23小時前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.從十八世紀后半葉起直到今日，藝術(shù)，文學，哲學甚至是政治都或好或壞的被一種思潮影響著 。這類思潮很大程度上可以被稱作浪漫主義運動思潮 。即使是那一些對此持抵觸態(tài)度的人也只患上對其加以考慮，而事實上，在很多方面，她們并沒有意想到自己也深受這思潮的影響 。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.浪漫主義運動起初與哲學是并無關(guān)聯(lián)的，但不久之后兩者便彼此相系 。政研學與浪漫主義運動的紐帶則是由盧梭建立起的 。我們首先應(yīng)該認識浪漫主義運動最首要的形式和其對于傳統(tǒng)的道德和審美標準的顛覆，然后才能明了其對于政治和哲學的效用 。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（傾向） 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（榜樣，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.浪漫主義運動中熬頭位巨大人士就是盧梭，但在某種程度上來說，他僅僅是抒發(fā)出了已經(jīng)浮現(xiàn)的趨勢而已 。在十八世紀的法國，受過教育的人們大大仰慕她們所稱作“感性”的東西，容易多情容易引起感觸，其中尤以同情這一感情為最 。感情需表現(xiàn)的直接熱烈且不假思索，云云才能使人對勁 。一個感性的人會為農(nóng)平易近家庭貧窮凄苦的生活悲傷的落下淚來，卻對旨在改善農(nóng)平易近階層生活的周詳計劃漠不關(guān)心 。她們認為，窮人應(yīng)比富人更多的擁有美好的品德，而賢人則是從糜爛的宮庭生活中引退，轉(zhuǎn)而享受平靜淡泊的田圃生活的人士 。險些各個時代的詩人都曾抒發(fā)過如許一種想法，只管這念頭往往轉(zhuǎn)瞬即逝 。《皆大歡喜》中遭遇流放的公爵便曾云云設(shè)想，只管他一患上有可能便心急火燎地返回了自己的公國 。只有憂郁的哲杰出的人奎斯真心腸喜歡叢林中的生活 。甚至集浪漫主義運動所反對的特質(zhì)于一身的波普也如許寫道：如許的人就快樂了，他溫情地期待與照料，那肥沃的田地少頃；如許的人就饜足了，他自由地呼吸，他孩子般的土地上親切的空氣 。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（忘恩負義）， but in emotion his response was all that the most ardent （熱腸的熱烈的）devotee of sensibility could have wished. Having the tastes of a tramp（流浪者）， he found the restraints of Parisian society irksome.（令人厭煩的） From him the romantics learnt a contempt（輕視） for the trammels（枷鎖） 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.盧梭投身于已存在的對感性的狂熱崇拜之中，并且賦予它從未有過的廣度和范圍 。他是一個平易近主主義者，這不僅體現(xiàn)在他的意見上，也體現(xiàn)在他的喜好上 。很長一段時期中，他都是一個貧窮的流浪漢，受著境況比他好不了幾多的人的恩德 。在行動上，他以忘恩負義回報這類好意，可在感情上，他的回贈純粹切合狂熱的感性主義者的要求 。他有著流浪漢的個性，對巴黎社會形態(tài)的種種條條框框感應(yīng)厭煩至極 。從盧梭那里，浪漫主義者學到了對傳統(tǒng)枷鎖不屑一顧的態(tài)度 。這類不屑一顧體現(xiàn)在服飾禮節(jié)到小步舞蹈伴奏曲和英雄雙韻體，再到藝術(shù)和愛情，終極她們對于整個傳統(tǒng)道德系統(tǒng)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 （無政府主義的）tendencies of all strong passions， of the importance of safety and the sacrifices necessary to achieve it. Prudence（審慎） was regarded as the supreme virtue; intellect was valued as the most effective weapon against subversive（破壞性的） fanatics（狂熱者）; 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（軌道）， 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.浪漫主義者并非不講道德，相反的，她們的道德審判是刻薄而激烈的 。但比起她們的前輩人那一些“杰出”準則，她們所作出的審判是基于大相徑庭的緣由 。從1660年直到盧梭所處的時代，人們的影象為法國英國和德國的宗教戰(zhàn)爭和內(nèi)戰(zhàn)占據(jù) 。人們深知混亂的危害，明了所有強烈感情的無政府主義傾向，意想到安全和為維持和平作出必要捐軀的重要性 。審慎被視作最大的美好的品德 。理智被當作是對抗傷害的狂熱分子的最有效的武器 。禮賢下士的舉止被認為是對抗野蠻的屏障而大受贊揚 。在牛頓所提出的有序的太空中，行星毫不改變的在既定軌道上圍繞太陽扭轉(zhuǎn)，這已成為杰出政府的一個極具想象力的象征 。教育的首要目的就在于對感情抒發(fā)的克制力上，這也是一個紳士的絕對標記 。在法國大革命中，不受浪漫主義影響的法國貴族平靜地接管死亡，而作為浪漫主義者的羅蘭太太和丹東都以一種激烈的體式格局死去 。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（默許） 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（無產(chǎn)者）， against monarchy and aristocracy; this was almost untouched by romanticism， and reverted（恢復原狀）， in many respects， to the eighteenth century. This movement is represented by the philosophical radicals（激進分子）， the free-trade movement， and Marxian socialism. Quite different from this was the romantic revolt， which was in part reactionary（反動的）， 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.到了盧梭的時代，人們已經(jīng)厭煩了平靜，開始巴望激情 。法國大革命和拿破侖彌補了她們心靈上的空缺 。當1815年政界重歸平靜時，這類平靜是云云沉悶而僵化，對一切生機勃勃的事物都表現(xiàn)出一種敵意 。只有被嚇破了膽的守舊黨人才忍受患了 。像太陽王治下的法國與法國大革命時代前的英國特有的那種在思想上默認現(xiàn)狀因此不存在了 。十九世紀對于神圣聯(lián)盟的反抗有兩種形式 。一方面是工業(yè)界的反抗，資同族與無產(chǎn)者一道兒反抗君王制系統(tǒng)體例和貴族階層，這險些沒有觸動到到浪漫主義，而且在很多方面是與十八世紀時的情況相同 。浪漫主義運動的代表是哲學上浮現(xiàn)的激進分子，自由商業(yè)運動和馬克思的社會形態(tài)主義意見 。與此差別的是浪漫主義的反抗，它部門是革命的，部門又是反動的 。浪漫主義者目的其實不在于平靜和安逸，而在于富有激情，生機勃勃的私生活 。她們對工業(yè)主義不抱好感，因為它是丑惡的 。比起不朽的魂靈，攫取金錢的作為在她們看來是一文不值的，并且也因為現(xiàn)代經(jīng)濟社團的成長滋擾了個人自由 。在后革命時期，她們由于平易近族主義逐漸介入到政治傍邊；她們感應(yīng)每一個平易近族都一個團體魂，只要國度間的界限還涇渭分明，這團體魂就不會散掉 。十九世紀前半葉，國度主義是最有聲勢的革命原則，大部分數(shù)的浪漫主義者都熱情地撐持它 。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門徒’ novels and stories， we find wild torrents， fearful precipices（絕壁，絕境）， 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.群體而言，浪漫主義運動的獨特之處就是以審美代替實用主義標準 。蚯蚓是有效而不美的；老虎則美而無用 。非浪漫主義者的達爾文會贊美蚯蚓，相形之下，布萊克則贊美老虎 。浪漫主義的道德觀首要是以審美為動機的 。為了找出浪漫主義者的獨特之處，我們不僅需要考慮審美動機的重要性，還要認識到她們喜好的改變 。正基于此，她們對于美的認識與前人大大差別 。在這點上，她們對于哥特建筑的偏幸是最較著不外的例子了 。還有一個例子是關(guān)于她們對風光喜好的改變 。強森博士愛艦隊街勝過自然風光，并且堅持說，一個厭倦了倫敦的人必然是已厭倦了人生 。要說盧梭的前輩們對于鄉(xiāng)下有什么賞識之處的話，那就是它那牛群遍布，水藻鮮美的一片富饒情形 。而做為瑞士人的盧梭生成便熱愛阿爾卑斯的風光 。在他門徒記敘的小說和故事傍邊，到處可見激流險灘，絕壁絕壁，電光雷雨，無徑的森林和海上的風暴 。這些都是與實用性無關(guān)的，激烈而充滿破壞力的情形 。這類喜好的改變似乎也是不可逆轉(zhuǎn)了，今日的人們險些都喜愛尼亞加拉瀑布和大峽谷，而非豐美的草坪和迎風的麥子上的波浪 。對這點，景區(qū)旅店的數(shù)值可加以證實 。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（實踐者） of mesmerism（催眠術(shù)） 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 （不受約束，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.浪漫主義者的脾性在對小說的喜好上患上到了最好的體現(xiàn) 。她們喜歡奇怪詭譎的事物：鬼魂，風雨飄搖的古堡，曾輝煌一時的大家族殘留的最后血脈，受了催眠術(shù)的人，神秘的科學，完蛋的暴君，還有地中海東部的海匪 。費爾丁和斯莫里特講評的都是平常人有可能遇到的境遇，與浪漫主義者所差別的現(xiàn)實主義者也是云云 。但對浪漫主義者而言，如許的主題太缺乏想象力了 。只有宏大的，窎遠的，驚悚的事物才能饜足她們 。一些具備神秘性的科學學科若能制造出驚悚效果的話便會患上到她們青睞 ?；旧?，中世紀和現(xiàn)實中具中世紀氣質(zhì)的事物最能取悅浪漫主義者們 。不管是過去照舊現(xiàn)在，浪漫主義者們總是逃避現(xiàn)實 ?！豆胖圩釉仭肪褪呛苡写硇缘睦?，柯勒律治的忽必烈汗也很難說成是對馬可波羅所面見過的真實君王的描述 。浪漫主義者們的地圖是非常有趣兒的：從仙都到‘寂寥的寇剌子米亞海岸’，她們的喜好盡在于荒遠的，亞細亞的或是古代之處 。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.只管浪漫主義運動源于盧梭，但一開始范圍首要在德國內(nèi) 。十八世紀后期的德國浪漫主義者們風華正茂，也就是在如許意氣風發(fā)的時期她們對關(guān)于浪漫主義的首要觀點作出了概括 。除去那一些英年早逝者，其它人大都終極在基督教會的規(guī)范教條下湮滅了她們的個性 。（一個浪漫主義者如果生在清繳家庭中有可能終極會成為基督教徒，但要不是云云，他很有可能對基督教心懷抵觸 。）德國浪漫主義者影響了柯勒律治和雪萊，并且由于德國的影響，這一思潮在十九世紀早期開始風行于英國 。在法國，只管它的影響相對較小，但在王朝復辟后直到維克多雨果的時代，也開始流行起來 。在目前世界上最強大的國家，它的代表人士則有梅爾維爾，梭羅，布魯克法姆，艾默生和霍桑也受其影響較深 。雖然浪漫主義更傾向于基督教，在很多地方卻也與清教有著共通之處，比如說她們的個人主義觀點，而且恰是這一思潮永久的影響了新教國度的許多風尚，價值觀，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.浪漫主義在英國的興起可以在諷刺作家的作品中找到蛛絲馬跡 。在謝禮丹的敵手這一書中，女主婦公決定為愛去嫁給貧窮的人，不愿為取悅她的怙恃，監(jiān)護人去嫁給一個有錢人 。但是監(jiān)護人為她所遴選的富人用了假名，裝成窮小子來追求她而贏患了她的愛 。簡奧斯丁在諾桑覺寺和理智與感情兩本書中調(diào)侃了浪漫主義者 。諾桑覺寺一書中，女主婦公因受萊德克里夫太太出版于1794年的充滿浪漫色彩的《尤德夫的秘密》一書影響而誤入歧途 。布萊克這一獨來獨往的斯維登堡人從不介入任何的運動，因此拋開他的作品不算，英國熬頭個優(yōu)秀的浪漫主義作品是柯勒律治出版于1799年的古舟子詠 。作者在第二年接管了維德哥伍茲的資助到了哥廷根大學 。這事兒可其實不怎么好，他埋首于康德哲學中，在詩歌的創(chuàng)作上再無更高的提升 。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，華茲華斯和騷塞幾人改變?yōu)榉磩拥氖嘏f派后，對于革命和拿破侖的怨恨使患上英國的浪漫主義發(fā)展暫時障礙了，但很快，拜倫，雪萊和濟慈的浮現(xiàn)就使浪漫主義患上以復興，甚至某種程度上在整個維多利亞時代舉足輕重 。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（預言的） history of the development of romanticism. Frankenstein’s monster is not， as he has become in proverbial（諺語的；家喻戶曉的） parlance（說法，用語）， 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:瑪麗雪萊的《弗蘭肯斯坦》患上益于作者與拜倫在阿爾卑斯山的浪漫風光中進行的對話而患上以創(chuàng)作的 。它的內(nèi)部實質(zhì)意義富于寓意，又對浪漫主義的發(fā)展起到了前瞻效用 。弗蘭肯斯坦所創(chuàng)造的怪物，只管眾口相傳，卻其實不僅僅是一個怪物 。它起初是一個巴望患上到人類的關(guān)愛的溫和的生物，卻因為丑陋，從它所抱有溫情期待的人那里只患上到了恐懼厭憎 。這終極使它走上了仇恨與暴力之路 。它隱在暗處，注意到了一個充滿美好的品德的房被稱為漢人的古代移民庭，偷偷地幫忙她們做些農(nóng)活 。終極，它決定現(xiàn)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."“我越是看著她們，我就越想去尋求她們的掩護和好意 。我巴望認識她們，患上到這些善良的生物的愛 。能患上到她們充滿關(guān)愛的神情就是我最大的愿望 。我怎么也沒想到她們會帶著厭憎和恐懼從我身旁逃開 ?！盉ut 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:但她們的確如許做了 。于是它首先要求它的創(chuàng)造者為他造一個類似的女伴，遭到拒絕時，它開始一個個殺掉弗蘭肯斯坦所愛的人們 。但即使云云，當它的謀殺全數(shù)完成，當它凝視著弗蘭肯斯坦的尸體時，怪物的感情卻仍是高尚的："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 （有惡意的，有害的）devil. Yet even that enemy of God and man had friends and associates in his desolation（廢墟，憂傷）; I am alone."“這也是我的遭到殺害人！我的惡行以對他的謀殺告以完滿 。我的苦痛的創(chuàng)造者，生命已至終點！啊，弗蘭肯斯坦！激昂大方的，充滿獻身精神的人兒！我現(xiàn)在哀求你的原諒還有什么用呢？我殺掉了所有你愛的人，如許無可挽回地毀掉了你！ 。。。他已經(jīng)冰冷了，他再沒法兒回應(yīng)我 。。。當我回首我所犯下的累累惡行，我無法信賴自己曾心懷高貴而卓越的信仰，傾慕美與善 。但事已到此 。墜落的安琪兒變成了罪惡的妖怪 。可即使是上帝和人類的敵人在他那一片蕭索的廢墟之地也有朋儕和伴侶 。而我只有自己一個人 。From Bertrand Russell:History of Western Philosophy

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