作者：[英] 沃特·佩特（Walter Pater）
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文艺复兴(外研社双语读库)试读：
Two Early French Stories两则早期法国故事The history of the Renaissance ends in France, and carries us away from Italy to the beautiful cities of the country of the Loire. But it was in France also, in a very important sense, that the Renaissance had begun. French writers, who are fond of connecting the creations of Italian genius with a French origin, who tell us how Saint Francis of Assisi took not his name only, but all those notions of chivalry and romantic love which so deeply penetrated his thoughts, from a French source, how Boccaccio borrowed the outlines of his stories from the old French fabliaux, and how Dante himself expressly connects the origin of the art of miniature-painting with the city of Paris, have often dwelt on this notion of a Renaissance in the end of the twelfth and the beginning of the thirteenth century, a Renaissance within the limits of the middle age itself—a brilliant, but in part abortive effort to do for human life and the human mind what was afterwards done in the fifteenth. The word Renaissance, indeed, is now generally used to denote not merely the revival of classical antiquity which took place in the fifteenth century, and to which the word was first applied, but a whole complex movement, of which that revival of classical antiquity was but one element or symptom. For us the Renaissance is the name of a many-sided but yet united movement, in which the love of the things of the intellect and the imagination for their own sake, the desire for a more liberal and comely way of conceiving life, make themselves felt, urging those who experience this desire to search out first one and then another means of intellectual or imaginative enjoyment, and directing them not only to the discovery of old and forgotten sources of this enjoyment, but to the divination of fresh sources thereof—new experiences, new subjects of poetry, new forms of art. Of such feeling there was a great out break in the end of the twelfth and the beginning of the following century. Here and there, under rare and happy conditions, in pointed architecture, in the doc trines of romantic love, in the poetry of Provence, the rude strength of the middle age turns to sweetness; and the taste for sweetness generated there becomes the seed of the classical revival in it, prompting it constantly to seek after the springs of perfect sweetness in the Hellenic world. And coming after a long period in which this instinct had been crushed, that true "dark age", in which so many sources of intellectual and imaginative enjoyment had actually disappeared, this outbreak is rightly called a Renaissance, a revival.
文艺复兴的历史结束于法国，我们随它从意大利来到卢瓦尔河畔之国的那些美丽城市。但从某种很重要的意义来说，文艺复兴也开始于法国。法国作家喜欢将意大利天才人物的作品与法国血统联系起来。他们告诉我们阿西西的圣·弗朗西斯不仅取了个法国式的名字，而且那些深刻影响他思想的骑士精神和罗曼蒂克爱情的全部概念也是来源于法国；还告诉我们薄伽丘是怎样借用法国古代讽刺性寓言诗，构想了他故事的框架；但丁如何明确地把巴黎归为微型画的发源地。法国作家总认为文艺复兴的概念开始于12世纪末13世纪初，存在于中世纪自身的局限之中——虽然伟大，其中为追求人类生活和人类心灵的一些努力却是落空了，之后在15世纪方才取得了成就。的确，现在，文艺复兴这个词不仅泛指15世纪出现的古典文化复兴（这也是这个词最初使用时的含义所指），而且是指整个错综复杂的运动，这时古典文化复兴只是其中的一个元素或表现。对我们来说，文艺复兴是一场包含多个方面但却各方面统一的运动的代名词。在这场运动中，他们感知到了对充满智慧的事物和丰富想象力本身的热爱，对用更自由、更美好的方式构想生活的渴望，文艺复兴促使那些感受到这种渴望的人去寻找一个又一个能带来这种智慧和想象之愉悦的方法，并指引他们不仅去发掘这种愉悦感受的古老且被遗忘的源泉，而且去预言其新来源——新的生活体验、新的诗歌主题和艺术形式。这种感觉在12世纪末13世纪初有一个巨大的迸发。在极少但令人欣喜的情况下，在尖顶的建筑上、在罗曼蒂克爱情的教义中，在普罗旺斯的诗歌里，到处可见的是中世纪的粗蛮之力变成了美妙芳醇。由此产生的对美妙芳醇的追求变成了文艺复兴中古典复苏的种子，推动着它不停地在古希腊世界里寻觅带来极致芳醇的源泉。在之后的漫长的真正黑暗时代，这种本能被碾得粉碎，无数智慧和想象之愉悦的源泉消失无踪。因此，这次迸发名副其实地被称为文艺复兴，也就是复活。
Theories which bring into connection with each other modes of thought and feeling, periods of taste, forms of art and poetry, which the narrowness of men's minds constantly tends to oppose to each other, have a great stimulus for the intellect, and are almost always worth understanding. It is so with this theory of a Renaissance within the middle age, which seeks to establish a continuity between the most characteristic work of that period, the sculpture of Chartres, the windows of Le Mans, and the work of the later Renaissance, the work of Jean Cousin and Germain Pilon, thus healing that rupture between the middle age and the Renaissance which has so often been exaggerated. But it is not so much the ecclesiastical art of the middle age, its sculpture and painting—work certainly done in a great measure for pleasure's sake, in which even a secular, a rebellious spirit often betrays itself—but rather its profane poetry, the poetry of Provence, and the magnificent after-growth of that poetry in Italy and France, which those French writers have in view when they speak of this medieval Renaissance. In that poetry, earthly passion, with its intimacy, its freedom, its variety—the liberty of the heart—makes itself felt; and the name of Abelard1, the great scholar and the great lover, connects the expression of this liberty of heart with the free play of human intelligence around all subjects presented to it, with the liberty of the intellect, as that age under stood it.
因人类思维狭隘性而总是对立的不同思维模式、情感模式、不同时期的风格、不同艺术和诗歌形式由理论联系在一起，这些理论对当时的知识界有着极大的刺激，并几乎总是值得人们去理解。中世纪文艺复兴的理论正是如此：寻求在夏尔特尔的雕塑和勒芒的窗等那个时期最具代表性的作品，和后期文艺复兴中让·古尚、热尔曼·皮隆的作品之间建立一种连续性，以此来弥合通常被人们过分夸大的中世纪和文艺复兴间的裂痕。但法国作家们谈及中世纪文艺复兴时所指的，很大程度上不是中世纪的宗教艺术，如雕塑和绘画——这些作品本身尽管在很大程度上是为愉悦而创作，却经常会反映出世俗和叛逆的精神——而是那些世俗的普罗旺斯诗歌以及随后其在意大利和法国的繁荣兴起。在那些诗歌中，世俗的激情带着亲密、自由和它的变体——心灵的自由——使诗歌本身被感知。阿伯拉尔这位伟大的学者和伟大的情人的名字，把这种心灵自由的表达和所有可以体现人类智慧的主题的表达，与那个时代所理解的理性的自由结合在一起。
Everyone knows the legend of Abelard, a legend hardly less passionate, certainly not less characteristic of the middle age, than the legend of Tannhäuser2; how the famous and comely clerk, in whom Wisdom herself, self-possessed, pleasant, and discreet, seemed to sit enthroned, came to live in the house of a canon of the church of Notre-Dame, where dwelt a girl, Heloïse, believed to be the old priest's orphan niece; how the old priest had testified his love for her by giving her an education then unrivalled, so that rumor asserted that, through the knowledge of languages, enabling her to penetrate into the mysteries of the older world, she had become a sorceress, like the Celtic druidesses; and how as Abelard and Heloïse sat together at home there, to refine a little further on the nature of abstract ideas, "Love made himself of the party with them." You conceive the temptations of the scholar, who, in such dreamy tranquility, amid the bright and busy spectacle of the "Island," lived in a world of something like shadows; and that for one who knew so well how to assign its exact value to every abstract thought, those restraints which lie on the consciences of other men had been relaxed. It appears that he composed many verses in the vulgar tongue: already the young men sang them on the quay below the house. Those songs, says M. de Remusat, were probably in the taste of the Trouvères, "of whom he was one of the first in date, or, so to speak, the predecessor." It is the same spirit which has molded the famous a "letters", written in the quaint Latin of the middle age.
大家都知道阿伯拉尔的传奇，他的传奇有着强烈的感情和典型的中世纪特色，毫不逊色于汤豪泽的传奇。这位著名牧师面目俊秀、沉着、亲切、谨慎，仿佛智慧本身即是其主宰。他来到巴黎圣母院，在大教士的房中住下。埃洛伊兹住在那里，据说她是老牧师的侄女，父母双亡。老牧师非常疼爱埃洛伊兹，让她接受最好的教育。有传言说，通过对多种语言的掌握，埃洛伊兹能够解读古老世界的神秘事物，成为凯尔特女巫师那样的魔法师。阿伯拉尔和埃洛伊兹在家里坐在一起，进一步研究某些抽象概念的本质，“爱与他们相伴”。想象一下这位学者当时身处的诱惑吧：沉浸于如梦如幻的宁静中，感受着明丽熙攘的西岱岛的美丽景致，置身于一个幻影般的世界里，对这个深知如何给每个抽象思想以确切价值的学者来说，对别人良心的束缚在他这里却是松懈的。似乎阿伯拉尔用白话文创作了很多诗歌：修道院外码头上那些年轻人都开始把它们唱出来了。M. 德·雷米萨说，那些诗歌可能代表行吟诗人的风格取向，“他是有记载的最早的一位，可以说是先驱”。同样的精神造就了以高雅的中世纪拉丁文创作的著名书信体诗歌。
At the foot of that early Gothic tower, which the next generation raised to grace the precincts of Abe lard's school, on the "Mountain of Saint Geneviève," the historian Michelet sees in thought "a terrible assembly; not the hearers of Abelard alone, fifty bishops, twenty cardinals, two popes, the whole body of scholastic philosophy; not only the learned Heloïse, the teaching of languages, and the Renaissance; but Arnold3of Brescia—that is to say, the revolution." And so from the rooms of this shadowy house by the Seine side we see that spirit going abroad, with its qualities already well defined, its intimacy, its languid sweetness, its rebellion, its subtle skill in dividing the elements of human passion, its care for physical beauty, its worship of the body, which penetrated the early literature of Italy, and finds an echo even in Dante.
后人为了使阿伯拉尔学派辖区优雅化，在“圣热讷维耶沃山”上建了哥特式尖塔。在这个早期的尖塔下面，历史学家米歇尔认为这是“一个可怕的集会——因为它不单单包含了阿伯拉尔的追随者，50位主教、20位红衣主教、两位教皇和整个经院哲学的所有成员；不仅仅囊括学识广博的埃洛伊兹、各种语言的教授和文艺复兴，而且还有布雷西亚的阿诺德——也就是说，还有革命。”从塞纳河边幽暗修道院的房间开始，我们看到这种精神向外传播。这种精神的品质已经得到严密定义，它的亲密、它倦怠的芳醇、它的离经叛道、它对人类情感的巧妙划分、它对躯体美的关注以及它对身体的崇拜贯穿了意大利的早期文学，甚至在但丁的诗歌中也能寻到影子。
That Abelard is not mentioned in the Divine Comedy may appear a singular omission to the reader of Dante, who seems to have inwoven into the texture of his work whatever had impressed him as either effective in color or spiritually significant among the recorded incidents of actual life. Nowhere in his great poem do we find the name, nor so much as an allusion to the story of one who had left so deep a mark on the philosophy of which Dante was an eager student, of whom in the Latin Quarter, and from the lips of scholar or teacher in the University of Paris, during his sojourn among them, he can hardly have failed to hear. We can only suppose that he had indeed considered the story and the man, and abstained from passing judgment as to his place in the scheme of "eternal justice."
对但丁的读者来说，《神曲》中未提及阿伯拉尔似乎仅仅是个疏忽，因为但丁似乎会把所有对他来说印象深刻的、色彩鲜明的或是具有重要精神意义的事情组织到自己的作品中，这些事情都是有史料记载的真实生活。在但丁所有伟大的诗篇中都见不到阿伯拉尔的名字，也很难找到有关在哲学史上留下浓重一笔的阿伯拉尔的暗示。而但丁本人曾热衷学习哲学。在巴黎拉丁区逗留时，他从巴黎大学讲学的学者和老师那里，几乎不可能没听到过阿伯拉尔。我们只能认为但丁确实考虑过阿伯拉尔和关于他的故事，但最终避免在“最终审判”框架中对他的评判“永恒正义”框架下对阿伯拉尔地位的批判。
In the famous legend of Tannhäuser, the erring knight makes his way to Rome, to seek absolution at the centre of Christian religion. "So soon," thought and said the Pope, "as the staff in his hand should bud and blossom, so soon might the soul of Tannhäuser be saved, and no sooner”; and it came to pass not long after that the dry wood of a staff which the Pope had carried in his hand was covered with leaves and flowers. So, in the cloister of Godstow, a petrified tree was shown of which the nuns told that the fair Rosamond, who had died among them, had declared that, the tree being then alive and green, it would be changed into stone at the hour of her salvation. When Abelard died, like Tannhäuser, he was on his way to Rome. What might have happened had he reached his journey's end is uncertain; and it is in this uncertain twilight that his relation to the general beliefs of his age has always remained. In this, as in other things, he prefigures the character of the Renaissance, that movement in which, in various ways, the human mind wins for itself a new kingdom of feeling and sensation and thought, not opposed to but only beyond and independent of the spiritual sys tem then actually realised. The opposition into which Abelard is thrown, which gives its color to his career, which breaks his soul to pieces, is a no less subtle op position than that between the merely professional, official, hireling ministers of that system, with their ignorant worship of system for its own sake, and the true child of light, the humanist, with reason and heart and senses quick, while theirs were almost dead. He reaches out towards, he attains, modes of ideal living, beyond the prescribed limits of that system, though in essential germ, it may be, contained within it. As always hap pens, the adherents of the poorer and narrower culture had no sympathy with, because no understanding of, a culture richer and more ample than their own. After the discovery of wheat they would still live upon acorns—après l'invention du ble voulaient encore vivre du gland; and would hear of no service to the higher needs of humanity with instruments not of their forging.
在著名的汤豪泽传奇中，这位犯下大错的骑士一路走向罗马这个基督教中心寻求赦免。“立刻，”教皇想道，“只要他的手杖发芽开花，汤豪泽的灵魂就会立刻得救，马上得救。”不久教皇手中的干木手杖便为绿叶鲜花所覆盖。同样，在哥斯托的修道院里有一棵石化的树，修女们说她们当中死去的美丽的罗莎蒙德曾说过，那棵生机勃勃的绿树在她得救的时候会变成石头。跟汤豪泽一样，阿伯拉尔在去罗马的旅途中死去。没人知道如果他活着到达这次旅行的终点会发生些什么，他和那个时代的普遍信仰之间的关系也永远地处于这种模糊之中。正如在其他事情中一样，他预示了文艺复兴的特点：在这场运动中，人类心灵以各种方式为自己赢得了知觉、情感和思想的新领地，不是与当时存在的精神体系相对立，而是超出和独立在这个范围之外。阿伯拉尔投身于对立面，这使他的事业平添了异样色彩，也撕裂了他的灵魂。这种对立，跟体系内单是专职的、正式的、被雇佣来、但对体系自身盲目崇拜的牧师们与真正具备理性、情感和迅速感知能力这些牧师们已经丧失了的能力的光明之子——人文主义者之间的对立如出一辙。阿伯拉尔向宗教体系之外探求，在体系规定的界限外获得了理想的生活模式，虽然这种生活模式最初的萌芽可能也蕴含在体系本身之中。事实往往是这样：贫瘠狭隘文化的拥护者，因为他不能了解比自己更富有、更丰富的文化，所以对这些文化也毫不同情。——就像发现小麦之后他们仍以橡果为生（法语），也乐意听说别人制造的工具对高层次的人类需求毫无用处。
But the human spirit, bold through those needs, was too strong for them. Abelard and Heloïse write their letters—letters with a wonderful outpouring of soul—in medieval Latin; and Abelard, though he composes songs in the vulgar tongue, writes also in Latin those treatises in which he tries to find a ground of reality below the abstractions of philosophy, as one bent on trying all things by their congruity with human experience, who had felt the hand of Heloïse, and looked into her eyes, and tested the resources of humanity in her great and energetic nature. Yet it is only a little later, early in the thirteenth century, that French prose romance begins; and in one of the pretty volumes of the Bibliothèque Elzevirienne some of the most striking fragments of it may be found, edited with much intelligence. In one of these thirteenth-century stories, Li Amitiez de Ami et Amile, that free play of human affection, of the claims of which Abelard's story is an assertion, makes itself felt in the incidents of a great friendship, a friendship pure and generous, pushed to a sort of passionate exaltation, and more than faithful unto death. Such comradeship, though instances of it are to be found everywhere, is still especially a classical motive; Chaucer expressing the sentiment of it so strongly in an antique tale, that one knows not whether the love of both Palamon and Arcite for Emelya, or of those two for each other, is the chiefer subject of the Knight's Tale—
但是，由于这些需求而变得勇敢无畏的人类精神对他们来说过于强大了。阿伯拉尔和埃洛伊兹用中世纪的拉丁文写下他们的书信，这些书信中他们内心的激情奔涌而出；尽管阿伯拉尔用白话文创作诗歌，但他也用拉丁文撰写专著论文，努力在哲学的抽象之中找到现实的基础，就像一个专注于用人类经验来检验事物一致性的人那样，阿伯拉尔触摸埃洛伊兹的手，看着她的双眼，从她伟大且充满活力的本性中寻找人性的本源。然而只是稍晚一些，也就是13世纪早期，法国散文传奇开始流行。在埃尔塞维尔图书馆馆藏的装帧精美的一卷中可以找到一些最为耀眼的片段，这些片段均已用心编辑。《阿米和阿米莱之友谊》是这些13世纪故事中的一篇，它是对人类情感的自由表达，对宣称阿伯拉尔的故事是一种主张的自由表达。这种表达在那种伟大友谊，那种纯洁、高尚友谊的事件中体现出来。这种友谊被推向一种热情四射的狂喜，甚至胜于至死不渝。虽然这样互相支持的伟大友谊随处可见，但它仍然特别是一个古典的主题。乔叟在一个古老的传说里充分表达了这种情感，人们不知道帕拉蒙和阿赛特对埃米莉亚的爱，还有他们两人之间的友爱，哪个是《骑士传奇》的主题——
He cast his eyen upon Emelya,
他把目光投向埃米莉亚，
And therewithal he bleynte and cried, ah!
转身回来，面色苍白“啊”地痛哭出来，
As that he stongen were unto the herte.
好像已被刺到心脏。
What reader does not refer something of the bitterness of that cry to the spoiling, already foreseen, of the fair friendship, which had made the prison of the two lads sweet hitherto with its daily offices?
什么样的读者能不把这哭泣中的痛苦，看成是对他们纯真友谊已在预见之中的破坏呢？而这种友谊的日常滋润曾经使囚禁两个少年的监狱变得舒适温馨。
The friendship of Amis and Amile is deepened by the romantic circumstance of an entire personal resemblance between the two heroes, through which they pass for each other again and again, and thereby into many strange adventures; that curious interest of the Doppelgänger4, which begins among the stars with the Dioscuri5, being entwined in and out through all the incidents of the story, like an outward token of the inward similitude of their souls. With this, again, is connected, like a second reflection of that inward similitude, the conceit of two marvelously beautiful cups, also exactly like each other—children's cups, of wood, but adorned with gold and precious stones. These two cups, which by their resemblance help to bring the friends together at critical moments, were given to them by the Pope, when he baptised them at Rome, whither the parents had taken them for that purpose, in gratitude for their birth. They cross and recross very strangely in the narrative, serving the two heroes almost like living things, and with that well-known effect of a beautiful object, kept constantly before the eye in a story or poem, of keeping sensation well awake, and giving a certain air of refinement to all the scenes into which it enters. That sense of fate, which hangs so much of the shaping of human life on trivial objects, like Othello's strawberry handkerchief, is thereby heightened, while witness is borne to the enjoyment of beautiful handiwork by primitive people, their simple wonder at it, so that they give it an oddly significant place among the factors of a human history.
阿米和阿米莱两位英雄面容相似的神奇状况使他们的友谊加深，他们常被错认成对方，因此也经历了许多奇异的冒险。对同面之人充满好奇的兴趣开始于迪奥斯库里兄弟的双子星，如同他们内在灵魂相似性的外在特征一样始终贯穿在故事的所有事件里。此外与之相联系的、像是第二个表现这种内在相似表象的是对两个出奇美丽、而且十分相似的酒杯的巧妙构思。这两个酒杯是那种孩子用的木杯，但镶着黄金和宝石，它们的相同曾在关键时刻帮助两位朋友相聚。杯子是阿米和阿米莱两位英雄的父母把他们带到教皇那里接受洗礼、感激他们的降生时教皇赐给两人的。在故事里，两个杯子一次又一次奇异地彼此交会，像有生命的生灵一样帮助两位英雄。因为有着美丽物品众所周知的作用，它们一直出现在小说或诗歌中，一直起到唤起感情、带给所有它出现的场景以某种高雅优美氛围的作用。那种非常依赖平凡事物，比如奥德赛的草莓手帕，来塑造人类生活的命运感因此得到了强化。而初民对精美手工艺品所感受的快乐，他们对它感到的纯粹的惊叹，就会在人类历史各种因素中给予它一个非同寻常的重要地位。
Amis and Amile, then, are true to their comradeship through all trials; and in the end it comes to pass that at a moment of great need Amis takes the place of Amile in a tournament for life or death. "After this it happened that a leprosy fell upon Amis, so that his wife would not approach him, and wrought to strangle him. He departed therefore from his home, and at last prayed his servants to carry him to the house of Amile"; and it is in what follows that the curious strength of the piece shows itself:—
阿米和阿米莱经受了所有考验，证明了对这份友谊的忠诚。最后在紧急时刻阿米替代阿米莱参加了生死决斗。“这之后阿米患上了麻风病，他的妻子都不愿意接近他，还想办法勒死他。阿米离开了自己的家，最终恳求他的仆人把他送到阿米莱家里”；这种神奇的力量在下面这段里不言而喻：
"His servants, willing to do as he commanded, carried him to the place where Amile was; and they began to sound their rattles before the court of Amile's house, as lepers are accustomed to do. And when Amile heard the noise he commanded one of his servants to carry meat and bread to the sick man, and the cup which was given to him at Rome filled with good wine. And when the servant had done as he was commanded, he returned and said, Sir, if I had not thy cup in my hand, I should believe that the cup which the sick man has was thine, for they are alike, the one to the other, in height and fashion. And Amile said, Go quickly and bring him to me. And when Amis stood before his comrade Amile demanded of him who he was, and how he had gotten that cup. I am of Briquain le Chastel, answered Amis, and the cup was given to me by the Bishop of Rome, who baptised me. And when Amile heard that, he knew that it was his comrade Amis, who had delivered him from death, and won for him the daughter of the King of France to be his wife. And straightway he fell upon him, and began weeping greatly, and kissed him. And when his wife heard that, she ran out with her hair in disarray, weeping and distressed exceedingly, for she remembered that it was he who had slain the false Ardres. And thereupon they placed him in a fair bed, and said to him, Abide with us until God's will be accomplished in thee, for all we have is at thy service. So he and the two servants abode with them.“他的仆人，欣然按照他的要求把他带到阿米莱那里，按当地麻风病人的习惯，他们开始在阿米莱家庭院前摇响拨浪鼓。阿米莱听到了声音，命令自己一个仆人拿肉和面包送给这个病人，还用在罗马得到的杯子盛满了美酒给他。仆人按照主人的命令做完这些事后回来对主人说，主人，如果我手里没有拿着您的杯子，我会认为那个病人的杯子是您的。因为两个杯子彼此很相似，不管是高度还是样式。阿米莱说，赶快去把他带到我这里。当阿米站到阿米莱面前，阿米莱问他是谁，怎么得到那个杯子的。阿米回答，我来自布里奎恩勒沙泰尔,为我做洗礼的罗马教皇给了我这个杯子。阿米莱听到这里知道了，这个人就是救他一命、为他娶到法兰西国王女儿的兄弟阿米。阿米莱立即扑到阿米身上开始嚎啕大哭，并亲吻他。阿米莱的妻子听到了这件事，披散着头发就跑了出来。她大声哭泣，极度悲伤，因为她记得是阿米杀死了假阿尔德雷。于是两人把阿米安置到华丽的床榻上对他说，在上帝的意志在你身上实现之前,和我们在一起吧。我们所有的一切都供你使用。阿米以及两个仆人和他们住在了一起。
"And it came to pass one night, when Amis and Amile lay in one chamber without other companions, that God sent His angel Raphael to Amis, who said to him, Amis, art thou asleep? And he, supposing that Amile had called him, answered and said, I am not asleep, fair comrade! And the angel said to him, Thou hast answered well, for thou art the comrade of the heavenly citizens.—I am Raphael, the angel of our Lord, and am come to tell thee how thou mayest be healed; for thy prayers are heard. Thou shalt bid Amile, thy comrade, that he slay his two children and wash thee in their blood, and so thy body shall be made whole. And Amis said to him, Let not this thing be, that my comrade should become a murderer for my sake. But the angel said, It is convenient that he do this. And thereupon the angel departed.“一天晚上，阿米和阿米莱两个人在房间里躺着，周围没有其他人。上帝派他的天使拉弗尔来见阿米。拉弗尔对他说，阿米，你睡了吗？阿米以为是阿米莱在叫他，于是回答，我没有睡着，亲爱的兄弟！天使对他说，你回答得很好，因为你是天国居民的好兄弟。——我是拉弗尔，我主的天使。我来告诉你，你会好起来的，你的祈祷上帝听到了。你要吩咐你的好兄弟阿米莱，让他杀掉自己的两个孩子，用他们的鲜血给你沐浴，你的身体就会复原。阿米对天使说：不要让这样的事情发生，那样我的兄弟就为我变成凶手了。但是天使说，这样做对他来说是很容易的。说完天使就离去了。
"And Amile also, as if in sleep, heard those words; and he awoke and said, Who is it, my comrade, that hath spoken with thee? And Amis answered, No man; only I have prayed to our Lord, as I am accustomed. And Amile said, Not so! but some one hath spoken with thee. Then he arose and went to the door of the chamber; and finding it shut he said, Tell me, my brother, who it was said those words to thee to-night. And Amis began to weep greatly, and told him that it was Raphael, the angel of the Lord, who had said to him, Amis, our Lord commands thee that thou bid Amile slay his two children, and wash thee in their blood, and so thou shalt be healed of thy leprosy. And Amile was greatly disturbed at those words, and said, I would have given to thee my man-servants and my maid-servants and all my goods, and thou feignest that an angel hath spoken to thee that I should slay my two children. And immediately Amis began to weep, and said, I know that I have spoken to thee a terrible thing, but constrained thereto; I pray thee cast me not away from the she1ter of thy house. And Amile answered that what he had covenanted with him, that he would perform, unto the hour of his death: But I conjure thee, said he, by the faith which there is between me and thee, and by our comradeship, and by the baptism we received together at Rome, that thou tell me whether it was man or angel said that to thee. And Amis answered again, So truly as an angel hath spoken to me this night, so may God deliver me from my infirmity!“似乎睡着了的阿米莱也听到了这番对话。他睁开眼睛问，刚才是谁，好兄弟，跟你说话的那个？阿米回答，没人跟我说话，只是我照习惯在跟上帝祷告。阿米莱说，不对！有人在跟你说话。他起身走到卧室门口，看见门是关着的。他说，告诉我，兄弟，今晚跟你说那些话的人是谁？阿米开始大声哭泣，他告诉阿米莱刚才是上帝的天使拉弗尔在对他说，阿米，我们的上帝要求你请求阿米莱杀掉他的两个孩子，用鲜血给你沐浴，就能治愈你的麻风病。阿米莱听到这些深感不安。他说，我本来要把我所有的男女仆人和所有的财产都给你，而你却假装有天使告诉你，让我杀掉我的两个孩子。阿米马上哭了起来，他说，我知道我对你说了很可怕的事，但是我也很难过，我恳求你不要把我赶出你的房子。阿米莱回答说会履行对阿米的承诺，直到他死去的那一刻。但是阿米莱说，我恳求你，看在你我之间的信任、你我之间的兄弟之情和我们同在罗马接受洗礼的份上，你告诉我到底是人还是天使对你说了那些话。阿米再一次回答，今天晚上的的确确是一个天使对我说的那番话，愿上帝拯救我摆脱病魔！
"Then Amile began to weep in secret, and thought within himself : If this man was ready to die before the king for me, shall I not for him slay my children? Shall I not keep faith with him who was faithful to me even unto death? And Amile tarried no longer, but departed to the chamber of his wife, and bade her go hear the Sacred Office. And he took a sword, and went to the bed where the children were lying, and found them asleep. And he lay down over them and began to weep bitterly and said, Hath any man yet heard of a father who of his own will slew his children? Alas, my children! I am no longer your father, but your cruel murderer.“然后阿米莱开始偷偷地哭泣。他自忖：如果这个人愿意在国王面前为我而死，我不应该为他牺牲我的孩子吗？我不应该忠诚于这个愿意到死都忠于我的人吗？于是阿米莱不再耽搁，走到妻子的卧室，让她去听圣所听道。然后他拿出剑，走到孩子们睡觉的床边，看见他们已睡着。他俯身在孩子身上，开始痛苦地哭泣起来，边哭边说，有人听说过哪个父亲会亲手杀掉自己的亲生孩子吗？天啊，我的孩子！我不再是你们的父亲，而是杀害你们的残忍的凶手了！
"And the children awoke at the tears of their father, which fell upon them; and they looked up into his face and began to laugh. And as they were of the age of about three years, he said, Your laughing will be turned into tears, for your innocent blood must now be shed, and therewith he cut off their heads. Then he laid them back in the bed, and put the heads upon the bodies, and covered them as though they slept: and with the blood which he had taken he washed his comrade, and said, Lord Jesus Christ! who hast commanded men to keep faith on earth, and didst heal the leper by Thy word! cleanse now my comrade, for whose love I have shed the blood of my children.“父亲的眼泪落到孩子们身上，孩子们醒来了。他们看着父亲的脸，笑了起来。两个孩子才不过3岁左右大。他说，你们的欢笑即将变成泪水了，因为你们无辜的鲜血将要流出。于是他斩下孩子的头，然后把他们重新放回床上，将头放在身体上，给他们盖好被子，他们看起来就如同睡着了一般。阿米莱用这取来的鲜血清洗他的兄弟，他说道，上帝耶稣救世主啊！您要求大地上的人们信守承诺，您一定要遵守承诺治好他的麻风病！现在治好我的兄弟吧，为了他的爱，我让自己的孩子流尽了鲜血。
"Then Amis was cleansed of his leprosy. And Amite clothed his companion in his best robes; and as they went to the church to give thanks, the bells, by the will of God, rang of their own accord. And when the people of the city heard that, they ran together to see the marvel. And the wife of Amile, when she saw Amis and Amile coming, asked which of the twain was her husband, and said, I know well the vesture of them both, but I know not which of them is Amile. And Amile said to her, I am Amile, and my companion is Amis, who is healed of his sickness. And she was full of wonder, and desired to know in what manner he was healed. Give thanks to our Lord, answered Amile, but trouble not thyself as to the manner of the healing.“于是阿米的麻风病痊愈了，阿米莱给阿米穿上自己最好的袍子。然后他们去教堂谢恩，而教堂的钟按照上帝的旨意自动鸣响起来。城中的人们听到钟声，一起跑来看这件奇事。阿米莱的妻子看到阿米和阿米莱走过来，就问这两个一模一样的人哪个是自己的丈夫。她说，我认得他们俩的衣服，但我不知道谁是阿米莱。阿米莱对她说，我是，跟我一起来的同伴是阿米，他的病已经全好了。阿米莱的妻子满腹不解，很想知道阿米的病是如何治好的。对上帝谢恩吧，阿米莱回答，不必知道是什么方法了。
"Now neither the father nor the mother had yet entered where the children were; but the father sighed heavily, because they were dead, and the mother asked for them, that they might rejoice together; but Amile said, Dame! let the children sleep. And it was already the hour of Tierce. And going in alone to the children to weep over them, he found them at play in the bed; only, in the place of the sword-cuts about their throats was as it were a thread of crimson. And he took them in his arms and carried them to his wife and said, Rejoice greatly, for thy children whom I had slain by the commandment of the angel are alive, and by their blood is Amis healed.”“父亲和母亲都还没有进过孩子们的房间，可父亲重重地叹气，因为两个孩子已经死了。母亲要去找来两个孩子和大家一起庆祝。但是阿米莱说，夫人！让孩子们睡觉吧。已经到了第三次祷告时间，阿米莱一个人走到孩子房间，想要大哭一场。可他发现自己的孩子在床上玩耍，只是他们喉咙处的剑伤像一条暗红的细线。他把两个孩子抱起来，带到妻子那里说：天大的喜事啊！因为我遵照天使圣训杀掉的我们的孩子现在还活着，是他们的血救活了阿米。”
There, as I said, is the strength of the old French story. For the Renaissance has not only the sweetness which it derives from the classical world, but also that curious strength of which there are great resources in the true middle age. And as I have illustrated the early strength of the Renaissance by the story of Amis and Amile, a story which comes from the North, in which a certain racy Teutonic flavor is perceptible, so I shall illustrate that other element, its early sweetness, a languid excess of sweetness even, by another story printed in the same volume of the Bibliotheque Elzevirienne, and of about the same date, a story which comes, characteristically, from the South, and connects itself with the literature of Provence.
正如我说的，这就是古老法国故事的力量。文艺复兴不仅仅具有源自古典世界的美妙芳醇，还有大量来自真实的中世纪时代资源的神奇力量。我用这个来自北部，保持了某种日耳曼原有风格的阿米和阿米莱的故事，展现了文艺复兴的早期力量；所以我将用另外一个也保存在埃尔塞维尔图书馆同一卷书中，几乎是同一时期的，源于南部、和普罗旺斯文学有着联系的故事来解释文艺复兴的另一个元素——它早期的、甚至是过度倦怠的美妙芳醇。
The central love-poetry of Provence, the poetry of the Tenson and the Aubade, of Bernard de Ventadour and Pierre Vidal, is poetry for the few, for the elect and peculiar people of the kingdom of sentiment. But below this intenser poetry there was probably a wide range of literature, less serious and elevated, reaching, by lightness of form and comparative homeliness of interest, an audience which the concentrated passion of those higher lyrics left untouched. This literature has long since perished, or lives only in later French or Italian versions. One such version, the only representative of its species, M. Faurie1thought he detected in the story of Aucassin and Nicolette, written in the French of the latter half of the thirteenth century, and preserved in a unique manuscript, in the national library of Paris; and there were reasons which made him divine for it a still more ancient ancestry, traces in it of an Arabian origin, as in a leaf lost out of some early Arabian Nights . (Recently, Aucassin and Nicolette has been edited and translated into English, with much graceful scholarship, by Mr. F. W. Bourdillon. Still more recently we have had a translation—a poet's translation—from the ingenious and versatile pen of Mr. Andrew Lang. The reader should consult also the chapter on "The Out-door Poetry," in Vernon Lee's most interesting Euphorion; being Studies of the Antique and Mediaeval in the Renaissance, a work abounding in knowledge and insight on the subjects of which it treats.) The little book loses none of its interest through the criticism which finds in it only a traditional subject, handed on by one people to another; for after passing thus from hand to hand, its outline is still clear, its surface untarnished; and, like many other stories, books, literary and artistic conceptions of the middle age, it has come to have in this way a sort of personal history, almost as full of risk and adventure as that of its own heroes. The writer himself calls the piece a cantefable, a tale told in prose, but with its incidents and sentiment helped forward by songs, inserted at irregular intervals. In the junctions of the story itself there are signs of roughness and want of skill, which make one suspect that the prose was only put together to connect a series of songs—a series of songs so moving and attractive that people wished to heighten and dignify their effect by a regular framework or setting. Yet the songs themselves are of the simplest kind, not rhymed even, but only imperfectly assonant, stanzas of twenty or thirty lines apiece, all ending with a similar vowel sound. And here, as elsewhere in that early poetry, much of the interest lies in the spectacle of the formation of a new artistic sense. A novel art is arising, the music of rhymed poetry, and in the songs of Aucassin and Nicolette , which seem always on the point of passing into true rhyme, but which halt some-how, and can never quite take flight, you see people just growing aware of the elements of a new music in their possession, and anticipating how pleasant such music might become.
普罗旺斯主要的爱情诗，贝尔纳·德·旺塔杜尔和皮埃尔·维达尔所写的《对嘲诗》和《晨歌》，是为少数人而作的，是为情感王国里那些特权人士而作的。但是在这些更为强烈的诗歌之下可能是更广泛的文学，它们不那么严肃和高高在上，而是借助灵活的形式和相对朴素的趣味来影响读者，而这些读者是被那些更高一等的抒情诗里浓烈的激情所忽略的。这种文学已经湮灭很久了，或者说只在后来的法国或意大利译本中存在。M. 福里埃尔认为他发现了这样的一个译本，是这种文学的唯一代表。这就是《奥卡森与尼克莱特》，在13世纪下半叶用法语写成，现在唯一的手稿保存在巴黎国家博物馆。有理由令M. 福里埃尔推测，它有一个更为古老的血统，在里面有阿拉伯根基的迹象，如同从早期的《一千零一夜》上掉落的一片叶子。（近期，《奥卡森与尼克莱特》一书由F. W. 鲍迪伦编辑翻译成英文版，具有很典雅的学术气息。最近，独具匠心多才多艺的诗人安德鲁·朗又对它进行了翻译。读者也可以参考弗农·李所著的饶有趣味的《欧福良：中世纪文艺复兴和古典研究》中“户外诗歌”的有关篇章，这本书对所探讨的主题提供了丰富的知识和深刻的见解。——作者注）这本书并未因其中只包含一个在各民族间流传的传统主题的批判而丧失任何趣味性；因为，虽然经历了代代相传，这一主题的轮廓依然清晰，外表也一样光泽依旧。同其他中世纪的故事、书籍、文学和艺术概念一样，它也以这种方式获得了一种个性化的历史，这段历史几乎和书中主人公的经历一样，充满了危险和冒险。作者自己把这一篇称作民间叙事传奇。这种传奇是散文的形式，只是以不规则地穿插进诗歌的方式表现事件和情感。故事本身在衔接处有些粗糙的痕迹，也表现出缺乏技巧，让人们怀疑散文的作用只是将一系列诗歌连接在一起。这些诗歌极为动人，极为引人入胜，人们都希望通过一个规则的框架或结构来使它们具有更高、更尊贵的影响。然而这些诗歌本身极为简单，甚至都不押韵。它们只是采用不够完美的类韵，每节有20行或30行，以相似的元音结尾。正如其他早期诗歌一样，这里的兴趣主要在于新的艺术感觉的形成这幅壮美图景上。一种新的艺术正在兴起。那些押韵诗歌的韵律，还有《奥卡森与尼克莱特》中那些诗歌，好像一直在成为真正押韵的转折点上，但不知为何停顿下来，永远无法恰到好处。你可以看到人们越来越注意到拥有的新韵律元素，而且对于这种韵律能够变得多么美好满怀期待。
The piece was probably intended to be recited by a company of trained performers, many of whom, at least for the lesser parts, were probably children. The songs are introduced by the rubric, Or se cante (ici on chante); and each division of prose by the rubric, Or dient et con tent et fabloient (ici on conte). The musical notes of a portion of the songs have been preserved; and some of the details are so descriptive that they suggested to M. Fauriel the notion that the words had been accompanied throughout by dramatic action. That mixture of simplicity and refinement which he was surprised to find in a composition of the thirteenth century, is shown sometimes in the turn given to some passing expression or remark; thus, "the Count de Garins was old and frail, his time was over"—Li quens Garins de Beaucaire estoit vix et frales; si avoit son tans trespassè. And then, all is so realised! One sees the ancient forest, with its dis used roads grown deep with grass, and the place where seven roads meet—u a forkeut set cemin qui s'en vont par le païs, we hear the light-hearted country people calling each other by their rustic names, and putting for ward, as their spokesman, one among them who is more eloquent and ready than the rest—li un qui plus fu en parles des autres; for the little book has its burlesque element also, so that one hears the faint, far-off laughter still. Rough as it is, the piece certainly possesses this high quality of poetry, that it aims at a purely artistic effect. Its subject is a great sorrow, yet it claims to be a thing of joy and refreshment, to be entertained not for its matter only, but chiefly for its manner, it is cortois, it tells us, et bien assis.
这个故事可能是要让一群训练有素的表演者来朗诵，他们中许多人，或者至少有一小部分，可能是儿童。这些民歌标有提示语：此处吟唱；散文的划分也是靠标题：此处叙述。这些民歌中一部分的律音保留了下来，其中一些细节描述得如此详尽，向M.福里埃尔暗示了这样一个概念：这些文字曾经一直是伴着戏剧表演的。他对在13世纪的作品中发现简约和高雅的结合感到讶异，这种结合有时是一些简短的表达或评价。因此，“德加林伯爵年老体弱，他的时代结束了。”于是，一切就这样完成了！人们看到远古的森林，废弃的小路长满杂草，七条路汇合在一起的交叉口。我们听到无忧无虑的乡下人呼唤着彼此土得掉渣的名字，其中一个最能言善辩反应机敏的人被推选出来，作为他们的发言人。这一本小书也有自我嘲讽的成分，所以还能听到微弱而遥远的笑声。虽然粗糙，但它的确具备了诗歌的这种高层次品质，它的目标就是达到纯粹的艺术效果。它的主题虽然极为悲伤，却声称自己可以让人感到快乐和心旷神怡。这种愉悦不仅仅来自于其内容，而主要是它的风格，它告诉我们“这是风格，而且有稳固的基础”。
For the student of manners, and of the old French language and literature, it has much interest of a purely antiquarian order. To say of an ancient literary com position that it has an antiquarian interest, often means that it has no distinct aesthetic interest for the reader of to-day. Antiquarianism, by a purely historical effort, by putting its object in perspective, and setting the reader in a certain point of view, from which what gave pleasure to the past is pleasurable for him also, may often add greatly to the charm we receive from ancient literature. But the first condition of such aid must be a real, direct, aesthetic charm in the thing itself. Unless it has that charm, unless some purely artistic quality went to its original making, no merely antiquarian effort can ever give it an aesthetic value, or make it a proper subject of aesthetic criticism. This quality, wherever it exists, it is always pleasant to define, and discriminate from the sort of borrowed interest which an old play, or an old story, may very likely acquire through a true antiquarianism. The story of Aucassin and Nicolette has something of this quality. Aucassin, the only son of Court Garins of Beaucaire, is passionately in love with Nicolette, a beautiful girl of unknown parentage, bought of the Saracens, whom his father will not permit him to marry. The story turns on the adventures of these two lovers, until at the end of the piece their mutual fidelity is rewarded. These adventures are of the simplest sort, adventures which seem to be chosen for the happy occasion they afford of keeping the eye of the fancy, perhaps the outward eye, fixed on pleasant objects, a gar-den, a ruined tower, the little hut of flowers which Nicolette constructs in the forest whither she escapes from her enemies, as a token to Aucassin that she has passed that way. All the charm of the piece is in its details, in a turn of peculiar lightness and grace given to the situations and traits of sentiment, especially in its quaint fragments of early French prose.
对于风格的研究者，以及古法语和法国文学的学生来说，它很有纯古物研究的趣味。说一篇古代文学作品具备古物研究的意义，通常意味着它对当今的读者来说没有独特的美学价值。古物研究通过纯粹的历史研究，正确地透视客体，把读者定位于在过去能带来愉快的东西对当今读者产生同样效果的观点中，因此古物研究可能常常在很大程度上增加了我们从古典文学中获得的魅力。但这种促进的先决条件必须是事物本身具有真实直接的美学魅力。只有具备这种魅力，只有一些纯粹的艺术特质存在于它最初的构成中，古文物研究才能成就它的审美价值，或者使它成为一个合适的审美批评主题。不论这种特质存在于哪里，将其界定，把它和一部古老戏剧或故事由于真正古物研究而很可能获得的、某些借来的趣味区别开来总是令人愉悦的。奥卡森与尼克莱特的故事也具备这样的特质，奥卡森是博凯尔的德加林伯爵的独生子，他热切地爱上了尼克莱特。美丽动人却出身不明的尼克莱特是阿拉伯人买来的。奥卡森的父亲不准他和尼克莱特结婚。故事铺陈描述这对恋人的冒险之旅，直到故事最后两个人对彼此的忠诚终于获得了回报。这些冒险是最为简单不过的冒险，好像是专为吸引那些外在的、想象的目光而选择的；这些目光专注于一些赏心悦目的事物上，比如说一个花园，一个荒废的高塔，还有尼克莱特从敌人那里逃出来后，在森林里盖起的、告诉奥卡森她由此经过的小花房。这个故事所有的魅力都在它的细节中，在其加诸情感的情境和特性上的特殊的轻盈优雅的转承中，尤其是在早期法国散文怪异的零散作品中多有体现。
All through it one feels the influence of that faint air of overwrought delicacy, almost of wantonness, which was so strong a characteristic of the poetry of the Troubadours. The Troubadours themselves were often men of great rank; they wrote for an exclusive audience, people of much leisure and great refinement, and they came to value a type of personal beauty which has in it but little of the influence of the open air and sunshine. There is a languid Eastern deliciousness in the very scenery of the story, the full-blown roses, the chamber painted in some mysterious manner where Nicolette is imprisoned, the cool brown marble, the almost nameless colors, the odors of plucked grass and flowers. Nicolette herself well becomes this scenery, and is the best illustration of the quality I mean—the beautiful, weird, foreign girl, whom the shepherds take for a fay, who has the knowledge of simples, the healing and beautifying qualities of leaves and flowers, whose skilful touch heals Aucassin's sprained shoulder, so that he suddenly leaps from the ground; the mere sight of whose white flesh, as she passed the place where he lay, healed a pilgrim stricken with sore disease, so that he rose up, and re turned to his own country. With this girl Aucassin is so deeply in love that he forgets all knightly duties. At last Nicolette is shut up to get her out of his way, and perhaps the prettiest passage in the whole piece is the fragment of prose which describes her escape:—
统篇作品中，人们都能感受到那种过于精细的、几近嬉戏的朦胧氛围的影响。这是行吟诗人作品的典型特色。行吟诗人本身常常是特权阶层，他们为少数人写作：这些人举止高雅，很有闲情逸致。他们欣赏一种身体美，这是一种很少接触外面的空气和阳光的身体美。这个故事的景致中有某些倦怠的东方韵味：盛开的玫瑰、囚禁尼克莱特的以某种神秘方式粉刷的房间、冰冷的棕色大理石、几乎无法言说的颜色、摘下的花草的气味。尼克莱特自己也恰如其分地融入这景色中，成为我所指的这种特质的最好例证——被牧羊人当成了仙子的美丽、奇异的异族女孩：她有简单的知识，有叶子和花朵那种医治伤痛和美化的特质。她娴熟的手法治好了奥卡森扭伤的肩膀，于是他马上从地上跳了起来。只是在她经过时看她白白的肌肤一眼，就治愈了一个躺在地上、被恶疾折磨的朝圣者，于是这个朝圣者站起来，回到了自己的国家。奥卡森如此深爱这个女孩，以至于忘记了他骑士的职责。最终尼克莱特被囚禁起来，以使她不能影响奥卡森。故事全篇最美的一段可能就是描述她逃跑的那段：
"Aucassin was put in prison, as you have heard, and Nicolette remained shut up in her chamber. It was summer time, in the month of May, when the days are warm and long and clear, and the nights coy and serene.“正如你们所听说的，奥卡森被投入监牢，尼克莱特仍被关在她的房间里。当时是夏天，五月的天气白天很温暖，白昼很长，天空晴朗，夜晚安然宁静。
"One night Nicolette, lying on her bed, saw the moon shine clear through the little window, and heard the nightingale sing in the garden, and then came the memory of Aucassin, whom she so much loved. She thought of the Count Garins of Beaucaire, who mortally hated her, and, to be rid of her, might at any moment cause her to be burned or drowned. She perceived that the old woman who kept her company was asleep; She rose and put on the fairest gown she had; she took the bed clothes and the towels, and knotted them together like a cord, as far as they would go. Then she tied the end to a pillar of the window, and let herself slip down quite softly into the garden, and passed straight across it, to reach the town.“一天晚上尼克莱特躺在她的床上，看见明亮的月光透过小窗清澈地照进来，听到夜莺在花园里歌唱，于是想起了深爱的奥卡森。她想起对自己恨之入骨的博凯尔的德加林伯爵。他为了除掉她，可能随时让人把她烧死或者溺死。她觉得看管她的老妇人已经睡着，就起来穿上她最美的长袍，拿上床单和毛巾，把它们系在一起做成尽量长的绳索。然后她把绳索的一头系到一根窗柱上，自己顺着绳子轻轻滑下，落到花园里，然后径直穿过花园走向镇上。
"Her hair was yellow in small curls, her smiling eyes blue-green, her face clear and feat, the little lips very red, the teeth small and white; and the daisies which she crushed in passing, holding her skirt high behind and before, looked dark against her feet; the girl was so white!“她的黄发微卷着，她微笑的眼睛蓝中带绿，她的脸庞干净美丽，她的小嘴红润，牙齿细碎洁白。她高高提起的裙子前后飘摇，经过之处踩压的雏菊跟她的双脚一比都变黑了，这个女孩好白啊！
"She came to the garden-gate and opened it, and walked through the streets of Beaucaire, keeping on the dark side of the way to be out of the light of the moon, which shone quietly in the sky. She walked as fast as she could, until she came to the tower where Aucassin was. The tower was set about with pillars, here and there. She pressed herself against one of the pillars, wrapped herself closely in her mantle, and putting her face to a chink of the tower, which was old and ruined, she heard Aucassin crying bitterly within, and when she had listened awhile she began to speak.”“她走到花园的门口打开门，穿过博凯尔的街道。月亮正在天空中安静地照耀着，她一直走在街道的暗处来躲开明亮的月光。她尽量快走，来到奥卡森所在的尖塔。塔下面零零落落地支着些柱子，她紧贴着一根柱子，把自己紧紧裹在披肩里，将头伸向尖塔的裂口。在坏旧破损的裂口里，她听到奥卡森在里面痛苦地哭泣。听了一会儿，她开始说话了。”
But scattered up and down through this lighter matter, always tinged with humor and often passing into burlesque, which makes up the general substance of the piece, there are morsels of a different quality, touches of some intenser sentiment, coming it would seem from the profound and energetic spirit of the Provensal poetry itself, to which the inspiration of the book has been referred. Let me gather up these morsels of deeper color, these expressions of the ideal intensity of love, the motive which really unites together the fragments of the little composition. Dante, the perfect flower of ideal love, has recorded how the tyranny of that "Lord of terrible aspect" became actually physical, blinding his senses, and suspending his bodily forces. In this,
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