Macbeth에 나타난 惡의 本質과 Ambition-plot의 展開
저자
발행기관
학술지명
권호사항
발행연도
1990
작성언어
Korean
KDC
040.000
자료형태
학술저널
수록면
5-28(24쪽)
제공처
소장기관
As has been well known, the coneption of world order was for the Elizabethan's a principal matter;the other set of idea that ranked with it was the theological scheme of ?in and salvation. The idea that human beign was given its position in the universe by observing its cosmic order and its hierarchy was the fundamental concept of the Elizabethan age, and so human society was considered as microcosm corresponding to macrocosm.
Under this atmosphere, the Renaissance aroused the intellect and the aesthetic faculties, the Reformation awakened the spiritual naure, and the spread of an interest in religion was inevitably accompained by a deepening of moral earnestness. On the other hand, the general prosperity of the country was also increasing, and for the first time for many years it enjoyed the blessing of internal peace. An intense patriotism became one of the outstanding features of the age, and showen itself in many ways. Such were some of the conditions which combined to create the spirit of Shakespeare's age. At such age, when passions were strong, and speculaton was rife, and a great public existed eager to respond to the appeal of genius, everything conspired to bring out of each man that bast that was in him, shakespeare reflected these to his works.
In this treatise the writer tried to pursuit the intrinsic nature of Macheth's evil and the development of Macbeth's ambition-plot. Macbeth is not only the shortest of Shakespeare's great tragedies but also it is anomalous in several structural respects. Like Othello, Macbeth is without the complication of sub-plot. consequently, the murder of Duncan, take place very early in the play. It is result that attention is focussed on the mainfold consequences of the crime rather than on moral dilemmas which precede it.
Therefore, the play is not like Othello, where the hero commits murder only after long plotting by the villain, nor is like Hamlet, where destructive action flows from the central premise of the division of thekingdom. But Macbeth is much more different from King Lear in the way that it does not raise the monumental, cosmic quentions of good and evil in the life of one man. For all the power and lust of Lade Macbeth, the drama remains essentially the story of the lord, who commits regicide and thereby enm eshes limself into a complex web of consequences.
As discussed above, Macbeth's fall in rapid and his crime is more clearly a sin than in ?? usually the case in tragedy. His sin is not mitigated by mixed motives or insufficient knowledge. Moreover, the sin is regicide, an action regarded by the Renaissance as exceptionally foul since it struck at God's representitive on earth. The sin is so boldly offensive that many have tried to find extenuation in the impetus given Macbeth by the witches. However, the witches do not control behavior n the play. On the one hand, we cannot shift responsibilities to Lade Macbeth despite her mannish goading of her husband. In any case, Lade Macbeth is nothing but a catalyst and supporter.
When Macbeth proceeds on his bloody course, there is little extenuation in his brief failure of nerve. He is an ambitious man, controlled by his high aspirations. Neverthless, we look Macbeth with much sypathy. INspite of his clearcul evil of his actions, we never feel the displeasurewe deserve for villains such as Iago or Cornwall, perhaps because Macbeth is not evil incarnate, buta human being who ha sinned, no matter how serious the transgression.
Although Lady Macbeth demonstrated greater courage and resolution at the time of the murder of Duncan, it is she who falls victim to the physucal manifestations of remorse and literally dies of guilt. Macbeth, on the other hand, starts more tentatively, becomes stronger, or perhaps more inured, as he faces the consequences of his in itial crime. The play examines the effects of evil on Macbeth's character and on his subsequent moral behavior. The later murders flow naturally out of the first. evil breeds evil in order to protect himselfand consolidate his position. As his crimes increase, Macbeth's freedom seems to decrease, but his moral responsibility does not. Finally Macbeth is left without the excuse of loss of free will.
Lastly the writer discssed Macbeth's death. Macbeth's death affirms the ultimate justice and reasonableness of the universe, because Macbeth has become a dangerous evil animal, whom it is just and reasonable should die. Macbeth is a tyrant. Only with Macbeth death is significant, but even here not as part of his tragedy, but as part of the purification of the world which comes at the end of all four great tragedies. At any rate, Macbeth died triumphantly. Death here becomes the instrument of justice.
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