Thus, in the south, when reference was made to the coming of winter and to the dreariness13 and discomforts14 of that season of the year, men did not know nor care to explain it all, as our teachers now do at school; but they sometimes told how Hades had stolen Persephone (the summer) from her mother Demetre (the earth), and had carried her, in a chariot drawn15 by four coal black steeds, to the gloomy land of shadows; and how, in sorrow for her absence, the Earth clothed herself in mourning, and no leaves grew upon the trees, nor flowers in the gardens, and the very birds ceased singing, because Persephone was no more. But they added, that in a few months the fair maiden16 would return for a time to her sorrowing mother, and that then the flowers would bloom, and the trees would bear fruit, and the harvest-fields would again be full of golden grain.
In the north a different story was told, but the meaning was the same. Sometimes men told how Odin (the All-Father) had become angry with Brunhild (the maid of spring), and had wounded her with the thorn of sleep, and how all the castle in which she slept was wrapped in deathlike slumber17 until Sigurd or Siegfried (the sunbeam) rode through flaming fire, and awakened18 her with a kiss. Sometimes men told how Loki (heat) had betrayed Balder (the sunlight), and had induced blind old Hoder (the winter months) to slay19 him, and how all things, living and inanimate, joined in weeping for the bright god, until Hela (death) should permit him to revisit the earth for a time.
So, too, when the sun arose, and drove away the darkness and the hidden terrors of the night, our ancestors thought of the story of a noble young hero slaying20 a hideous21 dragon, or taking possession of the golden treasures of Mist Land. And when the springtime came, and the earth renewed its youth, and the fields and woods were decked in beauty, and there was music everywhere, they loved to tell of Idun (the spring) and her youth-giving apples, and of her wise husband Bragi (Nature’s musician). When storm-clouds loomed22 up from the horizon and darkened the sky, and thunder rolled overhead, and lightning flashed on every hand, they talked about the mighty23 Thor riding over the clouds in his goat-drawn chariot, and battling with the giants of the air. When the mountain-meadows were green with long grass, and the corn was yellow for the sickles24 of the reapers25, they spoke of Sif, the golden-haired wife of Thor, the queen of the pastures and the fields. When the seasons were mild, and the harvests were plentiful26, and peace and gladness prevailed, they blessed Frey, the giver of good gifts to men.
To them the blue sky-dome which everywhere hung over them like an arched roof was but the protecting mantle27 which the All-Father had suspended above the earth. The rainbow was the shimmering28 bridge which stretches from earth to heaven. The sun and the moon were the children of a giant, whom two wolves chased forever around the earth. The stars were sparks from the fire-land of the south, set in the heavens by the gods. Night was a giantess, dark and swarthy, who rode in a car drawn by a steed the foam29 from whose bits sometimes covered the earth with dew. And Day was the son of Night; and the steed which he rode lighted all the sky and the earth with the beams which glistened30 from his mane.
It was thus that men in the earlier ages of the world looked upon and spoke of the workings of Nature; and it was in this manner that many myths, or poetical fables31, were formed. By and by, as the world grew older, and mankind became less poetical and more practical, the first or mythical32 meaning of these stories was forgotten, and they were regarded no longer as mere33 poetical fancies, but as historical facts. Perhaps some real hero had indeed performed daring deeds, and had made the world around him happier and better. It was easy to liken him to Sigurd, or to some other mythical slayer34 of giants; and soon the deeds of both were ascribed to but one. And thus many myth-stories probably contain some historical facts blended with the mass of poetical fancies which mainly compose them; but, in such cases, it is generally impossible to distinguish what is fact from what is mere fancy.
All nations have had their myth-stories; but, to my mind, the purest and grandest are those which we have received from our northern ancestors. They are particularly interesting to us; because they are what our fathers once believed, and because they are ours by right of inheritance. And, when we are able to make them still more our own by removing the blemishes35 which rude and barbarous ages have added to some of them, we shall discover in them many things that are beautiful and true, and well calculated to make us wiser and better.
It is not known when or by whom these myth-stories were first put into writing, nor when they assumed the shape in which we now have them. But it is said, that, about the year 1100, an Icelandic scholar called Saemund the Wise collected a number of songs and poems into a book which is now known as the “Elder Edda;” and that, about a century later, Snorre Sturleson, another Icelander, wrote a prose-work of a similar character, which is called the “Younger Edda.” And it is to these two books that we owe the preservation36 of almost all that is now known of the myths and the strange religion of our Saxon and Norman forefathers37. But, besides these, there are a number of semi-mythological stories of great interest and beauty,—stories partly mythical, and partly founded upon remote and forgotten historical facts. One of the oldest and finest of these is the story of Sigurd, the son of Sigmund. There are many versions of this story, differing from each other according to the time in which they were written and the character of the people among whom they were received. We find the first mention of Sigurd and his strange daring deeds in the song of Fafnir, in the “Elder Edda.” Then, in the “Younger Edda,” the story is repeated in the myth of the Niflungs and the Gjukungs. It is told again in the “Volsunga Saga” of Iceland. It is repeated and re-repeated in various forms and different languages, and finally appears in the “Nibelungen Lied,” a grand old German poem, which may well be compared with the Iliad of the Greeks. In this last version, Sigurd is called Siegfried; and the story is colored and modified by the introduction of many notions peculiar38 to the middle ages, and unknown to our Pagan fathers of the north. In our own time this myth has been woven into a variety of forms. William Morris has embodied39 it in his noble poem of “Sigurd the Volsung;” Richard Wagner, the famous German composer, has constructed from it his inimitable drama, the “Nibelungen Ring;” W. Jordan, another German writer, has given it to the world in his “Sigfrid’s Saga;” and Emanuel Geibel has derived40 from it the materials for his “Tragedy of Brunhild.”
And now I, too, come with the STORY OF SIEGFRIED, still another version of the time-honored legend. The story as I shall tell it you is not in all respects a literal rendering41 of the ancient myth; but I have taken the liberty to change and recast such portions of it as I have deemed advisable. Sometimes I have drawn materials from one version of the story, sometimes from another, and sometimes largely from my own imagination alone. Nor shall I be accused of impropriety in thus reshaping a narrative42, which, although hallowed by an antiquity43 of a thousand years and more, has already appeared in so many different forms, and been clothed in so many different garbs44; for, however much I may have allowed my fancy or my judgment45 to retouch and remodel46 the immaterial portions of the legend, the essential parts of this immortal47 myth remain the same. And, if I succeed in leading you to a clearer understanding and a wiser appreciation48 of the thoughts and feelings of our old northern ancestors, I shall have accomplished49 the object for which I have written this Story of Siegfried.
点击收听单词发音
1 awe | |
n.敬畏,惊惧;vt.使敬畏,使惊惧 | |
参考例句: |
|
|
2 chilly | |
adj.凉快的,寒冷的 | |
参考例句: |
|
|
3 rugged | |
adj.高低不平的,粗糙的,粗壮的,强健的 | |
参考例句: |
|
|
4 bleak | |
adj.(天气)阴冷的;凄凉的;暗淡的 | |
参考例句: |
|
|
5 uncouth | |
adj.无教养的,粗鲁的 | |
参考例句: |
|
|
6 phenomena | |
n.现象 | |
参考例句: |
|
|
7 regularity | |
n.规律性,规则性;匀称,整齐 | |
参考例句: |
|
|
8 poetical | |
adj.似诗人的;诗一般的;韵文的;富有诗意的 | |
参考例句: |
|
|
9 penetrate | |
v.透(渗)入;刺入,刺穿;洞察,了解 | |
参考例句: |
|
|
10 spoke | |
n.(车轮的)辐条;轮辐;破坏某人的计划;阻挠某人的行动 v.讲,谈(speak的过去式);说;演说;从某种观点来说 | |
参考例句: |
|
|
11 accounting | |
n.会计,会计学,借贷对照表 | |
参考例句: |
|
|
12 picturesque | |
adj.美丽如画的,(语言)生动的,绘声绘色的 | |
参考例句: |
|
|
13 dreariness | |
沉寂,可怕,凄凉 | |
参考例句: |
|
|
14 discomforts | |
n.不舒适( discomfort的名词复数 );不愉快,苦恼 | |
参考例句: |
|
|
15 drawn | |
v.拖,拉,拔出;adj.憔悴的,紧张的 | |
参考例句: |
|
|
16 maiden | |
n.少女,处女;adj.未婚的,纯洁的,无经验的 | |
参考例句: |
|
|
17 slumber | |
n.睡眠,沉睡状态 | |
参考例句: |
|
|
18 awakened | |
v.(使)醒( awaken的过去式和过去分词 );(使)觉醒;弄醒;(使)意识到 | |
参考例句: |
|
|
19 slay | |
v.杀死,宰杀,杀戮 | |
参考例句: |
|
|
20 slaying | |
杀戮。 | |
参考例句: |
|
|
21 hideous | |
adj.丑陋的,可憎的,可怕的,恐怖的 | |
参考例句: |
|
|
22 loomed | |
v.隐约出现,阴森地逼近( loom的过去式和过去分词 );隐约出现,阴森地逼近 | |
参考例句: |
|
|
23 mighty | |
adj.强有力的;巨大的 | |
参考例句: |
|
|
24 sickles | |
n.镰刀( sickle的名词复数 ) | |
参考例句: |
|
|
25 reapers | |
n.收割者,收获者( reaper的名词复数 );收割机 | |
参考例句: |
|
|
26 plentiful | |
adj.富裕的,丰富的 | |
参考例句: |
|
|
27 mantle | |
n.斗篷,覆罩之物,罩子;v.罩住,覆盖,脸红 | |
参考例句: |
|
|
28 shimmering | |
v.闪闪发光,发微光( shimmer的现在分词 ) | |
参考例句: |
|
|
29 foam | |
v./n.泡沫,起泡沫 | |
参考例句: |
|
|
30 glistened | |
v.湿物闪耀,闪亮( glisten的过去式和过去分词 ) | |
参考例句: |
|
|
31 fables | |
n.寓言( fable的名词复数 );神话,传说 | |
参考例句: |
|
|
32 mythical | |
adj.神话的;虚构的;想像的 | |
参考例句: |
|
|
33 mere | |
adj.纯粹的;仅仅,只不过 | |
参考例句: |
|
|
34 slayer | |
n. 杀人者,凶手 | |
参考例句: |
|
|
35 blemishes | |
n.(身体的)瘢点( blemish的名词复数 );伤疤;瑕疵;污点 | |
参考例句: |
|
|
36 preservation | |
n.保护,维护,保存,保留,保持 | |
参考例句: |
|
|
37 forefathers | |
n.祖先,先人;祖先,祖宗( forefather的名词复数 );列祖列宗;前人 | |
参考例句: |
|
|
38 peculiar | |
adj.古怪的,异常的;特殊的,特有的 | |
参考例句: |
|
|
39 embodied | |
v.表现( embody的过去式和过去分词 );象征;包括;包含 | |
参考例句: |
|
|
40 derived | |
vi.起源;由来;衍生;导出v.得到( derive的过去式和过去分词 );(从…中)得到获得;源于;(从…中)提取 | |
参考例句: |
|
|
41 rendering | |
n.表现,描写 | |
参考例句: |
|
|
42 narrative | |
n.叙述,故事;adj.叙事的,故事体的 | |
参考例句: |
|
|
43 antiquity | |
n.古老;高龄;古物,古迹 | |
参考例句: |
|
|
44 garbs | |
vt.装扮(garb的第三人称单数形式) | |
参考例句: |
|
|
45 judgment | |
n.审判;判断力,识别力,看法,意见 | |
参考例句: |
|
|
46 remodel | |
v.改造,改型,改变 | |
参考例句: |
|
|
47 immortal | |
adj.不朽的;永生的,不死的;神的 | |
参考例句: |
|
|
48 appreciation | |
n.评价;欣赏;感谢;领会,理解;价格上涨 | |
参考例句: |
|
|
49 accomplished | |
adj.有才艺的;有造诣的;达到了的 | |
参考例句: |
|
|
欢迎访问英文小说网 |