error’.
Such analysis, however, is in danger of positing The Prelude at the other extreme of what Wordsworth tried to embody through the text. Wordsworth valued the poetic imagination and its language because of the power to ‘communicate the noncommunicable’ through various subtle devices. This paper proposes a counter - reading of “Simplon Pass” by examining the whole structure of the episode describing the same experience repetitively in different contexts. Through the resonances and implications of the diverse - colored repetitions, “Simplon Pass” presents itself as a record of ‘severed past’ overriden with ample meaning toward ‘connected future’.
Wordsworth's tenacious looking into the ‘past’ transforms it into a fountain overflowing with mixed meaning of ‘anxiety (of past)’ and ‘hope (for future).’ The details of each experience in The Prelude function not as designative but as evocative of what meaning ‘buried’ between the lines, which can only be conveyed by virtue of the readers' imagination. The two “Spots of Time” are typical in recording such moments, together with the “Simplon Pass.” They anticipate to resonate meaning partly through the device of ‘revision’ and partly through the sympathy of readers.
Modern critics often read The Prelude through deconstructive method of analysis and assume the essential figurality of the poetic language in the text. As a system of signs that refer to each other, they say, poetic language cannot make any ‘real’ connection with the referents. Hence their readings focused on the fissures in the narrative structure of the text or the power of the text to violate its own movement toward unity. Paul de Man's reading of “Simplon Pass” exemplifies such standpoint, presenting the ‘hymn to imagination’ as a hymn to the moment of interpretation as a recognition of ‘the error’.
Such analysis, however, is in danger of positing The Prelude at the other extreme of what Wordsworth tried to embody through the text. Wordsworth valued the poetic imagination and its language because of the power to ‘communicate the noncommunicable’ through various subtle devices. This paper proposes a counter - reading of “Simplon Pass” by examining the whole structure of the episode describing the same experience repetitively in different contexts. Through the resonances and implications of the diverse - colored repetitions, “Simplon Pass” presents itself as a record of ‘severed past’ overriden with ample meaning toward ‘connected future’.
Wordsworth's tenacious looking into the ‘past’ transforms it into a fountain overflowing with mixed meaning of ‘anxiety (of past)’ and ‘hope (for future).’ The details of each experience in The Prelude function not as designative but as evocative of what meaning ‘buried’ between the lines, which can only be conveyed by virtue of the readers' imagination. The two “Spots of Time” are typical in recording such moments, together with the “Simplon Pass.” They anticipate to resonate meaning partly through the device of ‘revision’ and partly through the sympathy of readers.
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