In an introductory note to the published papers of Manchester University’s 1970 Victorian theater symposium, editors Kenneth Richards and Peter Thomson encapsulate the current state of this critical field and accurately predict its future, stating, “It is still fairly respectable to know nothing about the nineteenthcentury theatre, but it seems unlikely that it will be so for long.”1 As they foresaw, the coming de cades witnessed a resurgence of interest in the per for mances of the nineteenthcentury stage— a justified reprisal that has invited the Victorians’ own theatrical commentary back into the critical spotlight. In one such con temporary moment of theatrical criticism, Elizabeth Barrett (EBB) remarks on the current state of the “translation” of dramatic works for the Victorian stage in an 1842 letter to her confidante, the dramatist and fellow poet Mary Russell Mitford:

中文翻译：

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“戏剧诗人和无诗意的大众”：伊丽莎白·巴雷特·布朗宁在奥罗拉·利第四卷中的寓言化戏剧评论

在曼彻斯特大学 1970 年维多利亚时代戏剧研讨会已发表论文的介绍性说明中，编辑肯尼斯·理查兹和彼得·汤姆森概括了这一关键领域的现状并准确预测了它的未来，并指出：“对 19 世纪一无所知仍然是相当可敬的剧院，但似乎不太可能持续太久。”1 正如他们所预见的那样，接下来的几十年见证了对 19 世纪舞台表演的兴趣重新抬头——这是一种合理的报复，邀请了维多利亚时代自己的戏剧评论重新回到批评的聚光灯下。在戏剧批评的一个这样的当代时刻，伊丽莎白·巴雷特 (EBB) 在 1842 年给她的红颜知己的一封信中评论了维多利亚时代舞台戏剧作品“翻译”的现状，