王位排除危機脈絡下的《亨利六世》：《內戰悲歌》中的雙重史觀與恐懼詩學

Henry VI in the Exclusion Crisis: Dual History and the Poetics of Fear in ＂The Misery of Civil War＂

一六七九年，英國下議院「在野派」議員提出「排除法案」欲將查爾斯二世的繼承人詹姆士從繼承權中排除，以避免天主教徒再登王位的危機。此舉遭「宮廷派」議員強烈反對。因兩派分歧難消，倫敦瀰漫對立氛圍，公眾場合常有意見不同者對峙。劇院興起涉及「排除危機」的政治劇目，故學者曾以「政治的八○年代」形容其劇場生態。劇目中，尤以約翰‧克羅恩（John Crowne）的《內戰悲歌》（The Misery of Civil War；莎劇《亨利六世》改編）最為引人注目，因其首演時觀眾不滿劇中保皇立場而攻擊演員，迫使當局暫閉劇場。《內戰悲歌》之保皇立場誠然可見，然本文主張，此劇在以統治者視角宣揚皇權的主要表述外，亦蘊含具批評意味的言外之意與庶民史觀。克羅恩大幅刪減莎士比亞對英雄戰場的描寫，加強平民因內戰而生離死別的慘境，修正「王位排除危機」中對「內戰」一詞的詮釋，以強調私領域的寫作手法弱化高層政治的基調，在高層政治之外嵌入了不強調法理論述，而注重渲染恐懼情感的通俗平民詩學。

In 1679, the ＂Country＂ opposition championed by the Earl of Shaftesbury introduced the Exclusion Bill in the House of Commons in order to exclude the Catholic heir presumptive, the Duke of York, from succession. The ＂Court Party,＂ on the other hand, soon rallied against the Exclusionists on the grounds of royal prerogative and the precedence of hereditary succession. Partisan opposition and anxiety came to poisonous fruition on the London stage during what Robert Hume termed ＂the political eighties,＂ resulting in a series of political plays that registered England’s factious disputes surrounding the Popish Plot and the Exclusion Crisis. Among them, The Misery of Civil War, an adaptation of Shakespeare's Henry the Sixth by John Crowne, riveted most attention because a riot provoked by the play's Toryism broke out at the play's premiere. Though overtly royalist in its treatments of high politics, the play voices alternative and critical comments on history as seen through the eyes of the common people. Crowne deleted a good number of Shakespeare's battlefield scenes, focusing instead on the dislocations, separations, and deaths caused by civil wars. Revising the definition of civil war outlined in the Exclusion Crisis, Crowne repositioned the play's outlook away from high politics and towards the private sphere. The Misery of Civil War thus features a poetics of fear that emphasizes emotional appeal instead of jurisprudential reasoning.