『冬の夜ばなし』 : 苦難から歓喜へ
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概要
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Though Dr. Jonson somewhat belittled The Winter's Tale, finding a lot of absurdities in it, this romance appeals to universal human nature as a dramatic expression of a wish to bring about miracle out of misery of human life. Shakespeare seems to project this universal human desire in the theme of reversion. The theme of reversion is explored through the overall structure of the play, divided into two halves, "diptyck" as Northrop Frye called it. The first part is predominantly destructive, followed by mainly restorative second. Both parts are closely related by parallels and contrasts of action and images, though not by logic. The overwhelming joy of final triumph of love over jealousy, reconciliation over conflict, reunion over separation, is realized by the sheer dramaturgy which suggests that the wonder of the outcome is possible only because there was devastation of cherished values at the beginning. It is misery that makes the miracle possible. This wishful wonder is, needless to say, a wish-fulfillment. Shakespeare, however, does not neglect to emphasize the necessity of the "art" of human good will and endeavour. Hermione's firm and patient love and Leontes' contrition are met with earthly rewards only because of courage and skill of their faithful subjects, Camilo and Polina. But admirable and necessary as human "art" may be, there is a strong sense of nature and god of Apollo predominating the whole process of The Winter's Tale. "The art itself is, indeed, made nature," as Polixenes proclaims to Perdita in their famous debate on "nature's bastard." Even a rogue like Autolycus is made to do good against his will.
- 2001-12-20