『바꿔친 아이』에 나타나는 욕망과 복수의 정치학: 알시메로를 중심으로
Politics of Desire and Revenge in The Changeling: Alsemero’s Case
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This paper deals with the ways in which Thomas Middleton and William Rowley’s The Changeling(1623) colludes with the patriarchal ideology of the early seventeenth century England in its adaptation of the story of Alsemero and Beatrice Joanna in John Reynolds’ The Triumphs of Gods Revenge against the Crying and Execrable Sinne of (Willfull and Premediated) Murther(1621). First this paper compares and contrasts Middleton and Rowley’s and Reynolds’ Alsemero in order to analyze the tremendous transformations that the protagonist undergoes from an unwisely infatuated lover, murderously jealous husband and then hopelessly degenerate villain in Reynolds’ story into a chivalrous wooer, betrayed husband and then righteous judge who recovers the ruling order severely shaken by devious Beatrice-Joanna in Middleton and Rowley’s play. Then this paper pays closer attention to the socio-ecomonmic implication in the justly vengeful judge’s role that Alsemero awkwardly plays at the end of The Changeling, where he lets his wife killed by Deflores, her adulterous lover and accomplice in the murders of Alonzo and Diaphanta, and then offers Alonzo’s brother Tomazo condolences and friendship. The ultimate argument of this paper is that at least from women’s point of view, Jacobean theatre including Middleton and Rowley’s might not have been that radical after all, given the hurried celebration of the upper class fraternity led by Alsemero who is established only through the sexualization and elimination of Beatrice-Joanna, who is a lot more truthful and consistent than anyone else in the original prose.
Abstract
This paper deals with the ways in which Thomas Middleton and William Rowley’s The Changeling(1623) colludes with the patriarchal ideology of the early seventeenth century England in its adaptation of the story of Alsemero and Beatrice Joanna in John Reynolds’ The Triumphs of Gods Revenge against the Crying and Execrable Sinne of (Willfull and Premediated) Murther(1621). First this paper compares and contrasts Middleton and Rowley’s and Reynolds’ Alsemero in order to analyze the tremendous transformations that the protagonist undergoes from an unwisely infatuated lover, murderously jealous husband and then hopelessly degenerate villain in Reynolds’ story into a chivalrous wooer, betrayed husband and then righteous judge who recovers the ruling order severely shaken by devious Beatrice-Joanna in Middleton and Rowley’s play. Then this paper pays closer attention to the socio-ecomonmic implication in the justly vengeful judge’s role that Alsemero awkwardly plays at the end of The Changeling, where he lets his wife killed by Deflores, her adulterous lover and accomplice in the murders of Alonzo and Diaphanta, and then offers Alonzo’s brother Tomazo condolences and friendship. The ultimate argument of this paper is that at least from women’s point of view, Jacobean theatre including Middleton and Rowley’s might not have been that radical after all, given the hurried celebration of the upper class fraternity led by Alsemero who is established only through the sexualization and elimination of Beatrice-Joanna, who is a lot more truthful and consistent than anyone else in the original prose.
참고문헌 (29)
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