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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2001.12
- 수록면
- 839 - 861 (23page)
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Troilus and Cressida is concerned with the breakdown of the hierarchical ideal, which served for several centuries, and the impossibility of true love. In this work, war-warriors of the Troy legend are reduced to an absurd level, while the romantic lovers are grotesque. Since it is thought that the absence of venture ideology in the late Elizabethan period might generate these descriptions, the purpose of this paper is to reveal its cause and effect.
According to OED, venture means an act or occasion of undertaking something without assurance of success. The persons have been praised, transformed, and exemplified as the real heroes through the risky acts. The hero, as a symbol of the society, can be more helpful to preserve order and glorify the power than any other means. Therefore any political powers have groped to make a myth, or mythic hero. In doing so, venture becomes an ideology.
The rage mimicked and generated by the play has its roots in the disillusionments of the late Elizabethan period, including the spectacular rebellion of the Earl of Essex and its consequent measurements-s-censorship, secret surveillance, and so on. The Troy legend presents Shakespeare with the means to philosophize and exacerbate that disillusionment. The venture ideology disappeared, or existed no longer, in Elizabeth's court, because she sought for more secure politics, not dangerous actions. Troilus and Cressida; connecting the legend to the contemporary politics, deals with this social milieu, and, in this process, proves that the true love and war is impossible to exist.
According to OED, venture means an act or occasion of undertaking something without assurance of success. The persons have been praised, transformed, and exemplified as the real heroes through the risky acts. The hero, as a symbol of the society, can be more helpful to preserve order and glorify the power than any other means. Therefore any political powers have groped to make a myth, or mythic hero. In doing so, venture becomes an ideology.
The rage mimicked and generated by the play has its roots in the disillusionments of the late Elizabethan period, including the spectacular rebellion of the Earl of Essex and its consequent measurements-s-censorship, secret surveillance, and so on. The Troy legend presents Shakespeare with the means to philosophize and exacerbate that disillusionment. The venture ideology disappeared, or existed no longer, in Elizabeth's court, because she sought for more secure politics, not dangerous actions. Troilus and Cressida; connecting the legend to the contemporary politics, deals with this social milieu, and, in this process, proves that the true love and war is impossible to exist.
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