KCI등재
셰익스피어의 혼령들 = Ghosts in Shakespeare
저자
이경식 (서울대학교 영어영문학과)
발행기관
서울대학교 인문학연구소(Seoul National University Institute of Humanities)
학술지명
권호사항
발행연도
2000
작성언어
Korean
KDC
842.000
등재정보
KCI등재
자료형태
학술저널
수록면
25-69(45쪽)
제공처
소장기관
Ghosts of almost all sorts appear in Shakespeare's plays including 1H6, 2H6, H8, R3, JC, Hamlet, Macbeth, and Cymbeline. Some return to visit their family and fiiends, some to appear to their murderers in dream or fancy, threatening revenge. In one case, the ghost explicitly commands his son to avenge his death upon the murderer. Some are subjective ghosts who either appear only to one person or is seen to one among many present and some objective ones who so appear as to be seen by all the people present. All these aspects of Shakespeare's ghosts will be discussed when Macbeth, Cymbeline, R3, JC, and Hamlet, the five Shakespearian plays whose ghosts return to appear to their murderers, friends and family, are to be dealt with. Both Senecan and pre-Shakespearian ghosts will be compared with Shakespeare's to show (1) how much and well Shakespeare improved on the conventional dramatic ghosts and (2) how organically he related them to the plays involved.
Banquo's ghost twice appears to Macbeth while he is hosting a banquet. His 'gory locks'and'twenty mortal murthers'on his head are enough to scare Macbeth, his murderer, and to make him utter strange and self-revealing words to his guests. Banquo's is a suuective ghost seen only by Macbeth, but is so dramatized that his objective validity, i.e. his reality, cannot be doubted. Moreover, his appearance contributes to the oourse of the dramatic action by making the hero visit the weird sisters to know what is in store far him and to act accordingly.
The ghosts of Posthumus' parents and brothers whom he sees in his dream are also subjective ghosts, seen only by Posthumus and no one else. But what they speak about their son and brother and appeal to Jupiter and what Jupiter who has, in response to their appeal, just descended in thunder and lightning and on an eagle, tells them about their beloved Posthumus together with his'tablet'are enough to give the ghosts their reality.
In R3 the ghosts of Prince Edward, Herwy Vl, Clarence, Rivers, Grey, Vaughan, Hastings, two young princes, Lady Anne and Buckingham appear, on the eve of the decisive battle of Bosworth, to Richard, their murderer, and then to Richmond, Richard's rival. They urge the former to despair and die with all sorts of curses while they encourage the latter to live and flourish, saying that "the wronged souls/Of butchered princes fight in thy behalf". These ghosts are doubtless suoective ones, but that they appear not only to Richard but also to Richmond would not allow them to remain just suuective because it helps to contribute somewhat to the establishment of their objective validity. Moreover, their appearance brings about a very tangible result by producing from Richard and Richmond such respective responses as "Methought the souls of all that I had murther'd/Came to my tent, and every one did threat/To-morrow's vengeance on the head of Richard" and "Methought their souls whose bodies Richard murtherucame to my tent and cried on victory". And the battle ends with Richard's defeat and Richmond's victory as the ghosts wished and foretold them. In short, the ghosts influence the action and prove their reality.
Similar to these ghosts is the ghost of Caesar. The ghost appears to Brutus, his murderer, on the eve of the decisive battle of Philippi while he sleeps in his tent. He is also one of the suuective ghosts, but special mention should be made of the fact that the ghost has already appeared to him at Saudis once and that he now appears far the second time as he had promised strengthens his ooective validity or reality. Weedless to say, the ghosts appearance inflllences Brutes, who says, "Now I have taken heart you vanishest", and, of course, he takes his own life, saying, "Caesar, thou art reveng'd,/Even with the sword that kill'd thee" and "0 Julius Caesar, thou art mighty yet!", With his mortal presence in the first part of the play and with his ghostly presence in the second part of the play Julius Caesar proves himself the uniting principle of the tragedy, indeed the hero in every sense of the word.
Pre-Shakespearian ghosts derived, at leagt partly, from classical, especially from Senecan ghosts. Senecas ghosts are the combination of Euripidean type of prologue-ghost and Aeschylean type of revenge-ghost. Being prologue-ghosts, the ghost of Tantalus in Thyestes and that of Thyestes in Agamemnon do not participate in the action itself, but repeat the word revenge fiom time to time. Another characteristic of Senecan ghosts is their description or mention of the pains and tortures that take place in Tartarus such as Sigyphus'endless rolling of a large gtone to the top of a hill, Ixion's being bound on a wheel that tuns for eyer, Tantalus'etemal thirst or hunger, and Tityus'(filius') vultures tearing at his liver, all of which Senecan ghosts describe in rant or bombastic style. These Senecan ghosts and the English translations of all of Senecan tragedies, starting Jasper Heywood's Troas in 1559, together influenced pre-Shakespearian ghosts. Heywood refused to remain a meer translator but introduced a ghost, providing him with a lengthy prologue-speech at the beginning of the 2nd act of Troas with vengeance as the theme of its refiain. This original and creative attitude towards the dramatic ghosts grew as Seneca-modelled English plays either in the farm of Anglo-Latin tragedies or in the fDrm of early classical English tragedies became more and more popular. Never-ending punishments cited abode are mentioned with other things of the Hades in almost all these tragedies even though the ghost himself do not appear in them. The ghost of Gorlois in The Misfortunes of Arthur was a perfect classical-type ghost but departed from its prototypes by reappearing at the end of the play. This, together with Heywood's ghost of Achilles, marked a development of Senecas ghosts. And further devel-opment was made in both anonymous Locrine and Thomas Kyd's The Spanish Tragedies. The ghost of Albanact in Locrine influences the plot or action of the play, thus improving on Senecan ghosts, whereas The Spanish Tragedy demonstrated its unique utilization of Senecan ghost-machinery. The play opens with the dialogue between the Ghost of Andrea and Revenge, the exact counterparts of the Ghost of Tantalus and Fury (Megaera) in Thyestes. Here the ghost is not only just Senecan prologue-ghost serving as a chorus but also an epilogue-ghost.
But Kyd made his ghost's speeches even more bombastic than those of Senecan ghosts and did not make any effort to substitute English ghost-lore for Senecan ghost machinery. Marston's ghosts in Antonio's Revenge mark, however, yet another step forward taken far the development of the English dramatic ghosts because although there are frequent visitations of ghosts shouting'vindicta!/ revenge!', we find none of Senecas ghost-machinery used in it.
But the greatest development was to be made 7y Shakespeare in his ghost of King Hamlet, for Shakespeare refused to use Senecan ghost machinery and got rid of the rant of Senecan ghosts altogether, thus successfully substituting English ghost-lore instead. Moreover, he humanized the ghost by demonstrating how absolutely he still loved and cared for his wife. Above all, the ghost of King Hamlet is an objective ghost as well as a very organic one on whom the entire dramatic action depends.
In conclusion, ghosts in Shakespeare not only testify Shakespeare's dramatic genius but comprise almost all English ghost-beliefs or ghost-lore material known to his day.
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