자질의 권위와 계승의 권위: 드라이든의 [그라나다의 정복]과 [아우랑제브]에 형상화된 권위의 문제
The Authority of Qualification and the Authority of Succession: The Problem of Authority in Dryden’s The Conquest of Granada and Aureng-Zebe
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The purpose of this paper is to investigate the problem of authority in the most famous heroic dramas of John Dryden, The Conquest of Granada (1670, 1671) and Aureng-Zebe (1675). The aim of heroic dramas can be understood to be the justification of the authority of the restored kingship in Restoration England. These works attempt to vindicate the God-given authority of the king by representing heroes who save their states from deep crises with their rare prowess even as they are ultimately discovered to be the long-lost heir of the king. Heroic dramas argue for the authority of the king by conjoining the authority of qualification with the authority of succession. This paper, however, contends that John Dryden’s two heroic dramas fail to achieve their goal, as they reveal the problems of heroes who are found out not to have enough qualification as a leader of a state nor enough authority of succession. In The Conquest of Granada, the succession of Granada’s throne from Boabdelin to Almanzor does not function as a model of rightful succession of kingship and Almanzor is not portrayed as achieving a satisfactory development from noble savage to responsible leader of a state. In Aureng-Zebe the problem of succession inherent in the Moghul empire is not solved by the succession of Aureng-Zebe as the new emperor. While Aureng-Zebe’s passive filial piety is portrayed as a heroic quality for a private man, it is revealed to be a liability for a leader of an empire. The failure of these dramas in justifying the authority of the king reflects the impossibility Dryden faced in the task of justifying the absolute authority of a king made one by invitation of parliament.
Abstract
The purpose of this paper is to investigate the problem of authority in the most famous heroic dramas of John Dryden, The Conquest of Granada (1670, 1671) and Aureng-Zebe (1675). The aim of heroic dramas can be understood to be the justification of the authority of the restored kingship in Restoration England. These works attempt to vindicate the God-given authority of the king by representing heroes who save their states from deep crises with their rare prowess even as they are ultimately discovered to be the long-lost heir of the king. Heroic dramas argue for the authority of the king by conjoining the authority of qualification with the authority of succession. This paper, however, contends that John Dryden’s two heroic dramas fail to achieve their goal, as they reveal the problems of heroes who are found out not to have enough qualification as a leader of a state nor enough authority of succession. In The Conquest of Granada, the succession of Granada’s throne from Boabdelin to Almanzor does not function as a model of rightful succession of kingship and Almanzor is not portrayed as achieving a satisfactory development from noble savage to responsible leader of a state. In Aureng-Zebe the problem of succession inherent in the Moghul empire is not solved by the succession of Aureng-Zebe as the new emperor. While Aureng-Zebe’s passive filial piety is portrayed as a heroic quality for a private man, it is revealed to be a liability for a leader of an empire. The failure of these dramas in justifying the authority of the king reflects the impossibility Dryden faced in the task of justifying the absolute authority of a king made one by invitation of parliament.
참고문헌 (27)
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