被忽略的聲音，被遺忘的英雄：伊麗莎白時期的士卒悲歌

Voices Unheard, Heroes Unsung: Elegies on Elizabethan Unsung Heroes

在伊麗莎白一世晚年，年邁的女王為了使英國成為歐洲最強大的專制王國，不惜多次大舉徵兵以對抗西班牙的無敵艦隊。當時英國境內的勞動階級（包括佃農及工匠）都被強制徵召成為專制王權對外戰爭的砲灰。這些人離開工作崗位到戰場上，遠離家鄉、拋家棄子為國拼鬥，但當時的伊麗莎白政府卻並無安置退伍軍人的計畫。伊麗莎白的西班牙戰爭，讓許多無辜百姓戰死沙場，僥倖存活的，不是終身傷殘無法工作養家，便是流落倫敦街頭以乞討為生，甚至是以戰場上學得的使用致命武器技術，來偷竊搶劫甚至當起職業殺手。女王不但沒有傾聽這些退伍軍人的聲音，還因害怕這些無雇主的流民會威脅到她而再三下令圍剿。當時備受戰爭、飢荒、瘟疫所苦的英國百姓，對此是敢怒不敢言。但是伊麗莎白時期的劇作家不約而同地將他們對流民及退伍軍人的關懷，由他們作品的小人物身上表現出來。不論是佚名作家在《費爾沙姆的亞頓》中的殺手型退伍軍人雪克貝格和威爾，戴克在《鞋匠假期》中困戰爭而傷殘的萊爾夫，莎士比亞在《亨利王劇》中永不妥協的威廉斯，或是布蒙在《工人騎士》中寧可慘死家中也不顧戰死沙場的雷夫。經由這些小人物之口，文藝復興時期的劇作家藉由劇場舞台傳達當時百姓被壓抑的聲音。本論文的目的便是檢驗這些被壓抑的聲音如何重現在文藝復興劇場上，以瞭解劇作家如何透過劇場表達對時政的不滿。

In the last phase of the Elizabethan reign, the aging Queen enacted national conscriptions for her Spanish wars in order to consolidate England as the most powerful absolutist state in Europe. England's laboring-class people were forcibly drafted from their homeland to become cannon fodder for the Queen's absolutist ambitions. They were taken away from their work positions to fight for the Queen's nationalistic course, while leaving their wives and children unattended in the homeland. What made their situation even more miserable was that the Elizabethan government was so preoccupied with its absolutist expansion that it had neither time nor energy to attend to its veterans' job placement after they returned home. Queen Elizabeth's Spanish wars killed numerous innocent laboring-class soldiers, but the survivors soon found themselves even more desperate than the dead. Some were permanently disabled and were not able to support their families. Others became masterless men begging in the streets of London. And still others used the knowledge they acquired from the battlefield to steal, rob, or even work as professional assassins. Instead of listening to the popular voices of these veteran soldiers, the Queen feared that they would jeopardize her personal security, so she enacted royal proclamations and authorized the lord marshal in London to round them up. The popular voices of the people were curbed, with no way of becoming heard. Yet, Renaissance playwrights unanimously expressed their concerns for masterless men and veteran soldiers through the minor characters in their works. Through their depiction of these minor character, Renaissance dramatists managed to represent the repressed voices of the laboring-class people. This article aims to examine how these repressed voices were represented on the Renaissance stage and how Renaissance playwrights used their stage as a medium to vocalize the discontent of the people.