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“Comedy is nothing more but a portrait of our behaviors and our words, and its perfection lies in the resemblance,” said Corneille. He used real location (urbanized Paris) and real people (aristocrats) in his works. It was the first attempt among the plays of his time. Relying on such apparently realistic intention of his, we attempt to derive the characteristics of his contemporaries as modern individuals. This study will analyze three elements in Corneille's works: characters, circumstances and love.
Characters: The characters in his plays are self-centered and undistinguishable among themselves. This un-distinguishableness excites competition and desire to dominate among them. Even the love relationship becomes the power struggle. Is this the uniqueness of a class? The class hierarchy among the characters tends to disappear as the plays develop; however, self-centeredness becomes apparent not only in the heroes but in all characters such as parents and servants. Everybody is independent and wants to be the master of his/her own life, pursuing his/her own desires.
Circumstances: The merchant scenes Corneille inserted in La Gallerie du Palais are revelatory. They symbolically depict the bourgeois Paris. Money makes all relationships indirect. The evolution of comedies follows the process by which characters gradually adopt themselves to the bourgeois order of the modern world.
Love: Within the dramatic context that presupposes harmony and absence of self-interest, everything is governed by egoism ? this is the Cornelien paradox of love. It questions the imaginary perception of love since the court romance, and therefore redefines humans themselves. As we have noticed already, the Cornelien experience of love is not pleasant. It is a threat to the self. The indirect nature of the strategies to attain love reveals their inner fear. Comedies eventually result in the separation of the couple who love each other.
The characteristic of the modern people in Corneilles' comedies suggest: lonely monade haunted by existential fear and finding enemies even in love. Language is the mask and the weapon against their fundamental fear. Their fondness of debate and desire for strong and creative logic come from it. We think that these are the elements that explain the characters of his tragedies, who are ideological figures, as well as those of his comedies. Does he prove what he says by action? The separating line between characters of the comedy and those of the tragedy lies in here.
Characters: The characters in his plays are self-centered and undistinguishable among themselves. This un-distinguishableness excites competition and desire to dominate among them. Even the love relationship becomes the power struggle. Is this the uniqueness of a class? The class hierarchy among the characters tends to disappear as the plays develop; however, self-centeredness becomes apparent not only in the heroes but in all characters such as parents and servants. Everybody is independent and wants to be the master of his/her own life, pursuing his/her own desires.
Circumstances: The merchant scenes Corneille inserted in La Gallerie du Palais are revelatory. They symbolically depict the bourgeois Paris. Money makes all relationships indirect. The evolution of comedies follows the process by which characters gradually adopt themselves to the bourgeois order of the modern world.
Love: Within the dramatic context that presupposes harmony and absence of self-interest, everything is governed by egoism ? this is the Cornelien paradox of love. It questions the imaginary perception of love since the court romance, and therefore redefines humans themselves. As we have noticed already, the Cornelien experience of love is not pleasant. It is a threat to the self. The indirect nature of the strategies to attain love reveals their inner fear. Comedies eventually result in the separation of the couple who love each other.
The characteristic of the modern people in Corneilles' comedies suggest: lonely monade haunted by existential fear and finding enemies even in love. Language is the mask and the weapon against their fundamental fear. Their fondness of debate and desire for strong and creative logic come from it. We think that these are the elements that explain the characters of his tragedies, who are ideological figures, as well as those of his comedies. Does he prove what he says by action? The separating line between characters of the comedy and those of the tragedy lies in here.
목차
Ⅰ. 서론
Ⅱ. 인물
Ⅲ. 환경
Ⅳ. 사랑
Ⅴ. 결론
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UCI(KEPA) : I410-ECN-0101-2012-705-003611888