Cosman B C
Surgical Service, San Diego Veterans Affairs Health System, California 92161-5017, USA.
Dis Colon Rectum. 1998 Jul;41(7):914-24. doi: 10.1007/BF02235378.
Textual and contextual evidence suggests that the French king's fistula, a central plot device in Shakespeare's play All's Well That Ends Well, is a fistula-in-ano. Anal fistula was known to the lay public in Shakespeare's time. In addition, Shakespeare may have known of the anal fistula treatise of John Arderne, an ancestor on Shakespeare's mother's side. Shakespeare's use of anal fistula differs from all previous versions of the story, which first appeared in Boccaccio's Decameron and from its possible historical antecedent, the fistula of Charles V of France. This difference makes sense given the conventions of Elizabethan comedy, which included anal humor. It is also understandable when one looks at what wounds in different locations mean in European legend. In this light, it is not surprising that subsequent expurgations treat Boccaccio's and Shakespeare's fistulas differently, censoring only Shakespeare's. This reading has implications for the staging of All's Well That Ends Well, and for our view of the place of anal fistulas in cultural history.
文本及上下文证据表明,在莎士比亚戏剧《终成眷属》中作为核心情节设置的法国国王的瘘管,是肛瘘。在莎士比亚时代,肛瘘为普通大众所知。此外,莎士比亚可能知晓其母系祖先约翰·阿登的肛瘘论著。莎士比亚对肛瘘的运用与该故事此前所有版本不同,该故事最早出现在薄伽丘的《十日谈》中,也与它可能的历史原型——法国国王查理五世的瘘管不同。考虑到伊丽莎白时代喜剧包含肛门幽默的惯例,这种差异是合理的。当我们审视欧洲传说中不同部位伤口的意义时,这也不难理解。有鉴于此,后世的删改对薄伽丘和莎士比亚的瘘管处理方式不同,只对莎士比亚的进行了审查,就不足为奇了。这种解读对《终成眷属》的舞台呈现以及我们对肛瘘在文化历史中地位 的看法都有影响。