Rubbishy seems the word that most exactly would suit it. All the foolish destructions, and all the sillier savings, All the incongruous things of past incompatible ages, Seem to he treasured up here to make fools of present and future. --Arthur Hugh Clough, Amours de Voyage Writing to the Irish poet and ballad anthologist William Allingham in the summer of 1855, Dante Gabriel Rossetti explained that he was underwhelmed by the former's poem, "The Music Master," as it lacked the enticements he expected of ballads: [O]ne can only speak of one's own needs & cravings: & I must confess a need, in narrative dramatic poetry ... of something rather "exciting," indeed I believe something of the "romantic" element, to rouse my mind to anything like the moods produced by personal emotion in my own life. That sentence is shockingly ill-worded, but Keats's narratives would be the kind I mean. (1) One is struck both by the aesthetic feeling that Rossetti attempts to discriminate-the connection he draws between romance narrative and personal emotion-and by the hesitation with which he does so: before he wrote "romantic," Rossetti wrote "schoolgirl," then crossed it out. The strikethrough has the force of an embarrassed admission about the appeal of ballads to an otherwise high-minded literary reader, particularly when the ballad in question is neither antiquarian artifact nor popular street song but artfully contrived pastiche. This self-conscious mode of genre performance had its roots in such eighteenth-century ballad "scandals" as Lady Elizabeth Wardlaw's "Hardyknute." (2) Ballad forgeries turned eventually to avowed imitations, and, after picking up sentimental, romance, and gothic elements from Thomas Chatterton, Sir Walter Scott, Samuel Taylor Coleridge, Letitia Elizabeth Landon, and many others, the literary ballad had thoroughly saturated the literary field by the early decades of the Victorian period. This essay explores the ballad aesthetics inherited by Rossetti and the Pre-Raphaelites and, more particularly, those of Elizabeth Barrett Browning, a less-remarked influence on Pre-Raphaelite medievalism. The ballad in the eighteenth and nineteenth centuries was less a stable form than an evolving discourse-an overlapping assembly of ballad collections and antiquarian scholarship that gathered together metrical romances, broadside ballads, ballad romances, hymns, lays, ballad parodies, and lyrical ballads that variously expanded and chastened the idea of the ballad. The ballad's prominence as cultural form has been given considerable attention, though recent work has focused primarily on antiquarianism, popular balladry, or the ballad's significance within print culture and romantic nationalism. (3) Turning to the relatively neglected form of the literary ballad, I am interested less in specifying what this genre was than in exploring what we might call the historical aesthetics of genre-the kinds of feelings and judgments that get attached to a given genre and their role in its style, rhetoric, and form. (4) What language did nineteenth-century readers use to distinguish their impressions of poetic genres, and what relationship can we see in this language between aesthetic judgment and poetic form? How do aesthetic categories shore up, innovate, or otherwise inflect categories of genre? In particular, my discussion aims to uncover the aesthetic and affective dimensions of the stylistic anachronism-Rossetti called his poems, after Walter Scott, "modern-antiques"-that characterizes the literary ballad in its tendency to evoke without fully inhabiting the conventions of traditional songs and ballads (Correspondence, 1: 389). (5) The subgenre of the literary ballad represents an important aspect and outgrowth of what Albert Friedman has termed the ballad's "museum-life," its abstraction within the discourses of antiquarian revival, "sophisticated" poetry, and historical scholarship (p. …

中文翻译：

---

“现代古董”、民谣模仿和时代错误的美学

垃圾似乎是最适合它的词。所有愚蠢的破坏，所有愚蠢的储蓄，所有过去不相容的时代的不协调的东西，似乎他都珍藏在这里，以愚弄现在和未来。——亚瑟·休·克拉夫，《航海之恋》 1855 年夏天，但丁·加布里埃尔·罗塞蒂 (Dante Gabriel Rossetti) 写给爱尔兰诗人兼民谣选集家威廉·阿灵厄姆 (William Allingham) 时解释说，他对前者的诗“音乐大师”不知所措，因为它缺乏他的吸引力民谣的预期：[O]ne 只能谈论自己的需要和渴望：& 我必须承认，在叙事戏剧诗歌中，需要一些相当“令人兴奋”的东西，确实我相信一些“浪漫”元素，唤醒我的思想，就像我自己生活中的个人情感所产生的情绪一样。这句话措辞令人震惊，但济慈的叙述将是我的意思。(1) 罗塞蒂试图区分美感——他在浪漫叙事和个人情感之间建立联系——以及他这样做时的犹豫：在他写“浪漫”之前，罗塞蒂写道“女学生， "然后划掉了。删除线有一种令人尴尬的承认民谣对其他高尚文学读者的吸引力的力量，特别是当所讨论的民谣既不是古董文物也不是流行的街头歌曲而是巧妙地做作的模仿时。这种自我意识的流派表演模式源于 18 世纪的民谣“丑闻”，如伊丽莎白·沃德劳夫人的“哈迪克努特”。(2) 民谣赝品最终转为公然模仿，在从托马斯·查特顿、沃尔特·斯科特爵士、塞缪尔·泰勒·柯勒律治、莱蒂希娅·伊丽莎白·兰登等人那里汲取了感伤、浪漫和哥特式元素后，文学民谣已经彻底饱和了维多利亚时期早期的文学领域。这篇文章探讨了罗塞蒂和拉斐尔前派所继承的民谣美学，尤其是伊丽莎白·巴雷特·布朗宁 (Elizabeth Barrett Browning) 所继承的民谣美学，后者对拉斐尔前派中世纪主义的影响较少。18 和 19 世纪的民谣与其说是一种稳定的形式，不如说是一种不断发展的话语——民谣收藏和古代学术研究的重叠集合，将格律浪漫、宽边民谣、民谣浪漫、赞美诗、外行、民谣模仿、和抒情的民谣，以不同的方式扩展和完善了民谣的想法。民谣作为文化形式的突出地位受到了相当多的关注，尽管最近的工作主要集中在古物主义、流行民谣或民谣在印刷文化和浪漫民族主义中的意义。(3) 转向相对被忽视的文学民谣形式，我不太感兴趣具体说明这个体裁是什么，而是探索我们可能称之为体裁的历史美学——依附于特定体裁的情感和判断的种类以及它们在风格、修辞和形式中的作用。(4) 19 世纪的读者用什么语言来区分他们对诗歌体裁的印象，在这种语言中，我们可以看到审美判断和诗歌形式之间的什么关系？审美类别如何支撑、创新或以其他方式影响流派类别？尤其是，我的讨论旨在揭示文体时代错误的美学和情感维度——罗塞蒂在沃尔特·斯科特 (Walter Scott) 之后称他的诗为“现代古董”——它的特点是文学民谣倾向于在没有完全融入传统习俗的情况下唤起人们的联想。歌曲和民谣（信函，1：389）。(5) 文学民谣的子流派代表了阿尔伯特·弗里德曼 (Albert Friedman) 所说的民谣“博物馆生活”的一个重要方面和产物，它在古董复兴、“复杂”诗歌和历史学术等话语中的抽象化（第 ... 或以其他方式影响流派的类别？尤其是，我的讨论旨在揭示文体时代错误的美学和情感维度——罗塞蒂在沃尔特·斯科特 (Walter Scott) 之后称他的诗为“现代古董”——它的特点是文学民谣倾向于在没有完全融入传统习俗的情况下唤起人们的联想。歌曲和民谣（信函，1：389）。(5) 文学民谣的子流派代表了阿尔伯特·弗里德曼 (Albert Friedman) 所说的民谣“博物馆生活”的一个重要方面和产物，它在古董复兴、“复杂”诗歌和历史学术等话语中的抽象化（第 ... 或以其他方式影响流派的类别？尤其是，我的讨论旨在揭示文体时代错误的美学和情感维度——罗塞蒂在沃尔特·斯科特 (Walter Scott) 之后称他的诗为“现代古董”——它的特点是文学民谣倾向于在没有完全融入传统习俗的情况下唤起人们的联想。歌曲和民谣（信函，1：389）。(5) 文学民谣的子流派代表了阿尔伯特·弗里德曼 (Albert Friedman) 所说的民谣“博物馆生活”的一个重要方面和产物，它在古董复兴、“复杂”诗歌和历史学术等话语中的抽象化（第 ...... 在沃尔特·斯科特 (Walter Scott) 之后，“现代古董”(modern-antiques) 的特点是文学民谣倾向于唤起而不完全遵循传统歌曲和民谣的惯例（通讯，1：389）。(5) 文学民谣的子流派代表了阿尔伯特·弗里德曼 (Albert Friedman) 所说的民谣“博物馆生活”的一个重要方面和产物，它在古董复兴、“复杂”诗歌和历史学术等话语中的抽象化（第 ... 在沃尔特·斯科特 (Walter Scott) 之后，“现代古董”(modern-antiques) 的特点是文学民谣倾向于唤起而不完全遵循传统歌曲和民谣的惯例（通讯，1：389）。(5) 文学民谣的子流派代表了阿尔伯特·弗里德曼 (Albert Friedman) 所说的民谣“博物馆生活”的一个重要方面和产物，它在古董复兴、“复杂”诗歌和历史学术等话语中的抽象化（第 ...