르네상스 궁정과 르네상스 휴머니즘 : Love's Labor's Lost 연구 Humanism -Love's Labor's Lost- = Renaissance Court and Renaissance

다국어 초록 (Multilingual Abstract)

This paper attempts to revaluate Love's Labour Lost as a social satire. Love's Labour Lost touches upon one of the cardinal problems of the epoch by satiring the attempt of the renaissance courtier to appropriate humansim and turn it into a bubble of abstract hedonism. For this, Love's Labour Lost begins with Navarre court that has, for the purpose of self-ornamentation, declared itself an academy. But the idea of immortal Academy is at the very outset too unrealistic for them to follow. In navarre court the role of new learning is only to improvise and the individual's identity lay lost beyond all individual control. And to this young buoyant courtiers life seems to be a language game he is confident he can win. Thus they find soon a good excuse of the force of love to disclaim the idea of lenten Academy. But their apparent conversion is at bottom a pseudo-conversion, the exchange of one pretentious fiction for another.
The satire on the buoyant court life is rendered mainly by the social tensions between the court and country. Country people's imitation of court life shows that they already relish the cultural renaissance of their century. But in their imitation we seen an unconscious parody of all that we have seen at court. They are not simply ridiculous; they also have qualities that draw out the limitations of court.
Finally 'love's labour's are lost' and the play does not conclude with marriages. It is an approrpiate comic justice for the failure of the male characters to recognize that love is not wooing games or talk. sensing that the men are not quite ready for grown-up reality, whichi in Elizabethan comedy means married love, the women, demand a year of separation with appointed tasks for their lovers before marriage can take place. The final songs that substitute marriage ceremony exhort them to make a choice that seems responsible, mature. With double vision of human mature ti also suggests that they accept a lenten self-discipline, forsaking play, embracing acquaintance with suffering and death. In conclusion the perspective established by the final songs enables us to see all those same necessities of courtly life as themselves provisional.

목차 (Table of Contents)

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