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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2001.12
- 수록면
- 863 - 881 (19page)
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One of the characteristics shown in Shakespeare's middle comedies is that the outcasts, who are excluded from the comic society, prevent and overshadow the comic resolution. They are not simply, or one-dimensionally characterized, so their exclusion requires the audience to have a retrospective view. They are neither trivial characters, whose presence or absence makes no difference, nor worthy scapegoats to be readily sacrificed for the establishment of a new society.
In The Merchant of Venice, when Shylock is forcibly expelled from the comic society, he changes his role from being the victimizer to the victim. In Twelfth Night, when Malvolio has to leave the comic society, the audience feel uncomfortable because the ridicule led by Sir Toby was too harsh for him. In As You Like ft, even when Jaques leaves the comic circle voluntarily for a higher love, rather than an erotic love, the comic vision of the play becomes hurt and gloomy.
Don John of Much Ado About Nothing seems to be the most simply characterized, among the outsiders, in Shakespeare's middle comedies. He appears to be a motiveless villain. At the end of the play, he sits and awaits punishment for his ill demeanor. Unlike the other outsiders, he is not totally excluded from the comic circle. He reflects, not only the dark inside of the lovers, but also the impersonal workings of the plot and the machinery of accidents. He is the embodiment of self-ignorance of the major characters. That he is not yet reformed, insinuates that the major characters do not attain self-knowledge. So, they have to wait for him to repent and join the mirth of the marital feasts. In the meantime, the play's ending is blurred with the shadow of Don John, comic resolution is suspended, and Much Ado About Nothing is an uncompleted symphony.
In The Merchant of Venice, when Shylock is forcibly expelled from the comic society, he changes his role from being the victimizer to the victim. In Twelfth Night, when Malvolio has to leave the comic society, the audience feel uncomfortable because the ridicule led by Sir Toby was too harsh for him. In As You Like ft, even when Jaques leaves the comic circle voluntarily for a higher love, rather than an erotic love, the comic vision of the play becomes hurt and gloomy.
Don John of Much Ado About Nothing seems to be the most simply characterized, among the outsiders, in Shakespeare's middle comedies. He appears to be a motiveless villain. At the end of the play, he sits and awaits punishment for his ill demeanor. Unlike the other outsiders, he is not totally excluded from the comic circle. He reflects, not only the dark inside of the lovers, but also the impersonal workings of the plot and the machinery of accidents. He is the embodiment of self-ignorance of the major characters. That he is not yet reformed, insinuates that the major characters do not attain self-knowledge. So, they have to wait for him to repent and join the mirth of the marital feasts. In the meantime, the play's ending is blurred with the shadow of Don John, comic resolution is suspended, and Much Ado About Nothing is an uncompleted symphony.
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