文艺复兴pdf/doc/txt格式电子书下载

书名：文艺复兴pdf/doc/txt格式电子书下载

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作者：（英）沃特·佩特（WalterPater）,外研社编译组译

出版社：外语教学与研究出版社

出版时间：2012-11-23

书籍编号：30167356

ISBN：

正文语种：中英对照

字数：62050

版次：

所属分类：外语学习-英语读物

The Renaissance
文艺复兴

[英]沃特·佩特（Walter Pater）　著
外研社编译组　译

外语教学与研究出版社
FOREIGN LANGUAGE TEACHING AND RESEARCH PRESS

Two Early French Stories  

两则早期法国故事  

The history of the Renaissance ends in France, and carries us away from Italy to the beautiful cities of the country of the Loire. But it was in France also, in a very important sense, that the Renaissance had begun. French writers, who are fond of connecting the creations of Italian genius with a French origin, who tell us how Saint Francis of Assisi took not his name only, but all those notions of chivalry and romantic love which so deeply penetrated his thoughts, from a French source, how Boccaccio borrowed the outlines of his stories from the old French fabliaux, and how Dante himself expressly connects the origin of the art of miniature-painting with the city of Paris, have often dwelt on this notion of a Renaissance in the end of the twelfth and the beginning of the thirteenth century, a Renaissance within the limits of the middle age itself—a brilliant, but in part abortive effort to do for human life and the human mind what was afterwards done in the fifteenth. The word Renaissance, indeed, is now generally used to denote not merely the revival of classical antiquity which took place in the fifteenth century, and to which the word was first applied, but a whole complex movement, of which that revival of classical antiquity was but one element or symptom. For us the Renaissance is the name of a many-sided but yet united movement, in which the love of the things of the intellect and the imagination for their own sake, the desire for a more liberal and comely way of conceiving life, make themselves felt, urging those who experience this desire to search out first one and then another means of intellectual or imaginative enjoyment, and directing them not only to the discovery of old and forgotten sources of this enjoyment, but to the divination of fresh sources thereof—new experiences, new subjects of poetry, new forms of art. Of such feeling there was a great out break in the end of the twelfth and the beginning of the following century. Here and there, under rare and happy conditions, in pointed architecture, in the doc trines of romantic love, in the poetry of Provence, the rude strength of the middle age turns to sweetness; and the taste for sweetness generated there becomes the seed of the classical revival in it, prompting it constantly to seek after the springs of perfect sweetness in the Hellenic world. And coming after a long period in which this instinct had been crushed, that true \"dark age\", in which so many sources of intellectual and imaginative enjoyment had actually disappeared, this outbreak is rightly called a Renaissance, a revival.

文艺复兴的历史结束于法国，我们随它从意大利来到卢瓦尔河畔之国的那些美丽城市。但从某种很重要的意义来说，文艺复兴也开始于法国。法国作家喜欢将意大利天才人物的作品与法国血统联系起来。他们告诉我们阿西西的圣·弗朗西斯不仅取了个法国式的名字，而且那些深刻影响他思想的骑士精神和罗曼蒂克爱情的全部概念也是来源于法国；还告诉我们薄伽丘是怎样借用法国古代讽刺性寓言诗，构想了他故事的框架；但丁如何明确地把巴黎归为微型画的发源地。法国作家总认为文艺复兴的概念开始于12世纪末13世纪初，存在于中世纪自身的局限之中——虽然伟大，其中为追求人类生活和人类心灵的一些努力却是落空了，之后在15世纪方才取得了成就。的确，现在，文艺复兴这个词不仅泛指15世纪出现的古典文化复兴（这也是这个词最初使用时的含义所指），而且是指整个错综复杂的运动，这时古典文化复兴只是其中的一个元素或表现。对我们来说，文艺复兴是一场包含多个方面但却各方面统一的运动的代名词。在这场运动中，他们感知到了对充满智慧的事物和丰富想象力本身的热爱，对用更自由、更美好的方式构想生活的渴望，文艺复兴促使那些感受到这种渴望的人去寻找一个又一个能带来这种智慧和想象之愉悦的方法，并指引他们不仅去发掘这种愉悦感受的古老且被遗忘的源泉，而且去预言其新来源——新的生活体验、新的诗歌主题和艺术形式。这种感觉在12世纪末13世纪初有一个巨大的迸发。在极少但令人欣喜的情况下，在尖顶的建筑上、在罗曼蒂克爱情的教义中，在普罗旺斯的诗歌里，到处可见的是中世纪的粗蛮之力变成了美妙芳醇。由此产生的对美妙芳醇的追求变成了文艺复兴中古典复苏的种子，推动着它不停地在古希腊世界里寻觅带来极致芳醇的源泉。在之后的漫长的真正黑暗时代，这种本能被碾得粉碎，无数智慧和想象之愉悦的源泉消失无踪。因此，这次迸发名副其实地被称为文艺复兴，也就是复活。

Theories which bring into connection with each other modes of thought and feeling, periods of taste, forms of art and poetry, which the narrowness of men\'s minds constantly tends to oppose to each other, have a great stimulus for the intellect, and are almost always worth understanding. It is so with this theory of a Renaissance within the middle age, which seeks to establish a continuity between the most characteristic work of that period, the sculpture of Chartres, the windows of Le Mans, and the work of the later Renaissance, the work of Jean Cousin and Germain Pilon, thus healing that rupture between the middle age and the Renaissance which has so often been exaggerated. But it is not so much the ecclesiastical art of the middle age, its sculpture and painting—work certainly done in a great measure for pleasure\'s sake, in which even a secular, a rebellious spirit often betrays itself—but rather its profane poetry, the poetry of Provence, and the magnificent after-growth of that poetry in Italy and France, which those French writers have in view when they speak of this medieval Renaissance. In that poetry, earthly passion, with its intimacy, its freedom, its variety—the liberty of the heart—makes itself felt; and the name of Abelard1, the great scholar and the great lover, connects the expression of this liberty of heart with the free play of human intelligence around all subjects presented to it, with the liberty of the intellect, as that age

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