＂플롯은 세워졌다＂: 『헨리 6세』제 1부의 구조
"The Plot is Laid": The Structure of Henry Ⅵ, Part One
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Henry VI, Part One shows Shakespeare's deliberate craftmanship in rearranging, adapting, and controlling the resistant and messy historical materials. Contrary to the claims of the disintegrators, this play has a well-wrought scenic design. In this play Shakespeare builds up his plot of ever changing events, not of the unity of actions, in order to depict the controlling idea of unkind dissension and confusion of the English peers. The scenic structure of comparison, contrast, and juxtaposition is rather circular and fragmentary than linear and stable in its development. The repetitive variation and parallelism of the scenes effectuates both reflection and refraction of the whirling movements and mutations of historical events. Shakespeare's scenic structure, well fitted to the epic cycle of his history plays, provides the audience with multiple, and sometimes colliding perspectives on the characters and historical events, paying no central attention on a certain character or an event. Dramatic irony out of the Shakespearean perspectivism works as a kind of structural principle in this early history play. The seemingly independent Talbot-Countess of Auvergne meeting scene is pivotal in linking together several separate episodes together. This playlet in the play reflects Shakespeare's artistic consciousness in terms of Talbot's counterplot to the plot laid by the Countess of Auvergne. Shakespeare fabricates his scenic plot out of the political plots at once English and French. Contrary to the claims of Aristotelian critics, Shakespeare's scenic and epic structure demonstrates his architectonic power and his facility to observe the near and the far simultaneously, thus creating dramatic ironies. The thematically unified structure of Henry VI, Part One, proves a single mind making a new genre of popular history plays in the late 1580s.
Abstract
Henry VI, Part One shows Shakespeare's deliberate craftmanship in rearranging, adapting, and controlling the resistant and messy historical materials. Contrary to the claims of the disintegrators, this play has a well-wrought scenic design. In this play Shakespeare builds up his plot of ever changing events, not of the unity of actions, in order to depict the controlling idea of unkind dissension and confusion of the English peers. The scenic structure of comparison, contrast, and juxtaposition is rather circular and fragmentary than linear and stable in its development. The repetitive variation and parallelism of the scenes effectuates both reflection and refraction of the whirling movements and mutations of historical events. Shakespeare's scenic structure, well fitted to the epic cycle of his history plays, provides the audience with multiple, and sometimes colliding perspectives on the characters and historical events, paying no central attention on a certain character or an event. Dramatic irony out of the Shakespearean perspectivism works as a kind of structural principle in this early history play. The seemingly independent Talbot-Countess of Auvergne meeting scene is pivotal in linking together several separate episodes together. This playlet in the play reflects Shakespeare's artistic consciousness in terms of Talbot's counterplot to the plot laid by the Countess of Auvergne. Shakespeare fabricates his scenic plot out of the political plots at once English and French. Contrary to the claims of Aristotelian critics, Shakespeare's scenic and epic structure demonstrates his architectonic power and his facility to observe the near and the far simultaneously, thus creating dramatic ironies. The thematically unified structure of Henry VI, Part One, proves a single mind making a new genre of popular history plays in the late 1580s.
참고문헌 (24)
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