浪漫主义运动 _生活百科-四川龙网

23小时前The Romantic MovementFrom the latter part of the eighteenth century to the present day， art and literature and philosophy， and even politics， have been influenced， positively or negatively， by a way of feeling which was characteristic of what， in a large sense， may be called the romantic movement. Even those who were repelled by this way of feeling were compelled to take account of it， and in many cases were more affected by it than they knew.从十八世纪后半叶起直到今日，艺术，文学，哲学甚至是政治都或好或坏的被一种思潮影响着。这类思潮很大程度上可以被称作浪漫主义运动思潮。即使是那一些对此持抵触态度的人也只患上对其加以考虑，而事实上，在很多方面，她们并没有意想到自己也深受这思潮的影响。The romantic movement was not， in its beginnings， connected with philosophy， though it came before long to have connections with it. With politics， through Rousseau， it was connected from the first. But before we can understand its political and philosophical effects we must consider it in its most essential form， which is as a revolt against received ethical and aesthetic standards.浪漫主义运动起初与哲学是并无关联的，但不久之后两者便彼此相系。政研学与浪漫主义运动的纽带则是由卢梭建立起的。我们首先应该认识浪漫主义运动最首要的形式和其对于传统的道德和审美标准的颠覆，然后才能明了其对于政治和哲学的效用。The first great figure in the movement is Rousseau， but to some extent he only expressed already existing tendencies. Cultivated people in eighteenth-century France greatly admired what they called la sensibilité， which meant a proneness（倾向） to emotion， and more particularly to the emotion of sympathy. To be thoroughly satisfactory， the emotion must be direct and violent and quite uninformed（未受教育的） by thought. The man of sensibility would be moved to tears by the sight of a single destitute peasant family， but would be cold to well-thought-out schemes for ameliorating（改善） the lot of peasants as a class. The poor were supposed to possess more virtue than the rich; the sage was thought of as a man who retires from the corruption of courts to enjoy the peaceful pleasures of an unambitious rural existence. As a passing mood， this attitude is to be found in poets of almost all periods. The exiled Duke in As You Like It expresses it， though he goes back to his dukedom as soon as he can; only the melancholy Jaques sincerely prefers the life of the forest. Even Pope， the perfect exemplar（榜样，范本） of all that the romantic movement rebelled against， says:Happy the man whose wish and careA few paternal acres bound，Content to breathe his native airOn his own ground.浪漫主义运动中熬头位巨大人士就是卢梭，但在某种程度上来说，他仅仅是抒发出了已经浮现的趋势而已。在十八世纪的法国，受过教育的人们大大仰慕她们所称作“感性”的东西，容易多情容易引起感触，其中尤以同情这一感情为最。感情需表现的直接热烈且不假思索，云云才能使人对劲。一个感性的人会为农平易近家庭贫穷凄苦的生活悲伤的落下泪来，却对旨在改善农平易近阶层生活的周详计划漠不关心。她们认为，穷人应比富人更多的拥有美好的品德，而贤人则是从糜烂的宫庭生活中引退，转而享受平静淡泊的田圃生活的人士。险些各个时代的诗人都曾抒发过如许一种想法，只管这念头往往转瞬即逝。《皆大欢喜》中遭遇流放的公爵便曾云云设想，只管他一患上有可能便心急火燎地返回了自己的公国。只有忧郁的哲杰出的人奎斯真心肠喜欢丛林中的生活。甚至集浪漫主义运动所反对的特质于一身的波普也如许写道：如许的人就快乐了，他温情地期待与照料，那肥沃的田地少顷；如许的人就餍足了，他自由地呼吸，他孩子般的土地上亲切的空气。Rousseau appealed to the already existing cult of sensibility， and gave it a breadth and scope that it might not otherwise have possessed. He was a democrat， not only in his theories， but in his tastes. For long periods of his life， he was a poor vagabond（流浪者）， receiving kindness from people only slightly less destitute than himself. He repaid this kindness， in action， often with the blackest ingratitude（忘恩负义）， but in emotion his response was all that the most ardent （热肠的热烈的）devotee of sensibility could have wished. Having the tastes of a tramp（流浪者）， he found the restraints of Parisian society irksome.（令人厌烦的） From him the romantics learnt a contempt（轻视） for the trammels（枷锁） of convention—first in dress and manners， in the minuet and the heroic couplet， then in art and love， and at last over the whole sphere of traditional morals.卢梭投身于已存在的对感性的狂热崇拜之中，并且赋予它从未有过的广度和范围。他是一个平易近主主义者，这不仅体现在他的意见上，也体现在他的喜好上。很长一段时期中，他都是一个贫穷的流浪汉，受着境况比他好不了几多的人的恩德。在行动上，他以忘恩负义回报这类好意，可在感情上，他的回赠纯粹切合狂热的感性主义者的要求。他有着流浪汉的个性，对巴黎社会形态的种种条条框框感应厌烦至极。从卢梭那里，浪漫主义者学到了对传统枷锁不屑一顾的态度。这类不屑一顾体现在服饰礼节到小步舞蹈伴奏曲和英雄双韵体，再到艺术和爱情，终极她们对于整个传统道德系统都加以批判。The romantics were not without morals; on the contrary， their moral judgments were sharp and vehement（激烈的，猛烈的）. But they were based on quite other principles than those that had seemed good to their predecessors（上一任）. The period from 1660 to Rousseau is dominated by recollections of the wars of religion and the civil wars in France and England and Germany. Men were very conscious of the danger of chaos， of the anarchic （无政府主义的）tendencies of all strong passions， of the importance of safety and the sacrifices necessary to achieve it. Prudence（审慎） was regarded as the supreme virtue; intellect was valued as the most effective weapon against subversive（破坏性的） fanatics（狂热者）; polished manners were praised as a barrier against barbarism. Newton’s orderly cosmos， in which the planets unchangingly revolve about the sun in law-abidin g orbits（轨道）， became in imaginative symbol of good government. Restraint in the expression of passion was the chief aim of education， and the surest mark of a gentleman. In the Revolution， pre-romantic French aristocrats died quietly; Madame Roland and Danton， who were romantics， died rhetorically.浪漫主义者并非不讲道德，相反的，她们的道德审判是刻薄而激烈的。但比起她们的前辈人那一些“杰出”准则，她们所作出的审判是基于大相径庭的缘由。从1660年直到卢梭所处的时代，人们的影象为法国英国和德国的宗教战争和内战占据。人们深知混乱的危害，明了所有强烈感情的无政府主义倾向，意想到安全和为维持和平作出必要捐躯的重要性。审慎被视作最大的美好的品德。理智被当作是对抗伤害的狂热分子的最有效的武器。礼贤下士的举止被认为是对抗野蛮的屏障而大受赞扬。在牛顿所提出的有序的太空中，行星毫不改变的在既定轨道上围绕太阳扭转，这已成为杰出政府的一个极具想象力的象征。教育的首要目的就在于对感情抒发的克制力上，这也是一个绅士的绝对标记。在法国大革命中，不受浪漫主义影响的法国贵族平静地接管死亡，而作为浪漫主义者的罗兰太太和丹东都以一种激烈的体式格局死去。By the time of Rousseau， many people had grown tired of safety， and had begun to desire excitement. The French Revolution and Napoleon gave them their fill of it. When in 1815， the political world returned to tranquility， it was a tranquility so dead， so rigid， so hostile to all vigorous life， that only terrified conservatives could endure it. Consequently there was no such intellectual acquiescence（默许） in the status quo as had characterized France under the Roi Soleil and England until the French Revolution. Nineteenth-century revolt against the system of the Holy Alliance took two forms. On the one hand， there was the revolt of industrialism， both capitalist and proletarian（无产者）， against monarchy and aristocracy; this was almost untouched by romanticism， and reverted（恢复原状）， in many respects， to the eighteenth century. This movement is represented by the philosophical radicals（激进分子）， the free-trade movement， and Marxian socialism. Quite different from this was the romantic revolt， which was in part reactionary（反动的）， in part revolutionary. The romantics did not aim at peace and quiet， but a vigorous and passionate individual life. They had no sympathy with industrialism because it was ugly， because money-grubbing seemed to them unworthy of an immortal soul， and because the growth of modern economic organizations interfered with individual liberty. In the post-revolutionary period they were led into politics， gradually， through nationalism; each nation was felt to have a corporate soul， which could not be free so long as the boundaries of States were different from those of nations. In the first half of the nineteen century， nationalism was the most vigorous of revolutionary principles， and most romantics ardently favoured it.到了卢梭的时代，人们已经厌烦了平静，开始巴望激情。法国大革命和拿破仑弥补了她们心灵上的空缺。当1815年政界重归平静时，这类平静是云云沉闷而僵化，对一切生机勃勃的事物都表现出一种敌意。只有被吓破了胆的守旧党人才忍受患了。像太阳王治下的法国与法国大革命时代前的英国特有的那种在思想上默认现状因此不存在了。十九世纪对于神圣联盟的反抗有两种形式。一方面是工业界的反抗，资同族与无产者一道儿反抗君王制系统体例和贵族阶层，这险些没有触动到到浪漫主义，而且在很多方面是与十八世纪时的情况相同。浪漫主义运动的代表是哲学上浮现的激进分子，自由商业运动和马克思的社会形态主义意见。与此差别的是浪漫主义的反抗，它部门是革命的，部门又是反动的。浪漫主义者目的其实不在于平静和安逸，而在于富有激情，生机勃勃的私生活。她们对工业主义不抱好感，因为它是丑恶的。比起不朽的魂灵，攫取金钱的作为在她们看来是一文不值的，并且也因为现代经济社团的成长滋扰了个人自由。在后革命时期，她们由于平易近族主义逐渐介入到政治傍边；她们感应每一个平易近族都一个团体魂，只要国度间的界限还泾渭分明，这团体魂就不会散掉。十九世纪前半叶，国度主义是最有声势的革命原则，大部分数的浪漫主义者都热情地撑持它。The romantic movement is characterized， as a whole， by the substitution of aesthetic for utilitarian standards. The earth-worm is useful， but not beautiful; the tiger is beautiful， but not useful. Darwin (who was not a romantic) praised the earth-worm; Blake praised the tiger. The morals of the romantics have primarily aesthetic motives. But in order to characterize the romantics， it is necessary to take account， not only of the importance of aesthetic motives， but also of the change of taste which made their sense of beauty different from that of their predecessors. Of this， their preference for Gothic architecture（哥特建筑） is one of the most obvious examples. Another is their taste in scenery. Dr Johnson preferred Fleet Street to any rural landscape， and maintained that a man who is tired of London must be tired of life. If anything in the country was admired by Rousseau’s predecessors， it was a scene of fertility， with rich pastures and lowing kine母牛. Rousseau， being Swiss， naturally admired the Alps. In his disciples门徒’ novels and stories， we find wild torrents， fearful precipices（绝壁，绝境）， pathless forests， thunder-storms， tempests at sea， and generally what is useless， destructive， and violent. This change seems to be more or less permanent: almost everybody， nowadays， prefers Niagara and the Grand Canyon to lush meadows and fields of waving corn. Tourist hotels afford statistical evidence of taste in scenery.群体而言，浪漫主义运动的独特之处就是以审美代替实用主义标准。蚯蚓是有效而不美的；老虎则美而无用。非浪漫主义者的达尔文会赞美蚯蚓，相形之下，布莱克则赞美老虎。浪漫主义的道德观首要是以审美为动机的。为了找出浪漫主义者的独特之处，我们不仅需要考虑审美动机的重要性，还要认识到她们喜好的改变。正基于此，她们对于美的认识与前人大大差别。在这点上，她们对于哥特建筑的偏幸是最较着不外的例子了。还有一个例子是关于她们对风光喜好的改变。强森博士爱舰队街胜过自然风光，并且坚持说，一个厌倦了伦敦的人必然是已厌倦了人生。要说卢梭的前辈们对于乡下有什么赏识之处的话，那就是它那牛群遍布，水藻鲜美的一片富饶情形。而做为瑞士人的卢梭生成便热爱阿尔卑斯的风光。在他门徒记叙的小说和故事傍边，到处可见激流险滩，绝壁绝壁，电光雷雨，无径的森林和海上的风暴。这些都是与实用性无关的，激烈而充满破坏力的情形。这类喜好的改变似乎也是不可逆转了，今日的人们险些都喜爱尼亚加拉瀑布和大峡谷，而非丰美的草坪和迎风的麦子上的波浪。对这点，景区旅店的数值可加以证实。The temper of the romantics is best studied in fiction. They liked what was strange: ghosts， ancient decayed castles， the last melancholy descendants of once-great families， practitioners（实践者） of mesmerism（催眠术） and the occult（神秘的） sciences， falling tyrants and levantine pirates. Fielding and Smollett wrote of ordinary people in circumstances that might well have occurred; so did the realists who reacted against romanticism. But to the romantics such themes were too pedestrian（缺乏想象力的）; they felt inspired only by what was grand， remote， and terrifying. Science， of a somewhat dubious sort， could be utilized if it led to something astonishing; but in the main the Middle Ages， and what was most medieval in the present， pleased the romantics best. Very often they cut loose （不受约束，逃跑）from actuality， either past or present， altogether. The Ancient Mariner is typical in this respect， and Coleridge’s Kubla Khan is hardly the historical monarch of Marco Polo. The geography of the romantics is interesting: from Xanadu to ‘the lone Chorasamian shore’， the places in which it is interested are remote， Asiatic， or ancient.浪漫主义者的脾性在对小说的喜好上患上到了最好的体现。她们喜欢奇怪诡谲的事物：鬼魂，风雨飘摇的古堡，曾辉煌一时的大家族残留的最后血脉，受了催眠术的人，神秘的科学，完蛋的暴君，还有地中海东部的海匪。费尔丁和斯莫里特讲评的都是平常人有可能遇到的境遇，与浪漫主义者所差别的现实主义者也是云云。但对浪漫主义者而言，如许的主题太缺乏想象力了。只有宏大的，窎远的，惊悚的事物才能餍足她们。一些具备神秘性的科学学科若能制造出惊悚效果的话便会患上到她们青睐。基本上，中世纪和现实中具中世纪气质的事物最能取悦浪漫主义者们。不管是过去照旧现在，浪漫主义者们总是逃避现实。《古舟子咏》就是很有代表性的例子，柯勒律治的忽必烈汗也很难说成是对马可波罗所面见过的真实君王的描述。浪漫主义者们的地图是非常有趣儿的：从仙都到‘寂寥的寇剌子米亚海岸’，她们的喜好尽在于荒远的，亚细亚的或是古代之处。The romantic movement， in spite of owing its origin to Rousseau， was at first mainly German. The German romantics were young in the last years of the eighteenth century， and it was while they were young that they gave expression to what was most characteristic in their outlook. Those who had not the good fortune to die young， in the end allowed their individuality to be obscured in the uniformity of the Catholic Church. (A romantic could become a Catholic if he had been born a Protestant， but could hardly be a Catholic otherwise， since it was neceary to combine Catholicism with revolt.) The German romantics influenced Coleridge and Shelley， and independently of German influence， the same outlook became common in England during the early years of the nineteenth century. In France， though in a weakened form， it flourished after the Restoration， down to Victor Hugo. In America it is to be seen almost pure in Melville， Thoreau， and Brook Farm and， somewhat softened， in Emerson and Hawthorne. Although romantics tended towards Catholicism， there was something ineradicably Protestant in the individualism of their outlook， and their permanent successes in moulding customs， opinions， and institutions were almost wholly confined to Protestant countries.只管浪漫主义运动源于卢梭，但一开始范围首要在德国内。十八世纪后期的德国浪漫主义者们风华正茂，也就是在如许意气风发的时期她们对关于浪漫主义的首要观点作出了概括。除去那一些英年早逝者，其它人大都终极在基督教会的规范教条下湮灭了她们的个性。（一个浪漫主义者如果生在清缴家庭中有可能终极会成为基督教徒，但要不是云云，他很有可能对基督教心怀抵触。）德国浪漫主义者影响了柯勒律治和雪莱，并且由于德国的影响，这一思潮在十九世纪早期开始风行于英国。在法国，只管它的影响相对较小，但在王朝复辟后直到维克多雨果的时代，也开始流行起来。在目前世界上最强大的国家，它的代表人士则有梅尔维尔，梭罗，布鲁克法姆，艾默生和霍桑也受其影响较深。虽然浪漫主义更倾向于基督教，在很多地方却也与清教有着共通之处，比如说她们的个人主义观点，而且恰是这一思潮永久的影响了新教国度的许多风尚，价值观，制度的形成。The beginning of romanticism in England can be seen in the writings of the satirists， in Sheridan’s Rivals (1775)， the heroine is determined to marry some poor man for love rather than a rich man to please her guardian and her parents; but the rich man whom they have selected wins her love by wooing her under an assumed name and pretending to be poor. Jane Austen makes fun of the romantics in Northanger Abbey and Sense and Sensibility (1797-8). Northanger Abbey has a heroine who is led astray by Mrs Radcliffe’s ultra-romantic Mysteries of Udolpho， which was published in 1794. The first good romantic work in England—apart from Blake， who was a solitary Swedenborgian and hardly part of any ‘movement’—was Coleridge’s Ancient Mariner， published in 1799. In the following year， having unfortunately been supplied with funds by the Wedgwoods， he went to Gottingen and became engulfed in Kant， which did not improve his verse.浪漫主义在英国的兴起可以在讽刺作家的作品中找到蛛丝马迹。在谢礼丹的敌手这一书中，女主妇公决定为爱去嫁给贫穷的人，不愿为取悦她的怙恃，监护人去嫁给一个有钱人。但是监护人为她所遴选的富人用了假名，装成穷小子来追求她而赢患了她的爱。简奥斯丁在诺桑觉寺和理智与感情两本书中调侃了浪漫主义者。诺桑觉寺一书中，女主妇公因受莱德克里夫太太出版于1794年的充满浪漫色彩的《尤德夫的秘密》一书影响而误入歧途。布莱克这一独来独往的斯维登堡人从不介入任何的运动，因此抛开他的作品不算，英国熬头个优秀的浪漫主义作品是柯勒律治出版于1799年的古舟子咏。作者在第二年接管了维德哥伍兹的资助到了哥廷根大学。这事儿可其实不怎么好，他埋首于康德哲学中，在诗歌的创作上再无更高的提升。After Coleridge， Wordsworth， and Southey had become reactionaries， hatred of the Revolution and Napoleon put a temporary brake on English romanticism. But it was soon revived by Byron， Shelley， and Keats， and in some degree dominated the whole Victorian epoch.柯勒律治，华兹华斯和骚塞几人改变为反动的守旧派后，对于革命和拿破仑的怨恨使患上英国的浪漫主义发展暂时障碍了，但很快，拜伦，雪莱和济慈的浮现就使浪漫主义患上以复兴，甚至某种程度上在整个维多利亚时代举足轻重。Mary Shelley’s Frankenstein， written under the inspiration of conversations with Byron in the romantic scenery of the Alps， contains what might almost be regarded as an allegorical （寓言的）prophetic（预言的） history of the development of romanticism. Frankenstein’s monster is not， as he has become in proverbial（谚语的；家喻户晓的） parlance（说法，用语）， a mere monster: he is， at first， a gentle being， longing for human affection， but he is driven to hatred and violence by the horror which his ugliness inspires in those whose love he attempts to gain. Unseen， he observes a virtuous family of poor cottagers， and surreptitiously assists their labours. At length he decides to make himself known to them:玛丽雪莱的《弗兰肯斯坦》患上益于作者与拜伦在阿尔卑斯山的浪漫风光中进行的对话而患上以创作的。它的内部实质意义富于寓意，又对浪漫主义的发展起到了前瞻效用。弗兰肯斯坦所创造的怪物，只管众口相传，却其实不仅仅是一个怪物。它起初是一个巴望患上到人类的关爱的温和的生物，却因为丑陋，从它所抱有温情期待的人那里只患上到了恐惧厌憎。这终极使它走上了仇恨与暴力之路。它隐在暗处，注意到了一个充满美好的品德的房被称为汉人的古代移民庭，偷偷地帮忙她们做些农活。终极，它决定现身人前："The more I saw of them， the greater became my desire to claim their protection and kindness; my heart yearned to be known and loved by these amiable creatures; to see their sweet looks directed towards me with affection， was the utmost limit of my ambition. I dared not think that they would turn from me with disdain and horror."“我越是看着她们，我就越想去寻求她们的掩护和好意。我巴望认识她们，患上到这些善良的生物的爱。能患上到她们充满关爱的神情就是我最大的愿望。我怎么也没想到她们会带着厌憎和恐惧从我身旁逃开。”But they did. So he first demanded of his creator the creation of a female like himself， and， when that was refused， devoted himself to murdering， one by one， all whom Frankenstein loved. But even then， when all his murders are accomplished， and while he is gazing upon the dead body of Frankenstein， the monsters sentiments remain noble:但她们的确如许做了。于是它首先要求它的创造者为他造一个类似的女伴，遭到拒绝时，它开始一个个杀掉弗兰肯斯坦所爱的人们。但即使云云，当它的谋杀全数完成，当它凝视着弗兰肯斯坦的尸体时，怪物的感情却仍是高尚的："That also is my victim! in his murder my crimes are consummated（完成）; the miserable genius of my being is wound to its close! Oh， Frankenstein! generous and self-devoted being! What does it avail that I now ask thee to pardon me? I， who irretrievably 不能挽回的）destroyed thee by destroying all that thou lovedst. Alas! he is cold， he cannot answer me. . . . When I run over the frightful catalogue of my sins， I cannot believe that I am the same creature whose thoughts were once filled with sublime and transcendent visions of the beauty and the majesty of goodness. But it is even so; the fallen angel becomes a malignant （有恶意的，有害的）devil. Yet even that enemy of God and man had friends and associates in his desolation（废墟，忧伤）; I am alone."“这也是我的遭到杀害人！我的恶行以对他的谋杀告以完满。我的苦痛的创造者，生命已至终点！啊，弗兰肯斯坦！激昂大方的，充满献身精神的人儿！我现在哀求你的原谅还有什么用呢？我杀掉了所有你爱的人，如许无可挽回地毁掉了你！。。。他已经冰冷了，他再没法儿回应我。。。当我回首我所犯下的累累恶行，我无法信赖自己曾心怀高贵而卓越的信仰，倾慕美与善。但事已到此。坠落的安琪儿变成了罪恶的妖怪。可即使是上帝和人类的敌人在他那一片萧索的废墟之地也有朋侪和伴侣。而我只有自己一个人。From Bertrand Russell:History of Western Philosophy

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