已知的未知:约翰·戴维斯爵士的谈话中的Nosce Teipsum

IF 0.6 2区 文学 0 LITERATURE, BRITISH ISLES ENGLISH LITERARY RENAISSANCE Pub Date : 2021-09-01 DOI:10.1086/715424
Anthony Ossa-Richardson
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引用次数: 0

摘要

本文考察了约翰·戴维斯爵士的长诗《Nosce Teipsum》,并与另一位名不见经传的罗伯特·钱伯斯(Robert Chambers)以同样的诗歌形式撰写的一篇未发表的当代评论进行了对话。戴维斯传达了一种对自我认识可能性的彻底矛盾心理,这种矛盾心理被他自信而优美的抑扬格五步格所掩盖,钱伯斯一再明确拒绝这种可能性。但是,每当钱伯斯试图触及戴维斯神学信条的细节时——每个灵魂都是由上帝直接创造的,每个人都是按照上帝的形象塑造的,灵魂完全存在于身体的每一个部位——他就会得出口齿不清甚至毫无意义的对立公式。换言之,钱伯斯的诗似乎无意中证明了他自己的论点,即精神上的自知之明是不可能的。我把这两首诗放在一起读,作为一个寓言,讲述偶然的口齿不清对读者的潜在价值,以及我们长期以来珍视的故意伪造的口齿不通。[A.O.R]
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Known Unknowns: Sir John Davies’ Nosce Teipsum in Conversation
This essay examines Sir John Davies’ long poem Nosce Teipsum in dialogue with an unpublished contemporary critique by the otherwise unknown Robert Chambers, written in the same verse form. Whereas Davies conveys a thoroughgoing ambivalence about the possibility of self-knowledge, an ambivalence rather obscured by his confident and polished iambic pentameter, Chambers explicitly and repetitively rejects that possibility. But whenever Chambers tries to engage with the details of Davies’ theological tenets—that every soul was created directly and individually by God, that man was made in the image of God, and that the soul exists entirely in every part of the body—he arrives at inarticulate and even nonsensical rival formulas. In other words, Chambers’ poem seems unwittingly to demonstrate his own argument that spiritual self-knowledge is impossible. I read these two poems together as a sort of parable about the potential value to readers of accidental inarticulacy, alongside the deliberate counterfeit sort of inarticulacy that we have long prized. [A.O.R]
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来源期刊
CiteScore
0.70
自引率
0.00%
发文量
28
期刊介绍: English Literary Renaissance is a journal devoted to current criticism and scholarship of Tudor and early Stuart English literature, 1485-1665, including Shakespeare, Spenser, Donne, and Milton. It is unique in featuring the publication of rare texts and newly discovered manuscripts of the period and current annotated bibliographies of work in the field. It is illustrated with contemporary woodcuts and engravings of Renaissance England and Europe.
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