アイデンティティの不在と楽園の追求 : 『ワーナー』における人間関係の力学
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概要
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Lord Byron's Werner (1822) is a verse drama which shows the absence of identities of major characters and the inevitable failure of their efforts to restore their familial harmony. I used the word "disparaction" and "disparactive" which Thomas McFarland coined to delineate the aspects of romantic literature. The idea of diaparaction permeates romanticism, and in particular it constitutes a major feature of human relationships in Werner. The characters in the drama are set in a mirror image so that they can confirm their identities each other. Werner and Ulric, for example, need to accept one another as a father and a son to get their identities. Once one of them refuse the other's identity, their whole relationship must be put into chaos. Josephine and Ida are characters to whom Byron attaches the images of paradise. The one isfrom a paradisiacal small village called Cosmo in Tuscany. The etymology of Cosmo has the meaning "order", so we can assign the image of pristine paradisiacal order to the village and Josephine herself. Ida celebrates the Peace Ceremony in Prague as if it were an apocalyptic communion of heaven and earth. Werner accedes to Count Siegendorf and enjoys a temporary familial harmony. Ulric rejoins to his family and gets to be engaged to Ida. Gabor appears again to charge Ulric with an assassination of Ida's father, Baron Stralenheim. Ulric inherits his familial insanity so that we can perceive the eternal repetition of hatred and crimes. The drama presents to us this eternal repetition of insanity and the restrictions which Destiny puts on Ulric's character. The plot of the Siegendorfs' inevitable destruction allows us to perceive the disparactive structure of this drama, because it is open to eternal repetition of human tragedies and also it is strictly governed by human nature.
- 2000-11-00
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