著者

能勢 卓

出版者

聖トマス大学

雑誌

サピエンチア : 英知大学論叢 (ISSN:02862204)

巻号頁・発行日

vol.39, pp.101-113, 2005-02-28

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The characteristic use of masks in The Great God Brown makes this play attractive and holds fascination for the audience, but at the same time it hinders them in comprehending the connotation of the masks, so different scholars have developed different arguments as for the use of the masks in the play. In this paper we will be concerned with the problem of the personification of the mask and of the transference of personality by the personified mask in Act II. iii. We will briefly examine the problem of the personification of Dion's mask seen in Acts I and II, and then we will discuss the problem of transference of the personality by the personified mask of Dion. In order to explore this issue, we will mainly analyze the following two points: the first is Brown's shift of perception to Dion's mask, from objectified to personified, in the scene where Dion leaves his mask to Brown; the second is varying degree of Dion's mask's independence from Dion himself. It will be found through our examination that showing the shift of Brown's recognition of Dion's mask and of the perspective between Brown and the mask enables O'Neill to dramatize the transfer of Dion's personality to Brown on the stage, by which he enables the development of the following two acts of the play.