『겨울 이야기』에 나타난 시간과 성적 사랑
Time and Sexual Love in The Winter's Tale
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The identification of women with sexual temptation, the ready analogy to Eve in the garden, became a commonplace in early modern culture. It reflects a conception of women's nature deeply rooted in Shakespeare's society. That society is, of course, masculine, with male and female roles, in general, conventionally defined. Because men rule, the "masculine" values are power, law, and reason. Weakness is "womanish," as are those elements of the men`s own nature that they deny or repress. With some encouragement from Aristotle, St. Paul, and the Christian fathers, male smugness can shade off easily into fear and even abhorrence of sexuality and then of women. Sexual guilt can be displaced by blaming women as tempters; Eve's seduction of Adam is an archetypal expression of such attitudes. At the other extreme, women can be idealized by Neoplatonic philosophers and courtly lovers, adored as repositories of those ideal qualities not accommodated in the "real" world of men. To Leontes' dark vision Shakespeare opposes the ideal qualities represented in the play by the three women, Hermione, Paulina, and Perdita, who suggest the subversive and creative power of love, art, and nature. In The Winter's Tale they triumph totally over Leontes' "reality." "Life" in the final scene clearly means life as it exists in a moving world, in a world ruled by time. It is Shakespeare's considerable achievement in The Winter's Tale that he can bring us to accept the view of time as constantly moving forward and hence as eroding and destructive and to accept it not with resignation or depression but with equanimity, confidence, and even enthusiasm. And it is primarily his picture of life in a pastoral setting and the attitude toward life expressed by Perdita, as representative of the country, which enable us to do so.
Abstract
The identification of women with sexual temptation, the ready analogy to Eve in the garden, became a commonplace in early modern culture. It reflects a conception of women's nature deeply rooted in Shakespeare's society. That society is, of course, masculine, with male and female roles, in general, conventionally defined. Because men rule, the "masculine" values are power, law, and reason. Weakness is "womanish," as are those elements of the men`s own nature that they deny or repress. With some encouragement from Aristotle, St. Paul, and the Christian fathers, male smugness can shade off easily into fear and even abhorrence of sexuality and then of women. Sexual guilt can be displaced by blaming women as tempters; Eve's seduction of Adam is an archetypal expression of such attitudes. At the other extreme, women can be idealized by Neoplatonic philosophers and courtly lovers, adored as repositories of those ideal qualities not accommodated in the "real" world of men. To Leontes' dark vision Shakespeare opposes the ideal qualities represented in the play by the three women, Hermione, Paulina, and Perdita, who suggest the subversive and creative power of love, art, and nature. In The Winter's Tale they triumph totally over Leontes' "reality." "Life" in the final scene clearly means life as it exists in a moving world, in a world ruled by time. It is Shakespeare's considerable achievement in The Winter's Tale that he can bring us to accept the view of time as constantly moving forward and hence as eroding and destructive and to accept it not with resignation or depression but with equanimity, confidence, and even enthusiasm. And it is primarily his picture of life in a pastoral setting and the attitude toward life expressed by Perdita, as representative of the country, which enable us to do so.
참고문헌 (16)
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