As it is possible the mere1 English reader may have a different idea of romance from the author of these little1 volumes, and may consequently expect a kind of entertainment not to be found, nor which was even intended, in the following pages, it may not be improper2 to premise3 a few words concerning this kind of writing, which I do not remember to have seen hitherto attempted in our language.
1 Joseph Andrews was originally published in 2 vols. duodecimo.
The EPIC4, as well as the DRAMA, is divided into tragedy and comedy. HOMER, who was the father of this species of poetry, gave us a pattern of both these, though that of the latter kind is entirely5 lost; which Aristotle tells us, bore the same relation to comedy which his Iliad bears to tragedy. And perhaps, that we have no more instances of it among the writers of antiquity6, is owing to the loss of this great pattern, which, had it survived, would have found its imitators equally with the other poems of this great original.
And farther, as this poetry may be tragic7 or comic, I will not scruple8 to say it may be likewise either in verse or prose: for though it wants one particular, which the critic enumerates9 in the constituent10 parts of an epic poem, namely metre; yet, when any kind of writing contains all its other parts, such as fable11, action, characters, sentiments, and diction, and is deficient12 in metre only, it seems, I think, reasonable to refer it to the epic; at least, as no critic hath thought proper to range it under any other head, or to assign it a particular name to itself.
Thus the Telemachus of the archbishop of Cambray appears to me of the epic kind, as well as the Odyssey13 of Homer; indeed, it is much fairer and more reasonable to give it a name common with that species from which it differs only in a single instance, than to confound it with those which it resembles in no other. Such are those voluminous works, commonly called Romances, namely, Clelia, Cleopatra, Astraea, Cassandra, the Grand Cyrus, and innumerable others, which contain, as I apprehend14, very little instruction or entertainment.
Now, a comic romance is a comic epic poem in prose; differing from comedy, as the serious epic from tragedy: its action being more extended and comprehensive; containing a much larger circle of incidents, and introducing a greater variety of characters. It differs from the serious romance in its fable and action, in this; that as in the one these are grave and solemn, so in the other they are light and ridiculous: it differs in its characters by introducing persons of inferior rank, and consequently, of inferior manners, whereas the grave romance sets the highest before us: lastly, in its sentiments and diction; by preserving the ludicrous instead of the sublime15. In the diction, I think, burlesque16 itself may be sometimes admitted; of which many instances will occur in this work, as in the description of the battles, and some other places, not necessary to be pointed17 out to the classical reader, for whose entertainment those parodies18 or burlesque imitations are chiefly calculated.
But though we have sometimes admitted this in our diction, we have carefully excluded it from our sentiments and characters; for there it is never properly introduced, unless in writings of the burlesque kind, which this is not intended to be. Indeed, no two species of writing can differ more widely than the comic and the burlesque; for as the latter is ever the exhibition of what is monstrous19 and unnatural20, and where our delight, if we examine it, arises from the surprizing absurdity21, as in appropriating the manners of the highest to the lowest, or e converso; so in the former we should ever confine ourselves strictly22 to nature, from the just imitation of which will flow all the pleasure we can this way convey to a sensible reader. And perhaps there is one reason why a comic writer should of all others be the least excused for deviating23 from nature, since it may not be always so easy for a serious poet to meet with the great and the admirable; but life everywhere furnishes an accurate observer with the ridiculous.
I have hinted this little concerning burlesque, because I have often heard that name given to performances which have been truly of the comic kind, from the author’s having sometimes admitted it in his diction only; which, as it is the dress of poetry, doth, like the dress of men, establish characters (the one of the whole poem, and the other of the whole man), in vulgar opinion, beyond any of their greater excellences24: but surely, a certain drollery26 in stile, where characters and sentiments are perfectly27 natural, no more constitutes the burlesque, than an empty pomp and dignity of words, where everything else is mean and low, can entitle any performance to the appellation28 of the true sublime.
And I apprehend my Lord Shaftesbury’s opinion of mere burlesque agrees with mine, when he asserts, There is no such thing to be found in the writings of the ancients. But perhaps I have less abhorrence29 than he professes30 for it; and that, not because I have had some little success on the stage this way, but rather as it contributes more to exquisite31 mirth and laughter than any other; and these are probably more wholesome32 physic for the mind, and conduce better to purge33 away spleen, melancholy34, and ill affections, than is generally imagined. Nay35, I will appeal to common observation, whether the same companies are not found more full of good-humour and benevolence36, after they have been sweetened for two or three hours with entertainments of this kind, than when soured by a tragedy or a grave lecture.
But to illustrate37 all this by another science, in which, perhaps, we shall see the distinction more clearly and plainly, let us examine the works of a comic history painter, with those performances which the Italians call Caricatura, where we shall find the true excellence25 of the former to consist in the exactest copying of nature; insomuch that a judicious38 eye instantly rejects anything outre, any liberty which the painter hath taken with the features of that alma mater; whereas in the Caricatura we allow all licence — its aim is to exhibit monsters, not men; and all distortions and exaggerations whatever are within its proper province.
Now, what Caricatura is in painting, Burlesque is in writing; and in the same manner the comic writer and painter correlate to each other. And here I shall observe, that, as in the former the painter seems to have the advantage; so it is in the latter infinitely39 on the side of the writer; for the Monstrous is much easier to paint than describe, and the Ridiculous to describe than paint.
And though perhaps this latter species doth not in either science so strongly affect and agitate40 the muscles as the other; yet it will be owned, I believe, that a more rational and useful pleasure arises to us from it. He who should call the ingenious Hogarth a burlesque painter, would, in my opinion, do him very little honour; for sure it is much easier, much less the subject of admiration41, to paint a man with a nose, or any other feature, of a preposterous42 size, or to expose him in some absurd or monstrous attitude, than to express the affections of men on canvas. It hath been thought a vast commendation of a painter to say his figures seem to breathe; but surely it is a much greater and nobler applause, that they appear to think.
But to return. The Ridiculous only, as I have before said, falls within my province in the present work. Nor will some explanation of this word be thought impertinent by the reader, if he considers how wonderfully it hath been mistaken, even by writers who have professed43 it: for to what but such a mistake can we attribute the many attempts to ridicule44 the blackest villanies, and, what is yet worse, the most dreadful calamities45? What could exceed the absurdity of an author, who should write the comedy of Nero, with the merry incident of ripping up his mother’s belly46? or what would give a greater shock to humanity than an attempt to expose the miseries47 of poverty and distress48 to ridicule? And yet the reader will not want much learning to suggest such instances to himself.
Besides, it may seem remarkable49, that Aristotle, who is so fond and free of definitions, hath not thought proper to define the Ridiculous. Indeed, where he tells us it is proper to comedy, he hath remarked that villany is not its object: but he hath not, as I remember, positively50 asserted what is. Nor doth the Abbe Bellegarde, who hath written a treatise51 on this subject, though he shows us many species of it, once trace it to its fountain.
The only source of the true Ridiculous (as it appears to me) is affectation. But though it arises from one spring only, when we consider the infinite streams into which this one branches, we shall presently cease to admire at the copious52 field it affords to an observer. Now, affectation proceeds from one of these two causes, vanity or hypocrisy53: for as vanity puts us on affecting false characters, in order to purchase applause; so hypocrisy sets us on an endeavour to avoid censure54, by concealing55 our vices56 under an appearance of their opposite virtues58. And though these two causes are often confounded (for there is some difficulty in distinguishing them), yet, as they proceed from very different motives59, so they are as clearly distinct in their operations: for indeed, the affectation which arises from vanity is nearer to truth than the other, as it hath not that violent repugnancy of nature to struggle with, which that of the hypocrite hath. It may be likewise noted60, that affectation doth not imply an absolute negation61 of those qualities which are affected62; and, therefore, though, when it proceeds from hypocrisy, it be nearly allied63 to deceit; yet when it comes from vanity only, it partakes of the nature of ostentation64: for instance, the affectation of liberality in a vain man differs visibly from the same affectation in the avaricious65; for though the vain man is not what he would appear, or hath not the virtue57 he affects, to the degree he would be thought to have it; yet it sits less awkwardly on him than on the avaricious man, who is the very reverse of what he would seem to be.
From the discovery of this affectation arises the Ridiculous, which always strikes the reader with surprize and pleasure; and that in a higher and stronger degree when the affectation arises from hypocrisy, than when from vanity; for to discover any one to be the exact reverse of what he affects, is more surprizing, and consequently more ridiculous, than to find him a little deficient in the quality he desires the reputation of. I might observe that our Ben Jonson, who of all men understood the Ridiculous the best, hath chiefly used the hypocritical affectation.
Now, from affectation only, the misfortunes and calamities of life, or the imperfections of nature, may become the objects of ridicule. Surely he hath a very ill-framed mind who can look on ugliness, infirmity, or poverty, as ridiculous in themselves: nor do I believe any man living, who meets a dirty fellow riding through the streets in a cart, is struck with an idea of the Ridiculous from it; but if he should see the same figure descend66 from his coach and six, or bolt from his chair with his hat under his arm, he would then begin to laugh, and with justice. In the same manner, were we to enter a poor house and behold67 a wretched family shivering with cold and languishing68 with hunger, it would not incline us to laughter (at least we must have very diabolical69 natures if it would); but should we discover there a grate, instead of coals, adorned70 with flowers, empty plate or china dishes on the sideboard, or any other affectation of riches and finery, either on their persons or in their furniture, we might then indeed be excused for ridiculing71 so fantastical an appearance. Much less are natural imperfections the object of derision; but when ugliness aims at the applause of beauty, or lameness72 endeavours to display agility73, it is then that these unfortunate circumstances, which at first moved our compassion74, tend only to raise our mirth.
The poet carries this very far:—
None are for being what they are in fault,
But for not being what they would be thought.
Where if the metre would suffer the word Ridiculous to close the first line, the thought would be rather more proper. Great vices are the proper objects of our detestation, smaller faults, of our pity; but affectation appears to me the only true source of the Ridiculous.
But perhaps it may be objected to me, that I have against my own rules introduced vices, and of a very black kind, into this work. To which I shall answer: first, that it is very difficult to pursue a series of human actions, and keep clear from them. Secondly75, that the vices to be found here are rather the accidental consequences of some human frailty76 or foible, than causes habitually77 existing in the mind. Thirdly, that they are never set forth78 as the objects of ridicule, but detestation. Fourthly, that they are never the principal figure at that time on the scene: and, lastly, they never produce the intended evil.
Having thus distinguished79 Joseph Andrews from the productions of romance writers on the one hand and burlesque writers on the other, and given some few very short hints (for I intended no more) of this species of writing, which I have affirmed to be hitherto unattempted in our language; I shall leave to my good-natured reader to apply my piece to my observations, and will detain him no longer than with a word concerning the characters in this work.
And here I solemnly protest I have no intention to vilify80 or asperse81 any one; for though everything is copied from the book of nature, and scarce a character or action produced which I have not taken from my I own observations and experience; yet I have used the utmost care to obscure the persons by such different circumstances, degrees, and colours, that it will be impossible to guess at them with any degree of certainty; and if it ever happens otherwise, it is only where the failure characterized is so minute, that it is a foible only which the party himself may laugh at as well as any other.
As to the character of Adams, as it is the most glaring in the whole, so I conceive it is not to be found in any book now extant. It is designed a character of perfect simplicity82; and as the goodness of his heart will recommend him to the good-natured, so I hope it will excuse me to the gentlemen of his cloth; for whom, while they are worthy83 of their sacred order, no man can possibly have a greater respect. They will therefore excuse me, notwithstanding the low adventures in which he is engaged, that I have made him a clergyman; since no other office could have given him so many opportunities of displaying his worthy inclinations84.
收听单词发音 |
1
mere
|
|
| adj.纯粹的；仅仅，只不过 | |
参考例句： |
|
|
|
|
2
improper
|
|
| adj.不适当的，不合适的，不正确的，不合礼仪的 | |
参考例句： |
|
|
|
|
3
premise
|
|
| n.前提；v.提论，预述 | |
参考例句： |
|
|
|
|
4
epic
|
|
| n.史诗，叙事诗；adj.史诗般的，壮丽的 | |
参考例句： |
|
|
|
|
5
entirely
|
|
| ad.全部地，完整地；完全地，彻底地 | |
参考例句： |
|
|
|
|
6
antiquity
|
|
| n.古老；高龄；古物，古迹 | |
参考例句： |
|
|
|
|
7
tragic
|
|
| adj.悲剧的，悲剧性的，悲惨的 | |
参考例句： |
|
|
|
|
8
scruple
|
|
| n./v.顾忌，迟疑 | |
参考例句： |
|
|
|
|
9
enumerates
|
|
| v.列举，枚举，数( enumerate的第三人称单数 ) | |
参考例句： |
|
|
|
|
10
constituent
|
|
| n.选民；成分，组分；adj.组成的，构成的 | |
参考例句： |
|
|
|
|
11
fable
|
|
| n.寓言；童话；神话 | |
参考例句： |
|
|
|
|
12
deficient
|
|
| adj.不足的，不充份的，有缺陷的 | |
参考例句： |
|
|
|
|
13
odyssey
|
|
| n.长途冒险旅行；一连串的冒险 | |
参考例句： |
|
|
|
|
14
apprehend
|
|
| vt.理解，领悟，逮捕，拘捕，忧虑 | |
参考例句： |
|
|
|
|
15
sublime
|
|
| adj.崇高的，伟大的；极度的，不顾后果的 | |
参考例句： |
|
|
|
|
16
burlesque
|
|
| v.嘲弄，戏仿；n.嘲弄，取笑，滑稽模仿 | |
参考例句： |
|
|
|
|
17
pointed
|
|
| adj.尖的，直截了当的 | |
参考例句： |
|
|
|
|
18
parodies
|
|
| n.拙劣的模仿( parody的名词复数 )；恶搞；滑稽的模仿诗文；表面上模仿得笨拙但充满了机智用来嘲弄别人作品的作品v.滑稽地模仿，拙劣地模仿( parody的第三人称单数 ) | |
参考例句： |
|
|
|
|
19
monstrous
|
|
| adj.巨大的；恐怖的；可耻的，丢脸的 | |
参考例句： |
|
|
|
|
20
unnatural
|
|
| adj.不自然的；反常的 | |
参考例句： |
|
|
|
|
21
absurdity
|
|
| n.荒谬，愚蠢；谬论 | |
参考例句： |
|
|
|
|
22
strictly
|
|
| adv.严厉地，严格地；严密地 | |
参考例句： |
|
|
|
|
23
deviating
|
|
| v.偏离，越轨( deviate的现在分词 ) | |
参考例句： |
|
|
|
|
24
excellences
|
|
| n.卓越( excellence的名词复数 )；（只用于所修饰的名词后）杰出的；卓越的；出类拔萃的 | |
参考例句： |
|
|
|
|
25
excellence
|
|
| n.优秀，杰出，(pl.)优点，美德 | |
参考例句： |
|
|
|
|
26
drollery
|
|
| n.开玩笑，说笑话；滑稽可笑的图画（或故事、小戏等） | |
参考例句： |
|
|
|
|
27
perfectly
|
|
| adv.完美地，无可非议地，彻底地 | |
参考例句： |
|
|
|
|
28
appellation
|
|
| n.名称，称呼 | |
参考例句： |
|
|
|
|
29
abhorrence
|
|
| n.憎恶；可憎恶的事 | |
参考例句： |
|
|
|
|
30
professes
|
|
| 声称( profess的第三人称单数 )； 宣称； 公开表明； 信奉 | |
参考例句： |
|
|
|
|
31
exquisite
|
|
| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
参考例句： |
|
|
|
|
32
wholesome
|
|
| adj.适合；卫生的；有益健康的；显示身心健康的 | |
参考例句： |
|
|
|
|
33
purge
|
|
| n.整肃，清除，泻药，净化；vt.净化，清除，摆脱；vi.清除，通便，腹泻，变得清洁 | |
参考例句： |
|
|
|
|
34
melancholy
|
|
| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
参考例句： |
|
|
|
|
35
nay
|
|
| adv.不；n.反对票，投反对票者 | |
参考例句： |
|
|
|
|
36
benevolence
|
|
| n.慈悲，捐助 | |
参考例句： |
|
|
|
|
37
illustrate
|
|
| v.举例说明，阐明；图解，加插图 | |
参考例句： |
|
|
|
|
38
judicious
|
|
| adj.明智的，明断的，能作出明智决定的 | |
参考例句： |
|
|
|
|
39
infinitely
|
|
| adv.无限地，无穷地 | |
参考例句： |
|
|
|
|
40
agitate
|
|
| vi.(for,against)煽动，鼓动；vt.搅动 | |
参考例句： |
|
|
|
|
41
admiration
|
|
| n.钦佩，赞美，羡慕 | |
参考例句： |
|
|
|
|
42
preposterous
|
|
| adj.荒谬的，可笑的 | |
参考例句： |
|
|
|
|
43
professed
|
|
| 公开声称的，伪称的，已立誓信教的 | |
参考例句： |
|
|
|
|
44
ridicule
|
|
| v.讥讽，挖苦；n.嘲弄 | |
参考例句： |
|
|
|
|
45
calamities
|
|
| n.灾祸，灾难( calamity的名词复数 )；不幸之事 | |
参考例句： |
|
|
|
|
46
belly
|
|
| n.肚子，腹部；(像肚子一样)鼓起的部分，膛 | |
参考例句： |
|
|
|
|
47
miseries
|
|
| n.痛苦( misery的名词复数 )；痛苦的事；穷困；常发牢骚的人 | |
参考例句： |
|
|
|
|
48
distress
|
|
| n.苦恼，痛苦，不舒适；不幸；vt.使悲痛 | |
参考例句： |
|
|
|
|
49
remarkable
|
|
| adj.显著的，异常的，非凡的，值得注意的 | |
参考例句： |
|
|
|
|
50
positively
|
|
| adv.明确地，断然，坚决地；实在，确实 | |
参考例句： |
|
|
|
|
51
treatise
|
|
| n.专著；(专题)论文 | |
参考例句： |
|
|
|
|
52
copious
|
|
| adj.丰富的，大量的 | |
参考例句： |
|
|
|
|
53
hypocrisy
|
|
| n.伪善，虚伪 | |
参考例句： |
|
|
|
|
54
censure
|
|
| v./n.责备；非难；责难 | |
参考例句： |
|
|
|
|
55
concealing
|
|
| v.隐藏，隐瞒，遮住( conceal的现在分词 ) | |
参考例句： |
|
|
|
|
56
vices
|
|
| 缺陷( vice的名词复数 )； 恶习； 不道德行为； 台钳 | |
参考例句： |
|
|
|
|
57
virtue
|
|
| n.德行，美德；贞操；优点；功效，效力 | |
参考例句： |
|
|
|
|
58
virtues
|
|
| 美德( virtue的名词复数 )； 德行； 优点； 长处 | |
参考例句： |
|
|
|
|
59
motives
|
|
| n.动机，目的( motive的名词复数 ) | |
参考例句： |
|
|
|
|
60
noted
|
|
| adj.著名的，知名的 | |
参考例句： |
|
|
|
|
61
negation
|
|
| n.否定；否认 | |
参考例句： |
|
|
|
|
62
affected
|
|
| adj.不自然的，假装的 | |
参考例句： |
|
|
|
|
63
allied
|
|
| adj.协约国的；同盟国的 | |
参考例句： |
|
|
|
|
64
ostentation
|
|
| n.夸耀，卖弄 | |
参考例句： |
|
|
|
|
65
avaricious
|
|
| adj.贪婪的，贪心的 | |
参考例句： |
|
|
|
|
66
descend
|
|
| vt./vi.传下来，下来，下降 | |
参考例句： |
|
|
|
|
67
behold
|
|
| v.看，注视，看到 | |
参考例句： |
|
|
|
|
68
languishing
|
|
| a. 衰弱下去的 | |
参考例句： |
|
|
|
|
69
diabolical
|
|
| adj.恶魔似的，凶暴的 | |
参考例句： |
|
|
|
|
70
adorned
|
|
| [计]被修饰的 | |
参考例句： |
|
|
|
|
71
ridiculing
|
|
| v.嘲笑，嘲弄，奚落( ridicule的现在分词 ) | |
参考例句： |
|
|
|
|
72
lameness
|
|
| n. 跛, 瘸, 残废 | |
参考例句： |
|
|
|
|
73
agility
|
|
| n.敏捷，活泼 | |
参考例句： |
|
|
|
|
74
compassion
|
|
| n.同情，怜悯 | |
参考例句： |
|
|
|
|
75
secondly
|
|
| adv.第二，其次 | |
参考例句： |
|
|
|
|
76
frailty
|
|
| n.脆弱；意志薄弱 | |
参考例句： |
|
|
|
|
77
habitually
|
|
| ad.习惯地，通常地 | |
参考例句： |
|
|
|
|
78
forth
|
|
| adv.向前；向外，往外 | |
参考例句： |
|
|
|
|
79
distinguished
|
|
| adj.卓越的，杰出的，著名的 | |
参考例句： |
|
|
|
|
80
vilify
|
|
| v.诽谤，中伤 | |
参考例句： |
|
|
|
|
81
asperse
|
|
| v.流言；n.流言 | |
参考例句： |
|
|
|
|
82
simplicity
|
|
| n.简单，简易；朴素；直率，单纯 | |
参考例句： |
|
|
|
|
83
worthy
|
|
| adj.(of)值得的，配得上的；有价值的 | |
参考例句： |
|
|
|
|
84
inclinations
|
|
| 倾向( inclination的名词复数 )； 倾斜； 爱好； 斜坡 | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |