《暴风雨》、《冬天的故事》与斯图尔特宫廷舞台上的戏剧专制主义

IF 0.2 2区 文学 0 LITERATURE
ELH Pub Date : 2022-09-01 DOI:10.1353/elh.2022.0022
Gabriel R Lonsberry
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引用次数: 0

摘要

摘要:在1611年至1612年的娱乐季节,莎士比亚的《暴风雨》和《冬天的故事》为国王詹姆斯一世和他的宫廷上演,它们似乎卷入了国王和他意识形态上敌对的儿子亨利之间不断升级的神话战争。在过去的一年里,亨利篡夺了仪式舞台上的合法权力,戴上了一系列面具和眼镜,培养了他的新骑士崇拜,并推广了他父亲所厌恶的好战的新教价值观。1611年至1612年,是詹姆斯重建他至高无上地位的机会:亨利不仅被排除在这一季唯一的面具和核心作品——本·琼森(Ben Jonson)的《爱的恢复》(Love Restored)之外,而且琼森会明确谴责所有对王室认可的神话的挑战,并展示国王在面具领域的绝对权威。作为回应,亨利转向其他方式来推进他的事业,包括肖像、诗歌和历史,而詹姆斯则与天主教进行了谈判,这将给他儿子的支持者带来毁灭性的打击。这些都是斯图亚特王朝第一次看到《暴风雨》和《冬天的故事》的环境,本文认为,观众会情不自禁地把这两出戏对奇观和王室权威的质疑与当时的政治时刻联系起来。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Tempest, The Winter’s Tale, and Dramatic Absolutism on the Stuart Court Stage
Abstract:When, during the 1611-12 entertainment season, Shakespeare’s The Tempest and The Winter’s Tale were staged for King James I and his court, they would have seemed to wade into the middle of an escalating, mythmaking war between the King and his ideologically adversarial son, Henry. The preceding year had seen Henry usurp the ceremonial stage’s legitimizing power, mounting a series of masques and spectacles that grew his neo-chivalric cult and promoted militant Protestant values detested by his father. 1611-12, then, was James’s opportunity to reestablish his supremacy: not only would Henry be excluded from the season’s sole masque and centerpiece, Ben Jonson’s Love Restored, but Jonson would explicitly condemn all challenges to the royally approved mythology and demonstrate the King’s absolute authority over the masquing space. In response, Henry turned to alternative means of advancing his cause, including portraits, poems, and histories, while James negotiated a Catholic match that would deal a crushing blow to his son’s supporters. These are the circumstances in which the Stuart court first saw The Tempest and The Winter’s Tale, and this essay argues that viewers could not have helped but relate the plays’ interrogations of spectacle and royal authority to their present political moment.
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来源期刊
ELH
ELH LITERATURE-
CiteScore
0.60
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30
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