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首页> 外文学位 >Shakespeare's tragic triads: A reading of 'Othello'.
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Shakespeare's tragic triads: A reading of 'Othello'.

机译：莎士比亚的悲剧三合会：读《奥赛罗》。

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摘要

Shakespeare's Othello, in spite of its power over audiences, has not been considered as important as his other great tragedies, Hamlet, King Lear, and Macbeth. Until the late twentieth century, critics have regarded the subjects of sexual passion and jealousy to be insufficiently important to merit the serious consideration given to the other three tragedies. Up through the nineteenth century, critical commentary centered on the flawed character of Othello and the motivation of Iago. In the early twentieth century, A. C. Bradley cast new light on Othello's character, showing sympathy and admiration for the "noble murderer" and influencing subsequent criticism. The recent critical revolution, in which cultural materialist, gender, and racial theories dominate, has shown the play's complication, adding to our understanding and revealing Othello to have more depth than was originally thought. But commentary has continued to fall short of defining the Aristotelian action, that is, the insight or overall meaning of the play.; The drama being a "love tragedy," a reader expects dyadic interactions and oppositions. But on closer examination, one notices a subtle pattern of triadic constructs in Shakespeare's language, his character distribution, his scenes, his dialogue---in every part of Othello, patterns not occurring to the same degree in Shakespeare's other great tragedies. In Othello this triangularity may perhaps demonstrate a particular insight, one not present in the same way in Hamlet, Lear, and Macbeth. The meaning of Othello, its action, may be revealed in such a persistent pattern that governs all its elements. As artist, Shakespeare might have intuited that in every one-to-one relationship some invisible third thing participates, a conception which may be most poignantly revealed in the love relation between husband and wife. A survey of thought on triadicity in the Western tradition suggests that the elusive third thing is specifically an identifiable spirit. When this spirit is the highest expression of love, a rightly ordered relationship coheres, on which the reality of grace builds. This psychic disposition moves outward, forming the good family, citizenry, and---over the long course of history---civilization itself.
机译：莎士比亚的《奥赛罗》尽管具有听众的威力，却没有像他的其他悲剧《哈姆雷特》，《李尔王》和《麦克白》那样重要。直到二十世纪末，评论家们一直认为性激情和嫉妒的主题不够重要，不足以值得认真考虑其他三个悲剧。直到19世纪，批判性评论都集中在奥赛罗的有缺陷的性格和伊阿古的动机上。二十世纪初，布拉德利（A. C. Bradley）对奥赛罗（Othello）的性格提出了新的见解，对“高贵的凶手”表示同情和钦佩，并影响了后来的批评。最近的一场批判性革命在文化唯物论，性别和种族理论中占主导地位，这显示了戏剧的复杂性，加深了我们的理解，并揭示了奥赛罗比原先所想的更深入。但是，评论仍然不足以定义亚里士多德的行为，即戏剧的洞察力或整体含义。这部戏是一场“爱情悲剧”，读者期待着二元互动和对立。但是仔细观察后，人们发现莎士比亚的语言中的三合会结构有一个微妙的模式，他的角色分布，他的场景，他的对话-在奥赛罗的每个部分，在莎士比亚的其他悲剧中都没有以同样的方式发生。在《奥赛罗》中，这种三角关系也许可以证明一种特殊的见识，而《哈姆雷特》，《李尔》和《麦克白》中却没有以相同的方式呈现。奥赛罗的意义，即其行动，可能以一种支配其所有要素的持久模式得以揭示。作为艺术家，莎士比亚可能会直觉，在每对一对一的关系中，都会有一些看不见的第三件事参与其中，这种观念在夫妻之间的恋爱关系中可能最为明显。对西方传统的三位一体性思想进行的一项调查表明，难以捉摸的第三件事特别是一种可识别的精神。当这种精神是爱的最高表达时，就会建立起正确有序的关系，恩典的现实就建立在这种关系上。这种精神倾向向外发展，形成了良好的家庭，公民身份，并且-在漫长的历史进程中-形成了文明。

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  • 作者

    Marcus, Nancy Cain.;

  • 作者单位

    University of Dallas.;

  • 授予单位 University of Dallas.;
  • 学科 Theater.; Literature English.
  • 学位 Ph.D.
  • 年度 2003
  • 页码 268 p.
  • 总页数 268
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 公共建筑;
  • 关键词

  • 入库时间 2022-08-17 11:45:05

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