Macbeth의 악

김정문 東國專門大學 1994 金龜論叢 Vol.2 No.1

Macbeth는 Shakespeare가 동시대인들에게 마녀들의 모호한 메시지는 믿지 말아야 한다는 그의 참된 종교관을 보여준 극이다. 이 비극에서 Macbeth는 세가지 메시지에 귀가 솔깃해 지는데, Glamis의 영주와 Cawdor의 영주가 된다는 첫 두 메시지는 빨리 성취 되었지만 왕이 되리라는 세번째 메시지는 아직 실행되지 않은 상태여서, 다시 확인하기 위해서 Acheron동굴로 마녀들을 찾아 갔으나 이번에는 마녀들이 아닌 정령들(apparitions)로 부터 더욱 확실한(?) 메시지를 듣게 되어 악을 향한 시동이 걸리게 되었다. 2장에서는 Macbeth론으로서 Duncan 왕의 시해와 그후에 계속된 악행들을 다루었으며, 3장에서는 Macbeth부인론으로 그녀가 남편을 부추겨 Duncan왕을 시해하게 하는일, 그에 대한 후회 극단의 고뇌, 드디어 몽유병 환자가 되어 불행한 생을 마감하는 과정을 다루었었으며, 4장에서는 마녀론(정령들까지 포함)으로서 저들이 Macbeth에게 전하는 메시지는 듣기 좋고 확신을 주게하는 면이 있으나 그들은 인간에게 좋은 일을 해 주는 선한 존재들이 아니다. 여인에게서 난 자는 Macbeth를 해치지 못한다고 했지만, Macduff는 제왕절개 수술로 태어난 사람이니 Macbeth를 이길수 있고, Birnam숲이 움직여 오지 않는 한 Macbeth는 패배하지 않는다고 했으나 군인들이 나무가지로 위장하고 공격해오니 숲이 움직이는 것으로 되어 Macbeth가 정복되는 것이다. 이처럼 마녀들, 정령들은 Satan이며 Satan은 속이는자(deceivers)이다. 5장은 결론부분으로 Macbeth가 Duncan왕을 시해하고 한때 뉘우침과 양심의 가책을 보고 평론자들은 Macbeth 성격의 장점으로 부각시켜 그에게 동정과 연민의 정을 보내며 그가 선 쪽에 가까운 인물로 묘사하고 있으나 본인은 그의 계속된 악행 -Banquo의 살해와 그의 후손을 없애려 했던 사실, Macduff부인과 자식의 살해- 을 보며 생의 반려자 였으며, 남편의 꿈을 펼쳐주려다가 쓸쓸한 생을 마감한 부인에 대한 냉철한 무관심을 보면서 Macbeth를 구원받지 못할 악인으로 결론짓는다.

인간 타락의 담화로서의 『맥베스』: 『맥베스』와 『제니시스』 3장의 비교 연구

김라옥 ( Ra Ok Kim ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2006 世界文學比較硏究 Vol.17 No.-

In the introduction, this paper suggests to call some classics of world literature which commonly show the destiny of a human who is unable to escape from sin and its results "Narratives of the Fall of Man." To test the propriety of the naming, as an example, it tries to read Macbeth of Shakespeare in light of the story of Adam and Eve from chapter 3 of Genesis. This attempt is in fact based on the expectation that such reading will be a meaningful method to discern the substance of the evil and evildoers in Macbeth. In the body, the paper first observes the words of the serpent of Eden and the ones of witches and apparitions of Macbeth. The serpent and the witches are all tempters of the protagonists, and in both cases their words appear true at first but are eventually revealed false. This observation also shows how vulnerable every human is to temptation. Second, it compares the results of the fall and its aspects in Macbeth with those in the story of Adam and Eve. Like the man and his wife of Eden heard the sound of the Lord God and hid among the trees of the garden, the Macbeth couple heard the knocking at the gate of their castle and hid in their bedroom. The especially stressed knockings, the poor and unreasonable excuse of the hero, and his night gown which is a covering like the sewed fig leaves are devices reminding the readers of Macbeth of the story of the Fall in Eden. Even the sleep deprived from Macbeth as a curse or punishment is figuratively called "the daintiest food" and has a relation to the fruit of the trees freely enjoyed by Adam and Eve before the Fall. Lastly, it stresses the similarity between the expression used in the monologue of Macbeth in the scene of the death of Lady Macbeth and the phrases in the curse of God to Adam. Macbeth`s words "the way to dusty death"(5.5.17-23) reflects God`s phrases, "dust you are and to dust you will return"(3:19). It confirms that the evil in Macbeth has the features of the archetypal evil. This supports the assumption that it would be possible to read out a narrative of the fall of man from every story of evil. It would be worthwhile to approach to other classics of world literature using the same method.

맥베드와 도덕 운의 문제

박두현(Doohyun Park) 한국셰익스피어학회 2004 셰익스피어 비평 Vol.40 No.1

This essay argues that Macbeth's morality in William Shakespeare's Macbeth has to do with various lucks beyond his control. A contemporary philosopher, Bernard Williams could give a useful way to evaluate Macbeth's morality by discrediting the Kantian view of morality which can be described as the idea that morality is immune to luck. Williams suggests that luck could make a moral difference. He tries to do fatal damage to the notion of moral by setting up a collision between moral justification and rational justification. According to his view, rational justification is at least partly a matter of luck, while moral justification is not supposed to be a matter of luck at all. So a certain action is morally unjustified, but rationally justified(or vice versa). His argument calls into question the notion of moral autonomy. His view could be applied to Macbeth's behavior as a moral agent because his circumstantial luck heavily works on his consciousness. Luck enters into Macbeth's life in profound ways and affects his success and failure. Macbeth's crimes, then, is morally unjustified but rationally justified, because his serial killings happen when he is forced by circumstances to act in order to fulfill his desire. As the circumstances develop, his desire for power proceeds in a way he never wanted. Furthermore, Macbeth's emotional weakness and personality to some degree remit his guilt because those are beyond his control. Circumstances are incompatible with the fulfillment of Macbeth's private ambition. Therefore, we need to consider the fact that intuition and circumstantial and intrinsic luck work together in the sense that Macbeth's nature and circumstances interact when we make a moral judgment of Macbeth's crime. Macbeth's tragedy shows that moral value is relative to the interaction of individual character and circumstance. Macbeth's failure may result from his bad luck after all.

『맥베스』에 나타난 법의 지배 문제

하재홍,박미경 영미문학연구회 2019 영미문학연구 Vol.37 No.-

William Shakespeare’s Macbeth has often been interpreted as a tragedy that supports the divine right of kings, which reflects the political and religious dogma of James I. However, this perspective has neglected a dominant ideology in law and politics of Shakespeare’s England. The common law tradition in Shakespeare’s England does not serve to endorse the divine right of kings but a maxim of the law which purports that “the king can do no wrong.” This maxim does not claim that the king is above the law but delimits the sovereign immunity to the rule of law. As a playwright who is well versed in the common law, Shakespeare not only amuses James with Scotland and witches in Macbeth, but also reminds the Stuart monarch of the qualifications for the kingship of England rather than flattering the monarch with the royal prerogative. Macbeth’s ambition to fulfill foretelling of three witches continues to grow so much that he transforms himself to a Machiavellian and commits a regicide. Replacing King Duncan, Macbeth fails to meet the obligations imposed upon him, thus resulting in his tragic ending despite the fact that he murdered Duncan and enjoys royal immunity. To be precise, Macbeth never realizes that his royal duties include grounding his rule in the law and justice as a means of protecting his subjects. Hence, Macbeth’s tragedy showcases the way in which the political principle of power formulated by Machiavelli is disproved in England insofar as he transgresses the rule of law. In contrast, Malcolm, who becomes a new king after killing Macbeth, decides to follow legal procedures in meeting his obligations. In doing so, Malcolm has demonstrated the possibility of integrating the rule of law with monarchy--which has indeed proved to work throughout a history of England--by adhering to the rule of law as a principle of sovereignty. In this sense, the divergent destinies that are presented in Macbeth’s tragedy and Malcolm’s promotion to a monarch indicate Shakespeare’s critique of a monarchy that goes beyond the rule of law. We conclude the paper by arguing that Macbeth demonstrates the way in which the eponymous hero’s way of adopting a vulgar Machiavellianism has been overthrown in accordance with the rule of law in its classical terms, which is distinguished from the rule of law in the common law tradition and thus implies the influence of George Buchanan, tutor to King James VI back in Scotland. Therefore, Macbeth can be read to uphold the rule of law instead of James’s advocacy of the divine right of kings.

Is She a Fiend? : Lady Macbeth's Part in Macbeth

Kang Kim 21세기영어영문학회 2007 영어영문학21 Vol.20 No.2

This paper aims to reconsider Lady Macbeth's part in Macbeth as the woman who solely devotes herself in the quest for power for her husband, not for manliness. The traditional Shakespearean scholarships of criticism toward Lady Macbeth have seen her as a fiend-like figure, a devil, or a scapegoat in the male-dominated society, or a symbol of the feminine subjectivity against all conventional prejudice surrounding the women. However, we can grasp in the play that Lady Macbeth's sense of selfhood depends on a traditional pattern of femininity-both wife and helpmate. Wishing to yield her womanhood, she wants to be close to Macbeth. She offers the best she has to her husband. Even she takes on his unethical will to power. So, her tragic flaws can be interpreted in terms of conventional virtues women had to possess. Although her greatest mistake is that she is too much obsessed with her duty to husband without any discrimination of conscience and morality, her consistent affection and sacrificial or oftentimes irrational support for her man, even if the results are proved wrong, should be understood and acknowledged in the name of love. We are virtually living in the world where men and women depend on each other. Shakespeare seems to describe the patterns of our lives more broadly and accurately through his two protagonists, Lady Macbeth and Macbeth in the play.

'맥베스'를 통해 읽는 정치와 인간의 한계

신철희 한국정치학회 2017 한국정치학회보 Vol.51 No.5

Shakespeare’s Macbeth is generally regarded as a tragedy about a man who committed a regicide, became a tyrant, and died a miserable death suffering from feeling of guilty. However, to deem Macbeth as merely a tyrant or villain prevents us from understanding the tragedy properly. Macbeth’s judgments and behaviors have their own good reasons. He was keeping Scotland’s order and defending his country against foreign enemies on behalf of the incompetent king, Duncan. The one who took the initiative was Duncan himself rather than Macbeth. Duncan suddenly appointed his son Malcolm as an heir, breaking Scotland’s convention of royal succession, tanistry system. Moreover, Macbeth’s violence was not a problem restricted to Macbeth alone, but an inherent nature of politics. However, he was a tyrant anyway. Regardless of his excellent virtù, the biggest cause of his being a victim of tragedy was his political ambition. It was a desire aspiring to maintaining power through his own descendents. The conflicts among main characters of Macbeth were stirred up around this issue too. But Macbeth’s undue obsession of controlling distant future led to the desire of monopolizing power and using unnecessary violence, and finally became the cause of his fall. Therefore we can learn a lesson from Macbeth that being humble and coexistent is the kernel of political world. 셰익스피어의 '맥베스'는 일반적으로 국왕을 시해하고 왕위에 오른 다음 정신적 고통에 못 이겨괴로워하다가 폭군으로 생을 마감한 사나이에 관한 비극으로 알려져 있다. 그러나 맥베스를 단순히폭군이나 악인으로 치부하는 것은 극에 대한 올바른 이해를 방해한다. 맥베스의 판단과 행동에는그 나름대로 이유가 있었다. 그는 무능한 덩컨 왕을 대신해서 스코틀랜드의 질서유지와 외적 방어의임무를 수행하고 있었다. 선수를 친 것은 오히려 혈통이 아니라 추대에 의한 왕위 계승이라는 전통을 어긴 덩컨 왕 자신이었다. 그리고 맥베스가 보인 폭력성은 정치의 본래적 특성이지 그에게만 한정된 문제는 아니었다. 이렇게 맥베스에게 이해할만한 측면이 있음에도 불구하고, 그는 어쨌든 폭군이었다. 그가 뛰어난비르투를 가진 인물임에도 불구하고 폭군으로서 비극의 주인공이 된 가장 큰 원인은 정치적 야심이었다. 그것은 자손을 통해서 권력을 계속 유지하려는 본능과 연결된 욕망이었다. 등장인물들 사이의갈등도 사실 이 문제를 두고 벌어졌다. 그러나 통제할 수 없는 미래의 일에 대한 맥베스의 지나친집착은 권력을 독점하고 불필요한 폭력을 사용하려는 욕구로 이어지며, 이것이 결국 몰락의 원인이되었다. 따라서 우리는 '맥베스'를 통해서 정치 앞에서, 그리고 삶 앞에서 겸손한 태도와 제도화가중요함을 배울 수 있다.

A Historico-Critical Reappraisal toward a Holistic Shakespearean Criticism: Rereading the Imagery-Analysis of Macbeth

정정호 한국영미문화학회 2012 영미문화 Vol.12 No.3

William Shakespeare(1564-1616) is quintessentially a poet and all his plays are basically poems written in mostly unrhymed iambic pentameter. His plays are full of images, myths, and symbols. We can find various imagery patterns in Macbeth: babies and breast-feeding, sickness and medicine, blood, sleep and sleeplessness, order and disorder, light and darkness. Without any proper analysis and interpretation of imagery clusters in Macbeth, we cannot say that we can understand and appreciate Macbeth fully. The purpose of this essay is to discuss and appraise the merits and demerits of the so-called poetic school of Shakespearean criticism. Our discussion includes major representative imagery critics such as Caroline Spurgeon, G. Wilson Knight, and Cleanth Brooks. It is, however, also necessary that we should duly regard Shakespeare's plays as dramatic works with their own rules and conventions. Macbeth has dual aspect of both drama and poem. We need to revitalize the dynamic powers of drama and poem in Shakespeare's works for the holistic interpretation of Shakespeare as poetic dramatist, and dramatic poet as well. After the age of postmodern theory including poststructuralism, deconstructionism and New Historicism, we need to go back to the old New Critical School of Imagery Criticism in Shakespearean studies to balance and check the rampant sway of theoretical conflicts and contradictions. This essay aims to reach to the critical wisdom that could harmonize and synthesize the old and new ways of reading Shakespeare in the twenty-first century. William Shakespeare(1564-1616) is quintessentially a poet and all his plays are basically poems written in mostly unrhymed iambic pentameter. His plays are full of images, myths, and symbols. We can find various imagery patterns in Macbeth: babies and breast-feeding, sickness and medicine, blood, sleep and sleeplessness, order and disorder, light and darkness. Without any proper analysis and interpretation of imagery clusters in Macbeth, we cannot say that we can understand and appreciate Macbeth fully. The purpose of this essay is to discuss and appraise the merits and demerits of the so-called poetic school of Shakespearean criticism. Our discussion includes major representative imagery critics such as Caroline Spurgeon, G. Wilson Knight, and Cleanth Brooks. It is, however, also necessary that we should duly regard Shakespeare's plays as dramatic works with their own rules and conventions. Macbeth has dual aspect of both drama and poem. We need to revitalize the dynamic powers of drama and poem in Shakespeare's works for the holistic interpretation of Shakespeare as poetic dramatist, and dramatic poet as well. After the age of postmodern theory including poststructuralism, deconstructionism and New Historicism, we need to go back to the old New Critical School of Imagery Criticism in Shakespearean studies to balance and check the rampant sway of theoretical conflicts and contradictions. This essay aims to reach to the critical wisdom that could harmonize and synthesize the old and new ways of reading Shakespeare in the twenty-first century.

베르디의 초기 오페라 < 맥베스 >의 연구: 연극의 오페라 변용을 중심으로

이수완 ( Suwan Lee ) (사)음악사연구회 2015 음악사연구 Vol.4 No.-

베르디가 처음으로 셰익스피어의 작품 중 선택한 < 맥베스 >는 극과 음악을 완전히 결합시키는 시도를 오페라 속에서 실현하려는 작품이다. 본고는 베르디가 연극작품을 오페라 작품으로 만들어 가는 과정에 주목하여 오페라 < 맥베스 >를 고찰하였다. 맥베스는 부당한 권력을 극한까지 추구한 결코 용서받을 수 없는 절대적인 악인임에도, 청중들에게 연민을 일으키는 복합적 존재로 인간 존재 자체가 숙명적으로 안고 있는 모순과 고뇌를 대표하고 있다. 베르디는 맥베스와 맥베스 부인이라는 뚜렷한 캐릭터, 빠른 사건 진행과 강렬한 감정의 변화를 원작 < 맥베스 >에서 발견하고 오페라로 각색하였다. 이 과정에서 그는 원작의 인물을 더욱 생생하게 만들면서 여러 음악적 난점을 해결해야 했다. I그는 원작의 많은 장과 많은 배역들을 과감하게 정리하였다. 가수별로 음역을 구분하였고, 맥베스 부부에게 아리아를 집중하고 다른 역할들에게 다양한 오페라적 성악부를 할당하였다. 이런 음악적 구상은 극의 역동성과 단순함을 부각시키고 원작에서 등장하는 인물들의 심리를 분명하게 표현하기 위해서였다. 주인공 부부의 극적 성격을 유지하기 위해 오페라의 관행을 버렸고(배역의 관행, 아름다운 여성적 목소리에 대한 벨칸토적 관습) 작품을 제작하는 과정에서 구체적인 연극적 요구들을 하였다. 원작의 초현실적인 부분에 대해서 화성적 리듬적 수단으로 공포감을 표현하고, 코러스를 강화하여 분위기를 강화했다. 베르디의 < 맥베스 >는 그의 다른 걸작들에 비해 큰 인기를 끌지 않았으며, 몇 가지 비판도 받고 있지만, 극적인 진실과 음악적인 양식을 조화시킨 주목할 만한 초기 작품으로 평가할 수 있다. Verdi`s opera Macbeth is the first piece of W. Shakespeare`s dramas which combines drama and music successfully. This article is an research of the opera Macbeth focusing on the process of adapting a theatric piece into an opera. Even though Macbeth is an absolute evil who cannot be forgiven for pursuing unfair political power, he arouses sympathy among the audience; representing the contradiction and agony that human being fatefully possesses. Verdi catched Macbeth and Mrs. Macbeth`s unique character, rapid development of events, and intense change of emotions from the Shakespearean drama Macbeth and then metamorphosed it to an opera. In this process, he had to face numerous musical difficulties while bringing characters into life. For solving these difficulties, he discarded many chapters and characters from the original. He categorized opera singers into voice ranges, and gave most of the arias to the Macbeth couple to show key dramatic moment of play. The rest of the characters were given other components of opera music. This musical idea was planned to magnify the dynamic and simplicity of the drama and emphasis characters` psychological description from the original vividly. In order to keep the dramatic nature of leading roles, Mr and Mrs. Macbeth, Verdi throw away opera`s practice such as practice of casting and Bel canto singing style. Opera singers were also asked to meet specific theatrical demands in making the opera. For the unrealistic parts of the original drama, he used harmonic rhythm to create fear in the air and he strengthened chorus to deepen the mystic mood. Opera Macbeth may be criticized and failed to gain popularity than his other masterpieces. However, it should be reviewed as one of Verdi`s valuable early day`s work for portraying dramatic truth within musical components and showing fruitful dramatic and musical unification.

맥베스의 이중성

서길수 ( Suh Kil-soo ) 대한영어영문학회 2007 영어영문학연구 Vol.33 No.4

Macbeth is a man honored by his countrymen for his courage in defense of his land. As the play goes on, however, Macbeth becomes ambitious and murderous. Macbeth is both noble Macbeth and devilish Macbeth: good and evil parts are mingled in him. Such a tension between good and evil impulses is conspicuous throughout the play. Macbeth is also caught between his noble and ignoble qualities. Finally, although Macbeth is evil, he provides us with a sense of human greatness. In his speeches, we have the most positive thing of all to set against a sense of human evil. In this respect, by examining the duality in Macbeth’s nature, we have come to see the deepening of Shakespeare’s tragic consciousness. (Taeshin University)

〈맥베스〉의 마녀 장면

임왕태(Lim Wang Tae) 한국영화학회 2008 영화연구 Vol.0 No.37

Orson Welles and Roman Polanski took quite different standpoints in adapting Shakespeare's Macbeth into movies. While Welles's extended the surreal world of the play, Polanski diminished its supernatural aspects and created a realistic world. This argument is clear when we have a close look at how the two directors adapted the scenes with witches that are genuinely supernatural. Welles increased the appearances of the three witches, and enlarged their grip on Macbeth destiny. Polanski, however, decreased their appearances and weakened their influence on Macbeth. This different stances they took concerning the witches resulted in two different tragedies. Welles's movie is a fate tragedy while Polanski's is a character tragedy. Welles's Macbeth is a hero who corrupts because of the external, supernatural force. In order to establish him as a victim by the witches, the director cut down much of Macbeth's asides during which the hero struggles between greed and conscience. His Macbeth is no longer a victim of his own vile ambition. On the other hand, Polanski's Macbeth is a hero who falls because of his vain desire to be king. In order to portray him as a victim of his own immoral character, the director let his Macbeth speak most of the asides during which the hero grows the fatal seed planted by the witches. In short, Welles's supernatural world of witches and their magic made his movie a fate tragedy while Polanski's realistic world of Macbeth's desire for power made his movie a character tragedy.