크리스토퍼 말로의 “어둠의 심연”: 『템버레인 대제』에 나타난 제국주의 원형
“Heart of Darkness” of Christopher Marlowe: An Archetype of Imperialism in Tamburlaine the Great
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The general hypothesis of this study is that Tamburlaine the Great is a non-official protocol of Conradian 'Heart of Darkness' constructed by 16th century English society where the evil passion of colonialism had germinated. Accordingly this study aims at the research for the contents of the 'Darkness'. This 'Heart of Darkness' consists of the elements of Tamburlaine the Great such as the Port Deptfort, Muscovy Company, extreme atheism, Marlowe's passion for the revolutional poetry, non-communicable poetic justice, legitimating Tamburlaine, and his death as well. All of these contents are materials for this thesis, and I especially focus on three elements. The first is the non-communicable poetic justice which features Marlowe's iconoclastic attitude toward Elizabethan plays. According to Stephen Greenblatt, Tamburlaine repeatedly teases its audience with the form of cautionary tale, only to violate the contemporary dramatic convention. For example, with his dying breath, King of Persia, Cosroe curses Tamburlaine—a sure prelude to disaster—but the disaster never occurs. Bajazeth, the king of Arabia, and even Zenocrate have powerful premonitions of the hero's downfall, but Tamburlaine passes from success to success. Until the end of Part Ⅱ, the slaughter of thousands, the murder of his own son, and the torture of his royal captives are all without apparent consequence; then after he burns the Coran, Tamburlaine falls ill and dies. The Implication of this final moment poetic justice is, this essay reveals, the way Marlowe's aggressive atheism is uncovered, and that his atheism affects the formation of this play. Marlowe's connection with the Muscovy Company, led by Marlowe's patrons is also one of material determinants for his writing of Tamburlaine. This essay also focuses on the historical fact that in 1587, when Tamburlaine was acted, the Company was running a gigantic fraud to supply arms in exchange for access to the Tsar's conquests. Tamburlaine, this essay concludes, is a Conradian tale that situates Marlowe not on the margines, but in the Elizabethan ‘Heart of Darkness’, where his cruel hero would inspire London audience with iconoclasm, the revolutional poetry, and above all, the atheism.
Abstract
The general hypothesis of this study is that Tamburlaine the Great is a non-official protocol of Conradian 'Heart of Darkness' constructed by 16th century English society where the evil passion of colonialism had germinated. Accordingly this study aims at the research for the contents of the 'Darkness'. This 'Heart of Darkness' consists of the elements of Tamburlaine the Great such as the Port Deptfort, Muscovy Company, extreme atheism, Marlowe's passion for the revolutional poetry, non-communicable poetic justice, legitimating Tamburlaine, and his death as well. All of these contents are materials for this thesis, and I especially focus on three elements. The first is the non-communicable poetic justice which features Marlowe's iconoclastic attitude toward Elizabethan plays. According to Stephen Greenblatt, Tamburlaine repeatedly teases its audience with the form of cautionary tale, only to violate the contemporary dramatic convention. For example, with his dying breath, King of Persia, Cosroe curses Tamburlaine—a sure prelude to disaster—but the disaster never occurs. Bajazeth, the king of Arabia, and even Zenocrate have powerful premonitions of the hero's downfall, but Tamburlaine passes from success to success. Until the end of Part Ⅱ, the slaughter of thousands, the murder of his own son, and the torture of his royal captives are all without apparent consequence; then after he burns the Coran, Tamburlaine falls ill and dies. The Implication of this final moment poetic justice is, this essay reveals, the way Marlowe's aggressive atheism is uncovered, and that his atheism affects the formation of this play. Marlowe's connection with the Muscovy Company, led by Marlowe's patrons is also one of material determinants for his writing of Tamburlaine. This essay also focuses on the historical fact that in 1587, when Tamburlaine was acted, the Company was running a gigantic fraud to supply arms in exchange for access to the Tsar's conquests. Tamburlaine, this essay concludes, is a Conradian tale that situates Marlowe not on the margines, but in the Elizabethan ‘Heart of Darkness’, where his cruel hero would inspire London audience with iconoclasm, the revolutional poetry, and above all, the atheism.
참고문헌 (16)
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