G. M. HOPKINS의 詩에 있어서 INSCAPE의 意味 = The Meaning of 'INSCAPE' in G.M.Hopkins's Poetry

다국어 초록 (Multilingual Abstract)

During the last two decades numerous articles and papers have appeared dealing with the life and poetry of gerard Manley Hopkins. It is no longer possible to pass him by or dismiss him with a brief reference to his eccentricities, even though his poetry conists of no more than fifty poems, mostly sonnets, and some fragments. It was not until 1918 that Bridges published this small collection of poems, which he had treasured and kept to himself since the poet's death almost thirty years before. Since then Hopkins has attracted the attention of both critics and poets. Opinions differ as to his merits, but his innovations in the technique and the medium of poetry have so influenced the paetry of this day that, at least for the present, there is no danger of this falling back into the ranks of the unknown. F.R. Leavis bluntly states that Hopkins was one of the most remarkable technical innovators who ever wrote....and he was a major pet. Another critic, slightly more guarded in his pronouncement, writes that Hopkins was intrinsically a great poet.
Turning from the critics to the poets, we notice at once how they have claimed hopkins as one of themselves and are eager to be taught by him; they have bestowed the hightest praise on Hopkins's originally and on his innovations.
We have come to acquiesce in the curious fact that in anthologies of modern poetry Hopkins is found in company with cecil Day Lewis, Stephen Spender and W.H.Auden. Herbert Read is convinced that Hopkins's influence has been very W.H.Auden. Herbert Read is convinced that Hopkins's influence has been very powerful on the poets of this generation, and Dr.Leavis is of the same opinion: 'Hopkins is likel to prove, for our time and the future, the one influential poet of the Victorian age, and he seems to me the greatest.'
G.M.Hopkins's poetry, however, cannot be properly understood unless it is made plain why the poet turned to the very strange form of language, and how this language was the result of his attitude towards external reality. Dr.Gardner registers various devices, deviations from normal grammar and syntax; but the ultimate why and wherefore is not explained. And to explain this is precisely what I have made the object of this study. My aim has been to place within the reader's reach the clue to Hopkins's most peculiar medium of expression; I intend to show that obscurity and oddity are not the result of artistic wantonness or bad literary taste, but the logical outcome of his poetical theories, which, in their turn, can be logically deduced from Hopkins's view of life.
The first chapter of this study is almost exclusively devoted to an investigation of Hopkins's mind. I attach to it the greatest value, because it put before the reader those data without which a correct interpretation of his poetry is, to my mind, impossible. Thus in the first chapter little else is attempted save an explanation of INSCAPE and INSTRESS-terms that very clearly bring out Hopkins's attitude towards external reality and his philosophy of life. In the second chapter I hope to show how Hopkins employed the most personal form of language as the only means by which he could realize the aim of his poetry.
i can only hope that the reader of Hopkins's poetry will find in these papers what he expects to find in them and that this study will be a valuable help in both rightly understanding and appreciating the poet.

목차 (Table of Contents)

• Ⅰ.序 論
• Ⅱ.本 論
• 1.'inscape'의 意味
• 2.'inscape'의 表現
• Ⅲ.結 論
• *參考文獻
• *ABSTRACT