The unifying role of fools in William Shakespeare's as you like it and twelfth night
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Dosyalar
Tarih
2012-04
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Batman Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Shakespeare, kralın soytarısını geliştirmek adına büyük bir katkı sağlar ve
soytarılık kavramına yeni bir boyut getirir. Onun palyaçolarıyla soytarıları gerçekçidirler.
Shakespeare’in kendisi “gerçekçilik” sözünü aslında hiç telaffuz etmese
de bu kavram onun komedilerini ve soytarılarını değerlendirmede oldukça önemlidir.
As You Like It ile Twelfth Night’ta bu gerçekliği sergilemek için iki akıllı soytarı,
diğer bir deyişle saray soytarısı yaratır: Tocuhstone ve Feste. Her ikisi de saraylılar
tarafından itibar gören, soyluların soytarılarıdırlar. Onlar bir bakıma gerçekçi
olduklarından gerçekleri üstü kapalı bir biçimde seyirciye aktarmada önemli bir rol
üstlenirler. Diğer taraftan da kendilerine, oyunla seyirci arasında uzlaştırıcılık görevi
verilmiştir. Karakterleri yatıştırıp oyunun başından sonuna kadar dengeyi sağlamaya
çalışırlar. Böylece, onlar sayesinde, oyundaki birlik bozulmaz. Bu soytarıların bunu
nasıl başardığı ve bunca değer çatışmasının arasında nerede durdukları merak konusudur.
Shakespeare, karşıt fikirleri ortadan kaldırmak yerine değerlerin bir arada
bulunmasını (yanyanalık) sağlamaya çalışır. Örneğin, As You Like It eserinde romantik
ve anti-romantik öğeler arasında bir uyum olduğu görülür. Aynı şekilde Twelfth
Night’ta da ana tema “iki değerlilik”tir. Oyun, aşıkların yanılsamasına dayanır, ancak
bu yanılsama en sonunda kendi gerçekliğini de beraberinde getirir. Bütün bu zıtlıklar
göz önüne alınarak, her iki eserdeki “soytarılık” kavramı ve karakterlerin birbirleriyle
olan ilişkileri bu doğrultuda ele alınacaktır. Bunun yanı sıra, Touchstone ile Feste’nin
görünüşle gerçeklik arasındaki dengeyi korumak için Shakespeare tarafından nasıl
yaratıldıkları da örneklerle vurgulanacaktır.
Shakespeare makes a great contribution to develop the king’s fool and adds a different dimension to the notion of foolery. Shakespeare’s clowns and fools are realistic. Although Shakespeare himself never actually uses the word “reality”, its presence is crucial for an assessment of his comedies and fools. In order to present this reality in As You Like It and Twelfth Night, he creates two witty fools or, more precisely, “jesters”: Touchstone and Feste. They both are the fools of aristocracy who are valued by the courtiers. Since Shakespeare’s fools are “realist” in a sense, they certainly play a critical role in the implementation of the task which is to expose the facts implicitly. On the one hand, they are given the crucial role of telling the truth to the audience. In other words, they act as mediators between the play and the audience. On the other hand they reconcile the characters; hence maintain the balance from beginning to end. The plays are kept in unity thanks to them. How do these fools manage to carry out such kind of a mission and, amidst all the clash of values, where do they stand? Shakespeare does not eliminate opposite ideas; rather, he provides an equilibrium by “juxtaposing” these values. In As You Like It, for example, there is an agreement between romantic and anti-romantic ideas. In Twelfth Night, likewise, the central theme is “ambivalence”. There exists the clash of values throughout the play. The play is based on illusion of the lovers, however, illusion brings its own reality in the end. In the light of these contrasts, the concept of the “foolery” in two works and the relation of fools to the other characters will be touched upon herein. Besides, their unifying roles will be highlighted through examples of how Touchstone and Feste are created by Shakespeare in order to keep the harmony between appearance and reality or, in more general terms, between antithetic values.
Shakespeare makes a great contribution to develop the king’s fool and adds a different dimension to the notion of foolery. Shakespeare’s clowns and fools are realistic. Although Shakespeare himself never actually uses the word “reality”, its presence is crucial for an assessment of his comedies and fools. In order to present this reality in As You Like It and Twelfth Night, he creates two witty fools or, more precisely, “jesters”: Touchstone and Feste. They both are the fools of aristocracy who are valued by the courtiers. Since Shakespeare’s fools are “realist” in a sense, they certainly play a critical role in the implementation of the task which is to expose the facts implicitly. On the one hand, they are given the crucial role of telling the truth to the audience. In other words, they act as mediators between the play and the audience. On the other hand they reconcile the characters; hence maintain the balance from beginning to end. The plays are kept in unity thanks to them. How do these fools manage to carry out such kind of a mission and, amidst all the clash of values, where do they stand? Shakespeare does not eliminate opposite ideas; rather, he provides an equilibrium by “juxtaposing” these values. In As You Like It, for example, there is an agreement between romantic and anti-romantic ideas. In Twelfth Night, likewise, the central theme is “ambivalence”. There exists the clash of values throughout the play. The play is based on illusion of the lovers, however, illusion brings its own reality in the end. In the light of these contrasts, the concept of the “foolery” in two works and the relation of fools to the other characters will be touched upon herein. Besides, their unifying roles will be highlighted through examples of how Touchstone and Feste are created by Shakespeare in order to keep the harmony between appearance and reality or, in more general terms, between antithetic values.
Açıklama
Anahtar Kelimeler
Shakespeare, Fool, Juxtaposition, Unity, Soytarı, Yanyanalık, Birlik
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
1
Sayı
1
Künye
Tekalp, S , Işık, E . (2012). The unifying role of fools in William Shakespeare's as you like it and twelfth night. Batman Üniversitesi Yaşam Bilimleri Dergisi, 1 (1), pp. 1161-1171.
