In 1579, Gabriel Harvey bound together in a composite collection a surprising group of texts: an Italian grammar, an Italian translation of Terence’s comedies, Lodovico Dolce’s Italian rifacimenti of Euripides’ Medea and Seneca’s Thyestes, and Euripides’ Hecuba and Iphigenia in Erasmus’ Latin. The volume is now dispersed, but all its parts survive. This essay explores the story of this hitherto unknown artefact and what it reveals about Harvey’s reading practices and his engagement with drama, especially Greek tragedy. Parsing the elaborate system of signs with which Harvey multifariously annotated these works, it argues that he read tragedies with an emphasis on situation and utterance rather than extractable sententiae, as has been suggested. Harvey probed local detail in the tragedies with attentiveness, and with an eye to recurring observations that revealed the ‘thought’ of these works. He was drawn especially to the political dimension of this ‘thought’. Reading tragedies in juxtaposition, he became interested in their different exploration of rulers’ obligation to rule by their people’s consent. And he found Euripides’ plays particularly endowed with political wisdom, no doubt partly because he believed that they had been co-authored by Euripides’ mentor and Harvey’s own icon of pragmatic wisdom, Socrates.

中文翻译：

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加布里埃尔·哈维 (Gabriel Harvey) 如何解读悲剧*

1579 年，加布里埃尔·哈维 (Gabriel Harvey) 将一组令人惊讶的文本组合在一起，组成了一组令人惊讶的文本：意大利语语法、特伦斯喜剧的意大利语翻译、洛多维科·多尔塞 (Lodovico Dolce) 的欧里庇得斯 (Euripides)美狄亚 (Medea)和塞内卡 (Seneca) 的泰斯提斯 ( Thyestes)的意大利语 rifacimenti ，以及欧里庇得斯(Euripides) 的赫卡巴 ( Hecuba)和伊菲革涅亚 (Iphigenia)在伊拉斯谟的拉丁语中。体积现在分散了，但它的所有部分都保留了下来。这篇文章探讨了这个迄今为止未知的人工制品的故事，以及它揭示了哈维的阅读实践和他对戏剧，尤其是希腊悲剧的参与。分析哈维对这些作品进行五花八门的注释的复杂符号系统，它认为他阅读悲剧的重点是情境和话语，而不是像有人建议的那样可提取的句子。哈维专注地探索悲剧中的局部细节，并着眼于揭示这些作品的“思想”的反复观察。他尤其被这种“思想”的政治层面所吸引。阅读并列的悲剧，他对他们对统治者根据人民同意进行统治的义务的不同探索产生了兴趣。