The Lay of the Last Minstrel and Improvisatory Authorship
The Lay of the Last Minstrel and Improvisatory Authorship
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最后一位吟游诗人的歌谣和即兴创作
DOI：
10.5699/yearenglstud.47.2017.0161
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发表时间：
2022
期刊：
影响因子：
--
通讯作者：
D. Cook
中科院分区：
文献类型：
--
作者：
D. Cook
摘要：本文追溯了《最后一位吟游诗人的歌谣》的即兴创作中表面上看似矛盾的内容。它认为，斯科特试图在一首以历史笔记为基础的现代印刷诗中戏剧化传统吟游诗人自发和偶尔的职责。此外，故事本身的展开对于浪漫民谣的外行读者来说理论上是不可预见的（即兴创作）。斯科特似乎凭着记忆，通过他的替代作曲声音，重新整理了来自普通库和其他人的语料库的一系列诗歌和学术材料，其中包括有争议的柯勒律治当时尚未出版但被广泛背诵的片段。通过通过文本的结尾巧妙地控制情节，斯科特断言了他对这首诗的作者控制，因为它存在于页面上，但仍然在一种活的档案中保留了即兴吟游诗人的开放性本质。
Abstract:This essay traces what superficially appear to be contradictions in the improvisatory authorship of The Lay of the Last Minstrel. Scott, it argues, seeks to dramatize in a modern printed poem anchored by historical notes the spontaneous and occasional remit of traditional minstrelsy. The story itself, moreover, turns on actions that are notionally unforeseen (improvisus) for an uninitiated reader of romantic ballads. Seemingly from memory, Scott, through his surrogate compositional voices, refashions a range of poetic and scholarly materials from a common stock and from the corpora of others, including, controversially, an as-then unpublished but widely recited fragment by Coleridge. By masterfully reining in his plot by the closing of the text, Scott asserts his authorial control over the poem as it exists on the page and yet still maintains in a kind of living archive the open-ended nature of improvised minstrelsy.