The New Cambridge Companion to Medieval Romance
The New Cambridge Companion to Medieval Romance
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中世纪浪漫的新剑桥伴侣
DOI：
10.1017/9781108783033.005
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发表时间：
2023
期刊：
影响因子：
--
通讯作者：
Gilbert J
中科院分区：
文献类型：
--
作者：
Gilbert J
最早的浪漫小说是用被认为是“罗马”的法语写成的--新拉丁语！- 产生于并回应了诗歌形式，节奏和韵律（在诗歌和散文），以及早期和当代拉丁语作品的风格的许多创新。起初，其他西欧和中欧方言模仿并进一步改编法国传奇（在某些情况下，通过德国中介），发展了自己的正式剧目。如今，使用散文来讲故事是如此普遍，以至于需要一些脑力劳动来想象观众有不同期望的时代，但是当我们回到最早的中世纪浪漫故事时，想象力的飞跃是必不可少的。因为，除了少数几种语言（特别是威尔士语、爱尔兰语和古诺尔斯语）具有良好的散文传统，可以吸收浪漫的新时尚之外，中世纪的浪漫始于诗歌。本章的前半部分说明了这首诗通常与我们今天对诗歌的期望有何不同，而第二部分则解释了为什么中世纪的散文也会让我们感到惊讶。
The earliest romances, written in a French that was thought of as “Roman”–the new Latin!–grew out of and responded to the many innovations in verse form, rhythm and rhyme (in both verse and prose), and style in earlier and contemporary Latin writings. At first imitating and further adapting French romances (in some cases, via German intermediaries), other western and central European vernaculars developed their own formal repertoires. The use of prose for storytelling is nowadays so normal that it requires some mental effort to imagine a time when audiences had different expectations, but when we travel back in time to the earliest medieval romances that leap of imagination is essential. For, except for a few languages (notably Welsh, Irish, and Old Norse) with well-established prose traditions that could absorb the new fashion for romance, medieval romance begins in verse. The first half of this chapter shows how that verse is often different from what we expect from poetry today, while its second explains why medieval prose, too, should surprise us.