『심벌린(Cymbeline)』 구조의 담론적 분석 = A Discoursing Analysis of Cymbeline

다국어 초록 (Multilingual Abstract)

Shakespeare wrote his last plays from 1609 to 1611 after King James’s accession. As we know, James’s early years as King of England represent the period of the continentalization of English art. And the wealth of James’ national coffers was spread prodigiously in many directions and settled upon many persons whom King James de lighted to honor. The fine arts indirectly benefited from this generosity and Stuart Court gathered to see the epitomic courtly art form―masque―in a banquet hall. It seems to me that during this time Shakespeare might have been affected by the new fashions, and I will also observe the influence of new Jacobean aesthetics in the arts upon Shakespeare’s working environment and then upon his late palys. From this viewpoint, I wish to discuss here some dominating elements of aesthetics reflected in the dramtic structure of Shakespeare’s late plays under the following aesthetics in the dramatic structure of Cymbeline. In the first place it seems to me that Shakespeare inherited the Renaissance belief in dance and music as reflection of the cosmic order. For the purpose of interpreting Cymbeline structurally, we are to understand the meaning of the structure as a whole. The dramatic structure can be divided into five ―plot structure; therefore Cymbeline followed the dramatic pattern established in Pericles, although it inherited the classic Greek romance properties. In the first place, Shakespeare intentionally deconstructs the dramatic action in order to materialize the disintegration of Cymbeline’s court. Shakespeare splits the focus of dramatic actions into the hero and the heroine. The play develops into the parallel actions-Posthumus in Rome and Imogen in Britain-with Iachimo as the link between these lovers. Form this moment the two protagonists are resolved separately into the strucyure of the play. The separation and unwitting encounter delineate the dramatic action of Imogen, who is unknowingly united with her two lost brothers-Guiderius and Arviragus-in Wales. There is a structural deficiency during this Welsh scene where Posthumus is off-stage from the dramatic action. The fact that Imogen is off-stage during following scenes demonstrates the conflict between inner virtue and outward appearance which begins with the first battle cry, progresses through Posthumus’ achievements on the battlefield. Lastly the dichotomous structure is resolved by the harmonic conclusion of the play Cymbeline where Posthumus and Imogen are reunited with true love. At the center of this conclusion is the reunion of two protagonists which is linked symbolically bu love and it prefigures the return to cosmic order of Cymbeline’s court