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已有 543 次阅读2012-9-2 20:18

Sentimentality may be defined as emotion in excess of the occasion, whether as an overresponse on the part of the reader whose emotions are on hair trigger, or as an effect deliberately worked up by the poet who is willing to use illegitimate means.(Of course the poet need not be cold-blooded in his attempt: he may have taken in himself as well as any unwary reader. The author of “Somebody’s Darling” probably emoted as powerfully as any of her readers.) We usually restrict the term sentimentality to an overexpression of the more tender emotions, but any emotion is subject to disproportionate emphasis. Jingoistic patriotism, for example, can be whipped up by the unscrupulous rhetorician pretending to be a true poet.(Understanding Poerty, 外研社2004.11p.125)

感伤癖是指超出情境的感情,这可能是指情绪激动的读者做出的过度回应,也可能是指诗人用不合逻辑的方式随意地制造出某种效果。(当然这并不是说诗人是在无动于衷的情形下这么做的:他可能和他天真的读者一样被感动了。Somebody’s Darling的作者受到的触动可能和她的读者一样强烈。)我们通常把“感伤癖”这个表述限定于较为柔软的感情,不过它也意指一切被不合比例地强调了的感情。譬如,沙文主义的爱国主义就常常被无耻的修辞家煽动,他们都假装自己是真正的诗人。

John Keats said that we resent a poem that has a special design on us. The disciplined reader probably resents most of all such a poem when the design is clearly to work upon our sympathies, especially our more tender sympathies, and when the poet is willing to make use of any device, however mawkish, insistent, or illegitimate, to effect this end. ...

There is nothing wrong, it should be emphasized, about emotional response as such. We want to feel deeply: this is one of the reasons why we read literature. But we want the claim on our sympathies to be a just claim, and we want our own emotional response to be “earned” by the poem. We resent being made the dupe of cheap and specious appeals to our response, like the canned laughter on a TV comedy show. The sentimental poem is irritating just here: we are asked to make full payment on a bogus check, to respond deeply to a piece of glib rhetoric—which is a very different thing from a full-bodied imaginative experience that provides adequate motivation for the response for which it asks.

约翰·济慈说,我们厌恶那些刻意摆布我们的诗。这类诗总是会被受过训练的读者厌恶的,它们挑逗我们同情的摆布过于明显。当它们着眼于那些柔软的情感,并且诗人有意地玩些手段时(不管这些手段是多么多愁善感、扎眼且不合逻辑),这种厌恶就尤其强烈。

必须强调的是,情感反应并没有错。我们希望感受得更深切,这也是我们阅读文学的原因。可是我们希望那些对同情的询唤仅仅是询唤,我们希望我们自己的感情回应与诗歌能相匹配。廉价、似是而非的情绪挑逗试图使我们上当,就如电视喜剧中罐装的笑声,这是我们厌恶的。而感伤的诗歌就是在这一点上让人不快:我们被要求为一张假支票付账,被要求对肤浅的修辞术做出深沉的回应。这种修辞术和有血有肉的想象经验完全不同,后者能够为它所唤起的反应提供足够的动机。


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