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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2007.12
- 수록면
- 759 - 783 (25page)
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The dramatic time in The Merchant of Venice is problematic "The three months," a condition of Shylock's bond, the two different setting of dramatic time, and the geographical space raise some important questions to consider. Shakespeare emphasizes the time condition of the bond in the beginning of the play but soon ignores it after first mentioned in Act 1 Scene 3. Also, he sets two different and inconsistent distances between Venice and Belmont. From "the casket scene" the dramatic time plot is divided into two contradictory double schemes. The first scheme suggests that it takes three months to reach Belmont. Up until Bassanio wins Portia, all of Antonio's argosies have to be wrecked; Jessica has to elope to Genoa where she exchanges her mother's ring with a monkey, then she has to come back to Belmont; Tubal has beet' to Genoa searching Shylock's thief of a daughter, and meets there the escaped sailors from Antonio's ship, and returns with Antonio's creditors. All these deeds need three months to take place. Meanwhile, Antonio himself must see and accept his failure and send his letter to Bassanio from jail.
In contrast, the other scheme assumes in Act 3, Scene 2, that the Venice voyage only takes one or two days. Antonio's letter also seems to arrive at Belmont within a few days. It is the same case during the trip back to Belmont, after the court scene; it does not require many days. The happy men and girls all return to the dream land at "almost morning" (5.1.295) of the second day after the trial.
The contradictory time scheme is clearly seen in Jessica's route. When she speaks about her father in front of people in agony in Belmont, she speaks as if she departed her father's hellish house not long before. She said, "when I was with him, I have heard him swear/ To Tubal and to Chus, his countryman/ That he would rather have Antonio's flesh/ Than twenty times the value of the sum/ That he did owe him"(3.2.282-89). It is impossible for her to hear the conversation that will take place after her elopement. Shylock's "merry bond" turns into a revengeful one while he learns Antonio's ill fortune and Jessica's betrayal from Tubal(3.1.99-102).
Shakespeare intentionally ignores (or forgets) her return-trip to Genoa and lets her speak the lines as if she came to Belmont directly from Venice. It is because Shakespeare is afraid that her journey sounds like a very long time-consuming round trip and may break the play's dramatic tension in the play. He does not want us to remember "the three months" in the second part of the play; he also changes the imaginary distance to decrease the gap between Venice and Belmont. This is because the second part is built upon a different temporal scheme.
In conclusion, to solve the problematic time sequence in The Merchant of Venice, Shakespeare adopts two contradictory time plots. It may be Shakespeare's agonizing device to put together the real time and the dramatic time in its entirety. He solves the problems of "the three months," the dramatic time, and the geographical space by this device. Sacrificing real time and space, he succeeds to maintain and heighten the dramatic tension created in the beginning of the play. (*)
In contrast, the other scheme assumes in Act 3, Scene 2, that the Venice voyage only takes one or two days. Antonio's letter also seems to arrive at Belmont within a few days. It is the same case during the trip back to Belmont, after the court scene; it does not require many days. The happy men and girls all return to the dream land at "almost morning" (5.1.295) of the second day after the trial.
The contradictory time scheme is clearly seen in Jessica's route. When she speaks about her father in front of people in agony in Belmont, she speaks as if she departed her father's hellish house not long before. She said, "when I was with him, I have heard him swear/ To Tubal and to Chus, his countryman/ That he would rather have Antonio's flesh/ Than twenty times the value of the sum/ That he did owe him"(3.2.282-89). It is impossible for her to hear the conversation that will take place after her elopement. Shylock's "merry bond" turns into a revengeful one while he learns Antonio's ill fortune and Jessica's betrayal from Tubal(3.1.99-102).
Shakespeare intentionally ignores (or forgets) her return-trip to Genoa and lets her speak the lines as if she came to Belmont directly from Venice. It is because Shakespeare is afraid that her journey sounds like a very long time-consuming round trip and may break the play's dramatic tension in the play. He does not want us to remember "the three months" in the second part of the play; he also changes the imaginary distance to decrease the gap between Venice and Belmont. This is because the second part is built upon a different temporal scheme.
In conclusion, to solve the problematic time sequence in The Merchant of Venice, Shakespeare adopts two contradictory time plots. It may be Shakespeare's agonizing device to put together the real time and the dramatic time in its entirety. He solves the problems of "the three months," the dramatic time, and the geographical space by this device. Sacrificing real time and space, he succeeds to maintain and heighten the dramatic tension created in the beginning of the play. (*)
목차
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참고문헌 (5)
참고문헌 신청
Brown , 1977. , The Merchant of Venice. London
Shakespeare , 199 , King Lear. Ed. by Kenneth Muir. London
__________. Cambridge School Shakespeare , 1992. , The Merchant of Venice. Ed. by Jonathan Morris and Robert Smith. Cambridge
__________. Cambridge School Shakespeare , 1992. , Ed. by Jane Coles. Cambridge
, , The problematic time and space in The Merchant of Venice
Shakespeare , 199 , King Lear. Ed. by Kenneth Muir. London
__________. Cambridge School Shakespeare , 1992. , The Merchant of Venice. Ed. by Jonathan Morris and Robert Smith. Cambridge
__________. Cambridge School Shakespeare , 1992. , Ed. by Jane Coles. Cambridge
, , The problematic time and space in The Merchant of Venice
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