エリザベス朝詩断想 : エリオットを手掛りに

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T. S. Eliot referred to the seventeenth century as the century in which "a dissociation of sensibility set in, from which we have never recovered..." and he considered Donne as the poet to whom "a thought was an experience," in whom "we find direct sensuous apprehension of thought, or a recreation of thought into feeling." Possibly, it is as an effect of this "dissociation" that we find the present tendency to, and our predilection for, sentimentality or crude emotional expression in poetry, and this predilection gives us a somewhat easier approach to some kinds of Romantic and Victorian poetry (e.g. Shelley's poems exclaiming his self-indulgent effusion or despair) than to poetry of other periods and style. (More sober poems of the nineteenth century are marked by contemplation or reflectiveness in which is to be found a kind of "self-pity," as David Daiches points out in some poems of Keats and Arnold.) On the other hand, it is natural that such predilection also creates for us a kind of barrier to Elizabethan lyrics in which conventions were not considered as hostile to self-expression, in which the conventions of verse were merely reflections of the formalities of the life itself. In this context it should be remembered that Huizinga regarded the formalties of the period around the fifteenth century as the product of "the passionate and violent soul of the age," of the longing for the beauty of life. Formalization gave the poets proper medium in which to express the poet's feelings embodied in an "objective" form, a garment in which to clothe his naked self. Conventions in poetry, for example in sonnet, promoted the subtlety, complexity or sophistication of the feelings expressed in the poems. Poetic conventions should be considered thus in greater context, not merely as a barrier to personal expression, but as the product of the mentality of the period, as the mode in which the intense interests of the Renaissance expressed themselves, as a kind of limited 'tradition' to which the poet's individual talent was amalgamated. In these considerations, Eliot's concepts in criticism, such as "dissociation of sensibility," "poetry not as a turning loose of emotion but as an escape from emotion," throw some light on our understanding or appreciation of the poetry of Renaissance, in which the relation of feeling and form was much more complex than in some kinds of poetry in the 19th century, and which reveals much more beauty and subtlety when examined closely and attentively.
横浜国立大学の論文
1970-12-25

エリザベス朝詩断想 : エリオットを手掛りに

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