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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2001.12
- 수록면
- 815 - 837 (23page)
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초록· 키워드
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Shakespeare's comic spirit reached its peak in The Tempest. This play displays his adroit, mature craftsmanship shown in his excellent romantic plays. This paper aims to explore the following four factors as the proof of his consummate dramaturgy.
First, from the opening scene, Shakespeare eliminates the audience's fear of an uncertain, dark, and unhappy development of the play. Prospero reveals how he was dethroned from the crown, how he landed on this island, and how he raised the storm with his art of magic. Shakespeare implicitly indicates that Prospero will subject the test of the play to his control. Thus, the audience recognizes that the evil group of Alonso, Sebastian, and Antonio will not threaten the order of this peaceful island. Second, Shakespeare pits the world of this fantastic and exotic island against the discordant world of the political group. Third, all the three strands of the plot: the young lovers Ferdinand and Miranda, the political group of Alonso, and the band of comic characters are never overshadowed by darkness of plot. Fourth, Shakespeare elaborates to achieve a comic balance among the three strands of the plot: he always swiftly alternates the scenes from the romantic story of the young lovers through the evil group of Alonso to the band of comic characters. Finally, none of the three strands are an episodic part isolated from the other parts, but they are organically united with one another. More important, however, is that the comic group of Caliban, Stephano, and Trinculo burlesques the conflicts between Prospero and Antonio, and between Alonso and Sebastian. In an attempt at dethroning Prospero from his position as lord of this island, the allied relationship between Stephano, and Trinculo turns into that between a king and a court jester. Caliban burlesques Antonio's unnatural usurpation, and Stephano burlesques the confederate Alonso.
This play is a work characterized not by verbal feast but visual feast. However, the greatness of Shakespeare's craftsmanship consists in his accomplishment of an organic unity of the comic and the dark elements with the dominance of the former over the latter. He fails to achieve this in most of his earlier comedies, problem comedies, and the other three last romances.
First, from the opening scene, Shakespeare eliminates the audience's fear of an uncertain, dark, and unhappy development of the play. Prospero reveals how he was dethroned from the crown, how he landed on this island, and how he raised the storm with his art of magic. Shakespeare implicitly indicates that Prospero will subject the test of the play to his control. Thus, the audience recognizes that the evil group of Alonso, Sebastian, and Antonio will not threaten the order of this peaceful island. Second, Shakespeare pits the world of this fantastic and exotic island against the discordant world of the political group. Third, all the three strands of the plot: the young lovers Ferdinand and Miranda, the political group of Alonso, and the band of comic characters are never overshadowed by darkness of plot. Fourth, Shakespeare elaborates to achieve a comic balance among the three strands of the plot: he always swiftly alternates the scenes from the romantic story of the young lovers through the evil group of Alonso to the band of comic characters. Finally, none of the three strands are an episodic part isolated from the other parts, but they are organically united with one another. More important, however, is that the comic group of Caliban, Stephano, and Trinculo burlesques the conflicts between Prospero and Antonio, and between Alonso and Sebastian. In an attempt at dethroning Prospero from his position as lord of this island, the allied relationship between Stephano, and Trinculo turns into that between a king and a court jester. Caliban burlesques Antonio's unnatural usurpation, and Stephano burlesques the confederate Alonso.
This play is a work characterized not by verbal feast but visual feast. However, the greatness of Shakespeare's craftsmanship consists in his accomplishment of an organic unity of the comic and the dark elements with the dominance of the former over the latter. He fails to achieve this in most of his earlier comedies, problem comedies, and the other three last romances.
목차
Ⅰ. 『태풍』의 다양한 접근방식
Ⅱ. 『태풍』의 극적 기법
Ⅲ. 『태풍』에 나타난 셰익스피어 기법의 선형(先形)
Ⅳ. 맺는말
인용문헌
Abstract
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