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'ITEM, I ARTICLE': CONTRACTS IN RESTORATION COMEDY.

机译:“ ITEM,我的文章”:恢复喜剧中的合同。

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摘要

This study of sixty-seven Restoration comedies demonstrates that the ethical system by which the comic playwrights distribute praise and blame to their characters is a contractual one: those characters who learn to respect contract--the social acknowledgment of another's equality and autonomy--are those who win the dramatic prizes, whether money or marriage. Those characters who attempt to subvert or pervert the contractual ethic, whether through ignorance or design, generally defeat their own aims. Critical opinion has not often favored this thesis because it assumes that contract and trust--the latter a quality many critics now see as important in these comedies--are mutually exclusive. But legal history and legal theory show instead that they are mutually dependent, that an act of trust is a priori an act of contract, and the intellectual milieu of the seventeenth century provided the comic playwrights with ample reinforcement for this idea. Two of the three prerequisites for contract, agreement and consideration, take the same definition in comedy as in law. The third, however, constitutes the major difference between contracts in life and contracts in comedy: what the law calls identity or personality. This quality, explicitly defined in law, is less so in comedy, but it must nevertheless be present if we are to recognize any character as a responsible social being. Furthermore, that character must possess, in addition to this requisite identity, the awareness that personal contract--a private, self-enforcing agreement--is both ethically and practically superior to legal or illegal manipulation or force. Once possessed of both identity and a willingness to contract--of both individual and social integrity--that character earns the right to enjoy the emotional and material wealth which so happily rewards those upholding the comedies' moral vision, a moral vision that sees the contractual ethic as a testament to man's respect for and trust in his fellows.
机译:这项对67个《复原》喜剧的研究表明,喜剧剧作家根据其品格向其角色赞美和指责的道德体系是一种契约性的体系:那些学会尊重契约(即他人的平等和自治的社会认可)的角色是一种契约体系。那些赢得巨额奖金(无论是金钱还是婚姻)的人。那些企图通过无知或设计来颠覆或颠覆契约道德的角色通常会打败自己的目标。批判性意见并不总是偏爱这个论断,因为它假定契约和信任是相互排斥的,契约和信任是许多评论家现在认为在这些喜剧中很重要的品质。但是法律历史和法律理论反而表明它们是相互依存的,信任的行为是先验的是契约的行为,而十七世纪的思想环境为喜剧剧作家提供了充分的支持。合同,协议和对价的三个先决条件中的两个在喜剧中的定义与法律中的定义相同。但是,第三点构成了生活合同和喜剧合同之间的主要区别:法律称之为身份或人格。在法律中明确定义的这种品质在喜剧中就不那么重要了,但是,如果我们要承认任何角色都是负责任的社会存在,就必须存在这种品质。此外,除了必需的身份之外,该角色还必须意识到个人合同(一项私人的,自我执行的协议)在道德上和实践上都优于合法或非法的操纵或武力。角色既拥有个人身份又具有与个人和社会诚信的契约意愿,便拥有享受情感和物质财富的权利,从而很高兴地奖励了那些坚持喜剧的道德观的人,即一种道德观者。契约道德证明了人们对同事的尊重和信任。

著录项

  • 作者单位

    The University of Arizona.;

  • 授予单位 The University of Arizona.;
  • 学科 Literature English.
  • 学位 Ph.D.
  • 年度 1982
  • 页码 206 p.
  • 总页数 206
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 I561;
  • 关键词

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