1、As regards his attitude towards the credibility of early Roman history he is quite as conscious as we are of its mythical and unsound nature. He will not, for instance, decide whether the Horatii were Albans or Romans; who was the first dictator; how many tribunes there were, and the like. His metho

2、d, as a rule, is merely to mention all the accounts and sometimes to decide in favour of the most probable, but usually not to decide at all.從對早期羅馬歷史上可信度的態(tài)度可以看出，對于我們的神話了的和不健全的本質(zhì)他非常清醒的。例如，他不會去判定賀拉斯兄弟定是阿爾巴人還是羅馬人；或者誰是第一個獨裁者；他們有多少教堂，等等這些類似問題。他的態(tài)度，作為準則，是僅僅提及所有的問題，有時對有些但不是對所有決定有幫助。 No canons of historical

3、 criticism will ever discover whether the Roman women interviewed the mother of Coriolanus of their own accord or at the suggestion of the senate; whether Remus was killed for jumping over his brothers wall or because they quarrelled about birds; whether the ambassadors found Cincinnatus ploughing o

4、r only mending a hedge. Livy suspends his judgment over these important facts and history when questioned on their truth is dumb. If he does select between two historians he chooses the one who is nearer to the facts he describes. But he is no critic, only a conscientious writer. It is mere vain was

5、te to dwell on his critical powers, for they do not exist.沒有歷史批判就不會發(fā)現(xiàn)羅馬婦女是否在參議院的建議下采訪了她們的母親科里奧蘭納斯；是否萊姆斯被殺是因為他背叛了他哥哥，并發(fā)生了爭吵；是否大使發(fā)現(xiàn)了辛西內(nèi)塔斯耕種或修補籬笆。李維擱置了對于懷疑那些重要事實和歷史真理感到愚蠢的真相的判斷。如果讓他在兩位歷史學家之間進行選擇，他會選擇更接近他所描述的事實的那個。但是他并不會批評，因為他只是一個盡責的作家。對于不存在事物進行批評，那是純粹白白浪費了他的批判能力。 In the case of Tacitus imagination has

6、taken the place of history. The past lives again in his pages, but through no laborious criticism; rather through a dramatic and psychological faculty which he specially possessed.在塔西佗時期，空想主義已經(jīng)代替了歷史主義。過去的生活重新寫在他的著作中，只是這個著作不是描述對辛苦勞動的評價，而是戲劇化的瘋狂的心里描寫。In the philosophy of history he has no belief. He c

7、an never make up his mind what to believe as regards Gods government of the world. There is no method in him and none elsewhere in Roman literature.塔西坨對于史學沒有信仰。他從來不會相信世界上存在上帝。在他的著作里沒有，在任何的羅馬著作中也沒有。Nations may not have missions but they certainly have functions. And the function of ancient Italy was

8、not merely to give us what is statical in our institutions and rational in our law, but to blend into one elemental creed the spiritual aspirations of Aryan and of Semite. Italy was not a pioneer in intellectual progress, nor a motive power in the evolution of thought. The owl of the goddess of Wisd

9、om traversed over the whole land and found nowhere a resting-place. The dove, which is the bird of Christ, flew straight to the city of Rome and the new reign began. It was the fashion of early Italian painters to represent in mediaeval costume the soldiers who watched over the tomb of Christ, and t

10、his, which was the result of the frank anachronism of all true art, may serve to us as an allegory. For it was in vain that the middle ages strove to guard the buried spirit of progress. When the dawn of the Greek spirit arose, the sepulchre was empty, the grave-clothes laid aside. Humanity had rise

11、n from the dead.國家可能沒有使命，但是一定有它的功能。古意大利的功能是不僅僅告訴我們機構的穩(wěn)定性和法律的合理性，而是將雅利安人和猶太人的信仰融合在一起。意大利不是知識進步的先驅(qū)，在這場思想演變中也不是積極者。上帝的偵察者智慧女神走過整個土地，發(fā)現(xiàn)智慧無處安放?；降镍澴又苯语w到了羅馬城和新王朝。這是早期意大利畫家在看守基督之墓的士兵的中世紀服裝上所表達的時尚，這是真正藝術坦白的時代錯誤，有助于我們作為一個寓言。中世紀努力守護埋沒的進步精神是徒勞的。當希臘精神的曙光出現(xiàn)，墳墓是空的，嚴肅的衣服放在一邊。人們已經(jīng)重生。The study of Greek, it as been w

12、ell said, implies the birth o，iticism omparison and research. At the opening of that education of modern by ancient thought which we call the Renaissance, it was the words of Aristotle which sent Columbus sailing to the New World, while a fragment of Pythagorean astronomy set Copernicus thinking on

13、that train of reasoning which has revolutionised the whole position of our planet in the universe. Then it was seen that the only meaning of progress is a return to Greek modes of thought. The monkish hymns which obscured the pages of Greek manuscripts were blotted out, the splendours of a new metho

14、d were unfolded to the world, and out of the melancholy sea of mediaevalism rose the free spirit of man in all that splendour of glad adolescence, when the bodily powers seem quickened by a new vitality, when the eye sees more clearly than its wont and the mind apprehends what was beforetime hidden

15、from it. To herald the opening of the sixteenth century, from the little Venetian printing press came forth all the great authors of antiquity, each bearing on the title-page the words Greej words which may serve to remind us with what wondrous prescience Polybius saw the worlds fate when he foretol

16、d the material sovereignty of Roman institutions and exemplified in himself the intellectual empire of Greece.通常說，希臘學說，暗示著誕生，批判，比較，研究。在用古代思想教育現(xiàn)代的開端，我們稱為文藝復興時期，亞里士多德文學將哥倫布航行送往新大陸，然而畢達哥拉斯天文學部分，將哥白尼送上了考慮推理什么是徹底改變宇宙中星球位置的變化的列車。然后回到希臘模式中思考被認為是進步的唯一意義。掩蓋了希臘手稿的僧侶贊美詩被遮住了，一種絢麗多彩的新方法展現(xiàn)給世界，走出中世紀精神憂郁的大海，燃起了正直輝煌

17、與愉悅青春期人們的自由精神。那時身體的力量似乎被新的活力加強，那時眼睛比曾經(jīng)看的更加清晰，頭腦思考過去隱藏之下的問題。預示著十六世紀初，從小小的威尼斯的印刷出來所有古代的偉大作家，銘記在哥白尼扉頁上的字有助于提醒我們先人阿里斯塔克斯見證了世界的命運是多么令人神奇，他預言了羅馬機構重要的主權，展現(xiàn)了他是希臘知識的帝王。 The course of the study of the spirit of historical criticism has not been a profitless investigation into modes and forms of thought now an

18、tiquated and of no account. The only spirit which is entirely removed from us is the mediaeval; the Greek spirit is essentially modern. The introduction of the comparative method of research which has forced history to disclose its secrets belongs in a measure to us. Ours, too, is a more scientific

19、knowledge of philology and the method of survival. Nor did the ancients know anything of the doctrine of averages or of crucial instances, both of which methods have proved of such importance in modern criticism, the one adding a mostimportant proof of the statical elements of history, and exemplify

20、ing the influences of all physical surroundings on the life of man; the other, as in the single instance of the Moulin Quignon skull, serving to create a whole new science of prehistoric archaeology and to bring us back to a time when man was coeval with the stone age, the mammoth and the woolly rhi

21、noceros. But, except these, we have added no new canon or method to the science of historical criticism. Across the drear waste of a thousand years the Greek and the modern spirit join hands. 歷史的批判精神的研究還沒有一個無益的調(diào)查用過時的思維模式和不可取代的形式。從我們的生活中完全消失的是中世紀精神；希臘精神的本質(zhì)是現(xiàn)代的。這種迫使歷史揭露它的秘密的比較研究方法的引入作為我們的衡量。對于我們來說是一種比

22、較科學的文學知識和生存的方法。也沒有唯一的精神，這是完全從我們的是中世紀的希臘精神的本質(zhì)是現(xiàn)代。古代人既不知道平均主義學說，也不知道重要的例子，這兩種方法證明了現(xiàn)代批評的重要性，一個增加的歷史靜態(tài)元素的最重要的論證，并例舉所有物理環(huán)境對人類生活的影響；另外，列舉the Moulin Quignon skull作為單個實例，以創(chuàng)造一個全新的考古科學史前并且?guī)覀兓氐绞鲿r代和猛犸象和披毛犀牛時代。但是，除了這些，我們對歷史評價增加了新的標準。擁有一千年歷史的陰沉的廢墟般的希臘將與現(xiàn)代精神攜手。In the torch race which the Greek boys ran from the

23、Cerameician field of death to the home of the goddess of Wisdom, not merely he who first reached the goal but he also who first started with the torch aflame received a prize. In the Lampadephoria of civilisation and free thought let us not forget to render due meed of honour to those who first lit

24、that sacred flame, the increasing splendour of which lights our footsteps to the far-off divine event of the attainment of perfect truth.在希臘男孩從死亡的cerameician領域跑向智慧女神的家的火炬比賽中，他不僅僅是第一個獲得分數(shù)，也是第一個點燃火炬并獲得獎品的人。在文明和自由的思想的火炬接力比賽中，讓我們不要忘記給予那些第一次點燃圣火的人榮譽，其中越來越光彩的是使我們的腳步到達了獲得完美真理的遙遠神圣的地方。LA SAINTE COURTISANE；

25、OR, THE WOMAN COVERED WITH JEWELSThe scene represents a corner of a valley in the Thebaid. On the right hand of the stage is a cavern. In front of the cavern stands a great crucifix.On the left sand dunesj.The sky is blue like the inside of a cup of lapis lazuli. The hills are of red sand. Here and

26、there on the hills there are clumps of thorns.FIRST MAN. Who is she? She makes me afraid. She has a purple cloak and her hair is like threads of gold. I think she must be the daughter of the Emperor. I have heard the boatmen say that the Emperor has a daughter who wears a cloak of purple.SECOND MAN.

27、 She has birds wings upon her sandals, and her tunic is of the colour of green corn. It is like corn in spring when she stands still. It is like young corn troubled by the shadows of hawks when she moves. The pearls on her tunic are like many moons.FIRST MAN. They are like the moons one sees in the

28、water when the wind blows from the hills.SECOND MAN. I think she is one of the gods. I think she comes from Nubia.FIRST MAN. I am sure she is the daughter of the Emperor. Her nails are stained with henna. They are like the petals of a rose. She has come here to weep for Adonis.SECOND MAN. She is one

29、 of the gods. I do not know why she has left her temple. The gods should not leave their temples. If she speaks to us let us not answer and she will pass by.FIRST MAN. She will not speak to us. She is the daughter of the Emperor.MYRRHINA. Dwells he not here, the beautiful young hermit, he who will n

30、ot look on the face of woman?FIRST MAN. Of a truth it is here the hermit dwells.MYRRHINA. Why will he not look on the face of woman?SECOND MAN. We do not know.MYRRHINA. Why do ye yourselves not look at me?FIRST MAN. You are covered with bright stones, and you dazzle our eyes.SECOND MAN. He who looks

31、 at the sun becomes blind. You are too bright to look at. It is not wise to look at things that are very bright. Many of the priests in the temples are blind, and have slaves to lead them.MYRRHINA. Where does he dwell, the beautiful young hermit who will not look on the face of woman? Has he a house

32、 of reeds or a house of burnt clay or does he lie on the hillside? Or does he make his bed in the rushes?FIRST MAN. He dwells in that cavern yonder.MYRRHINA. What a curious place to dwell in.FIRST MAN. Of old a centaur lived there. When the hermit came the centaur gave a shrill cry, wept and lamente

33、d, and galloped away.SECOND MAN. No. It was a white unicorn who lived in the cave. When it saw the hermit coming the unicorn knelt down and worshipped him. Many people saw it worshipping him.FIRST MAN. I have talked with people who saw it.氺氺氺SECOND MAN. Some say he was a hewer of wood and worked for

34、 hire. But that may not be true.氺氺氺MYRRHINA. What gods then do ye worship? Or do ye worship any gods? There are those who have no gods to worship. The philosophers who wear long beards and brown cloaks have no gods to worship. They wrangle with each other in the porticoes. The j laugh at them.FIRST

35、MAN. We worship seven gods. We may not tell their names. It is a very dangerous thing to tell the names of the gods. No one should ever tell the name of his god. Even the priests who praise the gods all day long, and eat of their food with them, do not call them by their right names.MYRRHINA. Where

36、are these gods ye worship?FIRST MAN. We hide them in the folds of our tunics. We do not show them to any one. If we showed them to any one they might leave us.MYRRHINA. Where did ye meet with them?FIRST MAN. They were given to us by an embalmer of the dead who had found them in a tomb. We served him

37、 for seven years.MYRRHINA. The dead are terrible. I am afraid of Death.FIRST MAN. Death is not a god. He is only the servant of the gods.MYRRHINA. He is the only god I am afraid of. Ye have seen many of the gods?FIRST MAN. We have seen many of them. One sees them chiefly at night time. They pass one

38、 by very swiftly. Once we saw some of the gods at daybreak. They were walking across a plain.MYRRHINA. Once as I was passing through the market place I heard a sophist from Cilicia say that there is only one God. He said it before many people.FIRST MAN. That cannot be true. We have ourselves seen ma

39、ny, though we are but common men and of no account. When I saw them I hid myself in a bush. They did me no harm.MYRRHINA. Tell me more about the beautiful young hermit. Talk to me about the beautiful young hermit who will not look on the face of woman. What is the story of his days? What mode of lif

40、e has he?FIRST MAN. We do not understand you.MYRRHINA. What does he do, the beautiful young hermit? Does he sow or reap? Does he plant a garden or catch fish in a net? Does he weave linen on a loom? Does he set his hand to the wooden plough and walk behind the oxen?SECOND MAN. He being a very holy m

41、an does nothing. We are common men and of no account. We toil all day long in the sun. Sometimes the ground is very hard.MYRRHINA. Do the birds of the air feed him? Do the jackals share their booty with him?FIRST MAN. Every evening we bring him food. We do not think that the birds of the air feed hi

42、m.MYRRHINA. Why do ye feed him? What profit have ye in so doing?SECOND MAN. He is a very holy man. One of the gods whom he has offended has made him mad. We think he has offended the moon.MYRRHINA. Go and tell him that one who has come from Alexandria desires to speak with him.to his God. We pray th

43、ee to pardon us for not doing thy bidding.FIRST MAN. We dare not tell him. This hour he is praying FIRST MAN. That he might heal them.MYRRHINA. Are ye afraid of him?FIRST MAN. We are afraid of him.MYRRHINA. Why are ye afraid of him?FIRST MAN. We do not know.MYRRHINA. What is his name?FIRST MAN. The

44、voice that speaks to him at night time in the cavern calls to him by the name of Honorius. It was also by the name of Honorius that the three lepers who passed by once called to him. We think that his name is Honorius.MYRRHINA. Why did the three lepers call to him?MYRRHINA. Did he heal them?SECOND M

45、AN. No. They had committed some sin: it was for that reason they were lepers. Their hands and faces were like salt. One of them wore a mask of linen. He was a kings son.MYRRHINA. What is the voice that speaks to him at night time in his cave?FIRST MAN. We do not know whose voice it is. We think it i

46、s the voice of his God. For we have seen no man enter his cavern nor any come forth from it.MYRRHINA. Honorius.HONORIUS (from within). Who calls Honorius?氺氺氺MYRRHINA. Come forth, Honorius.氺氺氺My chamber is ceiled with cedar and odorous with myrrh. The pillars of my bed are of cedar and the hangings a

47、re of purple. My bed is strewn with purple and the steps are of silver. The hangings are sewn with silver pomegranates and the steps that are of silver are strewn with saffron and with myrrh. My lovers hang garlands round the pillars of my house. At night time they come with the flute players and th

48、e players of the harp. They woo me with apples and on the pavement of my courtyard they write my name in wine.我的房間是雪松天花板并帶有藥香味。我的床柱是雪松木的和簾布是紫色的。我的床布滿紫色并且臺階是銀色的。簾布是用的銀石榴，銀色的臺階撒滿藏紅花和沒藥。我的愛人在我的房子的四周的支柱上掛上花環(huán)。在晚上的時候，他們像吹笛者，豎琴的演奏家。他們在我庭院的路上通過蘋果向我示愛，他們把我的名字寫在酒里。From the uttermost parts of the world my love

49、rs come to me. The kings of the earth come to me and bring me presents.我的愛人從世界上最遙遠的地方朝我走來。地球上的君王向我走來并給我?guī)砹硕Y物。When the Emperor of Byzantium heard of me he left his porphyry chamber and set sail in his galleys. His slaves bare no torches that none might know of his coming. When the King of Cyprus hear

50、d of me he sent me ambassadors. The two Kings of Libya who are brothers brought me gifts of amber. 當拜占庭的君主聽說我，他離開他的斑巖室，帶領著自己的軍艦啟航。他的奴仆赤裸著火把，大概沒有人知道他的到來。當塞浦路斯國王聽說我，他送我大使。利比亞的兩個國王，他們是兄弟，送給我琥珀色的禮物。I took the minion of Caesar from Caesar and made him my playfellow. He came to me at night in a litter. He waspale as a narcissus, and h