존 드라이든의 영웅극에 나타난 영웅적 사랑
Heroic Love in John Dryden's Heroic Plays
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In an age of the decline of tragedy, John Dryden developed a new kind of tragedy. It was heroic play. In heroic play, love, honor and war are major elements. Usually the tumult of war, though not actually presented, give proper atmosphere for the conflicting presentation of love and honor. All-conquering heroes of Dryden's heroic plays are incarnations of passionate love and honor. Often the internal strife between love and honor is supposed by many critics to be a variation of the theme of passion-and-reason conflict. The aim of this paper is to study heroic love in Dryden's major heroic plays: The Conquest of Granada and Auterg-Zebe. Heroic love is love elevated to the status of other epic virtues by emphasis on its hardships. Dryden is rather traditional in that his heroes, Almanzor and Aureng-Zebe are slaves of passion. They are victims of 'unfashioned first love'. However, heroic love is the battleground for their noble savage mind. Through love, Almanzor and Aurent-Zebe, are changed from their blind passion to fashioned love of self-control. It is not through reason that they are changed. Through love, Dryden's major characters develop themselves into Christian heroes having the virtues of temperance, pity and self-control. If they are not changed by the experience of 'fashioned love', they go straight into the pit of death. In Dryden, unfashioned love is death. With his Christian heroes, Dryden emphasized the need of moral Restoration. Though he placed his heroic plays in the never-never land of the pagan past, his heroic characters are civilized. However, by emphasizing the private virtues of the heroes, he narrowed his epic world. While his mind was with the public world of the epic totality, Dryden's footsteps still lingered on the threshold of the private. This contradiction partly explains the comical aspects of Dryden's heroic plays-that is, the comic discrepancy between words and sentiments or deeds.
Abstract
In an age of the decline of tragedy, John Dryden developed a new kind of tragedy. It was heroic play. In heroic play, love, honor and war are major elements. Usually the tumult of war, though not actually presented, give proper atmosphere for the conflicting presentation of love and honor. All-conquering heroes of Dryden's heroic plays are incarnations of passionate love and honor. Often the internal strife between love and honor is supposed by many critics to be a variation of the theme of passion-and-reason conflict. The aim of this paper is to study heroic love in Dryden's major heroic plays: The Conquest of Granada and Auterg-Zebe. Heroic love is love elevated to the status of other epic virtues by emphasis on its hardships. Dryden is rather traditional in that his heroes, Almanzor and Aureng-Zebe are slaves of passion. They are victims of 'unfashioned first love'. However, heroic love is the battleground for their noble savage mind. Through love, Almanzor and Aurent-Zebe, are changed from their blind passion to fashioned love of self-control. It is not through reason that they are changed. Through love, Dryden's major characters develop themselves into Christian heroes having the virtues of temperance, pity and self-control. If they are not changed by the experience of 'fashioned love', they go straight into the pit of death. In Dryden, unfashioned love is death. With his Christian heroes, Dryden emphasized the need of moral Restoration. Though he placed his heroic plays in the never-never land of the pagan past, his heroic characters are civilized. However, by emphasizing the private virtues of the heroes, he narrowed his epic world. While his mind was with the public world of the epic totality, Dryden's footsteps still lingered on the threshold of the private. This contradiction partly explains the comical aspects of Dryden's heroic plays-that is, the comic discrepancy between words and sentiments or deeds.
참고문헌 (24)
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