摘要:

This essay on Hartmann von Aue'sErectraces related changes in the protagonist and in the narrative perspective. Initially, the narrator's use of psycho‐narration and commentary provides access to Erec's inner qualities and reflections; the reader's familiarity with the protagonist in the opening episodes parallels the latter's unproblematic relationship with society. When Erec becomes estranged from his court and Enite, the narrator's stance shifts accordingly. During thePrubefahrt, the prevailing mode of narration, reportage, reveals no more about Erec's state of mind than does Erec himself. As a result, Erec's behavior in this section remains as much of a mystery to the reader as to the other characters in the story. As Erec overcomes his isolation in the final episodes, both the protagonist and the narrator provide insight into the source of Erec's problem: The narrator penetrates Erec's exterior, while the protagonist becomes more talkative and willing to discuss the nature of his difficulties. And yet the lesson to be learned from Erec's experiences becomes explicit only when he himself expresses it to Mabonagrin. Thus Hartmann places us in a situation analogous to that of his protagonist: Erec's insights become our insights. Like Erec, we proceed from ignorance to a new understanding of the knight's proper relationship to societ

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1981.tb00486.x

出版商:Blackwell Publishing Ltd    

年代:1981

数据来源: WILEY

摘要:

When considered within the context of the information provided by Chaucer in the opening lines ofTroilusandCriseyde, the first three images of the poem assume what recent criticism would call an affective function and thus enable us to interpret the narrative from a point of view hitherto ignored by modern audiences. As in the case of other mediaeval masterpieces– notably theGunnlaugssaga Ormstunguand theNibelungenlied– the beginning of the poem cues us in to the subsequent action, but the three images in question prompt us to draw upon a folkloristic and literary background which, though different today from what it would have been in the fourteenth century, affects our reaction to Troilus' behavior and helps us reconcile some bothersome discrepancies between the opening and the conclusion. The affective element seems particularly strong when one reads a well‐known allusion to the horse Bayard in the light of the French story of the four sons of Aymon as it must have been known in mediaeval England rather than as a substantial body of scholarship has accounted for it. The arguments presented here bear out a view of Chaucer's narrative technique which E. Talbot Donaldson has advanced over the

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1981.tb00487.x

出版商:Blackwell Publishing Ltd    

年代:1981

数据来源: WILEY

摘要:

Continental Decadence not only had an identifiable international literary rhetoric. Its rhetoric, without being self‐reflective or self‐referential, was itsraison d'êtrealso. A quintessential example is “Conte d'Amour” from Contes cruds by Villiers de l'Isle‐Adam (1838–89). Here rhetorical excess, both as redundancy and crypticism, conveys the typical Decadentgestus: morbid, gross and over‐refined, solipsistic. Such a rhetoric must be the medium for the label Decadent to be completely justified. As we follow the wake of Villiers' influence first outside French with Arthur Symons and Stefan George and next outside France (but in French) with Maurice Maeterlinck, Charles Van Lerberghe, and Georges Rodenbach, we find that each admirer selects features which reinforce his own bent. Symons follows Villiers most closely, using language to disguise and divert reality. George uses language to intensify reality. Maeterlinck, Van Lerberghe, and Rodenbach use language to reinterpret reality and, especially in the case of Rodenbach, to discredit rhetoric when divorced from reality. By the end of the 19th century, in prose the Naturalist verso of Decadence has pierced through the face; in poetry Decadence has modulated into Symbolism. But the full expression, found in Villiers, seems historically to have been necessary. There had to be cryptic statement and overstatement before there could be endu

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1981.tb00488.x

出版商:Blackwell Publishing Ltd    

年代:1981

数据来源: WILEY

摘要:

“Red Hanrahan's Song” exists in three different versions. It originally appeared in an early version of one of the Red Hanrahan stories, and the different versions of the poem correspond to various stages in the textual history of these stories. The poem was, in fact, revised as a result of changes in Yeats's editorial policy regarding Irish place names. It has for long been well known that an English translation of Uilliam Dall Ò hIfearnàin's “Caitilìn Nì Uallachàin” influenced Yeats's poem, but the nature of that influence has not been properly understood. Yeats's use of this source is discussed and reassessed: one stanza in Mangan's translation of one version of Ò hIfearnàin's poem supplied Yeats with all the possible parallels. Yeats later moved away from his source when revising the poem. In the second version, Yeats introduced ‐ and applied correctly ‐ the medieval Irish concept of the colours of the winds. The concept only left traces in the third and final version, but Yeats's preoccupation with it helped him in working out the wind symbolism of the poem. This symbolism only developed gradually, but the seeds of it can be seen already in

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1981.tb00489.x

出版商:Blackwell Publishing Ltd    

年代:1981

数据来源: WILEY

摘要:

Poggfred ist wohl das umstrittenste Werk Liliencrons. Die Urteile reichen von höchstem Lob (Thomas Mann) zu völliger Ablehnung (Ermatinger). Besonders die Frage nach dem Platz des Epos in der deutschen Literaturgeschichte ist bisher ungeklärt geblieben. WarPoggfrednur ein »epixher Nachzügler« (Wiegand) oder ein Neubeginn?Die These, die in diesem Aufsatz aufgestellt wird, ist, dass Liliencron besonders durch die Einbeziehung kabarettistischer Mittel und der Umkehrung der traditionellen Regeln Åhnliches für das moderne Epos geleistet hat wie Bertolt Brecht für das moder

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1981.tb00490.x

出版商:Blackwell Publishing Ltd    

年代:1981

数据来源: WILEY