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引用次数: 4
摘要
尽管有大量文献提到法国人在1669年莱曼Ağa访问巴黎期间的外交失误,以及路易十四在此期间对奥斯曼帝国的许多政策的字谜式特征,但很少有学者看到Le Bourgeois gentilhomme中的幽默是针对王室和宫廷的。在这篇文章中,我认为moli特的喜剧芭蕾可以被理解为对外交部长Hugues de Lionne和国王如何在他们的官方观众中接待奥斯曼特使以及法国对奥斯曼国家本身的外交政策的尖锐讽刺。莱昂内接受莱曼为法国“大维齐尔”所涉及的闹剧,以及国王希望被视为十字军君主的假装,同时努力寻求与波特的商业关系,为moli特提供了充足的讽刺素材。作品的东方装饰,尤其是土耳其仪式,因此可能被认为是反映和批评法国政府政策和行为的一种手段,而不是作为一种原始的殖民主义者试图富有想象力地代表奥斯曼土耳其人。
A Would-Be Turk: Louis XIV in Le Bourgeois gentilhomme
Abstract Despite the large number of references to diplomatic blunders by the French during Süleyman Ağa's visit to Paris in 1669 and the charade-like character of much of Louis XIV's policies towards the Ottoman Empire during the period, few scholars have seen the humour in Le Bourgeois gentilhomme as directed towards the crown and court. In this article, I argue that Molière's comedy-ballet can be read as a pointed satire of how Hugues de Lionne, the foreign minister, and the king received the Ottoman envoy in their official audiences, and of French foreign policy with the Ottoman state itself. The mummery involved in Lionne's receiving Süleyman as the 'Grand Vizier' of France, and the king's pretence in expecting to be viewed as a crusading monarch while diligently pursuing commercial relations with the Porte, provided Molière with ample material for satirical development. The oriental trappings of the work, especially of the Turkish ceremony, might thus be considered as a means to mirror and criticize French governmental policies and behaviour rather than as a proto-colonialist attempt imaginatively to represent the Ottoman Turk.