上一篇就有提及這篇文章，是以我大三的時候英國文學課的期末報告為雛形，從而加以修改與增加篇幅的一篇文章。
以當時我當時寫的報告的篇幅來看，上一篇文章只有完成第一部分，這一篇文章才是第二部分。
所以先說一下，這篇文章的主軸有三:
1.
晚期浪漫主義的時代背景
2.
浪漫主義的轉變
3.
晚期浪漫主義的支派與模式
*I:本文章將會包含大量的原文詩詞，不過我會盡量用中文來解釋那些原文詩詞的意思。此外，本文也會包含大量主觀看法，如有冒犯還望請見諒。
*II:由於這篇文章的雛型是文學課的報告，而且當時是利用比較的形式來寫的，因此沒有辦法進行太多的講解，頂多只能闡述風格。
<維多利亞時期(The Victorian Age):日不落帝國的誕生>
在西元1837年的時候，剛成年的維多利亞女王在伯父.威廉四世駕崩之後，登基為新的英國君王。
對於19世紀的英國與歐洲而言，這是很重要的一個地方—畢竟在女性成為君王這方面來看，她自己就在王位上坐了將近三分之二個世紀。
維多利亞時期對於英國而言，雖然是個充滿希望與光輝的年代，卻也同時是個充滿絕望與黑暗的年代。
當你面向太陽的時候，陰影自然就會灑落在你的背後—維多利亞時期的英國，可說是完美的詮釋了這句話。
更為進階的工業化、由英國掛帥的自由貿易體系(Free
Trade)、乃至高度(甚至可說是積極)的海外軍事擴張，讓英國不只建立了不列顛治世(Pax Britannica)的國際政治體系，更是成為了統御四分之一個世界的國家。
英國境內的富商與貴族，都在工業與貿易的掛帥下吃飽喝足，甚至還因而擁有了在1851年的時候開展了第一次的萬國博覽會的科技與財富。
反之，英國底層的人們開始越來越窮，而1860年代的改革法案雖然抑制了情況的惡化，卻也只是單純地將貧富差距擴大的情況控制住。
綜觀而言，蒸汽火車的開發與推廣、新興工業城市的崛起、科技的進步，都著實地改變了英國。
當維多利亞女王在西元1901年駕崩的時候，英國已經成為了名副其實的日不落帝國，而這個輝煌的時代也因為這個統御了英國三分之二個世紀的女性得名。
<浪漫主義的轉變:回顧與轉折>
雖然說對於英國的文學與文化而言，1837年到1901年的這段時間是維多利亞時期，但是對歐洲來說，1837年到1901年的這個時期的文學與文化是屬於後期浪漫主義(Late Romanticism)的一部分。
當然了，這不只是因為維多利亞女王是英國人(從歐洲的角度來說，這個年代毫無疑問就只是…19世紀的一部分)，更是因為維多利亞時期的詩其實有著很強烈的浪漫主義的影子。
首先，從上一篇文章提供的一些詩來看，我們可以發現早期浪漫主義其實互相都存在一些重疊了的部分。
1.
擔任敘述者的“我”:這一個部分在濟慈(John Keats)的詩中十分明顯，而沃斯華斯(William Wordsworth)也有運用這個風格。
2.
奇想與幻想:正如濟慈所著作的 “La Belle Dame Sans Merci”(殘酷的美女)所表現的，柯律茲(Samuel Taylor Coleridge)所著作的 Kubla Khan (《忽必烈汗》)也是屬於這個情況。
3.
大自然的描述:這個部分除了首推沃斯華斯意義不明的我如同雲朵孤獨的遊盪(“I Wandered Lonely as a Cloud”)，《忽必烈汗》也同樣有這樣的色彩。
雖然早期浪漫主義無疑有著迷人的地方，但是對於英國而言，早期浪漫主義與晚期浪漫主義的「橋梁」似乎並不存在。
這最主要的原因，正如上一篇所提到的，不只是因為早期浪漫主義詩人都很短命，而且後來過度發展也導致一些誇大不實或是無病呻吟的文風的產生。
所以其實直到1850年，早已退出詩壇多年的沃斯華斯逝世的時候，基本上維多利亞時期的詩才剛崛起。
但是維多利亞時期社會，雖然出現了諸如麥考雷(Thomas
Babington Macaulay)這類專門報喜不報憂、專門只有描寫工業社會與的益處的作家，卻也帶來了一些諸如狄更斯(Charles Dickens)之類的寫實主義(Realism)作家。
除此之外，維多利亞時期也出現了前拉斐爾主義(Pre-Raphaelitism)此一派別，主張讓詩與畫作結合，因此也讓維多利亞時期的詩壇出現了新的聲音。
而維多利亞時期的文風，也因為社會與文化的演變，因此出現了一些共通點:
1.
詩中有畫:維多利亞時期的詩，很多都因為情景的描繪之生動，從而常常成為畫家作畫的題材。
2.
奇想與幻想:正如同早期浪漫主義，晚期浪漫主義也有這樣的傾向，而且在題材上也更為多元。
3.
敘事獨白:這一類型的文風，雖然是浪漫主義的時候出現的，但是維多利亞時期更是將這種文風發揚光大了。
<後期浪漫主義:支派與模式的演變>
[I.詩中有畫(Picturesque)]
1.
前拉斐爾主義(Pre-Raphaelitism)
正如上述所提及的，前拉斐爾主義這個英國詩流派，主張的是讓詩可以與畫作相互連結。
在這個主張之下，一些維多利亞時期的詩，出現了一個相當有趣的現象—這些詩因為描繪情景之生動，甚至可以成為畫作的素材(反之亦然)。
而前拉斐爾主義，如果要弄得比較容易理解一點的話，可以說是那種屬於畫家兼任詩人(同樣反之亦然)的流派。
而在這個流派中最為有名的詩人，就是其中的兩個巨頭—羅瑟提(Dante Gabriel Rossetti)與史文伯恩(Algernon Charles Swinburne)。
羅瑟提雖然本身是畫家，但是正如上述所提及的，羅瑟提本人其實也是維多利亞時期算是有名的詩人之一。
In our
Museum galleries
To-day I
lingered o'er the prize
Dead Greece
vouchsafes to living eyes,—
Her Art for
ever in fresh wise
From hour to
hour rejoicing me.
Sighing I
turned at last to win
Once more
the London dirt and din;
And as I
made the swing-door spin
And issued,
they were hoisting in
A wingèd
beast from Nineveh.
A human face
the creature wore,
And hoofs
behind and hoofs before,
And flanks
with dark runes fretted o'er.
'Twas bull,
'twas mitred Minotaur,
A dead
disbowelled mystery:
The mummy of
a buried faith
Stark from
the charnel without scathe,
Its wings
stood for the light to bathe,—
Such fossil
cerements as might swathe
The very
corpse of Nineveh.
—取自羅瑟提著作之詩“The Burden of
Nineveh”(帝國殘留之物)
聽說這首詩，是羅瑟提在1855年左右參觀大英博物館(The British Museum)從中東搬回英國的文物之後，所寫出來的。
而這首詩所描繪的，正是現今仍放在大英博物館的兩河流域文物區門口，矗立在展廳門口兩側的人面牛身雕像。
其實真要說的話，這首詩就是典型前拉斐爾主義詩派的寫作手法—藉由生動地描繪標的物品，來達到詩中有畫的效果。
除了羅瑟提以外，前拉斐爾主義詩派的史文伯恩，也同樣在他寫的詩裡面表現出了此一詩派主張色彩的詩。
Asleep or
waking is it? for her neck,
Kissed over
close, wears yet a purple speck
Wherein the pained blood falters and goes
out;
Soft, and
stung softly — fairer for a fleck.
But though
my lips shut sucking on the place,
There is no
vein at work upon her face;
Her eyelids are so peaceable, no doubt
Deep sleep
has warmed her blood through all its ways.
Lo, this is
she that was the world's delight;
The old grey
years were parcels of her might;
The strewings of the ways wherein she
trod
Were the
twain seasons of the day and night.
Lo, she was
thus when her clear limbs enticed
All lips
that now grow sad with kissing Christ,
Stained with blood fallen from the feet
of God,
The feet and
hands whereat our souls were priced.
Alas, Lord,
surely thou art great and fair.
But lo her
wonderfully woven hair!
And thou didst heal us with thy piteous
kiss;
But see now,
Lord; her mouth is lovelier.
—取自史文伯恩著作之詩“Laus Veneris”(維納斯的讚歌)
雖然史文伯恩的這首詩，某種程度上其實應該算是一種讚歌，但是基本上這首詩在風格上也是前拉斐爾主義詩派。
如果從上方看下來的話，就會發現作者是從維納斯的脖子、臉部、四肢、乃至頭髮與嘴唇，一路寫下來的。
基本上，前拉斐爾主義詩派在維多利亞時期的文壇，可說是有著一定程度的決定性影響—畢竟部分的維多利亞詩人，之所所以承襲了詩中有畫的寫作風格，就是因為以前拉斐爾主義詩派為雛形。
2.
丁尼生(Alfred,
Lord Tennyson)
提到維多利亞時期詩人的時候，就不得不提及作為維多利亞時期詩人三本柱之一的丁尼生(Alfred, Lord Tennyson，以下文章中以T稱之)了。
基本上，T之所以是那個年代最有名的詩人之一，不僅僅是因為自身具備的才華，也與本身文采的展現有關。
沒記錯的話，T因為哀悼友人之死而著作的《悼文詩》(In
Memoriam A.H.H.)，甚至還感動了喪夫的維多利亞女王，而後來促成維多利亞女王與T之間的友情。
不過T其實是個典型的維多利亞時期詩人—以早期浪漫主義的詩人為雛形，從而衍生生自己的風格的一個詩人。
而T在風格上，最直接的雛型除了濟慈、雪萊、柯律茲以外，也承襲了前拉斐爾主義詩派詩中有畫的主張。
On either
side the river lie
Long fields
of barley and of rye,
That clothe
the wold and meet the sky;
And thro'
the field the road runs by
To many-tower'd Camelot;
The
yellow-leaved waterlily
The
green-sheathed daffodilly
Tremble in
the water chilly
Round about Shalott.
Willows
whiten, aspens shiver.
The sunbeam
showers break and quiver
In the
stream that runneth ever
By the
island in the river
Flowing down to Camelot.
Four gray
walls, and four gray towers
Overlook a
space of flowers,
And the
silent isle imbowers
The Lady of Shalott.
Underneath
the bearded barley,
The reaper,
reaping late and early,
Hears her
ever chanting cheerly,
Like an
angel, singing clearly,
O'er the stream of Camelot.
Piling the
sheaves in furrows airy,
Beneath the
moon, the reaper weary
Listening
whispers, ' 'Tis the fairy,
Lady of Shalott.'
The little
isle is all inrail'd
With a
rose-fence, and overtrail'd
With roses:
by the marge unhail'd
The shallop
flitteth silken sail'd,
Skimming down to Camelot.
A pearl
garland winds her head:
She leaneth
on a velvet bed,
Full royally
apparelled,
The Lady of Shalott.
—取自丁尼生著作之詩“The Lady of Shalott”(雪洛特的女士)
我們可以從這首詩看到，T首先從遠處的卡美洛(象徵著先進文明)開始描述，並且接著帶入了雪洛特島(象徵著遠古與大自然)。
而且接下來T描述的，就是雪洛特島上的景色，並且最後帶出了這首詩最為神秘的主角—雪洛特的女士。
{*附註1:其實“The
Lady of Shalott”(雪洛特的女士)這首詩，是以亞瑟王傳說中的一位同名人物為基礎，從而進行寫作的。}
從這首詩中，有沒有察覺到一種彷彿看著一幅畫的感覺呢?沒錯的，這種「詩中有畫」感覺，正好就是前拉斐爾主義詩派的風格，而T他老兄其實也是受到前拉斐爾主義詩派風格的影響。
[II.奇想與幻想(Fantasy)]
1.
丁尼生(Alfred,
Lord Tennyson)
說完了「詩中有畫」的風格之後，我們再來就踏入奇想與幻想的文風吧…欸，等等，怎麼又是丁尼生他老兄了?
我想各位大大看到這邊，應該也會產生這樣的疑惑－T他老兄不是才剛在上一個分類中出現?怎麼這邊又出現了?
基本上，T他老兄之所以能夠是維多利亞詩壇三本柱之一，就是因為他其實擅長於許多種類與風格的詩詞寫作
正如濟慈他老兄一樣，T同樣也能夠算是個浪漫主義時期的奇才，而且還是個比自己的臨摹者更為優秀的奇才
然而濟慈的才能，是因為他寫詩的時間比人家短，但是卻擁有非常強大的修正能力，可以藉由對於自己以前作品的錯誤地發現進行修正，達到與大部分早期浪漫主義詩人相同的成就
但是T他老兄的才能，卻是肇因於自身與生俱來所具備的才能與光華，而且他老兄本人本人其實也是那個時代的智者之一
說了那麼多，就讓我拿出為了這個區塊所帶來的，T最有名的大型作品之一的敘事詩(Epic)吧
That story which the bold Sir Bedivere,
First made and latest left of all the
knights,
Told, when the man was no more than a voice
In the white winter of his age, to those
With whom he dwelt, new faces, other minds.
For on their march to westward, Bedivere,
Who slowly paced among the slumbering host,
Heard in his tent the moanings of the King:
'I found Him in the shining of the stars,
I marked Him in the flowering of His fields,
But in His ways with men I find Him not.
I waged His wars, and now I pass and die.
O me! for why is all around us here
As if some lesser god had made the world,
But had not force to shape it as he would,
Till the High God behold it from beyond,
And enter it, and make it beautiful?
Or else as if the world were wholly fair,
But that these eyes of men are dense and dim,
And have not power to see it as it is:
Perchance, because we see not to the close;—
For I, being simple, thought to work His
will,
And have but stricken with the sword in vain;
And all whereon I leaned in wife and friend
Is traitor to my peace, and all my realm
Reels back into the beast, and is no more.
My God, thou hast forgotten me in my death;
Nay—God my Christ—I pass but shall not die.'
Then, ere that last weird battle in the
west,
There came on Arthur sleeping, Gawain killed
In Lancelot's war, the ghost of Gawain blown
Along a wandering wind, and past his ear
Went shrilling, 'Hollow, hollow all delight!
Hail, King! tomorrow thou shalt pass away.
Farewell! there is an isle of rest for thee.
And I am blown along a wandering wind,
And hollow, hollow, hollow all delight.'
And fainter onward, like wild birds that
change
Their season in the night and wail their way
From cloud to cloud, down the long wind the
dream
Shrilled; but in going mingled with dim cries
Far in the moonlit haze among the hills,
As of some lonely city sacked by night,
When all is lost, and wife and child with
wail
Pass to new lords; and Arthur woke and
called,
'Who spake? A dream. O light upon the wind,
Thine, Gawain, was the voice—are these dim
cries
Thine? or doth all that haunts the waste and
wild
Mourn, knowing it will go along with me?'
This heard the bold Sir Bedivere and
spake:
'O me, my King, let pass whatever will,
Elves, and the harmless glamour of the field;
But in their stead thy name and glory cling
To all high places like a golden cloud
For ever: but as yet thou shalt not pass.
Light was Gawain in life, and light in death
Is Gawain, for the ghost is as the man;
And care not thou for dreams from him, but
rise—
I hear the steps of Modred in the west,
And with him many of thy people, and knights
Once thine, whom thou hast loved, but grosser
grown
Than heathen, spitting at their vows and
thee.
Right well in heart they know thee for the
King.
Arise, go forth and conquer as of old.'
Then spake King Arthur to Sir Bedivere:
'Far other is this battle in the west
Whereto we move, than when we strove in
youth,
And brake the petty kings, and fought with
Rome,
Or thrust the heathen from the Roman wall,
And shook him through the north. Ill doom is
mine
To war against my people and my knights.
The king who fights his people fights
himself.
And they my knights, who loved me once, the
stroke
That strikes them dead is as my death to me.
Yet let us hence, and find or feel a way
Through this blind haze, which ever since I
saw
One lying in the dust at Almesbury,
Hath folded in the passes of the world.'
—取自丁尼生著作之長篇詩作品《王者敘事詩》(Idylls of the King)
{*附註2:其實這一段所摘錄的，是《王者敘事詩》的最後一個章節－「亞瑟王的離世」(The Passing of Arthur)。}
如果真的看起來會覺得很吃力的話，基本上是沒有關係的－畢竟T他老兄的寫作風格，就是典型那種優雅的文風加以晦澀難懂的用字。
而T他老兄寫作上的奇幻風格，其實非常的有趣－正如他所著作的“The Lady of Shalott”(雪洛特的女士)，《王者敘事詩》也是以亞瑟王為題材。
這一部分的詩，基本上是從貝迪維爾的角度來出發，並且述說亞瑟在最後的戰爭中重傷，最後逐漸死去的過程。
2.
克莉絲緹娜.羅瑟提(Christina
Rossetti)
如果有哪位大大覺得羅瑟提這個姓氏很眼熟的話，那麼你絕對沒有猜錯－此處提及的克莉絲緹娜.羅瑟提(以下文章以C稱之)，其實就是羅瑟提的妹妹
其實C在某種程度上，可以說是受到自己的兄長的影響－而那個年代大多數的女性詩人或作家，也都是類似的情況
然而C在風格上，與兄長並不那麼相似－雖然C也有前拉斐爾主義派別「詩中有畫」的色彩，但是C本人也寫過一套(以那個年代來看)很狂的作品
Morning and
evening
Maids heard
the goblins cry:
“Come buy
our orchard fruits,
Come buy,
come buy:
Apples and
quinces,
Lemons and
oranges,
Plump
unpeck’d cherries,
Melons and
raspberries,
Bloom-down-cheek’d
peaches,
Swart-headed
mulberries,
Wild
free-born cranberries,
Crab-apples,
dewberries,
Pine-apples,
blackberries,
Apricots,
strawberries;—
All ripe
together
In summer
weather,—
Morns that
pass by,
Fair eves
that fly;
Come buy,
come buy:
Our grapes
fresh from the vine,
Pomegranates
full and fine,
Dates and
sharp bullaces,
Rare pears
and greengages,
Damsons and
bilberries,
Taste them
and try:
Currants and
gooseberries,
Bright-fire-like
barberries,
Figs to fill
your mouth,
Citrons from
the South,
Sweet to
tongue and sound to eye;
Come buy,
come buy.”
Evening by
evening
Among the
brookside rushes,
Laura bow’d
her head to hear,
Lizzie veil’d
her blushes:
Crouching
close together
In the
cooling weather,
With
clasping arms and cautioning lips,
With
tingling cheeks and finger tips.
“Lie close,”
Laura said,
Pricking up
her golden head:
“We must not
look at goblin men,
We must not
buy their fruits:
Who knows
upon what soil they fed
Their hungry
thirsty roots?”
“Come buy,”
call the goblins
Hobbling
down the glen.
“Oh,” cried
Lizzie, “Laura, Laura,
You should
not peep at goblin men.”
Lizzie
cover’d up her eyes,
Cover’d
close lest they should look;
Laura rear’d
her glossy head,
And
whisper’d like the restless brook:
“Look,
Lizzie, look, Lizzie,
Down the
glen tramp little men.
One hauls a
basket,
One bears a
plate,
One lugs a
golden dish
Of many
pounds weight.
How fair the
vine must grow
Whose grapes
are so luscious;
How warm the
wind must blow
Through
those fruit bushes.”
“No,” said
Lizzie, “No, no, no;
Their offers
should not charm us,
Their evil
gifts would harm us.”
She thrust a
dimpled finger
In each ear,
shut eyes and ran:
Curious
Laura chose to linger
Wondering at
each merchant man.
One had a
cat’s face,
One whisk’d
a tail,
One tramp’d
at a rat’s pace,
One crawl’d
like a snail,
One like a
wombat prowl’d obtuse and furry,
One like a
ratel tumbled hurry skurry.
She heard a
voice like voice of doves
Cooing all
together:
They sounded
kind and full of loves
In the
pleasant weather.
－取自克莉絲緹娜.羅瑟提著作之長篇詩《哥布林市集》(The Goblin Market)
基本上這個部分除了介紹哥布林市集以外，也帶出了兩位女主角，並且也描繪了那些哥布林的形象。
其實如果要說的話，這首詩之所以很狂，是因為內容的緣故…不過考量到一些地方完全是不宜出現的內容，因此還是不要劇透好了(被打死
[III.敘事獨白(Dramatic Monologue)]
所謂的敘事獨白(Dramatic
Monologue)，就是作者將自己想像成一個人物，並且只是單純從那個人物的視角書寫(但是絕對不是中二病)。
一般來說，敘事獨白之所以是高難度類型，是因為你在這樣的類型的作品中，是連0.01%的上帝視角都不被允許的。
這個類型的寫作方式，通常都是與戲劇的寫作方式掛鉤的，而一些小說也會參照這樣的單人唯一視角(並且100%沒有上帝視角)的寫作方式。
1.
丁尼生(Alfred,
Lord Tennyson)
沒錯，這個區塊同樣要帶來的，就是獨霸維多利亞時期詩壇的T老兄，在這個領域所寫過的最有名的一首詩。
The lights
begin to twinkle from the rocks:
The long day
wanes: the slow moon climbs: the deep
Moans round
with many voices. Come, my friends,
'T is not
too late to seek a newer world.
Push off,
and sitting well in order smite
The sounding
furrows; for my purpose holds
To sail
beyond the sunset, and the baths
Of all the
western stars, until I die.
It may be
that the gulfs will wash us down:
It may be we
shall touch the Happy Isles,
And see the
great Achilles, whom we knew.
Tho' much is
taken, much abides; and tho'
We are not
now that strength which in old days
Moved earth
and heaven, that which we are, we are;
One equal
temper of heroic hearts,
Made weak by
time and fate, but strong in will
To strive,
to seek, to find, and not to yield.
－取自丁尼生所著作之獨白詩“Ulysses”(尤利西斯)
{*附註3:其實尤利西斯(Ulysses)這個名字，就是希臘神話人物奧地修斯(Odysseus)的羅馬名字。}
這首詩其實就是以逐漸老去的尤利西斯當敘事者，而從慷慨激昂的語氣中所表現出的精神，可以用一句話說明－老驥伏櫪，志在千里。
尤其最後那句話，更是表現出了敘事者不甘願在老去的過程中腐朽，而想要再來大幹一場的企圖。
2.
白朗寧(Robert
Browning)
維多利亞時期詩壇三本柱的另外一個，就是這個區塊所要帶來，同樣屬於那個年代巨頭的詩人之一的白朗寧(Robert Browning，文章中以R稱之)。
R早年因為妻子.伊莉莎白(Elizabeth
Barrett Browning)比自己有名，所以被提到的時候，常常被稱為是白朗寧太太的丈夫
而R還活著的時候，名氣也比不上T，但是他卻是典型的人死了之後，反而才變得比較有名的奇怪人士
總的來說，由於R早年的時候也曾經致力於戲劇創作，因此敘事獨白就自然而然成為了R的強項
以下所要帶來的，就是R在敘事獨白這一個領域中，較為有名的一首詩
That’s my
last Duchess painted on the wall,
Looking as
if she were alive. I call
That piece a
wonder, now; Fra Pandolf’s hands
Worked
busily a day, and there she stands.
Will’t
please you sit and look at her? I said
“Fra
Pandolf” by design, for never read
Strangers
like you that pictured countenance,
The depth
and passion of its earnest glance,
But to
myself they turned (since none puts by
The curtain
I have drawn for you, but I)
And seemed
as they would ask me, if they durst,
How such a
glance came there; so, not the first
Are you to
turn and ask thus. Sir, ’twas not
Her
husband’s presence only, called that spot
Of joy into
the Duchess’ cheek; perhaps
Fra Pandolf
chanced to say, “Her mantle laps
Over my
lady’s wrist too much,” or “Paint
Must never
hope to reproduce the faint
Half-flush
that dies along her throat.” Such stuff
Was
courtesy, she thought, and cause enough
For calling
up that spot of joy. She had
A heart—how
shall I say?— too soon made glad,
Too easily
impressed; she liked whate’er
She looked
on, and her looks went everywhere.
Sir, ’twas
all one! My favour at her breast,
The dropping
of the daylight in the West,
The bough of
cherries some officious fool
Broke in the
orchard for her, the white mule
She rode
with round the terrace—all and each
Would draw
from her alike the approving speech,
Or blush, at
least. She thanked men—good! but thanked
Somehow—I
know not how—as if she ranked
My gift of a
nine-hundred-years-old name
With
anybody’s gift. Who’d stoop to blame
This sort of
trifling? Even had you skill
In
speech—which I have not—to make your will
Quite clear
to such an one, and say, “Just this
Or that in
you disgusts me; here you miss,
Or there
exceed the mark”—and if she let
Herself be
lessoned so, nor plainly set
Her wits to
yours, forsooth, and made excuse—
E’en then
would be some stooping; and I choose
Never to
stoop. Oh, sir, she smiled, no doubt,
Whene’er I
passed her; but who passed without
Much the
same smile? This grew; I gave commands;
Then all
smiles stopped together. There she stands
As if alive.
Will’t please you rise? We’ll meet
The company
below, then. I repeat,
The Count
your master’s known munificence
Is ample
warrant that no just pretense
Of mine for
dowry will be disallowed;
Though his
fair daughter’s self, as I avowed
At starting,
is my object. Nay, we’ll go
Together
down, sir. Notice Neptune, though,
Taming a
sea-horse, thought a rarity,
Which Claus
of Innsbruck cast in bronze for me!
－白朗寧著作之詩“My Last
Duchess”(公爵大人的前妻)
這首詩的敘事者，是一個真實存在的歷史人物－16世紀的時候，統御著義大利某城市國家的費拉拉公爵(Alfonso
II d'Este, Duke of Ferrara)。
其實這首詩雖然表面上，是公爵在談論自己的妻子，但是其中可以看出公爵是個非常自以為是的自大狂，還是個非常有病(且自以為品味高尚)的人。
值得一提的是，大多數人都懷疑殺害了公爵夫人的人，其實就是公爵本人(這是有歷史根據的，而且詩中也有這樣的伏筆)。
在R著作的詩中，“My Last Duchess”(公爵大人的前妻)可說是因為獨特的風格與強大的後座力，而成為其代表作。
至此，浪漫主義已經在喬治王時期跨入從維多利亞時期的變化與轉折之中，產生了全新的文風。
當19世紀結束，而維多利亞女王駕崩的時候，R與T之類的維多利亞時期名詩人也都已經逝世，浪漫主義也是因而結束的。
<後語>
其實最初沒有想到要寫這麼多，不過最後把一堆原本在報告中沒有提及的東西都加進來之後，就變成這樣一個大文章了。(但是因為受限於自己的力氣，所以沒能寫出一些其他應該要補充的，希望能多加見諒)
當時在寫報告的時候，本來還在想著要怎麼寫早期浪漫主義的比較，但是我家二姊卻在醞釀的過程中問了我一個問題。
當我二姊看了我的英國文學課本後，某天她突然問了我一個問題－「你不覺得，丁尼生的《悼文詩》，其實在文風上很浪漫主義嗎?」
正是因為有我姊的這句話，所以我才赫然聯想到，為何西洋文學史將維多利亞時期視為後期浪漫主義的一部分。
於是得到了我二姊的那個問題的我，就開始著手當時的報告，也是因此才有了如今的這篇文章。
因此最後，這篇文章雖然是源自我的報告，但還是容許我在此，利用這篇文章向我家二姊致敬。
畢竟沒有她當初無意間問了我的那個問題的話，我當初就不可能將丁尼生也寫入當時的那份報告，也不會衍生出如今的這篇文章。
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