对骗子马可夫不断变化的认识

IF 0.1 0 ART
S. Meurer
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引用次数: 0

摘要

老谋深算的农民马可夫是个与众不同的局外人。他的名字,“Mark Wulf”,或“来自外部行军的狼”,表明他是一个外星人:天生像野兽,来自已知世界的东部边缘。在中世纪所罗门和马可夫的对话中,他来到耶路撒冷的所罗门宫廷,与旧约国王就善与恶、温和的好处、社会等级制度的重要性或妇女与婚姻等各种主题展开了一系列辩论。《对话》之所以受欢迎,是因为所罗门抽象的智慧滑稽地转化为马可夫粗鲁且经常带有讽刺意味的肉体。当国王说出“发自内心”的话时,马可夫用喇叭般的屁股反击。《对话》的标题是言语上的争吵,紧接着是八个恶作剧的叙事序列。在这里,据说马可夫完成了国王的命令,但由于他聪明的足智多谋,他成功地智取了所罗门并逃脱了惩罚。例如,当所罗门判处马可夫死刑时,农民要求允许他选择将被绞死的树。由于Marcolf未能找到合适的标本,因此无法执行处罚。现存手稿的文本长度和粗糙程度的变化表明,所罗门和这个怪诞的农民之间可能有很强的即兴对话的口头传统。例如,在十二世纪,一群在法国北部Gúınes的Arnould宫廷娱乐的表演者中出现了一个“Merculfo”,到中世纪晚期,Marcolf已经成为狂欢节戏剧颠倒世界中的固定人物。在外表、智力和社会地位方面,马可夫被认为是所罗门式的反面人物,一个被放逐的人,他站在国王的面前,提供一种相反的世界观,暂时违抗公认的秩序。15世纪印刷术问世后,《对话》在整个欧洲成为畅销书。仅在德国,就有不少于六个版本
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Changing Perceptions of Marcolf the Trickster
The wily peasant Marcolf was an outsider quite like no other. His very name, ‘Mark-Wulf’, or ‘wolf from the outer marches’, denoted him as an alien figure: beast-like by nature and from the eastern margins of the known world. In the medieval Dialogue of Solomon and Marcolf, he arrives at the court of Solomon in Jerusalem to enter into a series of debates with the Old Testament king on subjects as diverse as good and evil, the benefits of moderation, the importance of social hierarchies, or women and marriage. The Dialogue’s popularity was rooted in the comical inversion of Solomon’s abstracted wisdom into Marcolf’s crude and often scatological corporeality. While the king speaks ‘out of the abundance of the heart’, Marcolf counters with trumpeting buttocks. The verbal sparring from which the Dialogue takes its title is followed by a largely narrative sequence of eight pranks. Here, Marcolf purportedly fulfils the king’s orders, yet manages to outwit Solomon and escape punishment thanks to his clever resourcefulness. When, for instance, Solomon sentences Marcolf to death, the peasant requests that he be permitted to choose the tree he will be hanged from. Since Marcolf fails to find a suitable specimen, the punishment cannot be executed. Variations in both text length and levels of crudity in surviving manuscript copies suggest that there probably was a strong oral tradition of improvised Dialogues between Solomon and the grotesque peasant. In the twelfth century, for example, a ‘Merculfo’ appeared among a group of performers entertaining at the Northern French court of Arnould of Gûınes, and by the late Middle Ages, Marcolf was a firm fixture in the upside-down world of carnival plays. In physical appearance, intellectual character, and social rank, Marcolf was presented as the anti-type to Solomon’s type, an outcast who inserted himself into the king’s presence to provide an opposing worldview and temporarily defy accepted order. Upon the introduction of printing in the fifteenth century, the Dialogue became a bestseller across Europe. In Germany alone, no fewer than six editions were
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