초록 열기/닫기 버튼
Melodrama became very popular during the Romantic period, but critics have disparaged it because it was called ‘melodrama’: that is, a fall from tragedy. Melodrama does not deal with transcendental values or innate conflicts such as can often be seen in Shakespearean tragedies, but, as this paper argues, lack of preoccupation with such issues should be viewed not as its drawback but its strength. Unlike tragedy that is mainly based on the lives of aristocrats, melodrama focuses on topical issues and the lives of underprivileged people. The audience of the Romantic period was less interested in transcendental values than the issues they confronted in their daily lives, and this can explain the popularity of melodrama in the period. Political radicalism brought about by the French Revolution seems to have played a significant role in this transition. A Tale of Mystery, the first melodrama, written by Thomas Holcroft shows how such a work could influence the political consciousness of its audience. Fiametta, a female servant, demands her master Bonamo repent for his wrongdoing and he obeys. She also threatens to quit his service if he continues to be an unjust master. In such ways, melodrama portrays traditional hierarchy to be crumbling, and this could serve as a political message that people should rebel against unjust rulers.
