󰡔자에는 자로󰡕와 󰡔정숙한 창녀 2부󰡕의 권위: 공작 인물 형상화를 중심으로

Abstract

The Honest Whore Part 2 by Dekker and Measure for Measure by Shakespeare are comparable in many ways, as both plays dramatize how a society responds to social disruption. Among others, main actions of both plays are triggered by dramatized versions of James’s proclamation to clean out the London suburbs right after his ascension to the English throne in 1603. In addition, both of them represent sexual transgression as a primary cause of social disorder. However, the ways each play tackles the social problems are quite different. At the center of the difference lies how each ruler’s authority is constructed and exerted. Shakespeare’s duke is a ruler with absolute power and at the center of every authority in the state. His concern is keeping his subjects and country in order. Even if his authority is sometimes problematized, there is no denying that he is an efficient ruler building an absolute authority by his own means and maneuvers. On the other hand, Dekker’s duke is close to a Machiavellian ruler in that he wields his power more arbitrarily to further his daughter’s interests. Orlando Friscobaldo, an ordinary civilian, takes his place and plays the part of problem-solver by disguising himself, coordinating the relationship among characters, and distributing rewards and punishments according to their virtue and misdeeds. However, his solution must be finally ratified by a ruler with supreme power. Interestingly, Dekker implies that a ruler’s authority must be supported by a civic institution as well as his subjects’ integrity by setting his final scene in Bridewell, a civic house of correction. In summary, the difference in the characterization of dukes helps audience to understand Shakespeare’s and Dekker’s ideological orientation towards the way social problems of their age should be tackled.