司摩利特和斯特恩的壯遊小說中的（不）好客與權力

In/Hospitality and Power in Tobias Smollett’s and Laurence Sterne’s Grand Tour Novels

本文從（不）好客的觀點，檢視斯特恩與司摩利特旅行小說針鋒相對的立場。斯特恩的尤瑞克使手段介入主人／賓客間的互動，藉此維持控制權。他的技倆是開啟一個暫時的空間，搖身變成臨時的主人。反觀司摩利特的寫信者從跨文化互動之初就放棄權力，讓自己的角色侷限在被動的接受者／消費者或賓客上，以致淪為軟弱無能之輩。和目前許多人一樣，司摩利特的寫信者身處陌生環境中，規則已然改變，卻欠缺開鑿自主空間的工具，無法保持影響力、行動力和權力。《感傷旅行》可能不只為《法義之旅》中的困頓觀光客提供解方或出路；儘管《感傷旅行》嘲弄司摩利特的書信體旅遊小說，但卻極為積極的回應了嚴重的跨文化問題。斯特恩透過筆下的媒介尤瑞克，提供一種新發明的有效對策，解決旅遊業常見的觀光客-消費者缺乏行動力和權力的現象。時至今日，觀光客對此依然心有戚戚焉。

This paper examines the antagonism between Laurence Sterne’s and Tobias Smollett’s respective travel novels from the perspective of in/hospitality. Sterne’s Yorick is able to preserve sovereignty via legerdemain over the host/guest dynamic. His trick is to open up a provisional space where he becomes a temporary host. Smollett’s correspondent, by contrast, cedes power at the beginning in cross-cultural interaction, rendering himself impotent by limiting himself to the role of a passive recipient/consumer, or guest. Like many just now, Smollett’s correspondent lacks the tools to carve out an autonomous space in a strange environment with altered rules, so as to retain influence, agency, and power. A Sentimental Journey may present more than a solution or way out for the stymied tourist-narrator in Travels. Despite its mockery of Smollett’s epistolary travel novel, it is nevertheless a profoundly positive response to a serious cross-cultural problem. Sterne, through his vehicle, Yorick, provides an inventive and effective solution to lack of agency and power plaguing the tourist-consumer of hospitality, which may still resonate with travelers today.