아놀드와 와일드 사이에서 : 『비극의 뮤즈』에서의 내쉬의 역할
Between Arnold and Wilde: Gabriel Nash's Role in The Tragic Muse
This paper aims at examining Henry James's stance as an artist against the aestheticism in the late 19th century in England by explicating Gabriel Nash's roles in The Tragic Muse(1890). Although several critics insist that Nash is a spokesman of Henry James, he proves to be an aesthete in this paper. Of course, he can be misunderstood to be James's spokesman, because Nash's roles as a center of the double plot and as a stimulator to Nick Dormer can mislead readers as to his genuine figure as an aesthete, and because his terms and ideas appear to be those of Matthew Arnold. But with a little more serious analysis his terms and ideas turn out to be those of aesthetes such as Walter Pater and Oscar Wild rather than those of Arnold to whom James owes quite a lot. Nash is an aesthete in that he is a dilettante enjoying art for art itself by escaping from reality. He thinks every phase of reality is nothing but a reflection of 'dirty' reality and therefore he escapes from reality into the world of art. James's criticism of Nash's aestheticism is culminated in his representation of Nick Dormer's growth as a genuine artist. In this work Nick and Miriam Rooth are represented as genuine artists with bright visions of the salvation of society.
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