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- 자료유형
- 학술저널
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- 발행연도
- 2004.12
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- 891 - 911 (21page)
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Romeo and Juliet uses the world of romantic comedy as a point of departure. Romeo and Juliet, young and in love and defiant of obstacles, are attuned to the basic movement of comedy toward marriage and social regeneration. When the curtain is raised on the stage, the families' feud only functions as one of the various legal restraints do in Shakespearean comedy. Romeo, unlike a serious tragic hero, displays a classic comic adaptability, switching from the impossible love to the possible. Violence and disaster are not totally absent from this milieu, but they are only unrealized threats. Tybalt, a potentially tragic character, is also overruled by Capulet's festive accommodation. For all that, Romeo and Juliet do not win like the favoured lovers in comedy, and go out of the stage as victims of time and law.
Shakespeare develops deliberately a special character, Mercutio. He is the clown of romantic comedy, ready to take off from the plot in verbal play and to challenge idealistic love with his own brand of comic earthiness. He is full of moves and countermoves. He feels free, comfortable, and satisfied in his comic world. When all this vitality is cut off abruptly by Tybalt's sword, everything is forced to changed inevitably. In Mercutio's sudden, violent end, Shakespeare makes the birth of tragedy coincide exactly with the symbolic death of comedy. After his unprepared death, the rest of the play shows how completely the comic movement has been reversed.
Shakespeare develops continuously comic elements after the characters are pushed rashly into the opposed conditions of tragedy. Friar Laurence and Nurse belong to the comic world. The Friar's aims, like manipulators in comedy, are those implicit in the play's comic movement: an inviolable union for Romeo and Juliet and an end to the families' feud. The Nurse's garrulity and digressions also are appropriate to comedy. However, both have no place in the new world into being by Mercutio's death. They define and sharpen the tragedy by their failure to find a part in the dramatic progress. They make us more profoundly sensible of tragic direction of this play.
As the presence of other paths makes us more conscious of the road we are in fact traveling, Shakespeare uses comic backgrounds, movements, figures, and other familiar comic elements to shape tragedy and to create a special and unique tragic effect. It can be explained as a kind of the experimental mind of the dramatist to explore a new realm of interest and dramatic effect.
Shakespeare develops deliberately a special character, Mercutio. He is the clown of romantic comedy, ready to take off from the plot in verbal play and to challenge idealistic love with his own brand of comic earthiness. He is full of moves and countermoves. He feels free, comfortable, and satisfied in his comic world. When all this vitality is cut off abruptly by Tybalt's sword, everything is forced to changed inevitably. In Mercutio's sudden, violent end, Shakespeare makes the birth of tragedy coincide exactly with the symbolic death of comedy. After his unprepared death, the rest of the play shows how completely the comic movement has been reversed.
Shakespeare develops continuously comic elements after the characters are pushed rashly into the opposed conditions of tragedy. Friar Laurence and Nurse belong to the comic world. The Friar's aims, like manipulators in comedy, are those implicit in the play's comic movement: an inviolable union for Romeo and Juliet and an end to the families' feud. The Nurse's garrulity and digressions also are appropriate to comedy. However, both have no place in the new world into being by Mercutio's death. They define and sharpen the tragedy by their failure to find a part in the dramatic progress. They make us more profoundly sensible of tragic direction of this play.
As the presence of other paths makes us more conscious of the road we are in fact traveling, Shakespeare uses comic backgrounds, movements, figures, and other familiar comic elements to shape tragedy and to create a special and unique tragic effect. It can be explained as a kind of the experimental mind of the dramatist to explore a new realm of interest and dramatic effect.
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참고문헌 (8)
참고문헌 신청
[단행본] - Danson, Lawrence / 2000 / Shakespeare's Dramatic Genres / New York: Oxford UP
[단행본] - Frye, Northrop / 2001 / Anatomy of Criticism / Princeton: Princeton UP
[단행본] - Granville-Barker, Harley / 1995 / Prefaces to Shakespeare / Oxford: Hienemann
[학술지(정기간행물)] - Levin, Harry / 1960 / Form and Formality in Romeo and Juliet / Shakespeare Quarterly 11 : 3 ~ 11
[단행본] - Langer, Susanne K / 1977 / Feeling and Form / London: Routledge
[단행본] - Frye, Northrop / 2001 / Anatomy of Criticism / Princeton: Princeton UP
[단행본] - Granville-Barker, Harley / 1995 / Prefaces to Shakespeare / Oxford: Hienemann
[학술지(정기간행물)] - Levin, Harry / 1960 / Form and Formality in Romeo and Juliet / Shakespeare Quarterly 11 : 3 ~ 11
[단행본] - Langer, Susanne K / 1977 / Feeling and Form / London: Routledge
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