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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2002.6
- 수록면
- 463 - 489 (27page)
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The main polarities in Romeo and Juliet that explore the frictions between high and low spheres, public and private lives, age and youth, love and death, authority and rebellion, sacred and secular love generate powerful whirls of energy. That is one of the reasons why the play still fascinates world audiences. One must surely add the numerous language games, puns, innuendoes, and paradoxes that partly account for its enduring fascination for audiences. Especially, Shakespeare's juxtaposition of two contrastive voices in Romeo and Juliet serves to elevate tension and dramatic effect. In creating a multiplicity of voices, Shakespeare is able to view the central love story from conflicting and parallel lines and thus to deflate some of its potential pathos and sentimentality. For example, the language style that Nurse uses is paralleled with that of Lady Capulet and Paris. Nurse's speech, inheriting carnival or festive culture, is oral, comic, natural, and even bawdy. On the other hand, the speeches of Lady Capulet and Paris, mirroring their social position, are written, serious, artificial, and even superficial. Above all, life-affirming joyousness in the Nurse's speech and laughter subsumes the metaphysics of death, banishes fear, and celebrates the regenerative cycle of organic being.
As in the juxtaposition of orality and naturalness of the Nurse's speech with Lady Capulet's thin and superficial conventionalities, the contrast of voices between Mercutio and two young lovers, Rome and Juliet, helps to intensify the depth of the play. Bawdiness and indecency of Mercutio's speech reduces passion of two lovers to the lower bodily stratum. His speech even demystifies the romantic and idealized with the physical. In contrast to Romeo's and Juliet's romantic and idealized speech, Mercutio's speech compounds the carnival images of earth and body mutually life-affirming and reproducing. Likewise, life-affirming and carnival voice of the servants is orchestrated with Escalus's voice of authority. The former's voice serves to tum the world upside down, to subvert its rigid hierarchies. Especially, their carnivalesque dance of life and language full of images of sex and body run paralleled with the traditional forces and voices of authority created by the characters of high class. In a word, the voices of tradition (conventional, artificial, romantic, and authoritative) and subversion (comic, natural, bawdy, and festive) are not one-sided in this play but constantly interact and reflect one another until the latter part of the play. Finally, the voice of subversion dies with the disappearance of minor characters (Nurse, Mercutio, and Servants) or the weakening of their role, and the play turns to the dark and inflexible genre of tragedy.
As in the juxtaposition of orality and naturalness of the Nurse's speech with Lady Capulet's thin and superficial conventionalities, the contrast of voices between Mercutio and two young lovers, Rome and Juliet, helps to intensify the depth of the play. Bawdiness and indecency of Mercutio's speech reduces passion of two lovers to the lower bodily stratum. His speech even demystifies the romantic and idealized with the physical. In contrast to Romeo's and Juliet's romantic and idealized speech, Mercutio's speech compounds the carnival images of earth and body mutually life-affirming and reproducing. Likewise, life-affirming and carnival voice of the servants is orchestrated with Escalus's voice of authority. The former's voice serves to tum the world upside down, to subvert its rigid hierarchies. Especially, their carnivalesque dance of life and language full of images of sex and body run paralleled with the traditional forces and voices of authority created by the characters of high class. In a word, the voices of tradition (conventional, artificial, romantic, and authoritative) and subversion (comic, natural, bawdy, and festive) are not one-sided in this play but constantly interact and reflect one another until the latter part of the play. Finally, the voice of subversion dies with the disappearance of minor characters (Nurse, Mercutio, and Servants) or the weakening of their role, and the play turns to the dark and inflexible genre of tragedy.
목차
1. 유모의 구술언어(oral language)와 레이디 캐플럿 그리고 패리스의 문자언어(written language)
2. 머큐시오의 세속적 언어와 로미오 그리고 줄리엣의 낭만적 언어
3. 두 집안의 하인들의 카니발적 목소리와 영주 그리고 로렌스 수사의 권위적 목소리
4. 전통과 질서의 회복
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