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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2003.3
- 수록면
- 155 - 176 (22page)
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This essays will attempt to define tragicomedy as a generic term by analyzing Renaissance Italian playwright Guarini's practice and his theory as well as Shakespeare's late plays that I would call tragicomedies, such as Pericles, Cymbeline, The Winter's Tale, and The Tempest. Tragicomedy is not a simple combination of tragic and comic elements. Instead, Guarini emphasized the art of selection, recommending that the artist take "from tragedy its great persons but not its great action, its verisimilar plot but not its true one, its movement of feelings but not its disturbance of them; from comedy laughter that is not excessive, modest amusement, feigned difficulty, happy reversal, and above all the comic order." These formulations remain true for Shakespeare's tragicomedy, although variations do depend upon degrees of tragic and comic elements.
Structurally and thematically, Guarinian and Shakespearean tragicomedy shares common background: disrupted providential order or universally accepted moral order in personal lives as well as in state affairs comes to restoration. This broad perspective on human experience is tragicomic because happiness comes only after truculent vicissitudes. So this tragicomic vision shapes the pattern of plot development, which prescribes tragic necessity that unfolds in a plot leading to a tragic catastrophe but eventually reaching a happy outcome brought about by the benevolent divine will and, sometimes, by human efforts as well. Since the principal characters in tragicomedy are women in love, action in tragicomedy is often organized around a theme of love as well as around broad expression of abstract ideals such as chastity, constancy, and honor, or their antitheses.
For his tragicomedies Shakespeare experimented different dramaturgies and patterns of plot development. Pericles is episodic but the main tragic characters' unpredictable fates create suspense, sustaining a nearly shapeless plot. Cymbeline displays the playwright's artistic experiment on great complexity of its plot as well as on a pattern of alternating serious and tragic scenes with the pleasant and comic. Some flaws in the two earlier tragicomedies constitute a significant step towards the magnificent achievements of The Winter's Tale and The Tempest. The Winter's Tale combines the grim psychopathology of Shakespearean tragedy with the visionary optimism of a romantic comedy. Magic is a vital ingredient of The Tempest and, magically, Antonio's earlier conspiracy against Prospero is re-enacted through the actions of the two groups of conspirators, while the island becomes a big mirror reflecting the human nature as complex and ambiguous as a vision.
The themes of The Tempest are multifarious and mingled and contrasted, but nevertheless the various elements come together in a traditional comedic happy ending of reconciliation and regeneration. And almost the same is Shakespearean tragicomedy.
Structurally and thematically, Guarinian and Shakespearean tragicomedy shares common background: disrupted providential order or universally accepted moral order in personal lives as well as in state affairs comes to restoration. This broad perspective on human experience is tragicomic because happiness comes only after truculent vicissitudes. So this tragicomic vision shapes the pattern of plot development, which prescribes tragic necessity that unfolds in a plot leading to a tragic catastrophe but eventually reaching a happy outcome brought about by the benevolent divine will and, sometimes, by human efforts as well. Since the principal characters in tragicomedy are women in love, action in tragicomedy is often organized around a theme of love as well as around broad expression of abstract ideals such as chastity, constancy, and honor, or their antitheses.
For his tragicomedies Shakespeare experimented different dramaturgies and patterns of plot development. Pericles is episodic but the main tragic characters' unpredictable fates create suspense, sustaining a nearly shapeless plot. Cymbeline displays the playwright's artistic experiment on great complexity of its plot as well as on a pattern of alternating serious and tragic scenes with the pleasant and comic. Some flaws in the two earlier tragicomedies constitute a significant step towards the magnificent achievements of The Winter's Tale and The Tempest. The Winter's Tale combines the grim psychopathology of Shakespearean tragedy with the visionary optimism of a romantic comedy. Magic is a vital ingredient of The Tempest and, magically, Antonio's earlier conspiracy against Prospero is re-enacted through the actions of the two groups of conspirators, while the island becomes a big mirror reflecting the human nature as complex and ambiguous as a vision.
The themes of The Tempest are multifarious and mingled and contrasted, but nevertheless the various elements come together in a traditional comedic happy ending of reconciliation and regeneration. And almost the same is Shakespearean tragicomedy.
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