The Rhinoceros as ‘Mid-Wife to Divine Wonderment’ in Edward Topsell’s The Historie of Foure-footed Beastes

IF 0.1 0 ART
Catherine Kovesi
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引用次数: 1

Abstract

For the armchair zoologist of the early modern period, there were many foreign bodies to behold in wonderment. Thanks to the indefatigable work of Conrad Gessner and his five-volume Historiae animalium (1551–58; 1587) with some 3,500 folio pages and a fine collection of woodcuts, those keen to discover, document, reproduce, study, imagine, or simply gaze at the complexities of the animal kingdom had rich resources available. Here not only could they read about the familiar—the hedgehog and the dormouse—but they could wonder at the foreign—the unicorn, the dragon, the lamia, and the ferocious manticore. Fifty years later, in 1607 and 1608, two separate volumes of Gessner’s Latin works, together with their woodcuts, appeared in English. These were the product of a devout English clergyman, Edward Topsell, whose The Historie of Foure-footed Beastes (1607), based on Gessner’s first volume, and his The Historie of Serpents (1608), based on Gessner’s posthumously published fifth volume Qui est de serpentium natura (1587), were not only translations but summaries, commentaries, emendations, and at times revisionings of Gessner’s work, which brought it thereby for the first time to a broad English readership. In 1658, after Topsell’s death, another edition appeared with both volumes combined into one and with the addition of The Theater of Insects by the physician and naturalist Thomas Muffett (1553–1604), whose work, also derived from Gessner, completed the zoological categories of these English volumes. While Gessner was a layman—a physician, naturalist, bibliographer, and philologist—whose universalising and encyclopedic goals were reflected in his publications, Topsell, the Protestant cleric, had no such ambitions. His goal instead was a singular one, derived from his primary vocation and purpose in life, the worship of his God. For Topsell, as for others of his time, the natural world was inextricably bound with, as well as providing evidence for, providential history. In this short appraisal of a copy of Topsell’s 1607 volume held in the Rare Books Collection of the Baillieu Library at the University of Melbourne, I wish to focus
在爱德华·托普塞尔的《四足兽的历史》中,犀牛是“神圣奇迹的助产士”
对于近代早期的纸上谈资的动物学家来说,有许多异物值得惊奇地观察。多亏了康拉德·格斯纳(Conrad Gessner)孜孜不倦的工作和他的五卷本《动物史》(1551 - 1558;《动物王国》(1587年)拥有3500页左右的对开本和精美的木刻收藏,那些热衷于发现、记录、复制、研究、想象或仅仅是凝视动物王国复杂性的人拥有丰富的资源。在这里,他们不仅可以读到熟悉的东西——刺猬和睡鼠——而且还可以对陌生的东西——独角兽、龙、羊足兽和凶猛的狮头兽——感到惊奇。五十年后,在1607年和1608年,Gessner的两卷拉丁语作品,连同他们的木刻,以英语出版。这些都是一位虔诚的英国牧师爱德华·托普塞尔的作品,他的《四足兽的历史》(1607年)是基于盖斯纳的第一卷,他的《蛇的历史》(1608年)是基于盖斯纳死后出版的第五卷《自然之蛇》(1587年),不仅是翻译,而且是对盖斯纳作品的总结、评论、修订和有时的修订,这使它第一次获得了广泛的英语读者。1658年,托普塞尔去世后,另一个版本出现了,两卷合而一,并增加了医生和博物学家托马斯·玛菲特(1553-1604)的《昆虫剧场》,他的作品也来自盖斯纳,完成了这些英文卷的动物学分类。盖斯纳是个门外汉——医生、博物学家、目录学家和语言学家——他的出版物反映了他的普及和百科全书式的目标,而新教牧师托普塞尔却没有这样的野心。相反,他的目标只有一个,源于他人生的主要使命和目的——敬拜他的上帝。对于托普塞尔和他那个时代的其他人来说,自然世界与天意历史有着千丝万缕的联系,也为天意历史提供了证据。在这篇关于托普塞尔1607年作品的简短评价中,我希望把重点放在墨尔本大学拜留图书馆的珍本藏书中
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