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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2005.6
- 수록면
- 257 - 280 (24page)
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This paper proposes that "the Dark Lady" in William Shakespeare's Sonnets (1609) is not a mere rhetorical device for satire, nor a sign of ambivalence intended by the author or the printer, but a cultural product created by a new theological view of woman and love influenced by Elizabethan Protestantism. Religion in the Elizabethan period was not merely an individual faith but a cultural dynamic that produced and reproduced every meaningful relation in society, the way of thinking, cultural life, and so forth.
The official doctrine of the Elizabethan Church, set out in the Thirty-nine Articles, was Calvinist. Article 10 ("Of Free-Will"), for example, states firmly that man "cannot turn and prepare himself, by his own natural strength and good works, to faith." The Roman Catholic Church has established so-called "Christian Humanism"-to be exact, "Catholic Humanism"-as a result of its reconciling effort with humanism since the early twelfth century. According to Medieval Catholics, there can be no merit without grace, but also there can be no grace without merit. Lutheran and Calvinist Protestants decidedly reject this compromise. In their theological framework, salvation is achieved by unmerited grace alone without any human cooperation. Restoring the strict Augustinian doctrines of original sin and the primacy of divine grace in salvation, Protestants reaffirm that man is simply a sinner and that his rational faculties are destroyed at the Fall.
The Sonnets reflects this Protestant concern with the depravity of human will and the existence of evil through the dark lady and her promiscuous relationships. For Shakespeare's lover the human will is no longer considered free. It is identified with lust that is subject to human instinct. Conventionally, a lover can ascend step by step, first to the body of his beloved lady, then to his soul, then to the angelic mind, and finally to God. The lady serves as a means to union with the divine. But there are no mediators in the Protestant world-neither blessed virgins nor priests nor Beatrices. Shakespeare's lover does not believe that his lady will lead him to the divine. He regards the traditional lady's beauty as "false esteem," which is based on the depraved will. He simply accepts the dark lady as she is.
The lover may be content with the darkness of his lady in terms of reality, but this does not mean that she is totally good and acceptable from a moral point of view. The essence of the dark lady is undeniably evil, but the lover realizes that as a sinner, he cannot do anything to change the situation without God's help. This realization of human weakness is the true message of the Sonnets.
The official doctrine of the Elizabethan Church, set out in the Thirty-nine Articles, was Calvinist. Article 10 ("Of Free-Will"), for example, states firmly that man "cannot turn and prepare himself, by his own natural strength and good works, to faith." The Roman Catholic Church has established so-called "Christian Humanism"-to be exact, "Catholic Humanism"-as a result of its reconciling effort with humanism since the early twelfth century. According to Medieval Catholics, there can be no merit without grace, but also there can be no grace without merit. Lutheran and Calvinist Protestants decidedly reject this compromise. In their theological framework, salvation is achieved by unmerited grace alone without any human cooperation. Restoring the strict Augustinian doctrines of original sin and the primacy of divine grace in salvation, Protestants reaffirm that man is simply a sinner and that his rational faculties are destroyed at the Fall.
The Sonnets reflects this Protestant concern with the depravity of human will and the existence of evil through the dark lady and her promiscuous relationships. For Shakespeare's lover the human will is no longer considered free. It is identified with lust that is subject to human instinct. Conventionally, a lover can ascend step by step, first to the body of his beloved lady, then to his soul, then to the angelic mind, and finally to God. The lady serves as a means to union with the divine. But there are no mediators in the Protestant world-neither blessed virgins nor priests nor Beatrices. Shakespeare's lover does not believe that his lady will lead him to the divine. He regards the traditional lady's beauty as "false esteem," which is based on the depraved will. He simply accepts the dark lady as she is.
The lover may be content with the darkness of his lady in terms of reality, but this does not mean that she is totally good and acceptable from a moral point of view. The essence of the dark lady is undeniably evil, but the lover realizes that as a sinner, he cannot do anything to change the situation without God's help. This realization of human weakness is the true message of the Sonnets.
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