摘要
弥尔顿在史诗《失乐园》中两次将禁果指认为苹果,这并非《创世记》伊甸园故事的本意。在伪典、拉比犹太教和早期基督教的释经传统中,葡萄与无花果是禁果的主流意象。禁果是如何演变为苹果的?本文从相关语言、文本出发,对这一问题进行历时性梳理,并在此基础上对禁果意象演变背后的观念加以钩沉,最后在17世纪英国知识史语境下探讨弥尔顿《失乐园》中“苹果”的意义,认为弥尔顿的苹果并非简单沿用拉丁文圣经译本中的误译,而是基于充分的自然史知识有意以作为阐释谬误的苹果表达自身对知识与善恶关系之理解。
John Milton referred to the forbidden fruit as an apple twice in his renowned epic Paradise Lost,which differed from what is meant in the Garden of Eden in the Genesis.Grapes and figs are the mainstream images of forbidden fruit in traditional exegesis in Pseudepigrapha,Rabbinic Judaism and early Christianity.How comes the apple?This paper deals with this issue through historical-philological lens and tries to investigate the different conceptual concerns under the related texts.Based on these investigations,the author argues that Milton’s choice of the apple in Paradise Lost is purposeful rather than unintentional,expressing his own idea of knowledge of good and evil,which is inconsistent with the traditional Christian view on the“original sin”.
出处
《文学与文化》
2023年第4期139-144,共6页
Literature and Culture Studies
基金
国家社科基金重大项目“希伯来文学经典与古代地中海文化圈内文学、文化交流研究”(15ZDB088)阶段性成果。
关键词
禁果
苹果
弥尔顿
意象演变
Forbidden Fruit
Apple
John Milton
Transformation of Imagery
