띠르소와 로뻬가 묘사한 악녀와 여성관 비교 연구
A Comparative Study on the Evil Women and the View of Womanhood by Tirso and Lope
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In the plays of Tirso and Lope, representative playwrights of the 17th century, the image of the heroine as a evil woman has not yet been studied. Therefore, in this study, we will analyze the image of the heroine as a evil woman in the play of these two playwrights in detail, and compare and analyze the view of womanhood of these two playwrights. In the case of the tirso’s play, a heroine named Jezabel appears in a religious play called La mujer que manda en casa. Through the tragic end of Jezabel, a ruthless and lewd villain, Tirso expresses a conservative view of women that, unlike his progressive view of womanhood based on feminism, married women should focus only on family affairs. Meanwhile, in the case of Lope’s play, a heroine named Diana appears in a very famous comedy called El perro del hortelano. In this play, Lope shows a very enterprising view of womanhood, breaking away from his conservative view of womanhood through the realization of a love beyond status between Diana, a cold, violent, and tyrannical villain, and her secretary Teodoro.
Abstract
In the plays of Tirso and Lope, representative playwrights of the 17th century, the image of the heroine as a evil woman has not yet been studied. Therefore, in this study, we will analyze the image of the heroine as a evil woman in the play of these two playwrights in detail, and compare and analyze the view of womanhood of these two playwrights. In the case of the tirso’s play, a heroine named Jezabel appears in a religious play called La mujer que manda en casa. Through the tragic end of Jezabel, a ruthless and lewd villain, Tirso expresses a conservative view of women that, unlike his progressive view of womanhood based on feminism, married women should focus only on family affairs. Meanwhile, in the case of Lope’s play, a heroine named Diana appears in a very famous comedy called El perro del hortelano. In this play, Lope shows a very enterprising view of womanhood, breaking away from his conservative view of womanhood through the realization of a love beyond status between Diana, a cold, violent, and tyrannical villain, and her secretary Teodoro.
참고문헌 (20)
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