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拜伦及其诗作“哀希腊”在晚清的传播,历经多种版本的翻译与介绍。梁启超与马君武等晚清革命派将拜伦的希腊形象投射于中国现状,直接言说着浪漫主义——民族主义革命诉求。期间虽然夹杂着王国维影响甚微的批评,但随着苏曼殊对拜伦形象充满个性化的翻译与阐释,“革命”逐渐成为晚清末期知识界对浪漫主义的基本认识。尽管“五四”对晚清一直保留着激进的拒绝态度,在浪漫主义这一问题上却完全继承了晚清,并通过一系列以苏曼殊与拜伦为核心的哀悼、纪念与重塑,将多声部浪漫主义简化成了民族主义革命话语。
Byron and his poems “The Messiah Greece” spread in the late Qing dynasty, after many versions of translation and introduction. Later Qing revolutionaries such as Liang Qichao and Ma Junwu projected Byron’s Greek image in China’s status quo, directly addressing the romanticist-nationalistic revolutionary appeal. Although Wang Guowei was mixed with little influence during the criticism, with Su Manshu’s personal translation and interpretation of Byron’s image, “Revolution ” gradually became the basic understanding of romanticism by intellectual circles in the late of Qing Dynasty. Although the May Fourth Movement has always maintained a radical rejection of the late Qing dynasty, it fully inherited the late Qing Dynasty on the issue of romanticism and passed a series of mourning, commemorating and attaching importance to Su Manshu and Byron as the core Plastic, simplifies polyphonic romanticism into a nationalist revolutionary discourse.