Departmental Bulletin Paper シェイクスピア劇における宴の変容 : 『ハムレット』と『テンペスト』

滝川, 睦  ,  TAKIKAWA, Mutsumu

63pp.15 - 29 , 2017-03-31 , 名古屋大学文学部
本論の目的はシェイクスピア(William Shakespeare,1564‒1616)の『ハムレット』(Hamlet, 1601頃制作?)と『テンペスト』(The Tempest, 1611初演)において表象された「宴」(banquet, feast, revels, pageants)の変容について、前者に関しては記憶術との関連性に着目して、後者については宮廷仮面劇(the court masque,masques)との関連性に焦点を合わせて考察することである。This paper is intended as an investigation regarding the transformation of banquets represented inShakespeareʼs plays: Hamlet and The Tempest.In Hamlet, the four kinds of banquets are enacted: Claudiusʼs coronation and nuptial ceremony (1.2.1‒128);“the table of my [Hamletʼs] memory” and “My tables” (1.5.92‒112); Hamletʼs meditation on Yorickʼs skull atthe grave in a churchyard (5.1.174‒205); Claudiusʼs bloody banquet (5.2.202‒387). While all these banquets arereflected each other, they originate from Simonidesʼs banquet in ancient Greece, on which the principle oftraditional art of memory has been founded. The vanishing banquet (3.3.18‒82) represented in The Tempest is the counterpart of the masque enactedby Prospero as an engagement ceremony (4.1.60‒158). Both the harpyʼs banquet and Prosperoʼs masque are“the spectacles of strangeness” as well as “the rehearsal of cultures.” They are the cultural practices consumedcompletely as “voids,” and they also represent both the “self made void” and “the void of self” dubbed by Patricia Fumerton in her Cultural Aesthetics: Renaissance Literature and the Practice of Social Ornament.

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