Twelfth Night: 해학과 풍자(humor and satire)

최영주 한양대학교 셰익스피어 연구회 1996 The Hanyang Shakespeare Studies Vol.5 No.-

It has been pointed out that most of Ben Jonson's comedies retain "realistic" and "satiric" aspects whereas Shakespeare's comedies are "romantic" and "humorous" in plot and atmosphere. However, a closer examination shows thatm although tone and mood are different from those of Jonson, Shakespeare also deals with as much realistic and sariric scenes as Ben Ionson does. In this scenes on society, religion, and sexual desire. Therefore, the purpose of this study is to examine these satiric aspects and to appreciate the dramatic interest. First of all, Malvolio scenes seem to contain much of socio-religious satiric mood in that in appearance Malvolio looks a Puritian-like figure and retains a strict steward-image, but in reality heis a foolish figure who shows his incongruous desire to be a Malvolio Count by marrying Olivia. After all, he turns out to be a self-respected comic figure who foolishly tries to obtain high social status. Shakespeare seems to satirize here his contemporary religious or Puritan-like people who a pious in appearance but gluttonous in reality. Second, not to mention Titania-Bottom scene in A Midsummer Night's Dream, here in this comedy Shakespeare cleary satirizes th deeper layers of human beings, especially instinctual or sexual desires which are easily aroused by the disguised appearance. The lovers such as Olivia and Orsino are easily deceived by the trickster figure Viola-an illusion-who is a man only in appearance but a woman in reality. The lovers here seem to be satirized as fools who fantastically follow illusions of love and do not catch their real sexual partners. In conclusion, however, compared with those of Ben Jonson, Shakespeare's satiric scenes are a kind of mixture of humor and satire in that the characters' foolish actions or follies are comically satirized but they are never exposed to severe penalties. In these respects, Shakespeare's satire is warmer and more humorous than Jonson's.

The White Devil에 나타난 Flamineo의 동기 연구

이경호 한양대학교 셰익스피어 연구회 1995 The Hanyang Shakespeare Studies Vol.4 No.-

The world which Webster depicts in his plays lacks a clearly defined moral center, a world in which the old values have grown decadent. Those who live in that world cannot find any moral standards to lead their own lives and the only strengths and positive values they can find are within themselves. Therefore, it is the inevitable fact that their individual values come into conflicts with the old ones. In The White Devil, Flamineo is sure that Machiavellian policy is the best value in the chaotic society. He is prepared to make great sacrifices for material and social success. He sacrifices his kinship with all his family members for his own success. In fact he is a pander who sells his sister to the Duke, a killer who kills his brother, and a destroyer who ruins his family. He is, literally, a villain and a devil. However, his action should not be judged by the traditional moral concepts. What makes the characters of Webester alive and vivid is the integrity of life, which is the only criterion of ethical judgement in the play. It cannot be said that Falmineo does not feel the guilty conscience and guilty consciousness because he is merciless, cruel, and cold. Probably it is correct to infer that such emotions cannot be exposed for the reason that his material aspire is more powerful relatively. Anyway, what is the most important is the fact that Flamineo does not abandon himself to the fate in despair and frustration, and that he shows the affection for his life. Thus, it is natural that Flamineo, so lacking in sympathy, can in any measure arouse the sympathy of audience.

Hamlet에 나타난 플롯과 갈등 구조의 연구

신영수 한양대학교 셰익스피어 연구회 1996 The Hanyang Shakespeare Studies Vol.5 No.-

When we approach a shakespearean play it is necessary to study the plot-line of each work because such an investigation helps audience or readers have interests in the play and understand it deeply by revealing how seemingly meaningless episodes are logically related to the general organization. Especially such a study is useful for a complicated work like Hamlet in which classical three unities are almost ignored with multiple stories and rapidly changing scenes. For the purpose of satisfying such demands, main plot dealing with the relation between Claudius and Hamlet must be considered in the first place. The conflict between hero and his uncle caused by the Ghost's revelation of murder is preserved through the whole play in tension and balance, in spite of several reversals. comic scenes taking place in Polonius' house, by showing Polonius who sends Reynold to watch Laertes, give keys to realizing the reason why Claudius sends his close people including Rosencrantz, Guildenstern, Ophelia and even Gertrude to Hamlet. Other sub-plots such as the relations of Gertrude-Hamlet, Fortinbras-Claudius, and Hamlet-Polonius family contribute to increasing tension of the play. Three young men's revenge stories which have been accomplishing according to each's different cause are all completed and unified into one order-rearranging process in catastrophe. Gave diggers' talks and players' episode also get some meanings by virtue of author's effort to attract as much audience's attention as possible. Shakespeare's ripeness as a dramatist can be seen in plotting ability, dealing with complicated events without losing unity, and preserving balance and the consistence of characters and actions.

Henry IV(Ⅰ-Ⅱ):계절의 순환 이미져리에서 나타나는 셰익스피어의 역사의식(Ⅰ)

李大錫 한양대학교 셰익스피어 연구회 1991 The Hanyang Shakespeare Studies Vol.1 No.-

This paper suggests that Shakespeare's sense of history or time is clearly seen through the natural or seasonal cycle-images embodied in his history plays. In this paper, however, I analyze Henry Ⅳ (Ⅰ-Ⅱ) in terms of natural cycle images in association with Shakespeare's sense of time or history. Shakespeare basically uses the natural periodicity as the symbolic images which are connected with the human society or history since in human world there are social or political cycles similar to those of the natural world. Just as the natural world shows its violence, cruelty and disorder as well as peaceful seasonal cycle, so does the human society in that there occur social disorders and cruel political cycles. Through Shakespeare's treatment of English history, we can see apparently that on the one hand history moves up and down or back and forth repeatedly, and on the other hand it movesirregularly in disturbances. These images show the dramatist's sense of history that history repeats its cruel cycle especially in the cases of Richard and Bolingbroke in Richard Ⅱ and Henry Ⅳ and his rebellious political leaders in the first and second parts of Henry Ⅳ. Shakespeare's sense of history seems to show that while history basically repeats its cycle as in the classical concept of history, it moves forwards, free from its cruel cycle. In this sense, Shakespeare's sense of history includes most of modern ideas of history: cyclical and linear sense of history.

Hamlet의 原型과 그 理代的 變容의 位相 : Hamlet Archetype의 의미와 EliotㆍFaulkner문학에서의 變形的 受容

朴善夫 한양대학교 셰익스피어 연구회 1991 The Hanyang Shakespeare Studies Vol.1 No.-

The Hamlet prototype is slightly differentiated in plays by the variation of authors including the Greek (Aeschylus, Euripides, and Sophocles) and the European writers. Orestes is portraved as performing his revenge on his father's murderer less actively than his sister Electra. Hamlet is attempting at the same time to avenge his father's death on his uncle and to seek significance and justice, with his vicinitty enviorned by his mother, uncle, lover and friends, not always cooperative and helpful. Another Hamlet prototype, Amelthus, derived from Saxo Grammaticus' Danish Historica, is structurally differentiated as the Horatio (Horambis) is not the friend but the twin brother of the protagonist. With all these variations the basical narrative pattern of the Hamlet tradition is constant. As for the modern literature, modernists often mistakenly regards the Hamlet prototype as farfetched from the classical archetype in both structure and character. In ancient times they did not simply consider as an evil act a vengeance of doing to its harmer the same harm done to himself or his relative. For ancient people vengeance was the original recovery of the violated justice, the sound and virtuous act of doing justice. Naturally they regarded the performance of vengeance to revenge his father's murder as that of value and justice, seeing that they considered a vengeance as a creative positive virtue. Now the vengeance has lost its old significance as an act of doing justice or creating a valuable virtue. Modern literay protagonists have been internalized, sophisticated, and perverted. Old Don Quixte's and picaroes have been now cultivated and refined: they enjoy not so much activity as sophistication, not so much fensing as speculation, not so much explicit experience as implicit monologue. Hamlet, often active and vivid, who once defied his friend's persuasion not to follow the ghost, has now shrunk himself into either the internalized negative Quentin Compson or the incapable idiot Benjy. The same may be true of Faulkner's protagonists: Joe Christmas as a tragic hero seeking for his identity all through his life and Ike McCaslin trained in the waste bush and carrying the Bear's ideal in his young heart and mind. Eliot has also successfully drawn Gerontion as another Hamlet prototype, together with other heroes; Prufrock, Fisher King, Sweeney, etc. They implicitly identify themselves as intelligent orphans, and vigilantly keep the dry barren horizon of the 20th century literature.

The Tempest에서의 꿈과 현실

安炳大 한양대학교 셰익스피어 연구회 1992 The Hanyang Shakespeare Studies Vol.2 No.-

Shakespeare's comedies and remances have a common structural pattern with regard to setting as well as plot. The pattern in terms of plot begins with an anticomic society governed by an irrational law, develops into confusion that temporarily loses identity, and finally forms the new society representing the discovery of identity and a festive conclusion. The pattern of setting is that of movement from normal world to green world and back to normal world. These patterns are both associated with the movement from reality to illusion and back to reality, for the loss of identity and the journey to a green world belong to the world of illusion. In this sense, an important structural pattern in The Tempest which deserves sttention is that of conflict and confrontation between reality and illusion. The green world in The Tempest furnishes the setting for the entire play. Here the world of imagination or dreams becomes indistinguishable from that of experience. Prospero as a creator and manipulator of illusion is not so much a magician in essence as a maker, an artist whose medium is the imaginary, and a poet who reveals truth through illusion. He also plays a role of a playwright and stage manager of a series of plays-within-the play performed by Ariel. The actors in Prospero's drama of illusion are divided into three main groups: the Courtiers, the fools, and the young lovers. Prospero's project is to purge the evil from them and restore them to goodness. Prospero thus creates three important illusions to the court patry: the belief that Ferdinand has drowned in the shipwreck, the device that the real attempt of Antonio and Sebastian becomes illusion, and the vision of the disappearing banquet. The search of the fools for Prospero is also misled by illusions. On the contrary, Miranda and Ferdinand meet in the green world, fall in love, and progress from their initial infatuation to a mature love. However Prospero's illusion drama, as Antonio and Sebastian exhibit neither remorse nor contribution, has proved a partial failure; it cannot endure in the presence of a harsh reality of disorder when the nuptial masque becomes a “vanity.”(Ⅳ.ⅰ.41) Now he rejects his “rough magic”(Ⅴ.ⅰ.50), and he draws aside the curtain to reveal the young lovers at play, which offers “a most high miracle”(Ⅴ.ⅰ.177) to the onstage characters. All the characters, then, find themselves not through supernatural visions, but through what they actually are.

아리스토파네스의 Lisistrata와 셰익스피어의 Twelfth Night : 사랑의 동기와 Folly and Madness 이미져리 Love-motifs and Folly and Madness Images

이대석 한양대학교 셰익스피어 연구회 1993 The Hanyang Shakespeare Studies Vol.3 No.-

This paper suggests that, in spite of the apparent differences in period, theme and dramatic device, Aristophnes's Lysistrata and Shakespeare's Twelfth Night resemble each other in that love-motifs drive the characters into "folly and madness" and these features make the plays comic. Therefore, the purpose of this study is to seek the love-motifs and folly/madness images, and to compare them on the basis of Sussane Langer's theory of " The Comic Rhytmn." First of all, the love-motifs seem to determine the main structural patterns of the two plays. Though Lysistrata is Aristophanes's "firm protest against the continuance of the Peloponnesian War'" the dominant impression if "an easy laughing awareness of the habits, penchants, and instincts of women" which almost nullifies Lysistrata's antimilitary campaign; the physiscal or instictual realities of male characters' unsatisfied sewual desire; and the human flaws resulting from them. Though Twelfth Night opens with melancholic, moody speech of Orsino, the general atmosphere is a festive mood; and the essential determinant of the structural pattern seens to be the " spirit of love" or " the oceanic Illyrian eros." In this comedy, the references to "folly" occur more than twenty times chiefly from Act I, scene ⅱ to Act Ⅲ, scene ⅰ in variegated form; and the references to "madness" are seem more than thirty times mainly in the latter part of the play (Ⅲ. ⅲ. -Ⅴ. ⅰ) in various contexts. In Lysisterata, we cannot trace and direct reference to folly and madness, but the utterances of chief charcters show apparently their foolish or mad physical reactions resulting from unsatisfied sexual desire. Briefly, despite their differences in various dramatic elements, these two comedies seem to retain a similar structural pattern to each other in that love-motifs drive the chracters into the comic action of "folly and madness."

외관과 실재의 차이 : Othello에 있어서 칼라(색)의 패러독스

黃鎬文 한양대학교 셰익스피어 연구회 1992 The Hanyang Shakespeare Studies Vol.2 No.-

One of Shakespeare's principal obsessive themes is the difference or contrast between the outward and the inward, between what man pretends to be and what he really is, between the appearance of things and the reality of them. It is one of the dominant themes in Othello, and a dramatically important theme. For Othello is a black Moor in the white society of Venice. On stage, Othello's blackness is a constant visual element of the play. Conventionally black is associated with evil and is a symbol of lechery, whereas its opposite, white, stands for purity and goodness. “In traditional Greek mythology”, Holland points out, “the black man would stand for the forces of death or winter and the white man for spring and rebirth.”But the colours are reversed in Othello. In the first scene of the play, while he is absent on stage, Othello is referred to as the ‘Moor’, the ‘old black ram’and the ‘Barbary horse’by the white men-Iago and Roderigo. Othello's stereotyped lasciviousness is intensified by a series of bestial associations. In the second scene, in which Othello appears, we see a man who is the exact opposite of the stereotype, not an animal but a noble human being. In appearance, Othello has the blackness of evil, while Iago has the whiteness of goodness and virtue. In reality, it is not the black Othello who is the instigator of evil or the agent of destruction, but the white Iago. This is the colour paradox on which the play is constructed. Othello seems to be a black devil in appearance, but he is a noble Moor with the white soul.

King Lear : 역설의 이야기

황호문 한양대학교 셰익스피어 연구회 1998 The Hanyang Shakespeare Studies Vol.6 No.-

This study aims at examining the paradoxical theme in King Lear through sight-blindness imagery and relating it to the progress of the redemption of Lear and Gloucester. King Lear is a tale of physical and mental blindness. At the beginning of the play, lear loses his reason with anger and despair. In his madness and through madness, he becomes wiser and eventually has learned to "see better". He reaches his final insight in order to "see" his true daughter, Coredelia. Gloucester loses his actual sight with his spiritual blindness. Paradoxically he "sees" more clearly when he is blinded. After being blinded, he immediately "sees" the reality of Edgar, and confesses "I stumbled when I saw." This is the paradoxiacal theme of the play, and it is reinforced effectively by sight-blindness imagery which is closely connected with the tightly-knit structure from the beginning of the play to the end.

The Comedy of Errors연구

黃鎬文 한양대학교 셰익스피어 연구회 1991 The Hanyang Shakespeare Studies Vol.1 No.-

The purpose of this essay is to examine the structural pattern and theme of The Comedy of Errors, based on the cycle of nature (the myth of rebirth). The play is substantially based on the cycle of nature with pattern of separation and union. The main action of this play takes place in the world of separation-chaos and illusion, moving toward the world of union-harmony and order. Through family separation after shipwreck in a storm, Egeon's death-sentence and two identical twins' wandering in the illusionary world, the play ends with all the family reunited and Egeon released from the death-sentence. In the final scene, all the characters gather on the stage and they meet the two identical twins. Emilia's appearance in the role of wife and mother and her explanation of the situation are very significant in the theme of rebirth and family reunion. The riddle of mistaken identity is solved. Egeon is reborn and regains his new life with his wife Emilia from the death-sentence. Antipholus of Syracuse, with his man Dromio, after wandering in an illusionary and death-like world to search for his identity, at last finds his real identity. Also, Antipholus of Ephesus is to be reunited with his wife and they are to be in good garmony. The wheel has come ‘full circle’: spring has come on the stage.