Perry R D
Lit Med. 2015 Fall;33(2):326-47. doi: 10.1353/lm.2015.0024.
This essay argues that the foundational traumatic lacuna behind John Lydgate's Danse Macabre is the social agon between those who wage the Hundred Years War and those who fight in it. Drawing from the insights of trauma theory to discuss the poem's form, the essay uncovers Lydgate's persistent concern with the damage caused by the war and the concomitant political unrest it causes. It argues further that Lydgate theorized this agon using the emergent genre of tragedy, which is beginning to be practiced anew in late-medieval England. Tragic discourse is riven by concerns about the efficacy of human action and the radical contingency of fortune, creating a crisis of agency that can be used as a form of political critique. Ultimately, Lydgate blends the genre of tragedy with the mirror for princes and estates satire genres to argue that, while everyone must eventually dance with death, during war some estates lead the dance.
本文认为，约翰·利德盖特的《死亡之舞》背后的基础性创伤空白是发动百年战争的人和参战的人之间的社会冲突。本文借鉴创伤理论的见解来探讨这首诗的形式，揭示了利德盖特对战争造成的破坏及其引发的政治动荡的持续关注。本文进一步认为，利德盖特利用新兴的悲剧体裁对这种冲突进行了理论化，这种体裁在中世纪晚期的英国开始重新得到运用。悲剧话语因对人类行动的效力和命运的极端偶然性的担忧而四分五裂，制造了一种能动性危机，可被用作一种政治批判形式。最终，利德盖特将悲剧体裁与王子之镜和阶层讽刺体裁相融合，认为虽然每个人最终都必须与死亡共舞，但在战争期间，一些阶层引领着这场舞蹈。
