셰익스피어 후기극에 나타난 가부장적 통치
Patriarchal Fathership and Kingship in Shakespeare's Late Plays
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As Shakespeare’s late plays end with the restoration and regeneration rendered possible through the renewed bond between father and daughter, they are often interpreted as celebrating women as protectors and givers of life. However, this paper assumes that they are more patriarchal than they appear. Shakespeare's late plays are his literary response to the social, economic and political change in the early Jacobean period. The most pertinent two changes were the succession to the throne of James I who propagated patriarchy as his ruling ideology and the flourishing of Puritan homilies which also helped strengthen hierarchical relationships in the family by emphasizing a wife's subjugation to her husband. Shakespeare’s late plays served the contemporary patriarchal ideology by naturalizing political power in terms of family relationship and chastening female sexuality that can threaten that power. In his late plays, women of the older generation can be divided into two groups; ones who are exercising their female sexuality in vicious ways to lead a ruler astray from his kingship and the others who perform their duty by issuing legitimate children to them. The former invariably die in the middle or at the end of the plays. The representation of chaste married women is more problematic in that they are also considered potentially threatening and, thus marginalized by mock deaths. Not until they are wholly desexualized and chastened do they come back to stage. The representation of daughters is not very different from that of their mothers. Even though they are spirited and assertive like their counterparts in romantic comedies, they are subdued and chastened with the progress of the plays. In the end, they are transferred to their prospective husbands, who in turn require them to be chast, which guarantees legitimate posterity. Even though Shakespeare's late plays endorse a patriarchal ideology, they also subvert it by letting the audience get a glimpse of the other side. Marina’s survival in a brothel through the use of eloquence, which was particularly attributed as a male quality in the Shakespearean period, does offer a chance to think of what patriarchal control gives to women in and out of the system. Prospero’s ‘perfect’ patriarchal governance is also made problematic as the perspectives of his servants, Ariel and Caliban, are provided complementarily.
Abstract
As Shakespeare’s late plays end with the restoration and regeneration rendered possible through the renewed bond between father and daughter, they are often interpreted as celebrating women as protectors and givers of life. However, this paper assumes that they are more patriarchal than they appear. Shakespeare's late plays are his literary response to the social, economic and political change in the early Jacobean period. The most pertinent two changes were the succession to the throne of James I who propagated patriarchy as his ruling ideology and the flourishing of Puritan homilies which also helped strengthen hierarchical relationships in the family by emphasizing a wife's subjugation to her husband. Shakespeare’s late plays served the contemporary patriarchal ideology by naturalizing political power in terms of family relationship and chastening female sexuality that can threaten that power. In his late plays, women of the older generation can be divided into two groups; ones who are exercising their female sexuality in vicious ways to lead a ruler astray from his kingship and the others who perform their duty by issuing legitimate children to them. The former invariably die in the middle or at the end of the plays. The representation of chaste married women is more problematic in that they are also considered potentially threatening and, thus marginalized by mock deaths. Not until they are wholly desexualized and chastened do they come back to stage. The representation of daughters is not very different from that of their mothers. Even though they are spirited and assertive like their counterparts in romantic comedies, they are subdued and chastened with the progress of the plays. In the end, they are transferred to their prospective husbands, who in turn require them to be chast, which guarantees legitimate posterity. Even though Shakespeare's late plays endorse a patriarchal ideology, they also subvert it by letting the audience get a glimpse of the other side. Marina’s survival in a brothel through the use of eloquence, which was particularly attributed as a male quality in the Shakespearean period, does offer a chance to think of what patriarchal control gives to women in and out of the system. Prospero’s ‘perfect’ patriarchal governance is also made problematic as the perspectives of his servants, Ariel and Caliban, are provided complementarily.
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