1066 up to the mid-fourteenth century, there is not much to say about literature in English. It is almost a barren period in literary creation. But in the second half of the 14th century, English literature starts to flourish with the appearance of writers like Geoffrey Chaucer, William Langland, John Gower, and others. In comparison with Old English literature, Middle English literature deals with a wider range of subjects, is uttered by more voices and is presented in a greater diversity of styles, tones and genres. Popular folk literature also occupies an important place in this period. Its presentation of life is not only accurate but also in a lively and colorful way, though the originality of thought is often absent in the literary works of this period. Besides, the Middle English literature strongly reflects the principles of the medieval Christian doctrines, which are primarily concerned with the issue of personal salvation. An emphasis has also been placed on the humanity of Christ and the imagery of human passion. Love has largely superseded fear, and explorations into undiscovered regions of the heart offer fresh possibilities for introspection.
1066 年到 14 世纪中叶，关于英语文学没有太多可说的。这几乎是一个文学创作的荒芜时期。但在 14 世纪下半叶，随着杰弗里·乔叟、威廉·兰兰德、约翰·高尔等作家的出现，英语文学开始繁荣。与古英语文学相比，中英语文学涉及更广泛的主题，表达的声音更多，风格、语调和体裁也更加多样化。民间文学在这一时期也占据了重要地位。它对生活的呈现不仅准确，而且生动多彩，尽管这一时期的文学作品往往缺乏思想的原创性。此外，中英语文学强烈反映了中世纪基督教教义的原则，主要关注个人救赎的问题。对基督人性的强调和人类激情的意象也得到了重视。爱在很大程度上取代了恐惧，对心灵未被探索领域的探索为内省提供了新的可能性。
1066 年到 14 世纪中叶，关于英语文学没有太多可说的。这几乎是一个文学创作的荒芜时期。但在 14 世纪下半叶，随着杰弗里·乔叟、威廉·兰兰德、约翰·高尔等作家的出现，英语文学开始繁荣。与古英语文学相比，中英语文学涉及更广泛的主题，表达的声音更多，风格、语调和体裁也更加多样化。民间文学在这一时期也占据了重要地位。它对生活的呈现不仅准确，而且生动多彩，尽管这一时期的文学作品往往缺乏思想的原创性。此外，中英语文学强烈反映了中世纪基督教教义的原则，主要关注个人救赎的问题。对基督人性的强调和人类激情的意象也得到了重视。爱在很大程度上取代了恐惧，对心灵未被探索领域的探索为内省提供了新的可能性。
But according to the Christian orthodoxy, the life in this world is only a preparatory stage for eternal happiness, a period of suffering and repenting for man. By providing forbearance as the only answer for man’s troubles and considering the reformation of this world neither possible nor desirable, this religious idealism does more harm than good to the common people. The lack of originality in Middle English literature is partly due to this Christian teaching.
但根据基督教正统观点，这个世界的生活只是通往永恒幸福的准备阶段，是人类痛苦和悔改的时期。将宽容视为人类困扰的唯一答案，并认为这个世界的改造既不可能也不值得追求，这种宗教理想主义对普通人造成的伤害大于好处。中世纪英语文学缺乏原创性部分是由于这一基督教教义。
但根据基督教正统观点，这个世界的生活只是通往永恒幸福的准备阶段，是人类痛苦和悔改的时期。将宽容视为人类困扰的唯一答案，并认为这个世界的改造既不可能也不值得追求，这种宗教理想主义对普通人造成的伤害大于好处。中世纪英语文学缺乏原创性部分是由于这一基督教教义。
2.2 Medieval Romance 2.2 中世纪浪漫
Romance, which uses narrative verse or prose to sing knightly adventures or other heroic deeds, is a popular literary form in the Middle Ages. It has developed the characteristic medieval motifs of the quest, the test, the meeting with the evil giant and the encounter with the beautiful beloved. The hero is usually the knight, who sets out on a journey to accomplish some missions-to protect the church, to attack infidelity, to rescue a maiden, to meet a challenge, or to obey a knightly command. There is often a liberal use of the improbable, sometimes even supernatural, things in romance such as mysteries and fantasies. Romantic love is an important part of the plot in romance. Characterization is standardized, so that heroes, heroines and wicked stewards can be easily moved from one romance to another. While the structure is loose and episodic, the language is simple and straightforward. The importance of the romance itself can be seen as a means of showing medieval aristocratic men and women in relation to their idealized
浪漫主义是一种流行的文学形式，使用叙事诗或散文来歌颂骑士冒险或其他英雄事迹，盛行于中世纪。它发展出了中世纪特有的主题，如探险、考验、与邪恶巨人的遭遇以及与美丽爱人的相遇。英雄通常是骑士，他们踏上旅程以完成某些使命——保护教会、攻击异教徒、拯救少女、迎接挑战或服从骑士的命令。浪漫主义中常常大量使用不太可能的，甚至是超自然的元素，如神秘和幻想。浪漫爱情是浪漫故事情节的重要部分。人物刻画标准化，因此英雄、女英雄和邪恶的管家可以轻松地从一个浪漫故事转移到另一个。虽然结构松散且情节 episodic，但语言简单明了。浪漫主义本身的重要性可以看作是展示中世纪贵族男女与他们理想化形象之间关系的一种手段。
view of the world. If the epic reflects a heroic age, the romance reflects a chivalric one.
世界观。如果史诗反映了一个英雄时代，那么浪漫则反映了一个骑士时代。
The English romance mainly deals with three major subjects: the “Matter of France,” the “Matter of Rome,” and the “Matter of Britain.”
英语浪漫主要涉及三个主要主题：“法国的事”、“罗马的事”和“英国的事”。
浪漫主义是一种流行的文学形式，使用叙事诗或散文来歌颂骑士冒险或其他英雄事迹，盛行于中世纪。它发展出了中世纪特有的主题，如探险、考验、与邪恶巨人的遭遇以及与美丽爱人的相遇。英雄通常是骑士，他们踏上旅程以完成某些使命——保护教会、攻击异教徒、拯救少女、迎接挑战或服从骑士的命令。浪漫主义中常常大量使用不太可能的，甚至是超自然的元素，如神秘和幻想。浪漫爱情是浪漫故事情节的重要部分。人物刻画标准化，因此英雄、女英雄和邪恶的管家可以轻松地从一个浪漫故事转移到另一个。虽然结构松散且情节 episodic，但语言简单明了。浪漫主义本身的重要性可以看作是展示中世纪贵族男女与他们理想化形象之间关系的一种手段。
view of the world. If the epic reflects a heroic age, the romance reflects a chivalric one.
世界观。如果史诗反映了一个英雄时代，那么浪漫则反映了一个骑士时代。
The English romance mainly deals with three major subjects: the “Matter of France,” the “Matter of Rome,” and the “Matter of Britain.”
英语浪漫主要涉及三个主要主题：“法国的事”、“罗马的事”和“英国的事”。
The “Matter of France” meant a collection of tales about Chalemagne and his peers headed by Roland, and their wars against the Saracens. Everybody knew that Chalemagne was a real person, the mighty ruler of France and neighboring countries around the year A.D. 800. The French kings claimed to be his heirs. Hence, the tales that told how he saved Christendom gave the French crown a special dignity. The tales were also enjoyed by the warlike nobles, but were not so well suited to the taste of other countries, or to the fast-changing audience of the later twelfth century.
“法国的事情”指的是关于查理曼大帝及其同伴罗兰和他们与萨拉森人战争的故事集。大家都知道查理曼大帝是真实存在的人物，公元 800 年左右他是法国及周边国家的强大统治者。法国国王声称是他的继承人。因此，讲述他如何拯救基督教世界的故事赋予了法国王冠特殊的尊严。这些故事也受到好战贵族的喜爱，但并不太适合其他国家的口味，或是快速变化的十二世纪后期观众的口味。
“法国的事情”指的是关于查理曼大帝及其同伴罗兰和他们与萨拉森人战争的故事集。大家都知道查理曼大帝是真实存在的人物，公元 800 年左右他是法国及周边国家的强大统治者。法国国王声称是他的继承人。因此，讲述他如何拯救基督教世界的故事赋予了法国王冠特殊的尊严。这些故事也受到好战贵族的喜爱，但并不太适合其他国家的口味，或是快速变化的十二世纪后期观众的口味。
The “Matter of Rome” covered everything that had come down from the ancient Romans, and from the Greeks also. This included Roman history and poetry, which were preserved in ancient books copied out by the monks. It also included Greek mythology. Western Europe knew less about this, because most of the Greek manuscripts were far away in the Balkans, Constantinople, and the Near East. Few westemers could have read them, anyhow. But stories like the Trojan War and the Voyage of the Argonauts were fairly familiar. So were the pagan gods, under their Latin names, such as Jupiter and Venus.
“罗马事务”涵盖了从古罗马人和希腊人那里传下来的所有内容。这包括罗马历史和诗歌，这些都保存在由修道士抄写的古代书籍中。它还包括希腊神话。西欧对此了解较少，因为大多数希腊手稿远在巴尔干半岛、君士坦丁堡和近东。无论如何，西方人很少能阅读这些手稿。但像特洛伊战争和阿尔戈英雄的航行这样的故事相对熟悉。拉丁名字下的异教神祇，如朱庇特和维纳斯，也同样为人所知。
“罗马事务”涵盖了从古罗马人和希腊人那里传下来的所有内容。这包括罗马历史和诗歌，这些都保存在由修道士抄写的古代书籍中。它还包括希腊神话。西欧对此了解较少，因为大多数希腊手稿远在巴尔干半岛、君士坦丁堡和近东。无论如何，西方人很少能阅读这些手稿。但像特洛伊战争和阿尔戈英雄的航行这样的故事相对熟悉。拉丁名字下的异教神祇，如朱庇特和维纳斯，也同样为人所知。
The “Matter of Britain” meant the legendary history of Britain, which was growing more and more popular after about 1150 as a rival source to the others. Here is where King Arthur came in. By far the best loved of the British legends were those that dealt with Arthur and his brave company of knights. To most foreigners who took any interest in such topics, medieval England was the land of King Arthur, and Arthur was what they were apt to think of when England was mentioned.
“英国事务”指的是英国的传奇历史，约在 1150 年后逐渐变得越来越受欢迎，成为其他来源的竞争者。亚瑟王在这里登场。迄今为止，最受喜爱的英国传奇是那些与亚瑟及其勇敢的骑士团有关的故事。对于大多数对这些话题感兴趣的外国人来说，中世纪的英格兰是亚瑟王的土地，而提到英格兰时，他们往往会想到亚瑟。
“英国事务”指的是英国的传奇历史，约在 1150 年后逐渐变得越来越受欢迎，成为其他来源的竞争者。亚瑟王在这里登场。迄今为止，最受喜爱的英国传奇是那些与亚瑟及其勇敢的骑士团有关的故事。对于大多数对这些话题感兴趣的外国人来说，中世纪的英格兰是亚瑟王的土地，而提到英格兰时，他们往往会想到亚瑟。
2.3 Geoffrey of Monmouth (ca. 1100-ca. 1155)
2.3 蒙茅斯的杰弗里（约 1100 年-约 1155 年）
The 12th-and-13th-century England also had a fine school of Latin writers; it was Geoffrey of Monmouth, the least scholarly of these, who won the heart of Europe, by launching the “Matter of Britain” and by putting King Arthur on the map as a figure of historic stature. Between 1135 and 1140, Geoffrey of Monmouth wrote a book in Latin entitled The History of the Kings of Britain and offered the earliest full account of King Arthur whose popularity throughout the Middle Ages and beyond was enormous. Just as Virgil had sought to glorify Rome by linking it with Troy through Aeneas, Geoffrey sought to exalt Britain by deriving its monarchs from a grandson of Aeneas, Brutus by name,
12 世纪和 13 世纪的英格兰也有一批优秀的拉丁作家；其中最不学术的杰弗里·蒙茅斯赢得了欧洲的心，他通过推出“英国的故事”并将亚瑟王塑造成历史人物，使其声名显赫。在 1135 年至 1140 年间，杰弗里·蒙茅斯用拉丁语写了一本名为《不列颠国王的历史》的书，提供了关于亚瑟王的最早完整的记载，他在整个中世纪及其后期的受欢迎程度极高。正如维吉尔试图通过埃涅阿斯将罗马与特洛伊联系起来以荣耀罗马，杰弗里则试图通过将不列颠的君主追溯到埃涅阿斯的孙子布鲁图斯来提升不列颠的地位。
who, together with a group of refugees from the fall of Troy, found his way to Britain and who, as its first king, named the island after him. After Brutus there is a long line of kings descended from him. Among them are King Lud, founder of London, and King Arthur. Geoffrey also provided stories about King Lear, Cymbeline, Gorbaduc and others, which were later to inspire Shakespeare, Milton and other writers in their creation.
布鲁图斯与一群从特洛伊沦陷中逃难的难民一起，找到了通往不列颠的道路，并作为第一任国王，将这个岛屿以他的名字命名。在布鲁图斯之后，有一长串从他那里传下来的国王。其中包括伦敦的创始人卢德王和亚瑟王。杰弗里还提供了关于李尔王、辛贝林、戈巴杜克等人的故事，这些故事后来激励了莎士比亚、弥尔顿和其他作家进行创作。
12 世纪和 13 世纪的英格兰也有一批优秀的拉丁作家；其中最不学术的杰弗里·蒙茅斯赢得了欧洲的心，他通过推出“英国的故事”并将亚瑟王塑造成历史人物，使其声名显赫。在 1135 年至 1140 年间，杰弗里·蒙茅斯用拉丁语写了一本名为《不列颠国王的历史》的书，提供了关于亚瑟王的最早完整的记载，他在整个中世纪及其后期的受欢迎程度极高。正如维吉尔试图通过埃涅阿斯将罗马与特洛伊联系起来以荣耀罗马，杰弗里则试图通过将不列颠的君主追溯到埃涅阿斯的孙子布鲁图斯来提升不列颠的地位。
who, together with a group of refugees from the fall of Troy, found his way to Britain and who, as its first king, named the island after him. After Brutus there is a long line of kings descended from him. Among them are King Lud, founder of London, and King Arthur. Geoffrey also provided stories about King Lear, Cymbeline, Gorbaduc and others, which were later to inspire Shakespeare, Milton and other writers in their creation.
布鲁图斯与一群从特洛伊沦陷中逃难的难民一起，找到了通往不列颠的道路，并作为第一任国王，将这个岛屿以他的名字命名。在布鲁图斯之后，有一长串从他那里传下来的国王。其中包括伦敦的创始人卢德王和亚瑟王。杰弗里还提供了关于李尔王、辛贝林、戈巴杜克等人的故事，这些故事后来激励了莎士比亚、弥尔顿和其他作家进行创作。
2.4 Sir Gawain and the Green Knight
2.4 高文爵士与绿骑士
The anonymous Sir Gawain and the Green Knight is the most accomplished example of medieval romance and a poem of rich psychological and moral interest. It both embodies its tradition and surpasses it. It tells its story with wit and panache, using narrative techniques not used until the rise of the novel. And it somehow manages to affirm the positive values of chivalry, while telling a story that subverts much of its selfimportant posing. It belongs to the Alliterative Revival of the latter half of the fourteenth century and is written in a unique stanza called the “bob and wheel” which combines alliteration and rhyme. The stanzas have varying numbers of long alliterative lines, but each one concludes with a two-syllable word or phrase-the bob-and a quatrain (four lines, alternating seven and six syllables)-the wheel-rhyming ababa with the bob. The alliteration is a carryover from Old English verse, but the rhyme scheme seems unique to this poem.
匿名的《高文爵士与绿骑士》是中世纪浪漫文学中最杰出的例子，也是一本富有心理和道德兴趣的诗篇。它既体现了其传统，又超越了它。它以机智和风采讲述故事，使用了直到小说兴起才采用的叙事技巧。它以某种方式肯定了骑士精神的积极价值，同时讲述了一个颠覆其自我重要姿态的故事。它属于十四世纪后半叶的头韵复兴，采用了一种独特的诗节形式，称为“短句与轮句”，结合了头韵和韵律。这些诗节有不同数量的长头韵行，但每一节都以一个两个音节的词或短语（短句）和一个四行的韵律（交替七个和六个音节）结束（轮句），韵律为 ababa，与短句押韵。头韵是古英语诗歌的延续，但这种韵律模式似乎是这首诗独有的。
匿名的《高文爵士与绿骑士》是中世纪浪漫文学中最杰出的例子，也是一本富有心理和道德兴趣的诗篇。它既体现了其传统，又超越了它。它以机智和风采讲述故事，使用了直到小说兴起才采用的叙事技巧。它以某种方式肯定了骑士精神的积极价值，同时讲述了一个颠覆其自我重要姿态的故事。它属于十四世纪后半叶的头韵复兴，采用了一种独特的诗节形式，称为“短句与轮句”，结合了头韵和韵律。这些诗节有不同数量的长头韵行，但每一节都以一个两个音节的词或短语（短句）和一个四行的韵律（交替七个和六个音节）结束（轮句），韵律为 ababa，与短句押韵。头韵是古英语诗歌的延续，但这种韵律模式似乎是这首诗独有的。
Sir Gawain and the Green Knight combines two distinct sorts of adventure (the beheading contest and the temptation to commit adultery) with repeated tests of Gawain’s honor (the two parallel sets of exchanges - exchange of blows and exchange of winnings) as well as repeated tests of Gawain’s loyalty: to Arthur; to the chivalric code; to his host in the scenes at Sir Bercilak’s castle; and to his spiritual “lady”. Gawain’s integrity and honor, symbolized by his heraldic device of a pentangle, are at stake in the Adventure of the Green Chapel, and what chiefly threatens to impair them is fear of the Green Knight’s axe. By arriving at the Chapel on time and submitting to the return blow, Gawain fulfils his part in the original contract and so vindicates the honor of the Round Table, challenged by the Green Knight at Camelot; but in the mean time he has pledged his word a second time on his own account, and in his second contract his good faith has failed him. Staying over Christmas with a genial local lord, he enters into an agreement to “exchange winnings” at the end of each of three days; and on the last of these days he conceals from his host a green belt which has been given to him in secret by his hostess
高文爵士与绿骑士的故事结合了两种截然不同的冒险（斩首比赛和诱惑通奸），以及对高文荣誉的反复考验（两组平行的交换——交换攻击和交换战利品），还有对高文忠诚的反复考验：对亚瑟王的忠诚；对骑士精神的忠诚；在伯西拉克爵士城堡的场景中对他的主人的忠诚；以及对他精神“女士”的忠诚。高文的正直和荣誉，以他的五角星纹章为象征，在绿教堂的冒险中岌岌可危，而主要威胁来自于对绿骑士斧头的恐惧。通过准时到达教堂并接受回击，高文履行了原合同中的义务，从而维护了在卡美洛被绿骑士挑战的圆桌骑士的荣誉；但与此同时，他在自己的名义上第二次许下了诺言，而在他的第二个合同中，他的诚信却辜负了他。在圣诞节期间，他与一位和蔼的地方领主共度时光，并达成协议，在三天结束时“交换 winnings”；在这三天的最后一天，他向东道主隐瞒了一条由东道主夫人秘密赠予他的绿色腰带
with the assurance that its magic powers can save his life. It is therefore the hero’s fear of imminent death that leads him to commit his one act of cowardly untruth-a dishonorable act for which Gawain reproaches himself with ferocity of shame and remorse.
凭借其魔法力量能够拯救他的生命。因此，英雄对即将来临的死亡的恐惧促使他做出了唯一一次懦弱的不诚实行为——这是一个不光彩的行为，冈威因而对自己感到强烈的羞愧和悔恨。
高文爵士与绿骑士的故事结合了两种截然不同的冒险（斩首比赛和诱惑通奸），以及对高文荣誉的反复考验（两组平行的交换——交换攻击和交换战利品），还有对高文忠诚的反复考验：对亚瑟王的忠诚；对骑士精神的忠诚；在伯西拉克爵士城堡的场景中对他的主人的忠诚；以及对他精神“女士”的忠诚。高文的正直和荣誉，以他的五角星纹章为象征，在绿教堂的冒险中岌岌可危，而主要威胁来自于对绿骑士斧头的恐惧。通过准时到达教堂并接受回击，高文履行了原合同中的义务，从而维护了在卡美洛被绿骑士挑战的圆桌骑士的荣誉；但与此同时，他在自己的名义上第二次许下了诺言，而在他的第二个合同中，他的诚信却辜负了他。在圣诞节期间，他与一位和蔼的地方领主共度时光，并达成协议，在三天结束时“交换 winnings”；在这三天的最后一天，他向东道主隐瞒了一条由东道主夫人秘密赠予他的绿色腰带
with the assurance that its magic powers can save his life. It is therefore the hero’s fear of imminent death that leads him to commit his one act of cowardly untruth-a dishonorable act for which Gawain reproaches himself with ferocity of shame and remorse.
凭借其魔法力量能够拯救他的生命。因此，英雄对即将来临的死亡的恐惧促使他做出了唯一一次懦弱的不诚实行为——这是一个不光彩的行为，冈威因而对自己感到强烈的羞愧和悔恨。
2.5 William Langland (1330? - 1400?)
2.5 威廉·兰德（约 1330 年 - 1400 年）
Langland was probably born in Shropshire. But for most of his days he lived in London. He was a clerk in minor orders and earned a poor living by singing masses for the dead. Gazing through the gay surface of London life, he came to see the wretchedness and corruption beneath; and all that he thought and felt he put into his poem. Piers the Plowman was his life’s work. It exists in three versions. Considered one of the greatest English poems of medieval times, this work bitterly satirizes corruption among the clergy and the secular authorities, and upholds the dignity and value of labor, personified by Piers Plowman. It is written in a style of imaginative vigor and clarity with strong alliterations. The poem takes the form of a dream vision-a favorite device of medieval poetry-describing a panorama of medieval society. Within the dream are woven recountings of a series of journeys in the search for truth-that is, the love of God.
朗兰可能出生于什罗普郡。但在他的大部分时间里，他生活在伦敦。他是一名低级别的书记员，通过为死者唱弥撒勉强维持生计。透过伦敦生活的华丽表面，他看到了其下的悲惨与腐败；他所思所感都融入了他的诗作中。《犁夫皮尔斯》是他一生的作品。它存在三个版本。被认为是中世纪时期最伟大的英语诗篇之一，这部作品尖锐地讽刺了 clergy 和世俗当局的腐败，并捍卫了劳动的尊严和价值，皮尔斯·普劳曼正是这一理念的化身。它以富有想象力的活力和清晰的风格书写，具有强烈的头韵。诗作采用梦境的形式——这是中世纪诗歌中常用的手法——描绘了中世纪社会的全景。在梦中交织着一系列寻求真理的旅程的叙述——即对上帝之爱的追求。
朗兰可能出生于什罗普郡。但在他的大部分时间里，他生活在伦敦。他是一名低级别的书记员，通过为死者唱弥撒勉强维持生计。透过伦敦生活的华丽表面，他看到了其下的悲惨与腐败；他所思所感都融入了他的诗作中。《犁夫皮尔斯》是他一生的作品。它存在三个版本。被认为是中世纪时期最伟大的英语诗篇之一，这部作品尖锐地讽刺了 clergy 和世俗当局的腐败，并捍卫了劳动的尊严和价值，皮尔斯·普劳曼正是这一理念的化身。它以富有想象力的活力和清晰的风格书写，具有强烈的头韵。诗作采用梦境的形式——这是中世纪诗歌中常用的手法——描绘了中世纪社会的全景。在梦中交织着一系列寻求真理的旅程的叙述——即对上帝之爱的追求。
The Prologue describes how the poet fell asleep on a May morning by the side of the Malvem Hills, and beheld a lofty tower, with a dungeon in a dell beneath it, and between them a fair field full of folk. The tower is Heaven, the dungeon is Hell, and the fair field is the field of the world, full of all manners of men, the needy and the rich. In answer to his anguished question about how he may save his soul, Langland’s narrator, the partly allegorical and partly autobiographical Will, is told by Holy Church that he must seek the truth through the natural knowledge of the heart.
序言描述了诗人在五月的一个早晨，在马尔文山旁边入睡的情景，他看见一座高耸的塔楼，下面有一个山谷中的监狱，塔楼和监狱之间是一片美丽的田野，满是人群。塔楼象征着天堂，监狱象征着地狱，而美丽的田野则是充满各种人的世界，既有贫穷者也有富人。面对他痛苦的灵魂救赎之问，朗兰德的叙述者，部分寓言化和部分自传式的威尔，被圣教会告知，他必须通过内心的自然知识寻求真理。
序言描述了诗人在五月的一个早晨，在马尔文山旁边入睡的情景，他看见一座高耸的塔楼，下面有一个山谷中的监狱，塔楼和监狱之间是一片美丽的田野，满是人群。塔楼象征着天堂，监狱象征着地狱，而美丽的田野则是充满各种人的世界，既有贫穷者也有富人。面对他痛苦的灵魂救赎之问，朗兰德的叙述者，部分寓言化和部分自传式的威尔，被圣教会告知，他必须通过内心的自然知识寻求真理。
Will’s first vision portrays the reformation of secular society. In his second vision, this moral improvement is already being corrupted. Men begin turning to inner values however, and the vividly particularized figures of the seven deadly sins expose immorality through their near-heroic beastliness. Nonetheless, when newly repentant mankind has set out on his search for truth, he almost immediately gets lost. At this point, Piers Plowman himself emerges. An ordinary laboring man, Piers knows truth in the way Holy Church described. Piers immediately sets the world to work and has backsliders punished by Hunger.
威尔的第一种视野描绘了世俗社会的改革。在他的第二种视野中，这种道德改善已经开始被腐蚀。然而，人们开始转向内在的价值观，而七宗罪的生动具体化形象通过他们近乎英雄般的兽性揭露了不道德。然而，当新悔改的人类开始寻找真理时，他几乎立刻就迷失了。在这一点上，皮尔斯·普劳曼自己出现了。作为一个普通的劳动者，皮尔斯以圣教会所描述的方式认识真理。皮尔斯立即让世界开始运作，并让那些堕落者受到饥饿的惩罚。
威尔的第一种视野描绘了世俗社会的改革。在他的第二种视野中，这种道德改善已经开始被腐蚀。然而，人们开始转向内在的价值观，而七宗罪的生动具体化形象通过他们近乎英雄般的兽性揭露了不道德。然而，当新悔改的人类开始寻找真理时，他几乎立刻就迷失了。在这一点上，皮尔斯·普劳曼自己出现了。作为一个普通的劳动者，皮尔斯以圣教会所描述的方式认识真理。皮尔斯立即让世界开始运作，并让那些堕落者受到饥饿的惩罚。
In one of the great moments of the poem, a pardon arrives for society; it states simply that those who do well will be saved, while those who sin will be damned. However, erring mankind cannot rely for long on his own resources; he needs greater
在诗歌的一个伟大时刻，社会收到了一个宽恕；它简单地声明，行善者将得救，而犯罪者将被诅咒。然而，犯错的人类不能长时间依靠自己的资源；他需要更大的帮助。
spiritual help than the pardon can offer. In sheer exasperation Piers tears the document to shreds. The search for a more intimate knowledge of salvation and better ways of living now begins.
比宽恕所能提供的更深层次的精神帮助。在极度的恼怒中，皮尔斯将文件撕得粉碎。对救赎更深入的了解和更好的生活方式的探索现在开始。
在诗歌的一个伟大时刻，社会收到了一个宽恕；它简单地声明，行善者将得救，而犯罪者将被诅咒。然而，犯错的人类不能长时间依靠自己的资源；他需要更大的帮助。
spiritual help than the pardon can offer. In sheer exasperation Piers tears the document to shreds. The search for a more intimate knowledge of salvation and better ways of living now begins.
比宽恕所能提供的更深层次的精神帮助。在极度的恼怒中，皮尔斯将文件撕得粉碎。对救赎更深入的了解和更好的生活方式的探索现在开始。
The “Life of Dowel, Dobet and Dobest” occupies the densely allegorical sections of the work, in which Will searches for the virtuous life through the exercise of his intellect. Mounting satire on the spiritual ignorance of the learned however leads Will to despise such people and eventually resign his aggrieved trust to simple, unquestioning forms of faith. Old age now comes and with it a desire for repentance. Will’s excessive intellectualism is rebuked and he finally accepts the ideal of Piers Plowman, the simple man with an intimate knowledge of God, that is, the only salvation lies in honest labor and the service of Christ.
《道尔、道贝和道贝斯的生活》占据了作品中密集的寓言部分，在这里，威尔通过运用他的智慧寻求美德生活。然而，对学者们精神无知的讽刺使威尔开始鄙视这些人，最终将他受伤的信任交给简单、无疑的信仰形式。老年随之而来，伴随着悔改的渴望。威尔的过度智识受到谴责，他最终接受了《皮尔斯·普劳曼》的理想，即与上帝有亲密知识的简单人，只有诚实的劳动和对基督的服务才是唯一的救赎。
《道尔、道贝和道贝斯的生活》占据了作品中密集的寓言部分，在这里，威尔通过运用他的智慧寻求美德生活。然而，对学者们精神无知的讽刺使威尔开始鄙视这些人，最终将他受伤的信任交给简单、无疑的信仰形式。老年随之而来，伴随着悔改的渴望。威尔的过度智识受到谴责，他最终接受了《皮尔斯·普劳曼》的理想，即与上帝有亲密知识的简单人，只有诚实的劳动和对基督的服务才是唯一的救赎。
In this poem, Langland presents a vivid picture of the life in feudal England by depicting the corruption of the wealth, the inadequacies of the government, scoundrels and hypocrites of the clerical profession and lay authorities, and the miseries and sufferings of the needy. Like Gower, Langland is a moralist who seeks to portray not only the world, but the truth as well with the directness of his didacticism. He allegorizes in the poem, and his task is to witness beyond the particulars of his experience to what underlies them. His vision includes the social, moral and spiritual world. A pull of opposites coordinates the poem: between the tower and the dungeon, Christ and AntiChrist, good and bad shepherd. For him more than for Chaucer social conduct is a dimension of spiritual conduct.
在这首诗中，朗兰德通过描绘财富的腐败、政府的无能、教士和世俗权威的无赖与伪善，以及贫困者的苦难与痛苦，生动地展现了封建英格兰的生活。与高尔一样，朗兰德是一位道德主义者，他不仅试图描绘世界，还以其直白的说教风格寻求真理。他在诗中进行寓言化，他的任务是见证超越个人经历的事物及其背后的本质。他的视野包括社会、道德和精神世界。诗中协调着对立的拉力：塔楼与监狱、基督与反基督、好牧人和坏牧人。对他而言，社会行为比乔叟更是精神行为的一个维度。
在这首诗中，朗兰德通过描绘财富的腐败、政府的无能、教士和世俗权威的无赖与伪善，以及贫困者的苦难与痛苦，生动地展现了封建英格兰的生活。与高尔一样，朗兰德是一位道德主义者，他不仅试图描绘世界，还以其直白的说教风格寻求真理。他在诗中进行寓言化，他的任务是见证超越个人经历的事物及其背后的本质。他的视野包括社会、道德和精神世界。诗中协调着对立的拉力：塔楼与监狱、基督与反基督、好牧人和坏牧人。对他而言，社会行为比乔叟更是精神行为的一个维度。
Verse form sets Langland apart from Chaucer and Gower. He adapts the unrhymed alliterative versification with its varying number of syllables but constant number of stresses. He further elaborates the texture of his poem with repeated words, internal assonance and rhyme, and other verbal devices, which contribute to the rhetorical effect. He writes in a tradition characterized by structural expansiveness, digression and inconclusiveness. One fascination of Langland’s verse is the number of voices it accommodates, from the cries of street-vendors and the exclamations of the poor to the honeyed words of Lady Meed and the eloquence of moral lawyers. His social satire and religious allegory also ally him with later writers in the puritan tradition such as John Milton and John Bunyan.
韵律形式使兰德与乔叟和高尔区别开来。他采用了无韵的头韵诗体，这种诗体的音节数量各异，但重音数量保持不变。他进一步通过重复的词语、内部的元音和韵律以及其他语言手法丰富了诗的质感，这些都增强了修辞效果。他的写作传统以结构的广阔、离题和不确定性为特征。兰德诗歌的一大魅力在于它容纳了多种声音，从街头小贩的呼喊和穷人的感叹，到美德女士的甜言蜜语和道德律师的雄辩。他的社会讽刺和宗教寓言也使他与后来的清教徒传统作家如约翰·弥尔顿和约翰·班扬相联系。
韵律形式使兰德与乔叟和高尔区别开来。他采用了无韵的头韵诗体，这种诗体的音节数量各异，但重音数量保持不变。他进一步通过重复的词语、内部的元音和韵律以及其他语言手法丰富了诗的质感，这些都增强了修辞效果。他的写作传统以结构的广阔、离题和不确定性为特征。兰德诗歌的一大魅力在于它容纳了多种声音，从街头小贩的呼喊和穷人的感叹，到美德女士的甜言蜜语和道德律师的雄辩。他的社会讽刺和宗教寓言也使他与后来的清教徒传统作家如约翰·弥尔顿和约翰·班扬相联系。
2.6 John Gower (1330? - 1408)
约翰·高尔（约 1330 年 - 1408 年）
Gower was a contemporary and a friend of Chaucer and shared many of Chaucer’s
高尔是乔叟的同时代人和朋友，与乔叟分享了许多相似之处
interests. He had great competence but small originality. He wrote his three chief works in different languages. Speculum Meditantis or Mirour de l’omme (Mirror of Thought, 1376?), in French, is an allegory treating the nature of human beings, their sins and virtues, and their deliverance from sin. Vox Clamantis (Voice of Complaint, 1382?), written in Latin elegiac verse, describes Tyler’s Rebellion of 1381 and deals with the faults of the various classes of society. Confessio Amantis (The Lover’s Confession, 1390?), Gower’s greatest and best-known work, is written in English. It is an allegorical romance in the Courtly Love tradition, which was the first English poem to be translated into the languages of the Continent. It has 33,000 lines and contains 120 verse-tales which are arranged round the seven deadly sins whose various aspects they illustrate while Genius, the priest of Venus, hears the elderly lover’s confession. The relation between piety and fine amour is thus explored, and love itself is shown as an imperative force that should lead to marriage rather than loss of self-control. The seventh book of the Confessio Amantis however is a vast summary of conventional medieval thought. Its concern with the education of a prince, along with satire on the corrupt state of the country, shows Gower’s attitude towards the troubled end of the reign of Richard II. The complete work, discussing love in the widest personal and social context, thus fulfills Gower’s wish to write “a bok for Engelondes sake.” (a book for England’s sake)
兴趣。他具有很强的能力，但原创性较小。他用不同的语言写了三部主要作品。《思考的镜子》（Speculum Meditantis 或 Mirour de l’omme，1376 年？）用法语写成，是一部寓言，探讨人类的本性、他们的罪恶与美德，以及他们从罪恶中解脱的过程。《抱怨的声音》（Vox Clamantis，1382 年？）用拉丁语的挽歌体写成，描述了 1381 年的泰勒叛乱，并讨论了社会各阶层的缺陷。《爱者的忏悔》（Confessio Amantis，1390 年？）是高尔的最大和最著名的作品，用英语写成。这是一部寓言浪漫小说，属于宫廷爱情传统，是第一部被翻译成大陆语言的英语诗篇。它有 33,000 行，包含 120 个诗歌故事，围绕七宗罪的不同方面进行排列，同时维纳斯的祭司天才听取年长情人的忏悔。因此，探讨了虔诚与优雅爱情之间的关系，爱情本身被视为一种应当引导婚姻而非失去自控的强制力量。 《忏悔者的第七本书》是对传统中世纪思想的广泛总结。它关注王子的教育，并对国家的腐败状态进行讽刺，显示了高尔对理查德二世统治末期动荡局势的态度。这部完整的作品在最广泛的个人和社会背景下讨论爱情，从而实现了高尔为“英格兰的缘故”而写作的愿望。“（为了英格兰的书）”
高尔是乔叟的同时代人和朋友，与乔叟分享了许多相似之处
interests. He had great competence but small originality. He wrote his three chief works in different languages. Speculum Meditantis or Mirour de l’omme (Mirror of Thought, 1376?), in French, is an allegory treating the nature of human beings, their sins and virtues, and their deliverance from sin. Vox Clamantis (Voice of Complaint, 1382?), written in Latin elegiac verse, describes Tyler’s Rebellion of 1381 and deals with the faults of the various classes of society. Confessio Amantis (The Lover’s Confession, 1390?), Gower’s greatest and best-known work, is written in English. It is an allegorical romance in the Courtly Love tradition, which was the first English poem to be translated into the languages of the Continent. It has 33,000 lines and contains 120 verse-tales which are arranged round the seven deadly sins whose various aspects they illustrate while Genius, the priest of Venus, hears the elderly lover’s confession. The relation between piety and fine amour is thus explored, and love itself is shown as an imperative force that should lead to marriage rather than loss of self-control. The seventh book of the Confessio Amantis however is a vast summary of conventional medieval thought. Its concern with the education of a prince, along with satire on the corrupt state of the country, shows Gower’s attitude towards the troubled end of the reign of Richard II. The complete work, discussing love in the widest personal and social context, thus fulfills Gower’s wish to write “a bok for Engelondes sake.” (a book for England’s sake)
兴趣。他具有很强的能力，但原创性较小。他用不同的语言写了三部主要作品。《思考的镜子》（Speculum Meditantis 或 Mirour de l’omme，1376 年？）用法语写成，是一部寓言，探讨人类的本性、他们的罪恶与美德，以及他们从罪恶中解脱的过程。《抱怨的声音》（Vox Clamantis，1382 年？）用拉丁语的挽歌体写成，描述了 1381 年的泰勒叛乱，并讨论了社会各阶层的缺陷。《爱者的忏悔》（Confessio Amantis，1390 年？）是高尔的最大和最著名的作品，用英语写成。这是一部寓言浪漫小说，属于宫廷爱情传统，是第一部被翻译成大陆语言的英语诗篇。它有 33,000 行，包含 120 个诗歌故事，围绕七宗罪的不同方面进行排列，同时维纳斯的祭司天才听取年长情人的忏悔。因此，探讨了虔诚与优雅爱情之间的关系，爱情本身被视为一种应当引导婚姻而非失去自控的强制力量。 《忏悔者的第七本书》是对传统中世纪思想的广泛总结。它关注王子的教育，并对国家的腐败状态进行讽刺，显示了高尔对理查德二世统治末期动荡局势的态度。这部完整的作品在最广泛的个人和社会背景下讨论爱情，从而实现了高尔为“英格兰的缘故”而写作的愿望。“（为了英格兰的书）”
Gower was a descriptive moralist, and his task was to deepen, not to alter, moral attitudes. He recognized that individual identity depended upon religious belief and on a structured and secure society. For the good of England he advocated a strong monarchy and an honest church. The Confessio has meanings on many levels. It has a literal, didactic and allegorical design. The melancholy irony at the heart of the poem is that Amans has been virtuous by default. The theme is civic love and order; but since the Love is not very credible nor the Passion very violent, the essential idea might be that the Will should be controlled by Reason.
高尔是一个描述性的道德主义者，他的任务是加深而不是改变道德态度。他认识到个人身份依赖于宗教信仰以及一个结构化和安全的社会。为了英格兰的利益，他主张强有力的君主制和诚实的教会。《忏悔录》在多个层面上具有意义。它有字面、教导和寓言的设计。诗歌核心的忧郁讽刺在于，阿曼斯是出于默认而美德的。主题是公民之爱与秩序；但由于这种爱并不十分可信，激情也不够强烈，基本思想可能是意志应当受到理性的控制。
高尔是一个描述性的道德主义者，他的任务是加深而不是改变道德态度。他认识到个人身份依赖于宗教信仰以及一个结构化和安全的社会。为了英格兰的利益，他主张强有力的君主制和诚实的教会。《忏悔录》在多个层面上具有意义。它有字面、教导和寓言的设计。诗歌核心的忧郁讽刺在于，阿曼斯是出于默认而美德的。主题是公民之爱与秩序；但由于这种爱并不十分可信，激情也不够强烈，基本思想可能是意志应当受到理性的控制。
Gower, as C.S. Lewis justly calls, is the " first formidable master of the plain style," writing with little imagery or decoration. He can also be thrifty, trusting to transitive verbs, to movement and action. The focus on observable fact is the essence of a moral art. Like Chaucer, he rejected the native accentual and alliterative verse, preferring metrical composition. The Confessio is composed entirely in iambic tetrameter couplets. However, he works out the overall form of his poem mechanically, not imaginatively. It is finally a collection of good and dull fragments awkwardly linked by the confessional material.
高尔，正如 C.S.路易斯所称，是“平实风格的第一位杰出大师”，他的写作几乎没有意象或装饰。他也能节俭，依赖于及物动词、运动和行动。对可观察事实的关注是道德艺术的本质。像乔叟一样，他拒绝了本土的重音和头韵诗，偏爱韵律创作。《忏悔录》完全由抑扬四音步的对偶句组成。然而，他机械地而非富有想象力地构思了诗的整体形式。最终，这是一组良好与乏味的片段，笨拙地通过忏悔材料连接在一起。
高尔，正如 C.S.路易斯所称，是“平实风格的第一位杰出大师”，他的写作几乎没有意象或装饰。他也能节俭，依赖于及物动词、运动和行动。对可观察事实的关注是道德艺术的本质。像乔叟一样，他拒绝了本土的重音和头韵诗，偏爱韵律创作。《忏悔录》完全由抑扬四音步的对偶句组成。然而，他机械地而非富有想象力地构思了诗的整体形式。最终，这是一组良好与乏味的片段，笨拙地通过忏悔材料连接在一起。
2.7 The Popular Ballads 2.7 流行民谣
2.7.1 Origin of the Ballads
2.7.1 民谣的起源
The word “ballad” comes from the Old French, referring to a song accompanying a dance. It is thought that ballads were originally oral forms of verse to be sung or recited by the unlettered people. It belongs to the early periods of primitive societies such as that of the English-Scottish border region before written literature was highly developed. The greatest impetus to the study of ballad literature was given by the publication in 1765 of Bishop Percy’s Reliques of Ancient English Poetry. The standard modern collection for ballads remains Francis James Child’s The English and Scottish Popular Ballads that he edited between 1882 and 1898. When official collected and printed they are re-shaped and re-written with a number of variations. Ballads also have a considerable effect on contemporary poets, with Wordsworth, Tennyson, Keats, Coleridge and Christian Rossetti producing literary ballads.
“叙事歌”一词源于古法语，指的是伴随舞蹈的歌曲。人们认为，叙事歌最初是由文盲人群演唱或朗诵的口头诗歌形式。它属于原始社会的早期阶段，例如在书面文学尚未高度发展的英苏边界地区。1765 年，巴西尔·珀西主教出版的《古英语诗歌遗存》为叙事歌文学的研究提供了巨大的推动力。现代叙事歌的标准合集仍然是弗朗西斯·詹姆斯·柴尔德在 1882 年至 1898 年间编辑的《英苏民间叙事歌》。当官方收集并印刷时，它们会经过重新塑造和改写，并有多种变体。叙事歌对当代诗人也产生了相当大的影响，华兹华斯、丁尼生、基茨、柯尔律治和克里斯蒂娜·罗塞蒂都创作了文学叙事歌。
“叙事歌”一词源于古法语，指的是伴随舞蹈的歌曲。人们认为，叙事歌最初是由文盲人群演唱或朗诵的口头诗歌形式。它属于原始社会的早期阶段，例如在书面文学尚未高度发展的英苏边界地区。1765 年，巴西尔·珀西主教出版的《古英语诗歌遗存》为叙事歌文学的研究提供了巨大的推动力。现代叙事歌的标准合集仍然是弗朗西斯·詹姆斯·柴尔德在 1882 年至 1898 年间编辑的《英苏民间叙事歌》。当官方收集并印刷时，它们会经过重新塑造和改写，并有多种变体。叙事歌对当代诗人也产生了相当大的影响，华兹华斯、丁尼生、基茨、柯尔律治和克里斯蒂娜·罗塞蒂都创作了文学叙事歌。
During the long period of Middle Ages, popular ballads were preserved and passed down through oral transmission. Women were the most prominent carriers of oral balladry; they were also capable of creating individual variants. The most celebrated ballad singer could be Mrs. Brown of Falkland who learned ballads from the singing of her mother, her nurse and her aunt. In a letter of 21 April 1800 to A. F. Tyler, she explained the oral nature of her ballad stock: "they are written down entirely from recollection, for I never saw one of them in print or manuscript; but I learned them all when a child, by hearing them sung, . . "
在漫长的中世纪时期，流行的民谣通过口头传承得以保存和流传。女性是口头民谣的最主要传播者，她们也能够创作个体变体。最著名的民谣歌手可能是法克兰的布朗夫人，她从母亲、保姆和姑姑的歌声中学习民谣。在 1800 年 4 月 21 日写给 A. F. Tyler 的信中，她解释了她的民谣库存的口头性质：“它们完全是凭记忆写下来的，因为我从未见过它们的印刷本或手稿；但我在小时候通过听歌学会了它们……”
在漫长的中世纪时期，流行的民谣通过口头传承得以保存和流传。女性是口头民谣的最主要传播者，她们也能够创作个体变体。最著名的民谣歌手可能是法克兰的布朗夫人，她从母亲、保姆和姑姑的歌声中学习民谣。在 1800 年 4 月 21 日写给 A. F. Tyler 的信中，她解释了她的民谣库存的口头性质：“它们完全是凭记忆写下来的，因为我从未见过它们的印刷本或手稿；但我在小时候通过听歌学会了它们……”
2.7.2 Stylistic Features of the Ballads
2.7.2 民谣的风格特征
As the main form of Medieval folk literature, the popular ballad has an oral currency which makes it easier to remember and easier to memorize. Therefore, all the stylistic features of the popular ballad have derived from their oral nature. The first feature is its simple language; the simplicity is reflected both in the verse form and the colloquial expressions. So far as the verse form is concerned, ballads are composed either in couplets (usually heroic) or, more commonly, in quatrains, which are known as the ballad stanza, hyming
作为中世纪民间文学的主要形式，民谣具有口头传播的特性，使其更容易记忆和背诵。因此，民谣的所有风格特征都源于其口头性质。第一个特征是其简单的语言；这种简单性体现在诗歌形式和口语表达中。就诗歌形式而言，民谣通常由对句（通常是英雄式的）或更常见的四行诗组成，这种四行诗被称为民谣节，韵律为
炎明父学教程(是 炎明父学教程
frequently appearing. By making use of a simple, plain language or dialect of the common people with colloquial, vivid and, sometimes, idiomatic expressions in its narration as well as in its dialogues, the ballad leaves a strong dramatic effect to the reader.
频繁出现。通过使用简单、朴素的语言或通俗的方言，结合口语化、生动且有时带有成语的表达方式进行叙述和对话，这首民谣给读者留下了强烈的戏剧效果。
作为中世纪民间文学的主要形式，民谣具有口头传播的特性，使其更容易记忆和背诵。因此，民谣的所有风格特征都源于其口头性质。第一个特征是其简单的语言；这种简单性体现在诗歌形式和口语表达中。就诗歌形式而言，民谣通常由对句（通常是英雄式的）或更常见的四行诗组成，这种四行诗被称为民谣节，韵律为
炎明父学教程(是 炎明父学教程
frequently appearing. By making use of a simple, plain language or dialect of the common people with colloquial, vivid and, sometimes, idiomatic expressions in its narration as well as in its dialogues, the ballad leaves a strong dramatic effect to the reader.
频繁出现。通过使用简单、朴素的语言或通俗的方言，结合口语化、生动且有时带有成语的表达方式进行叙述和对话，这首民谣给读者留下了强烈的戏剧效果。
The second feature is that the priority of the ballad is the story that deals only with the culminating incident or climax of a plot. Felicitous details are the exception, not the rule, in balladry. It should be admitted that the author of the ballads, if there was one, was really a good story-teller with a vivid presentation around the central plot. Most of the ballads have a romantic or tragic dimension, with a tragic incident, often a murder or an accidental death, as their subject. It is a common pattem of romantic tragic balladry that if one lover dies the other must follow suit. So usually the hero would die of his wound and the heroine of her sorrow.
第二个特点是，叙事歌谣的优先考虑是仅涉及情节的高潮或顶点的故事。恰当的细节在叙事歌谣中是例外，而不是常规。必须承认，如果有的话，叙事歌谣的作者确实是一个优秀的讲故事者，围绕中心情节进行生动的呈现。大多数叙事歌谣都有浪漫或悲剧的维度，悲剧事件，通常是谋杀或意外死亡，作为其主题。浪漫悲剧叙事歌谣的一个常见模式是，如果一个爱人去世，另一个也必须随之而去。因此，通常英雄会因伤而死，女主角则因悲伤而亡。
第二个特点是，叙事歌谣的优先考虑是仅涉及情节的高潮或顶点的故事。恰当的细节在叙事歌谣中是例外，而不是常规。必须承认，如果有的话，叙事歌谣的作者确实是一个优秀的讲故事者，围绕中心情节进行生动的呈现。大多数叙事歌谣都有浪漫或悲剧的维度，悲剧事件，通常是谋杀或意外死亡，作为其主题。浪漫悲剧叙事歌谣的一个常见模式是，如果一个爱人去世，另一个也必须随之而去。因此，通常英雄会因伤而死，女主角则因悲伤而亡。
Ballads also tell their stories in a highly characteristic way; they are intensely dramatic, involving an explosive situation, highly volatile characters and a short timespan. Like tragedies, ballads would often use a high proportion of dialogue to stage direction, usually beginning in the fifth act and presenting the stories in a series of rapid flashes, which can be compared with the techniques of the cinema. They are impersonal in their attitude, and there is little comment or moralizing. They usually have a dominant mood or tone, either tragic like “Sir Patrick Spens,” which tells a story of treachery, or comic like “Get up and Bar the Door,” which presents a funny scene of the domestic life. Furthermore, to strengthen the dramatic effect of the narration, ballads also make full use of hyperbole; actions and events are much exaggerated. Music has an important formative influence on the ballads, too. The most popular ballads have acquired a large number of musical variants. Another impressive feature of the ballad is the using of refrains and other kinds of repetitions. Poetically the refrains are decofative; musically they are absolutely essential. Through refrains and repetitions, the narration is lent a quality of liturgy, or of incantation. Magic or supernatural force, the perpetual presence of impossibility is a rich narrative source of balladry. In the ballad world, things happen suddenly and without warning; the fatal powers of destruction can be overcome by the help of magic or supernatural force.
民谣以其独特的方式讲述故事；它们极具戏剧性，涉及爆炸性的情境、高度不稳定的人物和短暂的时间跨度。像悲剧一样，民谣通常会使用较高比例的对话而非舞台指示，通常从第五幕开始，以一系列快速的闪回呈现故事，这可以与电影的技巧相比较。它们在态度上是客观的，几乎没有评论或道德说教。它们通常有主导的情绪或语调，要么像《帕特里克·斯宾斯爵士》那样悲惨，讲述背叛的故事，要么像《起床关门》那样幽默，呈现家庭生活中的搞笑场景。此外，为了增强叙述的戏剧效果，民谣还充分利用夸张；行动和事件被大大夸大。音乐对民谣也有重要的形成影响。最受欢迎的民谣获得了大量的音乐变体。民谣的另一个显著特点是使用副歌和其他类型的重复。从诗歌上看，副歌是装饰性的；从音乐上看，它们是绝对必要的。 通过反复和重复，叙述赋予了一种礼仪或咒语的特质。魔法或超自然力量，永恒的不可能性是民谣丰富的叙事源泉。在民谣的世界里，事情突然发生，毫无预警；毁灭的致命力量可以通过魔法或超自然力量的帮助而被克服。
民谣以其独特的方式讲述故事；它们极具戏剧性，涉及爆炸性的情境、高度不稳定的人物和短暂的时间跨度。像悲剧一样，民谣通常会使用较高比例的对话而非舞台指示，通常从第五幕开始，以一系列快速的闪回呈现故事，这可以与电影的技巧相比较。它们在态度上是客观的，几乎没有评论或道德说教。它们通常有主导的情绪或语调，要么像《帕特里克·斯宾斯爵士》那样悲惨，讲述背叛的故事，要么像《起床关门》那样幽默，呈现家庭生活中的搞笑场景。此外，为了增强叙述的戏剧效果，民谣还充分利用夸张；行动和事件被大大夸大。音乐对民谣也有重要的形成影响。最受欢迎的民谣获得了大量的音乐变体。民谣的另一个显著特点是使用副歌和其他类型的重复。从诗歌上看，副歌是装饰性的；从音乐上看，它们是绝对必要的。 通过反复和重复，叙述赋予了一种礼仪或咒语的特质。魔法或超自然力量，永恒的不可能性是民谣丰富的叙事源泉。在民谣的世界里，事情突然发生，毫无预警；毁灭的致命力量可以通过魔法或超自然力量的帮助而被克服。
2.7.3 Subjects of the Ballads
2.7.3 民谣的主题
According to the subjects, popular ballads can be divided into different groups. A number of ballads narrating incidents on the English-Scottish border and known as “Border Ballads,” which deal with bloody battles fought on the border of England and
根据受访者的说法，流行民谣可以分为不同的类别。一些叙述英苏边界事件的民谣被称为“边界民谣”，它们讲述了在英格兰和苏格兰边界上进行的血腥战斗。
根据受访者的说法，流行民谣可以分为不同的类别。一些叙述英苏边界事件的民谣被称为“边界民谣”，它们讲述了在英格兰和苏格兰边界上进行的血腥战斗。
Scotland. Undoubtedly the two most famous border ballads are “Chevy Chase” and “The Battle of Otterburn,” both referring to the same battle fought on 19 August 1388 between the Scots under the Earl of Douglas and the English under Henry Percy. History, in the ballads, provides only raw material for rousing narratives. Though the Border ballads make up only a small proportion of the Child canon, still it has to be admitted that they are in a class of their own. The recklessness of the characters, the vicious to-ing and froing across the Border, the examples of heroism-these qualities make the Border ballads supremely exciting examples of popular art.
苏格兰。无疑，最著名的边境民谣是《切维追逐》和《奥特本之战》，这两首民谣都提到同一场战斗，即 1388 年 8 月 19 日苏格兰的道格拉斯伯爵与英格兰的亨利·珀西之间的战斗。在这些民谣中，历史仅提供了激动人心叙事的原材料。尽管边境民谣在查尔德作品集中只占很小一部分，但仍然必须承认它们独树一帜。角色的鲁莽、跨越边界的恶性往返、英雄主义的例子——这些特质使得边境民谣成为极具吸引力的民间艺术典范。
苏格兰。无疑，最著名的边境民谣是《切维追逐》和《奥特本之战》，这两首民谣都提到同一场战斗，即 1388 年 8 月 19 日苏格兰的道格拉斯伯爵与英格兰的亨利·珀西之间的战斗。在这些民谣中，历史仅提供了激动人心叙事的原材料。尽管边境民谣在查尔德作品集中只占很小一部分，但仍然必须承认它们独树一帜。角色的鲁莽、跨越边界的恶性往返、英雄主义的例子——这些特质使得边境民谣成为极具吸引力的民间艺术典范。
Another important group of ballads is the series of 37 ballads of different lengths in Child’s collection, which tell of the wonderful deeds of Robin Hood, the famous outlaw, and his men. Legend has made him a man of gentle birth who had lost his lands and money, and who had fled to the woods as an outlaw. Stories gradually gathered round his name as they had gathered round the name of Arthur and he came to be looked upon as the champion of the people against the Norman tyrants. The great idea of the Robin Hood ballads is the victory of the poor and oppressed over the rich and powerful, the triumph of the lawless over the law-givers. The Robin Hood ballads are full of humor; they are full, too, of English outdoor life, of hunting and fighting.
另一个重要的民谣群体是查尔德收藏中的 37 首不同长度的民谣，讲述了著名的亡命之徒罗宾汉及其手下的精彩事迹。传说他是一个出身高贵的人，失去了土地和财富，逃入森林成为亡命之徒。围绕他的名字逐渐聚集了许多故事，就像亚瑟王的名字一样，他被视为人民对抗诺曼暴君的冠军。罗宾汉民谣的伟大思想是贫穷和被压迫者战胜富有和强权者，无法无天者战胜立法者。罗宾汉民谣充满幽默，也充满了英格兰的户外生活、狩猎和战斗。
另一个重要的民谣群体是查尔德收藏中的 37 首不同长度的民谣，讲述了著名的亡命之徒罗宾汉及其手下的精彩事迹。传说他是一个出身高贵的人，失去了土地和财富，逃入森林成为亡命之徒。围绕他的名字逐渐聚集了许多故事，就像亚瑟王的名字一样，他被视为人民对抗诺曼暴君的冠军。罗宾汉民谣的伟大思想是贫穷和被压迫者战胜富有和强权者，无法无天者战胜立法者。罗宾汉民谣充满幽默，也充满了英格兰的户外生活、狩猎和战斗。
Most ballads do have a love theme. Sometimes love is present in a tender, romantic, even sentimental way; more often it is explicitly confronted in tales of adultery and uncontrollable passion. In the subdued romantic tragedies, lovers tend to pine away and a heart broken by love is the usual way to die.
大多数民谣确实有爱情主题。有时，爱情以温柔、浪漫甚至感伤的方式出现；更常见的是，它在关于通奸和无法控制的激情的故事中被明确对抗。在那些低调的浪漫悲剧中，恋人往往会因思念而憔悴，而因爱情而心碎通常是死亡的方式。
大多数民谣确实有爱情主题。有时，爱情以温柔、浪漫甚至感伤的方式出现；更常见的是，它在关于通奸和无法控制的激情的故事中被明确对抗。在那些低调的浪漫悲剧中，恋人往往会因思念而憔悴，而因爱情而心碎通常是死亡的方式。
Frequently the ballad love-triangle is used to criticize the pursuit of wealth at the expense of love. Sometimes the battle of lovers may become a contest of wits in some of the ballads where country girls often outsmart their so-called social betters. However, the sting is somewhat removed from the tail of this ballad when it is found out that the shepherdess is in fact a princess.
常常，民谣中的爱情三角关系被用来批评以财富为代价追求爱情。有时，情人之间的争斗可能在一些民谣中变成智力的较量，乡村女孩常常智胜她们所谓的社会上层人士。然而，当发现牧羊女实际上是一位公主时，这首民谣的尖锐性就有所减弱。
常常，民谣中的爱情三角关系被用来批评以财富为代价追求爱情。有时，情人之间的争斗可能在一些民谣中变成智力的较量，乡村女孩常常智胜她们所谓的社会上层人士。然而，当发现牧羊女实际上是一位公主时，这首民谣的尖锐性就有所减弱。
Of all the sea ballads, the best-known is “Sir Patrick Spens.” It is a great ballad that derives most of its power from counterpoint. The king’s wine is contrasted with the water swallowed by the sailors he sends to the sea, and the reaction of Sir Patrick to the royal summons is conveyed by juxtaposition. After the tragic drowning of Sir Patrick and his crew, the magnitude of the disaster is established in a vivid set of contrasting images. The reluctance of the Scottish nobles to wet their feet is set against the description of their bodies sinking undemeath their hats; the image of men lost at sea is set against the elegant ladies safe on shore.
在所有海洋民谣中，最著名的是《帕特里克·斯宾斯爵士》。这是一首伟大的民谣，其力量主要来自对位。国王的美酒与他派往海上的水手所吞下的水形成对比，而帕特里克爵士对王室召唤的反应则通过并列来传达。在帕特里克爵士和他的船员悲惨溺水后，灾难的严重性通过一组生动的对比图像得以确立。苏格兰贵族不愿意湿脚的犹豫与他们的身体沉入帽子下的描述形成对比；失踪于海洋的男人形象与安全在岸上的优雅女士形成对比。
在所有海洋民谣中，最著名的是《帕特里克·斯宾斯爵士》。这是一首伟大的民谣，其力量主要来自对位。国王的美酒与他派往海上的水手所吞下的水形成对比，而帕特里克爵士对王室召唤的反应则通过并列来传达。在帕特里克爵士和他的船员悲惨溺水后，灾难的严重性通过一组生动的对比图像得以确立。苏格兰贵族不愿意湿脚的犹豫与他们的身体沉入帽子下的描述形成对比；失踪于海洋的男人形象与安全在岸上的优雅女士形成对比。
Quite a few ballads are presented with themes of the domestic life, particularly of the relations between different members of a family. Unnatural relations such as murder and treachery are not infrequently appearing in this group. There are also a number of comic ballads in this group, which provide striking instances of the intelligence and ingenuity of the ordinary folk.
许多民谣呈现了家庭生活的主题，特别是家庭成员之间的关系。在这一类中，谋杀和背叛等不自然的关系并不少见。该组中还有一些喜剧民谣，生动展示了普通人的智慧和创造力。
许多民谣呈现了家庭生活的主题，特别是家庭成员之间的关系。在这一类中，谋杀和背叛等不自然的关系并不少见。该组中还有一些喜剧民谣，生动展示了普通人的智慧和创造力。
2.8 Sir Thomas Mallory (ca. 1405 - 1471)
2.8 托马斯·马洛里爵士（约 1405 年 - 1471 年）
Towards the close of the 14 th century, English prose was becoming a natural medium for conveying ideas. The most enduring and magnificent prose work of this era however is the Le Morte d’Arthur of Sir Thomas Malory. Arthurian legend, of which Le Morte d’Arthur is a kind of final summing-up, is a body of highly diverse narrative materials built up from the 12 th to the 15 th century. Le Morte d’Arthur really means the death of Arthur, but the book tells not only of his death, but of his birth and life, and of the wonderful deeds of many of his knights, which are based mainly on earlier Arthurian materials in French and English. By presenting a familiar cycle of birth, triumph and destruction, Malory reveals the theme of the whole universe of chivalric life, and he develops this interest through his genius for interlacing stories of individuals, their nobility, follies and tragedies. These he then displays against a background of larger moral, national and historical issues. In the 21 books, Malory links up the various threads of the legend, which include the stories about Merlin, about Arthur’s queen Guinevere, about his knights of the Round Table and about the quest for the Holy Grail. Malory frequently cuts and improves on his originals, while he makes a variety of response in such differing episodes as the family saga of Sir Gareth, the love of Tristan and Isode at the castle of Joyous Gard, the guilty love between Sir Lancelot and Queen Guinevere, and the treachery and rebellion of Sir Mordred against King Arthur. Although there are fantastic pictures of feudal grandness in meeting with all sorts of strange superstitious situations and performing ridiculous deeds, Malory always manages to give it a hard base of realism. He humanizes the adventures even as he gives them a strange wonder. But if Malory admires Galahad and Perceval for their attainment of mystical vision at Carbonek, his deepest sympathy lies with Lancelot, “the greatest knight of a sinful man,” whose love for his master’s wife Guinevere forms the subject of the concluding seventh and eighth books of the Le Morte d’Arthur. Here the narrative strands are woven with the skill of tragic genius. Chance and fate, love and dishonor, chivalry and betrayal, lead finally to disaster and penitence. Indeed, some of the finest narrative moments in English literature
在 14 世纪末，英语散文逐渐成为传达思想的自然媒介。然而，这一时代最持久和辉煌的散文作品是托马斯·马洛里的《亚瑟王之死》。亚瑟王传说，《亚瑟王之死》是其一种最终总结，是从 12 世纪到 15 世纪积累起来的多样叙事材料的集合。《亚瑟王之死》实际上意味着亚瑟的死亡，但这本书不仅讲述了他的死亡，还讲述了他的出生和生活，以及许多骑士的精彩事迹，这些事迹主要基于早期的法语和英语亚瑟王材料。通过呈现一个熟悉的出生、胜利和毁灭的循环，马洛里揭示了骑士生活整个宇宙的主题，并通过他将个人故事、贵族、愚蠢和悲剧交织在一起的天才来发展这一兴趣。这些故事则在更大的道德、国家和历史问题的背景下展现出来。 在这 21 本书中，马洛里将传奇的各种线索联系在一起，包括关于梅林、亚瑟王的王后桂妮薇尔、圆桌骑士以及寻找圣杯的故事。马洛里经常对原作进行删减和改进，同时在不同的情节中做出各种回应，比如关于加雷斯爵士的家族传奇、特里斯坦与伊索德在欢乐花园城堡的爱情、兰斯洛特爵士与桂妮薇尔王后之间的罪恶之爱，以及莫德雷德爵士对亚瑟王的背叛和叛乱。尽管在与各种奇异迷信情境相遇并进行荒谬行为时，书中描绘了封建宏伟的奇幻画面，但马洛里始终设法赋予其坚实的现实基础。他在赋予冒险奇异的奇观的同时，也使其人性化。但如果马洛里因加拉哈德和佩尔塞瓦尔在卡博内克获得神秘视野而感到钦佩，他最深切的同情则在于兰斯洛特，“一个有罪之人的伟大骑士”，他对主人妻子桂妮薇尔的爱构成了《亚瑟王之死》最后两本书的主题。 这里的叙事线索以悲剧天才的技巧交织在一起。机遇与命运、爱情与耻辱、骑士精神与背叛，最终导致灾难与悔恨。确实，英语文学中一些最精彩的叙事时刻
are to be found in the story of the fight in Guinevere’s chamber and, above all, in the final parting of Lancelot and Guinevere themselves. For Malory, instability is the lot of earthly man, and at the close of his cycle of romances, with the death of Arthur himself, Lancelot and Guinevere repent of their worldly values and turn to higher truths.
在关怀的房间里的战斗故事中，尤其是在兰斯洛特和关怀的最终离别中，可以找到这些。对于马洛里来说，不稳定是世俗人的命运，在他的浪漫周期结束时，亚瑟的死，兰斯洛特和关怀悔恨他们的世俗价值，转向更高的真理。
在 14 世纪末，英语散文逐渐成为传达思想的自然媒介。然而，这一时代最持久和辉煌的散文作品是托马斯·马洛里的《亚瑟王之死》。亚瑟王传说，《亚瑟王之死》是其一种最终总结，是从 12 世纪到 15 世纪积累起来的多样叙事材料的集合。《亚瑟王之死》实际上意味着亚瑟的死亡，但这本书不仅讲述了他的死亡，还讲述了他的出生和生活，以及许多骑士的精彩事迹，这些事迹主要基于早期的法语和英语亚瑟王材料。通过呈现一个熟悉的出生、胜利和毁灭的循环，马洛里揭示了骑士生活整个宇宙的主题，并通过他将个人故事、贵族、愚蠢和悲剧交织在一起的天才来发展这一兴趣。这些故事则在更大的道德、国家和历史问题的背景下展现出来。 在这 21 本书中，马洛里将传奇的各种线索联系在一起，包括关于梅林、亚瑟王的王后桂妮薇尔、圆桌骑士以及寻找圣杯的故事。马洛里经常对原作进行删减和改进，同时在不同的情节中做出各种回应，比如关于加雷斯爵士的家族传奇、特里斯坦与伊索德在欢乐花园城堡的爱情、兰斯洛特爵士与桂妮薇尔王后之间的罪恶之爱，以及莫德雷德爵士对亚瑟王的背叛和叛乱。尽管在与各种奇异迷信情境相遇并进行荒谬行为时，书中描绘了封建宏伟的奇幻画面，但马洛里始终设法赋予其坚实的现实基础。他在赋予冒险奇异的奇观的同时，也使其人性化。但如果马洛里因加拉哈德和佩尔塞瓦尔在卡博内克获得神秘视野而感到钦佩，他最深切的同情则在于兰斯洛特，“一个有罪之人的伟大骑士”，他对主人妻子桂妮薇尔的爱构成了《亚瑟王之死》最后两本书的主题。 这里的叙事线索以悲剧天才的技巧交织在一起。机遇与命运、爱情与耻辱、骑士精神与背叛，最终导致灾难与悔恨。确实，英语文学中一些最精彩的叙事时刻
are to be found in the story of the fight in Guinevere’s chamber and, above all, in the final parting of Lancelot and Guinevere themselves. For Malory, instability is the lot of earthly man, and at the close of his cycle of romances, with the death of Arthur himself, Lancelot and Guinevere repent of their worldly values and turn to higher truths.
在关怀的房间里的战斗故事中，尤其是在兰斯洛特和关怀的最终离别中，可以找到这些。对于马洛里来说，不稳定是世俗人的命运，在他的浪漫周期结束时，亚瑟的死，兰斯洛特和关怀悔恨他们的世俗价值，转向更高的真理。
To achieve such effects, Malory creates a wide-ranging literary style appropriate to a 15th-century gentleman, a style that is at once colloquial, polished and resonant. Despite the great variety of incident and the complications of plot in his work, the dominant theme is the need to sacrifice individual desire for the sake of national unity and religious salvation, the latter of which is envisioned in terms of the dreamlike but intense mystical symbolism of the Holy Grail.
为了实现这样的效果，马洛里创造了一种适合 15 世纪绅士的广泛文学风格，这种风格既口语化又优雅且富有共鸣。尽管他的作品中事件种类繁多，情节复杂，但主导主题是为了国家团结和宗教救赎而牺牲个人欲望的必要性，后者在梦幻般但强烈的神秘象征——圣杯的概念中得以体现。
为了实现这样的效果，马洛里创造了一种适合 15 世纪绅士的广泛文学风格，这种风格既口语化又优雅且富有共鸣。尽管他的作品中事件种类繁多，情节复杂，但主导主题是为了国家团结和宗教救赎而牺牲个人欲望的必要性，后者在梦幻般但强烈的神秘象征——圣杯的概念中得以体现。
2.9 The Early Scottish Poetry
2.9 早期苏格兰诗歌
2.9.1 John Barbour 2.9.1 约翰·巴伯
While Chaucer was portraying vivid pictures of English life, in the sister kingdom, Scotland, another poet was singing to a ruder people. This poet was John Barbour, Archdeacon of Aberdeen. His best-known book is called The Bruce (ca. 1380), in which Robert Bruce, the wise, patient, high-minded and courageous king, swings his battle-axe and wings his faultless arrows to save his people from the English yoke. The poem is full of thrilling stories of knightly deeds, mingling history with legends. Although the music of The Bruce cannot be compared with that of The Canterbury Tales, the spirit throughout is one of manliness, of delight in love of country and freedom. Barbour’s way of presenting his stories is simple and straightforward. If to Chaucer belongs the title of “Father of English Poetry,” to Barbour belongs that of “Father of Scottish Poetry and Scottish History.”
在乔叟描绘生动的英格兰生活画面时，在姐妹王国苏格兰，另一位诗人正在为粗犷的人民歌唱。这位诗人是约翰·巴伯，阿伯丁的副主教。他最著名的作品是《布鲁斯》（约 1380 年），书中描绘了智慧、耐心、高尚和勇敢的国王罗伯特·布鲁斯挥舞着战斧，射出无可挑剔的箭矢，以拯救他的人民脱离英格兰的压迫。这首诗充满了骑士壮举的激动人心的故事，将历史与传说交织在一起。尽管《布鲁斯》的音乐无法与《坎特伯雷故事集》相提并论，但其贯穿始终的精神是男子气概，以及对祖国和自由的热爱。巴伯讲述故事的方式简单而直接。如果说乔叟被称为“英语诗歌之父”，那么巴伯则被称为“苏格兰诗歌和苏格兰历史之父”。
在乔叟描绘生动的英格兰生活画面时，在姐妹王国苏格兰，另一位诗人正在为粗犷的人民歌唱。这位诗人是约翰·巴伯，阿伯丁的副主教。他最著名的作品是《布鲁斯》（约 1380 年），书中描绘了智慧、耐心、高尚和勇敢的国王罗伯特·布鲁斯挥舞着战斧，射出无可挑剔的箭矢，以拯救他的人民脱离英格兰的压迫。这首诗充满了骑士壮举的激动人心的故事，将历史与传说交织在一起。尽管《布鲁斯》的音乐无法与《坎特伯雷故事集》相提并论，但其贯穿始终的精神是男子气概，以及对祖国和自由的热爱。巴伯讲述故事的方式简单而直接。如果说乔叟被称为“英语诗歌之父”，那么巴伯则被称为“苏格兰诗歌和苏格兰历史之父”。
2.9.2 James I —a Poet King
2.9.2 詹姆斯一世——一位诗人国王
In the 15th century, the Chaucerian tradition, withering in England, began to exert a powerful influence in Scotland, where it struck root and bore a rich crop. It was King James I who brought the Chaucerian tradition home from his English captivity. By telling a real personal experience, King James I wrote The Kingis Quair(“King’s Book”), a love vision modeling on Chaucer’s The Knight’s Tale. The poem, a love allegory, is written in verses of seven lines. Chaucer used this kind of verse, but because King James used it too, and used it so well, it came to be called the rhyme royal.
在 15 世纪，乔叟传统在英格兰逐渐衰退，却开始在苏格兰产生强大的影响力，在那里扎根并结出丰硕的果实。正是詹姆斯一世国王将乔叟传统从他的英格兰囚禁中带回家。通过讲述真实的个人经历，詹姆斯一世国王创作了《国王之书》（The Kingis Quair），这是一部以乔叟的《骑士的故事》为模型的爱情幻想诗。该诗是一种爱情寓言，采用七行诗的形式。乔叟使用了这种诗体，但由于詹姆斯国王也使用了它，并且使用得非常出色，因此这种诗体被称为“皇家韵”。
在 15 世纪，乔叟传统在英格兰逐渐衰退，却开始在苏格兰产生强大的影响力，在那里扎根并结出丰硕的果实。正是詹姆斯一世国王将乔叟传统从他的英格兰囚禁中带回家。通过讲述真实的个人经历，詹姆斯一世国王创作了《国王之书》（The Kingis Quair），这是一部以乔叟的《骑士的故事》为模型的爱情幻想诗。该诗是一种爱情寓言，采用七行诗的形式。乔叟使用了这种诗体，但由于詹姆斯国王也使用了它，并且使用得非常出色，因此这种诗体被称为“皇家韵”。
2.9.3 Robert Henryson 2.9.3 罗伯特·亨利森
Of all the Scottish Chaucerians Robert Henryson (ca. 1430 - 1506) may probably be the master in temper. Although he had not Chaucer’s wide knowledge of the world nor his brilliant, urbane wit, he knew men well within his narrower horizon. The comic sense of poetry and the vivid, sometimes poignant, realism are all his own. He was a born fabulist and his Moral Fables of Aesop proved it. He wrote those fables with tender yet shrewd observations, especially the one about the town mouse and the country mouse, which is vivid in visual details and full of good humor, closely corresponding to social types of men. However, Henryson’s fame rests chiefly on his Testament of Cresseid, which “completes” Chaucer’s Troilus and Cryseide, and is one of the great moral romances of the 15 th century. In the Testament of Cresseid he carries Chaucer’s story on to its tragic issue. Deserted by Diomede, Cresseid went home to her father. While she was praying in Venus’s temple, she railed against Cupid and Venus. Later in her sleep she dreamed that those gods summoned their peers to try her; she was found guilty and was stricken with leprosy as a punishment. Waking, Cresseid found the dream true. And her ensuing lament to “frivolous fortune” is one of the finest passages of medieval rhetoric. When she sits by the roadside begging among the other wretches, Troilus rides past. He does not recognize her, but something in her bearing brings to his mind a feeling of sympathy and he empties his purse into her lap. She learns his name and dies. The poet rounds off the poem with a moral for the women in his audience.
在所有苏格兰的乔叟追随者中，罗伯特·亨利森（约 1430 - 1506）可能是气质上最出色的。尽管他没有乔叟那样广博的世界知识和机智的幽默感，但他在自己狭窄的视野中对人性有着深刻的理解。他的诗歌中充满了幽默感和生动、时而尖锐的现实主义，这些都是他独有的。他天生就是个寓言家，他的《伊索寓言》证明了这一点。他以温柔而敏锐的观察写下了这些寓言，尤其是关于城里老鼠和乡下老鼠的故事，生动的视觉细节和幽默感充满了对社会人群类型的贴切描绘。然而，亨利森的声誉主要基于他的《克雷西德遗嘱》，这部作品“完成”了乔叟的《特洛伊卢斯与克雷西德》，并且是 15 世纪伟大的道德浪漫小说之一。在《克雷西德遗嘱》中，他将乔叟的故事推向了悲剧的结局。被迪俄墨德抛弃后，克雷西德回到了父亲身边。当她在维纳斯的神庙中祈祷时，她对丘比特和维纳斯进行了咒骂。后来在梦中，她梦见那些神召集同类来审判她；她被判有罪，并因而受到麻风的惩罚。醒来时，克雷西德发现梦境成真。 她对“轻浮的命运”的哀叹是中世纪修辞中最精彩的段落之一。当她坐在路边向其他可怜人乞讨时，特洛伊斯骑马经过。他没有认出她，但她的举止让他产生了一种同情的感觉，他把钱袋里的钱倒进了她的怀里。她得知了他的名字，然后去世。诗人以一个道德教训结束了这首诗，告诫在场的女性。
在所有苏格兰的乔叟追随者中，罗伯特·亨利森（约 1430 - 1506）可能是气质上最出色的。尽管他没有乔叟那样广博的世界知识和机智的幽默感，但他在自己狭窄的视野中对人性有着深刻的理解。他的诗歌中充满了幽默感和生动、时而尖锐的现实主义，这些都是他独有的。他天生就是个寓言家，他的《伊索寓言》证明了这一点。他以温柔而敏锐的观察写下了这些寓言，尤其是关于城里老鼠和乡下老鼠的故事，生动的视觉细节和幽默感充满了对社会人群类型的贴切描绘。然而，亨利森的声誉主要基于他的《克雷西德遗嘱》，这部作品“完成”了乔叟的《特洛伊卢斯与克雷西德》，并且是 15 世纪伟大的道德浪漫小说之一。在《克雷西德遗嘱》中，他将乔叟的故事推向了悲剧的结局。被迪俄墨德抛弃后，克雷西德回到了父亲身边。当她在维纳斯的神庙中祈祷时，她对丘比特和维纳斯进行了咒骂。后来在梦中，她梦见那些神召集同类来审判她；她被判有罪，并因而受到麻风的惩罚。醒来时，克雷西德发现梦境成真。 她对“轻浮的命运”的哀叹是中世纪修辞中最精彩的段落之一。当她坐在路边向其他可怜人乞讨时，特洛伊斯骑马经过。他没有认出她，但她的举止让他产生了一种同情的感觉，他把钱袋里的钱倒进了她的怀里。她得知了他的名字，然后去世。诗人以一个道德教训结束了这首诗，告诫在场的女性。
2.9.4 William Dunbar 2.9.4 威廉·邓巴
William Dunbar (ca. 1456 - ca. 1513) was a poet in the courtly tradition, a friar and a courtier in one. James
威廉·邓巴（约 1456 年 - 约 1513 年）是一位宫廷传统的诗人，同时也是一名修士和朝臣。詹姆斯
combines in a single unrhymed alliterative parody of the mantic mode of bawdy satire and moral censure. In fact, Dunbar was also a fine religious poet, as the vigor of his “Easter Hymn” makes clear. His “Lament for the Makirs” with its knell-like refrain shows Dunbar as a master of the “plain” style. Two foreign influences meet in Dunbar: his pious and courtly poems are in the Chaucerian tradition; from French he learned some of his meters and the clear-cut terseness that marks his shorter pieces. These influences played on a genius characteristically Scottish-fervid, pungent, realistic, and strong in visual imagination. Certainly Dunbar was the greater virtuoso; he had more strings to his lyre than Burns. But for all his wealth of words and meters he had not Burns’s gift of phrase, nor his singing voice, nor a drop of his warm humanity.
将粗俗讽刺和道德谴责的神秘模式结合成一首不押韵的头韵讽刺诗。事实上，邓巴也是一位出色的宗教诗人，他的《复活节颂歌》清楚地表明了这一点。他的《为诗人哀悼》以其钟声般的副歌展现了邓巴作为“朴素”风格的高手。邓巴的作品中融合了两种外来影响：他的虔诚和宫廷诗歌属于乔叟传统；而他从法语中学习了一些韵律和清晰简练的风格，这在他的短篇作品中尤为明显。这些影响在一个典型的苏格兰天才身上交汇，热情、尖锐、现实，并且在视觉想象力上极为强烈。毫无疑问，邓巴是更伟大的演奏家；他的琴弦比伯恩斯更多。但尽管他拥有丰富的词汇和韵律，他却没有伯恩斯那种短语的天赋，也没有他的歌唱声音，更没有他那一丝温暖的人性。
威廉·邓巴（约 1456 年 - 约 1513 年）是一位宫廷传统的诗人，同时也是一名修士和朝臣。詹姆斯
combines in a single unrhymed alliterative parody of the mantic mode of bawdy satire and moral censure. In fact, Dunbar was also a fine religious poet, as the vigor of his “Easter Hymn” makes clear. His “Lament for the Makirs” with its knell-like refrain shows Dunbar as a master of the “plain” style. Two foreign influences meet in Dunbar: his pious and courtly poems are in the Chaucerian tradition; from French he learned some of his meters and the clear-cut terseness that marks his shorter pieces. These influences played on a genius characteristically Scottish-fervid, pungent, realistic, and strong in visual imagination. Certainly Dunbar was the greater virtuoso; he had more strings to his lyre than Burns. But for all his wealth of words and meters he had not Burns’s gift of phrase, nor his singing voice, nor a drop of his warm humanity.
将粗俗讽刺和道德谴责的神秘模式结合成一首不押韵的头韵讽刺诗。事实上，邓巴也是一位出色的宗教诗人，他的《复活节颂歌》清楚地表明了这一点。他的《为诗人哀悼》以其钟声般的副歌展现了邓巴作为“朴素”风格的高手。邓巴的作品中融合了两种外来影响：他的虔诚和宫廷诗歌属于乔叟传统；而他从法语中学习了一些韵律和清晰简练的风格，这在他的短篇作品中尤为明显。这些影响在一个典型的苏格兰天才身上交汇，热情、尖锐、现实，并且在视觉想象力上极为强烈。毫无疑问，邓巴是更伟大的演奏家；他的琴弦比伯恩斯更多。但尽管他拥有丰富的词汇和韵律，他却没有伯恩斯那种短语的天赋，也没有他的歌唱声音，更没有他那一丝温暖的人性。
III . Selected Readings III. 选读材料
3.1 An Excerpt from Sir Gawain and the Green Knight*
3.1 《高文爵士与绿骑士》摘录*
Part I 第一部分
Yet had he no helm, nor hauberk neither,
然而他没有头盔，也没有链甲
Nor plate, nor appurtenance appending to arms,
既无盾牌，也无附属于武器的附属物，
Nor shaft pointed sharp, nor shield for defense,
既没有尖锐的矛，也没有防御的盾牌，
But in his one hand a holly bob
但在他的一只手中拿着一根冬青枝
That is goodliest
那是最美的
And an ax in his other, a huge and immense,
他另一只手握着一把巨大的斧头，庞大而无比，
A wicked piece of work in words to expound:
一段恶劣的文字作品来阐述：
The head on its haft was an ell long;
其柄上的头长一肘
The spike of green steel, resplendent
绿色钢铁的尖峰，辉煌
The blade burnished bright, with a broad edge,
刀刃闪耀明亮，边缘宽阔，
As well shaped to shear as a sharp razor;
如同锋利的剃刀，形状适合剪切；
Stout was the stave in the strong man’s gripe,
斯托特是强壮男人手中的木棍，
That was wound all with iron to the weapon’s end,
那是用铁包裹到武器的末端，
With engravings in green of goodliest work.
以绿色雕刻的最美作品。
A lace lightly about, that led to a knot,
一条轻轻缠绕的蕾丝，通向一个结
Was looped in by lengths along the fair haft,
通过沿着公平的把手的长度被循环
And tassels thereto attached in a row,
并且在一排中附有流苏，
With buttons of bright green, brave to behold.
明亮绿色的按钮，勇敢地展现。
然而他没有头盔，也没有链甲
Nor plate, nor appurtenance appending to arms,
既无盾牌，也无附属于武器的附属物，
Nor shaft pointed sharp, nor shield for defense,
既没有尖锐的矛，也没有防御的盾牌，
But in his one hand a holly bob
但在他的一只手中拿着一根冬青枝
That is goodliest
那是最美的
And an ax in his other, a huge and immense,
他另一只手握着一把巨大的斧头，庞大而无比，
A wicked piece of work in words to expound:
一段恶劣的文字作品来阐述：
The head on its haft was an ell long;
其柄上的头长一肘
The spike of green steel, resplendent
绿色钢铁的尖峰，辉煌
The blade burnished bright, with a broad edge,
刀刃闪耀明亮，边缘宽阔，
As well shaped to shear as a sharp razor;
如同锋利的剃刀，形状适合剪切；
Stout was the stave in the strong man’s gripe,
斯托特是强壮男人手中的木棍，
That was wound all with iron to the weapon’s end,
那是用铁包裹到武器的末端，
With engravings in green of goodliest work.
以绿色雕刻的最美作品。
A lace lightly about, that led to a knot,
一条轻轻缠绕的蕾丝，通向一个结
Was looped in by lengths along the fair haft,
通过沿着公平的把手的长度被循环
And tassels thereto attached in a row,
并且在一排中附有流苏，
With buttons of bright green, brave to behold.
明亮绿色的按钮，勇敢地展现。
This horseman hurtles in, and the hall enters;
这位骑士冲进来，大厅进入；
Riding to the high dais, recked he no danger;
骑上高台，他毫不在意危险；
Not a greeting he gave as the guests he o’erlooked,
他并没有向被他忽视的客人们打招呼，
Nor wasted his words, but “Where is,” he said,
他没有浪费话语，而是说：“在哪里，”
“The captain
“这群人的队长
To see that sire with sight, and to himself say
看到那位父亲，并对自己说
my say.” 我的说法。
He swaggered all about
他在
To scan the host so gay;
扫描主机如此愉快；
He halted, as if in doubt
他停下了，似乎在犹豫
Who in that hall held sway.
在那个大厅里谁掌控着。
这位骑士冲进来，大厅进入；
Riding to the high dais, recked he no danger;
骑上高台，他毫不在意危险；
Not a greeting he gave as the guests he o’erlooked,
他并没有向被他忽视的客人们打招呼，
Nor wasted his words, but “Where is,” he said,
他没有浪费话语，而是说：“在哪里，”
“The captain
“这群人的队长
To see that sire with sight, and to himself say
看到那位父亲，并对自己说
my say.” 我的说法。
He swaggered all about
他在
To scan the host so gay;
扫描主机如此愉快；
He halted, as if in doubt
他停下了，似乎在犹豫
Who in that hall held sway.
在那个大厅里谁掌控着。
There were stares on all sides as the stranger spoke,
四周的人都盯着陌生人说话
For much did they marvel what it might mean
他们对这可能意味着什么感到非常惊讶
That a horseman and a horse should have such a hue,
马和骑马的人竟有如此的色彩，
Grow green as the grass, and greener, it seemed,
如草般生长，似乎更绿
Than green fused on gold more glorious by far.
比起金色，绿色的融合更加辉煌。
All the onlookers eyed him, and edged nearer,
所有旁观者都盯着他，慢慢靠近
And awaited in wonder what he would do,
并惊奇地等待他会做什么，
For many sights had they seen, but such a one never,
他们见过许多景象，但从未见过这样的
So that phantom and faerie the folk there deemed it,
所以那里的人民认为那是幻影和妖精，
Therefore chary of answer was many a champion bold,
因此，许多勇敢的冠军都谨慎回答
And stunned at his strong words stone-still they sat
他们震惊于他强烈的话语，静静地坐着
In a swooning silence in the stately hall.
在庄严的大厅里，沉浸在晕眩的寂静中。
As all were slipped into sleep, so slackened their speech
随着所有人都沉入睡眠，他们的言语也变得松弛
apace.
Not all, I think, for dread,
并不是所有，我想，是出于恐惧，
But some of courteous grace
但一些礼貌的优雅
Let him who was their head
让他成为他们的首领
Be spokesman in that place.
在那个地方做发言人。
四周的人都盯着陌生人说话
For much did they marvel what it might mean
他们对这可能意味着什么感到非常惊讶
That a horseman and a horse should have such a hue,
马和骑马的人竟有如此的色彩，
Grow green as the grass, and greener, it seemed,
如草般生长，似乎更绿
Than green fused on gold more glorious by far.
比起金色，绿色的融合更加辉煌。
All the onlookers eyed him, and edged nearer,
所有旁观者都盯着他，慢慢靠近
And awaited in wonder what he would do,
并惊奇地等待他会做什么，
For many sights had they seen, but such a one never,
他们见过许多景象，但从未见过这样的
So that phantom and faerie the folk there deemed it,
所以那里的人民认为那是幻影和妖精，
Therefore chary of answer was many a champion bold,
因此，许多勇敢的冠军都谨慎回答
And stunned at his strong words stone-still they sat
他们震惊于他强烈的话语，静静地坐着
In a swooning silence in the stately hall.
在庄严的大厅里，沉浸在晕眩的寂静中。
As all were slipped into sleep, so slackened their speech
随着所有人都沉入睡眠，他们的言语也变得松弛
apace.
Not all, I think, for dread,
并不是所有，我想，是出于恐惧，
But some of courteous grace
但一些礼貌的优雅
Let him who was their head
让他成为他们的首领
Be spokesman in that place.
在那个地方做发言人。
Then Arthur before the high dais that entrance beholds, And hailed him, as behooved, for he had no fear, And said "Fellow, in faith you have found fair welcome;
然后亚瑟在高台前看到了入口，向他呼喊，正如他所应做的，因为他没有恐惧，并说道：“朋友，确实你得到了热情的欢迎；”
然后亚瑟在高台前看到了入口，向他呼喊，正如他所应做的，因为他没有恐惧，并说道：“朋友，确实你得到了热情的欢迎；”
The head of this hostelry Arthur am I;
我就是这家旅馆的老板亚瑟
Leap lightly down, and linger, I pray,
轻轻跳下，停留，我祈求，
And the tale of your intent you shall tell us after."
“而你将会在之后告诉我们你的意图故事。”
“Nay, so help me,” said the other, “He that on high sits,
“不要，这样帮助我，”另一个人说，“那位高坐于上者，
To tarry here any time, 'twas not mine errand;
在这里逗留任何时间，并不是我的任务；
But as the praise of you, prince, is puffed up
但对您的赞美，王子，已经被抬得如此之高，
And your court and your company are counted the best,
而你的宫廷和你的公司被认为是最好的，
Stoutest under steel-gear on steeds to ride,
在钢铁装备下，骑乘最强壮的马
Worthiest of their works the wide world over,
世上最值得的作品，
And peerless to prove in passages of arms,
无与伦比地在武器交锋中证明自己，
And courtesy here is carried to its height,
在这里，礼貌达到了极致，
And so at this season I have sought you out.
因此在这个季节我特意来找你。
You may be certain by the branch that I bear in hand
你可以确定我手中握着的这根枝条
That I pass here in peace, and would part friends,
愿我在此平安通行，并与朋友们道别，
For had I come to this court on combat bent,
若我带着战斗的决心来到这个法庭，
I have a hauberk at home, and a helm beside,
我家里有一件链甲，还有一顶头盔
A shield and a sharp spear, shining bright,
一面盾牌和一支锋利的矛，闪闪发光，
And other weapons to wield, I ween well,
还有其他武器可以使用，我想是的，
But as I willed no war, I wore no metal,
但因为我不想要战争，所以我没有穿戴金属
But if you graciously grant the game that I ask
但如果你优雅地同意我所请求的游戏
by right.” 根据权利。
Arthur answer gave 亚瑟的回答给了
And said, “Sir courteous knight,
并说道：“尊敬的骑士，
If contest bare you crave,
如果你渴望比赛的赤裸
You shall no fail to fight.”
你绝不能不去战斗。
"Nay, to fight, in good faith, is far from my thought;
不，我绝无此意，真心实意地战斗，远非我的想法；
There are about on these benches but beardless children,
这些长椅上大约只有无须的孩子们，
Were I here in full arms on a haughty steed,
若我骑在骄傲的骏马上全副武装地在这里，
For measured against mine, their might is puny.
与我的相比，他们的力量微不足道。
And so I call in this court for a Christmas game,
因此我在这个法庭上呼吁进行一场圣诞游戏，
For 'tis Yule
因为是圣诞节
If any in this house such hardihood claims,
如果这个房子里有人如此大胆地声称，
Be so bold in his blood, his brain so wild,
在他的血液中如此大胆，他的思维如此狂野，
我就是这家旅馆的老板亚瑟
Leap lightly down, and linger, I pray,
轻轻跳下，停留，我祈求，
And the tale of your intent you shall tell us after."
“而你将会在之后告诉我们你的意图故事。”
“Nay, so help me,” said the other, “He that on high sits,
“不要，这样帮助我，”另一个人说，“那位高坐于上者，
To tarry here any time, 'twas not mine errand;
在这里逗留任何时间，并不是我的任务；
But as the praise of you, prince, is puffed up
但对您的赞美，王子，已经被抬得如此之高，
And your court and your company are counted the best,
而你的宫廷和你的公司被认为是最好的，
Stoutest under steel-gear on steeds to ride,
在钢铁装备下，骑乘最强壮的马
Worthiest of their works the wide world over,
世上最值得的作品，
And peerless to prove in passages of arms,
无与伦比地在武器交锋中证明自己，
And courtesy here is carried to its height,
在这里，礼貌达到了极致，
And so at this season I have sought you out.
因此在这个季节我特意来找你。
You may be certain by the branch that I bear in hand
你可以确定我手中握着的这根枝条
That I pass here in peace, and would part friends,
愿我在此平安通行，并与朋友们道别，
For had I come to this court on combat bent,
若我带着战斗的决心来到这个法庭，
I have a hauberk at home, and a helm beside,
我家里有一件链甲，还有一顶头盔
A shield and a sharp spear, shining bright,
一面盾牌和一支锋利的矛，闪闪发光，
And other weapons to wield, I ween well,
还有其他武器可以使用，我想是的，
But as I willed no war, I wore no metal,
但因为我不想要战争，所以我没有穿戴金属
But if you graciously grant the game that I ask
但如果你优雅地同意我所请求的游戏
by right.” 根据权利。
Arthur answer gave 亚瑟的回答给了
And said, “Sir courteous knight,
并说道：“尊敬的骑士，
If contest bare you crave,
如果你渴望比赛的赤裸
You shall no fail to fight.”
你绝不能不去战斗。
"Nay, to fight, in good faith, is far from my thought;
不，我绝无此意，真心实意地战斗，远非我的想法；
There are about on these benches but beardless children,
这些长椅上大约只有无须的孩子们，
Were I here in full arms on a haughty steed,
若我骑在骄傲的骏马上全副武装地在这里，
For measured against mine, their might is puny.
与我的相比，他们的力量微不足道。
And so I call in this court for a Christmas game,
因此我在这个法庭上呼吁进行一场圣诞游戏，
For 'tis Yule
因为是圣诞节
If any in this house such hardihood claims,
如果这个房子里有人如此大胆地声称，
Be so bold in his blood, his brain so wild,
在他的血液中如此大胆，他的思维如此狂野，
As stoutly to strike one stroke for another, I shall give him as my gift this gisarme
我将毫不犹豫地为他出一击，作为我的礼物，这把高贵的戟，这把足够沉重的斧头，随他喜欢地使用，而我将毫无防备地等待第一击。
If there be one so willful my words to assay,
如果有人如此固执地想要试探我的话，
Let him leap hither lightly, lay hold of this weapon;
让他轻轻跳过来，抓住这件武器；
I quitclaim it forever, keep it as his own,
我永久放弃对它的所有权，保留它作为他的财产
And I shall stand him a stroke, steady on this floor, So you grant me the guerdon
我将让他在这个地板上稳稳地站着，所以你给我报酬
In a twelvemonth and a day
在一年零一天
He shall have of me the same;
他将从我这里得到同样的东西；
Now be it seen straightway
现在立刻看到
Who dares take up the game."
谁敢参与这场游戏。
我将毫不犹豫地为他出一击，作为我的礼物，这把高贵的戟，这把足够沉重的斧头，随他喜欢地使用，而我将毫无防备地等待第一击。
If there be one so willful my words to assay,
如果有人如此固执地想要试探我的话，
Let him leap hither lightly, lay hold of this weapon;
让他轻轻跳过来，抓住这件武器；
I quitclaim it forever, keep it as his own,
我永久放弃对它的所有权，保留它作为他的财产
And I shall stand him a stroke, steady on this floor, So you grant me the guerdon
我将让他在这个地板上稳稳地站着，所以你给我报酬
In a twelvemonth and a day
在一年零一天
He shall have of me the same;
他将从我这里得到同样的东西；
Now be it seen straightway
现在立刻看到
Who dares take up the game."
谁敢参与这场游戏。
If he astonished them at first, stiller were then
如果他一开始让他们感到惊讶，那么接下来就更加安静了
All that household in hall, the high and the low;
家中所有人，无论高低；
The stranger on his green steed stirred in the saddle,
陌生人骑在他的绿色骏马上，微微动了动鞍座
And roisterously his red eyes he rolled all about,
他放肆地四处翻滚着红色的眼睛，
Bent his bristling brows, that were bright green,
弯曲了他那明亮绿色的刺状眉毛，
Wagged his beard as he watched who would arise.
摇着胡须，看着谁会站起来。
When the court kept its counsel he coughed aloud,
当法庭保持沉默时，他大声咳嗽
And cleared his throat coolly, the clearer to speak:
并冷静地清了清喉咙，更清楚地说：
“What, is this Arthur’s house,” said that horseman then,
“这是什么，亚瑟的家吗，”那骑士说道，
“Whose fame is so fair in far realms and wide?
“谁的名声在遥远的领域和广阔的天地中如此美丽？”
Where is now your arrogance and your awesome deeds,
你现在的傲慢和令人敬畏的行为在哪里，
Your valor and your victories and your vaunting
你的勇气、胜利和你自夸的
Now are the revel and renown of the Round Table
现在是圆桌骑士的欢庆与荣耀
Overwhelmed with a word of one man’s speech,
被一个人的演讲所压倒，
For all cower and quake, and no cut felt!”
“所有人都畏惧颤抖，没有人感到痛苦！”
With this he laughs so loud that the lord grieved;
他笑得如此响亮，以至于让领主感到悲伤；
The blood for sheer shame shot to his face,
因极度羞愧，血液涌上了他的脸
and pride. 和自豪。
With rage his face flushed red,
他的脸因愤怒而变得通红，
And so did all beside.
于是旁边的所有人也都如此。
Then the king as bold man bred
然后国王作为一个勇敢的人出生
Toward the stranger took a stride.
朝陌生人迈出了一步。
With rage his face flushed red,
他的脸因愤怒而变得通红，
And so did all beside.
于是旁边的所有人也都如此。
Then the king as bold man bred
然后国王作为一个勇敢的人出生
Toward the stranger took a stride.
朝陌生人迈出了一步。
如果他一开始让他们感到惊讶，那么接下来就更加安静了
All that household in hall, the high and the low;
家中所有人，无论高低；
The stranger on his green steed stirred in the saddle,
陌生人骑在他的绿色骏马上，微微动了动鞍座
And roisterously his red eyes he rolled all about,
他放肆地四处翻滚着红色的眼睛，
Bent his bristling brows, that were bright green,
弯曲了他那明亮绿色的刺状眉毛，
Wagged his beard as he watched who would arise.
摇着胡须，看着谁会站起来。
When the court kept its counsel he coughed aloud,
当法庭保持沉默时，他大声咳嗽
And cleared his throat coolly, the clearer to speak:
并冷静地清了清喉咙，更清楚地说：
“What, is this Arthur’s house,” said that horseman then,
“这是什么，亚瑟的家吗，”那骑士说道，
“Whose fame is so fair in far realms and wide?
“谁的名声在遥远的领域和广阔的天地中如此美丽？”
Where is now your arrogance and your awesome deeds,
你现在的傲慢和令人敬畏的行为在哪里，
Your valor and your victories and your vaunting
你的勇气、胜利和你自夸的
Now are the revel and renown of the Round Table
现在是圆桌骑士的欢庆与荣耀
Overwhelmed with a word of one man’s speech,
被一个人的演讲所压倒，
For all cower and quake, and no cut felt!”
“所有人都畏惧颤抖，没有人感到痛苦！”
With this he laughs so loud that the lord grieved;
他笑得如此响亮，以至于让领主感到悲伤；
The blood for sheer shame shot to his face,
因极度羞愧，血液涌上了他的脸
and pride. 和自豪。
With rage his face flushed red,
他的脸因愤怒而变得通红，
And so did all beside.
于是旁边的所有人也都如此。
Then the king as bold man bred
然后国王作为一个勇敢的人出生
Toward the stranger took a stride.
朝陌生人迈出了一步。
With rage his face flushed red,
他的脸因愤怒而变得通红，
And so did all beside.
于是旁边的所有人也都如此。
Then the king as bold man bred
然后国王作为一个勇敢的人出生
Toward the stranger took a stride.
朝陌生人迈出了一步。
And said “Sir, now we see you will say but folly, Which whoso has sought, it suits that he find.
并说：“先生，现在我们看到你会说这是愚蠢的，谁寻求它，理应找到它。”
No guest here is aghast of your great words.
这里没有客人对你的伟大言辞感到震惊。
Give to me your gisarme, in God’s own name,
把你的武器给我，以上帝的名义
And the boon
“你所乞求的恩惠
He leaps to him lightly, lays hold of his weapon;
他轻盈地跳向他，抓住他的武器；
The green fellow on foot fiencely alights.
绿色的家伙在地面上猛烈降落。
Now has Arthur his ax, and the haft grips,
现在亚瑟有了他的斧头，柄握得紧紧的，
And sternly stirs it about, on striking bent.
并严厉地搅动它，处于打击的姿态。
The stranger before him stood there erect,
面前的陌生人笔直地站在那里，
Higher than any in the house by a head and more;
高于房子里任何地方一头以上；
With stem look as he stood, he stroked his beard,
他站着，手握着手杖，抚摸着自己的胡子
And with undaunted countenance drew down his coat,
他面不改色地拉下了外套，
No more moved nor dismayed for his mighty dints
不再因他强大的凹痕而感到动摇或沮丧
Than any bold man on bench had brought him a drink
比任何在长椅上大胆的人给他带来的饮料都要好
of wine. 酒。
Gawain by Guenevere 高文与桂妮薇尔
Toward the king doth now incline:
朝向国王现在倾斜：
“I beseech, before all here,
“我恳求，在场的各位面前，”
That this melee may be mine.” 27
“这场混战可能是我的。” 27
“Would you grant me the grace,” said Gawain to his king,
“您能赐我恩典吗，”高文对他的国王说
"To be gone from this bench and stand by you there,
"离开这个长椅，站在你身边。"
If I without discourtesy might quit this board,
如果我没有失礼地可以离开这个委员会，
And if my liege lady
如果我的女主人
I would come to your counsel before your court noble.
我会在您的法庭前向您请教，尊贵的阁下。
For I find it not fit, as in faith it is known,
因为我觉得这不合适，确实是众所周知的
When such a boon is begged before all these knights,
当这样的恩惠在所有骑士面前请求时，
Though you be tempted thereto, to take it on yourself
尽管你可能会受到诱惑，想要自己承担
并说：“先生，现在我们看到你会说这是愚蠢的，谁寻求它，理应找到它。”
No guest here is aghast of your great words.
这里没有客人对你的伟大言辞感到震惊。
Give to me your gisarme, in God’s own name,
把你的武器给我，以上帝的名义
And the boon
“你所乞求的恩惠
He leaps to him lightly, lays hold of his weapon;
他轻盈地跳向他，抓住他的武器；
The green fellow on foot fiencely alights.
绿色的家伙在地面上猛烈降落。
Now has Arthur his ax, and the haft grips,
现在亚瑟有了他的斧头，柄握得紧紧的，
And sternly stirs it about, on striking bent.
并严厉地搅动它，处于打击的姿态。
The stranger before him stood there erect,
面前的陌生人笔直地站在那里，
Higher than any in the house by a head and more;
高于房子里任何地方一头以上；
With stem look as he stood, he stroked his beard,
他站着，手握着手杖，抚摸着自己的胡子
And with undaunted countenance drew down his coat,
他面不改色地拉下了外套，
No more moved nor dismayed for his mighty dints
不再因他强大的凹痕而感到动摇或沮丧
Than any bold man on bench had brought him a drink
比任何在长椅上大胆的人给他带来的饮料都要好
of wine. 酒。
Gawain by Guenevere 高文与桂妮薇尔
Toward the king doth now incline:
朝向国王现在倾斜：
“I beseech, before all here,
“我恳求，在场的各位面前，”
That this melee may be mine.” 27
“这场混战可能是我的。” 27
“Would you grant me the grace,” said Gawain to his king,
“您能赐我恩典吗，”高文对他的国王说
"To be gone from this bench and stand by you there,
"离开这个长椅，站在你身边。"
If I without discourtesy might quit this board,
如果我没有失礼地可以离开这个委员会，
And if my liege lady
如果我的女主人
I would come to your counsel before your court noble.
我会在您的法庭前向您请教，尊贵的阁下。
For I find it not fit, as in faith it is known,
因为我觉得这不合适，确实是众所周知的
When such a boon is begged before all these knights,
当这样的恩惠在所有骑士面前请求时，
Though you be tempted thereto, to take it on yourself
尽管你可能会受到诱惑，想要自己承担
While so bold men about upon benches sit,
当如此大胆的人坐在长椅上时，
That no host under heaven is hardier of will,
天下没有哪个主人意志更坚定
Nor better brothers-in-arms where battle is joined;
战斗中没有更好的战友；
I am the weakest, well I know, and of wit feeblest;
我最弱，这我知道，智慧也最薄弱；
And the loss of my life would be least of any;
我生命的损失将是最小的
That I have you for uncle is my only praise;
我唯一的赞美就是有你作为我的叔叔；
My body, but for your blood, is barren of worth;
我的身体，除了你的血，毫无价值；
And for that this folly befits not a king,
这愚蠢的行为不适合国王
And 'tis I that have asked it, it ought to be mine,
而是我请求的，这应该是我的，
And if my claim be not comely let all this court judge,
如果我的主张不合适，请让这个法庭来判断。
in sight." 在视线中。
The court assays
法院评估
And in counsel all unite
并在会议中团结一致
To give Gawain the game
把游戏给高文
And release the king outright.
直接释放国王。
当如此大胆的人坐在长椅上时，
That no host under heaven is hardier of will,
天下没有哪个主人意志更坚定
Nor better brothers-in-arms where battle is joined;
战斗中没有更好的战友；
I am the weakest, well I know, and of wit feeblest;
我最弱，这我知道，智慧也最薄弱；
And the loss of my life would be least of any;
我生命的损失将是最小的
That I have you for uncle is my only praise;
我唯一的赞美就是有你作为我的叔叔；
My body, but for your blood, is barren of worth;
我的身体，除了你的血，毫无价值；
And for that this folly befits not a king,
这愚蠢的行为不适合国王
And 'tis I that have asked it, it ought to be mine,
而是我请求的，这应该是我的，
And if my claim be not comely let all this court judge,
如果我的主张不合适，请让这个法庭来判断。
in sight." 在视线中。
The court assays
法院评估
And in counsel all unite
并在会议中团结一致
To give Gawain the game
把游戏给高文
And release the king outright.
直接释放国王。
Then the king called the knight to come to his side,
然后国王召唤骑士到他身边，
And he rose up readily, and reached him with speed,
他迅速站起，快速赶到他身边，
Bows low to his lord, lays hold of the weapon,
向他的领主鞠躬，抓住武器，
And he releases it lightly, and lifts up his hand,
他轻轻地放开它，抬起手
And gives him God’s blessing, and graciously prays
并赐予他上帝的祝福，恩典地祈祷
That his heart and his hand may be hardy both.
愿他的心和手都能坚韧。
“Keep, cousin,” said the king, “what you cut with this day,
“保留吧，表亲，”国王说道，“你今天所割的东西，”
And if you rule it aright, then readily, I know,
如果你正确地统治它，那么我知道，你会很容易
You shall stand the stroke it will strike after.”
你将承受它将带来的打击。
Gawain goes to the guest with gisarme in hand,
高文手持长柄武器走向客人，
And boldly he bides there, abashed not a whit.
他大胆地在那里等待，丝毫不感到羞愧。
Then hails he Sir Gawain, the horseman in green:
然后他向绿色骑士高呼，戈温爵士：
“Recount we our contract, ere you come further.
“在你进一步之前，我们来回顾一下我们的合同。”
First I ask and adjure
首先我问你，您叫什么名字
That you tell me true, so that trust it I may.”
你告诉我真相，这样我才能信任它。
“In good faith,” said the good knight, "Gawain am I
“我是真心的，”好骑士说道，“我是高文。”
Whose buffet
谁的自助餐
And at this time twelvemonth take from you another
在这个时候的一年后再从你那里取走另一个
然后国王召唤骑士到他身边，
And he rose up readily, and reached him with speed,
他迅速站起，快速赶到他身边，
Bows low to his lord, lays hold of the weapon,
向他的领主鞠躬，抓住武器，
And he releases it lightly, and lifts up his hand,
他轻轻地放开它，抬起手
And gives him God’s blessing, and graciously prays
并赐予他上帝的祝福，恩典地祈祷
That his heart and his hand may be hardy both.
愿他的心和手都能坚韧。
“Keep, cousin,” said the king, “what you cut with this day,
“保留吧，表亲，”国王说道，“你今天所割的东西，”
And if you rule it aright, then readily, I know,
如果你正确地统治它，那么我知道，你会很容易
You shall stand the stroke it will strike after.”
你将承受它将带来的打击。
Gawain goes to the guest with gisarme in hand,
高文手持长柄武器走向客人，
And boldly he bides there, abashed not a whit.
他大胆地在那里等待，丝毫不感到羞愧。
Then hails he Sir Gawain, the horseman in green:
然后他向绿色骑士高呼，戈温爵士：
“Recount we our contract, ere you come further.
“在你进一步之前，我们来回顾一下我们的合同。”
First I ask and adjure
首先我问你，您叫什么名字
That you tell me true, so that trust it I may.”
你告诉我真相，这样我才能信任它。
“In good faith,” said the good knight, "Gawain am I
“我是真心的，”好骑士说道，“我是高文。”
Whose buffet
谁的自助餐
And at this time twelvemonth take from you another
在这个时候的一年后再从你那里取走另一个
With what weapon you will, and with no man else
你将用什么武器，除了其他人
alive." 活着。
你将用什么武器，除了其他人
alive." 活着。
The other nods assent: 另一个点头表示同意：
“Sir Gawain, as I may thrive,
“高文爵士，若我能成功，”
I am wonderous well content
我感到非常满意
That you this dint
你这一下
“Sir Gawain,” said the Green Knight, “By God, I rejoice
“高文爵士，”绿骑士说道，“天哪，我真高兴。”
That your fist shall fetch this favor I seek,
你的一拳将带来我所寻求的恩惠，
And you have readily rehearsed, and in right terms, Each clause of my covenant
而你已经轻松地复述了我与你主君国王的每一条契约条款，只是你必须向我保证，先生，发誓你会亲自寻找我，无论你认为我的住处在哪里，并寻找这样的报酬
As you have offered me here before all this host.”
“正如你之前在所有这些主人面前向我提出的。”
“What is the way there?” said Gawain. “Where do you dwell?
“那里怎么走？”高文问。“你住在哪里？”
I heard never of your house, by him that made me,
我从未听说过你的家，凭他造就了我，
Nor I know you not, knight, your name nor your court.
我也不认识你，骑士，你的名字和你的宫廷。
But tell me truly thereof, and teach me your name,
但请真实地告诉我，并教我你的名字，
And I shall fare forth to find you, so far as I may,
我将尽我所能去寻找你
And this I say in good certain, and swear upon oath.”
“我这样说是非常确定的，并发誓。”
“That is enough in New Year, you need say no more,”
“在新年里，这已经足够了，你不需要再说了。”
Said the knight in the green to Gawain the noble,
绿色骑士对高文这位高贵的骑士说道，
“If I tell you true, when I have taken your knock,
“如果我告诉你真相，当我接受了你的敲击，
And if you handily have hit, you shall hear straightway
如果你恰好击中，你会立刻听到
Of my house and my home and my own name;
我家，我的家和我自己的名字；
Then follow in my footsteps by faithful accord.
然后忠实地跟随我的脚步。
And if I spend no speech, you shall speed the better:
如果我不多说，你会更快
You can feast with your friends, nor further trace my tracks.
你可以和朋友们一起享受盛宴，也不必再追踪我的足迹。
Now hold your grim tool steady
现在保持你的阴沉工具稳定
And show us how it hacks.”
“并向我们展示它是如何破解的。”
“Gladly, sir, all ready,”
“很高兴，先生，一切准备好了。”
Says Gawain; he strokes the ax.
高文说；他抚摸着斧头。
“Sir Gawain, as I may thrive,
“高文爵士，若我能成功，”
I am wonderous well content
我感到非常满意
That you this dint
你这一下
“Sir Gawain,” said the Green Knight, “By God, I rejoice
“高文爵士，”绿骑士说道，“天哪，我真高兴。”
That your fist shall fetch this favor I seek,
你的一拳将带来我所寻求的恩惠，
And you have readily rehearsed, and in right terms, Each clause of my covenant
而你已经轻松地复述了我与你主君国王的每一条契约条款，只是你必须向我保证，先生，发誓你会亲自寻找我，无论你认为我的住处在哪里，并寻找这样的报酬
As you have offered me here before all this host.”
“正如你之前在所有这些主人面前向我提出的。”
“What is the way there?” said Gawain. “Where do you dwell?
“那里怎么走？”高文问。“你住在哪里？”
I heard never of your house, by him that made me,
我从未听说过你的家，凭他造就了我，
Nor I know you not, knight, your name nor your court.
我也不认识你，骑士，你的名字和你的宫廷。
But tell me truly thereof, and teach me your name,
但请真实地告诉我，并教我你的名字，
And I shall fare forth to find you, so far as I may,
我将尽我所能去寻找你
And this I say in good certain, and swear upon oath.”
“我这样说是非常确定的，并发誓。”
“That is enough in New Year, you need say no more,”
“在新年里，这已经足够了，你不需要再说了。”
Said the knight in the green to Gawain the noble,
绿色骑士对高文这位高贵的骑士说道，
“If I tell you true, when I have taken your knock,
“如果我告诉你真相，当我接受了你的敲击，
And if you handily have hit, you shall hear straightway
如果你恰好击中，你会立刻听到
Of my house and my home and my own name;
我家，我的家和我自己的名字；
Then follow in my footsteps by faithful accord.
然后忠实地跟随我的脚步。
And if I spend no speech, you shall speed the better:
如果我不多说，你会更快
You can feast with your friends, nor further trace my tracks.
你可以和朋友们一起享受盛宴，也不必再追踪我的足迹。
Now hold your grim tool steady
现在保持你的阴沉工具稳定
And show us how it hacks.”
“并向我们展示它是如何破解的。”
“Gladly, sir, all ready,”
“很高兴，先生，一切准备好了。”
Says Gawain; he strokes the ax.
高文说；他抚摸着斧头。
The Green Knight upon ground girds
绿骑士在地上小心地给自己系上
Bows a bit with his head, and bares his flesh:
微微低头，露出肌肤：
His long lovely locks he laid over his crown,
他把长长的美丽秀发披在头顶上，
Let the naked nape for the need be shown.
让裸露的后颈为需要而展现。
Gawain grips to his ax and gathers it aloft-
高文紧握着他的斧头，将其高高举起
The left foot on the floor before him he set-
他把左脚放在面前的地板上
Brought it down deftly upon the bare neck,
巧妙地将其落在光秃的脖子上，
That the shock of the sharp blow shivered the bones
那锋利一击的震动让骨头颤抖
And cut the flesh cleanly and clove
并将肉切得干净，分成两半
That the blade of bright steel bit into the ground.
锋利的钢刃刺入了地面。
The head was hewn off and fell to the floor;
头被砍下，掉到了地上；
Many found it at their feet, as forth it rolled;
许多人发现它在他们的脚下，随着它滚动而来；
The blood gushed from the body, bright on the green,
鲜血从身体涌出，在绿色上显得鲜艳，
Yet fell not the fellow, nor faltered a whit,
然而那家伙并没有跌倒，也没有丝毫动摇，
But stoutly he starts forth upon stiff shanks,
但他坚定地迈开步伐，双腿僵硬，
And as all stood staring he stretched forth his hand,
当所有人都盯着他时，他伸出了手，
Laid hold of his head and heaved it aloft,
抓住他的头，把它抬起来
Then goes to the green steed, grasps the bridle,
然后走向绿马，抓住缰绳，
Steps into the stirrup, bestrides his mount,
跨入马镫，骑上他的坐骑，
And his head by the hair in his hand holds,
他的手中抓着他的头发
And as steady he sits in the stately saddle
他稳稳地坐在华丽的鞍上
As he met with no mishap, nor missing were
由于他没有遇到任何意外，也没有失踪
his head. 他的头。
His bulk about he haled,
他拖着他的庞大身躯，
That fearsome body that bled;
那具流血的可怕身体；
There were many in the court that quailed
在法庭上，有很多人感到畏惧
Before all his say was said.
在他所有的话说完之前。
绿骑士在地上小心地给自己系上
Bows a bit with his head, and bares his flesh:
微微低头，露出肌肤：
His long lovely locks he laid over his crown,
他把长长的美丽秀发披在头顶上，
Let the naked nape for the need be shown.
让裸露的后颈为需要而展现。
Gawain grips to his ax and gathers it aloft-
高文紧握着他的斧头，将其高高举起
The left foot on the floor before him he set-
他把左脚放在面前的地板上
Brought it down deftly upon the bare neck,
巧妙地将其落在光秃的脖子上，
That the shock of the sharp blow shivered the bones
那锋利一击的震动让骨头颤抖
And cut the flesh cleanly and clove
并将肉切得干净，分成两半
That the blade of bright steel bit into the ground.
锋利的钢刃刺入了地面。
The head was hewn off and fell to the floor;
头被砍下，掉到了地上；
Many found it at their feet, as forth it rolled;
许多人发现它在他们的脚下，随着它滚动而来；
The blood gushed from the body, bright on the green,
鲜血从身体涌出，在绿色上显得鲜艳，
Yet fell not the fellow, nor faltered a whit,
然而那家伙并没有跌倒，也没有丝毫动摇，
But stoutly he starts forth upon stiff shanks,
但他坚定地迈开步伐，双腿僵硬，
And as all stood staring he stretched forth his hand,
当所有人都盯着他时，他伸出了手，
Laid hold of his head and heaved it aloft,
抓住他的头，把它抬起来
Then goes to the green steed, grasps the bridle,
然后走向绿马，抓住缰绳，
Steps into the stirrup, bestrides his mount,
跨入马镫，骑上他的坐骑，
And his head by the hair in his hand holds,
他的手中抓着他的头发
And as steady he sits in the stately saddle
他稳稳地坐在华丽的鞍上
As he met with no mishap, nor missing were
由于他没有遇到任何意外，也没有失踪
his head. 他的头。
His bulk about he haled,
他拖着他的庞大身躯，
That fearsome body that bled;
那具流血的可怕身体；
There were many in the court that quailed
在法庭上，有很多人感到畏惧
Before all his say was said.
在他所有的话说完之前。
For the head in his hand he holds right up;
他手中高高举着头
Toward the first on the dais directs he the face,
他面向讲台上的第一位
And it lifted up its lids, and looked with wide eyes,
它抬起眼睑，睁大眼睛看着
And said as much with its mouth as now you may hear:
并用嘴说了这么多，正如你现在可以听到的：
"Sir Gawain, forget not to go as agreed,
"高文爵士，别忘了按约定去。"
他手中高高举着头
Toward the first on the dais directs he the face,
他面向讲台上的第一位
And it lifted up its lids, and looked with wide eyes,
它抬起眼睑，睁大眼睛看着
And said as much with its mouth as now you may hear:
并用嘴说了这么多，正如你现在可以听到的：
"Sir Gawain, forget not to go as agreed,
"高文爵士，别忘了按约定去。"