『リア王』におけるジャンル標識について
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概要
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The Tate's King Lear (1681) has been notorious for its comic adaptation. But reading the original detachedly and carefully, we will find that it had already involved the incitements to such a comicadaptataion. Then the purpose of this thesis is to indicate how the comic generic expectations are evoked in this great tragedy. And to objectify them clearly we notice the generic signals, that is, themarks with which the playwrite suggests the genre of his play to the audience.The analysis is mainly focused on Act I Scene i in which the generic signals should appear frequently, and the following topics are discussed. First, Gloucester as "lewd old man" and Lear as "enraged old man" evoke the generic expectation toward the farce as well as the molarity play.Secondly, Lear's comparison of daughters' affections suggests the happy ending because of the fairytale-like structure of this episode, and the courtship of King of France hints the same on account of his Petrarchan diction which was characteristic of the contemporary sonnet sequences. Thirdly, theterrible conversation between Goneril and Regan about Lear may have the possibility that the audience should (mis)understand it as the comic generic signal because the topic is the alternation of generationswhich chiefly belongs to comedies in Shakespeare.In conclusion we try to prove that in Li. the comic generic signals consistently act against the tragic tone and that during the scene the audience must hesitate to decide how to accept the play. And moreover, such generic signals often appear ever afterwards. Therefore we may assume that theaudience of King Lear has always to be conscious of the gap between the tragic story and the embedded comic generic signals and can't easily decide the genre of the play till the end. And in the final sectionthis seemingly peculiar dramaturgy is analysed and our hypothetical view is proposed that it is not only strategic but essential for this play and the playwrite.