본 논문의 연구주제인 수사학과 커뮤니케이션 관련 연구는 의사소통적 비평에서 몇몇 서구 비평가들에 의해 다루어지고 있기는 하지만, 하나의 연구주제로서 수사학적 커뮤니케이션 연구에 시를 적용하는 예가 많지 않다. 그래서 말이든 글이든 그 문화 콘텐츠를 가지지 않고는 화자의 올바른 의도나 글의 메시지를 포착하기는 쉽지가 않는 것이 사실이다. 이런 점에서 17세기 영국시인인 존 던의 경우 커뮤니케이션 스타일리스트로서 그가 수사학적 장치를 사용하는 목적과 의도에 주목하는 일은 새로운 연구방식의 하나이다. 던의 시는 ｢갇힌 사랑｣이라는 주제를 통해 여성의 문제와 시대의 편견과 사랑의 문제를 오늘날 매우 중요한 글쓰기 매체로 접근하고 있다. 그의 시는 성과 사랑의 본질을 시대적으로 조명하고 있으면서도 동시에 여성과 관련된 도덕의 중요성을, 즉 성스러움에 가까운 자기희생을 처음부터 강조하고 있어 사랑의 종교적 의미가 크다고 하겠다.

예이츠의 초기 시 ｢방황하는 엥거스의 노래｣는 자연의 영혼들, 특히 숲속 요정 소녀의 혼을 불러내어 영적 교류를 나누려는 초혼제 성격을 보여주는 면에서 초자연적 샤머니즘 성격을 갖고 있다. 하지만 61세 때인 ｢어린 학생들 사이에서｣에 이어 70세 생일을 기념하여 쓴 ｢청금석 부조｣ 후기 시들은 예이츠가 공인으로서 동시에 전문 시인으로서 자연의 영혼들과 교감하고 신화의 정신을 복원해 삶의 본질을 가르치고, 이로 현실에서 사회, 문화, 종교문제를 개혁하려는 네오 샤머니즘 정신에까지 진화하고 있다. 예이츠의 네오 샤먼적 이미지는 시인으로서 음악, 춤, 주술에 가까운 예술의 혼을 통해 세상의 모순과 갈등을 건강하게 해결하려는 모습이며, 현실에서는 노년에 터득한 세월의 유쾌함을 세상에 가르치려는 모습이다.

엘리엇은 문화산업 활성화를 위해 기존 문화 파편들을 부정적으로 취 해 이를 창의적으로 융합하는 ‘소코’(socko)형 풍자를 사용하였다. 이 풍 자 형식은 문화계의 거장들이나 그 전통을 원용하거나 변용하는 방식으 로 폭력과 배재의 원리를 따르고 있다. 영미문화에서의 풍자의 맥은 엘 리자베스 시대만큼이나 오래된 ‘소극’의 정신에서 그 전통을 찾고 있다. 그는 오늘날의 대중문화산업에서도 유용한 방법인 부정적 유머와 풍자 를 과감히 사용한 작가이며 편집인이었다. 크라이테리언의 창간은 그 를 문화사업가로 볼 때 유럽사회에 전혀 다른 방식으로 기존 문화를 대 체하려는 창의적 혁신에 가까웠다. 그 이유는 소위 창의적 행위에 동원 되는 “부정적 규칙”(negative rules)에 있다. 엘리엇은 소위 ‘소코’ 문화를 새로운 형식에 담는 전략과 기법으로 부가가치를 창출한 문화 기업가라 할 수가 있다.

『코리올란』과 『반석』두 작품은 로마 정치가와 성서의 인물을 객관적으로 인유하고 있어 표면적으로는 정치적이거나 종교적일 수밖에 없다. 하지만 심층적으로는 엘리엇 자신의 삶의 고뇌와 종교적 개종으로 인한 자기 성찰이 강력해, 달리 보면 어린 시절, 성장해 정치인, 사회인으로부터 엘리엇 나름의 구원의 여정을 다루고 있다. 『코리올란』의 로마 정치인 『코리올란』과 『반석』의 예수나 성 요한은 엘리엇에게 공적 사회에서 인간의 존재나 자아를 위한 탐구의 기회를 준 것이어서 공공질서의 원리에 관한 담론이라기보다, 엘리엇이 영국사회의 역사적 산물인 영국교회에서 그 새로운 의미를 찾게 한 동력이라고 볼 수 있다. 따라서 정치와 종교가 조화될 수 있는 있는 영국국교 기반의 정치사회를 바라는 엘리엇의 의도는 오늘날의 인간 상황이나 조건에 유희적인 디지털시대에도 더욱 그 가치가 기대되고 있다. 그 이유는 『코리올란』과 『반석』이 주는 메시지, ‘위대한 영광’은 황무지 유형이나 이전 시에서의 죽음보다 명백하게 희망에 찬 구원을 영국교회로부터 찾고 있다는 점이라고 하겠다.

In his creative activities, T. S. Eliot used a systematic mysticism as the basis for the aesthetic principles of modern poetry and criticism. Seemingly, Eliot’s aestheticism resembles much of Romanticist organic unity in mind, poetry, and criticism; but Eliot disliked the personal tastes of poetic romanticism, which were largely an extension of Western romantic idealism. Eliot’s impersonal theory of poetry was, in fact, involved in many aspects of his understanding of Chinese poetry and tradition, as well as F. H. Bradley’s philosophical ideas. Briefly, as we see from Ezra Pound, Eliot is at once Confucian in form and Taoist or Buddhist in spirit. Such enlightened mysticism in Chinese thought has much to do with Eliot’s poetics, especially Bradleyan philosophy, in which philosophy and religion are considered neither academic nor dogmatic, but practical and felt, such that we experience it daily. This is called religio-philosophical experience as found in Eliot’s poetry Four Quartets and also is commonly found in Chinese ideas, especially the middle point (chung-mean) of the temporal (ch’i-spirit) and the timeless (li-principle), and thinking and behaving.

T. S. Eliot wrote the poem, “Animula,” in 1929 at the age of 41, which belongs in the later part of his literary life as a poet and critic. Eliot converted to a Catholic in 1927, the year his father-in-law, Charles Haigh-Wood, died. It was in 1929 that he was thinking of divorce with his wife, Vivienne Haigh-Wood, and his mother, Charlotte Champe Eliot, died as well. Biographically, the poem “Animula” is certain to reflect his own life from infantry to death, physically and spiritually. Actually, the poem develops with three stages ranging from the period of an infant, who “Issues from the hand of God, the simple soul,” to the period between adolescence and youth, who gets “irresolute and selfish, misshapen, lame,” with the characters who follow as if living in limbo in the final lines: Guiterriez “avid of speed and power” and Boudin “blown to pieces.” The title of “Animula” thus alludes to the poem “Animula vagula blandula”(a pale vagrant little soul) the Roman Emperor Hadrianus left dying - the little soul, once the friend of and guest to the body, now leaving its dying body. So, the poem “Animula” is designed to convey how to live till death from infantry, especially in the childhood. The child’s soul is identified as simple, yet miserable even in the childhood without religious discipline: “Pray for us now and at the hour of our birth.”

The literary achievements T. S. Eliot, as a poet, critic and publisher, had made with The Criterion (1922-1939), mostly a quarterly journal, at Faber & Faber, are supposed to be a good example by which we can examine the process of human studies in terms of production, consumption, and distribution of poetry. Lady Rothermere was a patron of the arts, including Eliot’s publishing activities for the commentary journal of The Criterion, yet she was not happy working with him for a long time. The response of Lady Rothermere to the first publication of The Criterion, by Eliot as publisher in October 1922, was critically and cynically ‘dull’; Ezra Pound considered such a comment by Lady Rothermere on Eliot’s works “intentionally offensive” in a letter to Eliot in 1922. Lady Rothermere pursued entertainment in cheap and vulgar literature for the public, different from Eliot, who wanted to publish an elite journal, intellectual and sincere in literary commentary, on his own. Nonetheless, the contribution of Lady Rothermere on Eliot’s works in The Criterion casts a great shadow, by supporting human studies and by the promoting popularity of humanities, into the early literary history of the 20th century. As a matter of fact, Lady Rothermere turned out to be an essential patron for Eliot’s literary activities in the 1920s, yet her active passion and involvement in Eliot’s publication of The Criterion appeared to be a considerable threat to his literary life in poetry and criticism.

The writing style of Hart Crane has embarked on Symbolism that French Symbolists had developed in the nineteenth century and that modern English poets, such as Ezra Pound and T. S. Eliot, found as a new poetic form in the early twentieth century. In the nineteen-twenties, Crane had felt the strong power of Eliot’s poetic skills which brought English aesthetic styles in his early poetic life from the French poets, such as Arthur Rimbaud or Jules Laforgue. Hence, it is interestingly remarkable to see Eliot’s objective, impersonal stance leading the literary tendency of the nineteen-twenties in view of French poets and Crane’s different goal in style. Obviously, in reaction to Eliot’s negative attitudes to human characters as seen in The Waste Land, Crane’s different style developed further with the conventional symbols, Faustus and Helen, which yet function to associate his imagination with the agreeable life of New Yorkers the speaker sympathetically talks about in the first long poem, “Faustus and Helen.”In a matter of style, Crane, away from Eliot’s perspective of poetry, opened the way to another convention in poetry: Symbolism in a historical sense. Unlike Edmund Wilson who confined French Symbolism within modern poetry, Northrop Frye widely connected Symbolism to the whole history of literature, revealing it as a proper term to interpret its meaning. In the nineteen-twenties, Eliot, discrediting romantic sensibility, engaged thoroughly in synthesizing the complex literary movements, French Symbolism and English classic aestheticism, into religio-philosophical directions for years to come. Yet, Crane tried to reconcile the romantically spirited French Symbolism and Coleridgean imagination within his poetic style relying more on romantically spirited personality. Unfortunately, Crane stopped his poetic life when only thirty-three years old, allegedly buried by the prominent movement, a contemporary Classicism of Eliot.

The poem “Marina” of T. S. Eliot technically takes the play Pericles of Shakespeare in terms of two voices: the surface pattern based on a dramatic story of Pericles, prince of Tyre, and the deep pattern based on a ultra-dramatic feature of solemn music. Shakespeare is regarded as a dramatist and poet in his later works, such as Pericles, in which he uses a system of related allusions in dramatic situations to reflect implicitly on drama and its program in a unity of poetry and music. Eliot technically steals it in a different way, called his own program, where he secures a solemnity by virtue of a gaiety of content, and a gaiety by virtue of a solemnity of content. His poem thus is poetry which uses the order in which Pericles is written and his technical relations to the play in conversational language and dramatic situations on the surface and in ultra-dramatic aspects in depth. In the ultra-dramatic presentation, musical pattern, and liturgical treatment of characters’ emotions proceed to comment on the recognition scene (V, i) of the play. In the poem, the ultra-dramatic aspects refer to “Eliot’s perspective on life that is as if from beyond life.” The hidden music from the recognition scene (V, i) of the play seems supernatural, as if we are taking part in a ritual. Finally in terms of synchronicity, Hercules, a stoical character in Seneca, is taken for Pericles in Shakespeare; and Senecan Shakespeare is almost certain to be produced in Eliot’s poem “Marina.” We can see this synchronicities value in Eliot’s view of stoical life, taken from Seneca and Shakespeare as well.

T. S. Eliot has been known as a poet and critic for being so serious and moralistic that he might teach his readers. Yet, he published Old Possum’s Book of Practical Cats in 1939 for children, especially for his friends. In this sense, this poetry is aimedat amusing children with an allegory of a variety of cats. Usually, the style that children like lies in amusement in form and satirical language in use. Eliot knew it; so it is an interesting task to examine the significance of the old possum, his nickname, from the poetry for children, and the poet hidden behind the nickname. The Old Possum poetry appears to take into account what children like: a poetry collection of amusement and seriousness put together for children using lively rhythms and regular rhymes according to the characteristics of practical cats. The poetry shows a variety of each cat’s characters and habits, which, the poet believes, practically reflect various forms of human life. Above all, Eliot tried to associate practical cats in profound meditation with himself as a thoughtful, yet invisible poet and critic just like the wild, yet shy animal: a metaphor of the old possum in poetry.

In the case of T. S. Eliot, the difference between the use value of literature and its exchange value stems from the philosophical difference between the inner value of literature and its outer value. In the view of literature from an economic value, its exchange for money means the exchange of cultural and literary capital. Yet, it is not easy to ignore Marx’s concern the about the disturbing author’s consciousness of social criticism and his/her communication with reader’s when a literary work exceeds its worth by a critic in terms of commodity fetishism. But, if insight about human beings and society turns out to be a property of capital as a productive added-value, its literary worth is so satisfying that the fetishism of the reader as a consumer for the book cannot be an irrational action towards the market. From such a view, the study of economics of literature in the case of Eliot, gives us an instance in which we can find the use value of humanities in literature and its exchange value in terms of economics. As a poet, critic, and publisher, Eliot can be a most valuable person in literary history necessary for the study of literature in the light of economics. This paper examines Eliot through the effect of unity between literature and economics on the study of economics of literature and its positive elements in market, such as literary production, publication, distribution, and consumption.

T. S. Eliot’s grumbling voice of desire is echoed in his poem, The WaSle Land, in terms of hypertext structure and its 10gica1 form. He might call it 피npersona1ity" or “objective corre1ative’‘ in a sense of poetics. 11 is noted that the poem goes beyond an aesthetic structure as seen in print 1iterature: succeeding ideas, deve10ping metaphors and metonymy and words functioning to deve10p a coherent and strong structure in terms of cyber 1iterature. This can be called hypertext poetry (hyper poetry) or hypertext poetics and we can see from the hyper structure and form of the poem hierarchica1 text(s) in a 10gic of metaphor signifying desire. Putting together the cyber nodes, which appear by clicking and a1so alluding to human desire, we can find the source in the internet web, app1ying the re1evant theme from lhe source to newer 1iterary works. The virtua1 rea1ily in the hypertextua1 poem is perceived to be fl비1 of Greek satyr images signifying improper behavior, degradation and mutation, not 10ve or beauty. In so doing, E1iot persistent1y and carefully arranges many symbo1ic personas in tradition, mytho10gy, and art by grave ironies and absurdities of 1ife. In a sense of hyper poetη， E1iot uses such personas with desire, or in anima, to constru띠 hypertextua1ity as a way of characterizing textua1 behavior to 1et us 삐nk about the re1ationship between the poem and hypertext c비ture. E1iot focuses on the technica1 structure of arrangement within the texl, Ihe 1inkages and points of connection between and within its different 1ines, sty1es, and entire fragments This paper examines the intemet sites of the poem to consider E1iot an arranger, comp비er programmer, and inlemel sile organizer in lerms of bypertextuality. He becomes a precursor for cyber lileralure, especialJy hyper poelry in conlrasl 10 James Joyce‘5 hyperlexl narralive, Ulysses. Consequenlly, the cyber links look veη knowledgeable, Ihus taking hold of bOlh alJusions as a lilerary device, and hypertext as a study device. 80th work in such a way tbat each reaches its f1비I potenlial, making Eliot's text more widely readable with alJ of ils connotations, and glvlng us a belter opportunity to study and undersland its form and meaning.