보스턴 초기시들 중 하나인 ｢여인의 초상화｣에서 T, S. 엘리엇은 여 인들의 다양한 측면들을 세밀하게 그리고 있다. 이들은 결혼이나 사랑 의 실패로 인해 깊은 좌절감에 빠졌던 여인이나 소녀들이다. 이들에게 는 이제 우정이 사랑의 자리를 대체하게 되며, 타인들과의 진정한 교제 는 이들의 일상에서 가장 중심적인 관심/배려가 된다. 하지만, 이 다양 한 여성을 표상하는 한 여인을 예리하게 관찰하며 그녀의 내면을 깊이 파고 들고 있는 이 시의 남성 화자는 자신이 연인이 될 가능성을 의식 하고 있다. 이러한 가능성으로 벗어나려는 화자는 그녀를 떠나게 되며 가까운 미래에 그녀가 죽을 것이라고 갑작스럽게 상상한다. 극도로 자 의식적인 화자의 내면의 흐름을 집중적으로 조명하는 이 시는 시간과 기억에 대한 베르그송의 사상의 흔적을 지니고 있다. ｢여인의 초상화｣ 의 시공간은 실제적 공간이라기보다, 화자의 의식과 지속으로서의 기억 에 의해 구성되었다. 베르그송은 모든 생명이 끊임없이 유동적이며, 그 가 “지속”[durée]이라고 부르는 생성적 과정에 있다고 주장한다. 한편, 남성화자의 지속적으로/극적으로 변화하는 감정은 베르그송의 사유와 친밀한 관계에 있는 마티스의 미학 이론으로 설명될 수 있다.

“The Love Song of J. Alfred Prufrock” and “Portrait of a Lady,” two major works of T. S. Eliot’s early poems, have been regarded as a kind of ramatic monologues. Many critics indicated that Eliot’s use of dramatic monologue was different from Victorian poets’, so they called Eliot’s dramatic monologues “interior monologues” or “psychologues.” However, some critics like Won-Chung Kim insisted that Eliot’s and Robert Browning’s dramatic monologues shared some characteristics by comparing their masterpieces, “The Love Song of J. Alfred Prufrock” and “My Last Duchess.” In this paper, my premise is that Eliot’s dramatic monologues are different from Victorian poets’ like Browning’s because I think that Eliot changed the technique of dramatic monologue to reflect the spirit of his age, that is, the beginning of the 20th century. In the early 20th century, many writers including Eliot thought that the self is illogical and split, and claimed that they should focus on the human consciousness and try to find the method to express it. In his early poems, Eliot expressed the speakers’ consciousness that was divided. Some critics has also indicated that the speakers of Eliot’ early poems have self-conscious character caused by the split self. To create this character of the speakers, I think, Eliot adapted the technique of dramatic monologue. While the traditional dramatic monologues focus on showing the speakers’ values, Eliot’s show the conflict of the speakers’ doubling self that produces the effect of irony. The speakers’ doubling self consists of the superficial and the fundamental self. One represents the self that tries to conform to the life style of the bourgeois world and is very concerned about people’s judgment. The other represents the self that longs for something higher, more emotional and spiritual. When this doubling self collides with each other and causes conflict, the speaker observes himself in a dramatic way, that is, as a object. Then, the speaker returns to his daily life again.

T. S. Eliot as a “moralist” or “critic of life” shows deep concern for the moral question, ‘how to live.’ Because Eliot experienced the tragic vision of life, he apprehended clearly the differences between failed “unlived life,” and genuine “buried life” or “fullness of life” as expressed in the characters of Henry James and in Matthew Arnold’s poem. “Portrait of a Lady” is a prime example of the “unlived life.” Like a spectator of life, the young male speaker in “Portrait of a Lady” leads a spiritually and morally dead “unlived life.” He shrinks away from his real life and a human relationship with the older lady, who wants friendship or sympathy from him. His passivity and selfishness toward life result in frustration, self-destructiveness and nothingness. So he as a force of evil obstructs the spiritual growth of the other people like a lady, and cannot change his fake life into a new meaningful life in a society. Eliot understands well the negative aspect of life, and by describing it vividly in “Portrait of a Lady,” he warns us not to waste life vainly but try to “live fully” finding a kind of deep, vital, satisfying, emotional “buried life” as a whole human being.

This paper purports to read “Portrait of a Lady” in terms of Henry James’ influence. Unlike the influence of French Symbolist poets, H. James’s influence has not drawn many critical attentions. Eliot is greatly indebted to H. James in many ways. First of all, it is James from whom Eliot had learned that poetry ought to be as well written as prose. Also, as Eliot himself said, he was stimulated by the method to make a place real not descriptively but by something happening there and to let a situation, a relation, and an atmosphere give only what the writer wants in James’s stories. Under the inspiration of James, Eliot can cultivate his gift for dramatic verse. So, we can say the dramatic quality of Eliot’s poetry which is no less than in James’s stories, is not irrelevant to the Jamesian method. Considering such influence of James, this paper aims at comparing Eliot’s “Portrait of a Lady” and James’s The Portrait of a Lady and “The Beast in the Jungle”, in the light of the character’s failure and frustration. Especially, Eliot’s “Portrait of a Lady” and James’s “The Beast in the Jungle” portray a man who fails in having relations with a woman in common. In both of works, each man is distinctively selfish. We can investigate more concretely in what ways “the egotism of a man” is expressed and presented as a hindrance in human relations in both works.

How does T. S. Eliot represent women in his poetry? One of the recent arguments puts forward stresses Eliot’s way of describing negative aspects of women in his poetry, while ignoring any good qualities that they may have had. However, a careful study of Eliot’s early poetry shows women torn by the pain of abandonment, betrayal, fear, isolation and loneliness. Furthermore, it is not easy to find the poet’s sympathetic attitude toward women throughout his early poetry. This study aims at investigating the sources of the frustration, failure and unhappiness through the polyphonic voices of man and woman heard in “Portrait of a Lady,” while considering the real sense of Eliot’s attitude toward women. The poem ends in unresolved pain and uncertainty, suffered by men and women alike, which implicitly shows the agony and isolation that people must encounter in human relationships. It is usually apparent when they recognize their own destiny and their confused feelings and longings. In the final analysis, it basically derives from the existential recognition of human beings.