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- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2004.3
- 수록면
- 67 - 89 (23page)
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This paper aims to find the common characteristics and roles of the villains in Shakespeare's four greatest tragedies-respectively, Claudius, lago, Edmund, and Macbeth-showing what kinds of people they are and how their existence affects human society. It attempts to infer Shakespeare's views of the human world from his characterization of these villains and therein find Shakespeare's moral and religious messages to the audience.
Shakespeare's villains in his four greatest tragedies overthrow the hierarchy of human society thus breaking the law of nature, or the divinely ordered Chain of Being. Also they appear similar to the Vice in medieval morality plays and are often compared to the Devil, the chief enemy of Christianity. They have extraordinary abilities in many directions, as well as strong personal magnetism, with which they easily seduce or destroy their victims. Shakespeare thus warns the audience that the force of evil is so powerful and charismatic as easily to corrupt or ruin most of human beings.
The villains destroy all kinds of people in the four tragedies, from ordinary men through noble but not perfect heroes to absolutely flawless people. They often use some minor characters as tools to ruin heroes and eventually destroy both of them. They sometimes use the hero's virtues to entrap him; moreover, they corrupt the hero's character so that the latter's soul may be jeopardized in the life to come. The villains also destroy exceptionally pure and virtuous people, which causes the audience to feel extreme pity and fear.
On the other hand, the villains are not entirely different from their fellow human beings. They sometimes display such human feelings as the remorse of conscience, and we often find some understandable motives of their crimes. However, their sins are too heavy and disastrous to justify their motives, their conscience is not firm enough to abandon evil deeds, and their repentance is not deep enough to expiate their sins. Consequently, despite the extenuating circumstances of their crimes, they are unexceptionally punished for their sins both in this world and in the next world. From this we find Shakespeare's message that most of human beings, if placed in the same situation as the villains, would be equally vulnerable to evil and that once they yield to evil eternal damnation is inevitable.
However, the self-destruction of the villain at the end of each tragedy suggests that justice still exists in this world. Also the rise of a new leader, such as Edgar in King Lear, makes us hope for the restoration of the social and political order disrupted by the villain. Furthermore, the strong hint of spiritual salvation and eternal life for such paragons of human goodness as Desdemona and Cordelia produces an effect of catharsis by purging us of the emotions of pity and fear aroused by their physical destruction and gives us a feeling of spiritual triumph.
Shakespeare's villains in his four greatest tragedies overthrow the hierarchy of human society thus breaking the law of nature, or the divinely ordered Chain of Being. Also they appear similar to the Vice in medieval morality plays and are often compared to the Devil, the chief enemy of Christianity. They have extraordinary abilities in many directions, as well as strong personal magnetism, with which they easily seduce or destroy their victims. Shakespeare thus warns the audience that the force of evil is so powerful and charismatic as easily to corrupt or ruin most of human beings.
The villains destroy all kinds of people in the four tragedies, from ordinary men through noble but not perfect heroes to absolutely flawless people. They often use some minor characters as tools to ruin heroes and eventually destroy both of them. They sometimes use the hero's virtues to entrap him; moreover, they corrupt the hero's character so that the latter's soul may be jeopardized in the life to come. The villains also destroy exceptionally pure and virtuous people, which causes the audience to feel extreme pity and fear.
On the other hand, the villains are not entirely different from their fellow human beings. They sometimes display such human feelings as the remorse of conscience, and we often find some understandable motives of their crimes. However, their sins are too heavy and disastrous to justify their motives, their conscience is not firm enough to abandon evil deeds, and their repentance is not deep enough to expiate their sins. Consequently, despite the extenuating circumstances of their crimes, they are unexceptionally punished for their sins both in this world and in the next world. From this we find Shakespeare's message that most of human beings, if placed in the same situation as the villains, would be equally vulnerable to evil and that once they yield to evil eternal damnation is inevitable.
However, the self-destruction of the villain at the end of each tragedy suggests that justice still exists in this world. Also the rise of a new leader, such as Edgar in King Lear, makes us hope for the restoration of the social and political order disrupted by the villain. Furthermore, the strong hint of spiritual salvation and eternal life for such paragons of human goodness as Desdemona and Cordelia produces an effect of catharsis by purging us of the emotions of pity and fear aroused by their physical destruction and gives us a feeling of spiritual triumph.
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참고문헌 (22)
참고문헌 신청
[단행본] - Andrews, John F / 1985 / Ethical and Theological Questions in Shakespeare’s Dramatic Works (William Shakespeare: His World, His Work, and His Influence, 3 vols) / New York: Charles Scribner’s Sons
[단행본] - Badawi, M. M / 1981 / ackground to Shakespeare / London: Macmillan
[학술지(정기간행물)] - Bethell, S. L / 1952 / Shakespeare’s Imagery: The Diabolic Images in Othello / Shakespeare Survey 5 : 62 ~ 80
[단행본] - Bodkin, Maud / 1982 / The Hero and the Devil (Shakespeare’s Tragedies: An Anthology of Modern Criticism) / New York: Penguin : 99 ~ 105
[단행본] - Booth, Wayne / 1982 / Shakespeare’s Tragic Villain (Shakespeare’s Tragedies: An Anthology of Modern Criticism) / New York: Penguin
[단행본] - Badawi, M. M / 1981 / ackground to Shakespeare / London: Macmillan
[학술지(정기간행물)] - Bethell, S. L / 1952 / Shakespeare’s Imagery: The Diabolic Images in Othello / Shakespeare Survey 5 : 62 ~ 80
[단행본] - Bodkin, Maud / 1982 / The Hero and the Devil (Shakespeare’s Tragedies: An Anthology of Modern Criticism) / New York: Penguin : 99 ~ 105
[단행본] - Booth, Wayne / 1982 / Shakespeare’s Tragic Villain (Shakespeare’s Tragedies: An Anthology of Modern Criticism) / New York: Penguin
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