約翰‧黎里的《嘎樂媞亞》：模因、異性裝扮、模似

John Lyly's Galatea: Memes, Cross-Dressing, and Likeness

約翰‧黎里的《嘎樂媞亞》（1584）是一部專為伊莉莎白一世撰寫、演出的美善宮庭喜劇，撰於《坎珮絲珮》（1583）及《莎芙與費歐》（1583）之後，為黎里的第一組宮廷系列的第三部作品，參與了作者頌揚伊莉莎白一世「以閏女之姿作為一國之君」及「以貞女之態作為一國之母」的承繼性「女王崇拜」。此外，《嘎樂媞亞》延續了黎里的首部小說《尤弗伊斯：智慧的剖析》（1578），首次改編了父女之間的爭執與男性之間的「因相似而相怨」，並藉由雙重異性裝扮，讓女性「因相似而相愛」的劇情得以對應父權的失能。因此，本文旨在探索《嘎樂媞亞》中的特定人物或概念，如何透過模仿而經歷「模因」般地複製、甚至突變，卻仍能展現與女王美善之間的關聯。本文析究黎里如何藉由首席觀眾的風采，重新定義了《嘎樂媞亞》中台上臣民與台下伊莉莎白一世的主從關係：檢視恆久不變及多重面向的女王，猶如神聖完美的典範，在她的看顧下，處女獻祭的人選、流浪的男童、異性裝扮的閏女如何透過不同的方式尋覓相同的庇護。

John Lyly's Galatea (1584) is a court comedy of virtue, which was written specifically to be performed before Elizabeth I. Composed after Campaspe (1583) and Sapho and Phao (1584), Galatea is the third in Lyly's first series of court comedies, and situated within the author's successive approaches to the cult of Elizabeth I, who was worshipped as the Maiden Queen of England and the Virgin Mother of her nation. Furthermore, after the playwright's first prose fiction work, Euphues: The Anatomy of Wit (1578), Galatea is also Lyly's first play to revise the motif of father-daughter disagreement and to rethink conflicting male likenesses. Through double cross-dressing, two females' love of being alike is thus dramatized in response to the dysfunction of patriarchal authority. Accordingly, this article explores the way in which certain figures or ideas are reproduced, even mutated through imitation, as memes in the play relating to the queen's virtue. Given the presence of the queen at the play's performance, this article explores how far Lyly redefines the subordinate relationship of the on-stage subjects to the off-stage Queen Elizabeth I: examining how the sacrificial virgins, vagrant boys, and cross-dressed maidens of Galatea seek various routes to the same shelter under the eye of the constant and multidimensional queen who stands in as an exemplar of divine perfection.