리처드와 샤일록: 악인의 실체
Richard and Shylock: Villain's Nature
0
조회
0
다운로드
1
인용
0
참고문헌
키워드
초록
This paper is to compare the two representative villains in Shakespeare, Richard in Richard III and Shylock in The Merchant of Venice, so that we could examine the characteristics of Shakespeare’s villain and further understand how the works become more meaningful though these villains’ attitudes and actions manifested in the play. Shakespeare’s characters defy one-dimensional categorization. While critics are constantly seeking a logical reduction to a single dimension of the characters, Shakespeare forces us to reconcile with the unexpected contradictions in his characters. The poet usually does not allow us to pin down the nature of his characters, and it is therefore always difficult to define a character as a stereotype. In Shakespearean drama, even an obvious stock figure often shows shades of different traits so as to reject a categorical definition. Shylock, for example, is an apparent miser figure, easily recognizable in many Renaissance plays; yet his character shows qualities that prevent us from calling him comfortably the same type of money-grubbers found in Marlowe or Jonson. Richard, a typical egocentric, Machiavellian villain whose behavior is thoroughly wicked and repulsive, nevertheless displays a certain grandeur or self-reliance, commonly found in a tragic hero, so that we create difficulty if we try to narrow down his character simply into a villain. However, the two villains significantly share a predator’s nature and similar appetite as they both struggle to devour what yearn for. And paradoxically, their final destruction provides the seeming victims with nutritions, so they are ultimately devoured by the forces stronger than themselves.
Abstract
This paper is to compare the two representative villains in Shakespeare, Richard in Richard III and Shylock in The Merchant of Venice, so that we could examine the characteristics of Shakespeare’s villain and further understand how the works become more meaningful though these villains’ attitudes and actions manifested in the play. Shakespeare’s characters defy one-dimensional categorization. While critics are constantly seeking a logical reduction to a single dimension of the characters, Shakespeare forces us to reconcile with the unexpected contradictions in his characters. The poet usually does not allow us to pin down the nature of his characters, and it is therefore always difficult to define a character as a stereotype. In Shakespearean drama, even an obvious stock figure often shows shades of different traits so as to reject a categorical definition. Shylock, for example, is an apparent miser figure, easily recognizable in many Renaissance plays; yet his character shows qualities that prevent us from calling him comfortably the same type of money-grubbers found in Marlowe or Jonson. Richard, a typical egocentric, Machiavellian villain whose behavior is thoroughly wicked and repulsive, nevertheless displays a certain grandeur or self-reliance, commonly found in a tragic hero, so that we create difficulty if we try to narrow down his character simply into a villain. However, the two villains significantly share a predator’s nature and similar appetite as they both struggle to devour what yearn for. And paradoxically, their final destruction provides the seeming victims with nutritions, so they are ultimately devoured by the forces stronger than themselves.
참고문헌 (26)
- Armstrong, Edward A., "Shakespeare’s Imagination" (1963), U of Nebraska P
- Bailey, Amanda, "Shylock and the Salves: Owing and Owning in The Merchant of Venice", Shakespeare Quarterly, 62(1), pp.1~24 (2011)
- Bevington, David, "The Complete Works of Shakespeare" (1980), Scott, Foresman and Company
- Bosworth, Denise Mary, "Fail Not Our Feast’: The Dramatic Significance of Shakespeare’s Repasts", pp.1981
- Clemen, Wolfgang, "The Development of Shakespeare’s Imagery" (1977), Methuen
- Daniel, Drew, "‘Let me have judgment, and the Jew his will’: Melancholy Epistemology and Masochistic Fantasy in The Merchant of Venice", Shakespeare quarterly, 61(2), pp.206~234 (2010)
- Doebler, John, "Shakespeare’s Speaking Pictures" (1974), U of New Mexico P
- Finkelstein, Sidney, "Who Needs Shakespeare?" (1973), International
- Frye, Northrop, "Anatomy of Criticism: Four Essays" (1957), Princeton UP
- Granville-Barker, Harley, "The Merchant of Venice, In Shakespeare: Modern Essays in Criticism" (1967), Oxford UP
- Higdon, David Leon, "Shakespeare’s King Richard III V.ii.7-11", The Explicator, 33, pp.2~ (1974)
- Holland, Norman N., "The Shakespearean Imagination" (1964), Macmillan
- Jofen, Jean, "The Case of the Strawberry Handkerchief", Shakespeare Newsletter, 21, pp.14~ (1971)
- Kitch, Aaron, "Shylock’s Sacred Nation", Shakespeare Quarterly, 59(2), pp.131~155 (2008)
- Lewalski, Barbara K, "Biblical Allusion and Allegory in The Merchant of Venice", Shakespeare Quarterly, 13, pp.327~324 (1962)
- Lewis, Anthony J., "The Dog, Lion, and Wolf in Shakespeare’s Descriptions of Night", Modern Language Review, 66, pp.1~10 (1971)
- Little, Nancy Glass, "The Imagistic Feast: Feeding Imagery in Selected Plays of Shakespeare", pp.1984
- Lopez, Jeremy, "Time and Talk in Richard III, I.iv", SEL 1500-1900, 45(2), pp.299~314 (2005)
- Matchett, William H., "Shylock, Iago, and Sir Thomas More: With Some further Discussion of Shakespeare’s Imagination", PMLA, 92, pp.217~230 (1977)
- Muir, Kenneth, "Shakespeare the Professional and Related Studies" (1973), Rowman and Littlefield
- Phialas, Peter G., "Shakespeare’s Romantic Comedies" (1966), U of North Carolina P
- Ross, Lawrence J., "The Meaning of Strawberries in Shakespeare", Studies in the Renaissance, 7, pp.225~240 (1960)
- Silverman, Rita H., "Suffrance is the Badge of All Our Tribe: A Study of Shylock in The Merchant of Venice" (1981), UP of America
- Stauffer, Donald A., "Shakespeare’s World of Images" (1949), Norton
- Van Elk, Martine, "‘Determined to prove a villain’: Criticism, Pedagogy, and Richard III", College Literature, 34(4), pp.1~21 (2007)
- Yoder, Audrey, "Animal Analogy in Shakespeare’s Character Portrayal" (1947), King’s Crown