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셰익스피어 『앤토니와 클레오파트라』의 美學的 解析 원문보기
(An) Aesthetic Analysis of Antony and Clepatra

  • 저자

    박정호

  • 학위수여기관

    慶尙大學校 大學院

  • 학위구분

    국내박사

  • 학과

    영어영문학과

  • 지도교수

  • 발행년도

    2004

  • 총페이지

    iii, 107p.

  • 키워드

    셰익스피어문학 영미문학 문학연구;

  • 언어

    kor

  • 원문 URL

    http://www.riss.kr/link?id=T10060084&outLink=K  

  • 초록

    In this dissertation I wish to explore aesthetically Antony and Cleopatra. The tragedy of Antony and Cleopatra is unique among Shakespeare's plays in that the tragedy's doubleness, equal in both man and woman as it was Romeo and Juliet, happens between equal gigantic personages. Like Falstaff and Hamlet, they are supreme personalities, major wits, and supreme consciousness. They fall in love with one another, resist and betray the love repeatedly, but finally yield to it and are destroyed by it. From act 4, scene 14, through to the end of the play we hear something wonderfully original, even for Shakespeare. It begins with the dialogue between Antony and his marvelously named, devoted follower, Eros: "Antony:" Eros, thou yet beholdst me?" / Eros: " Ay, noble lord..." There is a deliberate touch of the cloud-watching Hamlet in Antony here, but with Hamlet's parodistic savagery modulated into a gentleness that befits the transmutation of the charismatic here into self-transcendent consciousness, almost beyond the consolations of farewell. The grandeur of this tranformation is enhanced when Antony receives the false tidings Cleopatra sends of her supposed death with his name last utterance: " Unarm, Eros. the long day's task is done./ And we must sleep." The answering chorus to that splendor is Cleopatra's, when Antony dies in her arm: "The crown o' th' earth doth melt/ My lord!... the odds is gone..." Antony touches the sublime as he prepares to die, but Cleopatra's lament for a lost sublime is the prelude to a greater sublimity. Remarkable as Antony is in himself, he interests us primarily because he has the splendor that makes him as much as a catastrophe for Cleopatra as she is for him. She knows that Antony lacks her infinite variety. There love, in Freudian terms, is not narcissistic but anaclitic; they are propped upon one another, cosmological beings who are likely to be bored upon one else by any personality neither their own, nor one another's. Cleopatra is sucked to sleep as mother is by a child and she dies in such peace. From this viewpoint, I wish to venture to discuss here some dominating, romantic elements reflected in the dramatic structure of Antony and Cleopatra under the following two headings: 1, Aesthetic, thematic correlation in Shakespearean comedy and tragedy. 2, Aesthetic fusion of tragic conflict and romantic conflict. As you know, the sexual conflict is aesthetically reflected in Shakespearean drama. Accordingly Shakespeare must return to two themes, the romantic conflict between lovers in Shakespearean comedy, and the tragic conflict; the former,( to kill Desdemona because of his unfounded distrust in Othello), the other,( to struggle against the common liar in Antony and Cleopatra) Ultimately Shakespeare in Antony and Cleopatra returns to the aesthetic treatment of romantic theme of self completion through marriage. Accordingly the structure in Antony and Cleopatra also returns to the multiple and aesthetic worlds of the comedies. In my perspective, it seems aesthetic that Shakespeare returns to the ideal world of androgynous relation in Antony and Cleopatra including an ambiguity of sexual identity.


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