英美文学选读-上古及中世纪英国文学简介

PART ONE: ENGLISH LITERATURE An Introduction to Old and Medieval English Literature 上古及中世纪英国文学简介 Since historical times, England, where the early inhabitants were Celts, has been conquered three times.自从有人类历史记载以来,英伦三岛遭遇过三次外族入侵。It was conquered by the Romans, the Anglo-Saxons, and the Normans. England was not much affected by the Roman Conquest, but she felt the full weight of the other two conquests. 1.The Anglo-Saxons brought to England the Germanic language and culture, while 2.the Normans brought a fresh wave of Mediterranean civilization, which includes Greek culture, Roman law, and the Christian religion. It is the cultural influences of 3.these two conquests that provided the source for the rise and growth of English literature.。盎格鲁一萨克森人将日尔曼族语言及文化根植在岛上,而诺曼底人则带来了地中海文明的清新浪潮,所谓地中海文明包括希腊文化,罗马的法律,以及基督教。正是这两次外族入侵所附带的文化影响为日后英国文学的兴起与发展提供了富足的源泉。 The period of Old English literature extends from about 450 to 1066, the year of the Norman conquest of England. 英国文学史的上古时期起于大约公元450年,止于1066年,即诺曼征服的那一年。The Germanic tribes from the Northern Europe brought with them not only the Anglo-Saxon language, the basis of Modern English, but also a specific poetic tradition, which is both bold and strong, mournful and elegiac in spirit. 这些日尔曼族部落来自北欧,带来了盎格鲁一萨克森语言,也就是现代英语的原形基础,除此之外,还带来了特别的诗歌传统。他们的诗歌神韵中集合了粗狂豪勇的气度及悲情哀挽的风格。Generally speaking, the Old English poetry that has survived can be divided into two groups: the religious group and the secular one.总体来讲,流传至今的英国上古诗歌可分为两大类:宗教诗和世俗诗。The poetry of the religious group is mainly on biblical themes. Genesis A, Genesis B and Exodus are poems based on the Old T estament; 宗教诗的主大多以《圣经》为基础。比如《创世纪甲本》与《创世纪乙本》以及《出埃及记》都源于《圣经》的《旧约全》; whereas The Dream of the Rood comes from the New Testament. 而《十字架之梦》则以《新约全书》为典故。In this poem, Christ is portrayed as the young warrior striding to embrace death and victory, while the rood (cross) itself takes on the burden of his suffering. 在《十字架之梦》这首诗中,耶稣基督被刻画成一位青年战士,勇往直前,拥抱死亡与胜利,而那善良的十字架自身则承受起基督所有的苦难与重负。In addition to these religious compositions, Old English poets produced the national epic poem, Beowulf,and a number of more or less lyrical poems of shorter length, which do not contain specific Christian doctrines but evoke the Anglo-Saxon sense of the harshness of circumstance and the sadness of the human lot.The Wanderer, Deor, The Seafarer, and The Wife's Complaint are among the most beautiful in this secular group. The harsh climate of North Sea strongly affected the tone or mood of the poets. The life is sorrowful, and the speakers are fatalistic, though at the same time courageous and determined.除了这些宗教诗歌,上古的英格兰诗人还创作了伟大的民族史诗《贝尔武夫》以及其它众多的短篇抒情诗。这些世俗诗歌中虽然没有基督教教义,但它们唤起了盎格鲁一萨克森人对环境的严酷及人类命运的不幸的感知。其中《流浪者,狄奥尔》、《航海者》和《妻子的抱怨》是当时世俗诗中的佼佼者。诗文中的语气和基调深受北海恶劣气候的影响,生活惨淡无望,诗人的口气中带出大量宿命论的成份,尽管同时也显得勇敢而坚定。 Beowulf, a typical example of Old English poetry, is regarded today as the national epic of the Anglo-Saxons.《贝尔武夫》,英国上古诗歌的典型,在今天被誉为盎格鲁一萨克森的民族史诗。However,the hero and the setting of Beowulf have nothing to do with England, for the story took place in Scandinavia.尽管如此,诗中主人公及背景都与英国无关,这首叙事诗讲述的故事发生在北欧斯堪狄那维亚半岛。The poem was originally in an oral form, sung by the bards (minstrels) at the end of the 6th century. The present script was written down in the 10th century. 最初在公元六世纪末,这首诗是以口述的形式在吟游诗人中传涌。而当今流传的诗文是在十世纪时才以书面形式抄录下来。Beginning and ending with the funeral of a great king, and composed against a background of impending disaster,Beowulf 这部史诗以那位伟大的英雄国王贝尔武夫的葬礼为始末,以迫在眉睫的灾难为背景describes the exploits of a Scandinavian hero, Beowulf, in fighting against the monster Grendel, his revengeful mother, and a fire-breathing dragon.讲述了斯堪狄那维亚的英雄贝尔武夫的卓著功勋一战胜巨妖格伦德尔和他那复仇心切的母亲以及一条喷火巨龙。In these sequences Beowulf is shown not only as a glorious hero but also as a protector of the people. 贝尔武夫不仅是一位光荣的英雄,而且是人民的保护神。Thematically the poem presents a vivid picture of how the primitive people wage heroic struggles against the hostile forces of the natural world under a wise and mighty leader. The poem is an example of the mingling of nature myths and heroic legends. 这部史诗的主题是为读者展现一幅原始部族的人民在英明而强大(智勇双全)的领袖指挥下战天斗地不向艰苦的自然环境低头的画卷。这部史诗还是将自然界神话与英雄传奇相结合的典型例子。For instance, the battle between Beowulf and the Dragon symbolically represents that phase of Winter and Summer myth in which the Summer God, here embodied by Beowulf, fights his last battle against the Winter Dragon in order to rescue the treasures of earth, that is, the golden corn and ruddy fruits. 比如,贝尔武夫与火龙的战斗就象征性地现了有关冬神与夏神的神话,即夏神(在诗中化身为贝尔武夫〉与冬神展开了最后的较量,为了保住大地的财富一金黄的玉米和艳红的果实一不被严寒战害。Having given them back to men, Beowulf himself dies of the Winter's breath.当贝尔武夫将丰收的粮果归还给人民时,他自己却永远倒在冬神喷出的气息中。 The Norman Conquest brought England more than a change of rulers.历史上的诺曼征服不仅仅使英伦三岛更换了一位统治者,Politically, a feudalist system was established in England; 政治上,它开启了英国的封建主义时期,确立了强大的封建制度;religiously, the Rome-backed Catholic Church had a much stronger control over the country; and great changes also took place in languages. 宗教上,罗马天主教廷加强了在英国的势力,此外英国的语言也发生了极大的变化。After the conquest, three languages co-existed in England. 诺曼征服过后,英国出现了三种语言鼎立并存的局面。French became the official language used by the king and the Norman lords; 法语成为官方语言为国王与贵族们所使用;Latin became the principal tongue of church affairs and in universities; 拉丁语成为教会与学校的主要语言;and Old English was spoken only by the common English people. 而原来的古英语只成为平民百姓的语言。Thus, Britain was opened up to the whole European continent.至此,不列颠群岛向整个欧洲大陆敞开了大门。 With the Norman Conquest starts the medieval period in English literature, which covers about four centuries. 在诺曼征服(1066年)之后,英国文学进入了中世纪时期,这个时期持续了大约四个世纪。In the early part of the period, i.e. from 1066 up to the mid-14th century, there was not much to say about literature in English. It was almost a barren period in literary creation.中世纪早期的文学,即从1066年到14世纪中叶,没有什么卓越的成就,这段时间可谓是文学荒漠。But in the second half of the 14th century, English literature started to flourish with the appearance of writers like Geoffrey Chaucer, William Langland, John Cower, and others. 然而到了14世纪下半叶,英国文学开始兴盛起来,涌现出一批像吉奥弗雷·乔叟,威廉·兰格伦及约翰·高厄这样的诗人。In comparison with Old English literature, Middle English literature deals with a wider range of subjects, is uttered by more voices and in a greater diversity of styles, tones and genres. 与英国上古文学相比,其中世纪文学取材更为广泛,叙述、风格、基调、流派更加丰富多彩。Popular folk literature also occupies an important place in this period. Its presentation of life is not only a ccurate but also lively and colorful,民间通俗文学在这个时期占据了重要的位置,它为读者准确而生动地展示了当时人们的各种生活,though the originality of thought is often absent in the literary works of this period. 尽管其创作思想上有失新颖创见。Besides, Middle English literature strongly reflects the principles of the medieval Christian doctrine, which were primarily concerned with the issue of personal salvation.此外,中世纪文学还大量反映了中世纪基督教的教义原则,这些教义都与人类自救有关。 Romance which uses narrative verse or prose to sing knightly adventures or other heroic deeds is a popular literary form in the me dieval period. 骑士抒情诗也是中世纪盛行的文学形式,这种诗歌以叙述性的韵文或散文歌颂了骑士的冒险以及其它的英雄事迹。It has developed the characteristic medieval motifs of the quest, the test, the meeting with the evil giant and the encounter with the beautiful beloved.这种文学形式发展了富有中世纪特点的主题一一寻找并遭遇巨妖魔怪,并救出心爱的美人。The hero is usually the knight, who sets out on a journey to accomplish some missions to protect the church, to attack infidelity, to rescue a maiden, to meet a challenge, or to obey a knightly command. 诗中的主人公往往是个骑士,他出发踏上旅程去完成一系列的任务一一保卫教堂、讨伐叛逆、英雄救美人、迎接挑战、或服从骑士首领的命令等等。There is often a liberal use of the improbable, sometimes even supernatural, things in romance such as mysteries and fantasies.诗中时常随意地出现一些不真实,甚至超自然的事物,比如神秘与离奇的幻想。Romantic love is an important part of the plot in romance. 流浪精神式爱情是骑士抒情诗中一个重要情节。Characterization is standardized, so that heroes, heroines and wicked stewards can be easily moved from one romance to another. 但由于人物塑造的\"千人一面\",不同诗中的男、女主人公及其身边邪恶的仆从都能从一首诗搬到另一首诗。While the structure is loose and episodic, the language is simple and straightforward. The importance of the romance itself can be seen as a means of showing medieval aristocratic men and women in relation to their idealized view of the world.骑士诗的结构比较松散,并分章节,其语言简单而直白。骑士抒情诗的重要意义在于它展示了中世纪贵族男女的生活及他们理想化的世界观。If the epic reflects a heroic age, the romance reflects a chivalric one.如果说史诗反映了英雄时代,那么骑士诗反映了骑士时代。 Among the three great Middle English poets, the author of Sir Gawain and the Green Knight is the one who produced the best romance of the period; while William Langland is a more realistic writer who dealt with the religious and social issues of his day in Piers Plowman.在前面提到的三位中世纪英国著名诗人中,《高文爵士与他的绿衣骑士》的作者约翰·高厄创作了当时最精美的骑士文学作品;而《农夫皮尔斯》的作者威廉·兰格伦相比之下更 现实一些,他在其作品中描述了他那个时期的宗教与社会问题。However, it is Chaucer alone who, for the first time in English literature, presented to us a comprehensive realistic picture of the English society of his time and created a whole gallery of vivid characters from all walks of life in his masterpiece The Canterbury Tales.然而只有乔叟,在英国文学史上第一次向我们展示了表现当时英国社会的一幅综合性、现实主义的画卷,在他的代表作《坎特伯雷故事集》中塑造了一系列来自社会各阶层的生动形象的人物。 Geoffrey Chaucer is the greatest writer of this period. Although he was born a commoner, he did not live as a commoner; 乔叟是当时最伟大的诗人。他出身平民家庭,但一生都不是平民;and although he was accepted by the aristocracy, he must always have been conscious of the fact that he did not really belong to that society of which birth alone could make one a true member. 然而尽管他被贵族所接受,可他又不得不经常提醒自己他并不真正属于那个出身即可定身份的阶层。Chaucer characteristically regarded life in terms of aristocratic ideals, but he never lost the ability of regarding life as a purely practical matter.乔叟一方面用贵族式的理想眼光看待生活,一方面又不失以现实的态度来思考。The art of being at once involved in and detached from a given situation is peculiarly Chaucer's.他独到的特点便是能根据特定情境随时由人世转为出世,或由出世转为入世。 The influence of Renaissance was already felt in the field of English literature when Chaucer was learning from the great Italian writers like Petrarch and Boccaccio in the last part of the 14th century. 在14世纪下半叶,当乔叟正向意大利著名诗人彼特拉克与作家卡伽丘(二人是欧洲人文主义运动的代表)学习的时候,一切迹象表明欧洲大陆的文艺复兴在英国文学中也开始了萌芽。Chaucer affirmed man's right to pursue earthly happiness and opposed asceticism; 乔叟强调人权,尤其是追求今生今世幸福快乐的权力,反对神权与禁欲主义。he praised man's energy, intellect, quick wit and love of life; 他盛赞人类的能力、智慧、机敏及对生命的热爱。he exposed and satirized the social vices, including religious abuses.他揭露罪恶、针砭各种时弊,其中也包括对宗教教义的滥用。It thus can be said that though essentially still a medieval writer, Chaucer bore marks of humanism and anticipated a new era to come. 因此尽管乔叟是一个中世纪诗人,他却带有人文主义的特点,并预示着一个新时期的到来。 From his birth to his death, Chaucer dealt continually with all sorts of people, the highest and the lowest, and his observant mind made the most of this ever-present opportunity. 乔叟一生不断地与各种人物打交道,有上流社会的,也有平民百姓,这多半是由于他有着敏锐的观察力。His wide range of reading gave him plots and ideas, but his experience gave him models of characters. 他博览群书,这使他丰富了头脑中的故事情节,而他的经历则为他提供了人物形象的素材。In his works, Chaucer explores the theme of the individual's relation to the society in which he lives;在他的作品中,乔叟发掘了个人与社会的关系这个主题,he portrays clashes of characters' temperaments and their conflicts over material interests; 刻画了人物性格的冲突及其在物质利益上的矛盾,he also shows the comic and ironic effects obtainable from the class distinctions felt by the newly emerged bourgeoisie as in the case of the Wife of Bath who is depicted as the new bourgeois wife asserting her independence.并且以幽默讽刺的笔触描写了新兴城市资产阶级所反感的阶级出身问题,比如其中一个角色\"巴斯夫人\"就被描写成一位新兴资产阶级的主人,维护着自己的独立与女权。In short, Chaucer develops his characterization to a higher artistic level by presenting characters with both typical qualities and individual dispositions.简言之,乔吏将人物形象的塑造提上了一个更高的艺术水平,他描写的人物是立体的,有着独特的气质、性格。 Chaucer introduced from France the rhymed stanzas of various types to English poetry to replace the Old English alliterative verse. 乔叟还从法国文学中引进(翻译介绍)了各种各样的押尾韵诗章,取代了古英诗中的押头韵。In The Romaunt of the Rose, he first introduced into English the octosyllabic couplet. 在翻译法国著名骑士诗《玫瑰传奇》中,他首次将八音节对偶句引人英语,In The Legend of Good Women, he used for the first time in English the rhymed couplet of iambic pentameter which is to be called later the heroic couplet. 在《好女人的故事》中,他又首次使用了五音步抑扬格的押韵对偶句,也就是后来的英雄偶句诗体。And in The Canterbury Tales, Chaucer employed the heroic couplet with true ease and charm for the first time in the history of English literature. 在《坎特伯雷故事集》中他也轻松自如地使用了英雄偶句诗体,这在整个英国文学史上都是首创。In addition to his contribution to English prosody, Chaucer also developed the art of literature itself beyond anything to be found in any other medieval literature. 除了乔叟对英语诗体学的贡献以外,他还发展并改进了文学艺术自身,而这些在其它任何中世纪文学作品中都是见不到的。In Troilus and Crisevcle, he gave the world what is virtually the first modern novel. 在《特洛伊勒斯与克利西达》中,他向世界展示了最早的现代小说。In The Canterbury Tales, he developed his art of poetry still further towards drama and the art of the novel. 在《坎特伯雷故事集》中,他将诗歌艺术进一步向戏剧与小说艺术靠拢。Though Chaucer was entirely rooted in the soil of the Middle Ages, his art is so fully realized as to carry him beyond his time and make him one of the greatest poets in English. 虽然乔叟是一位扎根在中世纪的诗人,可他的艺术成就早已使他超越了时代,使他成为公认的英国历史上最伟大的诗人之一。John Dryden, who modernized several of the Canterbury tales, called Chaucer the father of English poetry.约翰·德莱顿(英国十七世纪著名桂冠诗人、评论家)曾将《坎特伯雷故事集》译成现代英语,他称乔叟为英诗之父。 Chaucer dominated the works of his 15th-century English followers and the so-called Scottish Chaucerians. 乔叟的风格影响了整个十五世纪英国诗歌作品,以及他的追随效仿者们及那些所谓的苏格兰\"乔叟专家\"们一。For the Renaissance, he was the English Homer. 对文艺复兴而言,乔叟是英国的荷马。Edmund Spenser paid tribute to him as his master; 埃德蒙·斯宾塞尊为自己的导师;many of Shakespeare's plays show thorough assimilation of Chaucer's comic spirit. 莎士比亚的许多戏剧都与乔叟的喜剧精神有异曲同工之处。Today, Chaucer's reputation has been securely established as one of the best English poets for his wisdom, humor, and humanity.今天,乔叟凭着他的智慧、幽默与人文精神依旧盛名不衰,流芳百世。