ELIZABETHAN CRITICAL ESSAYS EDITED WITH AN INTRODUCTION BY G. GREGORY SMITH VOLUME I - PREFACE THE purpose of these volumes is to collect the writings of the Elizabethan age which are concerned with Literary Criticism. The term is used in its most comprehensive sense, and permits the inclusion not merely of academic treatises on the nature of poetry or on more special problems of form, but of tracts and prefaces which express contemporary taste. Some of the texts, such as Harveys and Nashs, are reproduced less for their matter than for their manner of approach. The work is therefore an attempt to recover, primarily in the words of the Elizabethans themselves, what then passed for critical opinion in literary circles. I hope the collection will commend itself as being fairly complete the ingenious repeti tion of argument and illustration which runs through out would show at least that we are in possession of the abiding topics. Several of the texts have been reprinted, either individually or as parts of works, during the late century, and notably by Haslewood, Grosart, and Mr. Arber. In these, it may be said, the interest has been exclusively bibliographical and historical a restriction perhaps inevitable in the plan of separate reprints. The advance in the study of Criticism has proved, however, that there are other, and perhaps more important, interests in this material, and that these are best served by treating it as a whole. In no other way can we find the historical perspective of what appears to be a mingle-mangle of ill-con vi Preface sidered, off-hand sayings, or better appreciate the fact that in these we have the true beginnings of English Criticism as a separate literary kind or adequately understand how much of the classical mood expressed in Dryden and his successors is the natural and native outcome of these early speculations. I have endeavoured, in the Introduction, to discuss these general problems, and to show that the texts here reprinted supply evidence for certain conclusions. It has been found convenient to use the epithet 1 Elizabethan in the strictest chronological sense, and to exclude the earlier treatises of Coxe, Wilson, and Sherry, and, with them, Fulwoods book of 1568, which are either entirely rhetorical or merely anthological. By ending with Elizabeth's death-year, we are denied the critical work of Ben Jonson, other than the earlier pieces which appear in the Appendix to Vol. ii, and all the work of Bacon for though the first edition of the Essays appeared in 1597, the important reissues fall well within Jamess reign. Moreover considerations of space apart Jonson J s and Bacons milieu is Jacobean, and their work introduces us to a later stage in the history of criticism. In that work, with Boltons Hypercritica, Stirlings Anacrisis, Draytons Epistle to Reynolds, and others, there is ample material for another volume. Yet we need not concern ourselves overmuch with the chronological division. The defence of the - limits here chosen must be the mutual dependence of the essays between Aschams chapter on Imitation and Daniels Defence. It so happens that the date of the latter falls in or about 1603. Preface vii All the writings in the body of the book are in prose. The contributions in verse, such as Daniels Musophtlus, Halls Satires, or Peeks judgements on contemporaries, are either plainly supplementary or too occasional for the present purpose. These have been incorporated by way of illustration in the Notes...
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令人惊喜的是,这本书的翻译质量达到了极高的水准。我一直对古典文本的译介持有一种近乎苛刻的态度,因为翻译稍有不慎,便可能扭曲原作者微妙的语境和修辞手法。然而,这本译本的译者显然是一位深谙伊丽莎白时期英语语感,同时又具备深厚哲学功底的行家。他们处理那些晦涩难懂的拉丁语引文和当时特有的双关语时,所展现出的那种“信、达、雅”的平衡感,令人赞叹。例如,在讨论到“崇高”(the Sublime)概念在早期评论中萌芽的那些片段,译者并没有采取生硬的直译,而是巧妙地运用了现代中文中具有相似美学张力的词汇,使得核心思想得以精准传达,同时又不失原文的庄重感。更值得称道的是,译者在脚注和导读中插入的背景资料,既不过分喧宾夺主,又恰到好处地解释了当时某些特定术语的历史演变和文化负载。这使得即便是对伊丽莎白时代社会风俗了解不深的读者,也能迅速跟上论证的步伐。读起来,完全没有一般翻译腔的生涩感,更像是原著作者用现代的笔触重新阐述了一遍,流畅、精准,带着一种令人信服的学理深度。
评分这本《伊丽莎白时代批评随笔集(第一卷)》的厚度和内容深度简直令人敬畏。初捧此书,便被其古朴的装帧和沉甸甸的分量所吸引,这绝非那种轻飘飘的普及读物,而是一部专为严肃的学者和对文艺复兴文学怀有深厚热情的读者准备的饕餮盛宴。我花了整整一周的时间,才大致翻阅了其中的导言和前几篇核心文章,深深感受到编纂者在遴选材料时的匠心独运与严谨态度。他们似乎穷尽了所有能找到的、关于伊丽莎白一世在位期间文学批评思想的原始文本,并以一种近乎于考古发掘的方式,将那些散落在犄角旮旯、鲜为人知的评论家的手稿和论述重新组织起来。其中对菲利普·锡德尼《卫戍诗篇》的几篇早期解读,其分析的细致入微程度,远超我以往阅读的任何现代导读版本。我尤其欣赏其中几篇对当时戏剧理论与伦理道德观的探讨,它们细致地勾勒出了“模仿”(mimesis)概念在当时语境下的复杂张力,远比我们今日理解的要丰富得多。这本书的价值,不在于提供一个简单的结论,而在于构建了一个完整的思想迷宫,引人沉浸其中,去感受那个时代思想的脉搏与挣扎。阅读过程如同置身于一个布满尘封卷轴的古老书房,每翻开一页,都仿佛能听见十六世纪文人墨客们在壁炉边激烈辩论的声音,那种历史的厚重感和智识的冲击力,是无可替代的。
评分作为一部重量级的学术选本,它在参考工具方面的完备性也是值得大书特书的。我通常在阅读这类古典文本时,会需要同时翻阅好几本辅助工具书来核对人名、典故和参考文献的原始出处。然而,这本书的附录部分做得极其详尽和专业。它不仅提供了详尽的原始文本索引和作者小传,更令人称赞的是,其中包含了一份关于伊丽莎白时期主要批评术语的词汇表,对“wit”、“judgment”、“passion”等关键概念在当时语境下的多重含义进行了细致的梳理和标注。这极大地提高了研究的效率,省去了大量交叉比对的时间。这份详尽的资料准备工作,足以证明编纂团队对这项事业投入了巨大的心血和时间,他们不仅仅是文字的搬运工,更是知识的构建者。对于需要引用或深入研究的学者来说,这本书简直就是一座现成的资料库,其参考价值远超其作为阅读文本本身的价值,是案头必备的权威参考书。
评分这本书的学术严谨性毋庸置疑,但更令我欣赏的是它所呈现出的思想的“鲜活度”。尽管这些文本距今已有数百年,但其中探讨的许多核心问题——例如艺术的社会责任、诗歌与真理的关系、以及如何评判“趣味”——在今天看来依然具有惊人的现实意义。特别是其中对戏剧中“感官愉悦”与“道德教化”之间权衡的讨论,简直就是对当下各种文化娱乐产品伦理边界的预演。作者们在那个充满宗教禁令和宫廷权谋的时代,依然敢于对文学的本质进行如此深刻的追问,这种勇气本身就值得我们敬佩。我尤其记得一篇关于“作者意图”的讨论,那篇文字以一种近乎现代“读者反应理论”的雏形,探讨了文本意义的开放性,这让我对伊丽莎白时期的思想深度有了一个全新的认识,远超出了传统认知中他们仅仅是古典继承者的刻板印象。这本书成功地打破了历史的隔阂,让古老的争论发出了当下的回响,催人深思。
评分对于希望系统性地了解伊丽莎白时代批评理论起源的朋友来说,这本书的结构安排简直就是一本完美的路线图。它并非按照时间线索简单罗列,而是采取了一种主题性的汇编方式,将性质相近的评论文章巧妙地编排在一起。第一部分似乎聚焦于诗歌的效用与形式,紧接着是关于戏剧的“三一律”与“写实主义”的早期辩论,随后则转向了修辞学在政治宣传中的应用。这种编排方式的妙处在于,它能够清晰地展示出不同批评领域之间思想的相互渗透与张力。例如,当我读到关于“寓意”(allegory)的讨论时,这本书立刻将我引向了另一篇关于宗教改革时期文本解读方法的文章,让我清晰地看到了文学批评如何与更宏大的时代思潮紧密捆绑在一起。这种设计极大地增强了阅读的连贯性和启发性,它鼓励读者进行横向比较,而非孤立地看待每一篇文本。你不会觉得自己在阅读一堆零散的论文集,而更像是在跟随一位资深向导,穿越一个复杂的思想景观,每一步都有明确的指引,让人在纷繁的论点中依然能抓住主脉。
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