『트로일러스와 크레시다』와 가치논쟁
Value Debates in Troilus and Cressida
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Shakespeare’s Troilus and Cressida puts the question of value whether it is the worth intrinsic in things or it is a public estimation. The Troy in question of the play is the city of Shakespeare’s London, or the Troynovant embodying all the city ills. The city is represented as a universal wolf of the Hobbesian primitive human state preying on itself. In the warlike city of interchange and exchange of appetites, the disputants on values in both Trojan and Greek camps are wholly immersed in the emerging spirit of mercantilism, and they transform themselves to merchants despite the self-imposed heroism and their pursuit of honour. In the play the idea of chivalric honour is replaced by the concept of fame or reputation heavily colored by sensual perceptions. In the theater of market the intrinsic worth of a thing is confounded with the value of subjective estimation and opinion, which rather mirror and project the subjective wills of no limits and wolfish appetites of cannibalism. Here avarice and greed are derived from one’s sense of superiority over his competitors. In the vicious circle of mimetic rivalry even such a human emotion as pride is commercialized for the exchange market. Shakespeare is astutely aware of encroaching dangers of the universal wolf and he is critical of the market-oriented values irrespective of the intrinsic worth, since subjective evaluation is incessantly fluctuating from a place to another and from an opportunity to another floating on the stream of willful dispositions. Valuation denying an essentialism never reaches a stable and definite knowledge of a thing and hence conduces us into skepticism, if not to a nihilism. Likewise, if the essential worth hidden within is not mirrored and reflected by the light of public opinions, it seldom reveals itself to the objective acknowledgement. Shakespeare puts a true value in the third realm between the intrinsic worth and the interpersonal commerce of it in the exchange market of theater. The innate and immanent nobility and worth need emerging onto the surface of visibility and images, which is represented in the last romances by sea wanderings and sea changes.
Abstract
Shakespeare’s Troilus and Cressida puts the question of value whether it is the worth intrinsic in things or it is a public estimation. The Troy in question of the play is the city of Shakespeare’s London, or the Troynovant embodying all the city ills. The city is represented as a universal wolf of the Hobbesian primitive human state preying on itself. In the warlike city of interchange and exchange of appetites, the disputants on values in both Trojan and Greek camps are wholly immersed in the emerging spirit of mercantilism, and they transform themselves to merchants despite the self-imposed heroism and their pursuit of honour. In the play the idea of chivalric honour is replaced by the concept of fame or reputation heavily colored by sensual perceptions. In the theater of market the intrinsic worth of a thing is confounded with the value of subjective estimation and opinion, which rather mirror and project the subjective wills of no limits and wolfish appetites of cannibalism. Here avarice and greed are derived from one’s sense of superiority over his competitors. In the vicious circle of mimetic rivalry even such a human emotion as pride is commercialized for the exchange market. Shakespeare is astutely aware of encroaching dangers of the universal wolf and he is critical of the market-oriented values irrespective of the intrinsic worth, since subjective evaluation is incessantly fluctuating from a place to another and from an opportunity to another floating on the stream of willful dispositions. Valuation denying an essentialism never reaches a stable and definite knowledge of a thing and hence conduces us into skepticism, if not to a nihilism. Likewise, if the essential worth hidden within is not mirrored and reflected by the light of public opinions, it seldom reveals itself to the objective acknowledgement. Shakespeare puts a true value in the third realm between the intrinsic worth and the interpersonal commerce of it in the exchange market of theater. The innate and immanent nobility and worth need emerging onto the surface of visibility and images, which is represented in the last romances by sea wanderings and sea changes.
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