文献综述

冰岛诗体《埃达》记录了中古时代流传在北欧地区的口头文学的集成，包括北欧神话和英雄传说。《埃达》共三十八首诗篇，其中以伏尔松家族为中心的英雄诗篇则占据了十九首。这个传说记载了屠龙英雄西古尔德的事迹和古德隆恩为兄报仇的故事，并影响了后来的《伏尔松萨迦》和日耳曼英雄史诗《尼伯龙人之歌》。但学界对于这一故事的研究主要集中于其历史背景和男性人物形象的分析，而忽视了其中有着鲜明人物个性的女性形象。

埃达的大部分诗篇存于《雷基乌斯经典》，这部成篇于约1270年的冰岛古手稿本于十七世纪被时任冰岛大主教的丹麦教士吕恩约尔弗·斯汶森发现后，于1643年呈给丹麦国王。而后在1665年，丹麦出版了《女占卜者的预言》和《高人的箴言》，此后北欧和欧洲其他国家陆续翻译出版冰岛诗体埃达中的部分或者全部诗篇，到十九世纪下半叶，欧洲的一些大国如英、德、法，不仅出版了冰岛诗体埃达全集，还兴起了一门专门的学科叫做“埃达学”。 到二十世纪，对冰岛诗体埃达的研究随着对北欧社会历史等领域的研究进入新时期，但其中大多集中于北欧神话学研究，对于英雄传说的论述则相对较少。

与国外研究成果相比，国内对诗体埃达乃至北欧古代文学的研究更是鲜有问津。首先提及诗体埃达的是20世纪上半叶茅盾、黄石等先生，如茅盾先生的《北欧神话ABC》就脱胎于埃达，大致地介绍了北欧神话体系，但由于没有译本及其他种种原因，对《埃达》的研究进入空白期。直到2000年8月，由译林出版社策划的“世界英雄史诗译丛”将石琴娥、斯文合译的中文本《埃达》出版面世，才弥补了这一译介的缺憾。其中前言部分简短地提及了伏尔松传说的历史背景及其文本的悲剧性特征，并创造性地提出了这则传说受希腊悲剧影响的可能性，但并未作深入探究。随后在2005年，由石琴娥编著的《北欧文学史》问世，成了我国第一部有关北欧文学史的专著，将《埃达》置于北欧文学发展历程中探讨了其地位与重要性。北欧神话也随着影视作品的传入进入了研究新阶段。但从我所在知网、读秀、超星等检索到的文献资料来看，国内对于《埃达》中英雄传说部分的还较少，且大多是从《尼伯龙根之歌》等作品中提及《埃达》的演变和影响，如李玥的论《尼伯龙根之歌》的死亡价值取向。此外，从女性复仇主题切入《埃达》的文献则几乎为零。

Snorrirsquo;s Edda, Mythology, and Anglo-Saxon Studies

T I M W I L L I A M M A C H A N

University of Notre Dame

One of the most influential Anglo-Saxonists of the nineteenth, twentieth, and twenty-first centuries was unable to speak English and apparently never set foot in England. So far as we know, he never read Beowulf, never held an Anglo-Saxon manuscript in his hands, and could not have explained Second Fronting. In fact, he was born in twelfth-century Iceland, where, with the exception of two trips to Norway, he seems to have spent his entire life.¹ I mean, of course, Snorri Sturluson, author of the Prose Edda. In its four parts—a prologue, Gylfaginning (The deluding of Gylfi), Skaacute;ldskaparmaacute;l (The language of poetry), and Haacute;ttatal (A listing of meters)—the Edda offers an expansive, coherent vision of Norse poetics and mythology. And in describing Snorri as an influential Anglo-Saxonist, I mean the influence of the Edda in particular, which has served, indeed, as an authority on Old English poetics and cultural history as well as on the continental Germanic traditions that are presumed to underlie Anglo-Saxon practices. The myths and mythic culture found in Gylfaginning have been used to explain everything from English place names to folk traditions, while the terminology of Skaacute;ldskaparmaacute;l forms the basic vocabulary for discussions of poetic practice in Old English. In its entirety, Snorra Edda has been both a reference work for Anglo-Saxon studies and the image of a kind of cultural coherence that not only shaped early England but linked it to early Iceland. These are all significant accomplishments for a work composed by someone who talks about England only in the narratives of Heimskringla and Egilssaga (if he is in fact the latterrsquo;s author). And they are reasons enough to ask how and why Snorrirsquo;s Edda has become so influential in Anglo-Saxon studies and then whether it merits the status it has.

I would like to thank the two anonymous readers for Modern Philology, whose comments were extremely valuable to me in rethinking and revising this essay.

1. The only contemporary biographical details of Snorrirsquo;s life occur in Sturla THORN;oacute;reth;arsonrsquo;s Iacute;slendinga Saga, within Sturlunga Saga.

Oacute; 2016 by The University of Chicago. All rights reserved. 0026-8232/2016/11303-0001$10.00

295

While the first complete English rendering of the Edda did not appear until 1987, interest in Snorri began much earlier. Indeed, the workrsquo;s first partial translation, limited to the prologue, appeared already in Aylett Sammesrsquo;s 1676 Britannia Antiqua Illustrata. The translation that effectively introduced an English-speaking audience to medieval Scandinavians in general, however, was not published until nearly a century later in Bishop Thomas Percyrsquo;s Northern Antiquities (1770, but reissued several times). This actually contained not an original English translation of the Edda but a translation of Paul Henri Malletrsquo;s French rendering (limited to Gylfaginning and synopses of Skaacute;ldskaparmaacute;l and Haacute;ttatal ) along with the Latin translation of Johannes Gouml;ransson. Yet as far removed as the Northern Antiquities materials were from the original texts, the volumes drew emphatic connections between medieval Scandinavians and their English counterparts. “As to the Anglo-Saxon, and Icelandic poetry,” Percy says, “these will be allowed to be in all respects congenial, because of the great affinity between the two languages, and between the nations who spoke them. They were both Gothic Tribes, and used two not very different dialects of the same Gothic language. Accordingly we find a very strong resemblance in their versification, phraseology and poetic allusions, amp;c. the same being in a great measure common to both nations.”² It was Percyrsquo;s work that inspired Thomas Gray and other early Scandinavian enthusiasts, with the result that, from the late eighteenth century on, talking about Norse poetry often amounted to talking about Old English poetry as well, with much of the primary evidence for both coming from Snorrirsquo;s Edda.

Subsequent to Percyrsquo;s Northern Antiquities, partial translations of the Prose Edda appeared with increasing frequency. Grenville Pigott translated extracts from Gylfyaginning in his 1839 Manual of Scandinavian Mythology, and in 1842 George Dasent provided a translation of Gylfyaginning in its entirety (more or less), along with a small section of Skaacute;ldskaparmaacute;l. Five years later, a new translation of Gylfyaginning appeared in a reissue of Northern Antiquities, and again in 1879 in Rasmus Andersonrsquo;s The Younger Edda, Also Called Snorrersquo;s Edda or the Prose Edda. Arthur Brodeurrsquo;s English translation of both Gylfyaginning and Skaacute;ldskaparmaacute;l was published in 1916, and Jean Youngrsquo;s rendering of the former alone in 1964.³

1. Thomas Percy, trans., Northern Antiquities; or, A Description of the Manners, Customs, Religion and Laws of the Ancient

   剩余内容已隐藏，支付完成后下载完整资料

   ---

   文献综述翻译

   The Icelandic poetic 'Edda' records the integration of oral literature in the Nordic region, including Nordic myths and heroic legends. 'Edda' has a total of 38 poems, of which the heroic poems centered on the Volsunga family occupy 19 of them. This legend chronicles the story of the hero of the dragon, Sigurd, and the story of Gudruacute;nrsquo;s revenge for his brother, and influenced the later 'Vouml;lsunga saga' and the Germanic epic 'The Song of the Nibelungs'. However, the academic research on this story mainly focuses on the analysis of its historical background and male characters, while ignoring the female images with distinctive personality.

   Most of Eddas poems are in the 'Codex Regius', an ancient Icelandic manuscript dating back to 1270. In the seventeenth century, he was appointed Danish priest of the Icelandic Archbishop Ron Jolph Swanson. After discovery, it was presented to the Danish King in 1643. Then in 1665, Denmark published 'The Prophecy of the Female Diviner' and 'Proverbs of the Supreme'. Since then, Nordic and other European countries have successively translated and published some or all of the poems, until the second half of the 19th century, some big European countries such as Britain, Germany, and France not only published the complete works of Icelandic poetry, but also raised a special subject called 'Edda Study.' In the twentieth century, the study of Icelandic poetry Edda entered a new era with the study of Nordic social history and other fields, but most of them focused on Norse mythology, and there were relatively few statements about heroic legends.

   Compared with the results of foreign research, domestic research on the poetry of Edda and even the ancient literature of Northern Europe is even less interesting. First mention of the poetic Edda is the first half of the 20th century, Mao Dun, Huang Shi, etc. Mao Duns 'Nordic Mythology ABC' was born out of Edda, roughly introduced the Nordic mythology system. However, there is no translation and other kinds reasons. So the study of Edda has entered a blank period. It was not until August 2000 that the 'World Heroic Epic Translation Series' curated by Yilin Press published the Chinese version of 'Edda' translated by Shi Qinrsquo;e and Si Wen, which made up for the shortcomings of this book. The foreword briefly mentions the historical background of the legend of Volsunga and the tragic features of its text, and creatively proposes the possibility that this legend is influenced by the Greek tragedy, but did not delve into it. Then in 2005, the history of Nordic Literature, edited by Shi Qinrsquo;e, became the first monograph on the history of Nordic literature in China. It explored its status and importance in the development of Nordic literature. Norse mythology also entered a new stage of research with the introduction of film and television works. However, from the literatures that I have searched on internet, there are still few paper about legends in the 'Adda', and most of them are from the works of 'The Song of Nibelungen', such as Li Yues the death value orientation of 'The Song of Nibelungen'. In addition, the paper on the theme of female revenge is almost zero.

   斯诺里的埃达，神话和盎格鲁撒克逊研究

   斯诺里·斯图鲁松（Snorri Sturluson），诗体埃达的作者，十九世纪，二十世纪和二十一世纪最具影响力的盎格鲁撒克逊主义者之一，他不会说英语，显然从未踏足英格兰。据我们所知，他从未读过贝奥武夫，从未持有盎格鲁 - 撒克逊手稿，也无法解释第二前锋。事实上，他出生在十二世纪的冰岛，除了两次前往挪威之外，他几乎一生都在此度过。当然，在埃达的四部分——序言，Gylfaginning，Skaldskaparmal（诗歌语言）和Hattatal中，他为我们提供了北欧诗学和神话的广阔视野。斯诺里作为一个有影响力的盎格鲁 - 撒克逊主义者，其影响力来源主要是埃达的影响，它不仅是旧英国诗学和文化历史的权威，而且被认为是代表了盎格鲁撒克逊的大陆日耳曼传统。在Gylfaginning中发现的神话和神话文化被用来解释从英语地名到民间传统的所有内容，而Skaldskaparmal的术语构成了古英语中诗歌实践讨论的基本词汇。整体而言，斯诺里的埃达既是研究盎格鲁 - 撒克逊的参考作品，也是一种文化连贯性的象征，它不仅塑造了早期的英格兰，而且将其与早期的冰岛联系起来。这些都是由一个只在Heimskringla和Egilssaga的叙述中谈论英格兰的人所创作的作品的重大成就（如果他的确是后者的作者）。人们有足够的理由追问斯诺里的埃达如何以及为何在盎格鲁 - 撒克逊研究中变得如此有影响力，以及它是否配得上它的地位。

   埃达的第一个完整的英文版本直到1987年才出现，但是人们对斯诺里的兴趣开始得更早。事实上，该作品的第一部分翻译，即序幕，已出现在1676年Aylett Sammes的Britannia Antiqua Illustrata中。然而，真正将英语读者普遍引入中世纪斯堪的纳维亚的翻译，直到近一个世纪后主教Thomas Percy的Northern Antiquities（1770年，但重新发布了几次）中才出版。这实际上不包含埃达的原始英文翻译，而是Paul Henri Mallet的法国版本（仅限于Gylfaginning和Skaldskaparmal和Hattatal的梗概）和Johannes Gouml;ransson的拉丁语版本。然而，尽管Northern Antiquities的材料与原始文本相去甚远，但这些卷本在中世纪斯堪的纳维亚人和他们的英国同行之间建立了强有力的联系。 “对于盎格鲁 - 撒克逊和冰岛的诗歌来说，”Percy说，“由于这两种语言之间以及讲述它们的国家之间的巨大亲和力，这里的各方面都是相投的。他们都是哥特式部落，使用了两种不同的哥特语言方言。因此，我们发现他们的诗歌，用语和诗歌暗示具有非常强烈的相似性。” 这是Percy的工作启发了Thomas Gray和其他早期的斯堪的纳维亚的爱好者，其结果是，从十八世纪后期，谈论北欧诗歌常常达说起老英语诗歌，以及来自斯诺里的埃达的大部分主要证据。

   在Percy的Northern Antiquities之后，散文埃达的部分翻译出现的频率越来越高。 Grenville Pigott在1839年的斯堪的纳维亚神话手册中翻译了Gylfyaginning的摘录，并于1842年提供了Gylfyaginning的全部翻译（或多或少），以及一小部分Skaldskaparmal的翻译。 五年后，Gylfyaginning的新翻译出现在Northern Antiquities的重新发行中，并于1879年再次出现在Rasmus Anderson的The Younger Edda中，也被称为斯诺里的埃达或散文埃达。 Arthur Brodeur的Gylfyaginning和Skaldskaparmal的英文译本于1916年出版，Jean Young则于1964年独自润饰了前者。

   像这样的书目简述仅讲述了散文埃达如何以及为何影响盎格鲁 - 撒克逊研究的一部分。 第二部分就是斯诺里和他的埃达的存在。我们没有盎格鲁 - 撒克逊的诗学和神话手册; 我们同样也没有其他日耳曼传统的神话，没有旧撒克逊，旧弗里斯兰，旧高德或哥特式的神话手册。因此，斯诺里的埃达不仅对盎格鲁 - 撒克逊神话的研究，而且对其推定的日耳曼前辈的研究非常方便。 这一点早在1676年就已经被认识到，远在大多数有关埃达的材料被翻译成英语之前，当时Edward Stillingfleet默默地忽略了斯诺里的冰岛和假设的“Teutonic”神话之间的任何区别。 “斯诺里的埃达，”他说，“包含古老的哥特宗教。“

   安德鲁·沃恩（Andrew Wawn）及其他人讲述的第三部分是现代早期盎格鲁 - 撒克逊研究的成长，这是由历史、宗教、政治、种族、语言学、纪录片文化等研究所驱动的。这种增长的焦点不是对某个历史时刻的客观再现，而是对一个稳定，模范，日耳曼和（通常）新教国家的辩护。从这个角度来看，关于英格兰及其过去的争论有一个意识形态的投射和斯堪的纳维亚半岛则为这些论点提供了证据。到了十九世纪，在学术界，所谓的北方——相对于南方或罗马——在英语语言学中占主导地位。虽然承认了许多法国和拉丁语借用语的存在，但方言词，同源词和语法相似词被理解为见证了该语言发展的基本日耳曼语。更普遍地来说，学习型团体（如将成为维京北方研究协会的团体）将英国种族定位于盎格鲁 - 撒克逊和挪威传统的融合中。斯诺里的埃达和中世纪斯堪的纳维亚半岛对盎格鲁 - 撒克逊英格兰的影响推动了维多利亚时代的艺术，建筑，自然主义，文化，种族，历史，旅游，政治，诗歌等运动，以及William Morris、W. G. Collingwood等作家的努力。恢复盎格鲁 - 撒克逊过去的历史背景的同时也恢复了斯诺里的埃达，这使得过去符合一种新的英国身份认同感，这种认同源于Tacitus通过盎格鲁 - 撒克逊英格兰和斯诺里记录的高级日耳曼传统，最后将这种认同感延续到改革后的英国。

   但是，虽然这些论点的形成与英国民族的早期现代形成有关，但论证本身仍然存在于现在。事实上，最近已经论证过，“主要是因为冰岛人的晚期转化，语言保守主义和植根于前文化的文学，斯堪的纳维亚半岛为研究所有传统的日耳曼语言文化提供了基础。”冰岛拥有唯一适合“比较作品”的日耳曼文学，另一位现代评论家观察到。 “没有其他中世纪的日耳曼文学有相同数量的前基督教材料，也没有其他外国文学对英语诗歌有所了解。”另一位学者则提出“日耳曼传统认为诗歌中最重要的部分是技巧，而且，斯诺里在日耳曼语和特别是古英语文学方面的作用仍

   剩余内容已隐藏，支付完成后下载完整资料

   ---

   资料编号：[17669]，资料为PDF文档或Word文档，PDF文档可免费转换为Word