摘要
约翰·黎里的《恩底弥翁》表面上延续了传统宫廷爱情叙事,通过高度程式化的修辞歌颂月亮女神辛西娅(暗指伊丽莎白女王)的美德与权威,积极参与了伊丽莎白时期英国宫廷“情感政权”的建构;然而剧中恩底弥翁对辛西娅的“单相思”并非现代意义上的个体情感流露,而是经过宫廷教化与情感规训生成的象征性、精神化的“述情”表达。这段“爱情”既缺乏传统宫廷故事中的历险与障碍,也无法以“有情人终成眷属”落幕,其修辞张力与情感空转揭示了剧作家与权力之间复杂而微妙的博弈关系。作为朝臣与人文主义剧作家,黎里一方面通过高度规范的述情话语展现对权力的忠诚,另一方面在修辞背后隐约流露出其政治抱负受限与现实焦虑。《恩底弥翁》因此成为观察早期现代剧作家如何在情感政权规训下探索述情语言变革与表达自由的典型文本。
John Lyly's Endymion ostensibly continues the tradition of courtly love narratives,employing highly stylized rhetoric to extol the virtues and authority of Cynthia,the moon goddess,an allegorical figure for Queen Elizabeth I.This work actively participates in the construction of the“emotional regime”of the Elizabethan court.However,Endymion's unrequited love for Cynthia is not an expression of individual emotion in the modern sense but rather a series of symbolic and spiritualized emotive acts shaped by courtly education and emotional discipline.This“love”lacks the adventures and obstacles typical of medieval courtly romance and ultimately denies the closure of a conventional romantic union.Its rhetorical tension and emotional circularity reveal a complex and subtle negotiation between the playwright and power.As a playwright who occupied the dual role of courtier and humanist,Lyly constructs a public affective posture of loyal admiration through a highly codified language of emotives,while simultaneously concealing his frustrated political aspirations and personal anxieties.Endymion thus serves as a paradigmatic text for observing how early modern dramatists navigated,negotiated,and sought to transform the restrictive affective language imposed by the prevailing emotional regime of the court.
出处
《东北师大学报(哲学社会科学版)》
2026年第2期89-100,共12页
Journal of Northeast Normal University(Philosophy and Social Science Edition)
基金
国家社会科学基金重点项目(20AWW008)
吉林省教育厅重点项目(JJKH20241401SK)。
作者简介
党伟,女,东北师范大学外国语学院副教授;冯伟,男,东北师范大学外国语学院教授。
