RISS 검색 - 국내학술지논문 상세보기

다국어 초록 (Multilingual Abstract)

Elizabethan revenge plays center upon their dramatic plots (rather than upon their themes or characters) because the actions of revenge within them are their most identifying element. Therefore, all sorts of cruel actions prevail within Elizabethan revenge tragedies. Theatergoers of the period liked plays full of atrocities; indeed, the more eccentric the means of revenge were in a play, the more esteemed that play was typically held to be in the minds of the spectators.
This paper presents analyses of selected representative Elizabethan and Shakespearean revenge plays, drawing upon the typical pattern of revenge present in the dramatic works of Thomas Kyd, Christopher Marlowe, John Webster, and Cyril Tourneur. As concerns Shakespearean plays, the paper focuses upon revenge patterns presented in Titus Andronicus, Romeo and Juliet, Julius Caesar, Hamlet, Othello, Antony and Cleopatra, and Coriolanus.
Specifically, the study considers various revenge patterns found in Shakespeare's works, ranging from the pattern of personal injury, the most primitive revenge motive, to providentia or public cause, as made clear in by the protagonist's actions in Othello. He murders his wife not out of a sense of personal injury but as arising out of his belief in justice. Conversely, his nemesis, Iago, does not have any plausible public cause for his malignant action towards Othello. His actions are based within perceived personal injuries committed against him by Othello, a reason so groundless that Coleridge famously defined Iago's character as displaying a "motive hunting of motiveless malignity." Another revenge pattern is revealed in Hamlet, founded as it is upon the "classical" plot of avenging the death of the father, which is extended in many Elizabethan and Shakespearean plays to include revenge for familial injuries. Finally, the paper concludes with a consideration of political revenge as a motive in Elizabethan and Shakespearean plays, the best examples being seen in Julius Caesar and Coriolanus.

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