ABSTRACT

In this essay, I analyze how Joanna Baillie deploys various generic devices such as songs, chants, and Scottish dialects, as well as a prose play that breaks with her traditional verse dramas, to vocalize women’s protests in The Phantom and Witchcraft. Through such generic fissures in these dramas, Baillie creates a space for questioning sincerity and authority in male-dominated Scotland. Engaging in debates about witchcraft, Christian faith, clan authority, and English law, several of Baillie’s women characters in these plays enact diverse forms of protest against male pride and religious and state authority. In The Phantom, quotidian ballads act as simulacra of the real life secret loves involving Emma Graham, Basil Gordon, Malcolm Dunarden, and Claude Denison and illustrate how such public, communal narratives articulate openly the silenced confessions revealed at the play’s shocking conclusion. In Witchcraft, Baillie uses differing class dialects for Annabella Gordon’s and Grizeld Bane’s protests that reassess Scottish social and legal perspectives on women’s suffering during the witch hunt craze in Scotland. I argue that it is these moments of hybrid generic juxtaposition in both plays that the sincere voice of truth can be heard and that voice is often that of a woman.

摘要

在这篇文章中，我分析了乔安娜·贝莉 (Joanna Baillie) 如何运用歌曲、圣歌和苏格兰方言等各种通用手段，以及打破传统诗歌剧的散文剧，在《幽灵与巫术》中表达女性的抗议。通过这些戏剧中的这种普遍裂缝，贝利创造了一个质疑男性主导的苏格兰的诚意和权威的空间。参与关于巫术、基督教信仰、氏族权威和英国法律的辩论，这些剧中贝利的几个女性角色制定了各种形式的对男性自豪感以及宗教和国家权威的抗议。在幻影中，日常民谣模仿了现实生活中的秘密爱情，涉及艾玛格雷厄姆、巴兹尔戈登、马尔科姆邓纳登和克劳德丹尼森，并说明了这种公开的、共同的叙事如何公开表达戏剧令人震惊的结局所揭示的沉默的忏悔。在Witchcraft 中，Baillie 为 Annabella Gordon 和 Grizeld Bane 的抗议使用了不同的阶级方言，这些抗议重新评估了苏格兰在女巫追捕热潮中对女性苦难的社会和法律观点。我认为，正是这两部剧中混合通用并置的这些时刻，才能听到真实的真实声音，而那个声音通常是女性的声音。