REALISM AND NATURALISM, in literature.  The terms “realism” and “naturalism” are used to identify literary movements in Europe and the United States in the last half of the 19^th century and the early years of the 20th. Both movements had their origins in France, both placed a high premium on fidelity to actual experience, and both distrusted idealism and any nonmaterial source of value. Also, they did not depend of writing technique and only partly on subject matter.

文学中的现实主义和自然主义。“现实主义”和“自然主义”这两个术语被用来识别在19世纪下半叶和20世纪早期的欧洲和美国的文学运动。两个运动都起源于法国，两者都高度重视对真实体验的忠诚，而且两者都怀疑唯心主义和任何非物质的价值来源。此外，它们不依赖写作的技巧，而在某种程度上只是依赖主题。

Despite their apparent similarities, realism and naturalism should be clearly differentiated. Each describes a special view of experience and a philosophic stance. The realist values the material universe, the events that occur in it, and the observable causes of those events, and feels a profound obligation to report them accurately, fully, and above all, objectively.

尽管它们有明显的相似之处，但现实主义和自然主义应该是有明显差别的。每个都描述了一种特别的体验观和哲学立场。现实主义者重视发生在物质界的那些事件，以及那些事件可以看得见的原因，并且深感有义务用精确、全面，尤其是客观的方式来描述它们。

The naturalist, on the other hand, has a philosophic bias in his reporting, and that bias defines his intention and his method. He believes that men’s lives and actions are determined by heredity, environment, and natural laws. To this end he uses fiction as a laboratory in which to experiment with life under controlled conditions. In fact, Emile Zola named his basic essay on naturalism The Experimental Novel (1880).

另一方面，自然主义者在其描述中带有一种哲学偏见，而且这种偏见界定了其意图和方法。他认为，人类的生活和行为是由遗传、环境和自然法则决定的。为此，他用虚构的故事作为实验室，在受控的条件下来对生活进行实验。事实上，埃米尔·左拉将其关于自然主义的基本论述命名为《实验小说》（1880年）。

Realism.  In France from the 1830’s on, the idea of a literature grounded in the material and the actual was advanced in opposition to the prevailing romanticism. By the 1850’s the term “realism” was applied to the art of Gustave Courbet, who used everyday scenes for his subject matter, and it became a literary creed. Honore de Balzac was the first great realist writer, soon to be followed by Gustave Flaubert, whose Madame Bovary (1857), a detailed and unsentimental picture of provincial life, was the masterpiece of the movement in France.

在法国，从19世纪30年代开始，以物质和实际为基础的文学观念是为对抗盛行的浪漫主义提出的。到19世纪50年代，“现实主义”这个术语被用于居斯塔夫·库尔贝的艺术中，他用日常的场景作为他的主题，而且它成为了一种文学信条。奥诺雷·德·巴尔扎克是第一位重要的现实主义作家，不久古斯塔夫·福楼拜紧随其后，他的《包法利夫人》（1857年），一幅详尽而冷静的乡野生活的画面，是法国文学运动的杰作。

In England there were marked realistic elements in the works of William Makepeace Thackeray and Charles Dickens, although a formal realistic movement did not come into being until the 1880’s with George Moore and George Gissing, who were followed around the beginning of the 20^th century by Arnold Bennett and John Galsworthy.

在英格兰，在威廉·梅克比斯·萨克莱和查尔斯·狄更斯的作品中就有明显的现实主义元素，虽然一直到19世纪80年代的乔治·摩尔和乔治·吉辛才产生了正式的现实主义运动，大约在20世纪初，阿诺德·本涅特和约翰·高尔斯华绥紧随其后。

Yet the greatest English realist and a very self-conscious one was the earlier George Eliot, who felt it a great obligation to report “men and things as they are reflected in the mirror of my mind,” as if she were “in the witness box on oath.” Her Middlemarch (1871—1872), a novel portraying almost every aspect of English provincial life viewed through an essentially sociological frame, is considered the English realistic masterpiece.

然而，英国最重要的现实主义者和一位极具自我意识的人是早期的乔治·爱略特，她感到有很大的义务来描述“正如在我的头脑镜像中所反映的那些人和事”，好像她是“在证人席上宣誓”。她的《米德尔马契》（1871年—1872年），一部小说通过基本社会学框架的观察，几乎描绘了英国乡土生活的方方面面，被认为是英国现实主义的杰作。

In Germany and Italy there was relatively little response to realism. However, in Russia, Leo Tolstoy, in War and Peace (1865—1869) and Anna Karenina (1875—1877), and Ivan Turgenev, in Rudin (1856) and Father and Sons (1862), produced what are generally regarded as the greatest realistic novels.

在德国和意大利，对现实主义的反应相对较少。然而，在俄罗斯，列夫·托尔斯泰在《战争与和平》（1865年—1869年）和《安娜·卡列尼娜》（1875年—1877年）中，以及伊万·屠格涅夫在《罗亭》（1856年）和《父与子》（1862年）中，都创作了被普遍认为是最伟大的现实主义小说。

In the United States, realism was a self-conscious movement borrowed from the French and the Russians and carefully articulated by William Dean Howells and Henry James. In James’ case, the epistemological problem intruded to such an extent that he finally became more interested in the process of perception of the actual than in its description, thus producing the psychological novel. James’ The ambassadors (1903) is probably the American realistic masterpiece.

在美国，现实主义是一种从法国和俄罗斯借鉴的，并由威廉·迪恩·豪威尔斯和亨利·詹姆斯仔细阐述的自我意识运动。以詹姆斯为例，认识论的问题推进到这样一种程度，以至于他最终对感知实现的过程比对它的描述更感兴趣，因此创作出心理学小说。詹姆斯的《大使们》（1903年）很可能是美国现实主义的杰作。

Naturalism.  A consciously different form of literature, naturalism originated in France with the novels and theoretical essays of Emile Zola. When the term is used with any precision, it almost always refers to Zola’s doctrine of the novel as a laboratory, and it implies a philosophy of deterministic materialism. Zola produced the epitome of naturalistic fiction in the 20-volume cycle of novels called Les Rougon-Macquart (1871—1893), a huge picture of contemporary France that established Zola as the master of the genre.

自然主义。一种有意识与众不同的文学形式，自然主义随着埃米尔·左拉的小说和理论随笔起源于法国。当这个词被准确使用时，它几乎总是指左拉作为实验室的小说信条，并且意味着一种决定性的唯物主义哲学。左拉在被称为《卢贡-马卡尔家庭》（1871年—1893年）的20卷系列小说中创作了自然主义小说的缩影，一幅现代的法国巨幅画卷将左拉确立为该流派的大师。

In England, naturalism had only a peripheral effect, qualifying the work of writers like Moore and Gissing without causing them to surrender their fundamental realistic orientation. But in Germany, French naturalism had a profound influence on the novel and particularly the drama, as in the distinguished naturalistic plays of Gerhert Hauptmann. Naturalism also strongly influenced the dramas of August Strindberg of Sweden.

在英格兰，自然主义只产生了次要的影响，限制了像摩尔和吉辛这样作家的作品，未导致他们放弃他们基本的现实主义定位。但在德国，法国自然主义对小说，尤其是戏剧产生了深远影响，正如盖哈特·霍普特曼杰出的自然主义戏剧那样。自然主义对瑞典的奥古斯特·斯特林堡的戏剧也产生了强烈影响。

In the United States, naturalism marked a reaction to the tendency of realism to deal with the seemingly contented surface of middle-class life. Stephen Crane, using the technique of the IMPRESSIONIST painters, drew naturalistic pictures of life in the slums and on the battlefield in, respectively, Maggie: A Girl of the Streets (1893) and The Red Badge of Courage (1895).

在美国，自然主义对现实主义处理中产阶级看似满足的表面倾向产生了明显反应。斯蒂芬·克莱恩，运用印象派画家的技巧，分别在《街头女郎玛吉》（1893年）和《红色英勇勋章》（1895年）中描绘了贫民区和战场上自然主义生活的形象。

Frank Norris, who had studied Zola, produced promising naturalistic novels in McTeague (1899), about a man’s disintegration, and The Octopus (1901), dealing with the production and seamy distribution of wheat. Norris also defended the melodrama and violence of naturalism in the essays in The responsibilities of the Novelist, published posthumously in 1903.

弗兰克·诺里斯研究了左拉，在《麦克提格》中创作出有希望的自然主义小说（1899年），讲述的是人的蜕变，而《章鱼》(1901)年，讲述了小麦的产生和分配的丑恶。诺里斯还在随笔《小说家的责任》中为自然主义情节剧和暴力辩护，该随笔在他死后于1903年出版。

The only American naturalist of international stature is Theodore Dreiser, an awkward stylist but a serious student of the sciences, whose characters are the victims of incomprehensible forces in carefully documented worlds. His Sister Carrie (1900) shows the two protagonists confronting the problem of adapting to their environment. His trilogy The Financier (1912), The Titan (1914), and The Stoic (1947), published posthumously, deals with a transportation magnate’s power struggle for success. In 1925, Dreiser published his masterpiece An American Tragedy, a meticulously documented account of an unintentional murder by a weak young man, his trial, and his execution. In drama, in the 1920’s and 1930’, Eugene O’Neill wrote powerful and naturalistic plays, such as Desire Under the Elms (1924).

唯一具有国际声望的自然主义者是西奥多·德莱塞，一位笨拙的文体家，但作为一位严肃科学的学生，他的人物角色在精心记录的世界中都是不可思议力量的受害者。他的《嘉莉妹妹》（1900年）展现了两位主角面对适应她们环境的问题。他的三部曲《金融家》（1912年），《巨人》（1914年）和《斯多葛》，在他死后出版，讲述了一位运输大亨为了成功的权力争斗。在1925年，德莱塞出版了他的杰作《美国悲剧》，细致记述了一位虚弱的年轻人的无意识谋杀，对他的审判和处决。在戏剧方面，在20世纪20年代至20世纪30年代，尤金·奥尼尔写作了极具感染力和自然主义的戏剧，比如《榆树下的欲望》（1924年）。

Critique.  The realist, in his ideal of objectivity, always runs the danger of simply piling up accurate detail because it is there, with a result that is often sterile dryness. It was against this tendency that the naturalist rebelled. But the naturalist is often guilty of oversimplifying and of using non-representative characters, with a result that is often doctrinaire statement. Both genres were artistic responses to the growing power of science in the 19^th century. The realist used the scientific value of the material without putting it in a fully deterministic pattern. The naturalist, obsessed with evolutionary biology, Marxian history, and depth psychologies, sought to understand the forces that control men and their actions.

评论。在现实主义者的客观理想中总是冒着简单堆砌精确细节的风险，因为细节就那里，结果常常是枯燥乏味。针对这种趋势，自然主义者开始反抗。但自然主义者常常对过于简单和使用非代表性的人物而感到内疚，结果常常是教条主义的陈述。这两种流派都是对19世纪不断发展的科学力量的艺术反应。现实主义者使用的是材料的科学价值，而不将其放入一种完全决定性的模式中。自然主义者，痴迷于进化生物学，马克思主义历史以及深度心理学，试图了解控制人类和他们行为的力量。

In the later 20^th century, many serious writers forsook both realism and naturalism for experimental forms, such as existentialism. The freedom brought by existentialism, for example, puts the individual rather than material objects or natural laws at the center of life.

在20世纪后期，许多严肃作家放弃了现实主义和自然主义的实验形式，诸如存在主义。例如，由存在主义带来的自由将个人置于了生活的中心，而不是物质对象或自然法则。

                                           C. HUGH HOLMAN

                             Author of “A Handbook to Literature”

                                           C. 休·霍尔曼

                                         “文学手册”的作者

                                          2023年2月6日译

（译者注：该词条位列《大美百科全书》1985年版，第23卷，第294页至295页）