고골의 희곡들에 나타난 기만과 자기기만의 시학:『결혼』, 『검찰관』, 『도박꾼들』을 중심으로
The Poetics of Deception and Self-Deception in Gogol’s Plays : Focused on Marriage, The Inspector General, The Gamblers
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This paper analyzes the lies, deceptions, and self-deceptions of Gogol’s plays based on modern theories about lies, the heuristic theory, the self defense mechanism. In Gogol’s Marriage, the author makes the audience laugh by bringing to light life enmeshed in various lies such as lies told to achieve a certain goal, lies told to keep up appearances, and lies told to avoid difficult situations. The Inspector General portrays a pseudo-fraud. The factors that make this fraud possible is the fudge factor, a culture where corruption is common. As a result, Dobchinsky and Bobchinsky’s psychological projections in mistaking Khlestakov as an Inspector General, the self-righteous bias of the mayor, selfish tendencies, the fantasy of control, Khlestakov’s entrenchment in the fudge factor “already forsaken body”, and his self-rationalization can be observed. In The Gamblers, a thorough fraud is played out. A play of three layers is portrayed: the fraud played by Ikharev’s and Uteshitelny’s gang to fool Glov, the fraud played against Ikharev on stage, and the stage in front of the audience. After realizing that the fraud in front of their eyes is a lie and that the real fraud is somewhere else, the audience becomes gripped with the fear that the reality that they face each day is nothing but a deception. All three plays are composed to incite ‘fear’. All three plays are structured so that the people who attempt to deceive others end up being deceived themselves. The level of deception intensifies in the order of Marriage, Inspector General, and The Gamblers. The lies, deception, and self-deception in Gogol’s plays come from Gogol’s Christian perspective of the deceptions of the Devil. However, Gogol’s plan for moral reform fails and the audience is gripped by a mocking, laughter that ridicules the sinful nature of human beings that are unable to live without lies.
Abstract
This paper analyzes the lies, deceptions, and self-deceptions of Gogol’s plays based on modern theories about lies, the heuristic theory, the self defense mechanism. In Gogol’s Marriage, the author makes the audience laugh by bringing to light life enmeshed in various lies such as lies told to achieve a certain goal, lies told to keep up appearances, and lies told to avoid difficult situations. The Inspector General portrays a pseudo-fraud. The factors that make this fraud possible is the fudge factor, a culture where corruption is common. As a result, Dobchinsky and Bobchinsky’s psychological projections in mistaking Khlestakov as an Inspector General, the self-righteous bias of the mayor, selfish tendencies, the fantasy of control, Khlestakov’s entrenchment in the fudge factor “already forsaken body”, and his self-rationalization can be observed. In The Gamblers, a thorough fraud is played out. A play of three layers is portrayed: the fraud played by Ikharev’s and Uteshitelny’s gang to fool Glov, the fraud played against Ikharev on stage, and the stage in front of the audience. After realizing that the fraud in front of their eyes is a lie and that the real fraud is somewhere else, the audience becomes gripped with the fear that the reality that they face each day is nothing but a deception. All three plays are composed to incite ‘fear’. All three plays are structured so that the people who attempt to deceive others end up being deceived themselves. The level of deception intensifies in the order of Marriage, Inspector General, and The Gamblers. The lies, deception, and self-deception in Gogol’s plays come from Gogol’s Christian perspective of the deceptions of the Devil. However, Gogol’s plan for moral reform fails and the audience is gripped by a mocking, laughter that ridicules the sinful nature of human beings that are unable to live without lies.
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