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이경식 ( Kyung Shik Lee ) 서울대학교 인문학연구원 1999 人文論叢 Vol.42 No.-
It is difficult to think of any Shakespearean play which does not reflect one way or another popular beliefs and superstitions of his day regarding such supernatural elements as ghosts (spirits), fairies, and witches. But R3, MND, JC, Hamlet, Macbeth and Tempest are, among others, the plays whose supernatural elements play a very prominent part with their participation in and influence upon their plot and action. The present article aims at introducing spiritualism or popular superstitions, supernatural and astrological, that were current in the 16th and 17th centuries in general and in Elizabethan and Jacobean England in particular by way of providing a background knowledge of Shakespeare. For this purpose have been discussed somewhat in detail four representative source-books which include Lavater`s De Spectris (1572; R. H.`s English translation, Of Ghostes and Spirites Walking by Nyght, 1572), Scot`s Discouerie of Witchcraft (1584), Le Loyer`s IIII Livres de Spectres ou Apparitions et Visions d`Esprits (1586; Z. Jones`s English translation, A Treatise of Specters or straunge lights, Visions, and Apparitions appearing sensibly vnto men, 1605, includes BK I only), King James`s Daemonologie (1597) and ``Discourse vpon Diuels and Spirits`` added to Scot`s 1665 edition of The Discouerie of Witchcraft. Both books by Lavater and Le Loyer which represent respectively the then Protestant and Catholic views of ghosts together with the ``Discourse vpon Diuels and Spirits`` have much bearing on Shakespeare`s ghosts in general and King Hamlet`s ghost in particular, and both books by Scot and King James on Shakespeare`s witches and witchcraft in general and Macbeth`s witches in particular. In a nutshell, Catholic Church embraced the then ghost-belief that the ghost of the departed could return to earth from the Purgatory to visit his family and friends with various intents, whereas the Protestants who rejected the existence of the purgatory did not believe in such a ghost unless it was a devil which could assume whatever shape it pleased to do harm. Scot was sceptical about the existence of witches and witchcraft and therefore did not approve of the indiscriminate witch-hunting and severe punishment of witches, but King James was a firm believer not only in their existence but also their harmful ways and evil practices, and as a result he did what he could to arrest alleged witches and to punish them. Shakespeare was not the only playwright who utilized the supernatural elements and superstitious traditional beliefs for his plays, but the only one who made use of them in such a way that the supernatural elements like fairies, ghosts and witches played a very vital role and influenced the plot and action of the play. Hamlet without King Hamlet`s ghost, Macbeth without the Weird Sisters, and MND and Tempest without their fairies would simply be inconceivable. It is no wonder that his plays are often called rich source-books for folk-lore. In conclusion, Shakespeare`s creative use of the supernatural elements and traditional popular beliefs achieved the maximum dramatic effect, thus demonstrating Shakespeare`s excellence as a playwright.
이경식 ( Kyung Shik Lee ) 서울대학교 인문학연구원 1981 人文論叢 Vol.6 No.-
There are two main origins of textual errors in early quartos and the First Folio of Shakespeare: scribes and printing houses. To discover these two kinds of errors and to remove them is to establish Shakespeare`s text. What I propose to do in this writing is to discuss (1) origins of textual errors and corruptions, (2) some principles and means for correcting these errors and corruptions, (3) analytical bibliography and its contributions to the establishment of Shakespeare``s text, and (4) some important practices of 16th-and 17th-century English printing houses which have important bearings on the transmission of Shakespeare`s text such as stop-press correction and casting-off copy. Two things are suggested as means to correct textual errors and corruptions. One is documentary evidence which is given by the equally authoritative corresponding text, and the other emendation. Documentary evidence enables us to substitute authorial readings whereas emendation aims at substituting readings as close to inferential authorial readings as possible. It is extremely difficult to produce good emendations. Greg`s warning can serve to prevent bad emendations from being produced: ``no emendation can be, or ought to be, considered in vacuo, but that criticism must always proceed in relation to what we know, or what we surmise, respecting the history of the text.`` Analytical bibliography is an indispensable tool of textual criticism; i.e. the task of establishing Shakespeare`s text. By analysing books as material objects, it seeks to discover all the demonstrable truths about the transmission of texts and about every process of bookmaking from papermaking to human agents involved like compositors, press-correctors, press-men, and bookbinders. The finest triumph that analytical bibliography has so far achieved is the demonstration that six compositors worked for the First Folio of Shakespeare and which part each of them undertook, thus revealing spelling-preferences or habits and reliability of each of them. Compositor B, for instance, introduced a new error in every 15 or 16 lines he composed. This means we can emend him more freely than Compositor A who made an error in every 80 lines. In conclusion, there is no denying that analytical bibliography is indispensable for the task of establishing literary texts in general and Shakespeare`s text in particular.