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Dryden’s Rewriting of Shakespeare in Troilus and Cressida; or, Truth Found Too Late
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Troilus and Cressida; or, Truth Found Too Late (1679) exemplifies John Dryden’s ideas about adapting Shakespeare, which prepared the ground for the tradition of the enduring process of cultural appropriation of Shakespeare on stage. Dryden restructured Shakespeare’s original text to fit into the changed theatrical and political climate, such as the new appearance of actresses on the stage, and political upheaval caused by the Popish Plot and Exclusion Bill Crisis. His adaptation demonstrated that Shakespeare was badly in need of alterations to survive in a theater which had a full sense of the influence of changes in the world outside. Shakespeare’s linguistic and moral ambiguities and complexities were streamlined to highlight two major issues of gender and politics. Accordingly my discussion is divided into two parts. The first part gives an account of the emphasis on feminine love and modesty as characteristics for a virtuous woman in the Restoration idiom. Dryden’s portrayal of Cressida is based on contemporary courtesy or conduct books which defined an idealized picture of proper female behaviour. Cressida is an example of a virtuous woman who suffers from a helpless attempt to prove her chastity against a patriarchal system in which she is wrongly accused and separated from. The second part is about the public world of politics and war heroes, which excludes Cressida. This world is bound up with Dryden’s royalist ideal of sovereignty and subordination to the Crown. That his adapted play both begins and ends with Ulysses’s views on degree or social discipline is suggestive of his elevation of royal authority.
Abstract
Troilus and Cressida; or, Truth Found Too Late (1679) exemplifies John Dryden’s ideas about adapting Shakespeare, which prepared the ground for the tradition of the enduring process of cultural appropriation of Shakespeare on stage. Dryden restructured Shakespeare’s original text to fit into the changed theatrical and political climate, such as the new appearance of actresses on the stage, and political upheaval caused by the Popish Plot and Exclusion Bill Crisis. His adaptation demonstrated that Shakespeare was badly in need of alterations to survive in a theater which had a full sense of the influence of changes in the world outside. Shakespeare’s linguistic and moral ambiguities and complexities were streamlined to highlight two major issues of gender and politics. Accordingly my discussion is divided into two parts. The first part gives an account of the emphasis on feminine love and modesty as characteristics for a virtuous woman in the Restoration idiom. Dryden’s portrayal of Cressida is based on contemporary courtesy or conduct books which defined an idealized picture of proper female behaviour. Cressida is an example of a virtuous woman who suffers from a helpless attempt to prove her chastity against a patriarchal system in which she is wrongly accused and separated from. The second part is about the public world of politics and war heroes, which excludes Cressida. This world is bound up with Dryden’s royalist ideal of sovereignty and subordination to the Crown. That his adapted play both begins and ends with Ulysses’s views on degree or social discipline is suggestive of his elevation of royal authority.
참고문헌 (12)
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