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Ever since Corneille called his L'Illusion comique ‘a strange monster’ and ‘an extravagant mutant,’ many critics have treated it as an exception among his works. L'Illusion comique certainly has many characteristics that distinguish it from other works. If, however, Corneille's art is founded upon, as Couton said, the wonderful balance between innovation and continuity, would it not be possible that there is a continuity between L'Illusion comique and his previous comedies? I tried to detect such a continuity by regarding L'Illusion comique as the last of his early comedies.
Therefore I analyzed the principal characters and the action of this play.
My analysis led to the conclusion that the characters of this work are not different from those of other comedies: self-centered, and blinded by their beliefs, they deceive each other and, thus, are deceived about their own selves. They all try nonetheless to control others for their own purposes. In short, they act out a play in self-illusions. From this viewpoint, Matadore, who is usually considered as an exception, is not an exception at all. “He is a typical example” (Margitic).
As regards the structure of action, it contains ‘a play within a play’ and several levels of fiction. Alcandre the magician shows Pridament his son's life in the form of an illusion. Spectres show in sequence Clindore's real life and a scene of the play in which he acts as an actor. Illusion and reality are interwoven. This comedy, however, does not raise metaphysical questions concerning the reality of external world. It attempts to provide a concept of play through the conversation of Alcandre-the writer and Pridament-the audience which encloses every act of the play. And the concept is identical with the one Corneille would formulate in ‘examen’ of Melite of 1660. In this way, Corneille justifies the realistic approach of his early comedies with a most baroque appearance.
L'Illusion comique is thus at once a theory of play and a conclusion of a research on humanity which his early comedies pursued through various adventures of love. A concern about love is a concern about relationship. A concern about relationship is a concern about "self." The cornellian self who is innately proud attempts to find in love the justification of its pride. But the unpredictabilities of love lead the characters in the opposite direction. Love is dangerous. It is sometimes even fatal. The hero of L'Illusion comique is assassinated by his opponent. L'Illusion comique as the concluding piece of Corneille's early comedies completes his pessimism about human relationship. If salvation (self-justification) cannot be found in horizontal relationships, something vertical or transcendental is necessary. Thus Corneille enters the era of tragedy.
Therefore I analyzed the principal characters and the action of this play.
My analysis led to the conclusion that the characters of this work are not different from those of other comedies: self-centered, and blinded by their beliefs, they deceive each other and, thus, are deceived about their own selves. They all try nonetheless to control others for their own purposes. In short, they act out a play in self-illusions. From this viewpoint, Matadore, who is usually considered as an exception, is not an exception at all. “He is a typical example” (Margitic).
As regards the structure of action, it contains ‘a play within a play’ and several levels of fiction. Alcandre the magician shows Pridament his son's life in the form of an illusion. Spectres show in sequence Clindore's real life and a scene of the play in which he acts as an actor. Illusion and reality are interwoven. This comedy, however, does not raise metaphysical questions concerning the reality of external world. It attempts to provide a concept of play through the conversation of Alcandre-the writer and Pridament-the audience which encloses every act of the play. And the concept is identical with the one Corneille would formulate in ‘examen’ of Melite of 1660. In this way, Corneille justifies the realistic approach of his early comedies with a most baroque appearance.
L'Illusion comique is thus at once a theory of play and a conclusion of a research on humanity which his early comedies pursued through various adventures of love. A concern about love is a concern about relationship. A concern about relationship is a concern about "self." The cornellian self who is innately proud attempts to find in love the justification of its pride. But the unpredictabilities of love lead the characters in the opposite direction. Love is dangerous. It is sometimes even fatal. The hero of L'Illusion comique is assassinated by his opponent. L'Illusion comique as the concluding piece of Corneille's early comedies completes his pessimism about human relationship. If salvation (self-justification) cannot be found in horizontal relationships, something vertical or transcendental is necessary. Thus Corneille enters the era of tragedy.
목차
Abstract
Ⅰ. 서론
Ⅱ. 인물들
Ⅲ. 극행동
Ⅳ. 결론
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