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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2004.6
- 수록면
- 293 - 311 (19page)
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It is commonly believed that Shakespeare wrote Macbeth shortly after James I who was James Ⅵ of Scotland ascended to the English throne in 1603. The new monarch was a far more enthusiastic patron of the drama than his predecessor, queen Elizabeth. He was also a scholar of some reputation, his chief interest being theology and witchcraft and magic. At the same time, he believed that God distinguished kings from ordinary men, thus emphasizing the absolute authority of kings. Furthermore James I's theory of kingship is akin to Machiavellian assumption about the difference between the public and private morality of the monarch-he need not be but must seem virtuous. The manipulation of the split between being and seeming, of appearances, and the politic uses of spectacle mark the successful exercise of power in Macbeth. That power is theatricality. The theatricality of power is embodied in the characters of Malcolm and most of all Lady Macbeth.
On the other hand, the notion of the king as a male mother advocated by James I as reflected in the character of Duncan in Macbeth has odd affinities with witches in Macbeth. Much like witches' perversion of motherhood by nourishing the devil, there is a sense that Duncan's own "motherhood" was ineffectual practice of the role of King.
When one examines the bases of power in Macbeth, it becomes clear that the play exposes and disturbs notions of patriarchal, monarchical power by revealing unnerving resemblances to female characteristics and potential female power which is closely associated with the "theatrical."
On the other hand, the notion of the king as a male mother advocated by James I as reflected in the character of Duncan in Macbeth has odd affinities with witches in Macbeth. Much like witches' perversion of motherhood by nourishing the devil, there is a sense that Duncan's own "motherhood" was ineffectual practice of the role of King.
When one examines the bases of power in Macbeth, it becomes clear that the play exposes and disturbs notions of patriarchal, monarchical power by revealing unnerving resemblances to female characteristics and potential female power which is closely associated with the "theatrical."
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