雪莱《奥兹曼迪亚斯》批评史上的“谎言”

The“Fallacy”in the Critical History of Shelley’s“Ozymandias”

“文物窃取与文物所有权”是《奥兹曼迪亚斯》中一个非常重要的主题,但这一主题在诗歌批评史上却长期处于遮蔽状态。这种情况是由批评史上所展现的价值取向决定的,即诗歌批评在为大英博物馆服务。雪莱创作《奥兹曼迪亚斯》的时间与参考史料均显示,诗歌所指并非大英博物馆中的拉美西斯二世雕像,但是诗歌批评史却试图构建一个二者“文史互证”的“谎言”。究其原因,主要是雪莱的诗歌赋予了博物馆雕像重新阐释的语境,契合了大英博物馆为其殖民时期非法所得的雕像做正当性辩护的需要,诗歌意欲探讨的“文物所有权”问题也因为这层关系被遮蔽了。

“The theft and ownership of cultural relics”is a salient theme in Shelley’s sonnet“Ozymandias,”but it has long been concealed in the history of poetry criticism.This situation seems to have been dictated by the value orientation exhibited in the critical history.In other words,the criticism of the sonnet provides a service for the British Museum.Although both the time of Shelley’s writing of“Ozymandias”and the relevant historical records indicate that the sonnet actually does not refer to the statue of RamessesⅡin the British Museum,the critical history attempts to fabricate a“fallacy”about the connection between the two with a socalled“reciprocal verification between the text and history.”The main reason for this is that Shelley’s“Ozymandias”presents a new context for a reinterpretation of the statue in the museum and meets the British Museum’s need to defend its illicit acquisition of the statue during the colonial period.To this end,the ownership of cultural relics,a theme the sonnet intends to explore,is concealed.