도덕성과 감상성의 경계—파커의 『멋쟁이의 책략』과 왕정복고기 희극의 모럴 코드
Moral Code between Morality and Sentimentalism in Farquhar’s The Beaux’ Stratagem and Restoration Comedies
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This essay explores moral consensus between morality and sentimentalism at the Restoration comedies and eighteenth-century ones analysing George Farquhar's The Beaux' Stratagem in relation to the social and political changes during the periods. These changes have to be explained in the context of the Bloodless Revolution influencing the emergence of Sentimental comedy for middle class. As a reference group of the late seventeenth-century English society, they tend to regard sentimentalism as moral standpoint. Contrary to the condemnation of the immorality in the Restoration plays, the ending of Farquhar's The Beaux' Stratagem shows morally different attitudes though the plot of the play is still immoral. It seems true that The Beaux' Stratagem is Farquhar's greatest work and typical work as well at the late Restoration period. As a representative dramatist during the period, Farquhar developed typical Restoration plays to more sentimental forms of comedy reflecting the moral consensus of his society both of early eighteenth-century and late seventeenth-century.
Abstract
This essay explores moral consensus between morality and sentimentalism at the Restoration comedies and eighteenth-century ones analysing George Farquhar's The Beaux' Stratagem in relation to the social and political changes during the periods. These changes have to be explained in the context of the Bloodless Revolution influencing the emergence of Sentimental comedy for middle class. As a reference group of the late seventeenth-century English society, they tend to regard sentimentalism as moral standpoint. Contrary to the condemnation of the immorality in the Restoration plays, the ending of Farquhar's The Beaux' Stratagem shows morally different attitudes though the plot of the play is still immoral. It seems true that The Beaux' Stratagem is Farquhar's greatest work and typical work as well at the late Restoration period. As a representative dramatist during the period, Farquhar developed typical Restoration plays to more sentimental forms of comedy reflecting the moral consensus of his society both of early eighteenth-century and late seventeenth-century.
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