로뻬 데 베가의 연극에 나타난 아리스토텔레스주의의 바로크적 해석

Abstract

Lope de Vega states his general opinion in his playwriting and drama through his theoretical writing Arte nuevo de hacer comedias published in 1609, and it must be understood that Lope’s most fundamental basis on literature regarding playwriting can be found in Aristotelianism through this writing. However, although it is said to be based on Aristotelianism, we must not overlook the fact that it is by no means a blind following of Aristotelianism. Rather, he excluded the non-matching parts of Aristotelian play theory which did not agree with his time and place and grafted Aristotelianism in his theatrical world while thoroughly considering the periodical situation that Spain was placed in. Spain’s aesthetical value at that time was in a period of transition to a new cultural and artistical current called Baroque. Therefore, Lope saw through such current of culture and art and accepted Aristotelianism through a method called ‘Baroque’. Under such premise, this study observes Lope’s plays with four main viewpoints. First, through comedy, Lope extends and transfers the concepts of ‘peripety’ and ‘recognition’ which are mentioned by Aristotle to explain tragical plot, to a comical category. Second, it can be said that Aristotle’s peripety and recognition have a strong character fate. On the contrary to this, Lope not only added such fateful characteristic, but also fantastic and illusional factors in the atmosphere of his plays. Third, we must focus on the fact that there are diverse types of symmetries that are established in Lope’s plays. Fourth, we must focus on the duality and abstruseness of the message that Lope’s play wishes to deliver. Ultimately, through such study, we believe that the opportunity can be arranged to acquire the methodology to all the more genuinely understand and approach Spain’s Baroque drama commenced by Lope.