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¡Östopprd¡×+¡Öginger cat¡×¤Ç¸¡º÷¤¹¤ë¤È¤½¤ì¤Ê¤ê¤Ë½Ð¤Æ¤¤Þ¤¹¤¬¡¢Ruth Rischin¤È¤¤¤¦Êý¤Î¥ê¥ó¥¯Àè¤Îʸ¾Ï¤¬Èæ³ÓŪ¾Ü¤·¤¤Ê¬ÀϤò²Ã¤¨¤Æ¤Þ¤¹¤Í¡£
¡ÆThe Absolute Whole Perpetually Renewing Itself': Tom Stoppard's Cat
http://aatseel.org/100111/pdf/program/2003/abstracts/Rischin.htm
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http://www.aatseel.org/program/past_conferences/conf_2003
http://www.aatseel.org/
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In this paper, devoted to The Coast of Utopia trilogy, I focus on a single aspect of Stoppard's use of parody and the grotesque. Specifically, I refer to Stoppard's creation of an enormously tall and silent Ginger Cat as personification (hypostasis) of the Hegelian Absolute manifest in History. The Ginger Cat appears in the first play, Voyage Out, Act II, scene 12, at a masquerade charity ball given by the Moscow intelligentsia, under the sway of Hegel's Phenomenology of Spirit. Swirling among the assembled, the two-legged Ginger Cat (actually, a guest in fancy dress), drinks a toast to the Hegelian categories, to Essence, to Idea, and to Absolute Subjectivity. This figure is then replicated as a spectral image in each of the other two plays, where it represents a debased reflection of the misplaced hopes of the Russian intelligentsia. The charity ball scene, evoked by Gercen's reminiscence of it in conversation with Belinskij, is taken from the memoirs of Vasilij Botkin. (See N. Kornilov, Molodye gody Mixaila Bakunina and E. H. Carr, Bakunin).
The Ginger Cat, however, as an ironic observer of Russian society and as a parodistic mirror of its fascination with Hegel, is Stoppard's invention. My paper will analyze the function of the Ginger Cat figure within the trilogy and its provenance as a literary device.
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