Abstract

In her 2008 monograph Unto the Breach: Martial Formations, Historical Trauma, and the Early Modern Stage, Patricia A. Cahill argues that critics of Renaissance literature have thus far failed to ‘reckon with the fact that early modern traumatic experience is defined not only by its subject matter … but also by what can be described as its “belated” and “latent” temporal structure’. Which is to say that the hallmark of trauma – both early modern and modern – is the delayed manifestation of the signs and symptoms that evince the originary experience having taken place; as such, trauma is defined by the period of latency that follows the instigating event, known only by the belated arrival of symptoms attesting to it. Since then, scholars have begun to interrogate the ways in which early modern literature appears to anticipate later cultural and theoretical configurations of trauma. By examining the significance of trauma and intertextuality in Shakespeare’s The Rape of Lucrece (1594), this essay builds on the insights of a strong and diverse body of research that continues to attend to the complex role of trauma in early modern literature. By reading The Rape of Lucrece in the context of and also through Shakespeare’s Ovidian source material, this essay suggests that the very act of returning to Ovid formally encodes the distinctive and disturbing structure of trauma into Shakespeare’s depiction of responses to extreme experience.

中文翻译：

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“太多的悲伤而不是舌头”：莎士比亚的《卢克瑞斯的强奸》中的创伤和互文性

摘要

在她的2008年专着《突破：军事形态，历史创伤和早期早期阶段》中，帕特里夏·卡希尔（Patricia A. Cahill）认为，迄今为止，文艺复兴时期的文学批评家们未能“接受”这样一个事实：早期的现代创伤经历不仅由其主题来定义，而且还可以由其“迟来的”和“潜伏的”来定义。 “时间结构”。这就是说，无论是近代的还是近代的，创伤的标志都是迹象和症状的延迟表现，这些迹象和症状表明发生了原始的经历；因此，创伤是由诱发事件后的潜伏期定义的，只有通过证明其症状的迟来才知道。从那时起，学者们开始质疑早期现代文学似乎预见了创伤的后期文化和理论构想的方式。 这篇文章以强暴的卢克雷斯（1594）为基础，基于对强大而多样的研究机构的见解，这些研究机构继续致力于早期现代文学中创伤的复杂作用。通过 在莎士比亚的《奥维迪亚》原始资料的背景下并通过莎士比亚的《奥维多》原著阅读 《强奸卢克勒斯》，这篇文章表明，重返奥维德的行为正式将创伤的独特而令人不安的结构编码成莎士比亚对极端体验的反应的描述。