Although the title hero never sets foot onstage during the play, Corneille’s tragedy La Mort de Pompée (1643) offers one of the author’s most extensive and gruesome engagements with the corporeality of death. Having been led into a trap set by the cowardly Egyptian king Ptolomée, the Roman military hero Pompée is cruelly assassinated early in the play; his dead body is then decapitated, and then dumped into the sea, while his head is triumphantly presented to his horrified military rival César. Although, as I demonstrate, a vocabulary of vileness recurs throughout the play in words such as ‘vil’, ‘bas’, and ‘abject’, it is not — as we might expect — Pompée’s mutilated corpse that is depicted in such terms. Paradoxically, the body itself retains a certain moral (if not physical) integrity; both Pompée’s head and trunk serve as touchstones for the nobility or villainy of those who encounter them. For the nobler characters, Pompée’s corpse evokes the grandeur of his heroic past. Conversely, the stain of vileness and villainy is displaced from the corpse itself onto Pompée’s cruel assassins and the craven king who authorized the murder — those who prove too base to recognize the true horror of their deeds.

中文翻译：

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暴力与暴力：山茱Corp尸体

尽管标题英雄从未在剧本中站上舞台，但科尼耶尔的悲剧《蓬皮酒》（La Mort dePompée（1643））却是作者关于死亡的肉体最广泛，最令人毛骨悚然的作品之一。罗马军事英雄庞培（Pompée）被怯co的埃及国王托托洛米（Ptolomée）引诱入陷阱，在剧情初期被残酷暗杀。然后，他的尸体被斩首，然后被扔到海中，而他的头则被胜利地呈现给了恐怖的军事对手塞萨尔。尽管正如我所展示的那样，在整个剧中反复出现了“邪恶”的词汇，诸如“ vil”，“ bas”和“ abject”之类的词，但正如我们所期望的那样，庞培残废的尸体并非如此。矛盾的是，身体本身保持了一定的道德（如果不是身体的话）完整性。庞培的头和躯干都是遇到它们的人的贵族或反派的试金石。对于庞然大物，庞培的尸体唤起了他英雄时代的宏伟。相反，污秽和卑鄙的污点已从尸体本身转移到庞培的残酷刺客和授权谋杀的野蛮国王身上，这些人太卑鄙，无法认清自己的行为的真实恐怖。