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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
- 2001.6
- 수록면
- 323 - 361 (39page)
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초록· 키워드
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The transcendence of the hero and heroine we see at the end of Antony and Cleopatra is a natural consequence arising from the unique nature of the relationships the two major characters have been deeply committed to; It is an extension of what they used to depend on for their satisfaction of desire, not an abrupt and happy decision to discard and transcend the earthly world for another higher one. For every relationship in the play is always already transcendental in that it is a contradictory one essentially based on the competition for what they all cannot get. In spite of its being actually impossible , those in the relationship are persuaded into feeling, only on linguistic level, that they have got what they want to get by merely being in the relationship. That is why people in the relationship are exceedingly praised or criticised without any objective ground. They all live a life that is already transcendental because it is a life "conditional only on absence."
All the relationships in Antony and Cleopatra demonstrate and substantiate the assertion that they all have the chance of transcendence. The fame Caesar and Antony have won, for instance, is not through their own virtues but through their officers. Caesar, without having to be a "sworder" himself, can win the battle with Antony. Antony, by saying "Let Rome in Tiber melt" without actually discarding his position in Rome, tries to persuade Cleopatra that he is one with her, but it is undeniable that half of his heart is in Rome at that very moment. This comes from the fact that even when he turns his back against Rome, he is already a product of Rome. The moment he denies Rome, he denies himself, consequently putting unawares the Roman part of himself into the domain of absence. Every relationship, whether it is concerned with gaining power, love, or a position, has, to some degree, this domain far above the real. The transcendence Antony and Cleopatra dream of gaining by killing themselves in a Roman fashion at the end of the play, therefore, far from being happy or "noble to themselves", is no more than a surrender to the mechanism of the relationship they have participated in, the Roman system of values they have stood against to satisfy their desire for love as well as for power. But it is a transcendence which is sad because they have no other choice but to continue as they used to do.
All the relationships in Antony and Cleopatra demonstrate and substantiate the assertion that they all have the chance of transcendence. The fame Caesar and Antony have won, for instance, is not through their own virtues but through their officers. Caesar, without having to be a "sworder" himself, can win the battle with Antony. Antony, by saying "Let Rome in Tiber melt" without actually discarding his position in Rome, tries to persuade Cleopatra that he is one with her, but it is undeniable that half of his heart is in Rome at that very moment. This comes from the fact that even when he turns his back against Rome, he is already a product of Rome. The moment he denies Rome, he denies himself, consequently putting unawares the Roman part of himself into the domain of absence. Every relationship, whether it is concerned with gaining power, love, or a position, has, to some degree, this domain far above the real. The transcendence Antony and Cleopatra dream of gaining by killing themselves in a Roman fashion at the end of the play, therefore, far from being happy or "noble to themselves", is no more than a surrender to the mechanism of the relationship they have participated in, the Roman system of values they have stood against to satisfy their desire for love as well as for power. But it is a transcendence which is sad because they have no other choice but to continue as they used to do.
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