『 겨울이야기』의 오톨리쿠스: 인쇄 상품과 극(劇)
A Study on Autolycus: Printed Ballad vs. Drama
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Autolycus, a rogue in Shakespeare’s The Winter’s Tale (1611), used to be considered Shakespeare’s invention even though it is agreed that the main plot of the drama comes from Pandosto: The Triumph of Time, one of Robert Greene’s prose romances. However, with the new focus on Renaissance rogue literature in the 1990s and beyond, the creation of Autolycus has been found to owe a lot more to another type of Greene’s prose, Cony-catching pamphlets, than had been previously thought. At Act 4, scene 3, Autolycus comes on the stage for the first time with a song that “bridges the gap between his criminal behavior and the romance plot he will advance(Mentz 78).” He also connects Sicilia, a world of conflict, with Bohemian country, a pastoral world with his song. What he does on stage at scenes 3 and 4 of Act 4 echoes exactly the episodes of Greene’s cony-catching pamphlets. With the trickery he resorts to, he establishes himself as a rogue, a direct descendent of Greene’s cony-catchers. However, he diverges from his roguish ancestors as a much richer story is weaved around the ballads he sells to the country shepherds and shepherdesses. The swindle of his ballads reveals how the falsity turns to the “truth” in the form of print and how the print is embraced as a truthful media by the people of the lower class. At the last act, Shakespeare elaborates the topic of mirrored truth in two different types of representation, printed matter and drama. The story that Perdita’s identity is revealed is mediated through several different speakers, with Autolycus as a listener on the stage. He does not need to be on the stage for the plot, but Shakespeare summons him as a future ballad-maker with a mission to disseminate a ballad of a truer story. At the last scene, Shakespeare distances his story from its source, and makes the statue of Hermione come alive to the amazement of all the people on the stage. Through the dramatic representation of a more unbelievable story than those of ballads, Shakespeare distinguishes drama as a more reliable vehicle of truth from printed matter by directing an incredible event right in front of the eyes of the audience. To the attacks on mirrored fiction in early modern England, Shakespeare responds by differentiating drama from printed matter.
Abstract
Autolycus, a rogue in Shakespeare’s The Winter’s Tale (1611), used to be considered Shakespeare’s invention even though it is agreed that the main plot of the drama comes from Pandosto: The Triumph of Time, one of Robert Greene’s prose romances. However, with the new focus on Renaissance rogue literature in the 1990s and beyond, the creation of Autolycus has been found to owe a lot more to another type of Greene’s prose, Cony-catching pamphlets, than had been previously thought. At Act 4, scene 3, Autolycus comes on the stage for the first time with a song that “bridges the gap between his criminal behavior and the romance plot he will advance(Mentz 78).” He also connects Sicilia, a world of conflict, with Bohemian country, a pastoral world with his song. What he does on stage at scenes 3 and 4 of Act 4 echoes exactly the episodes of Greene’s cony-catching pamphlets. With the trickery he resorts to, he establishes himself as a rogue, a direct descendent of Greene’s cony-catchers. However, he diverges from his roguish ancestors as a much richer story is weaved around the ballads he sells to the country shepherds and shepherdesses. The swindle of his ballads reveals how the falsity turns to the “truth” in the form of print and how the print is embraced as a truthful media by the people of the lower class. At the last act, Shakespeare elaborates the topic of mirrored truth in two different types of representation, printed matter and drama. The story that Perdita’s identity is revealed is mediated through several different speakers, with Autolycus as a listener on the stage. He does not need to be on the stage for the plot, but Shakespeare summons him as a future ballad-maker with a mission to disseminate a ballad of a truer story. At the last scene, Shakespeare distances his story from its source, and makes the statue of Hermione come alive to the amazement of all the people on the stage. Through the dramatic representation of a more unbelievable story than those of ballads, Shakespeare distinguishes drama as a more reliable vehicle of truth from printed matter by directing an incredible event right in front of the eyes of the audience. To the attacks on mirrored fiction in early modern England, Shakespeare responds by differentiating drama from printed matter.
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