重啟維吉爾史詩中的女性意識：勒瑰恩的《拉薇妮雅》

Reclaiming Female Consciousness in Virgil’s Epic: Ursula K. Le Guin’s Lavinia

勒瑰恩於2008年出版生平最後一部長篇小說《拉薇妮雅》，以女性敘事角度重寫詩人維吉爾為羅馬帝國所寫的開國史詩《伊尼亞斯紀》後半部，並接續敘述拉薇妮雅養育幼子長成，成為羅馬人祖先。拉薇妮雅在父權史詩傳統下從未有過自己的話語權，但她不僅是戰爭的導因，更是特洛伊人得以順利地轉變為羅馬人的關鍵角色。本文著眼於勒瑰恩如何藉由拉薇妮雅作為第一人稱敘事者，運用中世紀翻譯詩學與克瑞絲緹娃所提出的女性時間的寫作策略，來形塑小說中的女性意識。在二十一世紀這波女性作家重新詮釋古典史詩傳統的浪潮中，勒瑰恩的作法與眾不同，她不以女性主義的角度批判維吉爾的英雄敘事，相反地，小說後記裡寫明這部作品代表她對維吉爾的感激與愛，然而本文進一步主張，勒瑰恩在小說中呈現出的道德意識是她身為創作者與維吉爾在書寫同個故事材料時；關於創作者話語權一爭擅場的關鍵，在道德領域的堅持裡，勒瑰恩展現了高於原著的女性道德意識境界。

Lavinia, Ursula K. Le Guin’s final novel published in 2008, reimagines the latter part of Virgil’s Aeneid. Serving as a kind of sequel, the novel goes on to illustrate Lavinia’s pivotal role in nurturing her child, the future progenitor of Romans. Although Lavinia is a key figure who becomes the cause of the war and has a prominent role in helping the Trojans become the Romans, she has never had her own voice in the patriarchal epic tradition. This study delves into how Le Guin utilizes medieval concepts of translatio imperii et studii as well as Julia Kristeva’s concept of women’s time to shape Lavinia’s first-person narrative voice and its female consciousness. In contrast to other female writers who write back to classical works, Le Guin adopts a stance of reverence, describing her work as“an act of gratitude”and“a love offering”to Virgil in the afterword of the novel. However, this article posits that while Le Guin refrains from overt criticism, she establishes a higher moral standard within the narrative. By doing so, Le Guin subtly engages in a nuanced rivalry with Virgil for authorial authority, demonstrating an elevated sense of female moral consciousness.