「심벨린」: 내러티브 형식의 새로운 브리튼 역사 만들기
Cymbeline: The Making of a New British History in the Form of Narrative
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To understand Cymbeline properly, we need the aid of New Historicism and Presentism. Both of them emphasize that history is fluid and unstable and that our present perspective shapes our perception and understanding of the past. In Cymbeline, Shakespeare reproduces a new British history in the narrative form, making use of a conventional type of romance. He subverts the Aristotelian tradition. He puts weight on narrative rather than on action, and resolves interwoven conflicts with the technique of deus ex machina. Besides, occasional interposition of some abrupt and monstrous scenes runs counter to the Aristotelian doctrine. With Milford Haven, Shakespeare provides a place of restoration through trials and of regeneration through death. The place takes the role of a rite of passage, needed for rebirth or resurrection as Innogen and Posthumus get a new life through deathlike experiences. Milford Haven, as the name suggests (heaven), is a place where the influence of supernatural power to observe and regulate human destinies prevails, like descent of Jupiter, and laud of gods. In the last scene of Cymbeline, when Cymbeline declares the tribute to Rome will be going on, the imperial Roman eagle is absorbed in Western light which serves for Christianity. The image is projected on James I who wanted to construct Great Britain by unifying England, Scotland, and Wales, making her the center of Europe politically as well as religiously. In Cymbeline, Shakespeare insinuates that events of the past and interpretation of history are either interchangeable or recontructible. He frames anachronistic history in the form of romance. He makes a new history as discourse by transforming and reorganizing a linear and chronological history. Instead of visually representing a correct history based on accurate historical materials, Shakespeare auditorily represents his utopia in the form of narrative through reinterpretation and reconstruction of the past.
Abstract
To understand Cymbeline properly, we need the aid of New Historicism and Presentism. Both of them emphasize that history is fluid and unstable and that our present perspective shapes our perception and understanding of the past. In Cymbeline, Shakespeare reproduces a new British history in the narrative form, making use of a conventional type of romance. He subverts the Aristotelian tradition. He puts weight on narrative rather than on action, and resolves interwoven conflicts with the technique of deus ex machina. Besides, occasional interposition of some abrupt and monstrous scenes runs counter to the Aristotelian doctrine. With Milford Haven, Shakespeare provides a place of restoration through trials and of regeneration through death. The place takes the role of a rite of passage, needed for rebirth or resurrection as Innogen and Posthumus get a new life through deathlike experiences. Milford Haven, as the name suggests (heaven), is a place where the influence of supernatural power to observe and regulate human destinies prevails, like descent of Jupiter, and laud of gods. In the last scene of Cymbeline, when Cymbeline declares the tribute to Rome will be going on, the imperial Roman eagle is absorbed in Western light which serves for Christianity. The image is projected on James I who wanted to construct Great Britain by unifying England, Scotland, and Wales, making her the center of Europe politically as well as religiously. In Cymbeline, Shakespeare insinuates that events of the past and interpretation of history are either interchangeable or recontructible. He frames anachronistic history in the form of romance. He makes a new history as discourse by transforming and reorganizing a linear and chronological history. Instead of visually representing a correct history based on accurate historical materials, Shakespeare auditorily represents his utopia in the form of narrative through reinterpretation and reconstruction of the past.
참고문헌 (24)
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