維徹利《村婦》中的浪蕩子與失能者

The Libertine and the Disabled in William Wycherley's The Country Wife

本文旨在透過剖析維徹利（William Wycherley）在《村婦》（The Country Wife, 1675）一劇中，如何刻劃主角霍能（Horner）與其他女性角色間的情慾關係，來分析霍能如何藉由其浪蕩子性活力陽剛氣質的展現，呈現出有能與失能的浪蕩子樣貌，以及這些不同樣貌與得勢／失勢間可能的多重組合。細究「有能／失能」以及「得勢／失勢」間的多重組合我們可以發現，霍能在本劇一開始所採取的失能扮裝策略，雖然讓其陷入被其他女性角色唾棄，進而無法打入她們的社交圈的危機；然而透過運用同一策略來讓這些女性角色的丈夫卸下心防，以及適時地在這些女性角色的面前捨棄此一扮裝的方式，霍能依舊順利地滿足其情慾追求的目的。檢視這樣的過程可以讓我們發現，霍能的失能扮裝策略，除了讓讀者們看到前現代時期浪蕩子的典型與非典型形象之外，也呈現出前現代時期失能者除了可能被屏除在社交圈之外，還要面臨可能被有能者利用的困境。總地來說，讀者們可以透過閱讀維徹利《村婦》一劇，來更加了解前現代時期浪蕩子以及失能者的樣貌和社會地位。

This paper examines how William Wycherley depicts relationships between the libertine character Horner and other female characters in The Country Wife (1675). Such examinations will demonstrate how Horner presents himself as an abled and disabled libertine based on his libertine sexual vigor and in what ways his double identities render him powerful and/or powerless at different times in the play. As I will show, Horner adopts the disability drag strategy to pursue his sexual pleasure at the beginning of the play. Although this risky strategy initially makes other female characters feel disgusted with Horner, he nevertheless successfully carries out his sexual pursuits by deceiving husbands of those female characters into believing his faked disabled sexual condition and by abandoning this disguise in the face of other female characters. In this way, Horner's disability drag strategy reveals not only the typical and atypical libertine images, but also the problems that the disabled may encounter in the early modern period. In short, readers will arrive at a fuller picture in which they will find features and social status of libertines and those of the disabled in the early modern period after reading Wycherley's The Country Wife.