나함 테이트의 『리차드 2세』 각색본의 재평가: 작가의 의도와 해석의 거리

공성욱 한국고전중세르네상스영문학회 2009 중세근세영문학 Vol.19 No.2

The idea of this study arose from the dramatic history of Nahum Tate’s Richard II, adapted from Shakespeare in 1680 and doomed to be banned, in its third performance, by the political authority. The ban puzzled and angered Tate to no end. I therefore set the objective of this paper to research how and why Tate changed the original into his new version, through which I try to find his intention and provide a new perspective on the evaluation of this play. Many critics agree that among Shakespeare’s 10 histories Richard II is the most problematic that treats all the sensitive episodes regicide, treason, dethronement which history play may cover. Also this play, from Shakespearean(Elizabethan) Age to the present has been interpreted mainly in political point of view that shows much coincidence with the social and political environment of the age Tate decided to adapt the original. Tate’s contemporaries wished to keep the stability in their nation in political and social aspects and have a fear to return to the destructive and dark experiences of the past Puritan revolutionary government and Interregnum. With this social and general wish and agreement, the political authority, as a judge of the play under the name of censorship, regards Tate’s as a potentially inflammatory material because it decided that the themes this play treats show much resemblance to the problematic political current of the Stuart kingship with religious conflict between Catholic and English Protestant. But Tate, in Richard II, as a faithful royalist dramatist who supports the Torian spirit, while Shakespeare keeps silent and doesn’t take any side between Richard and Bolingbroke, clearly evaluates the two antipodic powers Richard as a moral being and the rightful successor of the kingship with an attractive colors and Bullingbrook, with a dark shadow, as destructive and cunning traitor. In his epistle in printed version, in 1681 of Richard II, Tate reveals his intention above mentioned to enlighten the people of the age confidently and clearly and his resentment for the negative judgment on his play also.

Shakespeare의 The Rape of Lucrce의 재평가 : 기존 비평의 양상과 새로운 가능성

공성욱 연세대학교 영어영문학회 1988 영어영문학연구 Vol.10 No.-

이 글의 목적은 Shakespeare의 dramatic, narrative poem 중에서 Venus and Adonis보다도 비교적 열등한 취급을 받아 온 The Rape of Lucrece를 재평가해 보는데 있다. 이 글을 통해 Shakespeare의 minor works에 대한 관심의 폭을 넓히자는 것이 필자의 의도인 것이다.

세익스피어의 Richard Ⅱ : '말'에 대한 Metadrama적 접근

공성욱 연세대학교 영어영문학회 1989 영어영문학연구 Vol.11 No.-

Elizabeth 여왕의 치세기간을 영국의 르네상스기 라고 부르는 이유는 이 당시 인간의 삶을 지배하던 제 상황들이 그 이전 유럽에서 일어났던 르네상스기의 그것들과 비교해 볼 때 많은 공통점을 가지고 있기 때문이다. 이 공통점들은 두엇보다도 모든 지식을 신 중심이 아닌 인간 중심으로 파악하고, 구현하려는 노력을 통하여 인간능력에 대한 신뢰를 회복하려했었다는 말로 총화될 수 있을 것이다. 즉 중세처럼 관념적이고 막연히 공중에 떠있는 지식이 아닌 우리의 삶의 현장, 땅의 차원으로 내린 지식을 추구하므로서 인간 능력에 대한 낙관적인 vision을 제시해 보려는 노력이었다. 이런 르네상스 정신은 Elizabeth 시대에 와서 영국적인 변용을 거쳐 수용되었다. 현실적 실천윤리의 차원에서 지식을 사용하므로서 인간성을 회복하려는 영국인들은 이 목적을 위하여 교육의 중요성을 인식하게 되었고, 구체적 수단으로서 그들은 교육의 도구로서의 문학의 역할을 생각하게 되었다. 교육의 도구로서의 문학에 대한 인식은 문학을 이루는 기본 요소인 말, 언어에 대한 관심으로 이어졌는데, 당대인들에게서 말의 힘에 대한 의식이 어느 정도였던가는 이 문제가 당시 그들이 펼친 문학이론의 주종을 이루고 있었음을 감안해 본다면 쉽게 짐작이 간다. 당시에 널리 퍼진 이런 인식을 Mahood는 다음과 같이 말해주고 있다. To doubt the real relationship between name and nominee, between a word and the thing it signified, was to shake the whole structure of Elizabethan thought and society. 말의 힘에 대한 인식은 수사학(Rhetoric)으로 정립되었는데 당대인들은 이 능력에 따라 인간의 희 · 비가 결정될 수도 있다고 생각한 듯하다. 가령 Puttenham은 The Arte of English Poesie 에서 말의 힘을 권력 유지의 수단으로까지 생각할 정도였음을 알 수 있다.

세네카와 르네상스 영국극

공성욱 연세대학교 영어영문학과 1983 영어영문학연구 Vol.7 No.-

Chaucer의 The Parlement of Foules의 해석 : 구조와 주제를 중심으로

공성욱 연세대학교 영어영문학회 1985 영어영문학연구 Vol.9 No.-

이상에서 The Parlement of Foules의 구조를 살펴 보았다. 무엇보다도 작가가 각부분의 서술방식을 달리 취했다는 것이 주목되고 있다. Chaucer는 분명히 이작품의 구성을 의식하고 있었음이 틀림없다. 그는 이런 다양성을 통하여 서로 비교해 될 수 있는 여지를 우리에게 남기고 있고, 이로인해 오히려 도를 정확히 전달시킬 수 있었던 것이다. Prelude는 전형적인 moral voice로 전개되며 인간이 가장 이상적으로 추구해야 될 사랑이 있는 곳이다. 이에반해 마지막 Parlement는 대우 소란스럽고 불협화음이 난무하는 세속적 상황으로 묘사됨으로서 앞선 Prelude와 극한 대조를 이루고 있다. Finally, there is an important contrast between the certainty and order of the moral universe and the uncertainty and anarchy of the universe of love.5) 중간의 Garden은 종래의 목가적, 이상향이 아닌 비극의 잠재성이 항시 존재하는 장소로서 한층더 인간적으로 묘사되어 있다. 그리고 Prelude에서 Garden을 거쳐 Parlement로 갈수록 점점더 세속적이고 부조화스러움을 더해 간다. 그리고 Chaucer 자신은 이 이야기를 접함에 있어 객관적 태도를 견지하므로서 우리에게 한층더 넓고 깊은 생각의 여지를 남겨두고 있는 것이다. This withdrawal of the narrator from love constitutes not merely……., but it allows him(Chaucer) increasingly his own ironic and realistic comment on the fashionable subject.6) Chaucer는 천상의 모습만큼이나 이 현세적인 모습에도 애착을 가지고 있다. 그는 이 작품속에서 자기자신 역시 관객의 입장이되어 충분히 즐기고 있는 것이다.어쨌든 이 작품은 구조와 주제가 작가의 의식적인 계획하에 잘 연관지어진 작품이다.

<리버틴>을 통해 본 왕정복고 시대 문학의 한 풍토 —찰스 2세 vs 로체스터백작, 존 윌못—

공성욱 한국중세근세영문학회 2011 고전·르네상스 영문학 Vol.20 No.2

The objective of this paper is to interpret the movie Libertine as a useful reference or text for understanding a literary milieu of the English Restoration period. Compared with a number of movies that cover other English historical period, the movie that covers the English Restoration period is relatively not easy to find, which is much commensurated with the number and interest on literary study of that period. Libertine describes the conflict between Charles II and his favorite subject John Wilmot, the 2nd Earl of Rochester as a main story. And both of them are called libertine rakes. They are indulged in drinking, sex, and all types of immoral/amoral activities. But through their behavior, we can read the three main points that depict the literary milieu of the time: Firstly, we understand the Restoration period as the happy period after the oppressive Puritan ruling. But on the contrary, we can find the political and religious turbulence that lead many satire and immoral literary works on a certain person or a political situation. Secondly, we can see the modern types of theatre mechanism—especially the appearance of the actresses and episodes on the relation between the best actress of the time, Elizabeth Barry and Rochester. And thirdly, through Rochester’s poems that are written for mocking Charles and the established institutions including church and the nature of man, we can read what Rochester really intends. Until now his poems have been condemned as anarchic and profane by the moralists. Critics have read and evaluated his poems with the moralistic view. But nowaday they are viewed through another perspective that, with sarcasm and satire, shows, the severe alert for political and religious world of the time. With a mask of rake underlies his poem he unfolds his intention for changing the world. The objective of this paper is to interpret the movie Libertine as a useful reference or text for understanding a literary milieu of the English Restoration period. Compared with a number of movies that cover other English historical period, the movie that covers the English Restoration period is relatively not easy to find, which is much commensurated with the number and interest on literary study of that period. Libertine describes the conflict between Charles II and his favorite subject John Wilmot, the 2nd Earl of Rochester as a main story. And both of them are called libertine rakes. They are indulged in drinking, sex, and all types of immoral/amoral activities. But through their behavior, we can read the three main points that depict the literary milieu of the time: Firstly, we understand the Restoration period as the happy period after the oppressive Puritan ruling. But on the contrary, we can find the political and religious turbulence that lead many satire and immoral literary works on a certain person or a political situation. Secondly, we can see the modern types of theatre mechanism—especially the appearance of the actresses and episodes on the relation between the best actress of the time, Elizabeth Barry and Rochester. And thirdly, through Rochester’s poems that are written for mocking Charles and the established institutions including church and the nature of man, we can read what Rochester really intends. Until now his poems have been condemned as anarchic and profane by the moralists. Critics have read and evaluated his poems with the moralistic view. But nowaday they are viewed through another perspective that, with sarcasm and satire, shows, the severe alert for political and religious world of the time. With a mask of rake underlies his poem he unfolds his intention for changing the world.

셰익스피어 소네트 연구 : 시의 주제와 형식에 대한 작가의 자의식

孔盛煜 한국영어영문학회 1997 영어 영문학 Vol.43 No.2

트로일루스와 크리세이드 :운명 을 대하는 초서의 태도

공성욱 한국중세근세영문학회 2005 고전·르네상스 영문학 Vol.14 No.2

예술작품을 활용한 문학교육: 고전영문학강의의 한 사례

공성욱 한국중세근세영문학회 2006 고전·르네상스 영문학 Vol.15 No.2

Sung-Uk KongIn world-wide perspective teaching the classical literature is much harder nowadays. Most students surrounded by the digital and visualized materials show no interest on the word on the page anymore. This trend inevitably leaves us the sincere study on the pedagogical method on teaching the classical literature.In this paper I try to show my personal experience on teaching the English classical literature using the pictures and the architectures represented the western Medieval and Renaissance periods.The visual materials such as pictures and architectures are relatively easier than writing materials in understanding, and they also reflect the Zeitgeist of the day like most literary works. They also share the same Zeitgeist irrespective of the form and style. Therefore reading and understanding the visual materials give the basic and objective concepts to interpret the literary works of the day relatively without toil.The general knowledge on the differences between the Medieval and the Renaissance in arts(visual materials) can be extended to those of the literary works of the period, which most students unwillingly try to study nowadays. But this attempt, by my personal experience and judgment, provides professors who are destined to teach the English classical literature with the most effective way to fulfill their objectives.

『아테네의 타이먼』(Timon of Athens)의 처음과 끝 —타이먼의 예술가로의 변화—

공성욱 한국중세근세영문학회 2010 고전·르네상스 영문학 Vol.19 No.2

The objective of this paper is to interpret Shakespeare’s Timon of Athens with metadramatic perspective. This play has been interpreted as an unfinished and furthermore doubted as a work of not Shakespeare’s own writing. Also this play, in fact, seen by the traditional critical perspective, shows so many faults on structure and character development that many critics lose their interests to research on it. Compared with other plays, this work, also, is not continuously and frequently performed on the stage. But, from Ellis-Fermor on, by some, there seem to be suggested another critical eyes on this play---they evaluate it as an experimental work of new structure and new theme intended by Shakespeare. But they may not show the clear and full textual evidence on their new perspectives. I, in this paper, try to show one of the newly suggested critical points on this play as a metadrama attempted by Shakespeare. To begin with, poet and painter, without proper names, appear symmetrically balanced in the structure of the play. And they seem to reveal the generally accepted art theory in Renaissance period that artists of the time, including Shakespeare, fully know. Timon himself shows the two extremely opposite characters in the beginning and the last of the play. To him money and gold are the best means to create respect and admiration by surroundings. Money and gold represent, in some senses, a real imaginative power to Timon. But he has no ability to use this imagination wisely and moderately on the man and situation he faces. Contrarily, he becomes the victim of his imagination by others. He becomes the object to be watched by others. In the last scene he comes to know the evil nature of man and money, through which he accepts his own fault to the world. He, as a mature artist, uses his imagination wisely and creates his own work through the monetary support to Alcibiades. Timon’s sacrifice contributes to restore the broken order of Athens and Athenians. After his suffering process to learn how to use imagination properly he becomes the real artist who can make the work of his own as he wishes.