종교 풍자극으로서 타운리 싸이클 드라마 : 예수 탄생(Nativity)의 극을 중심으로

• 영문명: Towneley Cycle Plays as Religious Satire : Nativity Plays
• 발행기관: 한국영미어문학회
• 저자명: 이동춘(Dongchoon Lee)
• 간행물 정보: 『영미어문학』영미어문학(TAEGU REVIEW) 제76호, 187~218쪽, 전체 32쪽
• 주제분류: 어문학 > 영어와문학
• 파일형태: PDF
• 발행일자: 2005.09.01

영문 초록

The cycle plays were developed within a culture which was dominantly and uniquely Christian. The Catholic Church was the most prominent and enduring source of power in the Middle Ages. In spite of the obvious influence of the Church, we can see a piebald patchwork of images and forms in the Wakefield Master's plays, which are not relevant to Christian principle. The plays of the Wakefield master are unusual and hold our attention, because they are not monologic. His plays present a striking dialogue between two very different points of view; a popular, carnival point of view, and one which is orthodox, christian point of view. It is the dialogue between these two opposed world-views which draws the meaning in his plays. While Christian ideas and theories are clearly relevant to his plays of nativity, such as the Prima Pastorum and the Secunda Pastorum, the dominant values and images in the plays are similar to those of carnival. In the Secunda Pastorum, only the 168 final lines of 1088 lines of the play deal with the biblical story of the shepherds. The first 920 lines flesh out a rough, bawdy story which doubtless means to parody the miraculous birth of Christ. That is, the main body of the play are filled with carnivalesque elements and patterns which serve as a comic foil for the short ending, and that the ending is the heart of the play. Similarly, the Prima Pastorum frolics well past the midpoint of the play, developing separate and complete plots, before the angels appears to introduce the birth of Christ. In the former part of the play, the playwright deals superficially with episodes mentioned in the scriptures, traditional biblical characters are superceded by carnival figures, and he introduces non-traditional themes, plots, and images which can be found in the popular carnival. In addition, the Wakefield Master in both plays seems hostile and subversive towards the Church, the clergy, and towards orthodox manifestations of Christianity. The comic and even topsy-turvy atmosphere which is created by the carnivaleque elements, patterns, images and so on., is closely related with the Wakefield Master's aim of parodying Church and the clergy. Carnival reduces serious matters such as corrupt and predatory Church and the clergy to joke, abuse, and innuendo, and it can mock them without hesitation and fear which are life-threatening. The object of satire in the Secunda Pastorum is a corrupt and predatory clergy. Mak's role as the predatory anti-shepherd suggests that he signifies corrupt, ineffective, or evil priests. As clearly shown in Mak's prey on the flock through dishonesty and trickery, he represents the ranks of mercenary medieval clergy who see the flock as a material resource and use the Church as the means to acquire material gain. Similarly, reducing the holy priests to the fools, the Wakefield Master in the Prima Pastorum somewhat playfully mocks the Church and the clergy of his times. It is through the follies of the shepherds in the play that the Wakefield Master rebukes the foolish, neglectful priests who clearly don't know where their sheep are or what condition they are in.

목차

Ⅰ. 카니발과 풍자

Ⅱ. 『첫 번째 목동의 이야기』에서의 카니발 요소와 패턴

Ⅲ. 『두 번째 목동의 이야기』에서의 카니발 요소와 패턴

Ⅳ. 『첫 번째 목동의 이야기』 : 바보 성직자, 그리고 타락한 교회

Ⅴ. 『두 번째 목동의 이야기』 : 양의 탈을 쓴 거짓 목자

인용문헌

Abstract