대중적 놀이로 본 웨이크필드 매스터의 『헤롯왕』
Wakefield Master’s Magnus Herodes As a Popular Play
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Medieval cycle plays were generally developed within a Christian culture, which was the most prominent and enduring source of power in the Middle Ages. In spite of the obvious influence of the church, however, we can see the characters, images, and forms in the Wakefield Master's Magnus Herodes, which are not relevant to the sacred and official Christian elements. They are close to the festive and popular elements that are found in the traditional carnivals. Unlike medieval cycle plays which exclusively focus on Christian principle, his play presents a striking dialogue between two very different points of view; a popular, carnival point of view and an official, orthodox one. In a word, the Wakefield Master creates the dialogue between orthodox Christian culture and a popular sub-culture. Magnus Herodes includes festive characters, their grotesque behaviors, and festive patterns, which are not commonly found in the primary source of the cycle play, the Bible. These festive elements create the comic and even topsy-turvy environment which serves as entertainment for the audience. In addition, the Wakefield Master in the comic atmosphere examines, parodies, and satirizes more risky and serious subjects that the contemporary society faces. That is, the festive elements in Magnus Herodes are employed to bring the official realms such as court, knighthood, and church, that could not be the objects of the ordinary people’s criticism and even complaint at that time, to the comic and the ridiculous. It is through Herod’s grotesque and comic image that the royal power of English court is lowered into the realm of the ridiculous. By connecting contemporary knights with the clown-like figures, the Wakefield Master also lowers chivalry into the realm of comic buffoonery.
Abstract
Medieval cycle plays were generally developed within a Christian culture, which was the most prominent and enduring source of power in the Middle Ages. In spite of the obvious influence of the church, however, we can see the characters, images, and forms in the Wakefield Master's Magnus Herodes, which are not relevant to the sacred and official Christian elements. They are close to the festive and popular elements that are found in the traditional carnivals. Unlike medieval cycle plays which exclusively focus on Christian principle, his play presents a striking dialogue between two very different points of view; a popular, carnival point of view and an official, orthodox one. In a word, the Wakefield Master creates the dialogue between orthodox Christian culture and a popular sub-culture. Magnus Herodes includes festive characters, their grotesque behaviors, and festive patterns, which are not commonly found in the primary source of the cycle play, the Bible. These festive elements create the comic and even topsy-turvy environment which serves as entertainment for the audience. In addition, the Wakefield Master in the comic atmosphere examines, parodies, and satirizes more risky and serious subjects that the contemporary society faces. That is, the festive elements in Magnus Herodes are employed to bring the official realms such as court, knighthood, and church, that could not be the objects of the ordinary people’s criticism and even complaint at that time, to the comic and the ridiculous. It is through Herod’s grotesque and comic image that the royal power of English court is lowered into the realm of the ridiculous. By connecting contemporary knights with the clown-like figures, the Wakefield Master also lowers chivalry into the realm of comic buffoonery.
참고문헌 (21)
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