The later Romantics were the first generation of British poets - perhaps the first generation of poets anywhere - to find their poems while contemplating remnants of the ancient world. This interest in the past, in the pastness of the past, infused the Romantic sublime, for there is nothing more useful in contemplating mortality than a vine-covered ruin. If you wanted your own ruin and had the means, your masons could build what was called a folly, the counterfeit remains of abbey or castle (Byron might have indulged himself, had he not been Byron - in any case, his ancestral home had been built next to the ruins of an ancient abbey). If you were without means, however, if you could not afford the Grand Tour, you had to take your inspiration from books, as Keats did in "On First Looking into Chapman's Homer." Or you had to visit museums. England was not always the warehouse of empire. When it opened in 1759, the British Museum contained few antiquities amid thousands of books, stuffed animals, and dried plants. It wasn't until die 1780s diat the museum began to acquire Brobdingnagian fragments like the colossal sandaled foot found near Naples and purchased from William Hamilton. Among the wrack of vanished civilizations were sky-scraping heroic statues, often preserved in mutilated form. These statues were a particular curiosity to the British, who could offer, as massive fragments of antique civilization, not much more than an earthen dike or two, some lengths of Roman wall, and Stonehenge. Articles about these statues and other objects from the Near East filled the reviews of the day and drove the public to the museum, sometimes in eager anticipation of the objects to come. The older Romantics, however much they loved books (we owe our deepest knowledge of Coleridge's imagination to his marginal scrawls - if he returned a book he had borrowed, it was defaced with his genius), depended on the close observation of nature. Wordsworth hated the city and couldn't wait to escape it - in his devious sonnet "Composed upon Westminster Bridge," he looked upon London as if it were another landscape. When he hiked above Tintern Abbey, he was more interested in the hills and cataracts than in the abbey's vanished majesties - the roofless stones famously make no direct appearance in the poem. This is not to say that Wordsworth and Coleridge failed to hold ruins in due Romantic reverence - fallen walls litter their work, but they are largely local. The second generation of Romantics, who in the main preferred city life, were drawn to ruins far-flung - perhaps their fascination was derived partly from the discoveries made during the Napoleonic wars. (Byron's use of Greek ruins in the early cantos of Childe Harold's Pilgrimage [1812] may have been crucial for thinking of ruins in political terms.) These later Romantics were not counterfeiting antique poetry, like Chatterton or Macpherson, nor like the Elizabethans dramatizing twice-told tales of Caesar, or Seja
后来的浪漫主义诗人是第一代英国诗人——也许是世界上第一代诗人——在思考古代世界遗迹的同时找到自己的诗歌。这种对过去的兴趣，对过去的过去的兴趣，注入了浪漫主义的崇高，因为在思考死亡时，没有什么比藤蔓覆盖的废墟更有用的了。如果你想要自己的废墟，并且有办法，你的泥水匠可以建造所谓的愚蠢的东西，仿造修道院或城堡的遗迹(拜伦可能会放纵自己，如果他不是拜伦——无论如何，他的祖屋就建在一座古老修道院的废墟旁边)。然而，如果你身无分文，如果你负担不起大旅行的费用，你就必须从书中获得灵感，就像济慈在《初窥查普曼的荷马》中所做的那样。或者你必须参观博物馆。英格兰并不总是帝国的仓库。大英博物馆于1759年开馆时，除了数以千计的书籍、毛绒动物和干枯植物外，几乎没有什么古董。直到18世纪80年代末，博物馆才开始收集布罗布罗丁纳吉的碎片，比如在那不勒斯附近发现的巨大的穿凉鞋的脚，它是从威廉·汉密尔顿那里购买的。在消失的文明的残骸中，有高耸入云的英雄雕像，通常以残缺不全的形式保存下来。这些雕像对英国人来说是一种特别的好奇心，他们可以提供大量的古代文明碎片，不过是一两个土堤，一段罗马城墙和巨石阵。关于这些雕像和其他来自近东的物品的文章充斥着当天的评论，并驱使公众前往博物馆，有时他们热切地期待着即将到来的物品。老一代的浪漫主义者，无论多么热爱书籍(我们对柯勒律治想象力的最深刻的了解，要归功于他在书边的潦草字迹——如果他还回借来的书，那本书就被他的天才玷污了)，都依赖于对自然的密切观察。华兹华斯讨厌这座城市，迫不及待地想要逃离它——在他那首曲折的十四行诗《威斯敏斯特桥上作曲》中，他把伦敦看作是另一片风景。当他徒步到廷登修道院上空时，他更感兴趣的是群山和瀑布，而不是修道院消失的威严——众所周知，没有屋顶的石头在诗中没有直接出现。这并不是说华兹华斯和柯勒律治没有以浪漫主义的敬意来保存废墟——倒塌的墙壁散落在他们的作品中，但它们在很大程度上是地方性的。浪漫主义者的第二代，主要是喜欢城市生活，被遥远的废墟所吸引——也许他们的迷恋部分源于拿破仑战争期间的发现。(拜伦在《查尔德·哈罗德游记》(child de Harold’s Pilgrimage, 1812)的前几章中对希腊废墟的使用，可能是从政治角度思考废墟的关键。)这些后来的浪漫主义者不像查特顿或麦克弗森那样伪造古诗，也不像伊丽莎白时代的人把凯撒、塞亚努斯或坦伯伦的故事改编成两遍。这些不朽的过去在杂志、书籍、博物馆和旅行中都有新的记载——诗人很快就利用了它。我们认为浪漫主义者是想象力的化身，而不是幻想;华兹华斯所说的“强烈感情的自然流露”，而不是谨慎的技巧;“日常生活中的事件和情景”，而不是已故国王的八卦。然而，在某些方面，浪漫主义者和他们之前的奥古斯都人一样热爱技巧。如果灵感可以随时从水龙头中获得，就不可能神秘地从大自然中获得;但有些浪漫主义者喜欢在灵感枯竭时写作，这是一种小把戏。想想1816年夏天日内瓦湖上那个阴沉的夜晚吧——那是臭名昭著的无夏之年。大家都拿一本超自然故事书消遣消遣，拜伦(因为他是主持人)提议每人写一个鬼故事。他们在散文中游手好闲——约翰·威廉·波利多利写了一个“骷髅头女人”——但最终还是放弃了这项任务。…
{"title":"1. Shelley’s Wrinkled Lip, Smith’s Gigantic Leg","authors":"W. Logan","doi":"10.7312/LOGA18614-004","DOIUrl":"https://doi.org/10.7312/LOGA18614-004","url":null,"abstract":"The later Romantics were the first generation of British poets - perhaps the first generation of poets anywhere - to find their poems while contemplating remnants of the ancient world. This interest in the past, in the pastness of the past, infused the Romantic sublime, for there is nothing more useful in contemplating mortality than a vine-covered ruin. If you wanted your own ruin and had the means, your masons could build what was called a folly, the counterfeit remains of abbey or castle (Byron might have indulged himself, had he not been Byron - in any case, his ancestral home had been built next to the ruins of an ancient abbey). If you were without means, however, if you could not afford the Grand Tour, you had to take your inspiration from books, as Keats did in \"On First Looking into Chapman's Homer.\" Or you had to visit museums. England was not always the warehouse of empire. When it opened in 1759, the British Museum contained few antiquities amid thousands of books, stuffed animals, and dried plants. It wasn't until die 1780s diat the museum began to acquire Brobdingnagian fragments like the colossal sandaled foot found near Naples and purchased from William Hamilton. Among the wrack of vanished civilizations were sky-scraping heroic statues, often preserved in mutilated form. These statues were a particular curiosity to the British, who could offer, as massive fragments of antique civilization, not much more than an earthen dike or two, some lengths of Roman wall, and Stonehenge. Articles about these statues and other objects from the Near East filled the reviews of the day and drove the public to the museum, sometimes in eager anticipation of the objects to come. The older Romantics, however much they loved books (we owe our deepest knowledge of Coleridge's imagination to his marginal scrawls - if he returned a book he had borrowed, it was defaced with his genius), depended on the close observation of nature. Wordsworth hated the city and couldn't wait to escape it - in his devious sonnet \"Composed upon Westminster Bridge,\" he looked upon London as if it were another landscape. When he hiked above Tintern Abbey, he was more interested in the hills and cataracts than in the abbey's vanished majesties - the roofless stones famously make no direct appearance in the poem. This is not to say that Wordsworth and Coleridge failed to hold ruins in due Romantic reverence - fallen walls litter their work, but they are largely local. The second generation of Romantics, who in the main preferred city life, were drawn to ruins far-flung - perhaps their fascination was derived partly from the discoveries made during the Napoleonic wars. (Byron's use of Greek ruins in the early cantos of Childe Harold's Pilgrimage [1812] may have been crucial for thinking of ruins in political terms.) These later Romantics were not counterfeiting antique poetry, like Chatterton or Macpherson, nor like the Elizabethans dramatizing twice-told tales of Caesar, or Seja","PeriodicalId":281369,"journal":{"name":"Dickinson's Nerves, Frost's Woods","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124632719","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：