布莱克文艺复兴

Michael Horovitz
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引用次数: 0

摘要

这篇文章最初发表于1958年,是为了纪念威廉·布莱克诞辰200周年。在书中,作者观察到,自1827年布莱克去世以来,几代人都对他提出了指控或不屑一顾:对浪漫主义者来说,他是一个“古怪的怪人”,而维多利亚时代的人则将他笼罩在“他们自己潮湿的感伤主义”中。作者认为,布莱克“逃避评价是因为他一直致力于超越外在形式和流派的创作综合”,这意味着“他必须发明自己的方法来充分表达自己”。他指出,最近的二百周年纪念活动是“铺天盖地的展览、杂志增刊、广播特辑、各方献给他的新书”。这显然预示着20世纪60年代的布莱克安爆炸,作者本人将在其中发挥重要作用。因此,这篇文章可以看作是六十年代布莱克在英国的开端。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Blake Renaissance
This article, originally published in 1958, was written to commemorate William Blake’s bicentenary. In it, the author observes that Blake has been claimed or dismissed by successive generations since his death in 1827: for the Romantics, he was a ‘weird crank’, while the Victorians enveloped him in ‘their own damp sentimentalism’. The author argues that Blake ‘evades appraisal because he was always working for a synthesis of creation far beyond outward forms and genres’, which meant ‘he had to invent his own methods to express himself adequately’. He notes that the recent bicentenary was marked by ‘floods of exhibitions, magazine supplements, radio features, new books from all sides devoted to him’. This clearly anticipates the Blakean explosion of the 1960s, in which the author himself would play a major role. This article can therefore be seen as marking the beginning of Sixties Blake in Britain.
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