쇼의 『피그말리온』의 계몽주의적 양상 읽기
Reading Enlightened Aspects of Shaw’s Pygmalion
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In Pygmalion Act Ⅰ thrives in chaos, the delight of the sideshow. Act Ⅱ plays levels of comprehension against each other, provoking a humor of misunderstanding, of fact versus fairy tale, of science versus melodrama. Act Ⅲ is Bergsonian, Eliza being comic as she is mechanical, the decorous manner of her presence being sharply incongruous with the earthy matter of her speech. Act Ⅳ involves the humor of a lovers’ quarrel, with a comic peripeteia occurring when the underdog triumphs and the master loses all dignity. And Act Ⅴ carries this to greater personal depths through a humor of inversion, involving a psychological and spiritual search in which the total complex is sensitively analyzed. With humor, myth, didacticism, and spiritual evolution thus reflecting dynamically upon one another and incorporated vitally into the vigorous story, Pygmalion emerges as an effective synthesis of Shaw’s careful dramaturgy, intrinsic fun, and thoughtful aesthetics. (Yewon Arts University)
Abstract
In Pygmalion Act Ⅰ thrives in chaos, the delight of the sideshow. Act Ⅱ plays levels of comprehension against each other, provoking a humor of misunderstanding, of fact versus fairy tale, of science versus melodrama. Act Ⅲ is Bergsonian, Eliza being comic as she is mechanical, the decorous manner of her presence being sharply incongruous with the earthy matter of her speech. Act Ⅳ involves the humor of a lovers’ quarrel, with a comic peripeteia occurring when the underdog triumphs and the master loses all dignity. And Act Ⅴ carries this to greater personal depths through a humor of inversion, involving a psychological and spiritual search in which the total complex is sensitively analyzed. With humor, myth, didacticism, and spiritual evolution thus reflecting dynamically upon one another and incorporated vitally into the vigorous story, Pygmalion emerges as an effective synthesis of Shaw’s careful dramaturgy, intrinsic fun, and thoughtful aesthetics. (Yewon Arts University)
참고문헌 (12)
- Henderson, Archibald, "George Bernard Shaw: Man of the Century" (1956), Appleton
- Kronenberger, Louis, "The Thread of Laughter" (1952), Knopf
- MacCarthy, Desmond, "Shaw’s Plays in Review" (1951), Thames
- Matlaw, Myron, "Will Higgins Marry Eliza?", Shavian, 1(12) (1958)
- Noyes, E. S., "A Note on Peregrine Pickle and Pygmalion", Modern Language Notes, 41 (1926)
- O’Donnell, "On the ‘Unpleasantness’ of Pygmalion", Shaw Bulletin, 1(2) (1955)
- Pearson, Hesketh, "A Shavian Musical", Shavian, 1(13) (1958)
- Perrault, Charles, "The Authentic Mother Goose Fairy Tales and Nursery Rhymes" (1960), Swallow
- Richardson, Henry B., "The Pygmalion Reaction", Psychoanalytic Review, 43 (1956)
- Shaw, George Bernard, "Complete Plays with Prefaces" (1963), Dodd
- Strauss, Emil, "Bernard Shaw: Art and Socialism" (1942), Gollancz
- Underhill, Evelyn, "Mysticism" (1955), Noonday