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『말괄량이 길들이기』는 셰익스피어 극작 경력초기, 이른바 습작기에 집필 되었지만, 두 개의 플롯을 정교하게 짜 맞추고 극중극 장치를 더해 주제를 강화하는 동시에 주제를 더욱 복잡하게 만드는 기법에서 전성기 못지않은 희극적 천재성을 엿볼 수 있으며, 전성기 작품에서 주로 탐색되는 주제인 외양와 실제의 착각 및 간극, 꿈과 현실의 전도, 남녀 간 사랑의 본질 등도 다뤄진다. 또한 남녀간의 주도권 다툼이라는 ‘오래되었지만’‘현대적인’ 흥미로운 소재를 다루고 있다.
『말괄량이 길들이기』는 셰익스피어의 희극 중 가장 유명한 작품 중 하나이지만 현대 독자들이 보기에 상당히 불편한 문제작일 수 있다. 표면적으로보면, 말과 행동이 거칠고 반항적인 카테리나가 페트루치오의 가학적이고 터무니없는 길들이기 후에 남편 말을 잘 듣는 온순한 여성으로 변했고, 마지막 장면에서 남성에 대한 여성의 무조건적 복종이라는 가부장적 이데올로기를 전파하는 것으로 보이기도 한다. 그러나 꼼꼼히 행간을 읽어 보면 셰익스피어의 대부분의 작품들이 그렇듯 『말괄량이 길들이기』는 단순하고 명확하게 해석되는 극이 아니다. 카테리나의 복종과, 비앙카의 온순함, 결혼한 미망인의 적극적 구애 등 작품에서의 여성들의 행동은 전략적 선택, 위장으로 볼 수 있으며 작품은 이러한 모습들을 통해 여성의 복종을 설파하는 것이 아니라 여성의 절대적 순종은 남성의 환상에 불과한 허구임을 보여준다.

말괄량이 길들이기



『말괄량이 길들이기』는 셰익스피어 극작 경력초기, 이른바 습작기에 집필 되었지만, 두 개의 플롯을 정교하게 짜 맞추고 극중극 장치를 더해 주제를 강화하는 동시에 주제를 더욱 복잡하게 만드는 기법에서 전성기 못지않은 희극적 천재성을 엿볼 수 있으며, 전성기 작품에서 주로 탐색되는 주제인 외양와 실제의 착각 및 간극, 꿈과 현실의 전도, 남녀 간 사랑의 본질 등도 다뤄진다. 또한 남녀간의 주도권 다툼이라는 ‘오래되었지만’‘현대적인’ 흥미로운 소재를 다루고 있다.

『말괄량이 길들이기』는 셰익스피어의 희극 중 가장 유명한 작품 중 하나이지만 현대 독자들이 보기에 상당히 불편한 문제작일 수 있다. 표면적으로보면, 말과 행동이 거칠고 반항적인 카테리나가 페트루치오의 가학적이고 터무니없는 길들이기 후에 남편 말을 잘 듣는 온순한 여성으로 변했고, 마지막 장면에서 남성에 대한 여성의 무조건적 복종이라는 가부장적 이데올로기를 전파하는 것으로 보이기도 한다. 그러나 꼼꼼히 행간을 읽어 보면 셰익스피어의 대부분의 작품들이 그렇듯 『말괄량이 길들이기』는 단순하고 명확하게 해석되는 극이 아니다. 카테리나의 복종과, 비앙카의 온순함, 결혼한 미망인의 적극적 구애 등 작품에서의 여성들의 행동은 전략적 선택, 위장으로 볼 수 있으며 작품은 이러한 모습들을 통해 여성의 복종을 설파하는 것이 아니라 여성의 절대적 순종은 남성의 환상에 불과한 허구임을 보여준다.

옮긴이의 말 ····································································································5
등장인물들 ····································································································12

서막 1장 ·······································································································15
2장 ·······································································································24
1막 1장 ········································································································32
2장 ········································································································46
2막 1장 ········································································································61
3막 1장 ········································································································83
2장 ········································································································89
4막 1장 ·······································································································103
2장 ·······································································································115
3장 ·······································································································123
4장 ·······································································································134
5장 ·······································································································140
5막 1장 ·······································································································145
2장 ·······································································································153
다른결말 ·····································································································165

작품 해설 ····································································································167
셰익스피어 연보····························································································179
참고문헌 ·····································································································183