Keats, Milton, and The Fall of Hyperion
Keats, Milton, and The Fall of Hyperion
复制标题
济慈、弥尔顿和海伯利安的陨落
DOI：
10.2307/460690
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发表时间：
1962
期刊：
影响因子：
--
通讯作者：
Stuart M. Sperry
中科院分区：
文献类型：
--
作者：
Stuart M. Sperry
人们经常认为，济慈在修订早期版本的《海伯龙的陨落：一个梦想》时，是在把自己从弥尔顿，特别是《失乐园》的影响中解放出来。在通往堕落的新引导中，他放弃了第一个Hyperion的史诗结构，转而采用一种更个人化和更具寓言色彩的形式--一种幻觉或梦想。这种变化是全面的，不仅涉及结构，还涉及风格，显然反映了诗人对早期版本史诗性质的不满。这种不满的正当理由并不难找到。Hyperion的前两本书，与他们对堕落的神和他们的秘密会议的描述，总体上与《失乐园》的前两本书的行为相似。弥尔顿在他的开篇著作中逐渐介绍了他的主要主题--人的堕落，而济慈在他的第三本书中突然呈现了诗人阿波罗的神化，通过对人类命运及其苦难的富有想象力和极度强烈的认识。这种观点在很大程度上是主观的和个人的，代表了济慈对悲剧美的新的、更成熟的概念的探索，悲剧美与之前的史诗事件的相关性没有，也许永远不可能，被清楚地表达出来。也不清楚他如何在故事已经达到高潮的情况下继续他的故事。
It has frequently been assumed that Keats, in revising the earlier version of Hyperion into The Fall of Hyperion: A Dream, was liberating himself from the influence of Milton and, especially, of Paradise Lost. In the new induction to The Fall he abandoned the epic structure of the first Hyperion for a form that is both more personal and allegoric—that of a vision or dream. The change is sweeping, involving not only structure but style, and apparently reflects the poet's dissatisfaction with the epic nature of the earlier version. Valid reasons for that dissatisfaction are not difficult to find. The first two books of Hyperion, with their description of the fallen divinities and their conclave, in general parallel the action of the first two books of Paradise Lost. Whereas Milton in his opening books gradually introduces his main subject, the fall of man, Keats suddenly presents, in his third, the deification of the poet, Apollo, through an imaginative and supremely intense realization of human destiny and its suffering. That vision is largely subjective and personal and represents Keats's groping toward a new and more mature conception of tragic beauty, the relevance of which to the epic events that precede it is not, and perhaps never could have been, made clear. Nor is it apparent how he could have continued his narrative when its climax had already been achieved.