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The Verse Forms of Middle English Romance

中古英语浪漫主义的诗歌形式

基本信息

批准号：
AH/H00839X/1
负责人：
Ad Putter
金额：
$ 45.54万
依托单位：
University of Bristol
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2010
资助国家：
英国
起止时间：
2010 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FH00839X%2F1
关键词：
Verse Forms Middle English Romance

项目摘要

Before the fifteenth century, Middle English writers wrote stories in verse. The three broad streams of narrative verse in medieval England are the poetry of Chaucer and his followers, alliterative verse, and the metrical romances. The oldest of these, King Horn (c1220) immediately exposes our ignorance about the kind of verse the poet of Middle English romance thought they were writing. The Horn poet's rhyme range was evidently wider than that of poets such as Chaucer and Gower, and his prosody remains the subject of controversy: were his verses short couplet lines in alternating three-beat rhythm or more like the half-lines of alliterative poetry? A number of romances composed after Horn give rise to similar problems of scansion and versification. Sir Tristrem, from the later thirteenth century, was written in an unusual 11-line bob-and-wheel stanza that has seemed to some parodic and to others lyrical. To judge which of these views is the correct one, we would need to know which other poems (in English, Anglo-Norman and Latin) used the form. Two stanzaic patterns recur regularly in Sir Tristrem but a third pattern is only attested in just two stanzas: are these anomalous stanzas due to scribal invovement or are they authorial? This project addresses these and other questions by investigating the particular metrical systems that obtained in the Middle English romances, and it explores their textual and literary history to answer the question of what their verse forms meant to poets, scribes, and audiences. The importance of these topics to editors, literary critics, and philologists has long been appreciated in the field of Chaucer studies and more recently in the field of alliterative verse, where new discoveries about poets' metrical practices have revolutionized editing and enriched literary criticism. Regrettably, the renewal of interest in the formal aspects of verse has largely passed the Middle English romances by. Since little is known about their metrical systems, editors have not been able to use metrical criteria as an aid to textual criticism, with the result that romances often circulate in editions that give the misleading impression that, where rhyme, stanza form, and rhythm are concerned, everything goes. There are good reasons, on the contrary, for assuming that romance poets had a determinate range of metrical possibilities, and that these conditions of metricality are recoverable. The accidental survival of autograph copies of Sir Ferumbras (consisting of fragmentary draft and a final version) provides a rare opportunity to measure the poet's range of permissible rhymes and rhythms. In romances that are extant in multiple copies (such as Horn and Eglamour), the unreliable evidence of scribal manuscript witnesses, invariably corrupted by error, can be checked against the evidence provided by other witnesses. The potential benefits of this programme of research are wide-ranging. For example, our publications and CD and DVD recordings of illustrative readings from the metrical romances will enable modern readers to familiarize themselves with forgotten conventions of rhyme and rhythm; a knowledge of these conventions will help editors when weighing up the reliability of particular manuscript readings; and the data we seek to collect about imprecise rhymes and rhythmical patterns will be of permanent value for linguistic research into pronunciation, sound changes, and the perceptual salience of phonological distinctions.

在世纪以前，中古英语作家用韵文写故事。中世纪英格兰叙事诗的三大流派是乔叟及其追随者的诗歌、头韵诗和格律传奇诗。其中最古老的一首《霍恩王》（King Horn，1220年）立即暴露了我们对中世纪英语浪漫诗人认为他们在写的诗歌的无知。霍恩诗人的押韵范围明显比乔叟和高尔等诗人更广，他的韵律仍然是争议的主题：他的诗是交替三拍节奏的短句，还是更像头韵诗的半行？在霍恩之后创作的一些罗曼史也产生了类似的排比和诗体化问题。《特里斯特姆爵士》出自13世纪晚期，是用一个不同寻常的11行“摇轮节”写成的，有些人觉得这是一种戏仿，有些人则觉得这是一种抒情。要判断哪一种观点是正确的，我们需要知道其他哪些诗歌（英语、盎格鲁-诺曼语和拉丁语）使用了这种形式。两个诗节模式经常出现在特里斯特姆爵士，但第三种模式只在两个诗节中得到证实：这些异常的诗节是由于抄写的介入，还是作者的？这个项目通过调查在中世纪英语传奇中获得的特定韵律系统来解决这些和其他问题，并探索其文本和文学史，以回答他们的诗歌形式对诗人，抄写员和观众意味着什么的问题。这些主题对编辑、文学评论家和语言学家的重要性在乔叟研究领域和最近的头韵诗领域都得到了重视，其中关于诗人格律实践的新发现彻底改变了编辑和丰富了文学批评。令人遗憾的是，对诗歌形式方面的兴趣的恢复在很大程度上忽略了中世纪英语的浪漫主义。由于人们对其格律系统知之甚少，编辑们无法使用格律标准作为文本批评的辅助手段，结果浪漫小说经常以这样的版本流传，给人一种误导性的印象，即在押韵、节形式和节奏方面，一切都顺利。相反，我们有充分的理由假定浪漫诗人有一定范围的格律可能性，而且这些格律性的条件是可以恢复的。费伦布拉斯爵士的亲笔签名副本（包括零碎的草稿和最终版本）的意外生存提供了一个难得的机会来衡量诗人的允许押韵和节奏的范围。在现存于多个副本中的传奇故事中（如霍恩和艾格拉穆尔），抄写员手稿证人的不可靠证据总是被错误所破坏，可以与其他证人提供的证据进行核对。这一研究方案的潜在好处是广泛的。例如，我们的出版物和CD和DVD记录的韵律浪漫的说明性阅读将使现代读者熟悉被遗忘的押韵和节奏的惯例;这些惯例的知识将有助于编辑衡量特定手稿阅读的可靠性;我们试图收集的关于不精确的押韵和节奏模式的数据将对语音，声音变化，以及语音差异的知觉突显性。