镜像阶段理论视角下《第十二夜》马伏里奥身份建构的失败

On Malvolio’s Failure in Identity Construction in Twelfth Night from Lacan’s Mirror Stage Theory

马伏里奥是莎士比亚《第十二夜》中不可忽视的一个角色。从雅克·拉康的镜像阶段理论来看,马伏里奥对自我定位不够准确,将真实自我与信件描绘的理想自我统一起来,在自己和他人制造的幻象之镜里误认了自己的身份。剧中如奥丽维娅、玛利娅、信件这样的他者,误导了马伏里奥对自我的准确定位,使其自我产生"主体异化"的现象。他既对自己在奥丽维娅府中的身份定位缺乏清醒认知,又无法识破他人的诡计,稳固自己的管家职位,提升自己在府中的权威,因而导致其试图建构自我形象的失败。

Malvolio is indispensable in William Shakespeare’s Twelfth Night. From the view of Jacques Lacan’s theory of "the Mirror Stage", Malvolio can not recognize his real "Self" in a right way,and compromises with his imaginary "Self" in the letter, therefore he misidentifies himself in the mirror of his and others’ imagination, which leads to his real Self’s alienation from subjectivity. The Other(such as Olivia, Maria and Maria’s letter) in the play confuses Malvolio with their words and behaviors and causes him to fail to recognize his real "Self". Malvolio cannot solidify and enhance his status as a steward, and he cannot see through others’ tricks, either. In the end, he fails to shape a clear mind about his status in Olivia’s house, which accelerates his failure on his self-identity construction.