“용감한 사랑이여, 나의 품 안에서 당신의 이탈리아를 만드소서”: 말로우가 다시 쓰는 이니어드
“Stout Love, in Mine Arms Make Thy Italy”: Marlowe’s Rewriting of The Aeneid
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“Stout Love, in Mine Arms Make Thy Italy”: Marlowe’s Rewriting of The Aeneid Abstract YehrimHan Christopher Marlowe’s Dido, Queen of Carthage has been widely accepted as a critique on Virgil’s perpetuation of Roman imperial ideology. Marlowe’s extensive characterization of Dido as a female victim of Aeneas’ imperial mission has been considered anti-Virgilian and following instead the Ovidian tradition. Most scholarly discussions of Marlowe’s Dido have focused their comparisons of the play with Book 1, 2, and 4 of The Aeneid, because Dido dies in Book 4. However, I revisit the later half of The Aeneid, highlighting Aeneas’ peculiar emotional attachment to Pallas in the funeral, as expressed by his gesture of covering Pallas’ dead body with Dido’s robe. Reading Pallas as Dido’s double, I will show that Aeneas’ private passion for Dido, which has been subdued by his imperial mission, finds a way to be released and contained by his appropriation of Dido’s robe. Marlowe’s Dido, however burns the robe and thus repudiates Virgil’s embrace of imperialist values. Moreover, Marlowe’s different treatment of Dido’s robe pertains to the wider theme of empire and liberty. I argue that the liberty Marlowe portrays through Dido comments on the Elizabethan discourse of early imperialism, especially on its civic humanist endorsement of public duty over private passion.
Abstract
“Stout Love, in Mine Arms Make Thy Italy”: Marlowe’s Rewriting of The Aeneid Abstract YehrimHan Christopher Marlowe’s Dido, Queen of Carthage has been widely accepted as a critique on Virgil’s perpetuation of Roman imperial ideology. Marlowe’s extensive characterization of Dido as a female victim of Aeneas’ imperial mission has been considered anti-Virgilian and following instead the Ovidian tradition. Most scholarly discussions of Marlowe’s Dido have focused their comparisons of the play with Book 1, 2, and 4 of The Aeneid, because Dido dies in Book 4. However, I revisit the later half of The Aeneid, highlighting Aeneas’ peculiar emotional attachment to Pallas in the funeral, as expressed by his gesture of covering Pallas’ dead body with Dido’s robe. Reading Pallas as Dido’s double, I will show that Aeneas’ private passion for Dido, which has been subdued by his imperial mission, finds a way to be released and contained by his appropriation of Dido’s robe. Marlowe’s Dido, however burns the robe and thus repudiates Virgil’s embrace of imperialist values. Moreover, Marlowe’s different treatment of Dido’s robe pertains to the wider theme of empire and liberty. I argue that the liberty Marlowe portrays through Dido comments on the Elizabethan discourse of early imperialism, especially on its civic humanist endorsement of public duty over private passion.
참고문헌 (16)
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