【作者】 刘洋；

【导师】 王守仁；

【作者基本信息】 南京大学 ， 英语语言文学， 2020， 博士

【摘要】 在现当代情感史研究的推动之下,情感与理智的对立被逐渐消解。情感研究的认知流派认为,情感不是非理智的人类心理活动,而是有目的、带有思考性质的行为,对人类社会的历史进程有着至关重要的影响。正因如此,情感成为了当代人文学科的研究课题之一。过往的历史书写中被忽略的情感表达该如何理解?情感的历史变迁该如何把握?这是该领域的研究关注的两个重点问题。曾经困扰着早期现代英国人的巫术与情感息息相关。纵观记述和讨论巫觋言行的恶魔学论著、庭审记录和纪实文章,与情感有关的描写比比皆是。在此时期,虽然巫觋为何没有严格的定义;但通常而言,被认为是巫觋的人与恶魔签订协约,将自己的身体和灵魂货与恶魔,以换得后者超常的能力,从而为祸人间。巫觋是人类终极的敌人——恶魔——在人间的代理人,其出现代表了邪恶力量在人间的渗透,代表了即将到来的危险,故而与巫觋有接触的人往往会感到恐惧。巫觋在成为巫觋之前往往是丑陋、贫穷、年迈、丧偶的普通女性,因为邻里的欺侮和排挤产生了怨恨的情绪。因此,巫觋常常被描绘成愤怒的复仇者。除此之外,流行于此时期的巫术迷信认为,巫觋具有控制爱恨的能力。因此,在追求爱情的道路上遇到挫折的男女往往在别无他法的困境之中会想要寻求巫觋的帮助。相反的,巫觋也可以控制受害者的情绪,使人与人之间反目成仇,从而达到其为祸作乱的目的。恐惧、愤怒、爱与恨——这正是与巫觋和巫术联系最密切的几种情感。在后启蒙时代的理性的现代研究者看来,巫觋的上述能力多是没有根据、仅存在于人们的想象世界中的迷信;因而他们对历史上出现过的巫术迷信,多从政治、经济、医学等角度进行解读。即便如此,巫觋和巫术带来的诸多情感却是真实存在的。此时期的戏剧作者也注意到了巫术给社会带来的情感能量。剧场本就是演绎悲喜故事,调动观众情感的场所,因而这种能量也被他们应用在了剧场之中。本论文在整合情感史研究的理论成果的基础之上,借鉴新历史主义的文本阅读方式,对九部关于巫觋的早期现代时期的英语戏剧进行解读和分析。本论文重点关注巫术的情感维度如何给剧作者的戏剧创作带来了有益的素材,同时考察文学对巫觋的表征如何体现出了此时期的人们对恐惧、愤怒、爱与恨等具体的情感的理解。第一章分析克里斯托弗·马洛的《浮士德博士》、威廉·莎士比亚的《错误的喜剧》和《麦克白》中表现出的人们因巫觋的出现而产生恐惧情绪。三剧共同体现出人们对巫觋的恐惧来源于未知。据记载,在16世纪的几次《浮士德博士》的演出过程中,观众和演员都曾在浮士德念咒语召唤恶魔时感到惊恐。与巫觋浮士德签订协约的恶魔是人类面对的终极他者,是无法测度的黑暗深渊的化身。时刻处于不可知的恶魔的笼罩之下使得剧中的人物和剧场内的观众均感到了极度的恐惧。《错误的喜剧》表现的则是人们对巫术使人丧失自我认知的恐惧:对双胞胎之存在不知情的人们以为安提福勒斯和德罗米奥被恶魔附身,失去了对自我的认识,因而感到恐慌。处于全知视角的观众则确知这只不过是一场“错误的喜剧”,因而对台上人物的错误迷信感到可笑。《麦克白》中的巫觋具有预言的能力,曾两次向麦克白昭示未来,但她们模棱两可的预言却使麦克白在知与未知中徘徊,最终因轻信预言而走上了灭亡。第二章研究莎士比亚的《亨利六世·上篇》、《暴风雨》和合作剧《埃德蒙顿的女巫》中表现出的国家、君主和乡村共同体对巫觋的愤怒情绪的控制。在《亨利六世·上篇》中,一方面莎士比亚着力表现贵族之间愤怒的争吵与国家内部的分裂如何是导致英格兰对法兰西作战失利的主因;另一方面法兰西的圣女贞德因为僭越了诸多男权社会规范被描绘成了带着愤怒和仇恨的巫觋。两者对比可以看出,圣女贞德成为了愤怒的英国贵族的替罪羊,必须予以惩处、献祭和焚化。在《暴风雨》中,缺乏情感的魔法师普洛斯彼罗对巫觋卡列班实施了情感统治,而后者则在压迫之下偶然发现了一处情感避难所——代表恶魔精神的酒,并借此机会向统治者普洛斯彼罗发起了反叛,后不幸被压制。《埃德蒙顿的女巫》展现的是乡村中的巫觋故事:伊丽莎白·索耶因受邻人欺侮而倍感愤怒,遂寻恶魔以求复仇。她愤怒的情绪被描写为邪恶而有害的,最终也被其所处的情感共同体遏制。第三章考察莎士比亚的《奥赛罗》、托马斯·米德尔顿的《女巫》和托马斯·海伍德与理查德·布鲁姆的《近来兰开夏郡的女巫》对巫觋控制爱恨的能力的舞台演绎。三部剧联系起来共同证明了一个观点:巫术中的“爱情魔咒”只不过是迷信而已,巫觋无法使一个人爱上另一个人,却可以使人与人之间产生仇恨。在《奥赛罗》中,埃及巫觋制作的手帕似乎正是此时期流传的一种巫术——“爱情之杯”,它虽然据传有唤起爱情的能力,但最终不过是毒药而已,在疑似巫觋伊亚古的操作之下成为了奥赛罗仇恨并杀害戴斯狄蒙娜的催化剂。《女巫》中的赫卡特两次向前来询问的男子授予了无效的爱情魔咒,因而本剧最终证明爱情不在巫觋的控制范围之内,他们所能控制的只有色欲。《近来兰开夏郡的女巫》中的巫术则主要作用于在人与人之间挑拨仇恨。剧中的四个巫觋破坏家庭氛围、破坏婚礼现场、其中一人虽已结婚但与恶魔通奸,从而使父子反目、夫妻不和、乡村共同体的情感连结也遭到了破坏。九部戏剧利用了巫术事件所蕴含的情感能量,达到了完成特定戏剧效果的目的。同时,九部戏剧作为文学文本,本身也参与到了有关早期现代巫术和情感的话语场域之中,成为了相互交织的文化之网的重要组成部分。因而它们适于成为情感史研究的对象,以揭示巫术和巫觋如何引发了恐惧、愤怒和爱恨等情感,并表现出此时期的人们对该类情感的理解和感受。在表达情感的同时,描写巫觋的戏剧也表征了早期现代时期的共同体危机:由于宗教改革引发的动荡,16、17世纪英国个人主义的兴起和君主统治屡次遭遇的反叛和刺杀的挑战,共同体面临着分崩离析的危险。在此社会环境之下,巫觋趁虚而入,成为了入侵共同体的他者。因此,此时期的巫术戏剧中表现的情感多与共同体有关:恐惧是共同体对未知他者的情绪反应,巫觋的愤怒是共同体需要遏制和压抑的负面情绪,而巫觋控制爱恨的能力则是对共同体之情感连结的破坏。本论文涉及的九部戏剧深植于共同体危机的语境之中,共同表现出了它们所处时代的焦虑。更多还原

【Abstract】 In the light of the modern study of “History of Emotions”,the antagonism between emotion and reason is gradually deconstructed.The cognitive trend in the field contends that emotion is not an irrational activity that happens in people’s mind as was traditionally assumed;it is instead embedded in thought material,and has certain aims and goals.Historically,it has had important impact on the human society.For these reasons,emotion has recently become a popular topic of study in the humanities.How to understand the emotional expressions recorded in historiography that were previously neglected? And how to grasp the change of emotions through history? These are the two major research questions in this field.Emotion is closely related to witchcraft which has tremendously afflicted the English people in the early modern period.Numerous emotional descriptions can be found in demonologist treatises,trial records and pamphlets relating real-life witchcraft cases.The period has seen no unanimously-agreed definition of a witch;but commonly speaking,witches were those who had signed a contract with the devil to trade themselves for the latter’s supernatural power,in order to cause the mischiefs they desired.The witch was the agent of humanity’s archenemy,the devil.The appearance of a witch was the harbinger of some evil power with imminent danger,and therefore the sight of the witch might easily evince fear.Those who became witches were usually poor,old widows who were bullied and marginalized by their neighbors.Thus,they were prone to anger and revengefulness.Besides,popular beliefs in witchcraft in the period had it that the witch can procure love and hate.This explained why suitors in distress often asked the witch for counsel in their pursuit of love.Conversely,the witch could drive a wedge between people and provoke the feeling of hate for mischievous purposes.Fear,anger,love and hate—these are four emotions most intimately associated with witches and witchcraft.To the rational scholars in a Post-Enlightenment era,witchcraft was a groundless belief that only existed in its believers’ imaginations.Their interpretations of the phenomena,therefore,are often made from political,economic or medical aspects.Witchcraft may have been a subcategory of superstition,yet the emotions that they had conjured were authentic.The power of emotion charged from witchcraft into the society was noticed by playwrights in this period.After all,theatre is in essence a site for emotional conflicts and exchanges facilitated by performances of tragic and comic stories;thus the emotional power of witchcraft was apt for appropriation by the playwrights.Based on the theoretical assumptions made in the scholarly field of“History of Emotions”,and applying the New Historicist methodology of text-reading,this dissertation reads and analyzes nine early modern English witchcraft plays,focusing on how the emotional dimension has benefited the playwrights’ dramaturgy,and how early modern people’s perceptions of fear,anger,love and hate may have been reflected in the plays.The first chapter analyzes how the witches arouse of fear in those around them in Christopher Marlowe’s Doctor Faustus and William Shakespeare’s The Comedy of Errors and Macbeth.The three plays demonstrate that fear of witches is rooted in the failure to know.According to performance records,in several enactments of Doctor Faustus in the sixteenth century,the audience as well as actors on stage were properly frightened when the doctor recited the conjuration of Mephistopheles onstage.The devil that signs the pact with Doctor Faustus the witch stands for the ultimate other in the human world,and is an embodiment of the unfathomable abyss of darkness.The overarching devil therefore frightens the characters and the audience in the theatre.Fear in The Comedy of Errors,then,originates in the impossibility of knowing the self caused by the enchantment of the witch.The characters,unaware of the existence of the twins,are much afeared because they could find no explanation for the Antipholus and Dromios twins’ loss of self-recognition.The omniscient audience,on the other hand,know from the beginning that what is performed in front of them is simply “a comedy of errors”;hence,the witch-craze turns to a laughing matter.The witches in Macbeth have prophetic abilities,and tell Macbeth his fortune twice in the play.Yet the ambiguous prophecies trap Macbeth in the limbo of knowing and unknowing,and lead him astray to the final fate of demise.The second chapter studies how Shakespeare’s Henry VI Part 1,The Tempest and the collaborative play The Witch of Edmonton put on the stage the nation,the monarchy and the village community’s containment of the witches’ anger.In Henry VI Part 1,on the one hand,Shakespeare emphasizes anger and civil dissentions as the main reason behind the country’s military defeat by France;on the other hand,Joan le Pucelle,transgressor of the social conduct of the patriarchy,is depicted as an angry and hateful witch who longs for England’s fall.As a result,Joan becomes the angry English lords’ scapegoat that must be punished,sacrificed and burnt to ash.The Tempest features the emotional regime built by the emotionless magician Prospero against Caliban,who finds in an accident the emotional refuge in the devil’s spiritual embodiment—alcohol.He then launches a rebellion,only to be suppressed later by Prospero.The Witch of Edmonton takes its audience to the village community,where the angry Elizabeth Sawyer asks for the devil’s help in her revenge on the bullying neighbors.Her angry emotion proves evil and malicious in the end,and is also contained by her emotional community.The third chapter examines the representation of the witch’s ability to control love and hate in Shakespeare’s Othello,Thomas Middleton’s The Witch and the collaborative work of Thomas Heywood and Richard Brome,The Late Lancashire Witches.The three plays together complete the argumentation that the “charm of love” is nothing but superstition,and that the witch procures not love,but hate.In Othello,the handkerchief made by the Egyptian witch resembles the popular charm of witchcraft—the “love-cup”which is thought to be a charm of love,yet in essence is a sort of poison.Used in the hand of the potential witch Iago,the handkerchief becomes the catalyst of Othello’s hatred and consequent murder of Desdemona.Hecate in The Witch offers two suitors ineffective charms of love,hence the play proves that love is not in the purview of control of the witches,who are only capable of manipulating erotic desires.Witchcraft in The Late Lancashire Witches works on provoking hate between people.The four witches turn the domestics order upside down,disturb the ceremony of wedding,and one of them has adulterous relationship with the devil.Consequentially,the son develops a hateful emotion against his father,the married couple are alienated,and the emotional bonds of the community are gravely sabotaged.The nine plays take advantage of the emotional power contained in witchcraft events for the purpose of creating certain theatrical effects.At the same time,as dramatic texts,they are part of the field of discourse around witchcraft and emotion in the early modern period,and also part of the interwoven web of culture.They prove apt for the study of the “History of Emotions”,in the sense that together they reveal how witchcraft has given rise to the emotions of fear,anger,love and hate,and how these particular emotions were perceived in this period.Apart from dramatizing the abovementioned emotions,the witchcraft plays represent also the crisis of community in the early modern era.Due to the unrest caused by the Religious Reformation,the rise of individualism and the menacing challenges of rebellions and assassinations planned against the monarchs in the sixteenth-and-seventeenth-century England,the idea of community was in the danger of dissolution.In this social milieu,the witches stand for the intruding others that avail themselves of the opportunity to break into the community.As a result,emotions expressed in the witchcraft plays of this period are in close association with the community: fear is the emotional response of the community facing its unknown other;the witch’s anger is a negative emotion that must be contained and oppressed by the community;and the witch’s control of love and hate undermines the emotional bonds that join the community members together.The nine plays discussed in this dissertation are embedded in the context of the crisis of community,and they in turn reflect the anxiety of their age.更多还原