The Poetics of Piracy: Emulating Spain in English Literature
The Poetics of Piracy: Emulating Spain in English Literature
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盗版诗学：效仿英国文学中的西班牙
DOI：
10.33137/rr.v38i1.22798
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发表时间：
2015
影响因子：
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通讯作者：
Joyce Boro
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文献类型：
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作者：
Joyce Boro
海盗的诗意：《在英语文学中模仿西班牙》芭芭拉·富克斯费城：宾夕法尼亚大学出版社，2013年如果威廉·莎士比亚和约翰·弗莱彻根据米格尔·德·塞万提斯的《堂吉诃德》创作的失传戏剧《卡德尼奥》被发现，英西文学关系的学科会是什么样子？正如芭芭拉·富克斯在她的杰出著作《海盗的诗学：在英国文学中模仿西班牙》的导言中所解释的那样，卡德尼奥是圣杯，是盎格鲁-西班牙文化的“缺席”。《海盗诗学》在许多方面是对这个“缺席中心”的高调兴趣激增的回应（1），从斯蒂芬·格林布拉特（Stephen Greenblatt）的《卡德尼奥项目》（The Cardenio Project，2003）到格雷戈里·多兰（Gregory Doran）为皇家莎士比亚剧团（RSC）重写的《卡德尼奥》（Cardenio，2011），再到刘易斯·西奥博尔德（Lewis Theobald）的《双重谎言》（Double Falsehood，2010）的雅顿版，这是对《卡德尼奥》的十八世纪改编。在这本书的导言和最后两章，福克斯直接参与了Cardenio的文本历史，对最近的书目，学术和创造性方法进行了持续的批评，以质疑其学科的中心地位，并展示其突出地位是如何植根于Hispanophobia和良好的老式Bardolatry。然而，富克斯的项目不仅仅是对围绕这部失传的戏剧缺席的争论的干预;《海盗诗学》巧妙地、令人信服地揭示了“使卡德尼奥有意义的西班牙联系”（1），英语和西班牙文化之间充满活力、持续、往往自相矛盾的关系网络。近代早期是西班牙和英国关系紧张的时期，尤其是在关键时刻，如阿尔马达的敌对行动达到顶峰;海盗，私掠和新世界的财富和权力的世仇;查尔斯王子和西班牙因凡塔的求爱失败;以及三十年战争。这些事件以令人惊讶的方式影响了西班牙文本的接受。作为一个天主教超级大国，西班牙对英格兰构成了重大的政治和意识形态威胁。英格兰的种族偏见影响了西班牙人的看法，他们不仅因为天主教而感到恐惧，而且还因为他们所谓的摩尔人或犹太人遗产。对于国家想象力和英国性的自我建设至关重要的是与欧洲大陆天主教的区别，以及将英国视为一个强大、独特的新教国家的看法。讽刺的是，尽管有大量关于对西班牙的敌意的记录，但在整个时期，读者继续享受西班牙文学，并且越来越多的人寻求学习西班牙语。正如福克斯所解释的那样，“对西班牙的文化迷恋从未减弱，即使在军事或宗教方面最不方便的时候”（9）。西班牙文学的体裁、形式和情节激发了无数的西班牙和西班牙作家，包括福克斯研究过的许多作家，但西班牙文学在塑造英国文学文化方面的突出作用却被习惯性地忽视了。福克斯认为，这可能归因于“对西班牙经常存在的不假思索的偏见”，她将西班牙视为“一种知识分子的‘黑人传奇’”（8）。富克斯阐明并历史化了这些偏见，并将西班牙归还给其在早期现代英国文学跨国性质研究中应有的地位;她考察了西班牙和英国之间在政治和美学上充满活力的文化交流，“在与西班牙竞争的背景下，追踪英国民族正典的出现”（4），从而提供了一个刺激的，更准确的，英国文学文化的缩影。在第一章“强制翻译”中，富克斯阐述了英国作家如何根据盗版的隐喻语言来塑造他们对西班牙材料的模仿和模仿行为，这唤起并美化了对西班牙材料的强制、敌意接管。…
The Poetics of Piracy: Emulating Spain in English Literature By Barbara Fuchs Philadelphia: University of Pennsylvania Press, 2013 What would the discipline of Anglo-Spanish literary relations look like if the lost play Cardenio by William Shakespeare and John Fletcher, based on Miguel de Cervantes's Don Quijote, were discovered? As Barbara Fuchs explains in the introduction to her exceptional book, The Poetics of Piracy: Emulating Spain in English Literature, Cardenio is the Holy Grail and the "absent presence" (1) of Anglo-Spanish culture. The Poetics of Piracy is, in many ways, a response to the surge of high-profile interest in this "absent center" (1), as seen in endeavors ranging from Stephen Greenblatt's The Cardenio Project (2003) through Gregory Doran's rewriting of Cardenio for the RSC (2011) to an Arden edition of Lewis Theobald's Double Falsehood (2010), an eighteenth-century adaptation of Cardenio. In the introduction and final two chapters of the book, Fuchs engages directly with the textual history of Cardenio, offering sustained critiques of recent bibliographic, academic, and creative approaches to the play in order to question its centrality to the discipline and to demonstrate how its prominence is rooted in both Hispanophobia and good, old-fashioned Bardolatry. Yet, Fuchs's project is much more than an intervention in the debate surrounding the absence of this lost play; The Poetics of Piracy skillfully and cogently exposes "the Spanish connection that makes sense of Cardenio" (1), the vibrant, sustained, and often paradoxical networks of relations between English and Spanish culture. The early modern period represents an era of tension between Spain and England, with especially strained feelings mounting at pivotal moments such as the hostilities culminating in the Armada; piracy, privateering, and the feud for wealth and power in the New World; the failed courtship of Prince Charles and the Spanish Infanta; and the Thirty Years' War. These incidents affected the reception of Spanish texts in surprising ways. As a Catholic superpower, Spain posed significant political and ideological threats to England. English racial bigotry impacted the perception of Spaniards, who were feared not only for their Catholicism but also for their supposed Moorish or Jewish heritage. Essential to the national imagination and to the self-construction of Englishness was a differentiation from Catholic continental Europe and a perception of England as a strong, unique Protestant nation. Paradoxically, despite the abundance of documented hostility towards Spain, readers continued to enjoy Spanish literature throughout the period and steadily increasing numbers sought to learn the language. As Fuchs explains, "The cultural fascination with Spain never waned, even when it was most inconvenient in military or religious terms" (9). Spanish literary genres, forms, and plots inspired myriad Elizabethan and Jacobean writers, including many studied by Fuchs, yet the prominent role of Spanish literature in shaping English literary culture is habitually overlooked. This, Fuchs posits, may be attributed to "frequent unthinking prejudices about Spain," which she identifies as "a kind of intellectual 'Black Legend' " (8). Fuchs illuminates and historicizes these prejudices and returns Spain to its rightful place of belonging in studies of the transnational character of early modern English literature; she examines the politically and aesthetically charged cultural traffic between Spain and England, "trac[ing] the emergence of a national canon for England in the context of its rivalry with Spain" (4), thereby providing a stimulating, and more accurate, picture of English literary culture. In Chapter 1, "Forcible Translation," Fuchs elucidates how English writers style their acts of imitatio and translatio of Spanish material according to metaphorical language of piracy, which evokes and glorifies a forceful, hostile takeover of Spanish material. …