Introduction: Pirates? The Politics of Plunder, 1550–1650
Introduction: Pirates? The Politics of Plunder, 1550–1650
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简介：掠夺的政治，1550 年至 1650 年
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发表时间：
2007
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通讯作者：
C. Jowitt
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作者：
C. Jowitt
长期以来，海盗在文学中占有重要地位。例如，Heliodorus的埃塞俄比亚故事开始于尸体遍布的埃及海滩上的媒体。只有在五本书之后，在描述Theagenes和Cariclia冒险的浪漫故事中，读者才完全意识到死者实际上是海盗，和事件和神秘的开幕式现场的意义解释为字符的反应，以海盗的考验是表明他们的道德和宗教原则。海盗也经常出现在文艺复兴时期的文学作品中。在莎士比亚的戏剧中，海盗扮演着小而重要的角色：例如，在《以牙还牙》、《哈姆雷特》、《第十二夜》、《伯里克利》、《威尼斯商人》中，海盗以对每部戏剧情节发展至关重要的方式介入行动。文学海盗的数量，以及他们改变故事进程的能力，尽管他们的角色很大，表明这些人物经常出现在文学想象中。有时他们会扮演中心角色--比如罗伯特·达伯恩的《一个基督徒变成了土耳其人》中的约翰·沃德--但更多的时候，海盗出现在文学文本的边缘，不守规矩，不满的人物，被排除在主要故事之外，但拒绝被完全压制。例如，在《一报还一报》中，已故的海盗拉戈津在将克劳迪奥从安吉洛的不公正中拯救出来方面发挥了至关重要的作用，当时第一个替代者，被判刑的巴纳丁，拒绝合作提供一个被砍下的头颅来展示安吉洛。
Pirates have long held a significant place in literature. Heliodorus’ Ethiopian Story, for instance, begins in media res on a corpse-strewn Egyptian beach.1 It is only five books later in the romance’s account of Theagenes’ and Cariclia’s adventures that the reader becomes fully aware that the dead men were in fact pirates, and the events and significance of the enigmatic opening scene is explained as characters’ reactions to the test of piracy are indicative of their moral and religious principles. Pirates likewise make frequent appearances in Renaissance literature. In Shakespeare’s plays pirates play small but important roles: in Measure for Measure, Hamlet, Twelfth Night, Pericles, The Merchant of Venice, for example, pirates intervene in the action in ways crucial to each play’s plot development. Both the number of literary pirates, and their ability to change the course of the story despite the size of their role, indicate that these figures haunted the literary imagination. Sometimes they take up roles centre stage — such as John Ward in Robert Daborne’s A Christian Turned Turk — but more often than not, pirates appear on the sidelines of literary texts, unruly, discontented figures, excluded from the main story, but refusing to be wholly suppressed. For example, in Measure for Measure the conveniently deceased pirate Ragozine plays a crucial role in saving Claudio from Angelo’s injustice, when the first substitute, the condemned Barnadine, refuses to co-operate in providing a severed head to show Angelo.2