『리어왕』에 나타난 탈 성서적 요소
Deconsecration of Biblical Elements in King Lear
1
조회
0
다운로드
4
인용
0
참고문헌
키워드
초록
The Bible was appreciated as a great work of literature and an artistic inspiration for Renaissance writers. Yet a controversy concerning the question of how Shakespeare himself regarded the Scriptures has not come to an agreement among scholars. Quite a few scholars read Shakespeare’s biblical references as didactic reinforcement of Christian doctrine. Shakespeare employs various biblical elements in his plays, yet he often deconsecrates them in terms of Renaissance humanism, turning upside-down Christian theology or the patriarchal pattern of the Bible in his tragedies. This paper explores how Shakespeare deconsecrates some biblical elements in King Lear, with focus on Act 4 scene 7. The so-called reconciliation scene demonstrates the subversion of the biblical story of ‘prodigal son’ into the story of prodigal father in which father asks for his daughter’s forgiveness. The play also deconstructs the biblical account of creation and order through differentiation and division in Genesis, and suggests Cordelia, a symbol of all-producing and all embracing “nothing,” as our new Savior whose commandment is “Love, and be silent.”
Abstract
The Bible was appreciated as a great work of literature and an artistic inspiration for Renaissance writers. Yet a controversy concerning the question of how Shakespeare himself regarded the Scriptures has not come to an agreement among scholars. Quite a few scholars read Shakespeare’s biblical references as didactic reinforcement of Christian doctrine. Shakespeare employs various biblical elements in his plays, yet he often deconsecrates them in terms of Renaissance humanism, turning upside-down Christian theology or the patriarchal pattern of the Bible in his tragedies. This paper explores how Shakespeare deconsecrates some biblical elements in King Lear, with focus on Act 4 scene 7. The so-called reconciliation scene demonstrates the subversion of the biblical story of ‘prodigal son’ into the story of prodigal father in which father asks for his daughter’s forgiveness. The play also deconstructs the biblical account of creation and order through differentiation and division in Genesis, and suggests Cordelia, a symbol of all-producing and all embracing “nothing,” as our new Savior whose commandment is “Love, and be silent.”
참고문헌 (16)
- 노자, "길과 얻음" (1990), 통나무
- 한광석, "The Ontological Vision of Nothing and Realization of the True Self in King Lear", 동서비교문학저널, 22(22), pp.247~270 (2010), 한국동서비교문학학회
- 홍기영, "『리어왕』(King Lear)의 기독교적 해석", 영어영문학연구, 30(3), pp.153~170 (2004), 대한영어영문학회
- Badawi, Muhammad Mustafa, "Background to Shakespeare" (1981), Macmillan
- Burckhardt, Sigurd, "King Lear: The Quality of Nothing", Minnesota Review, 11, pp.33~50 (1961)
- Everett, Barbara, "Young Hamlet : Essay on shakespeare’s Tragedies" (1989), Oxford UP
- Frye, Northrop, "The Great Code : The Bible and Literature" (1982), Harvest
- Frye, Northrop, "Words With Power : The Bible and Literature" (1990), Penguin
- Gabel, John B, "The Bible As Literature" (1996), Oxford UP
- Jasper, David, "The Bible and Literature" (2003), Blackwell
- Knight, G. Wilson, "Principles of Shakespearian Production" (1937), Macmillan
- Marx, Steven, "Shakespeare and the Bible" (2007), Oxford UP
- Saussure, Ferdinand de, "Critical Theory Since 1965", pp.646~656 (1965), Florida State UP
- Shakespeare, William, "The Complete Signet Classic Shakespeare" (1972), Harcourt
- Stroup, Thomas B, "Cordelia and the Fool", Shakespeare Quarterly, 12, pp.127~132 (1961)
- Storozynsky, L. M, "King Lear and Chaos", Critical Survey, 3, pp.163~169 (1991)