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達拉薇爾‧曼麗《新亞特蘭提斯》之朱文諾式諷刺懷舊 Juvenalian Satiric Nostalgia in Delarivier Manley’s The New Atalantis


作者
蘇靖棻
Author
Jing-Fen SU
摘要

許多學者透過瓦羅尼安式(Varronian)或盧西安式(Lucianic)的諷刺手法探討達拉薇爾.曼麗的《新亞特蘭提斯》(1709)。本文則審視曼麗作品中朱文諾式諷刺懷舊(Juvenalian satiric nostalgia)的元素。透過分析曼麗的框架人物―正義女神阿斯特里亞(Justice)和美德女神(Virtue),筆者主張她們體現批評人性普遍道德敗壞的朱文諾式諷刺家,強調她們對當代墮落世界猛烈抨擊,同時對過去具備更高道德標準和美德生活的黃金時代充滿懷舊渴望。這些框架人物不僅僅是朱文諾式諷刺家,憧憬輝煌的過去,感嘆現今世風日下、道德淪喪,更扮演雙重角色,因其自身就代表過去黃金時代的道德典範,亦即諷刺家用以衡量當代人類墮落的高尚標準。曼麗的作品傳達「懷舊」而非「革命」的情感,其朱文諾式諷刺家角色希望改變這個腐敗的世界,回到他們記憶中的前一個理想化的黃金時代,那是一個人們展現出更高美德、貞潔和謙遜的時代。

Synopsis

Many scholars have explored Delarivier Manley’s The New Atalantis (1709) through the lens of Varronian or Lucianic satire. This essay, however, shifts focus to examine the elements of Juvenalian satiric nostalgia within Manley’s work. By analyzing Manley’s frame characters, the goddesses Astrea (Justice) and Virtue, as embodiments of Juvenalian satirists who critique humanity’s moral decay, I underscore their vehement attack at the contemporary depraved world alongside their nostalgic yearning for a past golden era characterized by higher moral standards and virtuous living. Extending from the Juvenalian satirist who longs for the admirable, glorious past and laments the loss of virtue in the present vicious age, Manley’s frame characters themselves represent such positive exemplary of the golden past, occupying the dual roles of the satirist and the high standards against which the satirists measure contemporary human depravity. Being “nostalgic” rather than “revolutionary,” Manley’s Juvenalian satirists aspire to reform the corrupt world and return to an idealized golden era in their memory, a time when people displayed enhanced virtue, chastity, and modesty.

* An earlier version of this essay was presented at the International Literature Conference on “Memory: The Captive & The Fugitive,” held at National Taipei University of Technology from October 21 to October 22, 2022. The author extends sincere gratitude to the conference participants for their valuable feedback, and especially to the anonymous reviewers of the manuscript. Without their insightful suggestions and comments, this essay would not have reached its current form.

第二十二期序From the Editor

/ 余哲安Brian Reynolds

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