Spectacle of Specter and Specter of Revolution in Donizetti's Opera Maria de Rudenz

幽靈顯影與革命幽靈：董尼采第之歌劇瑪利亞盧登茲

10.30095/SYJH.200806.0005

王寶祥(Pao-Hsiang Wang)

哥特風格志異風 ； 歌劇 ； 馬修路易斯小說僧侶 ； 董尼采第 ； 義大利復興運動 ； 奧地利啓蒙 ； Gothic ； opera ； Matthew Lewis's The Monk ； Donizetti ； Risorgimento ； Austrian Enlightenment

中山人文學報

25期（2008 / 06 / 01）

93 - 110

英文

根據志異小說《僧侶》改編的董尼采第歌劇《瑪利亞盧登茲》藉由其〈暴力愛〉的母題隱含了義大利當時爲異族統治，遭到暴力監控的批判。這齣向來被視爲內容晦暗的敗作，正以其晦澀來照亮奧地利啟蒙之光的盲點：哈布氏堡王朝的高壓統治，一方面嚴苛審查義大利歌劇，另方面卻鼓勵本地菁英光顧劇院，以就近監控。表面上是哥特式強烈的愛恨情仇又血腥的通俗歌劇，但透過女主人翁不斷的起死回生，可以解讀爲女主角以空間的優勢，對抗外來僭越男主人翁之企圖操控時間性，由此暗喻義大利暗中風起雲湧的地下復興運動也正伺機竄出挑戰奧地利專制啟蒙。

Maria tie Rudenz (1838), a Romantic opera with music by Donizetti and libretto by Cammarano, is loosely based on the Bleeding Nun episode from Matthew Lewis’ Gothic novel The Monks (1796). Its amore violento motif reveals beyond its melodramatic façade the repressive foreign rule of censorship in Italy; whereas the obscurity of the opera and the gloom of its strong subject arc historicized as a foil against the paradoxical Austrian Enlightenment, which favored closely watched stage darkness over unmonitored nocturnal acts. If such an enlightened supervision rules out any spectacle of revolt, it ironically makes way for the spectacle of a specter repeatedly rising in revolt against an outside intruder as seen in the opera. The heroine Maria's repeated deaths and resurrections, rises and falls, are interpreted in the historical and cultural backdrop of the Risorgimento upsurge in Italy during the Romantic era. Her mastery of space, from surviving being buried alive in the grotto to reclaiming her land and inheritance, is studied in contrast to her beloved arch-rival Corrado's bid to manipulate time through erasing his past and erecting his future of possessing Maria's castle. The heroine's final death is discussed not only as a resolution of vendetta hut also a triumph of feminine and native resilience.

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