『가엽게도 그녀가 창녀라니』에 나타난 계급의 정치학과 극적 전략

다국어 초록 (Multilingual Abstract)

This paper aims to examine the complex politics of social class and its strategies in John Ford's 'Tis Pity She's a Whore. Ford makes a portrayal of the rising urban middle class bourgeois as destructive to the social fabric associated with social mobility in 17th-century London, and makes them an object deserving not only of enmity and punishment but of victimizing. The attempt of cross-marriage by blurring class distinctions and of incest committed by merchant middle class in this play is represented as a threat to undermine aristocratic authority and as a disregard for the traditional cultural practices. Ford alleviates any threat to aristocratic power by exposing and annihilating the representatives of the motley bourgeoisie.
When Ford depicts a world in which dependable distinctions between upper and lower social ranks are about to collapse, he combines not only sensational tragedy with horrific comedy but also cruelty with humour, and presents the emergent middle class as an incestuous monstrosity as well as a carnivalesque joke. The complex politics of social class is operated not only beneath the marriage contracts between aristocrats and bourgeois but the incest of the bourgeois brother and sister.
When Ford makes 'Tis Pity She's a Whore do analogous social work of reaffirming the political distance between aristocrats and under class, he conveys merriment and ontological reassurance to aristocrats while at the same time subjecting their enemies and inferiors to humiliating, deprecatory abuse. As a result, this play operates to reformulate and reconfirm the social distinctions.
Therefore it can be concluded that 'Tis Pity She's a Whore is a socially conservative play identifying it with the entrenched royalist politics of Charles I's later reign by placing itself in the position of royal authority subjecting its low characters to the juridico-political dynamics of Renaissance absolutist discipline.