涌动的行列与声音的活力——威廉·华兹华斯和罗伯特·勃朗宁笔下的戏剧性诗学传承  

The Dramatic Legacy of the Pageant and the Voice in William Wordsworth and Robert Browning

作　　者：姚圣 YAO Sheng

机构地区：[1]英国杜伦大学英语系

出　　处：《国外文学》2024年第3期98-108,共11页Foreign Literatures

摘　　要：浪漫主义时期的主要诗人华兹华斯于1850年发表的长诗《序曲》(The Prelude)与维多利亚时代的主要诗人勃朗宁在1841年发表的一部极富原创性的早期剧作《碧葩走过》(Pippa Passes)皆蕴含着深刻的“从内部给出事实”的戏剧性诗学艺术原则。这两个文本互相呼应并产生有趣的关联。通过人物盛会和声音组合这两种戏剧性的呈现方式,从视觉和听觉两个维度处处可见《碧葩走过》的戏剧性实验中存在着诸多华兹华斯式的戏剧性诗学元素,尤其与《序曲》第七卷“涌动的行列”和“声音的活力”这两种华氏戏剧性诗学因子产生精神互动。Both Wordsworth and Browning are deeply concerned with the tacit pursuits that constitute the object to"give facts from within"in their experimentations with dramatic poetics.Through the depictions of seemingly casual and different passings(one in London and the other in Asolo,Italy),the two dramatic elements of the pageant and the voice run parallel in Book Ⅶ of The Prelude(1850)and Pippa Passes(1841).In Book Ⅶ of The Prelude,Wordsworth sets various pageant stages in London and displays a dizzying array of wording and voices to reveal his sense of the"dramas of living men"(Prelude Ⅶ:290);the same Wordsworthian dramaturgical principles are inherited in Browning's 1841 highly original play Pippa Passes produced during his early experimental stage.Browning creates a medley of voices to elicit his unique sense of pageantry situated in Asolo,and the psychological depth and the characteristics of people in various trades are nimbly exhibited within the four pageant scenes,which resuscitate aspects of Wordsworthian drama.

关 键 词：威廉·华兹华斯 罗伯特·勃朗宁 《序曲》 《碧葩走过》 戏剧性诗学 

分 类 号：I561.072[文学—其他各国文学]