Translational Space and Representation of Emotion: Vergil and Shakespeare

翻譯的空間與情感再現：維吉爾與莎士比亞

10.30095/SYJH.200606.0008

李鍾淑(Jongsook Lee)

哈姆雷特 ； 伊尼亞德 ； 戴朵 ； 翻譯的空間 ； 互文性 ； 女性聲音 ； Hamlet ； Aeneid ； Dido ； Translational space ； Intertextuality ； Women's voice

中山人文學報

22期（2006 / 06 / 01）

147 - 158

英文

本文解讀《哈姆雷特》第二幕第二景。哈姆雷特在這一景的作為－回溯記憶的記憶－勾勒出他採取何種方法寫出與說出他的故事，並且表現他的情感，也就是「沒說出的才是真要表達的」。在這一景，哈姆雷特回想起且講述「依尼亞斯對戴朵說的故事」，但他所敘述的故事並非來自是他對文本的確實記憶。它既非翻譯自維吉爾的《伊尼亞德》，也非重組自馬洛－奈許的《迦太基女王戴朵》。哈姆雷特的回憶包含對不同版本特洛依傳說的呼應、記憶、錯記與錯置的隱涉。藉由這些回應與回憶，哈姆雷特建構了自己的故事。他每次提及的典故皆形成了其自身獨特的文字與情感敘事，而他的自我意識所要形成的故事正是由許多上述所提敘事之集大成。透過「依尼亞斯對戴朵說的故事」訴說哈姆雷特自己的故事正是《哈姆雷特》這齣劇的提喻法。

This paper offers a reading of Hamlet, Act 2, Scene 2. What Hamlet does in this scene-the remembering of memories of memories-epitomizes the method Hamlet adopts to write and tell his story, to represent his emotion, ”that within which passes show.” Hamlet recalls and recounts ”Aeneas' tale to Dido” in this scene, but that tale is not a straightforward recollection of one text. It is neither a translation of Vergil's Aeneid nor a reconstruction of Marlowe-Nashe's The Tragedy of Dido, Queen of Carthage. Hamlet's recollection contains echoes and memories of, and sometimes mis-remembered and misplaced allusions to, various versions of the Troy story. Through these echoes and memories Hamlet constructs his own story. Every allusion made by Hamlet mobilizes its own ad hoc literary and emotional narrative, and Hamlet's subjectified story is the total of many such narratives. Hamlet's story told through ”Aeneas' tale to Dido” in this scene is a synecdoche of Hamlet, the play.

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