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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2006.12
- 수록면
- 783 - 804 (22page)
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In Renaissance England, civic and clerical records show a rise in the illegitimacy rate and a growing interest in bastardy as a sociocultural phenomenon. Bastards who rebel against authority in the family or in the State are characterized as villains to demonstrate the horror of transgression. In addition, a bastard born of a female sexuality which is unsanctioned by patriarchal authority represented an 'outsider'.
A bastard is often related to another group of female outsiders such as witches, whores, or scolds in a patriarchal society. This group of women had a negative effect on their family, community, and State because they refused to obey the values of silence, obedience, and chastity which the patriarchal society had imposed upon them. Therefore, bastards united with these women were subversive dangers to the traditional order of a patriarchal society.
This increased concern over bastardy in society was reflected in the contemporary dramatists's plays including Shakespeare. There are many bastard characters in Shakespeare's plays including King Lear, Much Ado About Nothing, Troilus and Cress ida, and The Tempest. Most of them cause conflict and disorder and they have much in common with other alienated groups of seditious female characters. Consequently they are involved in adultery, parricide, fratricide, regicide, or rebellion.
Especially, Edmund in King Lear is portrayed as one of the typical bastard characters in that he is a dangerous villain. As a product of female transgression, Edmund is also connected with transgressive and aggressive women, Goneril and Regan, who rebel against their father and husbands. Their relationship is based on physical desire and political interest. As 'a natural child' which is another name of a bastard, Edmund is dedicated to Nature, his goddess, and acts on the basis of his natural instinct.
The sub-plot of King Lear is like a stage for a duel of a legitimate, a father's son and a bastard, a mother's son. From the birth, the bastard Edmund is dispossed of every right that the legitimate Edgar has. So Edmund manipulates a letter to take away his rival brother, Edgar's inheritance. Before Edgar defeats him in a duel, Edmund is regarded as a loyal son by Gloucester. On the contrary, Edgar becomes a sacrifice of Edmund's trick and he is almost disowned by his father. However, Edgar's victory over Edmund reveals that Edmund is the embodiment of evil and low birth in contrast to Edgar's virtue and nobility. Even Edmund's death in the final scene is treated as a trivial thing unworthy to be mentioned.
In his plays, Shakespeare displayed people's increased sense of insecurity of transgressive powers represented by illegitimacy in Renaissance England. He pointed out that the patriarchal society is fragile and uneasy by showing that bastards' power to overturn the legitimate world order can threaten the whole patriarchal structure. Therefore, death of Edmund as well as that of Goneril and Regan, can be interpreted as the writer's attitude toward antipatriarchal existence. In other words, subversive energy represented by bastards and unchaste women should be suppressed or removed. It can be concluded that Shakespeare intended to reinforce the structure of patriarchism by showing death of subversive characters and by restoring power and order in the hands of those who keep patriarchal tradition at the end of the play.
A bastard is often related to another group of female outsiders such as witches, whores, or scolds in a patriarchal society. This group of women had a negative effect on their family, community, and State because they refused to obey the values of silence, obedience, and chastity which the patriarchal society had imposed upon them. Therefore, bastards united with these women were subversive dangers to the traditional order of a patriarchal society.
This increased concern over bastardy in society was reflected in the contemporary dramatists's plays including Shakespeare. There are many bastard characters in Shakespeare's plays including King Lear, Much Ado About Nothing, Troilus and Cress ida, and The Tempest. Most of them cause conflict and disorder and they have much in common with other alienated groups of seditious female characters. Consequently they are involved in adultery, parricide, fratricide, regicide, or rebellion.
Especially, Edmund in King Lear is portrayed as one of the typical bastard characters in that he is a dangerous villain. As a product of female transgression, Edmund is also connected with transgressive and aggressive women, Goneril and Regan, who rebel against their father and husbands. Their relationship is based on physical desire and political interest. As 'a natural child' which is another name of a bastard, Edmund is dedicated to Nature, his goddess, and acts on the basis of his natural instinct.
The sub-plot of King Lear is like a stage for a duel of a legitimate, a father's son and a bastard, a mother's son. From the birth, the bastard Edmund is dispossed of every right that the legitimate Edgar has. So Edmund manipulates a letter to take away his rival brother, Edgar's inheritance. Before Edgar defeats him in a duel, Edmund is regarded as a loyal son by Gloucester. On the contrary, Edgar becomes a sacrifice of Edmund's trick and he is almost disowned by his father. However, Edgar's victory over Edmund reveals that Edmund is the embodiment of evil and low birth in contrast to Edgar's virtue and nobility. Even Edmund's death in the final scene is treated as a trivial thing unworthy to be mentioned.
In his plays, Shakespeare displayed people's increased sense of insecurity of transgressive powers represented by illegitimacy in Renaissance England. He pointed out that the patriarchal society is fragile and uneasy by showing that bastards' power to overturn the legitimate world order can threaten the whole patriarchal structure. Therefore, death of Edmund as well as that of Goneril and Regan, can be interpreted as the writer's attitude toward antipatriarchal existence. In other words, subversive energy represented by bastards and unchaste women should be suppressed or removed. It can be concluded that Shakespeare intended to reinforce the structure of patriarchism by showing death of subversive characters and by restoring power and order in the hands of those who keep patriarchal tradition at the end of the play.
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