토마스 헤이우드의 어떻게 저를 모르실 수가. 2부: 두 개의 런던과 상인상의 분화
Thomas Heywood’s If You Know Not Me, You Know Nobody Part II: Two Visions of London and its Merchants
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This paper investigates the ways in which Thomas Heywood’s If You Know Me, You Know Nobody Part II shows ideological incongruities present in London at the turn of the 17th century, especially with respect to its commercial change. Traditional critics have argued that Heywood is a naive champion of the London city and this play has also often been understood as an uncomplicated, banal celebration of London and its citizen values by a writer who is only interested in providing “a palatable lozenge for citizen consumption.” This paper, however, attempts to revise the previous studies by examining how the play embodies conflicting attitudes of the citizens toward the change of London at the turn of the 17th century through its episodic dramaturgy. In doing so, I follow the lead of Kathleen McLuskie, who has demonstrated there is a tension between comic dramaturgy and ideological coherence in Heywood’s plays. The play is structured in a way of accumulating episodes to appeal to civic pride, but they are fissured in important ways. The conclusion of this paper is that this fissure makes this play not just a wish-fulfilling fantasy or a piece of banal mercantile hagiography, but a meaningful historical material which offers a glimpse into conflicting aspirations of Londoners at the turn of the 17th century.
Abstract
This paper investigates the ways in which Thomas Heywood’s If You Know Me, You Know Nobody Part II shows ideological incongruities present in London at the turn of the 17th century, especially with respect to its commercial change. Traditional critics have argued that Heywood is a naive champion of the London city and this play has also often been understood as an uncomplicated, banal celebration of London and its citizen values by a writer who is only interested in providing “a palatable lozenge for citizen consumption.” This paper, however, attempts to revise the previous studies by examining how the play embodies conflicting attitudes of the citizens toward the change of London at the turn of the 17th century through its episodic dramaturgy. In doing so, I follow the lead of Kathleen McLuskie, who has demonstrated there is a tension between comic dramaturgy and ideological coherence in Heywood’s plays. The play is structured in a way of accumulating episodes to appeal to civic pride, but they are fissured in important ways. The conclusion of this paper is that this fissure makes this play not just a wish-fulfilling fantasy or a piece of banal mercantile hagiography, but a meaningful historical material which offers a glimpse into conflicting aspirations of Londoners at the turn of the 17th century.
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