Lady Macbeth of Mtsensk, from Nikolai Leskov’s Novella and Shostakovich’s Opera to William Oldroyd’s Film
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Leskov’s Lady Macbeth of Mtsensk is about the female protagonist called Katerina Lvovna, a young woman aged twenty-four, married to the rich old man over fifty named Zinovy Borisych, who falls in love with a handsome philanderer named Sergei and repeats crimes in the course of remarrying Sergei and committing suicide at the end. Leskov emulates his predecessor, Turgenev who intended to depict a Russian Shakespearean type through “Hamlet and Don Quixote”, by introducing the protagonist, Katerina as Lady Macbeth with the implication that the appellation of ‘Lady Macbeth’ is not accidental because Katerina’s life stages the story of Shakespeare’s Lady Macbeth. This essay poses the question, who is the Lady Macbeth that Leskov compares and identifies with the female protagonist in his novella? Who is Lady Macbeth in Shakespeare’s drama? Why does a literary author like Leskov adopt the name of Lady Macbeth to display the characteristics of the protagonist in his narrative? This essay, following the psychoanalytic understanding of the subject as split and fragmented as signified in Freud’s second explication of Lady Macbeth in “Some Character-Types”, aims to explore how Leskov, Shostakovich, and Oldroyd experiment with the figure of Lady Macbeth through their artistic genres of the novella, opera, and film. In tracing the features of Lady Macbeth delineated in novella, opera, and film, this essay also attempts to examine how these artists deal with the questions of child and child-murder in the representation of their heroines.
Abstract
Leskov’s Lady Macbeth of Mtsensk is about the female protagonist called Katerina Lvovna, a young woman aged twenty-four, married to the rich old man over fifty named Zinovy Borisych, who falls in love with a handsome philanderer named Sergei and repeats crimes in the course of remarrying Sergei and committing suicide at the end. Leskov emulates his predecessor, Turgenev who intended to depict a Russian Shakespearean type through “Hamlet and Don Quixote”, by introducing the protagonist, Katerina as Lady Macbeth with the implication that the appellation of ‘Lady Macbeth’ is not accidental because Katerina’s life stages the story of Shakespeare’s Lady Macbeth. This essay poses the question, who is the Lady Macbeth that Leskov compares and identifies with the female protagonist in his novella? Who is Lady Macbeth in Shakespeare’s drama? Why does a literary author like Leskov adopt the name of Lady Macbeth to display the characteristics of the protagonist in his narrative? This essay, following the psychoanalytic understanding of the subject as split and fragmented as signified in Freud’s second explication of Lady Macbeth in “Some Character-Types”, aims to explore how Leskov, Shostakovich, and Oldroyd experiment with the figure of Lady Macbeth through their artistic genres of the novella, opera, and film. In tracing the features of Lady Macbeth delineated in novella, opera, and film, this essay also attempts to examine how these artists deal with the questions of child and child-murder in the representation of their heroines.
참고문헌 (19)
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