셰익스피어의 『한여름 밤의 꿈』(A Midsummer Night’s Dream)과 음악적 상징으로서의 숲
A Midsummer Night’s Dream and the Forest as a Musical Symbol
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The thick and dark forest in A Midsummer Night’s Dream is a sacred place which constitutes a dramatic setting for the birth of magic and fantasy. After escaping from patriarchal authority, two pairs of lovers go through a transitional period and establishes their new identities in the Athenian suburb. For this transformation, Shakespeare at once separates and integrates the mundane urban and the idyllic natural spaces, producing the contrapuntal semantic network of the two spaces. This theatrical artistry of contrast and integration can be referred to as a musical technique of counterpoints in which two different acoustic systems clash each other and advance towards an upper stage, discrediting negative elements in the previous stage. By adopting the forest as a musical space, in other words, Shakespeare recuperates the faculty of ‘hearing’ which has been under the dominance of ‘seeing,’ and expands the semantic horizon of audio-experiences. In this respect, the forest in the play can regarded as serving for a musical symbol of a resting interval in a series of visual coercions. The green world resolves tortuous difficulties and purifies earthly contaminations. This function of the forest is related to the far-east Asian concept of ‘Nature.’ In Confucianism, nature is composed of the two opposing elements of yin and yang. And this system of yin-yang is an essential premise in which ontological being is put on play, guiding the dialectical movement towards the harmonious new world.
Abstract
The thick and dark forest in A Midsummer Night’s Dream is a sacred place which constitutes a dramatic setting for the birth of magic and fantasy. After escaping from patriarchal authority, two pairs of lovers go through a transitional period and establishes their new identities in the Athenian suburb. For this transformation, Shakespeare at once separates and integrates the mundane urban and the idyllic natural spaces, producing the contrapuntal semantic network of the two spaces. This theatrical artistry of contrast and integration can be referred to as a musical technique of counterpoints in which two different acoustic systems clash each other and advance towards an upper stage, discrediting negative elements in the previous stage. By adopting the forest as a musical space, in other words, Shakespeare recuperates the faculty of ‘hearing’ which has been under the dominance of ‘seeing,’ and expands the semantic horizon of audio-experiences. In this respect, the forest in the play can regarded as serving for a musical symbol of a resting interval in a series of visual coercions. The green world resolves tortuous difficulties and purifies earthly contaminations. This function of the forest is related to the far-east Asian concept of ‘Nature.’ In Confucianism, nature is composed of the two opposing elements of yin and yang. And this system of yin-yang is an essential premise in which ontological being is put on play, guiding the dialectical movement towards the harmonious new world.
참고문헌 (12)
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