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  • フロウシャ キゲキ 、 『 ジュウニヤ 、 アルイハ ミナサマ ガ ノゾム モノ 』
  • A Comedy of Roguery, Twelfth Night, or What You Will

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近年の『十二夜』批評においてこの喜劇はしばしば「問題劇」あるいは「暗い喜劇」に分類され、アーデン第三版の編者は「とらえどころのない劇」とまで表現している。本論は『十二夜』をシェイクスピア時代の社会的コンテクストから分析し、この劇作品がもともとどのような喜劇であったかを指摘したい。『十二夜』を上演する娯楽産業の従事者たち、『十二夜』を描いた当の劇作家、そして1602 年頃の平日昼間にグローブ座で『十二夜』を観劇していた観客たちの多くが浮浪者と認定されかねないグレーゾーンで暮らしていた。本論は『十二夜』の登場人物たちが同時代の観客の同化を促すよう浮浪者のイメージと重なりあうように作り上げられ、劇中の小唄でも浮浪者の不安が語られる現象を指摘する。 Recent Shakespeare criticism has often mentioned Twelfth Night, or What You Will as 'a problem play', 'a dark comedy', or even 'an elusive play'. This paper aims to clarify the essence of the play as an Elizabethan comedy, focusing on its own social context. English society in the 16th century produced a potentially criminal minority technically termed vagabonds or rogues through a series of so-called Poor Laws. Being what were called 'common players', Shakespeare in his 'masterless' Stratford-upon-Avon years, his players, and the audience crowded in the Globe theatre who just moved into the metropolis for regular employment lived under the legal pressure of being branded vagabonds. This paper will illustrate that the main characters of the play were molded from stock images of vagabonds so as to allow audience to identity with and feel sympathy for them.


  • 人文

    人文 (14), 79-95, 2015


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