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THOMAS GRAYの二大頌詩

酒井幸三

英文学研究
1961年 37 巻 1 号 15-33
発行日: 1961/10/31
公開日: 2017/04/10

DOI https://doi.org/10.20759/elsjp.37.1_15

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Though Gray wrote only a few poems, those few show so curiously diverse strains in him that it is not so easy to appreciate him fully. Especially these two odes -TheProgress of Poesy and The Bard-were regarded by Gray himself as his greatest poems. At the same time, they deserve to be considered as a milestone of some change in the climate of eighteenth-century poetry. The question resolves itself into the following two points. First, though regarded as a precursor to the Romantic Movement with its fantastic visioning of the Gothic scenes, The Bard is rather concerned with English history, as Norman Callan pointed out sharply. It is also the case with the other ode, which traces "the progress of poesy" from ancient Greece to his own age. His emphasis is clearly laid on the historical development of poetry. The other point is relevant to expression: his interest in history is revealed through a series of symbolical pictures. Here comes his predilection for pictorial depiction, which Johnson severely criticized, applying to these odes his own rigorous moral standards. But Johnson perhaps failed to catch what Gray wanted to describe, because these odes do not belong to what Johnson thought poetry ought to be. These odes are obviously different in their purpose from the "poetry of statement" which were prevalent in the first half of the eighteenth century, and whose characteristics were rather argumentative. The sense of a castaway marooned in "this benighted age" inspired his nostalgic admiration for the literary tradition of the past, and at last led him into the world of the mediaeval legends. This alienation from the reality necessarily resulted in too aesthetic elaboration and too pictorial presentation of these odes. Thus his fundamental standpoint corresponds to the peculiar characteristics of expression remarkably dominant in these odes. Sublimity was one of the chief aesthetic values in the eighteenth century. If these characteristics are in accord with those of the "sublime poetry" as Josephine Miles indicated, we can safely say that these two major odes of Gray are masterpieces of this genre "too excessive to be classical and too vigorously opposite to the active
romantic

mode
to be called preromantic."
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S.T. コウルリッジにおける仮説思考の射程

経験科学における Hypothesis/Hypopœēsisの方法論的問題と想像力概念

中村仁紀

イギリス・ロマン派研究
2020年 44 巻 1-17
発行日: 2020/03/30
公開日: 2021/04/21

DOI https://doi.org/10.18986/eer.44.0_1

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Samuel Taylor Coleridge’s philosophical inquiry into “method” in the 1810s appears to be grounded upon metaphysical premises, as he regards scientific discovery as a kind of revelation of a Platonic idea, and conceptualizes imagination as a transcendental faculty of perceiving it. However, in spite of his idealistic disposition, Coleridge’s engagement with “method” is closely tied to a methodological issue within Newtonian inductive science: the use of hypotheses.
In the history of empirical science, inductive logic was considered a cornerstone for validating knowledge while disregarding any hypothetical mode of reasoning. However, there were many cases in which hypotheses, explicitly or not, functioned as important factors for making and extending knowledge, and the legitimacy of inductive science could thus not be separated from the issue of how to demarcate a valid hypothesis from an invalid one.
This paper examines how Coleridge’s literary criticism based on imagination is motivated by this demarcation of hypotheses. His distinction between what he calls “Hypothesis” and “Hypopœēsis” depends upon whether one “imagines” only the relation of the facts concerned (Hypothesis), or not only their relation but one (unproved) fact for the ground of their relation (Hypopœēsis). Coleridge’s approach to imagination in Biographia Literaria should be read as aiming to present a methodological critique of David Hartley’s (scientific) and William Wordsworth’s (poetic) faculties on the same horizon, seeking to represcribe the boundary of inductive reasoning by means of hypothetical thought. In an attempt to distinguish imagination from fancy, Coleridge first repudiates Hartley’s theory of association as an example of fanciful hypothesis, or Hypopœēsis, and then critically analyzes Wordsworth’s poetics of imagination from the same methodological viewpoint, and reconstructs it under a new critical light of Hypothesis.
These approaches suggest that Coleridge regards imagination not merely as an organic faculty of integrating poetic images but, more broadly, as an experience-based but more productive cognitive faculty of reconstructing things (as distinguished from a fallacious hypothetical reasoning). Coleridge’s “practical criticism” is sustained by this methodological consciousness, and placing his concern with imagination and fancy in the methodological discourse of inductive science enables us to reconsider how
Romantic

mode
of thought serves to enlarge as well as condition scientific reasoning.

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The Art of Being Uncomfortable

オーストラリア研究
2018年 31 巻 101-109
発行日: 2018年
公開日: 2019/06/12

DOI https://doi.org/10.20764/asaj.31.0_101

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Australia, with its history and peculiar and fragile ecosystem, o ers a model case on how globalisation has been a ecting local environments. Unlike the United States, the nation has never been fully comfortable with its relation to natural elements, at least since the rst European settlement in the late 18th century. Australian literature has re ected such uneasiness and produced writers like Henry Lawson, Patrick White, and A.D. Hope, who all depict the nature of the southern continent as grotesque and hostile to their sensibilities. In recent years, as Aboriginal culture has gained popularity and global environmentalism has taken root, Australia, in its o cial self-presentation, seems to have overcome the issue, attracting tourists to the abundant environmental experiences it claims to o er. However, reading contemporary Australian poetry shows otherwise as uneasiness is still strongly felt in the Australian psyche. Whether dealing with the suburban landscape or so-called pristine nature, poets tend to confess how Australian environments and contemporary ways of life disrupt each other. My paper focuses on a recent anthology of Australian poetry, Active Aesthetics: Contemporary Australian Poetry (2016), and analyses this uneasiness as it surfaces in several works, arguing that it appropriately re ects the inevitable impacts of globalisation on the Australian ecosystem.
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NEW YORK CITY SKETCHES : CRANE'S CREED AND ART

板橋好枝

英文学研究
1972年 48 巻 2 号 243-258
発行日: 1972/03/01
公開日: 2017/04/10

DOI https://doi.org/10.20759/elsjp.48.2_243

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