『워싱턴 스퀘어』에서의 멜로드라마와 반멜로드라마의 긴장
Tension of Melodrama and Anti-Melodrama in Washington Square
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This paper aims at analyzing the tension of melodrama and anti-melodrama in Henry James’s Washington Square. In this novel Catherine the heroine lies in the “melodramatic situation” in which three melodramatic stock characters, Sloper, Morris, and Mrs. Penniman, drive her into the abyss of suffering. Mrs. Penniman, “Fairy God-Mother” in fairy-tales, should protect her niece Catherine, but only serves Morris. She always wants to embellish their love affair with her melodramatic imagination. Catherine’s lover, Morris, who proves to be a fortune-hunter, loves her only as an heiress. When he comes to know what he can get through marriage is quite small, he puts off his mask and leaves Catherine. Dr. Sloper’s ‘scientific’ categorical thinking leads him to put even his own daughter under a category, or a type, and thus makes him see only her surface. Catherine’s stoic but independent inclination makes her life anti-melodramatic in the sense that she rejects her aunt’s advices based on melodramatic sentimentalism. After Morris leaves her, just like Hester Prynne in The Scarlet Letter, she serves at various charity institutions and comes to be respected by all the young men and women in society.
Abstract
This paper aims at analyzing the tension of melodrama and anti-melodrama in Henry James’s Washington Square. In this novel Catherine the heroine lies in the “melodramatic situation” in which three melodramatic stock characters, Sloper, Morris, and Mrs. Penniman, drive her into the abyss of suffering. Mrs. Penniman, “Fairy God-Mother” in fairy-tales, should protect her niece Catherine, but only serves Morris. She always wants to embellish their love affair with her melodramatic imagination. Catherine’s lover, Morris, who proves to be a fortune-hunter, loves her only as an heiress. When he comes to know what he can get through marriage is quite small, he puts off his mask and leaves Catherine. Dr. Sloper’s ‘scientific’ categorical thinking leads him to put even his own daughter under a category, or a type, and thus makes him see only her surface. Catherine’s stoic but independent inclination makes her life anti-melodramatic in the sense that she rejects her aunt’s advices based on melodramatic sentimentalism. After Morris leaves her, just like Hester Prynne in The Scarlet Letter, she serves at various charity institutions and comes to be respected by all the young men and women in society.
참고문헌 (14)
- 제임스, 헨리, "워싱턴 스퀘어" (2009), 을유문화사
- 조흥근, "『워싱턴 스퀘어』에 나타난 심미주의와 계산된 의도의 양상", 영어영문학21, 28(4), pp.185~205 (2015), 21세기영어영문학회
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