‘축제극’으로서 『구두장이의 휴일』
The Shoemaker's Holiday as a Festive Play
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Thomas Dekker's The Shoemaker's Holiday, which can be classified as a city comedy, has the characteristics of a festive play rather than satiric elements, unlike typical city comedies. In his epistle, Dekker said that nothing is purposed but mirth in the play, which proves that he has no intention to reveal the dark side of his society. He tried to write a festive play which contains lots of festive elements. Simon Eyre, the hero, is the host in the feast. His shop, which is full of vital energy, is the center of the feast. Eyre and his shoemakers enjoy working in the festive mood and enjoy drinking, singing and dancing. The sexual connotation in their dialogues also makes the atmosphere of the play hilarious and the mood is harmoniously suitable for the feast. In the last part of the play on Shrove Tuesday, Eyre invites to the revels all the apprentices of London and asks the king to attend the banquet, which he does. Abundant food and drinks, violent actions and liberation from the social restraints shown in the play are closely related with the characteristics of Shrove Tuesday. Mikhail Bakhtin's 'carnival theory' in his study of Rabelais also can be a useful tool to reveal the important festive features in The Shoemaker's Holiday. The carnival in the Middle and the Renaissance Age in Europe was popular and enjoyed by the low class people. During the period of carnival, people were liberated temporarily from their social restraints and the official order of society was suspended. They could eat enough food, drink a lot, and enjoy singing and dancing. The festive elements of The Shoemaker's Holiday are concordant with the main points of the carnival theory. However, feasting can not continue permanently and it can not be a final solution to overcome social conflicts and actual problems, because people have to come back to their real life when a feast finishes with problems unsolved. In conclusion, The Shoemaker's Holiday is dramatizing Elizabethans' dream as a festive play rather than the actual world of Elizabethan society.
Abstract
Thomas Dekker's The Shoemaker's Holiday, which can be classified as a city comedy, has the characteristics of a festive play rather than satiric elements, unlike typical city comedies. In his epistle, Dekker said that nothing is purposed but mirth in the play, which proves that he has no intention to reveal the dark side of his society. He tried to write a festive play which contains lots of festive elements. Simon Eyre, the hero, is the host in the feast. His shop, which is full of vital energy, is the center of the feast. Eyre and his shoemakers enjoy working in the festive mood and enjoy drinking, singing and dancing. The sexual connotation in their dialogues also makes the atmosphere of the play hilarious and the mood is harmoniously suitable for the feast. In the last part of the play on Shrove Tuesday, Eyre invites to the revels all the apprentices of London and asks the king to attend the banquet, which he does. Abundant food and drinks, violent actions and liberation from the social restraints shown in the play are closely related with the characteristics of Shrove Tuesday. Mikhail Bakhtin's 'carnival theory' in his study of Rabelais also can be a useful tool to reveal the important festive features in The Shoemaker's Holiday. The carnival in the Middle and the Renaissance Age in Europe was popular and enjoyed by the low class people. During the period of carnival, people were liberated temporarily from their social restraints and the official order of society was suspended. They could eat enough food, drink a lot, and enjoy singing and dancing. The festive elements of The Shoemaker's Holiday are concordant with the main points of the carnival theory. However, feasting can not continue permanently and it can not be a final solution to overcome social conflicts and actual problems, because people have to come back to their real life when a feast finishes with problems unsolved. In conclusion, The Shoemaker's Holiday is dramatizing Elizabethans' dream as a festive play rather than the actual world of Elizabethan society.
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