『햄릿』에서의 셰익스피어의 프로테스탄트 유산: 죽음, 내세, 연극을 중심으로
Shakespeare's Protestant Inheritance in Hamlet: Death, Afterlife, Theatre
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Hamlet reflects Shakespeare’s fear of death, his exploration of what lies beyond life, and his concern for theatre as well. Starting from the Catholic notion of Purgatory, exemplified in the apparition of the Ghost, his spiritual journey heads for the realm of Protestantism. Criticizing a superficial kind of theatricality, he advocates a theatre that mirrors nature and history as they are. Such a theatre can touch the mind and spirit of spectators and lead them to self-knowledge and repentance. It, beyond the domain of art, would take the role of ethics and religion, which is the ideal protestant theater in Shakespeare's mind. Shakespeare seems to seek after the solution of death and afterlife in Protestant doctrine－especially Calvin’s Predestination. On the one hand, he reveals utterances and evidences on “Special Providence”; on the other, he shows the merciless and meaningless revenge bringing about many deaths. Shakespeare’s exploration of afterlife results in a failure. After all, Shakespeare’s concern turn towards the play’s afterlife: “Horatio, I am dead, / Thou livest; report me and my cause aright / To the unsatisfied”(5.2.317-19). The play’s afterlife, however, cannot succeed. Even though Horatio is the best friend of Hamlet and heard the secret story of the Ghost－didn’t hear directly from the Ghost, he can’t make a truthful “report”/script that moves the mind and spirit of “the unsatisfied”/spectator.
Abstract
Hamlet reflects Shakespeare’s fear of death, his exploration of what lies beyond life, and his concern for theatre as well. Starting from the Catholic notion of Purgatory, exemplified in the apparition of the Ghost, his spiritual journey heads for the realm of Protestantism. Criticizing a superficial kind of theatricality, he advocates a theatre that mirrors nature and history as they are. Such a theatre can touch the mind and spirit of spectators and lead them to self-knowledge and repentance. It, beyond the domain of art, would take the role of ethics and religion, which is the ideal protestant theater in Shakespeare's mind. Shakespeare seems to seek after the solution of death and afterlife in Protestant doctrine－especially Calvin’s Predestination. On the one hand, he reveals utterances and evidences on “Special Providence”; on the other, he shows the merciless and meaningless revenge bringing about many deaths. Shakespeare’s exploration of afterlife results in a failure. After all, Shakespeare’s concern turn towards the play’s afterlife: “Horatio, I am dead, / Thou livest; report me and my cause aright / To the unsatisfied”(5.2.317-19). The play’s afterlife, however, cannot succeed. Even though Horatio is the best friend of Hamlet and heard the secret story of the Ghost－didn’t hear directly from the Ghost, he can’t make a truthful “report”/script that moves the mind and spirit of “the unsatisfied”/spectator.
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