나함 테이트의 『리차드 2세』 각색본의 재평가: 작가의 의도와 해석의 거리
Intention and Interpretation in Nahum Tate’s Adapted Version of King Richard II
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The idea of this study arose from the dramatic history of Nahum Tate’s Richard II, adapted from Shakespeare in 1680 and doomed to be banned, in its third performance, by the political authority. The ban puzzled and angered Tate to no end. I therefore set the objective of this paper to research how and why Tate changed the original into his new version, through which I try to find his intention and provide a new perspective on the evaluation of this play. Many critics agree that among Shakespeare’s 10 histories Richard II is the most problematic that treats all the sensitive episodes regicide, treason, dethronement which history play may cover. Also this play, from Shakespearean(Elizabethan) Age to the present has been interpreted mainly in political point of view that shows much coincidence with the social and political environment of the age Tate decided to adapt the original. Tate’s contemporaries wished to keep the stability in their nation in political and social aspects and have a fear to return to the destructive and dark experiences of the past Puritan revolutionary government and Interregnum. With this social and general wish and agreement, the political authority, as a judge of the play under the name of censorship, regards Tate’s as a potentially inflammatory material because it decided that the themes this play treats show much resemblance to the problematic political current of the Stuart kingship with religious conflict between Catholic and English Protestant. But Tate, in Richard II, as a faithful royalist dramatist who supports the Torian spirit, while Shakespeare keeps silent and doesn’t take any side between Richard and Bolingbroke, clearly evaluates the two antipodic powers Richard as a moral being and the rightful successor of the kingship with an attractive colors and Bullingbrook, with a dark shadow, as destructive and cunning traitor. In his epistle in printed version, in 1681 of Richard II, Tate reveals his intention above mentioned to enlighten the people of the age confidently and clearly and his resentment for the negative judgment on his play also.
Abstract
The idea of this study arose from the dramatic history of Nahum Tate’s Richard II, adapted from Shakespeare in 1680 and doomed to be banned, in its third performance, by the political authority. The ban puzzled and angered Tate to no end. I therefore set the objective of this paper to research how and why Tate changed the original into his new version, through which I try to find his intention and provide a new perspective on the evaluation of this play. Many critics agree that among Shakespeare’s 10 histories Richard II is the most problematic that treats all the sensitive episodes regicide, treason, dethronement which history play may cover. Also this play, from Shakespearean(Elizabethan) Age to the present has been interpreted mainly in political point of view that shows much coincidence with the social and political environment of the age Tate decided to adapt the original. Tate’s contemporaries wished to keep the stability in their nation in political and social aspects and have a fear to return to the destructive and dark experiences of the past Puritan revolutionary government and Interregnum. With this social and general wish and agreement, the political authority, as a judge of the play under the name of censorship, regards Tate’s as a potentially inflammatory material because it decided that the themes this play treats show much resemblance to the problematic political current of the Stuart kingship with religious conflict between Catholic and English Protestant. But Tate, in Richard II, as a faithful royalist dramatist who supports the Torian spirit, while Shakespeare keeps silent and doesn’t take any side between Richard and Bolingbroke, clearly evaluates the two antipodic powers Richard as a moral being and the rightful successor of the kingship with an attractive colors and Bullingbrook, with a dark shadow, as destructive and cunning traitor. In his epistle in printed version, in 1681 of Richard II, Tate reveals his intention above mentioned to enlighten the people of the age confidently and clearly and his resentment for the negative judgment on his play also.
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