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A Companion to Literary Biography最新文献

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The Emergence of Literary Biography 文学传记的出现
Pub Date : 2018-10-03 DOI: 10.1002/9781118896433.CH1
J. Darcy
Literary biography—biographies of writers—emerged in the seventeenth century out of a tradition of historical biography and hagiography. Izaak Walton’s Life of John Donne (1640) and Life of George Herbert (1670) represent a bridge between idealized lives of saints and heroes and this new genre. Walton is innovatory in writing about the lives of poets, but he presents his subjects as exemplary men of God rather than as writers. Thomas Sprat’s Life of Cowley (1668) has long been seen as the first proper literary biography as it focuses on Cowley as a poet. Although a preface to The Works of Mr Abraham Cowley rather than a stand‐alone narrative, it is lengthy and incisive, generally considered as setting a standard unmatched until Johnson’s Life of Savage (1744). It is equally important as an early articulation of biographical methodology. Sprat’s insistence that we should seek to know no more about a writer than what that writer has chosen to reveal about himself in his published works would be the central plank of Wordsworth’s impassioned argument about intrusive literary biography over a century later in 1816. Sprat’s argument that Cowley has “given the World the best Image of his own mind in these immortal Monuments of his Wit” is usually taken as a simple ethical principle. But his insistence on biographical propriety in fact conceals his efforts to disguise awkward details of Cowley’s career as a spy and his unsuccessful political maneuvering during the Restoration (Darcy 2013, 26–39). But the issue of the extent to which biography should probe a writer’s private life remains a critical one today as does the often‐concealed politics of life writing. Cowley’s assumption that a poet is male will be echoed in biographical and critical writing throughout the eighteenth century, especially when copyright legislation gives commercial impetus to new anthologies of poetry, so crucial to canon formation.
文学传记——作家传记——出现于17世纪,脱离了历史传记和圣徒传的传统。伊扎克·沃尔顿的《约翰·多恩的一生》(1640年)和《乔治·赫伯特的一生》(1670年)在圣徒和英雄的理想生活与这种新流派之间架起了一座桥梁。沃尔顿在描写诗人的生活方面有创新之处,但他把他的主题描绘成上帝的模范人物,而不是作家。托马斯·斯普拉特的《考利传》(1668)一直被认为是第一本真正意义上的文学传记,因为它把考利作为一个诗人来关注。虽然是《亚伯拉罕·考利先生的作品》的序言,而不是独立的叙述,但它冗长而深刻,被普遍认为是约翰逊的《野蛮人的生活》(1744)之前无与伦比的标准。它与传记方法论的早期阐述同样重要。斯普拉特坚持认为,我们不应该试图了解一个作家,而应该了解这位作家在他出版的作品中选择透露的关于他自己的信息。这是一个多世纪后的1816年,华兹华斯关于侵入式文学传记的慷慨激昂的论点的核心内容。斯普拉特的论点是,考利“在这些不朽的智慧纪念碑中,向世界展示了他自己心灵的最佳形象”,这通常被视为一条简单的伦理原则。但他对传记得体性的坚持,实际上掩盖了他努力掩盖考利间谍生涯的尴尬细节,以及他在复辟期间不成功的政治操纵(达西2013,26-39)。但是,传记应该在多大程度上探究作家的私人生活,这一问题在今天仍然是一个关键问题,就像生活写作中经常被隐藏的政治一样。考利关于诗人是男性的假设在整个18世纪的传记和评论写作中得到了回应,尤其是当版权立法为新的诗歌选集提供了商业动力时,这对经典的形成至关重要。
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引用次数: 0
Un/making the Victorians 这就是维多利亚时代
Pub Date : 2018-09-12 DOI: 10.1002/9781118896433.ch4
Amber Regis
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引用次数: 0
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A Companion to Literary Biography
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