Dryden’s Topographical Imagination in Marriage à la Mode: Spacing, Privacy and Theatricality
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In an attempt to challenge the conventional understanding of Restoration tragicomedy, this paper explores discursive and spatial constructions of privacy in John Dryden’s Marriage à la Mode. Noting the uneasy juxtaposition of the two concepts of privacy in Dryden’s comedy, this paper calls attention to Restoration court culture of 1670s in which Dryden had to strike an uneasy balance act between the receding pastoral world and the emerging libertinism. By placing pastoral lovers and libertine couples in the same royal court, Dryden vividly captures the precarious cohabitation of two opposing (private) worlds. To illustrate the significance of this topographical structure, this paper draws upon Freudian reading of human psyche, in which the ego has to put a rein on two unruly assertions both from the superego and the unconscious. While trying not to lose sight of the fact that Dryden was apparently unfavorable to the emergence of libertinism and its subversive use of pastoral/heroic language, this paper concludes that the significance of Dryden’s Marriage à la Mode lies in its faithful dramatization of the historical moment in which the private started to establish its association with the sexual.
Abstract
In an attempt to challenge the conventional understanding of Restoration tragicomedy, this paper explores discursive and spatial constructions of privacy in John Dryden’s Marriage à la Mode. Noting the uneasy juxtaposition of the two concepts of privacy in Dryden’s comedy, this paper calls attention to Restoration court culture of 1670s in which Dryden had to strike an uneasy balance act between the receding pastoral world and the emerging libertinism. By placing pastoral lovers and libertine couples in the same royal court, Dryden vividly captures the precarious cohabitation of two opposing (private) worlds. To illustrate the significance of this topographical structure, this paper draws upon Freudian reading of human psyche, in which the ego has to put a rein on two unruly assertions both from the superego and the unconscious. While trying not to lose sight of the fact that Dryden was apparently unfavorable to the emergence of libertinism and its subversive use of pastoral/heroic language, this paper concludes that the significance of Dryden’s Marriage à la Mode lies in its faithful dramatization of the historical moment in which the private started to establish its association with the sexual.
참고문헌 (15)
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