@article{oai:kitami-it.repo.nii.ac.jp:00006183,
 author = {山本, 幸男},
 issue = {4},
 journal = {北見工業大学研究報告},
 month = {Mar},
 note = {application/pdf, Harry Levin’s paper on “the Shakespearian Overplot” is the most attractive and suggestive one in the repetitive form in fiction, not precisely the convention “double plot”. His theory embodies the abstract over the plots into the concret as a part of the dramatic　architecture.　It is here that I am very much interested in. In this paper l applied his theory “overplot” to King Lear, which constitutes more organic unity than 1 Henry IV does, though it was exarnined as an exarnple in his paper. The conclusion drawn from my experimental research is as follows : if the relationship between Lear and his three daughters be the main plot, between Gloucester and his sons be the underplot, and then the relationship between Lear and outer nature at the most exalted level to be discriminated and named ; the term “overplot” can be used to indicate this relationship. The overplot is a glimpse exemplifying some grander design, an indication that the play at hand is but an interlude from a universal drama performed in the great theatrum mundi: King Lear shows the microcosm of man subjected to the decay and cruelty in the rnacrocosrn of outer nature. And then I assigned to the overplot a role of visual grammar towards Shakespeare’s deeper signifiance mentioned above?universality. Thus we could bring back King Lear from the study to the stage, I believe.},
 pages = {99--108},
 title = {King Lear のOverplotについて},
 volume = {1},
 year = {1966}
}