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±×·¡¼ ¾ÇÀÌ ³ªÅ¸³ª´Â ¼¼°è´Â Àû¾îµµ ¾Ç¿¡°Ô ¿ìÈ£ÀûÀÌÁö´Â ¾Ê´Â °Íó·³ º¸ÀδÙ. ÀÌ·± ÀλóÀº 〈Lear¿Õ〉¼¼°èÀÇ µ¿¶õÀº »ç¾ÇÇÑ Àΰ£µéÀÇ ¾Ç ¶§¹®¿¡, ¶Ç´Â º¸´Ù ¼±ÇÑ Àι°µéÀÇ °áÇÔÀ̳ª ½Ç¼ö ¶§¹®¿¡ ÀϾٴ »ç½Ç¿¡ ÀÇÇؼ È®ÀεȴÙ. ¼±Àº ³ÐÀº Àǹ̿¡¼ ¼¼»óÀÇ »ý¸í°ú °Ç°ÀÇ ¿øÄ¢ÀÎ °Íó·³ º¸ÀδÙ. ±×¸®°í ¾ÇÀº Àû¾îµµ ÃÖ¾ÇÀÇ °æ¿ì¿¡´Â µ¶ÀÎ °Íó·³ º¸ÀδÙ. ¼¼»óÀº ¾Ç¿¡ °Ý·ÄÇÏ°Ô ¹ÝÀÀÇÏ°í ¾ÇÀ» ÃàÃâÇÏ·Á´Â ÅõÀï¿¡¼ ½º½º·Î¸¦ ȲÆóÇϵµ·Ï ³»¸ô¸°´Ù. ºñ±Ø 〈Lear¿Õ〉Àº ¼¼»óÀ» ¿äµ¿½ÃÅ°°í ȲÆóÈÇÏ´Â ¾ÇÀ» ¼¼°è°¡ ¿Ö »ý¼ºÇÏ´ÂÁö¿¡ ´ëÇÑ ÇØ´äÀ» ÁÖÁö ¾Ê´Â´Ù. ÀÌ ºñ±Ø¿¡¼´Â ¾ÇÀÌ ¼¼»óÀ» ¿äµ¿Ä¡°Ô ÇÏ°í ¼¼»óÀº ¾ÇÀ» °ÅºÎÇÏ°í °á°úÀûÀ¸·Î ¾ÇÀÎÀº ¹°·Ð ¾Ç¿¡ ´ëÇ×ÇÏ´Â ¼±ÇÑ »ç¶÷µµ ÇǸ¦ È긮°Ô µÈ´Ù. ¿ìÁÖ´Â ¼±¾ÇÀÇ ±¸ºÐ ¾øÀÌ Àå³²Ù·¯±â ¾ÆÀ̵éÀÌ Æĸ®¸¦ Á×À̵íÀÌ »ç¶÷µéÀ» Á×ÀδÙ. ¿ìÁÖ¸¦ âÁ¶ÇÏ°í ¿îÇàÇÏ´Â ãêÀº ¼¼»óÀÌ ¿äµ¿À» Ä¡µç ¸»µç ±¸°æÇÒ »ÓÀÎ °Íó·³ º¸ÀδÙ.
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¥°. Characters
King Lear: The aging king of Britain and the protagonist of the play. Lear is used to enjoying absolute power and to being flattered, and he does not respond well to being contradicted or challenged. At the beginning of the play, his values are notably hollow—he prioritizes the appearance of love over actual devotion and wishes to maintain the power of a king while unburdening himself of the responsibility. Nevertheless, he inspires loyalty in subjects such as Gloucester, Kent, Cordelia, and Edgar, all of whom risk their lives for him.
Cordelia: Lear¡¯s youngest daughter, disowned by her father for refusing to flatter him. Cordelia is held in extremely high regard by all of the good characters in the play—the king of France marries her for her virtue alone, overlooking her lack of dowry. She remains loyal to Lear despite his cruelty toward her, forgives him, and displays a mild and forbearing temperament even toward her evil sisters, Goneril and Regan. Despite her obvious virtues, Cordelia¡¯s reticence makes her motivations difficult to read, as in her refusal to declare her love for her father at the beginning of the play.
Goneril: Lear¡¯s ruthless oldest daughter and the wife of the duke of Albany. Goneril is jealous, treacherous, and amoral. Shakespeare¡¯s audience would have been particularly shocked at Goneril¡¯s aggressiveness, a quality that it would not have expected in a female character. She challenges Lear¡¯s authority, boldly initiates an affair with Edmund, and wrests military power away from her husband.
¥°. µîÀåÀι°
LearèÝ: ¿µ±¹ÀÇ ´ÄÀº ¿ÕÀÌ°í ±ØÀÇ ÁÖÀΰø. Lear´Â Àý´ë±Ç·ÂÀ» Áñ±â°í ¾ÆºÎ ¹Þ´Â µ¥¿¡ Àͼ÷ÇØ ÀÖ´Ù. ±×·¡¼ ¹Ý¹ÚÀ» ´çÇϰųª µµÀüÀ» ¹ÞÀ¸¸é ´ëÀÀÀ» Àß ÇÏÁö ¸øÇÑ´Ù. м(±Ø)ÀÇ ÃÊ¿¡ ±×ÀÇ °¡Ä¡°üÀº °øÇãÇÏ´Ù¡ª±×´Â ½ÇÁúÀû, Çå½ÅÀû »ç¶û(devotion)º¸´Ù´Â »ç¶ûÀÇ °Ñ¸ð½ÀÀ» ¿ì¼±½ÃÇÏ°í Ã¥ÀÓ(¿ÕÀ¸·Î¼ÀÇ)Àº ³»·Á³õÀ¸¸é¼ ¿Õ±ÇÀº À¯ÁöÇϱ⸦ ¿øÇÑ´Ù. ±×·³¿¡µµ ºÒ±¸ÇÏ°í Gloucester, Kent, Cordelia, and Edgar°°Àº ½ÅÇϵéÀÇ Ã漺½ÉÀ» ºÒ·¯ÀÏÀ¸ÄѼ ÀÌµé ¸ðµÎ´Â ±×¸¦ À§ÇØ ¸ñ¼ûÀ» °Ç´Ù.
Cordelia: LearÀÇ °¡Àå ¾î¸° µþÀÌ°í ¾Æ¹öÁö¿¡°Ô ¾Æ÷Çϱ⸦ °ÅºÎÇÑ °Í ¶§¹®¿¡ ¾Æ¹öÁö¿¡ ÀÇÇØ ëùï¾(ÀÇÀý)´çÇÑ´Ù. Cordelia´Â ±Ø Áß ¸ðµç ¼±ÇÑ Àι°µé¿¡ ÀÇÇØ Áö±ØÈ÷ ³ôÀº Á¸°æÀ» ¹Þ´Â´Ù¡ªÇÁ¶û½ºèÝÀº ±×³àÀÇ ÁöÂü±ÝÀÇ ÌÀåý(°á¿©)¸¦ ¹«½ÃÇÏ°í ±×³àÀÇ ¹Ì´ö¸¸ »ý°¢Çؼ ±×³à¿Í °áÈ¥ÇÑ´Ù. ±×³à´Â ±×³à¿¡ ´ëÇÑ LearÀÇ ¹Ú´ë¿¡µµ ºÒ±¸ÇÏ°í Lear¿¡°Ô °è¼Ó Ã漺ÇÏ°í ±×¸¦ ¿ë¼ÇÏ°í ½ÉÁö¾î ±×³àÀÇ »ç¾ÇÇÑ ¾ð´ÏµéÀÎ Goneril°ú Regan¿¡°Ôµµ ±×³àÀÇ ¿ÂÈÇÏ°í °ü´ëÇÑ ±âÁúÀ» º¸¿©ÁØ´Ù. ±×³àÀÇ ¸í¹éÇÑ ¹Ì´ö¿¡µµ ºÒ±¸ÇÏ°í, CordeliaÀÇ °ú¹¬ÇÔÀº ±ØÀÇ Ãʱ⿡ ¾Æ¹öÁö¿¡ ´ëÇÑ »ç¶ûÀ» ¼±¾ðÇϱ⸦ °ÅºÎÇÏ´Â °Íó·³ ±×³àÀÇ µ¿±â¸¦ ¾Ë¾Æº¸±â ¾î·Æ°Ô ÇÑ´Ù.
Goneril: LearÀÇ ¹«ÀÚºñÇÑ Àå³àÀÌ°í AlbanyÍëíÉ(°øÀÛ)ÀÇ ¾Æ³»ÀÌ´Ù. GonerilÀº ÁúÅõ°¡ ¸¹°í ¹Ý¿ªÀûÀÌ¸ç ¸ôµµ´öÀûÀÌ´Ù. ShakespeareÀÇ °ü°´µé(´ç½ÃÀÇ)Àº GonerilÀÇ °ø°Ý¼º¿¡ Ưº°È÷ Ãæ°ÝÀ» ¹Þ¾Ò¾úÀ» °ÍÀ̸ç ÀÌ·± °ø°Ý¼ºÀº ¿©¼ºµîÀåÀι°(´ç½ÃÀÇ)¿¡°Ô´Â ±â´ëµÉ ¼ö ¾ø¾ú´ø ÀÚÁúÀ̱⠶§¹®ÀÌ´Ù. ±×³à´Â LearÀÇ ±ÇÀ§¿¡ µµÀüÇÏ°í Edward¿ÍÀÇ ï×ÞÀ(Á¤»ç)¸¦ ´ë´ãÇÏ°Ô ¼±µµÇÏ°í ³²ÆíÀ¸·ÎºÎÅÍ ÏÚÏí(±º±Ç)À» »©¾Ñ´Â´Ù.
27-2-192
Regan: Lear¡¯s middle daughter and the wife of the duke of Cornwall. Regan is as ruthless as Goneril and as aggressive in all the same ways. In fact, it is difficult to think of any quality that distinguishes her from her sister. When they are not egging each other on to further acts of cruelty, they jealously compete for the same man, Edmund.
Gloucester: A nobleman loyal to King Lear whose rank, earl, is below that of duke. The first thing we learn about Gloucester is that he is an adulterer, having fathered a bastard son, Edmund. His fate is in many ways parallel to that of Lear: he misjudges which of his children to trust. He appears weak and ineffectual in the early acts, when he is unable to prevent Lear from being turned out of his own house, but he later demonstrates that he is also capable of great bravery.
Edgar: Gloucester¡¯s older, legitimate son. Edgar plays many different roles, starting out as a gullible fool easily tricked by his brother, then assuming a disguise as a mad beggar to evade his father¡¯s men, then carrying his impersonation further to aid Lear and Gloucester, and finally appearing as an armored champion to avenge his brother¡¯s treason. Edgar¡¯s propensity for disguises and impersonations makes it difficult to characterize him effectively.
Edmund: Gloucester¡¯s younger, illegitimate son. Edmund resents his status as a bastard and schemes to usurp Gloucester¡¯s title and possessions from Edgar. He is a formidable character, succeeding in almost all of his schemes and wreaking destruction upon virtually all of the other characters.
Regan: LearÀÇ Áß°£ µþÀÌ°í Cornwall °øÀÛÀÇ ¾Æ³»ÀÌ´Ù. ReganÀº Goneril¸¸Å ¶È°°ÀÌ ÀÜÀÎÇÏ°í ¸ðµç ¸é¿¡¼ ¶È°°Àº ¹æ¹ýÀ¸·Î °ø°ÝÀûÀÌ´Ù. »ç½Ç ±×³à¸¦ ¾ð´Ï¿Í ±¸º°½ÃÄÑÁÖ´Â ¾î¶² ÀÚÁúµµ »ý°¢Çϱ⠾î·Æ´Ù. ±×µéÀÌ ´õ ÀÜÀÎÇÑ ÇൿÀ» ¼·Î¼·Î ºÎÃß±âÁö ¾ÊÀ» ¶§´Â °°Àº ³²ÀÚ Edmund¸¦ Â÷ÁöÇϱâ À§ÇØ ÁúÅõÇÏ¸ç °æÀïÇÑ´Ù.
Gloucester: Lear¿Õ¿¡°Ô Ã漺ÇÏ´Â ±ÍÁ·ÀÌ¸ç ±×ÀÇ ÁöÀ§´Â °øÀÛ ¾Æ·¡ÀÎ Û×íÉ(¹éÀÛ)ÀÌ´Ù. ¿ì¸®°¡ Gloucester¿¡ ´ëÇؼ óÀ½ ¾Ë°Ô µÇ´Â °ÍÀº ±×°¡ ÊÍÜý(°£ºÎ)·Î¼ »ç»ý¾Æ EdmundÀÇ ¾Æ¹öÁö¶ó´Â °ÍÀÌ´Ù. ±×ÀÇ ¿î¸íÀº ¸¹Àº ¸é¿¡¼ Lear¿Í ¿î¸í°ú ºñ½ÁÇÏ´Ù: ±×´Â Àڽĵé Áß¿¡¼ ¾î´À ÀÚ½ÄÀ» ¹Ï¾î¾ß ÇÒÁö¸¦ ¿ÀÆÇÇÑ´Ù. ±×´Â ÀÚ½ÅÀÇ ¼º(house)À¸·ÎºÎÅÍ Lear°¡ ÂѰܳª´Â °ÍÀ» ¸·Áö ¸øÇÏ´Â Ãʱ⠺κУÛacts: ¿¬±ØÀÇ Ø(¸·)£Ý Çൿ¿¡¼´Â ¿¬¾àÇÏ°í ºñ´É·üÀûÀ¸·Î º¸ÀÌÁö¸¸ µÚ¿¡¼´Â ±×µµ À§´ëÇÑ ¿ë±â¸¦ ¹ßÈÖÇÒ ¼ö ÀÖ´Ù´Â °ÍÀ» º¸¿©ÁØ´Ù.
Edgar: GloucesterÀÇ Àå³²ÀÌ°í îÕí(ÀûÀÚ)ÀÌ´Ù. Edgar´Â ¸¹Àº ´Ù¾çÇÑ ¿ªÀ» Çϴµ¥, µ¿»ýÀÇ ¼ÓÀÓ¼ö¿¡ ½±°Ô ´çÇÏ´Â Àß ¼Ó´Â(gullible) ¹Ùº¸·Î Ãâ¹ßÇÏ°í, ±×·¯°í´Â ¾Æ¹öÁöÀÇ ºÎÇϵé·ÎºÎÅÍ µµÇÇÇϱâ À§Çؼ ¹ÌÄ£ °ÅÁö·Î À§ÀåÀ» ÇÏ°í, Lear¿Í Gloucester¸¦ ´õ¿í´õ µµ¿ÍÁÖ±â À§Çؼ À§Àå£Ûimpersonation: ëôìÑ(ÀÇÀÎ)£ÝÀ» °è¼Ó ¼öÇàÇÏ°í, ¸¶Áö¸·À¸·Î µ¿»ýÀÇ ¹Ý¿ªÀ» º¹¼öÇϱâ À§ÇØ ¹«Àå Åõ»ç·Î¼ ÃâÇöÇÑ´Ù. EdgarÀÇ À§Àå°ú ëôìÑ(ÀÇÀÎ)ÀÇ ¼ºÇâÀº EdgarÀÇ È¿°úÀûÀÎ ¼º°Ý ºÎ¿©¸¦ ¾î·Æ°Ô ÇÑ´Ù.
Edmund: GloucesterÀÇ µÑ° ¾ÆµéÀÌ°í ßîí(¼ÀÚ)ÀÌ´Ù. Edmund´Â »ç»ý¾Æ·Î¼ÀÇ ±×ÀÇ ÁöÀ§¿¡ ºÐ³ëÇÏ°í Edgar·ÎºÎÅÍ GloucesterÀÇ ÁöÀ§¿Í Àç»êÀ» ÂùÅ»ÇÒ °èȹÀ» ÇÑ´Ù. ±×´Â ʦÍð(°¡°ø)ÇÒ Àι°ÀÌ°í ±×ÀÇ ¸ðµç °èȹ¿¡¼ ¼º°øÇÏ°í »ç½Ç»ó ¸ðµç ´Ù¸¥ Àι°µé¿¡°Ô ÆĸêÀ» °¡Á®¿Â´Ù(wreak).
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Kent: A nobleman of the same rank as Gloucester who is loyal to King Lear. Kent spends most of the play disguised as a peasant, calling himself ¡°Caius,¡± so that he can continue to serve Lear even after Lear banishes him. He is extremely loyal, but he gets himself into trouble throughout the play by being extremely blunt and outspoken.
Albany: The husband of Lear¡¯s daughter Goneril. Albany is good at heart, and he eventually denounces and opposes the cruelty of Goneril, Regan, and Cornwall. Yet he is indecisive and lacks foresight, realizing the evil of his allies quite late in the play.
Cornwall:¡¡The husband of Lear¡¯s daughter Regan. Unlike Albany, Cornwall is domineering, cruel, and violent, and he works with his wife and sister-in-law Goneril to persecute Lear and Gloucester.
Fool: Lear¡¯s jester, who uses double-talk and seemingly frivolous songs to give Lear important advice.
Oswald: The steward, or chief servant, in Goneril¡¯s house. Oswald obeys his mistress¡¯s commands and helps her in her conspiracies.
Kent: Lear¿Õ¿¡°Ô Ã漺ÇÏ´Â Gloucester¿Í ÔÒÐä(µ¿±Þ)ÀÇ ±ÍÁ·ÀÌ´Ù. Kent´Â ÀÚ½ÅÀ» ¡°Caius¡±¶ó°í ĪÇÏ°í ±ØÀÇ ´ëºÎºÐÀ» ³óºÎ·Î À§ÀåÇؼ º¸³»¸ç ±×·¡¼ ½ÉÁö¾î Lear°¡ ±×¸¦ Ãß¹æÇÑ ÈÄ¿¡µµ ¿ÕÀ» °è¼Ó ¸ð½Ç ¼ö ÀÖ°Ô µÈ´Ù. ±×´Â Áö±ØÈ÷ Ã漺½º·´Áö¸¸ Áö±ØÈ÷ ¹«¶Ò¶ÒÇÏ°í Á÷¼³ÀûÀÌ¾î¼ ±Ø Àüü¸¦ ÅëÇؼ ½º½º·Î °ï°æ¿¡ óÇÏ°Ô µÈ´Ù.
Albany: GonerilÀÇ µþ GonerilÀÇ ³²Æí. Albany´Â ½É¼ºÀÌ ¼±ÇÏ¿© °á±¹¿¡´Â Goneril°ú Regan°ú CornwallÀÇ ÀÜÀÎÇÑ ÇàÀ§¸¦ ºñ³ÇÏ°í ¹Ý´ëÇÑ´Ù. ±×·¯³ª ±×´Â éÐêõÝÕÓ¨(¿ìÀ¯ºÎ´Ü)ÇÏ°í à»Ì¸ñýÙ¥(¼±°ßÁö¸í)ÀÌ ºÎÁ·ÇÏ¿© ±Ø¿¡¼ ±×ÀÇ µ¿¸ÍÀÚµéÀÇ ¾ÇÀ» ¸Å¿ì ´Ê°Ô ±ú´Ý°Ô µÈ´Ù.
Cornwall: LearÀÇ µþ ReganÀÇ ³²Æí. Albany¿Í´Â ´Þ¸® CornwallÀº °Å¸¸ÇÏ°í ÀÜÀÎÇÏ°í Æø·ÂÀûÀÌ¸ç ±×ÀÇ ¾Æ³»¿Í óÇüÀÎ Goneril°ú ÇÕ¼¼ÇÏ¿© Lear¿Í Gloucester¸¦ óÇüÇÑ´Ù.
Fool: LearÀÇ ±¤´ë. Lear¿¡°Ô Áß¿äÇÑ Ãæ°í¸¦ µå¸®±â À§ÇÏ¿© ÇãÆ° ¼Ò¸®¿Í ¿Ü°ß»óÀ¸·Î´Â °æ¹ÚÇÑ ³ë·¡¸¦ ÀÌ¿ëÇÑ´Ù.
Oswald: GonerilÊ«ÀÇ Áý»ç ȤÀº ûÁö±â. Oswald´Â ±×ÀÇ ¸¶³ª´ÔÀÇ ¸í·É¿¡ º¹Á¾ÇÏ¿© ±×³àÀÇ À½¸ð¸¦ µµ¿ÍÁØ´Ù.
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¥±. Summery
Lear, the aging king of Britain, decides to step down from the throne and divide his kingdom evenly among his three daughters. First, however, he puts his daughters through a test, asking each to tell him how much she loves him. Goneril and Regan, Lear¡¯s older daughters, give their father flattering answers. But Cordelia, Lear¡¯s youngest and favorite daughter, remains silent, saying that she has no words to describe how much she loves her father. Lear flies into a rage and disowns Cordelia. The king of France, who has courted Cordelia, says that he still wants to marry her even without her land, and she accompanies him to France without her father¡¯s blessing.
Lear quickly learns that he made a bad decision. Goneril and Regan swiftly begin to undermine the little authority that Lear still holds. Unable to believe that his beloved daughters are betraying him, Lear slowly goes insane. He flees his daughters¡¯ houses to wander on a heath during a great thunderstorm, accompanied by his Fool and by Kent, a loyal nobleman in disguise.
Meanwhile, an elderly nobleman named Gloucester also experiences family problems. His illegitimate son, Edmund, tricks him into believing that his legitimate son, Edgar, is trying to kill him. Fleeing the manhunt that his father has set for him, Edgar disguises himself as a crazy beggar and calls himself ¡°Poor Tom.¡± Like Lear, he heads out onto the heath.
When the loyal Gloucester realizes that Lear¡¯s daughters have turned against their father, he decides to help Lear in spite of the danger. Regan and her husband, Cornwall, discover him helping Lear, accuse him of treason, blind him, and turn him out to wander the countryside. He ends up being led by his disguised son, Edgar, toward the city of Dover, where Lear has also been brought.
¿µ±¹ÀÇ ³ë¼èÇÑ ¿ÕÀÎ Lear´Â ¿ÕÁ·κÎÅÍ ³»·Á¿Í¼ ±×ÀÇ ¿Õ±¹À» ¼¼ µþ¿¡°Ô ¶È°°ÀÌ ³ª´©¾î ÁÖ±â·Î °á½ÉÇÑ´Ù. ±×·¯³ª ù°, ±×´Â µþµé °¢°¢¿¡°Ô ±×¸¦ ¾ó¸¶³ª »ç¶ûÇÏ´ÂÁö¸¦ ±×¿¡°Ô ¸»ÇÒ °ÍÀ» ¿ä±¸ÇÏ¸é¼ µþµéÀ» Å×½ºÆ®ÇÑ´Ù. LearÀÇ Å« µþµéÀÎ Goneril¿Í ReganÀº ±×µéÀÇ ¾Æ¹öÁö¿¡°Ô ¾Æ÷ÇÏ´Â ´äÀ» ÇÑ´Ù. ±×·¯³ª LearÀÇ ¸·³»µþÀÌ°í Lear°¡ °¡Àå õÁäñ(ÃѾÖ)ÇÏ´Â Cordelia´Â ±×³à°¡ ¾Æ¹öÁö¸¦ ¾ó¸¶³ª ¸¹ÀÌ »ç¶ûÇÏ´ÂÁö¸¦ Ç¥Çö(describe)ÇÒ ¸»À» °¡Áö°í ÀÖÁö ¾Ê´Ù°í ¸»ÇÏ¸é¼ Ä§¹¬À» ÁöŲ´Ù. Lear´Â °Ý³ëÇÏ¿© Cordelia¿ÍÀÇ ÀÚ½ÄÀÇ Àο¬À» ²÷¾î ¹ö¸°´Ù(disown:ÀÇÀýÇÏ´Ù). Cordelia¿¡°Ô ±¸È¥ÇÏ¿´´ø ÇÁ¶û½ºÀÇ ±¹¿ÕÀº ±×·¡µµ ¶¥ÀÌ ¾ø´Â Cordelia¿Í °áÈ¥ÇÏ°Ú´Ù°í ¸»Çϸç Cordelia´Â ¾Æ¹öÁöÀÇ Ãູµµ ¹ÞÁö ¸øÇÏ°í ÇÁ¶û½º¿ÕÀ» µû¶ó ÇÁ¶û½º·Î °£´Ù.
Lear´Â ±×°¡ À߸øµÈ °áÁ¤À» Çß´Ù´Â °ÍÀ» À绡¸® ¾Ë°Ô µÈ´Ù. Goneril°ú ReganÀº Lear°¡ ¾ÆÁ÷µµ °¡Áö°í ÀÖ´Â Á¶±×¸¶ÇÑ ±ÇÀ§µµ ½Å¼ÓÇÏ°Ô ºØ±«½ÃÅ°±â ½ÃÀÛÇÑ´Ù. ÀÚ½ÅÀÇ »ç¶ûÇÏ´Â µþµéÀÌ ÀÚ½ÅÀ» ¹è½ÅÇÏ°í ÀÖ´Ù´Â °ÍÀ» ¹ÏÀ» ¼ö°¡ ¾ø¾î¼ Lear´Â ¼¼È÷ ¹ÌÃÄ°£´Ù. ±×´Â µþµéÀÇ àò(¼º:house)¿¡¼ µµ¸ÁÃÄ ³ª¿Í¼ ±×ÀÇ ±¤´ë¿Í º¯ÀåÇÑ Ã漺½º·¯¿î ±ÍÁ· KentÀÇ ½ÃÁßÀ» ¹ÞÀ¸¸ç Æødz¿ì°¡ ¸ô¾ÆÄ¡´Â µ¿¾È È÷½º(heath: È÷½º°¡ ¹«¼ºÇÑ È²¾ß)¿¡¼ Çì¸Å°í ´Ù´Ñ´Ù.
±×»çÀÌ¿¡ Gloucester¶ó´Â À̸§ÀÇ ¿¬·ÎÇÑ ±ÍÁ·µµ °¡Á·¹®Á¦¸¦ °æÇèÇÑ´Ù. ±×ÀÇ ¼ÀÚÀÎ Edmund´Â ±×¸¦ ¼Ó¿©¼ ±×ÀÇ ÀûÀÚÀÎ Edgar°¡ ±×¸¦ Á×ÀÌ·Á ÇÏ°í ÀÖ´Ù°í ¹Ï°Ô ÇÑ´Ù. ±×ÀÇ ¾Æ¹öÁö°¡ ±×¸¦ Àâ±â À§ÇØ Áö½ÃÇÑ ¹üÀÎ ¼ö»öÀ» ÇÇÇؼ µµ¸Á°¡¸é¼ Edgar´Â ÀÚ½ÅÀ» ¹ÌÄ£ °ÅÁö·Î À§ÀåÇÏ°í ÀÚ½ÅÀ» ¡°Poor Tom"À̶ó°í ºÎ¸¥´Ù. Learó·³ ±×µµ È÷½ºÈ²¾ß·Î ÇâÇÑ´Ù.
Ã漺½º·± Gloucester´Â LearÀÇ µþµéÀÌ ±×µéÀÇ ¾Æ¹öÁö¸¦ ¹è½ÅÇÏ¿´´Ù´Â °ÍÀ» ±ú´ÞÀ» ¶§, À§Çè¿¡µµ ºÒ±¸ÇÏ°í Lear¸¦ µ½±â·Î °á½ÉÇÑ´Ù. Regan°ú ±×³àÀÇ ³²Æí CornwallÀº Gloucester°¡ Lear¸¦ µµ¿ÍÁÖ°í ÀÖ´Â °ÍÀ» ¹ß°ßÇÏ°í ±×¸¦ ¹Ý¿ªÁË·Î ±â¼ÒÇÏ°í ±×¸¦ ´«¸Ö°Ô ÇÏ°í ±×¸¦ Ãß¹æÇؼ ½Ã°ñÁö¿ª¿¡¼ Çì¸Å°Ô ÇÑ´Ù. ±×´Â ¸¶Ä§³» º¯ÀåÇÑ ¾Æµé Edgar¿¡°Ô À̲ø·Á¼ Dover㼸¦ ÇâÇؼ °¡°í ±×°÷¿¡´Â Learµµ ÀÌ¹Ì À̲ø·Á¼ ¿Í ÀÖ¾ú´Ù.
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In Dover, a French army lands as part of an invasion led by Cordelia in an effort to save her father. Edmund apparently becomes romantically entangled with both Regan and Goneril, whose husband, Albany, is increasingly sympathetic to Lear¡¯s cause. Goneril and Edmund conspire to kill Albany.
The despairing Gloucester tries to commit suicide, but Edgar saves him by pulling the strange trick of leading him off an imaginary cliff. Meanwhile, the English troops reach Dover, and the English, led by Edmund, defeat the Cordelia-led French. Lear and Cordelia are captured. In the climactic scene, Edgar duels with and kills Edmund; we learn of the death of Gloucester; Goneril poisons Regan out of jealousy over Edmund and then kills herself when her treachery is revealed to Albany; Edmund¡¯s betrayal of Cordelia leads to her needless execution in prison; and Lear finally dies out of grief at Cordelia¡¯s passing. Albany, Edgar, and the elderly Kent are left to take care of the country under a cloud of sorrow and regret.
Dover¿¡¼´Â, ¾Æ¹öÁö¸¦ ±¸Çϱâ À§ÇÑ ³ë·Â¿¡¼ Cordelia°¡ ÁöÈÖÇϴ ħ°ø±ºÀÇ ÀϺημ ÇÁ¶û½ºÏÚ(±º)ÀÌ »ó·úÇÑ´Ù. Edmund´Â ºÐ¸íÈ÷ Regan°ú Goneril µÑ ´Ù¿¡°Ô »ç¶ûÀ¸·Î ¾ôÈ÷°Ô µÇ¸ç GonerilÀÇ ³²Æí Albany´Â LearÀÇ ÁÖÀå¿¡ Á¡Á¡ ´õ µ¿Á¤ÇÏ°Ô µÈ´Ù. Goneril°ú Edmund´Â Albany¸¦ Á×ÀÏ À½¸ð¸¦ ²Ù¹Î´Ù. Àý¸Á¿¡ ºüÁø Gloucester´Â ÀÚ»ìÀ» ½ÃµµÇÏÁö¸¸ Edgar´Â ÊÍö(°¡°ø:imaginary)ÀÇ Àýº®À¸·Î À̲ø¾î¼ ¶³¾îÁö°Ô ÇÏ´Â ÀÌ»óÇÑ ¼ÓÀÓ¼ö·Î¼ ¾Æ¹öÁö¸¦ »ì¸°´Ù. ±× »çÀÌ¿¡ ¿µ±¹±ºÀÌ Dover¿¡ µµÂøÇÏ°í Edmond°¡ ÁöÈÖÇÏ¿© Cordelia°¡ ÁöÈÖÇÏ´Â ÇÁ¶û½º±ºÀ» Æйè½ÃŲ´Ù. Lear¿Í Cordelia´Â Æ÷·Î°¡ µÈ´Ù(captured). Ŭ¶óÀ̸ƽº Àå¸é¿¡¼´Â Edgar´Â Edmond¿Í °áÅõ¸¦ ÇÏ¿© ±×¸¦ Á×ÀδÙ. °ü°´µéÀº GloucesterÀÇ Á×À½ÀÇ ¼Ò½ÄÀ» µè´Â´Ù. GonerilÀº Edmond¿¡ ´ëÇÑ ÁúÅõ½É¿¡¼ ReganÀ» µ¶»ìÇÏ°í ±×³àÀÇ ¹Ý¿ªÇàÀ§°¡ Albany¿¡°Ô ¹àÇôÁú ¶§¿¡ ÀÚ»ìÇÑ´Ù; Cordelia¿¡ ´ëÇÑ EdmondÀÇ ¹è½ÅÀº ±×³àÀÇ °¨¿Á¿¡¼ÀÇ ºÒÇÊ¿äÇÑ Ã³ÇüÀ¸·Î À̲ö´Ù; Lear´Â ¸¶Ä§³» CordeliaÀÇ Á×À½¿¡ ´ëÇÑ ½½ÇÄ ¶§¹®¿¡ Á״´Ù. Albany¿Í Edgar°¡¿Í ôøÖÕ(ÃÊ·Î)ÀÇ Kent´Â ºñ¾Ö¿Í üâùÏ(ȸÇÑ)ÀÇ ±¸¸§À¸·Î µ¤ÀÎ ³ª¶ó¸¦ Ãß½º¸£µµ·Ï ³²°ÜÁø´Ù.
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¥². Theme
Justice
King Lear is a brutal play, filled with human cruelty and awful, seemingly meaningless disasters. The play¡¯s succession of terrible events raises an obvious question for the characters—namely, whether there is any possibility of justice in the world, or whether the world is fundamentally indifferent or even hostile to humankind. Various characters offer their opinions: ¡°As flies to wanton boys are we to the gods; / They kill us for their sport,¡± Gloucester muses, realizing it foolish for humankind to assume that the natural world works in parallel with socially or morally convenient notions of justice (4.1.37–38). Edgar, on the other hand, insists that ¡°the gods are just,¡± believing that individuals get what they deserve (5.3.169). But, in the end, we are left with only a terrifying uncertainty—although the wicked die, the good die along with them, culminating in the awful image of Lear cradling Cordelia¡¯s body in his arms. There is goodness in the world of the play, but there is also madness and death, and it is difficult to tell which triumphs in the end.
Authority versus Chaos
¡°King Lear¡± is about political authority as much as it is about family dynamics. Lear is not only a father but also a king, and when he gives away his authority to the unworthy and evil Goneril and Regan, he delivers not only himself and his family but all of Britain into chaos and cruelty. As the two wicked sisters indulge their appetite for power and Edmund begins his own ascension, the kingdom descends into civil strife, and we realize that Lear has destroyed not only his own authority but all authority in Britain. The stable, hierarchal order that Lear initially represents falls apart and disorder engulfs the realm.
The failure of authority in the face of chaos recurs in Lear¡¯s wanderings on the heath during the storm. Witnessing the powerful forces of the natural world, Lear comes to understand that he, like the rest of humankind, is insignificant in the world. This realization proves much more important than the realization of his loss of political control, as it compels him to re-prioritize his values and become humble and caring. With this newfound understanding of himself, Lear hopes to be able to confront the chaos in the political realm as well.
¥². ÁÖÁ¦
ïáëù(Á¤ÀÇ)
¡°¸®¾îèÝ¡±Àº Àΰ£ÀÇ ÀÜÀÎÇÔ°ú ¹«½Ã¹«½ÃÇÏ¸ç ¿Ü°ßÀ¸·Î´Â ¹«ÀǹÌÇÏ°í Àç¾ÓÀ¸·Î °¡µæ Â÷ÀÖ´Â ÀÜȤÇÑ Ð¼(±Ø)ÀÌ´Ù. ±ØÀÇ ¿¬¼ÓÀûÀÎ °¡°øÇÒ »ç°ÇµéÀº µîÀåÀι°µé¿¡ ´ëÇÑ ¸í¹éÇÑ Àǹ®À» Á¦±âÇÑ´Ù¡ªÁï ¼¼°è¿¡´Â Á¤ÀÇ °¡´É¼ºÀÌ Á¶±ÝÀÌ¶óµµ ÀÖ´ÂÁö ¾ø´ÂÁö ȤÀº ¼¼°è´Â Àΰ£¿¡°Ô ±Ùº»ÀûÀ¸·Î ¹«½ÉÇÑÁö ȤÀº ½ÉÁö¾î Àû´ëÀûÀÎÁö ¾Æ´ÑÁö(¿¡ ´ëÇÑ Àǹ®À» Á¦±âÇÑ´Ù). ´Ù¾çÇÑ Àι°µéÀÌ ±×µéÀÇ ÀÇ°ßÀ» Á¦°øÇÑ´Ù: Gloucester´Â Àΰ£ÀÌ ÀÚ¿¬ ¼¼°è°¡ Á¤ÀÇ¿¡ ´ëÇؼ »çȸÀûÀ¸·Î³ª µµ´öÀûÀ¸·Î ÆíÇÏ°í ÁÁÀº(convenient) »ý°¢¿¡ ¸ÂÃß¾î¼ ¿î¿µÇÏ°í ÀÖ´Ù°í °¡Á¤ÇÏ´Â °ÍÀº ¾î¸®¼®Àº ÁþÀ̶ó´Â °ÍÀ» ±ú´ÞÀ¸¸é¼ ¡°Àå³ ½ÉÇÑ ¾ÆÀ̵éÀÌ Æĸ®¸¦ Ãë±ÞÇϵíÀÌ ãêµéÀº ¿ì¸® Àΰ£À» Ãë±ÞÇØ;/ãêµéÀº ¿ì¸® Àΰ£À» Àå³À¸·Î Á׿©.¡±¶ó¸ç ±íÀº »ý°¢¿¡ Àá±ä´Ù. ¹Ý¸é¿¡ Edgar´Â °³°³ÀÎÀº ±×µéÀÌ ¹ÞÀ» ¸¸ÇÑ °Í(ÁÁµç ³ª»Úµç)À» ¹Þ°Ô µÈ´Ù°í ¹ÏÀ¸¸é¼ ¡°ãêµéÀº Á¤ÀÇ·Ó½À´Ï´Ù.¡±¶ó°í ÁÖÀåÇÑ´Ù. ±×·¯³ª °á±¹ ¿ì¸®¿¡°Ô ³²´Â °ÍÀº °¡°øÇÒ¸¸ÇÑ ºÒÈ®½Ç¼º»ÓÀÌ´Ù¡ªºñ·Ï ¾ÇÇÑ »ç¶÷µéÀÌ Á×Áö¸¸ ¼±ÇÑ »ç¶÷µéµµ ±×µé°ú ÇÔ²² Á×À¸¸ç ÀÌ·± »óȲÀº Lear°¡ CordeliaÀÇ ã»ãó(½Ã½Å)À» ¾çÆÈ¿¡ ¾È°í ÀÖ´Â °¡°øÇÒ À̹ÌÁö¿¡¼ ÃÖ°íÁ¶¿¡ ´ÞÇÑ´Ù. ±ØÀÇ ¼¼°è¿¡¼´Â ¼±µµ ÀÖÁö¸¸ ±×°÷¿¡´Â ±¤±â¿Í Á×À½µµ ÀÖÀ¸¸ç °á±¹ ¾î´À ÂÊ(¼±°ú ¾Ç)ÀÌ ½Â¸®ÇÏ´ÂÁö¸¦ ¸»ÇϱⰡ ¾î·Æ´Ù.
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¡°¸®¾îèÝ¡±Àº Á¤Ä¡Àû ±Ç·Â¿¡ °üÇÑ °Í¸¸Å ¶ÇÇÑ °¡Á·¿ªÇп¡ °üÇÑ °ÍÀÌ´Ù. Lear´Â ¾Æ¹öÁöÀÏ »Ó ¾Æ´Ï¶ó ¶ÇÇÑ ¿ÕÀÌ´Ù. ±×°¡ ºñ¿ÇÏ°í(unworthy) »ç¾ÇÇÑ Goneril°ú Regan¿¡°Ô ¿Õ±ÇÀ» ì¹åÓ(À̾ç)ÇÒ ¶§ ±×´Â ÀڽŰú °¡Á·»Ó ¾Æ´Ï¶ó ¿µ±¹ Àüü¸¦ ÀÜȤÇÔ¿¡ ³Ñ°ÜÁØ´Ù. µÎ »ç¾ÇÇÑ ÀڸŰ¡ ±Ç·ÂÀÇ ¿å¸Á¿¡ Ž´ÐÇÏ°í Edmond°¡ ÀÚ½ÅÀÇ ÁöÀ§ »ó½ÂÀ» ½ÃÀÛÇÏ¸é¼ ¿Õ±¹Àº ³»¶õÀ¸·Î ¶³¾îÁö°Ô µÇ°í(descend) ¿ì¸®´Â Lear´Â ÀÚ½ÅÀÇ ±ÇÀ§»Ó ¾Æ´Ï¶ó ¿µ±¹ÀÇ ¸ðµç ±ÇÀ§¸¦ Æı«ÇØ ¹ö·È´Ù´Â °ÍÀ» ±ú´Ý°Ô µÈ´Ù. Lear°¡ ÃÖÃÊ¿¡ ´ëÇ¥ÇÏ´ø ¾ÈÁ¤ÀûÀÌ°í °è±ÞÀûÀÎ Áú¼´Â Ã߶ôÇÏ¿© ±ú¾îÁ® ¹ö¸®°í ¹«Áú¼°¡ ¿Õ±¹À» »ïÄѹö¸°´Ù.
È¥µ·¿¡ Á÷¸éÇÑ ±ÇÀ§ÀÇ ½ÇÆд ÆødzÀÇ È÷½º Ȳ¾ß¿¡¼ÀÇ LearÀÇ ¹æȲ¿¡¼ ¹Ýº¹µÈ´Ù. ÀÚ¿¬°èÀÇ °·ÂÇÑ ÈûÀ» ¸ñ°ÝÇÏ¸é¼ Lear´Â ÀÚ½ÅÀÌ ÀηùÀÇ ³ª¸ÓÁö¿Í ¸¶Âù°¡Áö·Î ¿ìÁÖ(world) ¾È¿¡¼´Â ¹«ÀǹÌÇÑ Á¸Àç¶ó´Â °ÍÀ» ÀÌÇØÇÏ°Ô µÈ´Ù. ÀÌ ±ú´ÞÀ½(realization)Àº ±×·Î ÇÏ¿©±Ý °¡Ä¡ÀÇ ¿ì¼±¼øÀ§¸¦ Àç¼³Á¤ÇÏ°Ô ÇÏ°í °â¼ÕÇÏ°í ºÀ»çÀûÀÌ µÇµµ·Ï °¿äÇϱ⠶§¹®¿¡ Á¤Ä¡Àû Áö¹è±Ç(control)ÀÇ »ó½Ç¿¡ ´ëÇÑ ±ú´ÞÀ½º¸´Ùµµ ÈξÀ ´õ Áß¿äÇÑ °ÍÀ¸·Î ÆǸíµÈ´Ù. »õ·ÎÀÌ ¹ß°ßµÈ Àڽſ¡ ´ëÇÑ ÀÌÇØ¿Í ÇÔ²² Lear´Â Á¤Ä¡Àû ¿µ¿ª¿¡ Àִ ȥµ·µµ ¶ÇÇÑ Á¤¸éÀ¸·Î ´ë°áÇÒ ¼ö Àֱ⸦ Èñ¸ÁÇÑ´Ù.
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Reconciliation
Darkness and unhappiness pervade ¡°King Lear¡±, and the devastating Act 5 represents one of the most tragic endings in all of literature. Nevertheless, the play presents the central relationship—that between Lear and Cordelia—as a dramatic embodiment of true, self-sacrificing love. Rather than despising Lear for banishing her, Cordelia remains devoted, even from afar, and eventually brings an army from a foreign country to rescue him from his tormentors. Lear, meanwhile, learns a tremendously cruel lesson in humility and eventually reaches the point where he can reunite joyfully with Cordelia and experience the balm of her forgiving love. Lear¡¯s recognition of the error of his ways is an ingredient vital to reconciliation with Cordelia, not because Cordelia feels wronged by him but because he has understood the sincerity and depth of her love for him. His maturation enables him to bring Cordelia back into his good graces, a testament to love¡¯s ability to flourish, even if only fleetingly, amid the horror and chaos that engulf the rest of the play.
Nihilism
¡°King Lear¡± presents a bleak vision of a world without meaning. Lear begins the play valuing justice, the social order, and the value of kingship, but his values are undermined by his experiences. Lear ends up believing that justice, order and kingship are just flattering names for raw, brutal power. Cornwall confirms Lear¡¯s view when he admits that even though punishing Gloucester without a trial is unjust, his power gives him the freedom to act as he wants: ¡°our power / Shall do a courtesy to our wrath¡± (III.vii). Gloucester, too, comes to see life as random, violent and cruel, claiming the gods treat people with the same level of care as schoolboys with flies. Nowhere does ¡°King Lear¡± suggest life offers meaning or the possibility of redemption. The play¡¯s tragic ending offers no lesson. Cordelia dies for no reason; the order for her execution has been reversed. The few characters left alive express despair at what they have seen.
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¾ÏÈæ°ú ºÒÇàÀÌ ¡°¸®¾îèÝ¡±¿¡ ø³Ø»(Æظ¸)ÇØ ÀÖ°í ÆĸêÀûÀÎ 5Ø(¸·)Àº ¸ðµç ¹®Çп¡¼ °¡Àå ºñ±ØÀûÀÎ °á¸» ÁßÀÇ Çϳª¸¦ ³ªÅ¸³½´Ù. ±×·³¿¡µµ ºÒ±¸ÇÏ°í ±ØÀº Áø½ÇÇÏ°í ÀÚ±âÈñ»ýÀûÀÎ »ç¶ûÀÇ ±ØÀûÀÎ ÎýúÞ(±¸Çö)À¸·Î¼ Áß½ÉÀûÀÎ °ü°è¸¦¡ªLear¿Í CordeliaÀÇ °ü°è(that)¡ªÁ¦½ÃÇÑ´Ù. Cordelia´Â ±×³à¸¦ Ãß¹æÇÑ °Í¿¡ ´ëÇؼ Lear¸¦ úîç÷(Çø¿À:despise)Çϱ⺸´Ù´Â ¸Ö¸® ¶³¾îÁ® À־ °è¼Ó Çå½ÅÀûÀÌ°í °í³À¸·ÎºÎÅÍ Lear¸¦ ±¸ÃâÇϱâ À§ÇÏ¿© ¿Ü±¹À¸·ÎºÎÅÍ ±º´ë¸¦ µé¿©¿Â´Ù. ±×»çÀÌ¿¡ Lear´Â °â¼Õ¿¡ ÀÖ¾î¼ ¾öû³ª°Ô ÀÜÀÎÇÑ ÇнÀÀ» ÇÏ°Ô µÇ°í ¸¶Ä§³» Cordelia¿Í Áñ°Ì°Ô ÀçȸÇÏ¿© ±×³àÀÇ ¿ë¼ÇÏ´Â »ç¶ûÀÇ Çâ±â¸¦ °æÇèÇÒ ¼ö ÀÖ´Â Á¤µµ±îÁö µµ´ÞÇÏ°Ô µÈ´Ù. ÀÚ½ÅÀÇ ¹æ¹ýÀÇ ¿À·ù¿¡ ´ëÇÑ LearÀÇ ÀνÄÀº Cordelia°¡ ±×¿¡ ÀÇÇؼ ºÎ´çÇÏ°Ô Ãë±Þ´çÇß´Ù°í ´À³¢±â ¶§¹®ÀÌ ¾Æ´Ï°í ±×°¡ ±×¿¡ ´ëÇÑ ±×³à »ç¶ûÀÇ Áø½ÇÇÔ°ú ±íÀ̸¦ (µåµð¾î) ÀÌÇØÇÏ°Ô µÇ¾ú±â ¶§¹®¿¡ Cordelia¿ÍÀÇ ÈÇØ¿¡ °áÁ¤ÀûÀÎ ¼ººÐÀÌ µÈ´Ù. ±×ÀÇ Á¤½ÅÀû ¼º¼÷(maturation)Àº ±×·Î ÇÏ¿©±Ý ±×ÀÇ ¼±ÇÑ ëÚõÁ(ÀºÃÑ) ¼ÓÀ¸·Î Cordelia¸¦ ¹Þ¾ÆµéÀÌ´Â °ÍÀ» °¡´ÉÇÏ°Ô Çϸç, ÀÌ°ÍÀº ºñ·Ï ±ØÀÇ ³ª¸ÓÁö ºÎºÐÀ» Áý¾î»ïÅ°´Â °øÆ÷¿Í È¥µ· °¡¿îµ¥¼µµ, ºñ·Ï Àá±ñ µ¿¾ÈÀÌÁö¸¸, ÇǾ´Â »ç¶ûÀÇ ´É·Â¿¡ ´ëÇÑ Áõ°Å°¡ µÈ´Ù.
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¡°LearèÝ¡±Àº ¹«ÀǹÌÇÑ ¼¼°è¿¡ ´ëÇÑ À½¿ïÇÑ ºñÀüÀ» Á¦½ÃÇÑ´Ù. Lear´Â Á¤ÀÇ¿Í »çȸÁú¼¿Í ¿Õ±ÇÀ» ³ôÀÌ Æò°¡ÇÏ¸é¼ ±ØÀ» ½ÃÀÛÇÏÁö¸¸ ±×ÀÇ °¡Ä¡´Â ±×ÀÇ °æÇè¿¡ ÀÇÇؼ ºØ±«µÈ´Ù. Lear´Â Á¤ÀÇ¿Í Áú¼¿Í ¿Õ±ÇÀº ðØäÂ(Á¶¾Ç: raw)ÇÏ°í ÀÜÀÎÇÑ ±Ç·Â¿¡ ´ëÇÑ ºñÀ§ ¸ÂÃß´Â À̸§¿¡ ºÒ°úÇÏ´Ù°í ¹ÏÀ¸¸é¼ ³¡³´Ù. CornwallÀÌ ÀçÆÇ ¾øÀÌ Gloucester¸¦ ó¹úÇÏ´Â °ÍÀº ºÎ´çÇÏ´Ù ÇÒÁö¶óµµ ±×ÀÇ ±Ç·ÂÀÌ ±×°¡ ¿øÇÏ´Â ´ë·Î ÇൿÇÒ ÀÚÀ¯¸¦ Çã¿ëÇÑ´Ù°í È®ÀÎÇÒ ¶§ ±×´Â LearÀÇ °üÁ¡À» È®ÀÎÇÏ°Ô µÈ´Ù: ¡°³ªÀÇ ±Ç·ÂÀÌ/³ªÀÇ ºÐ³ë¿¡ ¿¹ÀǸ¦ °®Ãß°Ô ÇÑ´Ù,¡± Gloucesterµµ ãêµéÀº Çб³¾ÆÀ̵éÀÌ Æĸ®¸¦ ´ëÇÏ´Â °Í°ú ¶È°°ÀÌ Àΰ£À» Ãë±ÞÇÑ´Ù°í ÁÖÀåÇÏ¸é¼ »îÀ» ¾Æ¹«·± ¸ñÀûÀÌ ¾ø´Â µÇ´Â´ë·Î (random)ÀÌ°í Æø·ÂÀûÀ̸ç ÀÜÀÎÇÑ °ÍÀ¸·Î °£ÁÖÇÏ°Ô µÈ´Ù. »îÀÌ Àǹ̸¦ Á¦°øÇϰųª ȤÀº Àç»ýÀÇ °¡´É¼ºÀ» Á¦°øÇÑ´Ù°í ¾Ï½ÃÇÏ´Â °÷Àº ¡°LearèÝ¡± ¾îµð¿¡µµ ¾ø´Ù. ±ØÀÇ ºñ±ØÀû °á¸»Àº ¾î¶°ÇÑ ±³ÈƵµ Á¦°øÇÏÁö ¾Ê´Â´Ù. Cordelia´Â ¾Æ¹«·± ÀÌÀ¯µµ ¾øÀÌ Á״´Ù: ±×³àÀÇ Ã³Çü¿¡ ´ëÇÑ ¸í·ÉÀº Æı⠵Ǿú¾ú´Ù.(±×·±µ¥µµ ¸í·ÉÀÇ Á¦´ë·Î Àü´ÞÀÌ ¾È µÇ¾î óÇüµÇ¾ú´Ù). »ì¾Æ³²Àº ¼Ò¼öÀÇ Àι°ÀÌ ±×µéÀÌ º¸¾Æ¿Â °Í¿¡ ´ëÇØ Àý¸Á°¨À» Ç¥ÇöÇÑ´Ù.
27-8-198
Self-knowledge
¡°King Lear¡± shows that a lack of self-knowledge can cause chaos and tragedy, but the play also suggests that self-knowledge is painful, and perhaps not worth the effort it takes to achieve it. Lear¡¯s tragic flaw is a lack of self-knowledge. His daughter Regan identifies this flaw in the play¡¯s opening scene: ¡°he hath ever but slenderly known himself.¡± (I.i.). Lear achieves self-knowledge, but at the cost of his wealth, power and sanity. What he learns about himself is not a pleasant discovery: ¡°I am a very foolish, fond old man¡± (IV.vii.). Achieving self-knowledge does not allow Lear to escape his tragic fate. In fact, self-knowledge makes his suffering worse. He realizes that his daughter Cordelia loves him after all, which only makes her death more painful. Edmund¡¯s story also suggests that self-knowledge is of limited value. Unlike Lear, Edmund sees himself clearly from the beginning of the play, but his self-knowledge doesn¡¯t do him much good: he dies
¥³. Symbols
The Storm
As Lear wanders about a desolate heath in Act 3, a terrible storm, strongly but ambiguously symbolic, rages overhead. In part, the storm echoes Lear¡¯s inner turmoil and mounting madness: it is a physical, turbulent natural reflection of Lear¡¯s internal confusion. At the same time, the storm embodies the awesome power of nature, which forces the powerless king to recognize his own mortality and human frailty and to cultivate a sense of humility for the first time. The storm may also symbolize some kind of divine justice, as if nature itself is angry about the events in the play. Finally, the meteorological chaos also symbolizes the political disarray that has engulfed Lear¡¯s Britain.
ÀÚ±âÀνÄ
¡°LearèÝ¡±Àº ÀÚ±âÀνÄÀÇ ºÎÁ·ÀÌ È¥µ·°ú ºñ±ØÀÇ ¿øÀÎÀÌ µÉ ¼ö ÀÖ´Ù´Â °ÍÀ» º¸¿©ÁØ´Ù. ±×·¯³ª ±ØÀº ¶ÇÇÑ ÀÚ±âÀνÄÀº °íÅ뽺·´°í ¾Æ¸¶µµ ±×°ÍÀ» ¼ºÃëÇϱâ À§ÇØ ³ë·ÂÇÒ ¸¸ÇÑ °¡Ä¡´Â ¾øÀ» °ÍÀ̶ó´Â °ÍÀ» ¾Ï½ÃÇÑ´Ù. LearÀÇ ºñ±ØÀû °áÇÔ(tragic flaw)Àº ÀÚ±âÀνÄÀÇ ºÎÁ·ÀÌ´Ù. ±×ÀÇ µþ ReganÀº ±ØÀÇ °³¸·Àå¸é¿¡¼ ÀÌ °áÇÔÀ» È®ÀÎÇÑ´Ù: ¡°¾Æ¹öÁö´Â ÀÚ½ÅÀ» ¾ÆÁÖ Á¶±Ý¸¸(slenderly) ¾Æ½Ã´Â °Í °°´Ù.¡±(º°·Î Àß ¸ð¸£´Â °Í °°´Ù). Lear´Â ÀÚ±âÀνÄÀ» ¼ºÃëÇÏÁö¸¸ ºÎ¿Í ±Ç·Â°ú ¿ÂÀüÇÑ Á¦Á¤½ÅÀ» Èñ»ýÇÏ°í ¼ºÃëÇÑ´Ù. ±×°¡ Àڽſ¡ ´ëÇؼ ¹è¿ì°Ô µÈ °ÍÀº À¯ÄèÇÑ °ÍÀº ¾Æ´Ï´Ù: ¡°³ª´Â ¸Å¿ì ¸ÛûÇÏ°í ¾î¸®¼®Àº(fond) ³ëÀÎÀÌ´Ù.¡± ÀÚ±âÀνÄÀ» ¼ºÃëÇÏ´Â °ÍÀÌ Lear°¡ ºñ±ØÀû ¿î¸íÀ» ÇÇÇϵµ·Ï ÇØ ÁÖÁö´Â ¾Ê´Â´Ù. »ç½ÇÀº ÀÚ±âÀνÄÀÌ ±×ÀÇ °í³À» ´õ¿í´õ ¾ÇȽÃŲ´Ù. ±×´Â ±×ÀÇ µþ Cordelia°¡ ±×¸¦ »ç¶ûÇÑ´Ù´Â °ÍÀ» °á±¹ ¾ËÁö¸¸ ÀÌ°ÍÀÌ ±×³àÀÇ Á×À½À» ´õ¿í´õ °íÅ뽺·´°Ô ÇÑ´Ù. EdmundÀÇ À̾߱⵵ ÀÚ±âÀνÄÀº ÇÑÁ¤µÈ °¡Ä¡¸¸ ÀÖ´Ù´Â °ÍÀ» ¾Ï½ÃÇÑ´Ù. Lear¿Í´Â ´Ù¸£°Ô Edmund´Â ±ØÀÇ Ã³À½ºÎÅÍ ÀÚ±â ÀÚ½ÅÀ» ºÐ¸íÈ÷ ÀνÄÇÏ°í ÀÖÁö¸¸ ±×ÀÇ ÀÚ±âÀνÄÀº ±×¿¡°Ô Å« À̵æÀ» ÁÖÁö ¸øÇÑ´Ù: ±×´Â Á×°Ô µÈ´Ù.
¥³. »ó¡
Æødz
3Ø(¸·)¿¡¼ Lear°¡ Ȳ·®ÇÑ È÷½º Ȳ¹«Áö¸¦ Çì¸Å°í ÀÖÀ» ¶§, °ÇÏÁö¸¸ ¸ðÈ£ÇÏ°Ô »ó¡ÀûÀÎ ¹«¼¿î ÆødzÀÌ ÇÏ´Ã ³ôÀÌ(overhead) ±¤¶õÇÑ´Ù. ºÎºÐÀûÀ¸·Î ÆødzÀº LearÀÇ ³»¸éÀÇ È¥¶õ°ú ÍÔðÍ(°íÁ¶)µÇ°í ÀÖ´Â ±¤±â¸¦ ÚãúÂ(¹ÝÇâ)ÇÑ´Ù: ±×°ÍÀº LearÀÇ ³»Àû È¥¶õ¿¡ ´ëÇÑ ¹°¸®ÀûÀÌ°í °ÅÄ£ ÀÚ¿¬ÀÇ ÚãÞÒ(¹Ý»ç)ÀÌ´Ù. µ¿½Ã¿¡ ÆødzÀº ÀÚ¿¬ÀÇ Àå¾öÇÑ ÈûÀ» ûùãó(ȽÅ)ÇÏ°í ÀÖÀ¸¸ç ÀÌ°ÍÀº ÈûÀÌ ¾ø´Â ¿ÕÀ¸·Î ÇÏ¿©±Ý Àΰ£À¸·Î¼ ÀÚ½ÅÀÇ Á×À» ¼ö¹Û¿¡ ¾ø´Â ¿î¸í(mortality)°ú Àΰ£ÀÇ ¾àÇÔÀ» ÀνÄÇÏ°í óÀ½À¸·Î °â¼ÕÀÇ Àǹ̸¦ ¹è¾çÇϵµ·Ï °¿äÇÑ´Ù. ÆødzÀº ¶ÇÇÑ ¸¶Ä¡ ÀÚ¿¬ ÀÚ½ÅÀÌ ±Ø¿¡¼ ÀϾ°í ÀÖ´Â »ç°Ç¿¡ ´ëÇؼ ºÐ³ëÇÏ°í Àֱ⳪ ÇÏ´Â °Íó·³, ¾î¶² Á¾·ùÀÇ ãêÀÇ Á¤ÀǸ¦ »ó¡ÇÏ´Â °ÍÀÏ °ÍÀÌ´Ù. ¸¶Áö¸·À¸·Î ±â»óÇÐÀûÀΠȥµ·Àº ¶ÇÇÑ LearÀÇ ¿µ±¹À» Áý¾î»ïŲ Á¤Ä¡Àû È¥¶õÀ» »ó¡ÇÏ°í ÀÖ´Ù.
27-9-199
Blindness
Gloucester¡¯s physical blindness symbolizes the metaphorical blindness that grips both Gloucester and the play¡¯s other father figure, Lear. The parallels between the two men are clear: both have loyal children and disloyal children, both are blind to the truth, and both end up banishing the loyal children and making the wicked one(s) their heir(s). Only when Gloucester has lost the use of his eyes and Lear has gone mad does each realize his tremendous error. It is appropriate that the play brings them together near Dover in Act 4 to commiserate about how their blindness to the truth about their children has cost them dearly.
¥´. Motifs
Madness
Insanity occupies a central place in the play and is associated with both disorder and hidden wisdom. The Fool, who offers Lear insight in the early sections of the play, offers his counsel in a seemingly mad babble. Later, when Lear himself goes mad, the turmoil in his mind mirrors the chaos that has descended upon his kingdom. At the same time, however, it also provides him with important wisdom by reducing him to his bare humanity, stripped of all royal pretensions. Lear thus learns humility. He is joined in his real madness by Edgar¡¯s feigned insanity, which also contains nuggets of wisdom for the king to mine. Meanwhile, Edgar¡¯s time as a supposedly insane beggar hardens him and prepares him to defeat Edmund at the close of the play.
Betrayal
Betrayals play a critical role in the play and show the workings of wickedness in both the familial and political realms—here, brothers betray brothers and children betray fathers. Goneril and Regan¡¯s betrayal of Lear raises them to power in Britain, where Edmund, who has betrayed both Edgar and Gloucester, joins them. However, the play suggests that betrayers inevitably turn on one another, showing how Goneril and Regan fall out when they both become attracted to Edmund, and how their jealousies of one another ultimately lead to mutual destruction. Additionally, it is important to remember that the entire play is set in motion by Lear¡¯s blind, foolish betrayal of Cordelia¡¯s love for him, which reinforces that at the heart of every betrayal lies a skewed set of values.
ØîÙÍ(¸Í¸ñ)
GloucesterÀÇ ½ÅüÀû ã÷Ù¥(½Ç¸í)Àº Gloucester¿Í ±ØÀÇ ¶Ç ´Ù¸¥ ¾Æ¹öÁößÀ(»ó)ÀÎ Lear µÑ ´Ù¸¦ »ç·ÎÀâ°í ÀÖ´Â ÀºÀ¯Àû ¸Í¸ñÀ» »ó¡ÇÑ´Ù. µÎ ³²ÀÚ»çÀÌÀÇ ºñ±³´Â ºÐ¸íÇÏ´Ù: µÑ ´Ù Ã漺ÇÏ´Â ÀÚ½ÄÀÌ ÀÖ°í ºÒÃæÇÏ´Â ÀÚ½ÄÀÌ ÀÖ´Ù: µÑ ´Ù Áø½Ç¿¡ ´«ÀÌ ¸Ö¾î ÀÖ°í µÑ ´Ù Ã漺ÇÏ´Â ÀÚ½ÄÀº Ãß¹æÇÏ°í »ç¾ÇÇÑ ÀÚ½ÄÀ» ÈÄ°èÀÚ·Î »ï´Â °á°ú¸¦ ³º´Â´Ù. Gloucester°¡ ´«ÀÇ ¿ëµµ¸¦ »ó½ÇÇÏ°í Lear°¡ ¹ÌÄ¡°Ô µÇ¾úÀ» ¶§¿¡¸¸ °¢ÀÚ´Â ÀÚ½ÅÀÇ ¾öû³ °ú¿À¸¦ ±ú´Ý°Ô µÈ´Ù. ±ØÀÌ 4Ø¿¡¼ ±×µéÀ» DoverºÎ±Ù¿¡ ¿À°Ô ÇÏ¿© ÀڽĿ¡ ´ëÇÑ Áø½Ç¿¡ ´«ÀÌ ¸Õ °ÍÀÌ ±×µé¿¡°Ô ¾ó¸¶³ª ºñ½Ñ ´ë°¡¸¦ ÁöºÒÇÏ°Ô ÇÏ´Â °¡¿¡ ´ëÇؼ µ¿Á¤ÇÏ°Ô ÇÑ´Ù.
¥´. ¸ðƼÇÁ
±¤±â
±¤±â´Â ±Ø¿¡¼ Áß½ÉÀûÀÎ ÀÚ¸®¸¦ Â÷ÁöÇÏ°í ¹«Áú¼¿Í ¼û°ÜÁø ÁöÇý µÑ ´Ù¿Í ¿¬°üµÈ´Ù. ±ØÀÇ Ãʱ⠺κп¡¼ Lear¿¡°Ô ÷ÓóÌ(ÅëÂû)À» Á¦°øÇÏ´Â ±¤´ë´Â ¿Ü°ß»óÀ¸·Î´Â ¹ÌÄ£ Çê¼Ò¸®·Î ±×ÀÇ ð¾åë(Á¶¾ð)(counsel)À» Á¦°øÇÑ´Ù. ÈÄ¿¡ LearÀÚ½ÅÀÌ ¹ÌÄ¡°Ô µÉ ¶§ ±×ÀÇ ¸¶À½¼Ó¿¡ À̴ ȥ¶õÀº ±×ÀÇ ¿Õ±¹¿¡ ´Ù°¡¿Â È¥µ·À» ÚãÞÒ(¹Ý»ç)ÇÑ´Ù. ±×·¯³ª µ¿½Ã¿¡ ±×°ÍÀº ±×¸¦ ¿ÕÀÇ ¸ðµç ±Ç·Â(pretensions)À» ¹þ°Ü¼ ¹ú°Å¹þÀº Àΰ£À¸·Î Ãà¼Ò½ÃÅ´¿¡ ÀÇÇؼ ±×¿¡°Ô Áß¿äÇÑ ÁöÇý¸¦ Á¦°øÇÑ´Ù. Lear´Â ÀÌ·¸°Ô Çؼ °â¼ÕÀ» ¹è¿î´Ù. ±×´Â ½ÇÁ¦·Î ¹ÌÄ£ »óÅ¿¡¼ EdgarÀÇ Ê£íû(°¡Àå)µÈ ±¤±â¿Í ¿¬ÇÕÇÏ°Ô µÇ¸ç, ÀÌ°ÍÀº ¶ÇÇÑ ¿ÕÀÌ Ä³³¾ ¼ö ÀÖ´Â ÁöÇýÀÇ ±Ýµ¢¾î¸®¸¦ ÇÔÀ¯ÇÏ°í ÀÖ´Ù. ±×·¯´Â Áß¿¡ ¾Æ¸¶µµ ¹ÌÄ£ °ÅÁö·Î º¸³½ EdgarÀÇ ½Ã°£Àº ±×¸¦ °ÇÏ°Ô ÇÏ°í ±×¸¦ ±ØÀÇ ³¡¿¡ °¡¼ Edmond¸¦ Æйè½ÃÅ°µµ·Ï Áغñ½ÃŲ´Ù.
¹è½Å
¹è½ÅÇàÀ§´Â ±Ø¿¡¼ °áÁ¤ÀûÀÎ(critical) ¿ªÇÒÀ» ÇÏ°í °¡Á·°ú Á¤Ä¡ ¾ç ¿µ¿ª¿¡¼ »ç¾ÇÇÔÀÇ È°µ¿À» º¸¿©Áش١ª¿©±â¿¡¼´Â ÇüÁ¦°¡ ÇüÁ¦¸¦ ¹è½ÅÇÏ°í ÀÚ½ÄÀÌ ¾Æ¹öÁö¸¦ ¹è½ÅÇÑ´Ù. Lear¿¡ ´ëÇÑ Goneril°ú ReganÀÇ ¹è½ÅÀº ¿µ±¹ÀÇ ±ÇÁ·Π±×µéÀ» »ó½Â½ÃÅ°°í, Edgar¿Í Gloucester¸¦ ¹è½ÅÇÑ Edmond°¡ ±×µé¿¡°Ô ÇÕ·ùÇÑ´Ù. ±×·¯³ª ±ØÀº ¹è½ÅÀÚµéÀº ºÒ°¡ÇÇÇÏ°Ô ¼·Î¸¦ °ø°Ý(turn on)ÇÏ°Ô µÈ´Ù°í ¾Ï½ÃÇϸç Goneril°ú ReganÀÌ µÑ ´Ù Edmond¿¡°Ô ²ø¸®¸é¼ ¾î¶»°Ô »çÀÌ°¡ Ʋ¾îÁö°Ô µÇ´ÂÁö ±×¸®°í ¾î¶»°Ô ¼·Î¿¡ ´ëÇÑ ±×µéÀÇ ÁúÅõÇàÀ§°¡ ±Ã±ØÀûÀ¸·Î »óÈ£Æĸê·Î À̲ô´ÂÁö¸¦ º¸¿©ÁØ´Ù. µ¡ºÙ¿© ¸»Çؼ, ±Ø Àüü´Â ±×¿¡ ´ëÇÑ CordeliaÀÇ »ç¶û(±×¿¡ ´ëÇÑ)¿¡ ´ëÇÑ LearÀÇ ¸Í¸ñÀûÀÌ°í ¾î¸®¼®Àº ¹è½Å¿¡ ÀÇÇؼ ÀÛµ¿ÀÌ µÇ°í ÀÌ°ÍÀº ¸ðµç ¹è½ÅÀÇ ½ÉÀåºÎ¿¡´Â ¿Ö°îµÈ °¡Ä¡ÀÇ ÁýÇÕÀÌ ÀÖ´Ù´Â °ÍÀ» °Á¶ÇÏ°í ÀÖ´Ù´Â °ÍÀ» ¸í½ÉÇÏ´Â °ÍÀÌ Áß¿äÇÏ´Ù.
27-10-200
¥µ. Plot Analysis
¡°King Lear¡± is a play about blindness – blindness to others¡¯ motivations, blindness to one¡¯s own true nature, blindness to the emptiness of power and privilege, and blindness to the importance of selfless love. Lear¡¯s only desire is to enjoy a comfortable, carefree old age, but he fails to see the role his absolute power has played in shaping his relationship with his daughters, whom he expects to take care of him. Once he loses his power Lear gains insight into his own nature and realizes his shortcomings, admitting ¡°mine eyes are not ¡®o th¡¯ best.¡± (V.iii) Tragically, this self-knowledge comes too late, at a point when Lear has forfeited the power that might have enabled him to change his fate. He finally sees the world as it really is, but is powerless to do anything about it. He dies after saying the final words, ¡°look there, look there,¡± (V.iii) a literal command that the others look at Cordelia, but also a symbolic plea that the survivors see themselves, and the world, more accurately.
The play opens with a glimpse of the subplot that mirrors the main action, as Gloucester explains that he has two sons, one legitimate and one illegitimate, but he tries to love them equally. They discuss Lear¡¯s plans to divide his kingdom, suggesting that he has already decided to share equally among his daughters, and his love test will be just a show, and actually won¡¯t decide anything. Lear then announces his intention to divide his kingdom, admitting that Cordelia is his favorite. He clearly expects all three daughters to try to outdo each other with declarations of their love, for which he will reward them with portions of land. But Cordelia refuses to flatter him, and humiliates him publicly with her disobedience. Enraged by Cordelia¡¯s stubbornness, Lear disowns her, and divides the kingdom between the remaining two daughters. Lear¡¯s inability to understand that despite Cordelia¡¯s reluctance to publicly flatter her father she actually loves him best is the tragic mistake that incites the action of the rest of the play.
¥µ. ÁٰŸ® ºÐ¼®
¡°LearèÝ¡±Àº ¸Í¸ñ¿¡ °üÇÑ ±ØÀÌ´Ù¡ªÅ¸ÀÎÀÇ ÔÑѦ(µ¿±â)¿¡ ´ëÇÑ ¸Í¸ñ, ÀÚ±â ÀÚ½ÅÀÇ ÁøÂ¥ º»¼º¿¡ ´ëÇÑ ¸Í¸ñ, ±Ç·Â°ú Ư±ÇÀÇ °øÇãÇÔ¿¡ ´ëÇÑ ¸Í¸ñ, Ùíé¯(¹«¿å)ÀÇ »ç¶û¿¡ ´ëÇÑ ¸Í¸ñÀÌ´Ù. LearÀÇ À¯ÀÏÇÑ ¿å¸ÁÀº ¾È¶ôÇÏ°í ±Ù½É ¾ø´Â(carefree) ³ë³âÀ» Áñ±â´Â °ÍÀÌÁö¸¸ Àڱ⸦ µ¹º¸¾Æ ÁÙ °ÍÀ¸·Î ±â´ëÇÏ´Â µþµé°úÀÇ °ü°è¸¦ Çü¼ºÇÔ¿¡ ÀÖ¾î¼ ±×ÀÇ Àý´ë ±Ç·ÂÀÌ ÇØ¿Â ¿ªÇÒÀ» ÀνÄÇÏÁö ¸øÇÑ´Ù. ±Ç·ÂÀ» »ó½ÇÇßÀ» ¶§ Lear´Â ÀÚ½ÅÀÇ º»¼º¿¡ ´ëÇÑ ÅëÂûÀ» ȹµæÇÏ°Ô µÇ°í ±×ÀÇ °áÇÔÀ» ±ú´Ý°Ô µÇ°í ¡°³» ´«Àº ¾ÆÁÖ ÁÁÁö ¸øÇØ.¡±¶ó°í ÀÎÁ¤ÇÑ´Ù. ºñ±ØÀûÀÌ°Ôµµ, ÀÌ ÀÚ±âÀνÄÀº Lear°¡ ±×ÀÇ ¿î¸íÀ» ¹Ù²Ù´Â °ÍÀ» °¡´ÉÇÏ°Ô ÇØÁÙ ¼öµµ ÀÖ¾úÀ» ±Ç·ÂÀ» »ó½ÇÇÑ ½ÃÁ¡¿¡ ³Ê¹« ´Ê°Ô ¿Â´Ù. ±×´Â ¸¶Ä§³» ¼¼»óÀ» ÀÖ´Â ±×´ë·Î º¸°Ô µÇÁö¸¸ ±×°Í¿¡ ´ëÇؼ ¹¹¶óµµ Çϱ⿡´Â ±Ç·ÂÀÌ ¾ø´Ù. ±×´Â ±×ÀÇ ¸¶Áö¸· ¸» ¡°Àú°÷À» º¸¶ó, Àú°÷À» º¸¶ó.¡±À» ÇÑ ÈÄ¿¡ Á״µ¥, ÀÌ ¸»Àº ´Ù¸¥ »ç¶÷µéÀÌ Cordelia¸¦ ¹Ù¶óº¸¶ó¶ó´Â ¾ö¹ÐÇÑ ¸í·ÉÀÌÁö¸¸ ¶ÇÇÑ »ì¾Æ³²Àº ÀÚµéÀÌ ÀÚ±â ÀڽŵéÀ», ±×¸®°í ¼¼°è¸¦ ´õ Á¤È®ÇÏ°Ô ¹Ù¶óº¸¶ó´Â »ó¡Àû È£¼ÒÀÌ´Ù.
±ØÀº Gloucester°¡ ÀûÀÚ¿Í ¼ÀÚ ¾Æµé µÑÀÌ ÀÖÁö¸¸ ±×µéÀ» µ¿µîÇÏ°Ô »ç¶ûÇÏ·Á°í ³ë·ÂÇÑ´Ù°í ¼³¸íÇÏ¸é¼ ±ØÀÇ ÁÖµÈ ÇàÀ§(main action)¸¦ ¹Ý¿µÇÏ´Â ºÎÂ÷Àû ÁٰŸ®¿¡ ´ëÇÑ ìé̸(ÀÏ°ß)À¸·Î ½ÃÀ۵ȴÙ. ±×µéÀº Lear°¡ ÀÌ¹Ì ¼¼ µþ¿¡°Ô (±¹Å並) °øÆòÇÏ°Ô ºÐ¹èÇϱâ·Î °áÁ¤ÇÏ¿´À¸¸ç ±×ÀÇ »ç¶û½ÃÇè(love test)Àº ´ÜÁö ¼î¿¡ ºÒ°úÇÏ¸ç ½ÇÁúÀûÀ¸·Î ¾î¶² °Íµµ °áÁ¤ÇÏ´Â °ÍÀº ¾Æ´Ï¶ó°í ¾Ï½ÃÇÏ¸é¼ LearÀÇ ¿Õ±¹ºÐ´Ü °èȹÀ» ³íÀÇÇÑ´Ù. ±×·¯°í ³ª¼ Lear´Â Cordelia°¡ ±×°¡ °¡Àå »ç¶ûÇÏ´Â µþÀ̶ó´Â °ÍÀ» ÀÎÁ¤ÇÏ¸é¼ ¿Õ±¹ºÐ´Ü Àǻ縦 ¹ßÇ¥ÇÑ´Ù. ±×´Â ºÐ¸íÈ÷ ¼¼ µþ ¸ðµÎ°¡ ±×µéÀÇ »ç¶ûÀÇ ¼±¾ð¿¡ ÀÖ¾î¼ ¼·Î ´É°¡ÇÏ·Á°í ³ë·ÂÇϱ⸦ ±â´ëÇÏ°í ÀÖÀ¸¸ç ±×°Í¿¡ ´ëÇؼ ±×´Â ±¹ÅäÀÇ ÀÏºÎ·Î½á º¸»óÇÒ °ÍÀÌ´Ù. ±×·¯³ª Cordelia´Â ±×¿¡°Ô ¾ÆºÎÇϱ⸦ °ÅºÎÇÏ°í ºÒº¹Á¾À» °¡Áö°í °øÁß ¾Õ¿¡¼ ±×¸¦ ¸ð¿åÇÏ°Ô µÈ´Ù. CordeliaÀÇ °íÁý¿¡ °Ý³ëÇÑ Lear´Â ±×³à¸¦ ëùï¾(ÀÇÀý)ÇÏ°í ¿Õ±¹À» ³ª¸ÓÁö µÎ µþ¿¡°Ô ¹èºÐÇÑ´Ù. Cordelia°¡ ¾Æ¹öÁö¿¡°Ô ´ëÁß ¾Õ¿¡¼ ¾Æ÷Çϱ⸦ °ÅºÎÇÔ¿¡µµ ºÒ±¸ÇÏ°í ½ÇÁ¦·Î´Â ¾Æ¹öÁö¸¦ °¡Àå »ç¶ûÇÑ´Ù´Â °ÍÀ» Lear°¡ ÀÌÇØÇÏÁö ¸øÇÏ´Â °ÍÀÌ ±ØÀÇ ³ª¸ÓÁö ÇàÀ§¸¦ ÀÏÀ¸Å°´Â ºñ±ØÀû ½Ç¼öÀÌ´Ù.
27-11-201
The audience understands that Lear¡¯s other two daughters, the deceitful Goneril and Reagan, are the antagonists to Lear¡¯s desire to hold onto his power, and the rising action of the play see these two characters actively thwarting their father and hastening his downfall. After dividing his kingdom between Goneril and Reagan Lear continues to demand that his daughters care for him, expecting to retain the privileges of the crown without the responsibilities. Lear has never recognised the role power plays in his family, so he expects his daughters to treat him exactly as they did when he was their king. Instead, Regan and Goneril treat Lear according to his new status as a powerless old man. Lear is deprived not only of the loving care he expected from his daughters, but also of his attendant knights, and finally even the shelter of their roofs. Meanwhile, the subplot reverses the structure of the main plot: while Lear mistakenly believes that power plays no role in his family, Edmund is all too aware of the role power plays in his. Angry that his illegitimate status makes him powerless, Edmund schemes to banish Edgar and take his place as Gloucester¡¯s heir.
In keeping with its mirrored plot and subplot, ¡°King Lear¡± has two simultaneous climaxes where a protagonist comes in direct conflict with an antagonist. For Lear, this moment comes when he is denied shelter by his daughters and forced to wander in the storm, a reversal of fortune that drives him mad. He tries to make the storm obey him, and the result is that he is deprived of the few comforts he has left.
°üÁßÀº LearÀÇ ´Ù¸¥ ±â¸¸ÀûÀÎ µÎ µþ Goneril°ú ReaganÀÌ LearÀÇ ±Ç·ÂÀ¯Áö ¿å¸Á¿¡ Úã(¹Ý)ÇÏ´Â Àû´ëÀÚ¶ó´Â °ÍÀ» ¾Ë°Ô µÇ°í ±Ø¿¡¼ ÀϾ´Â ÇàÀ§´Â ÀÌ µÎ Àι°ÀÌ ±×µéÀÇ ¾Æ¹öÁö¸¦ ÁÂÀý½ÃÅ°°í Àü¶ôÀ» ÀçÃËÇÏ´Â °ÍÀ» º¸°Ô µÈ´Ù. ¿Õ±¹À» Goneril°ú Reagan¿¡°Ô ºÐ¹èÇÑ ÈÄ¿¡ Lear´Â Ã¥ÀÓÁö´Â ÀÏ ¾øÀÌ ð¨èÝ(Á¦¿Õ:crown)ÀÇ Æ¯±ÇÀ» °è¼Ó À¯ÁöÇϱ⸦ ±â´ëÇÏ¸é¼ µþµéÀÌ ±×¸¦ µ¹º¸¾Æ Áֱ⸦ °è¼Ó ¿ä±¸ÇÑ´Ù. Lear´Â ±Ç·ÂÀÌ °¡Á¤ ¾È¿¡¼ ÇÏ´Â ¿ªÇÒÀ» °áÄÚ ÀνÄÇÑ ÀûÀÌ ¾ø±â ¶§¹®¿¡ µþµéÀÌ ±×°¡ ±×µéÀÇ ¿ÕÀ̾úÀ» ¶§ ±×µéÀÌ ÇÏ¿´´ø °Í°ú ¶È°°ÀÌ ±×¸¦ ´ë¿ì ÇØ ÁÙ °ÍÀ» ±â´ëÇÑ´Ù. Regan°ú GonerilÀº ±×ÀÇ »õ·Î¿î ÁöÀ§¿¡ µû¶ó ±Ç·ÂÀÌ ¾ø´Â ³ëÀÎÀ¸·Î¼ ±×¸¦ ´ë¿ìÇÑ´Ù. Lear´Â µþµé·ÎºÎÅÍ ±â´ëÇÏ¿´´ø »ç¶ûÀÇ º¸»ìÇËÀ» ¹ÚÅ»´çÇßÀ» »Ó ¾Æ´Ï¶ó ±×¸¦ ¼öÇàÇÏ´Â ÑÈÞÍ(±â»ç)µé°ú °á±¹¿¡´Â ºñ¹Ù¶÷À» °¡·ÁÁÙ(of roofs) °Åó¸¶Àúµµ ¹ÚÅ»´çÇÑ´Ù. µ¿½Ã¿¡ ºÎÂ÷ ÁٰŸ®´Â Üâ(º») ÁٰŸ®ÀÇ ±¸Á¶¸¦ ¿ªÀü½ÃŲ´Ù: Lear´Â ±Ç·ÂÀÌ ±×ÀÇ °¡Á· ³»¿¡¼ ¾Æ¹«·± ¿ªÇÒµµ °¡ÁöÁö ¾Ê´Â´Ù°í À߸ø ¹Ï´Â ¹Ý¸é¿¡ Edmond´Â ±×ÀÇ °¡Á· ³»¿¡¼ ±Ç·ÂÀÌ ÇÏ´Â ¿ªÇÒÀ» ³Ê¹«³ª ¸¹ÀÌ ¾Ë¾ÆÂ÷¸®°í ÀÖ´Ù. ±×ÀÇ ¼ÀÚÀÇ ÁöÀ§°¡ ±×¸¦ ÈûÀÌ ¾øµµ·Ï ¸¸µå´Â µ¥ È°¡ ³ Edmond´Â Edgar¸¦ ÂѾƳ»°í GloucesterÀÇ ÈÄ°èÀڷμÀÇ EdgarÀÇ ÁöÀ§¸¦ »©¾ÑÀ» À½¸ð¸¦ ²Ù¹Î´Ù.
¡°LearèÝ¡±Àº ¹Ý»ç(mirrored) ÁٰŸ®¿Í ºÎÂ÷ ÁٰŸ®¸¦ °è¼Ó À¯ÁöÇÔ¿¡ ÀÖ¾î¼ ÇÑ ÁÖÀΰøÀÌ Àû´ëÀÚ¿Í Á÷Á¢ Ãæµ¹(conflict)ÇÏ°Ô µÇ´Â µÎ °³ÀÇ µ¿½Ã Ŭ¶óÀ̸ƽº¸¦ °¡Áø´Ù. Lear¿¡°Ô´Â µþµé¿¡ ÀÇÇؼ °Åó°¡ °ÅÀý´çÇÏ°í ÂѰܳª¼(denied) Æødz ¼Ó¿¡¼ Çì¸Å¾ß ÇÏ´Â ÀÌ·± ¼ø°£ÀÌ ¿À°í ÀÌ°ÍÀº ±×¸¦ ¹ÌÄ¡°Ô ÇÏ´Â ¿î¸íÀÇ ¿ªÀüÀÌ´Ù. ±×´Â ÆødzÀÌ ±×¿¡°Ô º¹Á¾ÇÏ°Ô ÇÏ·Á°í ½ÃµµÇÏ¸ç ±× °á°ú´Â ±×°¡ ±×¿¡°Ô ³²¾Æ ÀÖ´Â ¼Ò¼öÀÇ ¾È¶ôÇÔµµ »©¾Ñ±ä´Ù´Â °ÍÀÌ´Ù.
27-12-202
Lear spends much of the storm talking with Edgar, who is disguised as a mad beggar called ¡°Poor Tom,¡± and helps Lear see that as king he failed to care enough for the poor and downtrodden ¡°wretches¡± of his kingdom. Meanwhile, Edmund triggers the climax of the subplot when he reveals to Cornwall that Gloucester has tried to help Lear. As a result, Gloucester is blinded, stripped of his title and banished from his home. The climax of the subplot confirms the vision of the main plot: raw, violent power is a greater force than even the love of families. Edmund has achieved his goal because he understands this truth and is prepared to act on it.
In his madness and suffering, Lear learns how fragile and temporary his former power was, and in the play¡¯s falling action this insight allows him to be reconciled with Cordelia. He no longer demands that his daughter treat him like a king. He is happy to be treated as a ¡°foolish, fond old man¡± (IV.vii) so long as Cordelia loves him. He imagines that in prison he and Cordelia will be sustained not by power but by their mutual love for one another: ¡°We two alone will sing like birds i¡¯the cage¡± (V.iii). Edgar, still disguised as Poor Tom, meets his blinded father, Gloucester, who intends to commit suicide: both men are so damaged by the political power that has crushed them—Edgar forced to hide, Gloucester suicidal and unable to see—that father and son are unable to be truly reconciled. Edgar does not reveal his true identity to Gloucester, and he has to trick his father into surviving his suicide attempt.
Lear´Â ÆødzÀÇ ¸¹Àº ºÎºÐÀ» Edgar¿Í À̾߱â ÇÏ¸é¼ º¸³»¸ç Edgar´Â ¡°Poor Tom,¡±(°¡·ÃÇÑ Åè)À̶ó°í ºÒ¸®´Â ¹ÌÄ£ °ÅÁö·Î À§ÀåÇÏ°í Lear°¡ ±¹¿ÕÀ¸·Î¼ ¿Õ±¹ÀÇ °¡³ÇÏ°í Çдë¹Þ´Â ¡°ºñÂüÇÑ »ç¶÷µé¡±À» ÃæºÐÈ÷ µ¹º¸Áö ¾Ê¾Ò´Ù´Â °ÍÀ» ±ú´Ýµµ·Ï µµ¿ÍÁØ´Ù. ±× »çÀÌ Edmond´Â Gloucester°¡ Lear¸¦ µµ¿ÍÁÖ·Á°í ³ë·ÂÇØ¿Ô´Ù´Â °ÍÀ» Cornwall¿¡°Ô Æø·ÎÇÒ ¶§¿¡ ±×´Â ºÎÂ÷ ÁٰŸ®ÀÇ Å¬¶óÀ̸ƽº¸¦ Ã˹ßÇÑ´Ù. ±× °á°ú Gloucester´Â ´«¾ËÀÌ »ÌÈ÷°í(blinded) ÁöÀ§¸¦ ¹ÚÅ»´çÇÏ°í ±×ÀÇ àò(¼º:home)À¸·ÎºÎÅÍ ÂѰܳ´Ù. ºÎÂ÷ ÁٰŸ®ÀÇ Å¬¶óÀ̸ƽº´Â Üâ(º») ÁٰŸ®ÀÇ ºñÀüÀ» È®ÀÎÇÑ´Ù: Á¶¾ÇÇÏ°í Æø·ÂÀûÀÎ ±Ç·Â(Èû)Àº ½ÉÁö¾î °¡Á·ÀÇ »ç¶ûº¸´Ùµµ ´õ Å« ÈûÀÌ´Ù. Edmond´Â ÀÌ Áø¸®¸¦ ÀÌÇØÇÏ°í ±× Áø¸®¿¡ ÀÇ°ÅÇÏ¿© ÇൿÇÒ Áغñ°¡ µÇ¾î Àֱ⠶§¹®¿¡ ±×ÀÇ ¸ñÀûÀ» ¼ºÃëÇÏ¿´´Ù.
±¤±â¿Í °í³ ¼Ó¿¡¼ Lear´Â ±×ÀÇ ±Ç·ÂÀÌ ¾ó¸¶³ª Ãë¾àÇÏ°í µ¡¾ø´Â °ÍÀ̾ú´Ù´Â °ÍÀ» ¹è¿ì°Ô µÇ°í ±ØÀÇ ÇÏ°ºÎºÐ(falling action)¿¡¼ ÀÌ ÅëÂûÀº ±×·Î ÇÏ¿©±Ý Cordelia¿Í ÈÇØÇϵµ·Ï Çã¿ëÇÑ´Ù. ±×´Â Cordelia°¡ ±×¸¦ ¿Õó·³ ´ë¿ìÇØ ÁÙ °ÍÀ» ´õÀÌ»ó ¿ä±¸ÇÏÁö ¾Ê´Â´Ù. ±×´Â Cordelia°¡ ±×¸¦ »ç¶ûÇÏ´Â ÇÑ ¡°¹Ùº¸ °°°í ¾î¸®¼®Àº ³ëÀΡ±À¸·Î Ãë±ÞµÇ´Â °ÍÀ» ±â»µÇÑ´Ù. ±×´Â °¨¿Á¿¡¼ ±×¿Í Cordelia´Â ±Ç·ÂÀÌ ¾Æ´Ï°í ¼·Î¿¡ ´ëÇÑ »óÈ£»ç¶û¿¡ ÀÇÇؼ À¯ÁöµÉ °ÍÀ̶ó°í »ó»óÇÑ´Ù: ¡°¿ì¸® µÑÀ̼¸¸ »õÀå ¾ÈÀÇ »õó·³ ³ë·¡ÇÒ °ÍÀ̾ß.¡± Edgar´Â ¿©ÀüÈ÷ Poor TomÀ¸·Î À§ÀåÇÏ°í ´«¸Õ ¾Æ¹öÁö Gloucester¸¦ ¸¸³ª¸ç Gloucester´Â ÀÚ»ìÀ» ÇÏ·Á°í ÇÑ´Ù: µÎ »ç¶÷Àº ±×µéÀ» ºÐ¼âÇÑ Á¤Ä¡±Ç·Â¿¡ ÀÇÇؼ ³Ê¹«³ª ¼Õ»óÀ» ¸¹ÀÌ ¾÷¾î¼¡ªEdgar´Â µµÇǸ¦ ÇØ¾ß Çß°í Gloucester´Â ÀÚ»ìÀûÀÌ µÇ°í º¼ ¼öµµ ¾ø´Ù¡ª ¾Æ¹öÁö¿Í ¾ÆµéÀº ÁøÁ¤À¸·Î ÈÇظ¦ ÇÒ ¼ö°¡ ¾ø´Ù. Edgar´Â ±×ÀÇ Á¤Ã¼¸¦ ¾Æ¹öÁö¿¡°Ô ¹àÈ÷Áö ¾Ê°í ±×·¡¼ ¾Æ¹öÁö¸¦ ¼Ó¿©¼ ÀÚ»ì½Ãµµ¿¡¼ »ì¾Æ³²µµ·Ï Çؾ߸¸ ÇÑ´Ù.
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Edgar¡¯s deception suggests that true reconciliation is impossible for families torn apart by power, which undermines Lear¡¯s reconciliation with Cordelia, and foreshadows the terrible denouement of the play, in which both families will be destroyed.
The play¡¯s denouement involves the deaths of many of the characters, most of them violent. Edgar kills his brother Edmund. Edgar also unintentionally kills his father, who is overcome by the discovery that his son has survived and forgives him. Edgar is restored to power, as the new Duke of Gloucester, but like Edmund he has had to destroy his family to do it. Lear¡¯s family is also destroyed. Regan, Goneril, Cordelia and finally Lear himself all die. The center of the denouement is Cordelia¡¯s death. Even though Edmund reverses his orders to have Cordelia and Lear killed, his decision comes too late. This truth echoes the fatalism of the entire play – a mistake, once made, can¡¯t be undone, just as Lear can¡¯t undo his fatal mistake of giving the wrong daughters his kingdom. In the play¡¯s final scene Lear carries Cordelia¡¯s body onstage, howling with grief. Lear has finally learned to love his daughter without asking for anything in return, only to have her taken from him. All Lear¡¯s suffering has been for nothing.
EdgarÀÇ ¼ÓÀÓÀº ±Ç·Â¿¡ ÀÇÇؼ ÇØüµÈ °¡Á·¿¡°Ô´Â ÈÇØ°¡ ºÒ°¡´ÉÇÏ´Ù´Â °ÍÀ» ¾Ï½ÃÇÏ°í ÀÌ°ÍÀº Lear¿Í CordeliaÀÇ ÈÇظ¦ ºØ±«½ÃÅ°°í ±ØÀÇ °¡°øÇÒ °á¸»À» ÀüÁ¶ÇÏ°í ÀÌ °á¸»¿¡¼ µÎ °¡Á·Àº Æı«µÉ °ÍÀÌ´Ù.
±ØÀÇ °á¸»Àº ¸¹Àº Àι°ÀÇ Á×À½À» Æ÷ÇÔÇÏ°í ±× Á×À½ÀÇ ´ëºÎºÐÀº ³ÆøÇÏ´Ù. Edgar´Â ±×ÀÇ µ¿»ý Edmond¸¦ Á×ÀδÙ. Edgar´Â ¶ÇÇÑ º»ÀÇ ¾Æ´Ï°Ô ¾Æ¹öÁö¸¦ Á×ÀÌ°Ô µÇ´Âµ¥ ÀÌ´Â ±×ÀÇ ¾Æ¹öÁö°¡ ¾ÆµéÀÌ »ì¾Æ³²¾Ò°í ¾Æ¹öÁö¸¦ ¿ë¼ÇÏ°í ÀÖ´Ù´Â ¹ß°ß¿¡ ÀÇÇؼ ¾Ðµµ´çÇ߱⠶§¹®ÀÌ´Ù. Edgar´Â ãæ(½Å)Gloucester °øÀÛÀ¸·Î ±Ç·Â¿¡ º¹±ÍÇÏÁö¸¸ Edmondó·³ ±×µµ ±×·¸°Ô Çϱâ À§Çؼ °¡Á·À» Æı«Çؾ߸¸ Çß´Ù. Goneril°ú Cordelia¿Í ¸¶Áö¸·À¸·Î Lear Àڽŵµ ¸ðµÎ Á״´Ù. ±× ´ë´Ü¿øÀÇ Áß½ÉÀº CordeliaÀÇ Á×À½ÀÌ´Ù. ºñ·Ï Edmond°¡ Cordelia¿Í Lear¸¦ Á×À̶ó´Â ±×ÀÇ ¸í·É¼¸¦ ¹øº¹ÇÏÁö¸¸ ±×ÀÇ ¸í·ÉÀº ³Ê¹« ´Ê°Ô µµÂøÇÑ´Ù. ÀÌ Áø½ÇÀº ±ØÀÇ ¼÷¸í°üÀ» ¹ÝÇâÇÏ°í ÀÖ´Ù¡ªÇѹø ÀúÁú·¯Áø ½Ç¼ö´Â, Lear°¡ ³ª»Û µþ¿¡°Ô ¿Õ±¹À» ³ª´©¾îÁÖ´Â ¿î¸íÀûÀÎ ½Ç¼ö¸¦ µÇµ¹¸± ¼ö ¾ø´Â °Íó·³, ¿ø»óȸº¹ÀÌ ºÒ°¡´ÉÇÏ´Ù. ±ØÀÇ ¸¶Áö¸· Àå¿¡¼ Lear´Â ½½ÇÄ¿¡ ¿ïºÎ¢À¸¸é¼ CordeliaÀÇ ½Ã½ÅÀ» ¾È°í ¹«´ë¿¡ ³ªÅ¸³´Ù. Lear´Â ¸¶Ä§³» º¸´äÀ¸·Î ¾Æ¹«°Íµµ ¿ä±¸ÇÏÁö ¾Ê°í µþÀ» »ç¶ûÇÏ´Â °ÍÀ» ¹è¿üÁö¸¸ °á°ú´Â µþÀ» »©¾Ñ±â°Ô µÉ(have〜taken) »ÓÀÌ´Ù. LearÀÇ ¸ðµç °í³Àº ¾Æ¹«·± º¸´äµµ ¾ø´Â °ÍÀÌ´Ù.
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¥¶. Foreshadowing
Many of the tragic events of ¡°King Lear¡± are foreshadowed from the beginning of the play, which creates a sense that the characters¡¯ suffering is inevitable, and reflects Lear¡¯s blindness to the consequences of his actions by helping the audience to foresee events which Lear himself cannot. Just as significant are the events which are not foreshadowed. The death of Cordelia is the play¡¯s most terrible event, but to the audience it comes as a surprise: in the world of ¡°King Lear¡±, the reality of suffering exceeds our worst expectations.
Gloucester¡¯s Blinding
Gloucester¡¯s blinding is foreshadowed from the play¡¯s opening scene. Goneril declares that her father¡¯s love is ¡°dearer than eyesight,¡± (I.i) a turn of phrase which asks us to think about how terrible it would be to lose the power of sight. Kent underlines the foreshadowing later in the scene when he begs Lear to ¡°let me still be the true blank of thine eye¡± (I.i). A ¡°blank¡± is the centre of a target, so Kent¡¯s metaphor invites us to picture a weapon aimed at an eye. Immediately before his blinding, Gloucester himself tells Regan: ¡°I would not see your cruel nails/Pluck out [Lear¡¯s] poor old eyes¡± (III.vii). The heavy foreshadowing of Gloucester¡¯s blinding underlines the central theme of blindness in ¡°King Lear¡±.
¥¶. îñð¼(ÀüÁ¶)
¡°¸®¾îèÝ¡±ÀÇ ºñ±ØÀû »ç°Ç Áß ¸¹Àº °ÍÀº ±ØÀÇ Ã³À½ºÎÅÍ ÀüÁ¶°¡ µÇ´Âµ¥, ÀÌ°ÍÀº Àι°µéÀÇ °í³Àº ºÒ°¡ÇÇÇÏ´Ù´Â ´À³¦À» âÁ¶ÇÏ°í Lear ÀÚ½ÅÀº ¿¹»óÇÒ ¼ö ¾ø´Â ÀÏ(events)À» °üÁßµéÀÌ ¿¹°ßÇÒ ¼ö ÀÖµµ·Ï µµ¿ÍÁÜ¿¡ ÀÇÇÏ¿© ÇàÀ§ÀÇ °á°ú¿¡ ´ëÇÑ LearÀÇ ¹«Áö(blindness)¸¦ ¹Ý¿µÇÏ°Ô µÈ´Ù. ÀüÁ¶µÇÁö ¾Ê´Â »ç°Çµµ ¶È°°ÀÌ Áß¿äÇÑ Àǹ̰¡ ÀÖ´Ù. CordeliaÀÇ Á×À½Àº ±ØÀÇ °¡Àå °¡°øÇÒ »ç°ÇÀÌÁö¸¸ °üÁß¿¡°Ô´Â ±×°ÍÀº ÀÇ¿ÜÀÇ ³î¶ó¿î ÀÏ·Î ´Ù°¡¿Â´Ù. ¡°¸®¾îèÝ¡±ÀÇ ¼¼°è¿¡¼´Â °í³ÀÇ ãùßÒ(½Ç»ó)Àº ¿ì¸®°¡ ¿¹»óÇÏ´Â ÃÖ¾ÇÀ» ´É°¡ÇÑ´Ù.
GloucesterÀÇ ã÷Ù¥(½Ç¸í)
GloucesterÀÇ ½Ç¸íÀº ±ØÀÇ ¼¸·¿¡¼ ÀüÁ¶µÈ´Ù. GonerilÀº ¾Æ¹öÁöÀÇ »ç¶ûÀº ¡°½Ã°¢º¸´Ùµµ ´õ ±ÍÁßÇÏ´Ù,¡±¶ó°í ¼±¾ðÇϴµ¥(I.i), ÀÌ°ÍÀº ½Ã·ÂÀ» »ó½ÇÇÏ¸é ¾ó¸¶³ª °¡°øÇÒ °ÍÀ̳Ŀ¡ ´ëÇؼ ¿ì¸®·Î ÇÏ¿©±Ý »ý°¢Çϵµ·Ï ¿ä±¸Çϴ ǥÇö¹æ¹ý(turn of phrase)ÀÌ µÈ´Ù. Kent´Â ÈÄ¿¡ ±×°¡ Lear¿¡°Ô ¡°Á¦°¡ ÆóÇÏÀÇ ´«ÀÇ Áß½ÉÇ¥ÀûÀÌ µÇ°Ô ÇϼҼ.¡±¶ó°í °£Ã»ÇÏ´Â Àå¸é¿¡¼ ±× ÀüÁ¶(½Ç¸íÇÒ °ÍÀ̶ó´Â)¸¦ ºÐ¸íÈ÷ ³ªÅ¸³½´Ù(underline). ¡°blank¡±´Â Ç¥ÀûÀÇ º¹ÆÇÀÌ´Ù. ±×·¡¼ KentÀÇ ëßêç(ÀºÀ¯)´Â ÇϳªÀÇ ´«À» Á¶ÁØÇÏ°í ÀÖ´Â ¹«±â¸¦ »ó»óÇϵµ·Ï ÇÑ´Ù. ±×ÀÇ ½Ç¸í Á÷Àü¿¡ GloucesterÀÚ½ÅÀÌ Regan¿¡°Ô ¸»ÇÑ´Ù: ¡°Àú´Â °øÁÖ´ÔÀÇ ÀÜÀÎÇÑ ¼ÕÅéÀÌ [LearÀÇ] °¡·ÃÇÑ ´ÄÀº ´«¾ËÀ» »Ì¾Æ³»´Â °ÍÀ» °áÄÚ º¸Áö ¾Ê°Ú½À´Ï´Ù.¡± GloucesterÀÇ ½Ç¸í¿¡ ´ëÇÑ À½»êÇÑ(heavy) ÀüÁ¶´Â ¡°¸®¾îèÝ¡±¿¡ ³ªÅ¸³ª´Â ½Ç¸íÀÇ Áß½ÉÀûÀÎ ÁÖÁ¦¸¦ °Á¶ÇÏ°í ÀÖ´Ù.
27-15-205
Lear¡¯s Downfall
In an instance of especially cruel ironic foreshadowing, Lear predicts the results of dividing his kingdom will bring him peace and happiness, not understanding he is creating the exact opposite effect by making his daughters declare their love. ¡°¡®tis our fast intent/ To shake all cares and business from our age/¡¦ while we/ Unburdened crawl toward death,¡± (I.i) he says, in revealing his plans, adding that he¡¯s dividing the kingdom so ¡°that future strife/ May be prevented now.¡± The early establishment of Lear¡¯s expectations for his actions make the actual outcome ironic, as we are aware of the stark disparity between the serenity he hoped to foster and the havoc he created. Lear¡¯s decision to divide his kingdom incites everything he is trying to prevent – his daughters are divided by strife and all end up dead, and the last days of his life are heavily burdened by care and unhappiness.
LearÀÇ ï®Õª(Àü¶ô)
Ưº°È÷ ÀÜÀÎÇÏ°í ¾ÆÀÌ·¯´ÐÇÑ îñð¼(ÀüÁ¶)¿¡¼, Lear´Â µþµé·Î ÇÏ¿©±Ý ±×µéÀÇ ¾Æ¹öÁö¿¡ ´ëÇÑ »ç¶ûÀ» ¼±¾ðÇÏ°Ô ÇÔÀ¸·Î½á Á¤È®È÷ æ½(¿ª)ÀÇ È¿°ú¸¦ ¸¸µé°í ÀÖ´Ù´Â °ÍÀ» ÀÌÇØÇÏÁö ¸øÇÏ°í ±×ÀÇ ¿Õ±¹ÀÇ ºÐÇÒÀÇ °á°ú´Â ±×¿¡°Ô ÆòÈ¿Í ÇູÀ» °¡Á®¿Ã °ÍÀ̶ó°í ¿¹»óÇÑ´Ù. ¡°¡¦ÁüÀÌ/ Ȧ°¡ºÐÇÑ ¸öÀ¸·Î(unburdened) Á×À½À» ÇâÇØ °¥ µ¿¾È¿¡/ ÀÌ ´ÄÀº ¸ö(our age: royal we)¿¡¼ ¸ðµç ±Ù½É°ú ÏÐÞÀ(±¹»ç)¸¦ ´Ù Åо´Â °ÍÀÌ/ÁüÀÇ ´Ü´ÜÇÑ ¶æÀ̿䡱¶ó°í ¸»ÇÏ°í ±×ÀÇ °èȹÀ» ¹àÈ÷´Â Áß¿¡ ¡°¹Ì·¡ÀÇ ºÐÀïÀ»/Áö±Ý ¿¹¹æÇϱâ À§Çؼ.¡± ¿Õ±¹À» ºÐ´ÜÇÒ °ÍÀ̶ó°í ôÕåë(÷¾ð)ÇÑ´Ù. ±×ÀÇ ÇàÀ§¿¡ ´ëÇÑ LearÀÇ ±â´ë°¡ ðÄÑ¢(Á¶±â)¿¡ ´Þ¼ºµÇ´Â °Í(establishment)Àº ±×°¡ Á¶¼ºÇϱâ(foster)¸¦ Èñ¸ÁÇÏ¿´´ø Æò¿ÂÇÔ°ú ±×°¡ ½ÇÁ¦ ¸¸µé¾î³½ ÓÞÆı« »çÀÌÀÇ Àû³ª¶óÇÑ ºÒÀÏÄ¡¸¦ ¿ì¸®°¡ ÀǽÄÇÔ¿¡ µû¶ó ½ÇÁ¦ ³ªÅ¸³ °á°ú¸¦ ÚãåÞîÜ(¹Ý¾îÀû)À¸·Î ¸¸µç´Ù. LearÀÇ ¿Õ±¹ ºÐ´Ü°áÁ¤Àº ±×°¡ ¿¹¹æÇÏ·Á°í ³ë·ÂÇÏ°í ÀÖ´Â ¸ðµç °ÍÀ» ÀϾµµ·Ï ÀÚ±ØÇÑ´Ù¡ª±×ÀÇ µþµéÀº ½Î¿ò¿¡ ÀÇÇؼ °¥¶óÁ®¼ ¸ðµÎ Á×À½À¸·Î ³¡³ª°í ±×ÀÇ ¸¶Áö¸· ³¯µéÀº ±Ù½É°ú ºÒÇàÀ¸·Î ¹«°Ì°Ô Áü Áö¿öÁø´Ù.
27-16-206
Lear¡¯s Madness
The Fool tells Lear that ¡°thou wouldst make a good fool¡± (I.v) and to ¡°take my coxcomb¡± (I.iv) (a ¡°coxcomb¡± is the hat worn by a professional fool). These jokes point out that Lear has behaved foolishly in giving his kingdom away, but they also foreshadow that Lear will take the Fool¡¯s place by losing his wits. Lear himself suspects that he might go mad: ¡°O let me not be mad, not mad, sweet heaven!¡± (I.v), and shortly before his madness begins he foresees it: ¡°I shall go mad¡± (II.ii). His daughters also suspect he is not well: Goneril says they should look out for ¡°the unruly waywardness that infirm and choleric years bring with them.¡± (I.i) The foreshadowing of Lear¡¯s madness increases the tension of the scenes in which Lear confronts his daughters. As Lear gets angrier, we anticipate that at any moment he will crack and lose his mind altogether. This foreshadowing also increases our sense of Lear¡¯s vulnerability, which helps us to pity him and to side with him against his daughters.
Lear¡¯s Homelessness
The Fool warns Lear that his decision to give his kingdom to his daughters will end in his being left without a home: ¡°I can tell why a snail has a house¡¦to put¡¯s head in, not to give it away to his daughters¡± (I.v). Lear himself fails to foresee his homelessness, even though it is foreshadowed in some of his own lines. He advises the banished Kent to gather ¡°Provision/To shield thee from disasters of the world¡± (I.i), a line which invites the audience to imagine everything that might happen to someone left without a home. The audience learns in the play¡¯s opening scene that Goneril and Regan are plotting against their father—¡°We must do something, and i¡¯the heat¡± (I.i)—so we are not surprised when they shut the gates on Lear. The fact that Lear cannot see what Goneril and Regan are going to do, even though the audience can, emphasises Lear¡¯s blindness to the truth about his daughters.
LearÀÇ ¹ß±¤
±¤´ë´Â Lear¿¡°Ô ¡°´ç½ÅÀº ÈǸ¢ÇÑ ±¤´ë°¡ µÉ °Å¾ß.¡± ±×·¡¼ ¡°³» ±¤´ë ¸ðÀÚ¸¦ °¡Á®.¡±¶ó°í ¸»ÇÑ´Ù(¡°coxcomb¡±Àº Àü¹®±¤´ë°¡ ¾²´Â ¸ðÀÚÀÌ´Ù). ÀÌ·± ³ó´ãÀº Lear°¡ ¿Õ±¹À» °ÅÀú ÁÖ¾î¹ö¸²¿¡ ÀÖ¾î¼ ¾î¸®¼®°Ô ÇൿÇß´Ù´Â °ÍÀ» ÁöÀûÇÏ°í ÀÖÁö¸¸ ¶ÇÇÑ ±×°Íµé(³ó´ã)Àº ¹ÌÃĹö¸²¿¡ ÀÇÇؼ Lear°¡ FoolÀÇ ÀÚ¸®¸¦ ´ë½ÅÇÏ°Ô µÉ °ÍÀ̶ó´Â °ÍÀ» ÀüÁ¶ÇÏ°í ÀÖ´Ù. Lear Àڽŵµ ÀڱⰡ ¹ÌÄ¥Áöµµ ¸ð¸¥´Ù´Â ÀDZ¸½ÉÀ» °®´Â´Ù: ¡°¿À, »ç¶ûÇÏ´Â ÇÏ´ÃÀÌ¿© ³ª¸¦ ¹ÌÄ¡Áö ¾Ê°Ô, ¹ÌÄ¡Áö ¾Ê°Ô ÇØ ÁֽʽÿÀ.¡± ±×¸®°í ±×ÀÇ ¹ß±¤ Á÷Àü¿¡ ±×°ÍÀ» ¿¹°ßÇÑ´Ù.: ¡°³»°¡ ¹ÌÄ¥ °Å¾ß.¡± ±×ÀÇ µþµéµµ ±×°¡ °Ç°ÇÏÁö ¾Ê´Ù°í ÁüÀÛÇÑ´Ù: GonerilÀº ¡°¸öÀÌ ¾àÇÏ°í(infirm) ¼ºÁúÀ» ºÎ¸®´Â(choleric) ¼¼¿ùÀÌ ÇÔ²² °¡Á®¿Â °ÈÀâÀ» ¼ö ¾ø´Â ¸Á·É¡±À» ±×µéÀÌ °æ°èÇØ¾ß µÈ´Ù°í ¸»ÇÑ´Ù. LearÀÇ ¹ß±¤ÀÇ ÀüÁ¶´Â Lear°¡ µþµé°ú ´ë°áÇÏ°Ô µÇ´Â Àå¸éÀÇ ±äÀå°¨À» Áõ°¡½ÃŲ´Ù. Lear°¡ Á¡Á¡ ´õ ºÐ³ëÇÏ°Ô µÊ¿¡ µû¶ó ±×°¡ ¾î´À ¼ø°£¿¡¶óµµ Á¤½ÅÀÌ ¸Á°¡Á®¼ Á¤½ÅÀ» ¿ÏÀüÈ÷ ÀÒ°Ô µÉ °ÍÀ̶ó´Â °ÍÀ» ¿¹»óÇÏ°Ô µÈ´Ù. ÀÌ·¯ÇÑ ÀüÁ¶´Â ¶ÇÇÑ LearÀÇ Ãë¾à¼º¿¡ ´ëÇÑ ¿ì¸®ÀÇ ´À³¦À» Áõ°¡½ÃÅ°°í ÀÌ°ÍÀº ¿ì¸®·Î ÇÏ¿©±Ý ±×¸¦ ºÒ½ÖÈ÷ ¿©±â°Ô ÇÏ°í ±×ÀÇ µþµé¿¡ ´ëÇ×Çؼ ±×ÀÇ ÆíÀ» µé°Ô ÇÑ´Ù.
LearÀÇ Áý ¾øÀ½
±¤´ë´Â Lear¿¡°Ô ¿Õ±¹À» µþµé¿¡°Ô ÁÖ·Á´Â ±×ÀÇ °áÁ¤Àº Lear°¡ ÁýÀÌ ¾øÀÌ ³²°Ô µÇ´Â °á°ú·Î ³¡³ª°Ô µÉ °ÍÀ̶ó°í °æ°íÇÑ´Ù: ¡°´ÞÆØÀÌ°¡ ¿Ö ÁýÀ» °¡Áö°í ÀÖ´ÂÁö´Â ³ª´Â ¾ËÁö¡¦ µþµé¿¡°Ô ±×°ÍÀ» ÁÖÁö ¾Ê°í Á¦ ¸Ó¸®¸¦ °¨Ãß·Á°í ±×·¯´Â °ÍÀÌÁö.¡± Lear ÀÚ½ÅÀº ºñ·Ï ÀÚ½ÅÀÇ ÓæÞò(´ë»ç) ¸î ±ºµ¥¼ ±×ÀÇ Áý ¾øÀ½ÀÌ îñð¼(ÀüÁ¶)°¡ µÇÁö¸¸ ÀÚ½ÅÀÇ Áý ¾ø°Ô µÇ´Â °ÍÀ» ¿¹°ßÇÏÁö ¸øÇÑ´Ù. ±×´Â Ãß¹æµÈ Kent¿¡°Ô ¡°¼¼»óÀÇ Àç³À¸·ÎºÎÅÍ Àڳ׸¦ ¸·¾ÆÁÙ ¾ç½ÄÀ» ¸ð¾Æ¶ó.¡±¶ó°í ±Ç°íÇϸç ÀÌ°ÍÀº °üÁßµéÀÌ Áý ¾øÀÌ ³²°Ô µÇ´Â ¸ðµç »ç¶÷¿¡°Ô ÀϾ ¼ö ÀÖ´Â ¸ðµç °ÍÀ» »ó»óÇϵµ·Ï À¯µµÇÏ´Â ´ë»çÀÌ´Ù. °üÁßÀº ±ØÀÇ ¼¸·¿¡¼ Goneril°ú ReganÀÌ ±×µéÀÇ ¾Æ¹öÁö¿¡°Ô ¹Ý¿ªÇÏ´Â À½¸ð¸¦ ²Ù¹Ì°í ÀÖ´Ù´Â °ÍÀ» ¾Ë°Ô µÈ´Ù¡ª¡°¿ì¸®´Â ¹«½¼ Á¶Ä¡¸¦ ÃëÇØ¾ß ÇÑ´Ù. ±×°Íµµ »¡¸®.¡±¡ª ±×·¡¼ ¿ì¸®´Â ±×µéÀÌ Lear¿¡°Ô ¹®À» ´Ý¾Æ¹ö¸± ¶§¿¡ ³î¶óÁö ¾Ê´Â´Ù. Goneril°ú ReganÀÌ ¹«¾ùÀ» ÇÏ°í ÀÖ´ÂÁö¸¦ °üÁߵ鵵 ¾Ë°í ÀÖ´Â °ÍÀ» Lear°¡ ¾Ë ¼ö ¾ø´Ù´Â »ç½ÇÀº ±×ÀÇ µþµé¿¡ °üÇÑ Áø½Ç¿¡ Lear°¡ ´«ÀÌ ¸Ö¾î ÀÖ´Ù´Â °ÍÀ» °Á¶ÇÑ´Ù.
27-17-207
¥·. Tone
The tone of ¡°King Lear¡± is bitter and hopeless, reflecting the pessimistic outlook of the play and the relentlessly tragic ending in which innocent characters die needlessly. While there are moments of hope when Lear and Cordelia are reunited at the end and Lear repents of his past mistakes, this hope is not rewarded. Cordelia dies despite Lear¡¯s attempts to save her, and Lear dies essentially of grief. Violence and cruelty are everywhere in ¡°King Lear¡±, and they are taken for granted by the characters, which creates a tone of resignation to the worst aspects of life. Characters make violent threats against one another: Lear tells Kent that ¡°the bow is drawn, make from the shaft¡± (I.i). Kent is put in the stocks. Oswald is beaten up twice. The blinding of Gloucester is the most shockingly violent scene in any of Shakespeare¡¯s plays. Violence happens even when the characters try to avoid it: Cordelia dies after Edmund repeals the order to kill her, implying that human attempts to avoid suffering are pointless. Gloucester captures this aspect of the play¡¯s mood: ¡°As flies to wanton boys are we to the gods,/They kill us for their sport.¡± (IV.i).
After a courtly and dignified opening, the tone of ¡°King Lear¡± becomes progressively less controlled as the action progresses, underscoring the illusory nature of Lear¡¯s perception of power. Kent begins the play as a senior courtier, giving Lear wise advice. When he returns in disguise from his banishment, Kent hurls insults and makes rude jokes. In the play¡¯s opening scene, Lear¡¯s anger is impressive and regal—¡°Come not between the dragon and his wrath¡± (I.i)—but as he begins losing power, Lear¡¯s outbursts become more like desperate tantrums: ¡°I will do such things—/What they are I know not, but they shall be/The terrors of the earth!¡± (II.ii). While the first half of the play takes place in palaces and noblemen¡¯s homes, the second half of the play takes place in rough settings like a heath, a shack, a tent and the fields near Dover. This shift in tone creates the sense that the dignity and order of the play¡¯s opening scenes is a temporary illusion. The power and authority Lear is desperate to hold onto are essentially meaningless. The one bright aspect of this overwhelmingly bleak play is Cordelia¡¯s enduring love for her father, a natural emotion underscored by the tone¡¯s shift away from civilization toward nature.
¥·. ëåðà(À½Á¶)
¡°LearèÝ¡±ÀÇ À½Á¶´Â ±ØÀÇ ºñ°üÀûÀÎ °üÁ¡°ú ¾Æ¹« À߸øµµ ¾ø´Â Àι°µéÀÌ ºÒÇÊ¿äÇÏ°Ô Á×´Â ¹«ÀÚºñÇÑ ºñ±ØÀû °á¸»À» ¹Ý¿µÇÏ¸é¼ ºñÅëÇÏ°í Àý¸ÁÀûÀÌ´Ù. ±ØÀÇ ³¡¿¡ °¡¼ Lear¿Í Cordelia°¡ Àç°áÇÕÇÏ°í Lear°¡ °ú°ÅÀÇ À߸øÀ» ´µ¿ìÄ¥ ¶§¿¡ Èñ¸ÁÀÇ ¼ø°£µéÀÌ ÀÖ´Â ¹Ý¸é¿¡, ÀÌ Èñ¸Á¿¡´Â º¸´äÀÌ ¾ø´Ù. Cordelia´Â ±×³à¸¦ ±¸ÇÏ·Á´Â LearÀÇ ½Ãµµ¿¡µµ ºÒ±¸ÇÏ°í Á״´Ù. ±×·¡¼ Lear´Â ±Ùº»ÀûÀ¸·Î ½½ÇÄ ¶§¹®¿¡ Á״´Ù. ¡°LearèÝ¡±¿¡´Â Æø·Â°ú ÀÜÀÎÇÔÀÌ ¾îµð¿¡³ª ÀÖÀ¸¸ç À̰͵éÀº Àι°µé¿¡ ÀÇÇØ ´ç¿¬ÇÑ °ÍÀ¸·Î ¹Þ¾Æµé¿©Áö°í, ÀÌ·± Çö»óÀº ÀλýÀÇ ÃÖ¾ÇÀÇ åÆßÓ(¾ç»ó)¿¡ ´ëÇØ Ã¼³äÀÇ À½Á¶¸¦ âÃâÇÑ´Ù. Àι°µéÀº ¼·Î¿¡°Ô Æø·ÂÀûÀÎ À§ÇùÀ» ½ÇÇàÇÑ´Ù: Lear´Â Kent¿¡°Ô "È°À» ±ÁÇô ´ç°åÀ¸´Ï, ½î´Â »ì(shaft)·ÎºÎÅÍ ÇÇÇϽÿÀ(make)"¶ó°í ¸»ÇÑ´Ù. Kent´Â ÇüƲ¿¡ °¤Èù´Ù. Oswald´Â µÎ ¹ø ±¸Å¸¸¦ ´çÇÑ´Ù. GloucesterÀÇ ½Ç¸íÀº ShakespeareÀÇ ¸ðµç ±Ø Áß¿¡¼µµ °¡Àå Áöµ¶ÇÏ°Ô Æø·ÂÀûÀÌ´Ù. Æø·ÂÀº ½ÉÁö¾î Àι°µéÀÌ Æø·ÂÀ» ÇÇÇÏ·Á°í ÇÒ ¶§µµ ÀϾÙ: Cordelia´Â Edmond°¡ ±×³à¸¦ Á×À̶ó´Â ¸í·ÉÀ» öȸÇÑ ÈÄ¿¡ Á×À½À» ´çÇϴµ¥, ÀÌ°ÍÀº °í³À» ÇÇÇÏ·Á´Â Àΰ£ÀÇ ½Ãµµ´Â ¹«ÀǹÌÇÏ´Ù´Â °ÍÀ» ¾Ï½ÃÇÑ´Ù. Gloucester´Â ±ØÀÇ ºÐÀ§±âÀÇ ÀÌ·± ¾ç»óÀ» øÚóµ(Æ÷Âø)ÇÏ°í ÀÖ´Ù: ¡°ãêµéÀº Àå³²Ù·¯±â ¾ÆÀ̵éÀÌ Æĸ®¸¦ ´ëÇÏ´Â °Í°ú ¶È°°ÀÌ Àΰ£À» Ãë±ÞÇϸç, ¿ì¸®¸¦ Àå³»ï¾Æ Á×ÀδÙ.¡±
¿ì¾ÆÇÏ°í À§¾ö ÀÖ´Â ½ÃÀÛ ÈÄ¿¡, ¡°LearèÝ¡±ÀÇ À½Á¶´Â ÇàÀ§°¡ ÁøÇàµÊ¿¡ µû¶ó Á¡ÁøÀûÀ¸·Î ÅëÁ¦°¡ ¾àȵǰí LearÀÇ ±Ç·Â¿¡ ´ëÇÑ ÀνÄÀÇ úÈÏ°(Ç㱸)ÀûÀÎ ¼º°Ý(nature)À» °Á¶ÇÑ´Ù. Kent´Â Lear¿¡°Ô Çö¸íÇÑ Á¶¾ðÀ» ÇÏ¸ç °íÀ§ ðÈãí(Á¶½Å)À¸·Î ±ØÀ» ½ÃÀÛÇÑ´Ù. ±×°¡ Ã߹濡¼ º¯ÀåÀ» ÇÏ°í µ¹¾Æ ¿Ã ¶§ Kent´Â ¸ð¿åÀûÀÎ ¸»À» ´øÁö°í ¾ßºñÇÑ ³ó´ãÀ» ÇÑ´Ù. ±ØÀÇ ¼¸· Àå¸é¿¡¼ LearÀÇ ºÐ³ë´Â ÀλóÀûÀÌ°í ´ç´çÇÏ´Ù¡ª¡°¿ë°ú ¿ëÀÇ ºÐ³ë »çÀÌ¿¡ µé¾î¿ÀÁö ¸¶¶ó.¡±¡ª±×·¯³ª ±×°¡ ±Ç·ÂÀ» »ó½ÇÇϱ⠽ÃÀÛÇÒ ¶§¿¡ LearÀÇ Æø¹ßÀº ´õ¿í´õ Àý¸ÁÀûÀÎ ºÐ³ëó·³ µÈ´Ù: ¡°³ª´Â ÀÌ·± ÀÏÀ» ÇÏ°Ú´Ù/ ±×°ÍµéÀÌ ¹«¾ùÀÎÁö´Â ¸ð¸£°ÚÁö¸¸/±×°ÍµéÀº ¼¼»óÀÇ °øÆ÷°¡ µÉ °ÍÀÌ´Ù!¡± ±ØÀÇ Àü¹ÝºÎ´Â ¿Õ±Ã°ú ±ÍÁ·ÀÇ Áý¿¡¼ ÀϾÁö¸¸ ±ØÀÇ ÈĹÝÀº È÷½º Ȳ¾ß¿Í ¿ÀµÎ¸·Áý°ú ÅÙÆ®¿Í Dover ±Ùó Æò¾ß¿Í °°Àº °ÅÄ£ Àå¼Ò¿¡¼ ÀϾÙ. ÀÌ·± À½Á¶ÀÇ º¯È´Â ±ØÀÇ °³¸·Àå¸é¿¡¼ÀÇ À§¾ö°ú Áú¼´Â ÀϽÃÀûÀΠȯ»óÀ̶ó´Â ´À³¦À» âÁ¶ÇÑ´Ù. Lear°¡ ÇÊ»çÀûÀ¸·Î ÁýÂøÇÏ´Â ±Ç·Â°ú ±ÇÀ§´Â º»ÁúÀûÀ¸·Î ¹«ÀǹÌÇÑ °ÍÀÌ´Ù. ÀÌ ¾ÐµµÀûÀ¸·Î À½¿ïÇÑ ±ØÀÇ ÇÑ °¡Áö ¹àÀº ¸éÀº CordeliaÀÇ ¾Æ¹öÁö¿¡ ´ëÇÑ º¯ÇÔ¾ø´Â »ç¶ûÀÌ°í ÀÌ »ç¶ûÀº ¹®¸í¼¼°è·ÎºÎÅÍ ÀÚ¿¬À¸·Î ÇâÇÏ´Â À½Á¶ÀÇ º¯È¿¡ ÀÇÇؼ °Á¶µÇ´Â õºÎÀûÀÎ °¨Á¤ÀÌ´Ù.