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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2000.9
- 수록면
- 407 - 435 (29page)
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Unlike Shakespeare's earlier romantic comedies, Twelfth Night .is regarded as a work bidding a farewell to the genre of romantic comedy, The critics point out that they hear the dying tone of the comic spirit with Malvolio's oath of revenge. His prominent anticarnival and anti festival stance serves to threaten the happy ending of this play. In this play, festivity is not in relation with pastoral because the background of this play is isolated and static Illyria, the island, surrounded by the cruel sea and is ruled by the aristocrats who are likewise isolated and indulged in excessive pleasure and unfulfilled desire. Therefore they all suffer from the ennui. And the feast in which they are involved seems to undercut the real value and meaning of the festival.
This condition finds its cue of escape with the advent of agile and flexible Viola rescued from the sea. However, as she decides to disguise herself as a eunuch, the blurring of her sexual difference stimulates desire from both sexes and complicates sexual desire. The confusion of sexual identity is intensified and resolved by the appearance of her twin brother Sebastian. Thus, Viola's disguise provokes distorted desire but does not serve to expand her personality or to release her sexuality that can be seen in the context of carnival but functions to restrict and confuse her sexual and class identity.
This play also dramatizes the class ideology through women who, though servants, are as capable as their male masters, and who rise out of their role as servants to become their master's partners. In the play, both men and women are pursuing the social advancement through serving or marrying the upper class. Therefore, this play seems to be more open to class division and social mobility. However, this play decidedly discriminates between the achievement of the
women by enabling them to achieve marriage with their betters and the failure of the men by suddenly containing the subversive, overreaching desire of the lower class. Therefore this play correlates the anxieties about the fluid social relations with gender relations and dramatizes the aristocratic ideology.
Although this play recognizes the possibility and the necessity of the desirable community and new order, its vision of reality casts the dark shadow of pessimism. The playwright's skeptic vision is reinforced by Feste the fool, the incarnation of festivity itself. Unlike other fools, however, Feste takes critical attitudes toward the festivity, calling recognition toward the reality. The elegy he sings at the end of this play reveals and presents the nature and limit of the festival the aristocrats are indulged.
This condition finds its cue of escape with the advent of agile and flexible Viola rescued from the sea. However, as she decides to disguise herself as a eunuch, the blurring of her sexual difference stimulates desire from both sexes and complicates sexual desire. The confusion of sexual identity is intensified and resolved by the appearance of her twin brother Sebastian. Thus, Viola's disguise provokes distorted desire but does not serve to expand her personality or to release her sexuality that can be seen in the context of carnival but functions to restrict and confuse her sexual and class identity.
This play also dramatizes the class ideology through women who, though servants, are as capable as their male masters, and who rise out of their role as servants to become their master's partners. In the play, both men and women are pursuing the social advancement through serving or marrying the upper class. Therefore, this play seems to be more open to class division and social mobility. However, this play decidedly discriminates between the achievement of the
women by enabling them to achieve marriage with their betters and the failure of the men by suddenly containing the subversive, overreaching desire of the lower class. Therefore this play correlates the anxieties about the fluid social relations with gender relations and dramatizes the aristocratic ideology.
Although this play recognizes the possibility and the necessity of the desirable community and new order, its vision of reality casts the dark shadow of pessimism. The playwright's skeptic vision is reinforced by Feste the fool, the incarnation of festivity itself. Unlike other fools, however, Feste takes critical attitudes toward the festivity, calling recognition toward the reality. The elegy he sings at the end of this play reveals and presents the nature and limit of the festival the aristocrats are indulged.
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