ROMANTICISM, in literature, a movement that took place in most countries of the Western world in the late 18^th and 19^th centuries. The exact meaning of the term is a matter of substantial debate. As early as 1824 the results were contradictory when an attempt was made to discover what authorities meant by it, and in 1948, the English writer F. L. Lucas found 11,396 different definitions for Romanticism. The American philosopher A. O. Lovejoy, noting the great variety of meanings in different countries and at different times, suggested that Romanticism should always be used in the plural. Yet there is broad agreement that most Romanticisms are reactions against forms and rules, against classicism and neoclassicism, against rationalism and fixed genres, and that they are new modes of imagination and vision, which especially value freedom of form, spontaneity, self-EXPRESSION, and subjectivity.

在文学上，浪漫主义是18世纪晚期和19世纪发生在西方世界大多数国家中的一场运动。该术语的确切含义是一个有很大争议的问题。早在1824年，当人们试图弄清楚权威们给出的定义时，那些结果就是相互矛盾的，在1948年，英国作家F. L. 卢卡斯发现了11396个有关浪漫主义的不同定义。美国哲学家A. O. 拉夫乔伊，注意到在不同的国家和不同的时期该词拥有种类繁多的含义，他建议应当一直使用浪漫主义的复数形式。然而，人们普遍认为，大多数的浪漫主义含义都是对形式和规则、古典主义和新古典主义、理性主义和固定体裁做出的反应，而且它们都是想象力和视野的新模式，它尤其重视形式的自由、自发性、自我表达和主观性。

Romanticism grew from the rejection of the 18^th century doctrines of restraint, objectivity, decorum, and rationalism as well as the use of fixed form for artistic EXPRESSION. It was fed by the growing concerns with folk EXPRESSION, primitivism, the sublime, the remote past, Gothic architecture, an unarranged nature, the ballad, sentimental melancholy, mysticism, and the life of common people. Among its immediate ancestors were the 3d earl of Shaftesbury’s view of natural goodness, Burke’s inquiries into the sublime and the beautiful, Percy’s researches in folk literature, Walpole’s and Volney’s concern with the past, Goethe’s celebration of the rebel, and, above all, Rousseau’s doctrines of man’s noble nature and the evils of society.

浪漫主义是在拒绝18世纪的克制、客观、礼仪和理性主义，以及拒绝使用固定的艺术表现形式中发展起来的。它源于对民间表达、原始风格、崇高、遥远的过往、哥特式建筑、自由的天性、民谣、情感的忧郁、神秘主义和普通人生活的日益关注。在其直系的先祖中有沙夫茨伯里伯爵第3代对自然之善的观点，伯克对崇高和美好事物的探寻，珀西对民间艺术的研究，沃波尔和沃尔尼对过去的关注，歌德对反抗者的颂扬，尤其是卢梭对人的高尚品质和社会邪恶的学说。

Where the neoclassic writer had seen all art forms as mirrors held up to nature and had espoused a literature of consciously observed rules, its object being the rational portrayal of human beings in their public or social roles, the Romanticist saw all art as an illuminating flame fed from the inner self, a source of truth superior to logic and reason. For the Romanticist the imagination was a means by which the artist tapped a universal truth and found within himself a sufficient source of knowledge. This creating imagination got from nature much of it inspiration and its materials, but it was nature viewed as “the living garment of God,” a direct revelation of truth, and often, pantheistically, a sensate portion of the deity itself, especially when it was in a state unsullied by man’s artifice.

这里的新古典主义作家将所有的艺术形式都视为反映自然的镜子，并赞成一种自觉遵守规则的文学，它的目的是对处于公共或社会角色中的人类进行理性的描述，而浪漫主义者认为，所有艺术都是来自内在自我的一束明亮火焰，一种优于逻辑或理性的真理来源。对浪漫主义者而言，想象力就是艺术家发掘普遍真理，并找到自身充足知识来源的一种手段。这种创造的想象力，其灵感和材料大都源自大自然，但大自然被视为“上帝的活衣服”，一种真理的直接启示，而泛神论认为，通常是神性本身的知觉部分，尤其是当它还未被人类的诡计玷污时。

This Romantic imagination found EXPRESSION in works that created their own forms, that often mixed several genres, and that valued EXPRESSION more than completeness or symmetry. The objects of the physical world became symbols of spiritual or intellectual truth. Things remote in time and place were much sought as subjects. Myths were raided for story, and new stories were converted to myths. History became a major matter of fiction. The rebel against society or fate assumed a central role. William Blake, for example, saw Satan as the hero of Milton’s Paradise Lost. Poetic diction gave way to “a selection of the language of common man.” The heroic couplet, the favorite poetic form of 18^th century England, gave way to blank verse, the sonnet, the Spenserian stanza, and many freer forms.

这一浪漫想象在创造它们自己形式的作品中得到表达，它混合了几种体裁，并且比起完整性和对称性更重视表达。物质世界的对象成为了精神或知识真理的象征。时间和地点上的遥远事物成为了人们寻找的主题。神话编进故事，而新故事又变成神话。历史成为小说的主要材料。对社会或命运的反抗成为了主要角色。例如，威廉·布雷克就将撒旦视为弥尔顿《失乐园》的英雄。诗歌的措辞让位于“普通人的语言选择”。英雄的对句，18世纪英格兰喜欢的诗歌形式，被无韵诗、十四行诗、斯宾塞诗体和许多更自由的形式所取代。

Philosophically, Romanticism had a discernible center in the individual, who was at the focus of all meaningful experience, of all life, and of all art. For the Romanticist, art takes its value from the accuracy and fullness with which it EXPRESSES uniquely personal feelings, for only through those feelings, honestly reported, may one approach transcendent truth. Romanticism is an EXPRESSION of Platonic and Neo-platonic thought, usually as that thought distilled through Kantian and post-Kantian German philosophy.

从哲学上看，浪漫主义在个体中具有一种可识别的中心，它是所有重要经验，所有生活和所有艺术的焦点。对浪漫主义者来说，艺术的价值来源于准确而完整地表达独特的个人情感，因为，只有通过那些真诚描述的感觉，人们才可能接近至高无上的真理。浪漫主义是一种柏拉图思想和新柏拉图思想的表达，通常是通过康德和后康德的德国哲学提炼出来的。

THE ROMANTIC MOVEMENT

The first wave of the Romantic movements came in England and Germany near the close of the 18^th century.

浪漫主义运动

浪漫主义运动的第一波浪潮在18世纪接近尾声时进入了英格兰和德国。

England.  In England the way gradually had been prepared for Romanticism through much of that century. The philosophy of Shaftesbury, the melancholy of the “Graveyard School” of poets, the attention paid to Chaucer and Spenser by Thomas Warton and to the ballad by Thomas Percy, the sensibility of the novels of Laurence Sterne and Oliver Goldsmith, and finally the folk dialect poetry of Robert Burns and the mystical lyricism of William Blake had prepared the field in which the full-fledged revolt of William Wordsworth and Samuel Taylor Coleridge flowered in 1798 with the publication of Lyrical Ballads.

英格兰。英格兰在那个世纪的大部分时间已逐渐为浪漫主义道路做好了准备。沙夫茨伯里的哲学，诗人“墓园派”的忧郁，托马斯·沃顿对乔叟和斯宾塞以及托马斯·珀西对民谣的关注，劳伦斯·斯特恩和奥利弗·哥尔斯密小说的敏感性，以及最终罗伯特·彭斯的民间方言诗歌和威廉·布雷克的神秘抒情诗体都为威廉·华兹华斯和塞缪尔·泰勒·柯尔律治于1798年出版《抒情歌谣》完全成熟的反抗奠定了基础。

Lyrical Ballads represented a sharp break with the neoclassical tradition. The poems had various forms, dealt with common people or the supernatural, EXPRESSED and defined the poets’ personal emotion, and were in a language closely related to common speech. In a preface to the second edition (1800), Wordsworth was explicit about these differences and defined poetry as “the spontaneous overflow of powerful feelings… recollected in tranquility.” This preface shares with Coleridge’s Biographia Literaria (1817) the role of being the literary manifesto of British Romanticism. Coleridge with clear debts to German transcendentalism, discussed and qualified Wordsworth’s statements, defined Wordsworth’s poems as super-naturalizing the natural and his own as naturalizing the supernatural, defined poetry as the reconciliation of opposites, and discussed imagination as the primary source of transcendental truth.

《抒情民谣》代表了与新古典传统的鲜明决裂。那些诗歌形式多样，关注的是普通人和超自然现象，表达和阐明了诗人的个人情感，而且是用一种与日常讲话相似的语言。在第二版（1800年）的前言中，华兹华斯详述了这些差异，并将诗歌定义为“强烈情感的自然流露 … 平静中的回忆”。该前言与柯尔律治的《文学传记》（1817年）共同成为了英国浪漫主义的文学宣言。柯尔律治明显受到德国先验主义的影响，论述并限定了华兹华斯的表述，定义华兹华斯的诗为超自然化的自然，而他自己的诗是自然化的超自然，将诗歌定义为对立的和解，并将想象力论述为先验真理的主要来源。

Other major British Romantics were Lord Byron, Percy Bysshe Shelley, John Keats, Thomas Carlyle, and Sir Walter Scott. Byron, in his vigorous and often autobiographical narrative poems, elevated the melancholy, antisocial, brooding superman into a major romantic character. Shelley, in poetry of great lyric intensity, wedded in a Platonic union the ideals of freedom and beauty. Keats, perhaps the purist lyricist of the movement, celebrated beauty and the transience of human experience in odes and other poems of incomparable quality. Carlyle directly echoed the post-Kantians in an ornate and complex prose in Sartor Resartus (1834) and praised the hero in history in Heroes and Hero-Worship (1841).

其他主要的英国浪漫主义者有拜伦勋爵，珀西·比希·雪莱，约翰·济慈，托马斯·卡莱尔和沃尔特·司各脱爵士。拜伦，在他充满活力的，通常是自传体的叙述诗中将忧郁、反社会、沉思的超人提升为主要的浪漫人物。雪莱，用激昂的抒情诗歌将柏拉图式的联合与自由和美的理想结合在一起。济慈，也许是该运动最纯粹的抒情诗人，用颂歌和其它无与伦比的诗歌赞扬了人类体验的美好与短暂。卡莱尔在《旧衣新裁》（1834年）中以华丽而复杂的散文直接回应了后康德主义，并在《英雄与英雄崇拜》（1841年）中赞扬了历史上的英雄。

Scott, in his long series of historical novels beginning with Waverleg (1814), reached the greatest audience and had the most profound effect of any British Romantic. He invented an immensely popular form of the novel, taught his generation and later ones how to use the past seriously in the portrayal of life, showed the great value of common people to the writer of fiction, and evolved an unarticulated but very real philosophy of history much like the one Hegel developed a few years later. Scott deeply influenced Honore de Balzac and Victor Hugo in France, Wilhelm Haulff, Theodor Fontane, and the historian Leopold von Rank in Germany, Alessandro Manzoni in Italy, Thomas B. Macaulay, William Makepeace Thackeray, Charles Dickens, and George Eliot in England, and James Fenimore Cooper and Nathaniel Hawthorne in America.

司各脱，他的长篇历史小说系列从《威弗莱》（1814年）开始，拥有最多的读者并对所有英国浪漫主义者产生过最深远的影响。他发明了一种极为受欢迎的小说形式，教会了他的同代以及后代如何用过往认真地描写生活，向小说作者展现了普通百姓的巨大价值，并逐渐形成了一种晦涩的，但非常真实的历史哲学，很像几年后黑格尔发展的那种哲学。司各特深深影响了法国的奥诺雷·德·巴尔扎克和维克多·雨果，德国的威廉·豪夫，特奥多尔·冯塔纳和历史学家利奥波德·兰克，意大利的亚历山德罗·曼佐尼，英格兰的托马斯·B. 麦考利，威廉·梅克比斯·萨克雷，查尔斯·狄更斯和乔治·爱略特，以及美国的詹姆斯·费尼莫尔·库柏和纳撒尼尔·霍桑。

 After the historical novel, the most extensive fictional form for the Romantics was the Gothic novel, as it was practiced by Ann Radcliffe in The Mysteries of Udolpho (1794), William Beckford in Vathek (1784), and Matthew Lewis in The Monk (1795). The Gothic novel continued to be popular throughout the English Romantic period, reaching its height in Emily Bronte’s Wuthering Heights (1846) and Charlotte Bronte’s Jane Eyre (1847). For the reader of popular fiction the Gothic novel successfully joined several aspects of Romanticism: the supernatural, emphasis on intense feeling, interest in the past, concern with remote settings, and the melancholy, mysterious and fascinating figure often called the “Byronic hero.”

在历史小说之后，浪漫主义最广泛的小说形式是哥特式小说，就像安·拉德克利夫在《奥多芙的神秘》（1794年），威廉·贝克福德在《瓦提克》（1795年）和马修·路易斯在《修道士》中实践的那样。哥特式小说在整个英国浪漫主义时期一直都很受欢迎，在埃米尔·勃朗特的《呼啸山庄》（1846年）和夏洛特·勃朗特的《简·爱》（1847年）中达到其顶峰。对于通俗小说的读者来说，哥特式小说成功结合了浪漫主义的几个方面：不可思议的，强调强烈的感情，对过往的兴趣，关注遥远的环境，以及关注忧郁、神秘和迷人的，通常被称为“拜伦式英雄”的人物。

Germany.  In Germany, the philosophical home of Romanticism, a fully realized Romanticism developed by 1798, with a self-conscious aesthetic and poetics that put sensibility and transcendent insight above rational experience. H. W. Wackenroder, in his anecdotes about Renaissance painters (1797), substituted emotional response for neoclassical analysis. Novalis exalted the unity of medieval Christendom as early as 1799. A. W. von Schlegel and his brother Friedrich, in the literary review Athenaeum, published criticism stating new concepts of myth, symbol, irony, and imagination, and argued for a fusion in artistic creation of the rational and irrational aspects of the mind.

德国。在浪漫主义的哲学故乡德国，一种完全实现的浪漫主义在1798年发展起来，伴随一种自觉意识的审美和诗意，从而将感性与卓越的洞察力置于理性经验之上。H. W. 瓦肯罗德，在其有关文艺复兴时期画家（1797年）的轶事中用情感反应取代新古典主义的分析。诺瓦利斯早在1799年赞扬过中世纪基督教的团结。A. W. 冯·施莱格尔和他的兄弟弗里德里希在文学评论《雅典娜神庙》中发表评论，阐述了神秘、象征、讽刺和想象力的新概念，并且主张在艺术创作中对理性与非理性思维的融合。

Friedrich von Schlegel was the primary theoretician of German Romanticism. He saw the artist and writer as EXPRESSING the dialectics of becoming, being torn between the ideal and the physical reality. For him the imagination, moved by the memory of the infinite and the perfect, acts to create in works of art a spiritual truth out of material actuality. He believed that the perfect literary work was free from the rules of genre and mingled prose, poetry, criticism, and philosophy. Such a mixture can be seen in Novalis’s prose poem Hymns to Night (1800) or more familiarly to English readers in Carlyle’s Sartor Resartus. Goethe’s work, the collection of folk materials by people like the Grimm Brothers, Friedrich Holderlin’s orphic poetry, Heinrich Heine’s lyrics and mock epics, and E. T. A. Hoffmann’s tales of the terrifying and grotesque made German Romanticism a strong and self-conscious movement.

弗里德里希·冯·施莱格尔是德国浪漫主义主要的理论家。他认为，艺术家和作家是在理想和物质实现之间表达着左右为难的，形成的辩证法。对他而言，由无限和完美记忆感动的想象力在艺术作品中创造了一种脱离物质现实的精神真理行为。他认为，完美的文学作品不受体裁规则的限制，而是将散文、诗歌、评论和哲学融为一体。在诺瓦利斯的散文诗《夜颂》（1800年）或对英语读者更熟悉的卡莱尔的《旧衣新裁》中可以看到这种结合体。歌德的作品，像格林兄弟收集的民间材料，弗里德里希·荷尔德林的《俄耳普斯体诗歌》，海因里希·海涅的抒情诗和讽刺史诗，以及E. T. A. 霍夫曼恐怖怪诞的故事都使德国浪漫主义成为了一种强烈和自觉的运动。

France.  Despite the fact that Rousseau’s concept of the noble savage and the social contract as the cause of most human suffering was basic to Romanticism and that his Nouvelle Heloise (1761) influenced European education profoundly, France developed a full-fledged Romantic movement quite late. Francois de Chateaubriand in Atala (1801) and Rene (1802) celebrated ennui (a kind of melancholy lassitude) and the exotic and nostalgic in lyrical prose. Stendhal (Henri Beyle) in 1816 joined forces with Italian Romantic liberals like Manzoni and Vincenzo Monti, for in Italy “romantic” was virtually synonymous with political liberalism.

法国。尽管，卢梭认为，高贵的野蛮人和社会契约是大多数人类痛苦的原因是浪漫主义的基础，而且他的《新爱洛伊斯》（1761年）深刻地影响了欧洲的教育，但法国很晚才发展出完全成熟的浪漫主义运动。弗朗索瓦·德·夏多布里昂在《阿达拉》（1801年）和《勒内》中赞扬了倦怠（一种忧郁的倦怠）和抒情散文中的异国情调和怀旧。司汤达（亨利·贝尔）于1816年与意大利浪漫自由主义者曼佐尼和温琴佐·蒙蒂联手，因为在意大利“浪漫主义的”几乎就是政治自由主义的同义词。

Madame de Stael’s De Allemagne (1913; Of Germany), with its picture of an idealized Germany, aroused interest in German Romanticism and in De la literature (1800; Of Literature) distinguished between “classic” and “romantic” poetry. Yet the neoclassic trends of the Empire dominated French thought and art until the 1820’s, and Shakespeare was booed in Paris as late as 1822 for violating the classic rules.

德·斯塔埃夫人的《德·阿勒马涅》（1913年；《关于德国》），用其理想化的德国，激发起对德国浪漫主义的兴趣，并在《De la literature》（1800年；《关于文学》）中对“古典”与“浪漫”诗歌进行了区别。然而，直到19世纪20年代帝国的新古典主义趋势一直控制着法国的思想和艺术，而直到1822年，沙士比亚因违反古典规则在巴黎遭到喝倒彩。

The leader of the Romantic movement in France was Victor Hugo. In 1830 the first night of his play Hernani was a tumultuous declaration of freedom from the restraints of classical drama, resulting in clashes in the theater between the classicists and the Romantics that continued for a hundred nights. As poet, as playwright and as novelist—notably of Notre-Dame de Paris (1831) and Les Miserables (1862)—Hugo was the moving spirit, and the famed preface to his play Cromwell (1827) was ably abetted by the unconventional George Sand, whose early novels were strong declarations of personal and political freedom, and by the elder Alexandre Dumas, whose enormous energy poured forth plays of passion and novels of extravagant adventure.

法国浪漫主义运动的领导人是维克多·雨果。1830年，他的戏剧《欧那尼》首演之夜是一场摆脱古典戏剧束缚的激昂宣言，结果是古典主义者和浪漫主义者在剧场的冲突持续了一百个夜晚。作为诗人、剧作家和小说家—尤其是《巴黎圣母院》（1831年）和《悲惨世界》（1862年）---雨果是动人的灵魂，而他的戏剧《克伦威尔》那著名的前言得到了标新立异的乔治·桑的巧妙支持，她的早期小说是对个体和政治自由的强烈宣言，并且得到了以巨大精力创作出充满激情的戏剧和奢华冒险小说的大仲马的支持。

Alfred de Vigny, a novelist, poet, and dramatist, best known for his historical novel Cinq-Mars (1826), his play Chatterton (1835), and his translation of Shakespeare, later shared the leadership with Hugo. Alfred de Musset, also a novelist and playwright, poured his anguish over his affair with George Sand into many confessional poems. Charles Sainte-Beuve was the chief critic of the movement in France, and his Portrait Litteraires (1832—1839; Literary Portraits) among its major works. Honore de Balzac was active with the group, and his early novels, notably Le Dernier Chouan (1829; The Last Chouan) were written in imitation of Scott, although Balzac was later to be the founder of French realistic fiction.

阿尔弗雷·德·维尼，一位小说家、诗人和戏剧家，因其历史小说《森-马尔斯》（1826年），戏剧《查特顿》（1835年）和对沙士比亚作品的翻译而闻名，后来与雨果一起成为了领导者。阿尔弗雷德·德·缪塞，也是一位小说家和剧作家，将他与乔治·桑的风流韵事带给他的痛苦倾诉到许多自白诗中。夏尔·圣伯夫是法国该运动的主要批评家，他的《Portrait Litteraires》（1832年—1839年；《文学肖像》）是其主要作品。奥诺雷·德·巴尔扎克是该群体的活跃成员，而他的小说，尤其是《Le Dernier Chouan》（1829年；《最后的朱安党人》）是模仿斯科特写作的，尽管巴尔扎克后来成为了法国现实主义小说的奠基人。

French Romanticism usually locked abroad for its models, largely to Germany for philosophy and to England for literary forms and attitudes. It was deeply involved also in the turbulent political struggles from the July Revolution of 1830 to the Revolution of 1848. Later in the 19^th century, Charles Leconte de Lisle and the Parnassian poets pursued “art for art’s sake” in terse, philosophic verse, while the founders of free verse toward the end of the century won a total victory over the traditional French alexandrine. The fullest EXPRESSION of French Romanticism was realized in Charles Baudelaire, whose Fleurs du mal (1857; Flowers of Evil) summed up with diabolic overtones the qualities of ennui, remorse, and hunger for freedom of the movement, and whose Spleen de Paris was the first successful French prose poem. Many Romantic tendencies had a continued life in the symbolist poets, such as Stephane Mallarme, Arthur Rimbaud, and Jules Laforgue, all of whom had debts to the American Romantic Edgar Allan Poe.

法国的浪漫主义通常源于国外的模式，主要是德国的哲学和英格兰的文学形式和态度。它也深深地卷入了1830年的七月革命到1848年的大革命。到19世纪后期，夏尔·勒孔特·德·利勒和法国巴纳斯派诗人以简洁的哲学诗体追求“为艺术而艺术”，而自由诗体的奠基人在世纪末超过传统的法国亚历山大诗体赢得全胜。法国的浪漫主义在夏尔·波德莱尔那里得到了最充分的体现，他的《Fleurs du mal》（1857年；《恶之花》）用带有魔鬼似的色彩概括了倦怠、懊悔的品质和对自由运动的渴望，而他的《巴黎的忧郁》是第一首成功的法语散文诗。许多浪漫主义的倾向在象征主义的诗人中延续了生命，比如斯特凡·马拉美，阿蒂尔·兰波和朱尔斯·拉弗格，他们都受益于美国浪漫主义诗人埃德加·爱伦·坡。

The United States.  In United States the Romantic movements dominated literature between 1820 and 1865. Like Romanticism in France, it looked to other lands for its models. James Fenimore cooper, who gave mythic EXPRESSION to the American experience in the five Leather-stocking novels (1823—1841), applied the technique of the Scott historical novel to the very different events of the American frontier. Edgar Allan Poe in his criticism was indebted to Coleridge and either directly or indirectly, to the Schlegels. In his fiction, Poe pursued the Gothic trail to the sublime. He made the material data of his stories symbolic representations of intense and anguished states of mind, a method that he carried to its ultimate EXPRESSION in his poems. Poe in turn became a major influence on Baudelaire, Mallarme, and Paul Valery.

美国。在美国，浪漫主义在1820年至1865年间主导了文学。像法国的浪漫主义一样，它以其它大陆的模式为榜样。詹姆斯·费尼莫尔·库柏在《皮袜子故事集》（1823年—1841）五步曲中对美国经历赋予了神话般的表达，把斯科特的历史小说技巧运用于美国边疆非常不同的事件中。在其评论中，埃德加·爱伦·坡得益于柯勒律治，也直接或间接地得益于施莱格尔兄弟。在他的小说中，坡追寻着哥特式的踪迹走向崇高。他将故事的物质材料表现为紧张和极度痛苦的精神状态象征，一种在其诗中将其表现到极致的方法。反过来，坡对波德莱尔、马拉梅和保罗·瓦雷里产生了重要影响。

The enormously popular poet Henry Wadsworth Longfellow wrote historical narrative poems, like Evangeline (1847); celebrations of the native Indian, like The Song of Hiawatha (1855); and highly personal sonnets. Although overly sentimental, Longfellow introduced and made acceptable to a large audience many aspects of Romanticism. Ralph Waldo Emerson, an essayist, lecturer, and poet, was the announcer and explicator of transcendental thought, which he defined as “idealism on American soil,” and the advocate of organic form in literature and art. Henry David Thoreau in Walden (1854) gave an intensely personal account of his life lived by transcendental principles. Nathaniel Hawthorne, in his short stories and his four novels—most importantly The Scarlet Letter (1850)—created a fiction that began in allegory but grew to a complex form of Romantic symbolism.

广受欢迎的诗人亨利·沃兹沃斯·朗费罗写作了历史叙事诗，如《伊凡杰琳》（1847年）；对印第安土著人的颂扬，如《海华沙之歌》（1855年）；以及非常个人化的十四行诗。虽然过于伤感，但朗费罗介绍并使大量读者接受了浪漫主义的许多方面。拉尔夫·瓦尔多·爱默生，一位随笔作家，演说家和诗人，是先验思想的宣传者和解释者，他将先验思想定义为“美国土壤中的理想主义”，并提倡文学和艺术中的天然形态。亨利·大卫·梭罗在《瓦尔登湖》（1854年）中热情地叙述了他以先验原则为生的个人生活。纳撒尼尔·霍桑，在他的短篇小说和四部小说中---最重要的是《红字》（1850年）---创造了一种用寓言开头的小说，但逐步发展成浪漫的象征主义的复杂形式。

Herman Melville wrote personal narratives of his experiences in remote places and in his masterpieceMoby-Dick (1851) produced a work of great energy and theme, a bewildering mixture of genres, and highly evocative language. Its hero, Captain Ahab, is a huge Promethean figure in violent revolt. Moby-Dick is the greatest accomplishment of American Romanticism and virtually an epitome of the qualities of the entire Romantic movement. If such a claim is to be challenged, it would be by Walt Whitman’s Leaves of Grass (1855), a powerful epic of the self in strongly cadenced free verse, which embodies the individualism, the love of freedom, and the striving for personal EXPRESSION that are at the base of Romanticism.

赫尔曼·麦尔维尔将他在遥远地方的经历写成了个人叙述，并在他的杰作《白鲸》（1851年）中创造了一种极具活力和主题的，令人眼花缭乱的混合体裁和极具感染力语言的作品。作品中的英雄，亚哈船长是一位以暴力反抗的普罗米修斯式的人物。《白鲸》是美国浪漫主义最重要的成就，而且实际上是整个浪漫主义运动品质的缩影。如果这样一种断言受到挑战，那么它就是沃尔特·惠特曼的《草叶集》（1855年），一部在抑扬顿挫的自由诗中极具感染力的自我史诗，它体现了个人主义，对自由的热爱和对个人表达的奋斗，这些都是浪漫主义的基础。

POST-ROMANTIC MOVEMENT ROMANTICISM

The very intensity and lack of regard for rules and form of the great Romantic writers contained the seeds of destruction for their lesser followers, who too frequently practiced their excesses without their genius, with unfortunate results. Furthermore, the 19^th century was a great period of advancement in science, and although Wordsworth had believed that the poet of the future would use science for his own purposes, the opposite proved true. For science brought with its philosophical doctrines of materialism, pragmatism, and positivism, all inimical to the Platonic and Neo-platonic bases of the movement.

后浪漫主义运动的浪漫主义

正是因为那些重要的浪漫主义作家对规则和形式的极度紧张和缺乏尊重，为他们那些不那么优秀的追随者埋下了毁灭的种子，他们没有天赋却经常肆意妄为，导致不幸的结果。此外，19世纪是科学进步的重要时期，尽管华兹华斯认为未来的诗人会利用科学现实自己的目的，但事实证明正相反。因为科学带来了唯物主义、实用主义和实证主义，所有这些都是与该运动的柏拉图主义和新柏拉图主义的基础相抵触的。

The democratic advance of the common man, although hailed by the Romanticists, created great social problems, and a growing utilitarianism made “art for art’s sake” seem remote from reality and tended to put the artist to work in the dusty everyday world. The American historian Jacques Barzun remarked that the Byronic hero becomes a little absurd when he joins the Fabian Society. In England by midcentury, in France by the 1860’s, and in the United States after the Civil War, these forces, together with the excesses of the second order of Romanticisms, resulted in a shift from a literature of idealism to one grounded in the actual. In this new realistic literature the material replaced the transcendent, the values of the group replaced those of the individual, the here and now replaced the remote in time or place, and the utilitarian replace the spiritual. Romanticism went into a dormant state.

虽然平民的民主进步受到浪漫主义者的赞扬，但却造成巨大的社会问题，而日渐增长的功利主义使“为艺术而艺术”似乎远离了现实，而倾向于使艺术家在尘封的日常世界中工作。美国历史学家雅克·巴尔赞评论说，当他加入费边社时，拜伦式的英雄变得有点荒谬。在世纪中叶的英格兰，在19世纪60年代的法国，以及南北战争后的美国，这些势力，连同浪漫主义第二阶段的放纵导致了从理想主义文学向基于现实文学的转变。在这种新的现实主义文学中，材料取代了超验，群体价值取代了个人价值，此时此地取代了时间或空间的遥远，而攻利主义取代了精神。浪漫主义进入了一种休眠状态。

But it was a sleep rather than a death, and in the 20^th century, wherever faith in the individual and in his freedom from rules, restraints, systems, or even rationalism appears, the elements of Romanticism are present. Present-day literature all over the world, with its celebration of the individual, its experiments in form, its symbolism, its intense introspection, clearly represents a powerful Romantic revival. Although existentialism has replaced Platonism and German transcendentalism as the philosophical basis, literature today seems to be fighting many of the same battles in many of the same terms that were fought in the name of Romanticism in the late 18^th and 19^th centuries.

但它是一种睡眠，而非死亡，而在20世纪，无论在哪里出现了相信个人以及其不受规则、约束、制度，甚至理性主义束缚的自由，那里就出现了浪漫主义的元素。当今的世界文学，以其对个人的颂扬、实验形式、象征主义、强烈的内省清晰地表示一种浪漫主义的复苏。尽管存在主义作为哲学基础已取代柏拉图主义和德国的先验论，但文学今天似乎在用许多相同的术语进行着在18世纪末和19世纪以浪漫主义名义进行的许多相同的战斗。

                                         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13日译

（译者注：该词条位列《大美百科全书》1985年版，第23卷，第680页到682页）