원제목이 「한 사람의 회심 기념일을 위해 인 찰스 웨슬리의 찬송 「아, 천 개의 입이 있다면 노래하리」는 찰스의 신학적 교리를 잘 담고 있는 찬송시로, 실 천적이자 경험적 신학자로서 찰스의 입장을 잘 보여 주는 찬송시이다. 이 찬송 시는 찰스가 1738년 5월 21일 회심을 경험한 지 1년 후 이를 기리기 위해 집필 한 찬송으로, 메소디즘의 가장 중요한 교리인 ‘모두를 위한 하나님의 보편적 사랑’을 주제로 삼고 있다. 이 찬송은 미국 감리교 찬송집에 총 18연 중 6연만 편집되어 수록되었으며, 이 찬송가가「만 입이 내게 있다면」으로 번역되어 우리 말 찬송집에 실려 있다. 본 논문은 찰스의 원 찬송시인 「한 사람의 회심 기념일」을 위해 에 담긴 신학적 교리를 논하여 본 후, 우리말 찬송으로 번역되는 과정 에서 이 신학적 교리가 잘 표현되었는지 연구해보고자 한다. 이와 더불어 메소 디즘 교리를 노래하고자 하는 찰스의 신학적 입장을 잘 대변하는 우리말 찬송 시 번역의 필요성을 논해 보고자 한다.

William Blake, regarded as one of the great Romantic poets, was a prolific painter, printer, and engraver as well. Yet, he did not receive due credit for his work during his time. For a long time, his graphic art and literature were treated in isolation from each other; literary critics focused only on his poems and art historians on his engravings or paintings. Recently, attempts to see his work, particularly his illuminated books, as a “composite art” or as a synthesis of word and image have increased. I will also consider his work as a kind of open text in a poststructuralists’ notion, which blurs the boundaries between them and encourages readings as textual performance. In this paper, I will first show how Blake differentiated himself from other painters, engravers, and publishers by devising his own way of creating and printing illuminated books. Next, focusing on his earlier work, Songs of Innocence and of Experience, I will briefly discuss the characteristics of his illustration and the content of his poems. Finally, I demonstrate how Songs makes for unique reading in which the reader is an ongoing participant in its textuality, crossing between words and words, and words and images. The advent of the Industrial Revolution brought with it an increase in mass publication, and the distinction between fine art and designs or craftsmanship was yet to be clarified. Against such distinction, Blake created a unique method of "relief-etching", through which he combined text and engraved illustration on a single copper plate and hand-colored the prints. Each copy thus remains a unique work of art. His illuminated books envision interdisciplinary and multimedia text and question the modern system of classification and hierarchies between poem and painting, painting and engraving, art and literature. In the images of Songs, we see Blake’s profound interest in Gothic art as “divine” work. For example, he persisted in using firm outlines that were characteristic of Gothic art. Like other Romantic poets, Blake believed the imagination and God’s spirit to be manifest in outline rather than color. The letter was regarded to be appealing to the sensuality of the eyes. On the other hand, the poems in Songs reflect the dialectical relationship and synthesis in which “innocence” might be wedded to “experience,” as its subtitle Shewing the Two Contrary States of the Human Souls implies. Songs is, however, not to be read by isolating the poems from the illustrations. In the introduction of Songs of Innocence, Blake proposed the intricate and conflicting relationship between speech, writing, and painting. The title page also suggests that children are not merely passive learners imitating the nurse’s reading but active readers-seers who may better understand Blake’s illuminated books. Further, this paper, after the examination of a few poems, attempts to show that the images do not necessarily illustrate the poems and can rather create a link between different parts of the text. This rejects the traditional critical hierarchy of word over image. Blake’s work indeed opens up an infinite vortex, that is, the textuality, as Roland Barthes or other post-structuralists might call it, and invites us to participate as active readers.