浪漫主义的游记文学观与拜伦的“剽窃”案

Romantic Perspective of Travel Writing and Byron's Plagiarism

游记文学在18世纪到19世纪早期的英国文化中曾享有唯我独尊的特权地位,其流行程度超过了其他任何形式的文体,并且与当时的民族文学和民族身份紧密地联系在一起。基于表达事实和虚构的位置感的需要,多数浪漫主义游记文学都包含获得历史可靠性的强烈愿望。在坚持游记文学真实性的同时,浪漫主义作家从不掩饰对其他游记作品和史料的借鉴、吸收和引用。本文以浪漫主义核心游记文学史观为切入点,以拜伦的《恰尔德.哈罗德游记》第三章被控剽窃的事实为依据,着重讨论浪漫主义关于"文学式借用"与"有罪式剽窃"观念的形成,以及拜伦剽窃案的文学影响和对后世创作的意义。

In the eighteenth and early nineteenth centuries, travel writing enjoyed a uniquely privileged position in British culture. Remarkably, its popularity cut across all literary categories and was bound up with the notions of national literature and national identity. Starting from the expression of the unique position between fact and fiction, most Romantic travel writings put much emphasis on the reliability of history. At the same time, Romantic writers overtly borrowed from and reemployed other travel materials. Such a phenomenon opened a heated discussion on ＂plagiarism＂ and contributed to the free use of materials. The present paper, starting from the key romantic viewpoints on travel writing, analyzes the Romantic notion of literary borrowing and of culpable plagiarism and the importance of Byron＇s alleged plagiarism in Canto Ⅲ of ChiIde Harold＇s Pilgrimage for later writers.