【简译】伊丽莎白一世：形象的力量

2022-09-12 10:51 作者:神尾智代 0人读过 | 我要投稿

Aware of the power of appearances, Elizabeth I of England (r. 1558-1603 CE) carefully controlled her image throughout her reign and through costume, hair, jewellery, and art, she presented herself as the great Virgin Queen. Like a goddess of antiquity, Elizabeth announced that she had sacrificed her own personal inclinations to rule for the good of her people. The cult of the queen was further fuelled by the literature of the period, and for those who could not witness the marvellous spectacle of the queen's great dresses, jewels, and wigs, there were official royal portraits which were packed with symbolic meaning. Elizabeth I is still venerated today as one of the great rulers of English history, and this is thanks not only to her achievements as a monarch but also to the memorable invention of herself as a legend in her own lifetime.

意识到形象的力量，英国的伊丽莎白一世（1558-1603在位）在整个统治期间都小心翼翼地注重自己的形象；通过服装、发型、珠宝和艺术，她把自己表现为伟大的贞洁女王。像古代的女神一样，伊丽莎白宣布自己已经牺牲了个人意志，愿为了人民的利益而统治。这一时期的文学作品进一步助长了人民对女王的崇拜，对于那些无法目睹女王的伟大礼服、珠宝和假发的奇妙景象的人来说，官方推出了皇家画像，这些画像充满了象征意义。伊丽莎白一世至今仍然被尊为英国历史上伟大的统治者之一，这不仅要归功于她作为君主的成就，也要归功于她在生前将自己塑造为一个令人难忘的传奇。

贞洁女王

In 1558 CE Elizabeth I inherited a fragile kingdom divided within by religious beliefs and surrounded by enemies abroad. All territory in France had now been lost, the state was almost bankrupt, and politics was still very much a male-dominated arena where a queen was expected to marry as soon as possible. Consequently, Elizabeth had to tread carefully and, refusing to marry, she instead cultivated an image of herself as the Virgin Queen. Elizabeth was married only to her kingdom, she said, and so was able to concentrate on the good of all her people. This became the central message of the queen's iconography and was put into words in her reply to Parliament's move to have her marry in 1559 CE:

Nothing, no worldy thing under the sun, is so dear to me as the love and goodwill of my subjects. In the end this shall be for me sufficient, that a marble stone shall declare that a queen, having reigned such a time, lived and died a virgin. (Phillips, 116)

公元1558年，伊丽莎白一世继承了一个因宗教信仰而内部分裂并被国外敌人包围的脆弱王国。那时，英国在法兰西的所有领土都已丢失，国家几乎破产，政治仍然是一个男性主导的舞台，人们期待着女王尽快结婚。因此，伊丽莎白不得不小心翼翼地行事，她拒绝结婚，而是将自己塑造成了一个贞洁女王的形象。她说，自己只与她的王国结婚，因此能够集中精力为她所有的人民谋福利。这成为女王形象的核心信息，并在公元1559年她对议会要求她结婚的举动的答复中得到了体现：

对我来说，太阳底下没有任何东西，比我的臣民的爱和善意更珍贵。最后，这对我来说就足够了。大理石将宣布，一位女王，在这样的时间里统治，生前死后都是处女。(菲利普斯, 116)

关于这块石头，可以参考下文：

Whether the queen was still a virgin or not mattered little; officially, at least, she remained chaste. Like the great goddesses of antiquity Athena/Minerva and Artemis/Diana or the Lady of Arthurian chivalric literature who attracted courtly love, she would remain apart from and above all men. Indeed, Elizabeth's carefully controlled public image began with the veneration of the queen herself as a semi-divine figure. Elizabeth's date of succession, 17 November, was declared a national holiday and was celebrated each year with great festivities, church services, and bell-ringing. Further, Elizabeth, who continued the English Reformation begun by her father Henry VIII of England (r. 1509-1547 CE) and elder half-brother Edward VI of England (r. 1547-1553 CE), became the living embodiment of the Virgin Mary, the ultimate Defender of the Faith monarch. The Bishop's Bible, printed from 1569 CE gave another opportunity to reinforce the link. The frontispiece showed Elizabeth being crowned by the four virtues of Fortitude, Justice, Mercy, and Prudence. Another avenue to reach a wide audience was to have paintings celebrating the queen's success over the Spanish Armada (see below) hung in churches now largely stripped of their Catholic adornments. The queen's image appeared not only in paintings (from life-size works to miniatures) but also woodcut prints, engravings, coins, medals, badges, and jewelled brooches. Miniatures of Elizabeth became almost like religious icons and were worn on noble chests of both sexes to show support and deference to their great queen.

女王是否保持贞洁并不重要；至少从官方层面来看，她仍然是贞洁的。就像古代的伟大女神阿西娜/密涅瓦和阿尔忒弥斯/黛安娜，或者亚瑟骑士文学中宫廷爱情的女士一样，她将保持与所有男人的距离，并凌驾于所有男人之上。事实上，伊丽莎白精心控制的公众形象始于对女王本人作为半神性人物的崇敬。伊丽莎白的继承日，即11月17日，被宣布为全国性的节日，每年都会举行盛大的庆祝活动、教堂仪式和敲钟仪式来庆祝。此外，伊丽莎白继续推动着由她的父亲亨利八世（公元1509-1547年）和同父异母的长兄爱德华六世（公元1547-1553年）实施的改革，她成为圣母玛利亚的活生生的化身，是信仰的最终捍卫君主。从公元1569年开始印刷的《主教圣经》给了人们另一种加强联系的机会。前面的插图显示伊丽莎白被坚韧、公正、仁慈和谨慎这四种美德加冕。另一种让民众接触广泛的途径是将庆祝女王成功战胜西班牙舰队的画作（见下文）挂在教堂里，这些教堂现在基本上都被剥夺了天主教的装饰。女王的形象不仅出现在绘画中（从真人大小的作品到微型画），还出现在木刻版画、雕刻、钱币、奖章、徽章和珠宝胸针中。伊丽莎白的微型画几乎成了宗教圣像，被戴在男女贵族的胸前，以表示他们对伟大女王的支持与敬意。

The association between Elizabeth and the Virgin Mary became especially prevalent as the queen aged and her virginity became a demonstration of self-sacrifice. The queen's imagery increasingly used symbols traditionally associated with the Virgin Mary such as the crescent moon and pearl. The physical and spiritual distance these ideas put Elizabeth from her subjects and male ministers allowed her to overcome the long-held prejudice that a woman could not rule in her own right. Elizabeth had established a new form of rulership.

随着女王年龄的增长，伊丽莎白和圣母玛利亚之间的联系变得很紧密，她的贞洁身份成为自我牺牲的一种表现。女王的形象越来越多地使用传统上和圣母玛利亚有关的符号，如新月与珍珠。这些思想使伊丽莎白与她的臣民和男性大臣保持着身体和精神上的距离，这使她能够克服长期以来的偏见，即一个女人不能以自己的权利进行统治。伊丽莎白建立了一种新的统治形式。

Thanks to favourable literature, Elizabeth became known as the great empress 'Gloriana', after the central figure of the 1590 CE poem The Fairie Queen by Edmund Spenser (c. 1552-1599 CE). Another cultivated association was that Elizabeth was Astraea, the virgin of the Eclogues by the Roman writer Virgil (70-19 BCE). Astraea returned to earth and with her brought in a new Golden Age where there was eternal peace, just as Elizabeth's reign was presented. Beyond literature, one court spectacle in 1581 CE depicted the queen as the 'Fortress of Perfect Beauty' successfully withstanding a siege by a cannon representing 'Desire' but which could only fire sweets at its target. Walter Raleigh named a portion of North America, England's first overseas colony after his queen: Virginia (Roanoke Island, modern North Carolina). The Elizabethan imagery and propaganda was relentless.

由于文学作品的渲染，伊丽莎白被称为伟大皇后 "Gloriana"，是以公元1590年埃德蒙·斯宾塞（公元1552-1599年）的诗歌《精灵女王》中的中心人物为名。另一个被塑造起来的形象，是罗马作家维吉尔（公元前70-19年）的《回文集》中的处女阿莎蕊雅（Astraea）。阿莎蕊雅（Astraea）回到了人间，并带来了一个新的黄金时代，那里有永恒的和平，就像伊丽莎白的统治所呈现出的景象。在文学之外，公元1581年的一个宫廷奇观将女王描绘成 "完美的堡垒"，它成功抵御了代表"欲望"的大炮的围攻，但大炮只能向目标发射糖果。华特·雷利以女王的名字命名了英国第一个海外殖民地——北美洲的一部分，弗吉尼亚（罗诺克岛，现代北卡罗来纳州）。伊丽莎白时代的图像与宣传是持续不断的。

公开露面与表演

Another facet of the queen's image was her public appearances. The queen started to wow her public immediately at her coronation in Westminster Abbey on 15 January 1559 CE, one of the most sumptuous and expensive ceremonies ever seen. The great ceremony itself was preceded by a round of speeches, processions and pageants. For the big day, Elizabeth wore custom-made robes of velvet with ermine fur and trimmings of embroidered gold thread and pearls. Not only did she wow her court, government, and visiting dignitaries with her appearance wearing breathtaking dresses, ruffs, and hairpieces but she took care to appear before commoners, too. No English monarch ever toured their kingdom so frequently and showed themselves to so many of their people as Elizabeth did. The queen conducted at least 25 annual tours to various country residences of her nobles, usually travelling in great style with a vast entourage of courtiers, servants, 300 wagons, and 2,000 horses. Locals were often treated to free displays of pageantry and fireworks. There were, too, regular medieval tournaments at Greenwich, Hampton Court, and Whitehall, where knights jousted to win the queen's favour. Elizabeth even tried to convince the public she was physically more robust than she actually was by frequently riding, hunting, and dancing at court.

女王形象宣传的另一方面是其公开露面。公元1559年1月15日在威斯敏斯特教堂举行的加冕仪式上，女王就开始让她的民众惊叹不已，这是有史以来最豪华、最昂贵的加冕仪式之一。在这个伟大的仪式之前，有一轮演讲、游行和庆典活动。这一天，伊丽莎白穿上了定制的天鹅绒长袍，上面有貂毛皮和绣有金线和珍珠的饰物。她穿戴的礼服、围脖和发饰不仅让她的宫廷、政府和来访的政要们惊叹不已，而且她也很注意在平民面前的形象。没有一个英国君主像伊丽莎白那样频繁地巡视王国，向大众展示自己。女王每年至少进行25次巡游，到贵族们的各个乡村住宅去，通常是带着由朝臣、仆人、300辆马车和2000匹马组成的庞大随行队伍，以庞大的形式出行。当地人经常看到免费的庆典和焰火表演。在格林威治、汉普顿宫和白厅也有定期的中世纪锦标赛，骑士们在那里比武以赢得女王的青睐。伊丽莎白甚至试图通过经常在宫廷里骑马、打猎和跳舞来使公众相信她的身体比实际情况更强壮。

Elizabeth, although frugal in most other matters, spent two hours squeezing into majestic dresses with extravagant collars and jewelled embellishments. Many of these Elizabeth bought herself but she also received many dresses and jewels as gifts from nobles and foreign rulers trying to woo her affections. Indeed, each New Year's Day there was a tradition of giving the queen a new dress, jewels, and other gifts from each of her most prominent court members.

伊丽莎白虽然在大多数事情上都很节俭，但她还是经常花两个小时的时间挤进带有奢侈衣领和珠宝点缀的华丽礼服堆中。其中许多是伊丽莎白自己买的，但她也收到了许多衣服和珠宝，作为贵族和外国统治者试图追求她的礼物。事实上，每个新年都有一个传统，那就是向女王赠送一件新衣服、珠宝，她最重要的宫廷成员也会送上礼物。

The queen wore a striking array of wigs, unfortunately, necessitated by an attack of smallpox in December 1562 CE which had left her with bald patches. The disease had also left Elizabeth with facial scars, which explains her use of thick white makeup. The ravages of the disease and the passage of time perhaps also explain why the queen insisted her residences have no mirrors. Even during wartime, Elizabeth could not resist the opportunity of a memorable public appearance. When the Spanish Armada attacked England in the summer of 1588 CE, the queen visited her land army awaiting the invaders at Tilbury. Elizabeth appeared resplendent wearing shining armour on her torso and riding a grey gelding. She then gave a rousing speech that victory would belong to England.

女王戴着一系列引人注目的假发。不幸的是，公元1562年12月，女王发作天花，使她留下了秃头斑。这场疾病也给伊丽莎白留下了面部疤痕，这也解释了她为什么经常涂抹厚厚的白色化妆品。疾病的摧残和时间的流逝也许解释了为什么女王坚持她的住所没有镜子。即使是在战争时期，伊丽莎白也无法放弃在公众场合出现的令人难忘的机会。当西班牙舰队在公元1588年夏天进攻英格兰时，女王访问了她在提伯利等待入侵者的英国陆军。伊丽莎白身穿闪亮的盔甲，骑着一匹灰色的马，显得光彩夺目。她随后发表了振奋人心的讲话，表示胜利将属于英格兰。

皇家肖像画

As few would ever see their queen in person, portraits were an especially powerful way of communicating the message of Elizabeth's right to rule and her success at it. Portraits were regularly commissioned using celebrated artists, although they often show the idealised 'Mask of Youth' of the queen, even if some do show a slight ageing of their subject as she went through her 44-year reign. The miniaturist specialist Nicholas Hilliard (1547-1619 CE) was the Peter Carl Fabergé of the period and he produced officially-approved idealised portraits, albeit exquisitely rendered in gold and other precious materials like the famous Armada Jewel. The queen's larger portraits copied this idealised approach, but they have the additional interest of being packed full of meaning and symbolic imagery. So carefully orchestrated was this build-up of the flattering royal portrait album that from 1563 CE, Elizabeth even banned the production of unofficial portraits of the royal person. Below is an examination of just some of the most famous of Elizabeth's portraits painted during her lifetime.

由于很少有人会目睹女王本人，所以肖像画是传达伊丽莎白的统治权和她成功形象的一种特别有力的方式。肖像画经常被委托给著名的艺术家来完成，他们经常表现出女王理想化的 "青春面具"，即使有些画像确实显示出在她44年的统治过程中主体的轻微老化。微型画专家尼古拉斯·希利亚德（公元1547-1619年）是当时的彼得·卡尔·法贝热，他制作了官方认可的理想化肖像，他用黄金和其他珍贵材料进行了精致的渲染，如著名的阿玛达宝石。王后的大型肖像画复制了这种设想，但它们还有一个特点，就是充满了象征意象。这种精心策划的、带有谄媚意味的皇家肖像画册的建立，导致从公元1563年开始，伊丽莎白甚至禁止制作非官方的皇家人物肖像画。以下是对伊丽莎白生前画家所画的部分最著名的肖像画的考察。

尼古拉斯·希利亚德（1547-1619）的无敌舰队珠宝。这枚胸针和挂坠盒组合展示了英格兰伊丽莎白一世（1588-1603 年在位）不同层次的肖像

鹈鹕肖像画

The Pelican Portrait, so-called because of a pelican brooch the queen wears, was painted around 1574 CE by Nicholas Hilliard. The queen is wearing a red and cream dress studded with pearls and square-cut jewels. The pelican brooch hangs at the centre of Elizabeth's chest with its wings spread wide. The bird was a symbol of redemption and charity as a mother pelican was said, in times of strife, to pierce her own chest to feed her young from her own blood. Above the queen, on the left, is the Tudor Rose and on the right the fleur-de-lis, symbol of England's ongoing claim to the French throne. Above both of these symbols is an arched imperial crown. The Pelican Portrait now resides in the Walker Art Gallery, Liverpool, England.

鹈鹕肖像因女王佩戴的鹈鹕胸针而得名，这幅画大约在公元1574年由尼古拉斯·希利亚德绘制。女王穿着一件红色和奶油色的裙子，上面镶嵌着珍珠和方形切割的珠宝。鹈鹕胸针挂在伊丽莎白胸部中央，鹈鹕翅膀张开。这只鸟是救赎和慈善的象征，因为据说母鹈鹕在争斗的时候会刺穿自己的胸膛，用自己的血喂养自己的孩子。在女王的上方，左边是都铎王朝的玫瑰，右边是象征英格兰对法国王位权利要求的百合花。这两个标志的上方是一个拱形的帝国皇冠。鹈鹕肖像画现藏于英国利物浦的沃克艺术馆。

伊丽莎白一世的普利姆顿筛画像

The Sieve Portrait, so-called because the queen holds a large sieve in her left hand, was painted between 1579 and 1583 CE by the Flemish artist Quentin Metsys the Younger. There are, like many of the queen's portraits, other versions of this painting, and the sieve, symbol of chastity, identifies Elizabeth in the role of Tuccia from Roman mythology. Tuccia was a Vestal Virgin who demonstrated her chastity by carrying water from the Tiber River to her temple only using a sieve. Elizabeth wears an unusually plain black dress with white lace trim (both colours being symbolic of purity and constancy) and a necklace of black pearls with an impressive brooch. The left of the painting shows a column decorated with scenes from the Aeneas and Dido story of Roman mythology. Aeneas abandoned the Queen of Carthage and so chose power over personal happiness. The story is, then, a fitting one for a portrait of the Virgin Queen who shunned marriage and became Mistress of her kingdom. Behind Elizabeth on the right of the painting is a globe on which sail English ships, symbolic of the queen's imperial power. The men in the background are courtiers, one of whom is the queen's favourite of the period, Sir Christopher Hatton, shown in the centre. The painting now resides in the Pinacoteca Nazionale, Sienna, Italy.

普利姆顿筛画像，因女王的左手拿着一个大筛子而得名，是佛兰德艺术家康坦·马赛斯（Quentin Metsys the Younger）在公元1579年至1583年间画的。与女王的许多肖像画一样，这幅画也有其他版本，而象征着贞洁的筛子使伊丽莎白在罗马神话中扮演了图西娅的形象。图西亚是一位圣母玛利亚，她只用一个筛子就把水从台伯河运到她的神庙，以此来证明她的贞洁。伊丽莎白穿着一件异常朴素的黑色连衣裙，上面有白色的花边装饰（这两种颜色都象征着纯洁和恒久），戴着一条黑色珍珠项链，上面的胸针令人印象深刻。画的左边是一根柱子，上面装饰着罗马神话中埃涅阿斯和迪多故事的场景。埃涅阿斯抛弃了迦太基女王，因此选择了权力而不是个人幸福。因此，这个故事很适合用于描绘这位回避婚姻并成为其王国女主人的贞洁女王的画像。伊丽莎白身后是一个地球仪，上面航行着英国的船只，象征着帝国权力。背景中的人是朝臣，其中一个是女王当时最喜欢的克里斯多福·哈顿爵士，他站在中间位置。这幅画现在收藏在意大利西恩纳的国家博物馆。

白鼬肖像画

The Ermine Portrait, so-called because of the presence of that animal on the queen's left lower arm, was painted around 1585 CE. It has been attributed by some scholars to William Segar. Resplendent in a sumptuous black dress with gold trimmings and jewels, she is wearing a triple string of black pearls. The queen has a gold sword, perhaps the sword of state and representing justice, on a small table within easy reach of her left hand. The ermine climbing onto the queen's arm was a symbol of purity and royalty, and here the animal even wears a gold crown around its neck. Elizabeth holds an olive branch, a traditional symbol of peace, in her right hand. The Ermine Portrait now resides at Hatfield House, Hertfordshire, England.

白鼬肖像画是在公元1585年左右绘制的，因为女王的左下臂上有一只白鼬。一些学者认为这幅画是由威廉·西格绘制的。她身着华丽的黑色礼服，上面有金色的装饰和珠宝，戴着三串黑色的珍珠。女王的左手边的小桌子上有一把金剑，也许是代表正义的国家之剑。攀附在女王手臂上的白鼬是纯洁和皇室的象征，它的脖子上戴着金冠。伊丽莎白的右手拿着一根橄榄枝，这是和平的传统象征。白鼬肖像画现在藏于英国赫特福德郡的哈特菲尔德庄园。

舰队肖像画

The Armada Portrait, so-called because the windows behind the queen look out to the sea battle against the Spanish Armada, was painted around 1588 CE, shortly after the Armada was defeated. It is attributed to George Gower, although various versions exist. The queen wears a black and silver-cream dress with billowing sleeves studded with pearls and a black cloak. Elizabeth is also wearing a necklace with eight strings of pearls, there are pearls hanging from her torso and yet more pearls arranged in her hair. Looking youthful for her 57 years, the queen holds the handle of a fan in her left hand while her right is placed over a globe to symbolise England's burgeoning ambitions for empire-building. Appropriately enough, the queen has her hand over North America, the location of England's first colony Virginia. On the left is the Tudor imperial crown and at the far right in the foreground is a golden statue of a mermaid. Behind the queen, the window on the left shows the two naval fleets about to engage while the window on the right shows the Spanish being battered by storms and wrecked against a rocky shore. The most famous version of the Armada Portrait now resides in the Royal Museums Greenwich, England.

这幅《无敌舰队肖像画》之所以被称为 "无敌舰队画像"，是因为女王身后的窗户可以看到与西班牙无敌舰队的海战，这幅画是在公元1588年左右，即无敌舰队被打败后不久绘制的。这幅画被认为是乔治·高尔的作品，尽管还存在各种版本。女王穿着一件黑色和银白色的连衣裙，波浪形的袖子上镶嵌着珍珠，身披黑色斗篷。伊丽莎白还戴着一条有八串珍珠的项链，她的躯体上挂着珍珠，还有更多的珍珠排列在她的头发上。与她57岁的年龄相比，这幅画上的女王看起来很年轻，她的左手拿着扇子的把手，而她的右手放在一个地球仪上，象征着英国正在兴起的建立帝国的雄心。恰如其分的是，女王的手放在北美洲，即英国第一个殖民地弗吉尼亚的所在地。左边是都铎王朝的皇冠，前景的最右边是一尊金色的美人鱼雕像。在女王身后，左边的窗口显示了两支海军舰队即将交战，而右边的窗口显示了西班牙人被风暴袭击并在岩石海岸上失事。这幅《无敌舰队画像》现藏于英国格林威治皇家博物馆。

彩虹肖像画

The Rainbow Portrait (see title image), so-called because the queen grasps a rainbow in her right hand, was painted towards the end of Elizabeth's reign, between 1600 and 1602 CE. It has been attributed to Isaac Oliver or Marcus Gheeraerts the Younger or Taddeo Zuccari. The queen wears a cream dress embroidered with wildflowers and dripping in pearls. On the queen's left lower arm is a snake, symbol of wisdom, with a heart-shaped ruby pendant hanging from its mouth. The bright orange lining of her cloak is curiously covered in eyes and ears, symbolic that the queen was ever-vigilant in looking out for the best interest of her subjects. Above the rainbow, a symbol of peace, there is an inscription which reads Non sine sole iris or 'No rainbow without the sun' with the message being the queen's wise rule is as important as the sun to the prosperity of her kingdom. The Rainbow Portrait also now resides at Hatfield House in Hertfordshire.

彩虹肖像画。所谓的彩虹肖像画因女王的右手抓着一道彩虹而得名，是在伊丽莎白统治末期，即公元1600年至1602年之间画的。这幅画被认为是由艾萨克·奥利佛或小马库斯·海拉特或塔德奥·祖卡里创作的。女王身穿一件绣有野花的奶油色连衣裙，上面滴着珍珠。女王的左下臂上有一条象征智慧的蛇，蛇嘴上挂着一个心形红宝石吊坠。她斗篷明亮的橙色衬里上奇怪地布满了眼睛和耳朵，象征着女王永远警惕地关注着她的臣民的最佳利益。在象征和平的彩虹上方，有一个铭文，上面写着Non sine sole iris或 "没有太阳就没有彩虹"，意思是女王的明智统治就像太阳一样对她王国的繁荣非常重要。彩虹画像现藏于赫特福德郡的哈特菲尔德庄园。