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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2008.6
- 수록면
- 215 - 236 (22page)
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The objective of this paper is to research the characteristics of the Nahum Tate's The History of King Lear adapted from the Shakespeare's original version. Compared with the original, his Lear shows so many shocking changes in structure that many critics have criticized it as a literary bastard. Furthermore some critics try to coin a new word derived from his name, "Tetefication" which is applied to the literary works that transform the original into a failure. Above all, Tate changes the tragic ending of the original text into the tragi-comedy, even some say, melodrama, which gives the main critical point that deprecates the outstanding aestheticism the original text shows.
But we must pay meaningful attention to the fact that the history of English drama, especially that of English Restoration drama shows that from 1681, the year in which Tate wrote Lear to the mid-19th century his adapted version was the most popular repertory on the stage. So many audience, despite the serious criticism by the critics, gave the sincere applause on it. This means that his version has much coincided with the sensibility and reflected faithfully the ethic and the moral of the people of the time desire.
Through his radical changes of the plot and the structure Tate tries to imply the political or historical allusion behind the play. To make main characters alive and end with the marriage between Edgar and Cordelia, Tate makes a room for his audience to reflect and rethink the turmoils related with the royal succession of the past, including the civil war, political unstability. And his ending shows the authoritative succession of the royal family, which induces the political stability and prosperity for the future England. Lear's restoration on the throne alludes the restoration scene performed by Charles Il and also his successors.
The two lovers show much coincidence with the James II's daughter and son-in-law, Mary and William. This historical and political implication Tate tries to intend shows fully enough to fulfill the desire of the audience and the people at that time.
As a result, changing the genre through happy ending and showing the political implication related with it in the adapted Lear comprise faithfully the comtemporary desire of the people and appeal to the English Restoration period ideals on literature and the sensibility of the people.
But we must pay meaningful attention to the fact that the history of English drama, especially that of English Restoration drama shows that from 1681, the year in which Tate wrote Lear to the mid-19th century his adapted version was the most popular repertory on the stage. So many audience, despite the serious criticism by the critics, gave the sincere applause on it. This means that his version has much coincided with the sensibility and reflected faithfully the ethic and the moral of the people of the time desire.
Through his radical changes of the plot and the structure Tate tries to imply the political or historical allusion behind the play. To make main characters alive and end with the marriage between Edgar and Cordelia, Tate makes a room for his audience to reflect and rethink the turmoils related with the royal succession of the past, including the civil war, political unstability. And his ending shows the authoritative succession of the royal family, which induces the political stability and prosperity for the future England. Lear's restoration on the throne alludes the restoration scene performed by Charles Il and also his successors.
The two lovers show much coincidence with the James II's daughter and son-in-law, Mary and William. This historical and political implication Tate tries to intend shows fully enough to fulfill the desire of the audience and the people at that time.
As a result, changing the genre through happy ending and showing the political implication related with it in the adapted Lear comprise faithfully the comtemporary desire of the people and appeal to the English Restoration period ideals on literature and the sensibility of the people.
목차
Ⅰ. 서론: 왕정복고의 연극사적 의의
Ⅱ. ‘죽게 하는 것보다는 살리는 것이 더 어렵습니다‘
Ⅲ. ‘신들이 아버지를 복고시켰나이다.‘(4. 90)
Ⅳ. 결론: 끝나지 않은 평가
인용문헌
Abstract
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