麻木的群氓文学流变视野中的《裘力斯·凯撒》群氓场景反思
摘要
民众如何在政治运动中被煽动从而成为失去理智的狂热群氓历来是文学、社会学、政治学与心理学中值得深思的现象。正如雪莱充满自我矛盾的“麻木的群氓”一语暗示着群氓这一共名其实掩盖了民众在其狂热面具后多样的心态与存在那样,本研究并非旨在罗列表层的文学中的群氓现象,更非重塑一个对于民众暴力的民粹主义崇拜,而是聚焦于莎士比亚戏剧《裘力斯·凯撒》经典群氓场景和它的历史起源与流变,揭示莎士比亚和他的前驱与后继者们如何在再现群氓的同时又颠覆了群氓这一刻板形象——在此,不同的思想者跨越时空完成了一次关于群氓的对话,并为我们今日反思历史与自身的困境提出多种可能。
具体而言,在第一章中,本研究重点将《裘力斯·凯撒》的群氓场景置于西方与英国自身的文学流变谱系中,在追溯其在西方文学起源处的《理想国》对群氓的经典描述与《圣经》中的显性悲剧性起源之外,着力发掘它在古希腊阿里斯托芬喜剧和作为英国文学源头之一的乔叟《坎特伯雷故事集》中长久被忽略的狂欢化喜剧源头,以再现群氓场景在文学中初次出现时就如何存在狂热群氓导致的英雄政治悲剧与看透一切政治游戏的群众无奈地逢场作戏的喜剧这一“悲喜交加”的双重命题,并观察这一双重命题如何同时潜伏进《裘力斯·凯撒》以及其他多个莎士比亚戏剧中。
在此基础上,通过阐发古典莎评中“悲喜剧”这一核心概念,本研究将在第二章中回归莎剧自身,观察莎士比亚如何从两个源头综合了关于群氓的“悲喜交加”的双重命题而喜剧因素又是如何在被遮蔽的同时又被暗示。就悲剧的昭显而言,本研究将以《裘力斯·凯撒》为中心,通过勒庞所提出的群体心理学加以系统分析,以期以一种反讽性的方式具体揭示群氓场景“英雄-群氓’、“煽动-被煽动”、“精明-愚昧”等一系列延绵至今的经典二元对立的建构机制与一种可能的机械解读是如何产生。但绝不限于此,本研究将进一步在古罗马、伊丽莎白时期的历史与多个莎剧文本的往返阅读中探讨莎剧自身的力量是否隐含着将悲剧中狂热群氓消解为喜剧中冷漠看客的可能——机变逢迎的民众在佯装的狂热中冷静地加入阴谋,在政治势力的倾轧中寻求自身生存的夹缝与利益最大化,从而将政治的悲剧化为自身的喜剧。
在此之后,本研究将在第三章和第四章中从英国文学流变的维度考察莎士比亚在他身后与他的先驱和后继者们如何在走入后世英国关于民众的意识形态斗争时就群氓问题相遇并反复展开丰富的对话。第三章首先梳理莎士比亚身后整体时代语境中群氓话语构建过程,进而探讨当以托利党人为首的主流保守意识形态通过大规模建构群氓形象并挪用古希腊喜剧对民众的批判以排斥民众的合理诉求与政治改革时,莎士比亚与他的先驱阿里斯托芬如何反复相遇在18-19世纪菲尔丁和雪莱关于群氓的文学书写中。这些后继者们在他们的精神世界里模仿并继承了阿里斯托芬喜剧和莎士比亚《裘力斯·凯撒》的悲喜交加的丰富内涵。他们通过和莎士比亚与阿里斯托芬展开多个维度的对话与交融,从而以一种喜剧方式反讽性地反拨着时代语境中的群氓话语并复活莎士比亚戏剧中民众的多元形象。
第四章将继续探讨当类似的群氓话语构建在雪莱身后依然不断加强时,莎士比亚与他的另三个后继者的对话。被誉为“苏格兰的莎士比亚”的司各特完整地展现了莎士比亚悲喜交加的群氓场景。“想象力仅次于莎士比亚和塞万提斯”的狄更斯在企图逃离莎士比亚民众形象的丰富性同时产生了自我分裂,他不同作品中疯狂的群氓和逢场作戏的群众从对立的两极复活了莎士比亚的民众形象；奥威尔在批评狄更斯对群氓的建构并直接否定群氓的存在之余,将自身创作直接置身于凯撒主义复活的语境中,他那在威权注视中无悲无喜的瘫痪的民众正是莎士比亚古罗马群氓在现代社会的转生。
Much has been devoted in literature, sociology, political science and psychology to the depiction and analysis of how people become mobs through social and political mobilization. However, as Shelley's oxymoronic "insensate mob" subtly implies,"mob" as a general term has denied diversified mentalities and pursuits of the people behind a mask of madness. This dissertation, in the light of this, will neither simply summarize the mob phenomena in literature nor reaffirm populist worship of mass violence. Instead, with its focus on the notorious mob scene in Shakespeare's Julius Caesar and its historical context and evolution, this dissertation attempts to reveal how Shakespeare and his predecessors and successors both reestablish and subvert the stereotype of the mob in their arts. Through their varied but related portrayals of mobs, these minds have established a dialogue across the centuries to explore this subject, thus proposing more ways for further reflections on history and our own time.
Chapter one aims to analyze the tragic and comic elements of the mob scene in Julius Caesar in the context of its literary sources. By tracing its tragic origins in Plato's Republic and The Bible, this dissertation further attempts to define its neglected carnivalesque affinities with Aristophanes'comedies and Chaucer's Canterbury Tales. In a comparative view, this dissertation suggests these sources provide the dual theme that is later to be absorbed into Shakespeare's mob scenes in which people could be both part of a mad mob or comic on-lookers who, after seeing through all the secrets of politics, are willingly or unwillingly seeking their own interests.
In chapter two, this dissertation through its elaboration of the notion of tragicomedy reconsiders how Shakespeare interweaves this dual theme into his mob scenes in Julius Caesar and other plays and how the covert comic elements are implied. By applying the theory of group psychology, this dissertation first in an ironic way is intended to illustrate the formation of the tragic theme of Julius Caesar through the establishment of such binary oppositions as hero-mob, motivator-motivated and wise-stupid. Then this dissertation, in the close rereading of Julius Caesar, its relevant historical sources of the late Roman Republic and other Shakespearean plays, contests and reverses the established binary operation and further argues that the seemingly insane people were sanely and comically seeking their own interests through the tragic power struggle between different political rivals by turning themselves into their cooperators.
In chapter three and chapter four, this dissertation reveals Shakespeare's encounter with his precursors and successors in the later ideological battle in England. Chapter three starts with a summary of the later historical construction of the discourse of the mob; then it discusses Shakespeare's encounters with Aristophanes in the writings of Fielding and Shelley in a time when the dominating conservatives were attempting to dismiss the people's demand for political reform by appropriating the mob discourse and Aristophanes'comedies. Fielding and Shelly in their spiritual world inherited Aristophanes and Shakespeare's deep insights into the mob. Their multidimensional absorption of Shakespeare and Aristophanes enabled them to dismiss the discourse of the mob and revive the comprehensiveness of the populace as portrayed in Shakespearean plays.
Chapter four continues to explore another spiritual dialogue between Shakespeare and three more of his successors. Scott, who was called "the Scottish Shakespeare,' represented the tragicomic existence of the mob in his works. Dickens, whose imagination was only surpassed by Shakespeare and Cervantes, found himself split in his attempt to be against the abundance in Shakespeare's image of the populace. The crazy multitudes or the cold onlookers in his varied works reaffirmed different facets of the Shakespearean mob. Orwell who criticized Dickens'prejudice of the people and who openly denied the existence of the mob sympathetically reconstructed the image of the desperate individuals in the context of modern Caesarism. In his novels, the people who were completely physically manipulated and spiritually paralyzed in the totalitarian rule of Big Brother were the modern reincarnation of the Roman mob of Shakespeare.
具体而言,在第一章中,本研究重点将《裘力斯·凯撒》的群氓场景置于西方与英国自身的文学流变谱系中,在追溯其在西方文学起源处的《理想国》对群氓的经典描述与《圣经》中的显性悲剧性起源之外,着力发掘它在古希腊阿里斯托芬喜剧和作为英国文学源头之一的乔叟《坎特伯雷故事集》中长久被忽略的狂欢化喜剧源头,以再现群氓场景在文学中初次出现时就如何存在狂热群氓导致的英雄政治悲剧与看透一切政治游戏的群众无奈地逢场作戏的喜剧这一“悲喜交加”的双重命题,并观察这一双重命题如何同时潜伏进《裘力斯·凯撒》以及其他多个莎士比亚戏剧中。
在此基础上,通过阐发古典莎评中“悲喜剧”这一核心概念,本研究将在第二章中回归莎剧自身,观察莎士比亚如何从两个源头综合了关于群氓的“悲喜交加”的双重命题而喜剧因素又是如何在被遮蔽的同时又被暗示。就悲剧的昭显而言,本研究将以《裘力斯·凯撒》为中心,通过勒庞所提出的群体心理学加以系统分析,以期以一种反讽性的方式具体揭示群氓场景“英雄-群氓’、“煽动-被煽动”、“精明-愚昧”等一系列延绵至今的经典二元对立的建构机制与一种可能的机械解读是如何产生。但绝不限于此,本研究将进一步在古罗马、伊丽莎白时期的历史与多个莎剧文本的往返阅读中探讨莎剧自身的力量是否隐含着将悲剧中狂热群氓消解为喜剧中冷漠看客的可能——机变逢迎的民众在佯装的狂热中冷静地加入阴谋,在政治势力的倾轧中寻求自身生存的夹缝与利益最大化,从而将政治的悲剧化为自身的喜剧。
在此之后,本研究将在第三章和第四章中从英国文学流变的维度考察莎士比亚在他身后与他的先驱和后继者们如何在走入后世英国关于民众的意识形态斗争时就群氓问题相遇并反复展开丰富的对话。第三章首先梳理莎士比亚身后整体时代语境中群氓话语构建过程,进而探讨当以托利党人为首的主流保守意识形态通过大规模建构群氓形象并挪用古希腊喜剧对民众的批判以排斥民众的合理诉求与政治改革时,莎士比亚与他的先驱阿里斯托芬如何反复相遇在18-19世纪菲尔丁和雪莱关于群氓的文学书写中。这些后继者们在他们的精神世界里模仿并继承了阿里斯托芬喜剧和莎士比亚《裘力斯·凯撒》的悲喜交加的丰富内涵。他们通过和莎士比亚与阿里斯托芬展开多个维度的对话与交融,从而以一种喜剧方式反讽性地反拨着时代语境中的群氓话语并复活莎士比亚戏剧中民众的多元形象。
第四章将继续探讨当类似的群氓话语构建在雪莱身后依然不断加强时,莎士比亚与他的另三个后继者的对话。被誉为“苏格兰的莎士比亚”的司各特完整地展现了莎士比亚悲喜交加的群氓场景。“想象力仅次于莎士比亚和塞万提斯”的狄更斯在企图逃离莎士比亚民众形象的丰富性同时产生了自我分裂,他不同作品中疯狂的群氓和逢场作戏的群众从对立的两极复活了莎士比亚的民众形象；奥威尔在批评狄更斯对群氓的建构并直接否定群氓的存在之余,将自身创作直接置身于凯撒主义复活的语境中,他那在威权注视中无悲无喜的瘫痪的民众正是莎士比亚古罗马群氓在现代社会的转生。
Much has been devoted in literature, sociology, political science and psychology to the depiction and analysis of how people become mobs through social and political mobilization. However, as Shelley's oxymoronic "insensate mob" subtly implies,"mob" as a general term has denied diversified mentalities and pursuits of the people behind a mask of madness. This dissertation, in the light of this, will neither simply summarize the mob phenomena in literature nor reaffirm populist worship of mass violence. Instead, with its focus on the notorious mob scene in Shakespeare's Julius Caesar and its historical context and evolution, this dissertation attempts to reveal how Shakespeare and his predecessors and successors both reestablish and subvert the stereotype of the mob in their arts. Through their varied but related portrayals of mobs, these minds have established a dialogue across the centuries to explore this subject, thus proposing more ways for further reflections on history and our own time.
Chapter one aims to analyze the tragic and comic elements of the mob scene in Julius Caesar in the context of its literary sources. By tracing its tragic origins in Plato's Republic and The Bible, this dissertation further attempts to define its neglected carnivalesque affinities with Aristophanes'comedies and Chaucer's Canterbury Tales. In a comparative view, this dissertation suggests these sources provide the dual theme that is later to be absorbed into Shakespeare's mob scenes in which people could be both part of a mad mob or comic on-lookers who, after seeing through all the secrets of politics, are willingly or unwillingly seeking their own interests.
In chapter two, this dissertation through its elaboration of the notion of tragicomedy reconsiders how Shakespeare interweaves this dual theme into his mob scenes in Julius Caesar and other plays and how the covert comic elements are implied. By applying the theory of group psychology, this dissertation first in an ironic way is intended to illustrate the formation of the tragic theme of Julius Caesar through the establishment of such binary oppositions as hero-mob, motivator-motivated and wise-stupid. Then this dissertation, in the close rereading of Julius Caesar, its relevant historical sources of the late Roman Republic and other Shakespearean plays, contests and reverses the established binary operation and further argues that the seemingly insane people were sanely and comically seeking their own interests through the tragic power struggle between different political rivals by turning themselves into their cooperators.
In chapter three and chapter four, this dissertation reveals Shakespeare's encounter with his precursors and successors in the later ideological battle in England. Chapter three starts with a summary of the later historical construction of the discourse of the mob; then it discusses Shakespeare's encounters with Aristophanes in the writings of Fielding and Shelley in a time when the dominating conservatives were attempting to dismiss the people's demand for political reform by appropriating the mob discourse and Aristophanes'comedies. Fielding and Shelly in their spiritual world inherited Aristophanes and Shakespeare's deep insights into the mob. Their multidimensional absorption of Shakespeare and Aristophanes enabled them to dismiss the discourse of the mob and revive the comprehensiveness of the populace as portrayed in Shakespearean plays.
Chapter four continues to explore another spiritual dialogue between Shakespeare and three more of his successors. Scott, who was called "the Scottish Shakespeare,' represented the tragicomic existence of the mob in his works. Dickens, whose imagination was only surpassed by Shakespeare and Cervantes, found himself split in his attempt to be against the abundance in Shakespeare's image of the populace. The crazy multitudes or the cold onlookers in his varied works reaffirmed different facets of the Shakespearean mob. Orwell who criticized Dickens'prejudice of the people and who openly denied the existence of the mob sympathetically reconstructed the image of the desperate individuals in the context of modern Caesarism. In his novels, the people who were completely physically manipulated and spiritually paralyzed in the totalitarian rule of Big Brother were the modern reincarnation of the Roman mob of Shakespeare.
引文
①本研究中17-20世纪早期的文献书目来源信息参照A New Variorum Edition of Shakespeare; Shakespearean cricicism:criticism of William Shakespeare's plays and poetry, from the first published appraisals to current evaluations; The new Cambridge bibliography of English literature; Bloom's Shakespeare through the Ages. Ed. Harold Bloom. New York:Infobase Publishing,2008.此类早期具体文本除部分由作者在美国访学时获得之外,其余由复旦大学所订购的"Early English Books Online (EEBO.早期英语书籍在线)”,“Gale-Eighteenth Century Collections Online (ECCO, Gale18世纪作品集在线)”,"Gale-Literature Resource Center (Gale文学资源中心)”以及其它数据库所提供。
②本研究论述中所引用莎剧台词均参照The Riverside Shakespeare.2nd ed. Boston:Houghlon Mifflin Co.,1974.译文参照朱生豪先生的译本,但几处关键处有所改变。
①市场演说暴动一幕并非直接来自历史著作,因为在最早如普鲁塔克《古希腊罗马名人传》等记述凯撒遇刺时,对市场演说暴动一幕只一笔带过,而群众是次日而非当时听到演讲后就暴动,而真正使之成为文学经典的是莎士比亚《裘力斯·凯撒》的创作和其后400多年在西方世界经久不衰的文本批评、舞台演出和影视改编。关于莎士比亚塑造我们今天所熟悉的市场演讲形象请参见Plutarch, "Antony", trans. Thomas North. Narrative and dramatic sources of Shakespeare. Ed. George Bullough, vol.5. London:Routledge and Kegan Paul,1957-75亦参见Mehl, Dieter. "Julius Caesar". Shakespeare s Tragedies:An Introduction. Cambridge University Press,1986. P.147.关于《裘力斯·凯撒》的文本批评史参见本章第2节,关于《裘力斯·凯撒》的舞台演出和影视改编请参见Ripley, John. Julius Caesar on Stage in England and America, 1599-1973. London:Cambridge University Press,1980.
②勒庞,吉斯塔夫.《乌合之众》,冯克利译,北京：中央编译出版社,2005年.Pp.49-50.
③莫斯科维奇,塞奇.《群氓的时代》,许列民等译,南京：江苏人民出版社,2003年.Pp.128,182,389.
④这部戏剧的作者已不可考,成文年月大致在1586-1593之间。参见Bruyn. Lucy de. Mob—Rule and Riots: the present mirrored in the past. London:Regency Press,1981. Pp.91-92.
⑤乔叟在此采取的戏仿的手法将村民追赶狐狸的喜剧场景和农民起义联系在一起,略有隐喻农民起义混 乱之意：“约克·斯吉洛和他的党人们击杀法兰德斯人时也决没有像这天追赶狐狸那样一般的咆哮。”参见乔叟.《坎特伯雷故事集》.方平译.上海：新文艺出版社,1955.P.161
①莎士比亚在《亨利六世·中篇》中将1381年泰勒起义与70年后凯德起义合二为一。据波斯维尔-斯通(W. G. Boswell-Stone)考计,泰勒下令处死所有的律师和其他类似之人,甚至“叛乱者当中如果谁被认出受过教育将会面临极大危阶,而他带着笔墨将更危险”。这就直接被莎十比亚借用进凯德暴乱一幕,剧中第一个群氓的受害者为一书史.凯德下令“把他的笔墨套在他的脖子上,吊死他”(第四幕第二场),Boswell-Stone. W. G. Shakespeare's Holinshed. New York:Longmans, Green and Company,1896. P.272.
② Tupper, Frederick. "The Shakespearean Mob ". PMLA. Vol.27, No.4(1912). Pp.6-7.
Stirling, Brentz. The Populace in Shakespeare. New York:Columbia University Press,1949. P.103.
④ Stirling, Brentz. "Shakespeare's Mob-Scenes:a Reinterpretation". Huntington Library Ouarterly. Vol.8. No. 3. Pp.224.
Certain Sermons appointed by the Queen Majestie, to be declared and read, by all Parsons. Vicars, and Curates, every Sunday and Holy day in their Churches(首页请参见附录)
①转引自Bruyn, Lucy de. Mob—Rule and Riots:the present mirrored in the past. London:Regency Press,1981. P.239.
② Siegel, Paul N.. Shakespeare's English and Roman History Plays. Fairleigh Dickinson University Press. P.124.
Levin. Harry. Shakespeare and the Revolution of the Times. Oxford:Oxford University Press.1976. Pp.187-196.亦参见陆谷孙.“《科里奥兰纳斯》的悲剧真谛：官能失调”.《莎士比亚研究十讲》.上海：复旦大学出版社,2005.P.188.
①在二十世纪三十年代美国威尔斯(Orson Welles)执导的《裘力斯·凯撒》中,一群身穿西服的现代欧洲市民在一法西斯军官带领下,将诗人西那撕得粉碎。参见Ripley, John. Julius Caesar on Stage in England and America,1599-1973. London:Cambridge University Press,1980. Pp.225-232.亦请参见Halpern. Richard. Shakespeare among the Moderns. Ithaca:Cornell University Press,1997. Pp.52-53..十世纪英语桂冠诗人奥登和著名文论家弗莱对此亦印象深刻,参见Auden, W. H. "Julius Caesar". Lectures on Shakespeare. Princeton:Princeton University Press,2000; Frye, Northrop. Fools of time:studies in Shakespearean tragedy. Toronto:University of Toronto Press.1967. P.18
② Halpern, Richard. Shakespeare among the Moderns. Ithaca:Cornell University Press.1997. P.75;亦请参见哈罗德.布鲁姆对此的回忆。布鲁姆,哈罗德.《西方正典》江宁康译.江苏人民出版社.2005.P.411
① Seidel, Michael A. "The Restoration Mob:Drones and Dregs". Studies in English Literature,1500-1900. Vol. 12, No.3 (Summer,1972). Pp.431-433.
② McClelland, J. S., The Crowd and the Mob:From Plato to Canetii. London:Unwin Hyman Ltd.1989. P.1
③ Visser, Nicholas. "Plebian Politics in Julius Caesar". William Shakespeare's Julius Caesar ed. Harold Bloom. New York:Infobase Publishing.2010. P.49.
① Johnson, Samuel. "Preface to Shakespeare". The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch. New York:W. W. Norton & Company. Inc.,2001. Pp.471-472.
② many-headed multitude or many-headed monster等自柏拉图开始就是将群众建构为群氓的经典意象,具体请参见本研究第一章第节。
Weever. John. The mirror of martyrs, or The life and death of that thrice valiant capitaine, and most godly martyre Sir lohn Old-castle knight Lord Cobham. [London]:Printed by V[alentine] S[immes] for William Wood.1601.P.4.此文对应页面图片请参见附录。
① Dryden. John. "Prologue to Julius Caesar". Bloom's Shakespeare through the Ages. Ed. Harold Bloom. New York:Infobase Publishing,2008
② de Voltaire. Francois-Marie Arouet. "Essay on Tragedy." Critical Essays on Dramatic Poetry,L. Davis and C. Reymers,1761.33.
① Montagu. Elizabeth. "Upon the Death of'Julius Caesar'." An Essay on the Writings and Genius of Shakespear (1769). Rpt. in Shakespearean Criticism. Ed. Mark W. Scott. Vol.7. Detroit:Gale Research.1988.
② Schlegel. August Wilhelm."Antiquities of the French Stage' and 'Criticisms on Shakspeare's Historical Dramas'."Trans. John Black. A Course of Lectures on Dramatic Art and Literature. Ed. A. J. W. Morrison.1846. Rpt. in Shakespearean Criticism. Ed. Mark W. Scott. Vol.7. Detroit:Gale Research.1988. Pp.240-241
① Schlegel, August Wilhelm."Antiquities of the French Stage 'and' Criticisms on Shakspeare's Historical Dramas'. "Trans. John Black. A Course of Lectures on Dramatic Art and Literature. Pp.415-416
Goethe, Johann Wolfgang Von Shakespeare in Europe. Ed. Randolph S. Bourne and Oswald LeWinter. The World Publishing Company,1963. Pp.62-63.
Hazlitt, William. Characters of William Shakespeare s Plays. New York:Willey and Putman.1845. P.22
① Hazlitt. William. Characters of William Shakespeare's Plavs. New York:Willey and Putman.1845. Pp.25-26
② Coleridge. Samuel Taylor. "Lectures and Notes on Shakespeare and Other English Poetsn" The Complete Works of Samuel Taylor Coleridge. Vol. IV. New York:Harper and Brother,1853 P.105
① Gervinus. Georg Gottfried. Shakespeare Commentaries. Trans. F. E. Bunnett. London:Smith. Elder. Co..1863. P.351
② Hudson. Henry Norman."Shakespeare:His Life, Art and Character". Bloom s Shakespeare through the Ages. Ed. Harold Bloom. New York:Infobase Publishing.2008. P.80.
③ Dowden. Edward. Shakespeare:A Critical Study of His Mind and Art. New Delhi:Atlantic Publishing And Distributors,2003. P.218.
④ Stapher. Paul. Shakespeare and Classical Antiquity:Greek and Latin Antiquity as Presented in Shakespeare's Plays. C. Kegan Paul & Co.,1880. P.330
① Moulton, Richard G. "Julius Caesar Beside His Murderers and His Avenger:A Study in Character-Grouping' and 'How the Play of'Julius Caesar' Works up to a Climax at the Centre:A Study in Passion and Movement." Shakespeare as a Dramatic Artist:A Popular Illustration of the Principles of Scientific Criticism.2nd ed. Oxford at the Clarendon Press,1888.187-191.
② Shaw, George Bernard."Tappertit on Caesar". William Shakespeare's Julius Caesar ed. Harold Bloom. New York:Infobase Publishing.2010. P.114.
①勒庞,吉斯塔夫.《乌合之众》,冯克利译,北京：中央编译出版社,2005年.Pp.49-50.
② Sedgwick, Henry Dwight. "The mob spirit in literature". The new American type, and other essays. New York: Kennikat Press,1908. P.46.
③ Tupper, Frederick."The Shakespearean Mob". PMLA. Vol.27. No.4 (1912).
④ Stirling, Brentz. "Shakespeare's Mob-Scenes:a Reinterpretation". Huntington Library Quarterly. Vol.8. No.3 (May,1945). Pp.213-240.斯特林和布卢因的作品主要为背景资料汇集和情节总结,故不在此详细讨论。
⑤ Bruyn, Lucy de. Mob—Rule and Riots:the present mirrored in the past. London:Regency Press.1981.
3 Tupper, Frederick. "The Shakespearean Mob ". PMLA. Vol.27. No.4 (1912). P.5.
4 Wilson, Knight. The Imperial Theme:Further Interpretations of Shakespeare's Tragedies. London. Routledge, 2002. Pp.67-74.
1 Burke. Kenneth. "Antony in Behalf of the Play". William Shakespeare s Julius Caesar ed. Harold Bloom. New York:Infobase Publishing,2010. Pp.147-153.
7 Grandville-Barker. Harley. Julius Caesar. London:Nick Hern Books Limited & Royal National Theatre,1993. Pp.68-83.
① Auden, W. H. "Julius Caesar". Lectures on Shakespeare. Princeton:Princeton University Press.2000. Pp. 126-129.
② Goddard. Harold C.. "Julius Caesar". The Meaning of Shakespeare. Chicago:University of Chicago Press. 1951. P.329.
① Frye. Northrop. Fools of time:studies in Shakespearean tragedy. Toronto:University of Toronto Press.1967. P. 19.
② Greene, Gayle. "The Power of Speech/To Stir Men's Blood:The Language of Tragedy in Shakespeare's Julius Caesar". Renaissance Drama. Vol.11.1980. Pp.67-93
③ Velz, John W.. "Orator and Imperator in Julius Caesar". Shakespeare Studies. Vol.15.1985. Pp.55-75
① Mehl, Dieter. "Julius Caesar". Shakespeare's Tragedies:An Introduction. Cambridge University Press,1986. P. 147.
② Leggat. Alexander. Shakespeare s Political Drama:the History Plays and Roman Plays. London:Routledge, 1988. Pp.141-142.
③ Leggat. Alexander. Shakespeare's Political Drama:the History Plays and Roman Plays. London:Routledge. 1988. Pp.157-158.
① Honigmann, E. A. J. Myriad-minded Shakespeare:Essays, chiefly on the tragedies and problem comedies. London:Macmillan Press.1989. P.30
② Honigmann, E. A. J. Myriad-minded Shakespeare:Essays, chiefly on the tragedies and problem comedies. London:Macmillan Press.1989. Pp.25-35
③令人玩味的是,布鲁姆对人物的注解本是按姓名首字母顺序排列,而代表了全体罗马民众仅仅用
"citizen"一词概括,而且被放在整篇注解的最后,并一笔带过。
③ Bloom. Harold. "Julius Caesar". Bloom's Shakespeare through the Ages. Ed. Harold Bloom. New York: Infobase Publishing,2008. P.34.
① Kermode, Frank. Shakespeare's Language. London:Penguin,2000. P.95.
② Hadfield, Andrew. Shakespeare and Republicanism. Cambridge:Cambridge University Press.2005. Pp. 171-172.
① Willson. Robert F. "Forum Scene". William Shakespeare s Julius Caesar ed. Harold Bloom. New York: Infobase Publishing.2010. P.24.
② Willson. Robert F. "Forum Scene". William Shakespeare s Julius Caesar ed. Harold Bloom. New York: Infobase Publishing.2010. Pp.24-26
① Visser, Nicholas. "Plebian Politics in Julius Caesar". William Shakespeare's Julius Caesar ed. Harold Bloom. New York:Infobase Publishing,2010. Pp.47-48.
② Upton. John. "An extract from Shakespeare." the Critical Heritage:1733-1752. Ed. Brian Vickers. Vol.3. Routledge & Kegan Paul,1975. P.300.
① Coleridge. Samuel Taylor. Lectures and Notes on Shakespeare and Other English Poets. P.78
② Stapher, Paul. Shakespeare and Classical Antiquity:Greek and Latin Antiquity as Presented in Shakespeare's Plays. C. Kegan Paul & Co.,1880. P.461.
① Brandes, George. "Appendix". The Tragedy of Coriolanus. Philadelphia:Washington Square Press.1928. P. 704.
② Tupper, Frederick. "The Shakespearean Mob". PMLA. Vol.27. No.4 (1912). P.4.
①舍斯托夫,列夫.《论莎士比亚的“裘力斯·凯撒”》.《悲剧哲学家的旷野呼唤》.张冰译.上海：上海远东出版社,2004.P.16.
②鲁迅“目.介亭杂文.以眼还眼”,《鲁迅全集》第六卷,北京：人民文学出版社,2005年.P.127.
③鲁迅“花边文学.又是“莎士比业”,《鲁迅全集》第五卷,北京：人民文学出版社,2005年.P.600-601
④福柯.米歇尔.《话语的秩序》.肖涛译《语言与翻译的政治》.北京：中央编译出版社.2000.Pp.2,9-10.
① Louis A., Montrose. "Shaping Fantacies:Figurations of Gender and Power in Elizabehtan Culture." Representing English Renaissance. Ed. Stephen Greenblatt. London:University of California Press,2005. Pp. 31-65.
② Greenblatt, Stephen. "Introduction". Representing the English Renaissance. London:University of California Press.2005. vii-viii
③巴赫金.《诗学与访谈》.白春仁、顾亚铃译.石家庄：河北教育出版社,1998.Pp.4-5.
④巴赫金.《拉伯雷酬究》.李兆林、夏忠宪等译.石家庄：河北教育出版社.1998.Pp.561-562.
① Stapher, Paul. Shakespeare and Classical Antiquity:Creek and Latin Antiquity as Presented in Shakespeare's Plays. C. Kegan Paul & Co.,1880. P.330
②莫斯科维奇,塞奇.《群氓的时代》,许列民等译.南京：江苏人民出版社,2003年.P.9.
③布鲁姆,哈罗德.《影响的焦虑》.徐文博译.南京：江苏教育出版社,2005.P.151-155
② Erickson, Peter. Rewriting Shakespeare, Rewriting Ourselves. Berkeley:University of California Press.1994. Pp.3-10
④钱理群.《丰富的痛苦》.北京：北京大学出版社,2007.P.1.
① Baldwin, T. W.. William Shakespeare's Small Latine and Less Greek.2 vols. Urbana:University of Illinois Press,1944. P.378
① Martindale, Charles and Taylor. A. B."Introduction". Shakespeare and the Classics, eds. Charles Martindale and A. B. Taylor. Cambridge:Cambridge University Press.2005. P.1.
② Jones, Emrys. The Origins of Shakespeare. London:Oxford University Press,1977. P.109.
③ Jones, Emrys. The Origins of Shakespeare. London:Oxford University Press,1977. P.13.
④ Burrow, Colin. "Shakespeare and Humanistic Culture". Shakespeare and the Classics, eds. Charles Martindale and A. B. Taylor. Cambridge:Cambridge University Press,2005. P.11
⑤ Burrow, Colin."Shakespeare and Humanistic Culture". Shakespeare and the Classics, eds. Charles Martindale and A. B. Taylor. Cambridge:Cambridge University Press,2005. P.11
⑥ Martindale, Charles and Taylor, A. B. "Introduction". Shakespeare and the Classics. eds. Charles Martindale and A. B. Taylor. Cambridge:Cambridge University Press,2005. P.2.
⑦ Frye, Northrop. Fools of time:studies in Shakespearean tragedy. Toronto:University of Toronto Press.1967. P.18
① Polybius. The Complete Histories of Polybius.trans. W. R. Paton. Digireads.com Publishing.2009. P.238.
②普鲁塔克.《古希腊罗马名人传》.上海：商务印书馆.1990.Pp.319-320,399,402-404,468-478,501.
② Charron, Pierre. Of Wisdom. Book I, trans. Samson Lennard. London. Pp.198-199.此书1609年版对应页面图片请参见附求。
④布鲁姆,哈罗德.《误读图示》,朱立元.陈克明译.天津：天津人民出版社.P.1.
③ Kristeva. Julia. Word, dialogue and novel. The Kristeva Reader, ed. Toril Moi. Oxoford:Oxford University Press,1986. P.37.
① Martindale. Charles and Taylor. A. B. "Introduction". Shakespeare and the Classics, eds. Charles Martindale and A. B. Taylor. Cambridge:Cambridge University Press,2005. P.1
② Munro, Ian. The Figure of the Crowd in Early Modern London. New York:PALGRAVE MACMILLan.2005. P. 35.
①柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.Pp.380-381.
①柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.Pp.381-383
②柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.P.157.
③柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.P.173.
①柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.P.197.亦参见《理想国》第八章“(不健康的国家)就像一个不健康的身体,只要遇到一点儿外邪就会生病,有的时候甚至没有外邪,也会病倒,一个整体的人就是一场内战。一个国家同样……”P.331.
① Parker. L. Barbara. "A Thing Unfirm" :Plato's Republic and Shakespeare's Julius Caesar. Shakespeare Quarterly Vol.44 No.1 (1993). Pp.32-33.
①柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.P.142.
① Parker, L. Barbara. "A Thing Unfirm" :Plato's Republic and Shakespeare's Julius Caesar. Shakespeare Quarterly Vol.44 No.1 (1993). Pp.32-33.
②柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.Pp.242-243
③柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.P.241
① Parker. L. Barbara. "A Thing Unfiirm" :Plato's Republic and Shakespeare's Julius Caesar. Shakespeare Quarterly Vol.44 No.1 (1993). P.40.
②柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.P.167.
① Schanzer, Ernest. The Problem Plays of Shakespeare. London:routledge & Kegan paul Ltd.1963. P.30.
①黑格尔.《哲学演讲录》.北京：三联书店.1957.
② Munro. Ian. The Figure of the Crowd in Early Modern London. New York:PALGRAVE MACMILLan,2005. P. 110.
③ Breslser, Charles E. "Deconstruction". Literary Criticism.2nd ediction. London:Prentice-Hall International Limited,1999. P.128.
①本研究除《吕西斯特拉特》外,所引用阿里斯托芬喜剧台词全部采用罗念生先生译本。具体版本信息为：阿里斯托芬.《阿里斯托芬喜剧六种》罗念生译.上海：上海人民出版社.2004.所引《吕西斯特拉特》台词由英译本译出,具体版本信息为：Aristophanes. "Lysistrata". Aristophanes, V3. Edited and Translated by Jeffrey Henderson. The Loeb Classical Library.1998. P.1.
② Hamilton, Edith. The Greek Way. New York:W. W. Norton.1960. P.127.
③ Ste Croix, G E. M. de. The Origins of the Peloponnesian War. Ithaca:Cornell University Press.1972. P.371.
①布鲁姆,哈罗德.《西方正典》.江宁康译.江苏：江苏人民出版社.2005.P.12.
② Hamilton, Edith. The Greek Way. New York:W. W. Norton,1960. P.126.
③柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.P.342.
④德谟斯(Demos)在古希腊语中为“人民”之意。
① Kristeva, Julia. Semeiotike:Recherche Pour Une Semanalvse. Seuil,1969. P.89
②巴赫金.《文本、对话与人生》.白春仁等译.石家庄：河北教育出版社.1998.P.61.
③巴赫金.《拉伯雷研究》.李兆林夏忠宪等译.石家庄：河北教育出版社,1998.P.13.
①巴赫金.《文本、对话与人生》.白春仁等译.石家庄：河北教育出版社.1998.P.28.
② Goldhill. S. The Poet's Voice. Cambridge:Cambridge University Press,1991. P.201.
③ Gomme. A. W. "Aristophanes and Politics". Classical Receptions Journal,52(1938). P.102
①此处指德谟斯参加公民大会,参见罗念生刘此剧的第115条注解——阿里斯托芬.《阿里斯托芬喜剧六种》罗念生译.上海：上海人民出版社,2004.P.151。德谟斯为人民的象征,此处腊肠贩深知如何使人民聚集在公民大会中受集体氛围和煽动的感染成为群氓。
②“三头狗”在对话中指德谟斯原先的管家帕佛拉工,在古希腊神话中它就是看守冥界入口的多头怪兽,参见罗念生对此剧的第161条注解——阿里斯托芬.《阿里斯托芬喜剧六种》罗念生译.上海：上海人民出版社,2004.P.151。《理想国》中苏格拉底就用它比喻人内心的多头怪,参见本章第一节讨论,和《理想国》中原文——柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.Pp.380-381.
③“海岛”暗指雅典盟邦所献的贡款。雅典的盟邦大半是爱琴海的岛屿。此处直接讽刺那些所谓城邦与人民的守护者如何贪婪。参见罗念生对此剧的第162条注解——阿里斯托芬.《阿里斯托芬喜剧六种》罗念生译.上海：上海人民出版社,2004.P.151。
① Mitchell. Thomas. "View of Grecian Philosophy.—The Clouds". Quarterly Review.21 (1819). P.276.
② Schlegel. August Wilhelm."Antiquities of the French Stage' and 'Criticisms on Shakspeare's Historical Dramas'." Trans. John Black. A Course of Lectures on Dramatic Art and Literature. Ed. A. J. W. Morrison.1846. Pp.192-193.
③ Hope. Alexander J. E. "Shakespeare and Aristophanes". Essays. London:Francis and John Rivington.1844. P. 159.
Aristophanes. Aristophanes, V1. Edited and Translated by Jeffrey Henderson. The Loeb Classical Library.1998. P.1.
②Hamilton, Edith. The Greek Way. New York:W. W. Norton.1960. P.127.
Hope. Alexander J. E. "Shakespeare and Aristophanes". Essays. London:Francis and John Rivington.1844. P. 148.
①布鲁姆,哈罗德.《西方正典》.江宁康译.江苏：江苏人民出版社,2005.P.79
②布鲁姆,哈罗德.《西方正典》.江宁康译.江苏：江苏人民出版社.2005.P.78.
③ Brewer, Derek. Chaucer and His World. London:Eyre Methuen Limited,1978. Pp.150-156
① Brewer, Derek. Chaucer and His World. London:Eyre Methuen Limited,1978. P.158.
②“学者的故事”(The Clerk-s Tale)讲述的是国王对出身微寒的妻子格丽西达进行多次近乎变态的残忍考验,包括从她手中夺走儿女后声称已杀死他们,以试探她的忠贞程度。迎娶新后是故事中最后一次考验。
③乔叟.《坎特伯雷故事集》.方平译.上海：新文艺出版社,1955.Pp.247-248.
② Brewer, Derek. Tradition and Innovation in Chaucer. London:The Macmillan Press Ltd.,1982. P.57
④托维.巴巴拉.《乔叟的辨证法》.《莎士比亚笔下的王者》.李春长译.刘小枫、陈少明主编.北京：华夏出版社.2007.P.183.
⑥布鲁姆.哈罗德.《西力正典》.江宁康译.江苏：江苏人民出版社,2005.P.82.
①乔叟.《坎特伯雷故事集》,方平译.上海：新文艺出版社,1955.P161.
② fable, parable, and allegory." Encyclopcedia Britannica. Encyclopedia Britannica Online Academic Edition. Encyclopaedia Britannica Inc.2012.
③ Brewer. Derek. Chaucer and His World. London:Eyre Methuen Limited.1978. Pp.157-158.
① Hussey, S. S.. Chaucer:An Introduction. London:Methuen & Co. Ltd.,1981. Pp.183-188.
②布鲁姆.哈罗德.《西方正典》.江宁康译.汀苏：江苏人民出版社,2005.P.79.
Tupper. Frederick. "The Shakespearean Mob". PMLA. Vol.27, No.4 (1912). P.5.
①本研究论述中所引用莎剧台词均参照The Riverside Shakespeare.2nd ed. Boston:Houghton Mifflin Co.,1997.引文参照朱生豪先生的译文,但几处关键处有所改变。
② Goldberg, Jonathan. James I and the Politics of Literature. Baltimore:Johns Hopkins University Press.1983. Pp.33-50.
③ Archer, John M.. Citizen Shakespeare:Freemen and Aliens in the Language of the Plays. New York:Palgrave Macmillan,2005. P.120.
① Rickman. H. P.. "Shakespeare and Plato". Hermes.123. Bd.. H.3 (1996). P.378.
②柏拉图.《裴多》.杨绛译.沈阳：辽宁人民出版社,2004.P.100.
③ Johnson, Samuel. "Preface to Shakespeare". The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch. New York:W. W. Norton & Companv, Inc.,2001. Pp.471-472.
④米勒.J.希利斯.《小说与重复——七部英国小说》.王宏图译.天津：天津人民出版社.2008.Pp.7-11.
①勒庞,吉斯塔夫.《乌合之众》,冯克利译,北京：中央编译出版社,2005年.pp.49-50.
②莫斯科维奇.塞奇.《群氓的时代》,许列民等译.南京：江苏人民出版社,2003年.pp.128,182,389.
③巴赫金.《拉伯雷研究》.李兆林、夏忠宪等译.石家庄：河北教育出版社,1998.Pp.561-562.
④莫斯科维奇.塞奇.《群氓的时代》.许列民等译.南京：江苏人民出版社.2003年.p.9.
①莫斯科维奇,塞奇,《群氓的时代》.许列民等译.南京：江苏人民出版社,2003年.p.9
④ Orwell. George. "Politics and English". Seleted Essays. Harmondsworth:Penguin,1957. P.154.
①勒庞,吉斯塔夫.《乌合之众》.冯克利译.北京：中央编译出版社.2005年.P.12.
②莫斯科维奇,塞奇.《群氓的时代》.许列民等译.南京：江苏人民出版社,2003年.Pp.132-133.
③莫斯科维奇.塞奇.《群氓的时代》.许列民等译,南京：江苏人民出版社.2003年P.184.
①勒庞,吉斯塔夫《乌合之众》、冯克利译,北京：中央编译出版社.2005年.P.45.
②涂尔干《宗教生活的基本形式》,渠东汲喆译,上海：上海人民出版社,1999年.P.279.
①涂尔干《宗教生活的基本形式》,渠东汲喆译,上海：上海人民出版社,1999年.Pp.278-280.
②试比较第四幕第三场中勃鲁托斯先后两次谈及他夫人死亡时痛苦而自相予盾的话语,特别是梅萨拉关于她“死得很奇怪”的暗示,它昭示着某些极为恐怖的场景。
①勒庞,吉斯塔夫.《乌合之众》,冯克利译.北京：中央编译出版社,2005年.P.49.
②莫斯科维奇,塞奇.《群氓的时代》,许列民等译.南京：江苏人民出版社,2003年.Pp.189-190
③勒庞.吉斯塔夫.《乌合之众》,冯克利译,北京：中央编译出版社,2005年.P.50.
④勒庞.吉斯塔夫.《乌合之众》,冯克利译,北京：中央编译出版社,2005年.Pp.89-90.
⑤莫斯科维奇.塞奇.《群氓的时代》.许列民等译,南京：江苏人民出版社.2003年.Pp.181-182.
⑤ Bruyn. Lucy de. MobRule and Riots:the present mirrored in the past. London:Regency Press,1981. P.234.
①勒庞,吉斯塔夫.《鸟合之众》.冯克利译.北京：中央编译出版社,2005年.P.31.
②勒庞,吉斯塔夫.《乌合之众》.冯克利译.北京：中央编译出版社,2005年.P.50.
③莫斯科维奇,塞奇.《群氓的时代》.许列民等译.南京：江苏人民出版社,2003年.P 128.
①莫斯科维奇,塞奇.《群氓的时代》.许列民等译,南京：江苏人民出版社.2003年.Pp.48.138-148.
②莫斯科维奇,塞奇.《群氓的时代》.许列民等译,南京：江苏人民出版社.2003年.P.193.
①布鲁姆,哈罗德.《西力正典》.江宁康译.江苏：江苏人民出版社,2005.Pp.17-18.
② Visser, Nicholas. "Roaring Beasts and Raging Floods:The Representation of Political Crowds in the Nineteenth-Century British Novel". The Modern Language Review, Vol.89, No.2 (April,1994). P.295.
③马克思,恩格斯.《德意志意识形态》.《马克思恩格斯全集》,第三卷.北京：人民出版社.1992.P.569.
③ Visser, Nicholas. "Roaring Beasts and Raging Floods:The Representation of Political Crowds in the Nineteenth-Century British Novel". The Modern Language Review. Vol.89. No.2 (April,1994). P.295.
① Stapher. Paul. Shakespeare and Classical Antiquity:Greek and Latin Antiquity as Presented in Shakespeare's Plays. C. Kegan Paul & Co.,1880. P.461.
② Greenblatt, Stephen. "Murdering Peasants:Status. Genre, and the Representation of Rebellion". Representing the English Renaissance. London:University of California Press.2005. Pp.13-14.
③ Johnson, Samuel. "Preface to Shakespeare". The Norton Anthology of Theory and Criticism. Ed. Vincent B.
① Plutarch. "Caesar", trans. Thomas North, Narrative and dramatic sources of Shakespeare. Vol 5. Ed. George Bullough. London:Routledge and Kegan Paul,1957-75. P.81.
② Plutarch, "Antony", trans. Thomas North. Narrative and dramatic sources of Shakespeare. Ed. George Bullough, vol.5, London:Routledge and Kegan Paul,1957-75. Pp.186-187.
③ Plutarch, "Antony", trans. Thomas North. Narrative and dramatic sources of Shakespeare. Ed. George Bullough, vol.5, London:Routledge and Kegan Paul,1957-75. Pp.186-187.
① Williams. Raymond. Key Words:A Vocabulary of Culture and Society. London:Oxford University Press.1983. P.1.
② Parker. Patricia. Shakespeare from the Margins. Chicago:The University of Chicago Press.1996. P.1.
① Platt. Michael. Rome and Romans According to Shakespeare. Salzburg Studies in English Literature. Institute fur Englische Sprache und Literatur,1976. P.57.
② Glare, P. G. W ed. Oxford Latin Dictionary. New York:Oxford University Press,1977. P.1389.
①恩格斯“家庭、私有制和国家的起源”,《马克思恩格斯选集》,第四卷,北京：人民出版社,1972年.P.124.
①孟德斯鸠《罗马盛衰原因论》,婉玲译,北京：商务印书馆,2005年.P.50
②孟德斯鸠《罗马盛衰原因论》,婉玲译,北京：商务印书馆,2005年.P.50.
③ Blits. Jan H.. "Caesarism and the End of Republican Rome:Julius Caesar. Act I, scene I". The Journal of Politics. Vol.43. No.1 (Feb.,1981). P.47.
①亚里士多德《政治学》,吴寿彭译,上海：商务印书馆,1965年.Pp.113-115.
② Blits. Jan H.. "Caesarism and the End of Republican Rome:Julius Caesar. Act I. scene I". The Journal of Politics. Vol.43. No.1 (Feb.,1981). Pp..41-43.
③ Blits. Jan H.. "Caesarism and the End of Republican Rome:Julius Caesar, Act I, scene I". The Journal of Politics. Vol.43, No.1 (Feb.,1981). P.43.
④ Hadfield, Andrew. Shakespeare and Republicanism. Cambridge:Cambridge University Press. P.171.
① Mehl. Dieter. "Julius Caesar". Shakespeare's Tragedies:An Introduction. Cambridge University Press.1986. P. 147.
② Willson. Robert F. "Forum Scene". William Shakespeare s Julius Caesar ed. Harold Bloom. New York: Infobase Publishing,2010. P.24.
③ Plutarch. "Caesar", trans. Thomas North. Narrative and dramatic sources of Shakespeare. Vol 5. Ed. George Bullough. London:Routledge and Kegan Paul,1957-75. P.81.
④恺撒(凯撒)《恺撒战记》席代岳译,桂林：广西师大出版社,2004.P.4.
⑤恺撒(凯撒)《恺撒战记》席代岳译,桂林：广西师大出版社,2004.P.10.
① Plutarch. "Caesar", trans. Thomas North. Narrative and dramatic sources of Shakespeare. Vol 5. Ed. George Bullough. London:Routledge and Kegan Paul.1957-75. P.11
②斯特莱切.《伊丽莎白女王和埃塞克斯伯爵：一部悲剧性的历史》.北京：三联书店,2005.P.185.
①马克思《神圣家庭》《马克思全集》第二卷,北京：人民出版社,1976年.P.115-116.
① Plutarch."Caesar", trans. Thomas North. Narrative and dramatic sources of Shakespeare. Vol 5. Ed. George Bullough. London:Routledge and Kegan Paul.1957-75. P.69.
②勒庞,吉斯塔夫《乌合之众》,冯克利译,北京：中央编译出版社,2005年.P.49.
③ Bullough, George ed. Narrative and dramatic sources of Shakespeare. vol.5. London:Routledge and Kegan Paul,1957-75. P.13.
① Schanzer. Ernest. The problem plays of Shakespeare:a study of Julius Caesar, Measure for measure, Antonv and Cleopatra. New York:Schocken Books.1963. Pp.63-65.
② Muir, Kenneth. Shakespeare's Tragic Sequence. London:Hutchinson.1972. Pp.51-53.
③ Goddard, Harold C., "Julius Caesar". The Meaning of Shakespeare. Chicago:University of Chicago Press. 1951. P.329.
④ Mehl, Dieter. "Julius Caesar". Shakespeare's Tragedies:An Introduction. Cambridge University Press.1986. P. 147.
Leggat, Alexander. Shakespeare's Political Drama:the History Plavs and Roman Plays. London:Routledge. 1988. P.142.
①布鲁姆.阿兰、雅法.哈瑞.《莎士比亚的王者》.潘望译.南京：江苏人民出版社.2009.P.92
②布鲁姆.阿兰、雅法.哈瑞.《莎士比亚的王者》.潘望译.南京：江苏人民出版社,2009.P.71
① Bullough. George ed. Narrative and dramatic sources of Shakespeare, vol.5. London:Routledge and Kegan Paul,1957-75. P.6.
② Plutarch. "Caesar", trans. Thomas North. Narrative and dramatic sources of Shakespeare. Vol 5. Ed. George Bullough. London:Routledge and Kegan Paul,1957-75. P.69.
③安东尼挥动的是临时为收买民心而编造的遗嘱,因为在第四幕第一场,他要莱必多斯“到凯撒家里去一趟,把他的遗嘱拿来,让我们决定怎样按他的意旨替他处分遗产。”
①布鲁姆.阿兰、雅法,哈瑞.《莎士比亚的王者》.潘望译.南京：江苏人民出版社,2009年.P.73.
②培根“论善与性善”《培根论说文集》水同天译,北京：商务印书馆,1986年.P.44.
④孟德斯鸠《罗马盛衰原因论》,婉玲译,北京：商务印书馆,2005年.P.50.
④ Plutarch. "Caesar", trans. Thomas North, Narrative and dramatic sources of Shakespeare. Vol 5. Ed. George Bullough. London:Routledge and Kegan Paul.1957-75. Pp.68-69.
'Frye. Northrop. Fools of time:studies in Shakespearean tragedy. Toronto:University of Toronto Press.1967. P.10
① Bruyn. Lucy de. Mob—Rule and Riots:the present mirrored in the past. London:Regency Press,1981. P.239.
②孟德斯鸠《罗马盛衰原因论》,婉玲译,北京：商务印书馆,2005年.P.51
③布鲁姆,哈罗德.《西方正典》.江宁康译.江苏:江苏人民出版社.2005.Pp.35,38 ①本研究中引用的菲尔丁作品包括《弃儿汤姆.琼斯史》(A History of Tom Jones, A Foundling)与《考文特公园双周刊》(Convent Garden Journal)。其中《弃儿汤姆琼斯史》英文版参考Fine Creative Media公司2004年版(Fielding Henry. A History of Tom Jones, A Foundling. New York:Fine Creative Media.2004.),引文用张谷若先生的译本(《弃儿汤姆.琼斯史》.重庆：重庆出版社,2008)；《考文特公园双周刊》英文版参照Nichos and Snow1806年版The Works of Henry Fielding第10卷(The Works of Henry Fielding. London. Vol. X: Nichos and Snow,1806.)所有引文均为本研究作者所译。本章所引菲尔丁作品将在行文中随行标注,不再另加注。
②本研究中引用的雪莱作品以剑桥版《雪莱诗作集》为准(Shelley, B. Percy. The Poetical Works of Shelley. Ed. Newell F. Ford. Boston:Houghton Mifflin Company,1974.).译文主要引用河北教育出版社版《雪莱全集》(雪莱.《雪莱全集》.江枫主编.河北：河北教育出版社,2000年.),在一些过于意译的关键处,为展现作品原貌,均该用直译。本章所引雪莱作品将在行文中随行标注,不再另加注。
③布鲁姆.哈罗德.《误读图式》.朱立元.陈克明译.天津：天津人民出版社.P.1.
① Seidel. Michael A. "The Restoration Mob:Drones and Dregs". Studies in English Literature.1500-1900. Vol. 12. No.3 (Summer.1972). P.430.
① Atherton. Herbert M.. "The 'Mob' in Eighteenth-Century English Caricature". Eighteenth-Century Studies, Vol. 12. No.1 (Autumn.1978). Pp.47-48.
② Shoemaker. Robert. The London mob:violence and disorder in eighteenth-century England. London: Cambridge University Press,2004. P. xiii.
③ Visser, Nicholas. "Roaring Beasts and Raging Floods:The Representation of Political Crowds in the Nineteenth-Century British Novel". The Modern Language Review. Vol.89. No.2 (April,1994). Pp.290-291.
④ Seidel. Michael A. "The Restoration Mob:Drones and Dregs". Studies in English Literature,1500-1900. Vol. 12, No.3 (Summer.1972). Pp.431-433.
⑤ Rude. George. The London "Mob" of the Eighteenth Century. Historical Journal, Vol.2. No.1 (1959). Pp.1-2.
① Atherton, Herbert M.. "The 'Mob' in Eighteenth-Century English Caricature". Eighteenth-Century Studies, Vol. 12. No.1 (Autumn,1978). Pp.57.
② Atherton, Herbert M.. "The 'Mob' in Eighteenth-Century English Caricature". Eighteenth-Century Studies, Vol. 12. No.1 (Autumn,1978). Pp.47-48.
③ Paulson, Ronald. Representations of Revolution (1789-1820). New Haven:Yale University Press,1983. P. xviii.
① Milton, John. Paradise Regained. New York:Signet Classic,1982. Ⅲ 49-51.
②另一著名新古典主义诗人蒲伯(Alexander Pope)指责民众时则直接借用贺拉斯的原话,“人民是多头怪。”政治哲学家霍布斯(Thomas Hobbes)则认为群众象“奔腾、狂暴且肮脏的爱尔河。”17世纪晚期都柏林大主教帕克(Bishop Parker)将人民的呼声称为“狼、虎、猿与狒狒的嚎叫”甚至连英工查尔斯二世颁布的允许伦敦享有部分自治的伦敦市宪章都被称为“(反对国王的)地狱的看守恶犬、多头怪”。参见Seidel, Michael A. "The Restoration Mob:Drones and Dregs". Studies in English Literature.1500-1900. Vol.12. No.3 (Summer,1972). Pp.430-439.
③ Thomas, Keith. Man and the Natural World:A History of the Modern Sensibility. Oxford:Oxford University Press,1996. P.41.
④柏克.《法国革命论》.何兆武等译.北京：商务印书馆.2010.P.iii.
①柏克.《法国革命论》.何兆武等译.北京：商务印书馆,2010.P.114.
②柏克.《法国革命论》.何兆武等译.北京：商务印书馆.2010.P.105.何兆武先生的译本将最关键的意象"swinish multitude"意译为“一群猪一样的粗鄙之徒”,但nultitude词并非指普通人群.而是在社会学意义上指称大规模社会运动中的群体。何兆武先生的译文未能完全体现"multitude"一词中隐含的社会学意义的群众、群体之意。同时考虑"swinish multitude这意象为本章多个标题及正文所用,为行文简明起见,本研究将其译为“猪猡般的群众”。关于"multitude"的社会学定义,请参见Schuyler. Susan. "Multitude:English". Crowds. Eds.J. T. Schnapp and M. Tiews. Stanford:Stanford University Press.2006. Pp. 124-125.
③ Seidel, Michael A. The Restoration Mob:Drones and Dregs. Studies in English Literature,1500-1900. Vol.12, No.3 (Summer.1972). Pp.431.
④ Bartel, Roland. "Shelley and Burke's Swinish Multitude". Keats-Shelley Journal. Vol.18 (1969). P.6.
① Bartel. Roland."Shelley and Burke's Swinish Multitude". Keats-Shelley Journal. Vol.18 (1969). P.8.
② Bartel, Roland. "Shelley and Burke's Swinish Multitude". Keats-Shelley Journal. Vol.18 (1969). Pp.4-9
③ Howard, Darren Philip. Imperial animals:Romanticism and the politicized animal. Los Angeles:University of California, Los Angeles,2007. P.10.
④ Bartel, Roland. "Shelley and Burke's Swinish Multitude". Keats-Shelley Journal. Vol.18 (1969). Pp.4-9
⑤ Campbell, Gertrude H. The Swinish Multitude. Modern Language Notes. Vol.30, No.6 (Jun..1915). Pp. 161-164.
①此处《崇高和美》的作者指柏克。柏克另著有《崇高和美》(On the Sublime and Beautiful)一书传世。
② Porson. Richard. "A NEW CATECHISM for the use of the NATIVES OF HAMPSHIRE". THE EXAMINER FOR THE YEAR 1818. Ed. Leigh Hunt. London:John Hunt,1818. P.548.
③ Jenkyns. R. The Victorians and Ancient Greece. Cambridge:Harvard University Press,1980. P.79
④ Hall. E. Aristophanes in Performance 421 BC-AD 2007:Peace, Birds, and Frogs. London:Maney Publishing, 2007. P.67.
⑤ Erkelenz. Michael. The Genre and Politics of Shelley's Swellfoot the Tyrant. The Review of English Studies, New Series, Vol.47. No.188 (1996). P.515
① Walsh. Philip. "A study in reception:the British debates over Aristophanes'politics and influence". Classical Receptions Journal, Vol.1. No.1 (2009). P.58
② Walsh. Philip. "A study in reception:the British debates over Aristophanes'politics and influence". Classical Receptions Journal, Vol.1. No.1 (2009). P.57
③ Erkelenz, Michael. The Genre and Politics of Shelley's Swellfoot the Tyrant. The Review of English Studies, New Series, Vol.47, No.188 (1996). P.515
④ Gillies, J.. The History of Ancient Greece, vol. I. London:A Strahan and T Cadell.1786. P. A2
⑤ Mitford, W.. The History of Greece, vol. V. London:T. Cadell,1818. P.29.
⑥ Mitford, W.. The History of Greece, vol. V. London:T. Cadell,1818. P.29.
① Coleridge, T. Samuel. "The Friend", ed. B. E. Rooke. The Collected Works of Samuel Taylor Coleridge 4. Princeton:Bollingen Series,1848. P.18.
② Gomme, A. W. "Aristophanes and Politics". Classical Receptions Journal.52(1938). P.102
③ Lefevere, Andre. Translation, Rewriting and the Manipulation of Literary Fame. Shanghai:Shanghai Foreign Language Education Press.2003. Pp.1-15.
④ Erkelenz, Michael. The Genre and Politics of Shelley's Swellfoot the Tyrant. The Review of English Studies, New Series, Vol.47, No.188 (1996). Pp.516-517
① Mitchell, T. "Translations of the Comedies of Aristophanes". Quarterly R eview.9 (1813). P.144;
② Mitchell. T. The Comedies of Aristophanes, vol. London:1820. Pp. xii-xiii.
③ Walsh. Philip. "A study in reception:the British debates over Aristophanes' politics and influence". Classical Receptions Journal, Vol.1. No.1 (2009). P.57
① Seidel, Michael A. The Restoration Mob:Drones and Dregs. Studies in English Literature,1500-1900. Vol.12, No.3 (Summer,1972). Pp.431.
②斯威夫特.《木桶的故事》.主万,张健译.人民文学出版社,2000.P.4.
② Godden, G. M.. Hemy Fielding:A Memoir. Middlesex:The Echo Library,111-119
④ Cleary, Thomas Raymond. Henry Fielding, political writer. Ontario:Wilfrid Laurier University Press,1984. Pp. 275-276.
① Cross. Wilbur L.. The History of Fielding. Vol 1. New York:Russell and Russell.1963. P.44.
② Miller. Henry K.. "Henry Fielding's Tom Jones and the Romance Tradition". English Literarv Studies 6 (1976). P.81.
① Knight. Charles A.. Fielding and Aristophanes. Studies in English Literature.1500-1900. Vol.21, No.3 (1981). P.493.
② Hamilton, Edith. The Greek Way. New York:W. W. Norton,1960. P.126.
③ Spearman. Diana. The novel and society. New York:Routledge & Kegan.1966. P.99.
① Frye, Northrop. "The Archetype of Literature". The Twentieth Century Literary Criticism. Ed. David Lodge. London:Longman.1957.
①黑格尔.《美学》第3卷下册.朱光潜译.北京：商务印书馆,1981.P.293.
① Taylor. Antony. "Shakespeare and Radicalism:The Uses and Abuses of Shakespeare in Nineteenth-Century Popular Politics". The Historical Journal. Vol.45. No.2 (June.,2002). Pp.362.365.367.
② Clark, David L.."Shelley and Shakespeare". PMLA. Vol.54, No.1 (Mar.,1939). P.261.
③ Webb, Timothy. Shelley:a Voice not understood. Manchester:Manchester University Press.1977. P.93.
① Webb. Timothy. Shelley:a Voice not understood. Manchester:Manchester University Press,1977. P.93.
① Herson. Ellen. B.. "Oxymoron and Dante's Gates of Hell in Shelley's Prometheus Unbound". Studies in Romanticism. Vol.29, No.3.1990. P.371.
① Cox, Jeffrey N.. "The dramatist". The Cambridge companion to Shelley. Cambridge:Cambridge University Press,1997.
①雪莱.玛丽.“”《雪莱全集》.江枫主编.河北：河北教育出版社,2000年P.438
① Campbell. Gertrude H. "The Swinish Multitude". Modern Language Notes. Vol.30. No.6 (Jun..1915). Pp. 161.
② Porson, Richard. "A NEW CATECHISM for the use of the NATIVES OF HAMPSHIRE". THE EXAMINER FOR THE YEAR 1818. Ed. Leigh Hunt. London:John Hunt,1818. P.548亦参见King-Hele. Desmond. Shelley. His Thought and Work. New York:Macmillan,1960. P.264.
③ Bartel, Roland."Shelley and Burke's Swinish Multitude". Keats-Shelley Journal. Vol.18 (1969). P.6.
①雪莱《暴虐的俄狄浦斯》全名为《暴虐的俄狄浦斯或暴君斯威尔夫特：两幕悲剧——译自古希腊方言陶立克语》。俄狄浦斯(Oedipus)与斯威尔夫特(Swellfoot)为同一人,俄狄浦斯(Oedipus)在希腊语中原为肿足之意,英语为Swellfoot,本研究从顾子欣先生译本(雪莱.“暴虐的俄狄浦斯”,顾子欣译《雪莱全集.第4卷》.江枫主编.河北：河北教育出版社,2000年.)中的音译斯威尔夫特。
① Halliwell. Stephen. "Introduction". Birds:Lysistrata:Assembly-women:Wealth. Oxford:Oxford University Press,1998.
① Lefevere. Andre. Translation, Rewriting and the Manipulation of Literary Fame [M]. Shanghai:Shanghai Foreign Language Education Press,2003. P.13.
② Lind. L. Robert. "Shelley Reappraised". The Sewanee Review. Vol.43, No.4 (1935). P.430.
①布鲁姆,哈罗德.《影响的焦虑》.徐文博译.南京：江苏教育出版社,2005.P.19
①雪莱,玛丽.“”《雪莱全集》.江枫主编.河北：河北教育出版社,2000年.P.438
② Erkelenz, Michael. The Genre and Politics of Shelley's Swellfoot the Tyrant. The Review of English Studies, New Series, Vol.47, No.188 (1996). Pp.512-513.
①阿伦特,汉娜.《论革命》.陈周旺译.南京：译林出版社,2007.P.37.
② Erkelenz. Michael. The Genre and Politics of Shelley's Swellfoot the Tyrant. The Review of English Studies, New Series. Vol.47. No.188 (1996). Pp.517-519.
①阿伦特,汉娜.《论革命》.陈周旺译.南京：译林出版社,2007.P.11.
②阿伦特,汉娜.《论革命》.陈周旺译.南京：译林出版社,2007.P.20.
①阿伦特.汉娜.《极权主义的起源》.林骧华译.北京：生活.读书.新知.三联书店,2008.P.407.
②布鲁姆.哈罗德.《影响的焦虑》.徐文协译.南京：江苏人民出版社.Pp.14-15.
③ Goddard. Harold C. "Julius Caesar". The Meaning of Shakespeare. Chicago:University of Chicago Press. 1951. P.329.
①阿伦特.汉娜.《论革命》.陈周旺译.南京：译林出版社,2007.P.11.
②乔治.奥威尔.《动物农场》.傅惟慈译.北京：北京十月文艺出版社,2004.P.108.
① Visser. Nicholas. "Roaring Beasts and Raging Floods:The Representation of Political Crowds in the Nineteenth-Century British Novel". The Modern Language Review, Vol.89. No.2 (April.1994). P.289.
② Galt. John. The Provost. London:A.& R. Spottiswoode,1822. Pp.78,188.
③ Galt. John. The Provost. London:A.& R. Spottiswoode.1822. P.77.
① Galt, John. The Provost. London:A.& R. Spottiswoode.1822. P.82.
② Visser, Nicholas. "Roaring Beasts and Raging Floods:The Representation of Political Crowds in the Nineteenth-Century British Novel". The Modern Language Review. Vol.89. No.2 (April.1994). Pp.289-290.
③ Galt, John. The Provost. London:A.& R. Spottiswoode.1822. P.82.
④ Bate, Jonathan. The Genius of Shakespeare. London:Picadorp,1997. P.225.
①本研究所参考的司各特作品英文版版本出版信息为Scott. Walter. The Complete Works of Sir Walter Scott: with a biography, and his last additions and illustrations. New York:Corner & Cooks.1833.其中《湖上夫人》(The Lady of the Lake)引文以曹明伦先生的译文为主(司各特.《湖上夫人》.曹明伦译长沙：湖南文艺出版社,1986.),《密得洛西监狱》(The Heart of Midlothian)引文以王楫,任大雄先生的译文为主(司各特.《密得洛西监狱》.王楫,任大雄译南京：译林出版社,1997.)。本章所引司各特各个作品将在行文中随行标注,不再另加注。
⑥ Garbin, Lidia. "Not fit to tie his brogues":Shakespeare and Scott". Shakespeare and Scotland. Eds. Willy Maley and Andrew Murphy. Manchester:Manchester University Press.2004. P.143.
⑦ Bate, Jonathan. The Genius of Shakespeare. London:Picadorp,1997. P.227
① Bate, Jonathan. The Genius of Shakespeare. London:Picadorp.1997. P.239.
② Brewer. Wilmon. Shakespeare s influence on Sir Waller Scotl. Boston:Cornhill.1992. P.172.
① Brewer. Wilmon. Shakespeare s influence on Sir Walter Scoll. Boston:Cornhill.1925. P.423.
① Bate, Jonathan. The Genius of Shakespeare. London:Picadorp,1997. P.28.
① Garbin, Lidia. "Not fit to tie his brogues':Shakespeare and Scott". Shakespeare and Scotland. Eds. Willy Maley and Andrew Murphy. Manchester:Manchester University Press.2004. P.143.
②萨莫瓦约.蒂费纳.《互文性研究》.邵炜译.天津：天津人民出版社.2003.P.19.
③ Garbin. Lidia. "Not fit to tie his brogues':Shakespeare and Scott". Shakespeare and Scotland. Eds. Willy Maley and Andrew Murphy. Manchester:Manchester University Press.2004. P.143.
④ Brown. David. Walter Scott and the historical imagination. London:Routledge & Kegan Paul Ltd.1979. P. 116.
⑤ Daiches, David. "Scott's Achievement as a Novelist". Literary Essays. Edinburgh.1956. P.104.
① Poole, Adrian. Scott, Dickens, Eliot, Hardy:Great Shakespeareans. London:Continuum International Publishing Group.2011. P.11.
② Poole, Adrian. Scott. Dickens, Eliot, Hardy:Great Shakespeareans. London:Continuum International Publishing Group.2011.Pp.28-29.
③ Scott, Walter. "Prefatory Letter". The Complete Works of Sir Walter Scott:with a biography, and his last additions and illustrations. Vol. IV. New York:Corner & Cooks.1833. P.12.
① Visser, Nicholas. "Roaring Beasts and Raging Floods:The Representation of Political Crowds in the Nineteenth-Century British Novel". The Modern Language Review. Vol.89, No.2 (April.1994). P.291.
②本研究所参考的狄更斯作品中《双城记》引文以张玲和张扬合译本为主0狄更斯.《双城记》.张玲,张扬译.上海：上海译文出版社,2006.)：《巴纳比.鲁吉》引文以高殿森、程海波和高正清合译本为主(狄更斯.《巴纳比.鲁吉》.高殿森等译.上海：上海译文出版社,1998.)：《少儿英国史》引文为作者自译,参考英文版本信息为：The Complete Works of Charles Dickens:A Child's History of England. New York: Cosimo,2009。本章所引狄更斯各个作品将在行文中随行标注,不再另加注。
① Bloom, Harold. "Introduction". Charles Dickens. New York:Infobase Publishing.2008. P. xi.
② Gager, Valerie L. Shakespeare and Dickens:The Dynamics of Influence. Cambridge:Cambridge University Press,1996. P.179.
③ Alter, Robert. "The Demons of History in Dickens" "Tale". Novel:A Forum on Fiction. Vol.2. No.2 (Winter. 1969). P.140.
④ Sanders, AL. "Clio's Heroes and Thackeray's Heroes". The Victorian Historical Novel 1840-1880. London: Macmillan,1978. P.69.
⑤ Chapman, Raymond. The Sense of the Past in Victorian Literature. London:Groom Helm.1986. P.177.
① Chapman, Raymond. The Sense of the Past in Victorian Literature. London:Groom Helm.1986. P.177.
② Goldberg, Michael. Carlyle and Dickens. Athens:University of Georgia Press,1972. P.101.
③ Oddie. William. Dickens and Carlyle:The Question of Influence. London:Centenary Press.1972. Pp.61-63.
④ Dickens. Charles. Selected Letters of Charles Dickens. Ed. Jenny Hartley. Oxford:Oxford University Press, 2002. P.92
①奥威尔,乔治.《查尔斯·狄更斯》.《奥威尔文集》.董乐山译.北京：中央编译出版社,2010.Pp.430-433.
① Stange. G. Robert. "Dickens and the Fiery Past:"A Tale of Two Cities Reconsidered". The English Journal. Vol. 46. No.7 (October.1957). Pp.386.
② Visser. Nicholas. "Roaring Beasts and Raging Floods:The Representation of Political Crowds in the Nineteenth-Century British Novel". The Modern Language Review. Vol.89. No.2 (April.1994). P.304.
① Poole. Adrian. Shakespeare and the Victorians. London:Thomas Learning.2004. P.132.
② Gager. Valerie L. Shakespeare and Dickens:The Dynamics of Influence. Cambridge:Cambridge University Press.1996. P.200.
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② See Spector, Stephen J.. Monsters of Metonymy:Hard Times and Knowing the Working Class. ELH. Vol.51. No.2 (Summer,1984). P.1.
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② Shoemaker. Robert. The London mob:violence and disorder in eighteenth-century England, London: Cambridge University Press,2004. P.128.
① Bloom. Harold. "Introduction". Charles Dickens. New York:Infobase Publishing,2008. P. xii.
①本研究所参考的奥威尔《巴黎伦敦落魄记》的版本信息为：乔治,奥威尔.《巴黎伦敦落魄记》.胡仁鹏译.南京：江苏人民出版社,2006.本章对其的引文将在行文中随行标注,不再另加注。
②乔治.奥威尔.《射象》.《奥威尔文集》.董乐山译.北京：中央编译出版社,2010 P.386
③ De Lange. Adriaan M. "An Analysis of 'Shooting an Elephant". Bloom'Modern Critical View:George Orwell—Updated Edition. Ed. Harold Bloom. New York:Infobase Publishing,2007. P.22.
④本研究所参考的奥威尔《向加泰罗尼亚致敬》的版本信息为：乔治,奥威尔《向加泰罗尼亚致敬》.李华、
刘锦春译.南京：汀苏人民出版社.2005.本章对其的引文将在行文中随行标注,不再另加注。
①本研究所参考的奥威尔《上来透口气》的版本信息为：乔治,奥威尔.《上来透口气》.孙仲旭译.南京：译林出版社,2002.本章对其的引文将在行文中随行标注,不再另加注。
① Cain, William E., "Orwell's Perversity:An Approach to the Collected Essays". Bloom' Modern Critical View: George Orwell—Updated Edition. Ed. Harold Bloom. New York:Intobase Publishing,2007. P.120.
②本研究所参考的奥威尔《一九八四》的版本信息为：乔治,奥威尔.《一九八四》.《奥威尔文集》.董乐山译.北京：中央编译出版社,2010.本章对其的引文将在行文中随行标注,不再另加注。
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①本研究所参考的奥威尔《动物农场》的版本信息为：乔治.奥威尔.《动物农场》.傅惟慈译.北京：北京十月文艺出版社,2004本章对其的引文将在行文中随行标注,不再另加注。
② O'Sullivan, Noel. Conservatism:Modern ideologies. New York:Dent.1976. P.120.
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①布鲁姆,哈罗德.《西方正典》江宁康译.江苏、人民出版社.2005.P.8.
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②本研究论述中所引用莎剧台词均参照The Riverside Shakespeare.2nd ed. Boston:Houghlon Mifflin Co.,1974.译文参照朱生豪先生的译本,但几处关键处有所改变。
①市场演说暴动一幕并非直接来自历史著作,因为在最早如普鲁塔克《古希腊罗马名人传》等记述凯撒遇刺时,对市场演说暴动一幕只一笔带过,而群众是次日而非当时听到演讲后就暴动,而真正使之成为文学经典的是莎士比亚《裘力斯·凯撒》的创作和其后400多年在西方世界经久不衰的文本批评、舞台演出和影视改编。关于莎士比亚塑造我们今天所熟悉的市场演讲形象请参见Plutarch, "Antony", trans. Thomas North. Narrative and dramatic sources of Shakespeare. Ed. George Bullough, vol.5. London:Routledge and Kegan Paul,1957-75亦参见Mehl, Dieter. "Julius Caesar". Shakespeare s Tragedies:An Introduction. Cambridge University Press,1986. P.147.关于《裘力斯·凯撒》的文本批评史参见本章第2节,关于《裘力斯·凯撒》的舞台演出和影视改编请参见Ripley, John. Julius Caesar on Stage in England and America, 1599-1973. London:Cambridge University Press,1980.
②勒庞,吉斯塔夫.《乌合之众》,冯克利译,北京：中央编译出版社,2005年.Pp.49-50.
③莫斯科维奇,塞奇.《群氓的时代》,许列民等译,南京：江苏人民出版社,2003年.Pp.128,182,389.
④这部戏剧的作者已不可考,成文年月大致在1586-1593之间。参见Bruyn. Lucy de. Mob—Rule and Riots: the present mirrored in the past. London:Regency Press,1981. Pp.91-92.
⑤乔叟在此采取的戏仿的手法将村民追赶狐狸的喜剧场景和农民起义联系在一起,略有隐喻农民起义混 乱之意：“约克·斯吉洛和他的党人们击杀法兰德斯人时也决没有像这天追赶狐狸那样一般的咆哮。”参见乔叟.《坎特伯雷故事集》.方平译.上海：新文艺出版社,1955.P.161
①莎士比亚在《亨利六世·中篇》中将1381年泰勒起义与70年后凯德起义合二为一。据波斯维尔-斯通(W. G. Boswell-Stone)考计,泰勒下令处死所有的律师和其他类似之人,甚至“叛乱者当中如果谁被认出受过教育将会面临极大危阶,而他带着笔墨将更危险”。这就直接被莎十比亚借用进凯德暴乱一幕,剧中第一个群氓的受害者为一书史.凯德下令“把他的笔墨套在他的脖子上,吊死他”(第四幕第二场),Boswell-Stone. W. G. Shakespeare's Holinshed. New York:Longmans, Green and Company,1896. P.272.
② Tupper, Frederick. "The Shakespearean Mob ". PMLA. Vol.27, No.4(1912). Pp.6-7.
Stirling, Brentz. The Populace in Shakespeare. New York:Columbia University Press,1949. P.103.
④ Stirling, Brentz. "Shakespeare's Mob-Scenes:a Reinterpretation". Huntington Library Ouarterly. Vol.8. No. 3. Pp.224.
Certain Sermons appointed by the Queen Majestie, to be declared and read, by all Parsons. Vicars, and Curates, every Sunday and Holy day in their Churches(首页请参见附录)
①转引自Bruyn, Lucy de. Mob—Rule and Riots:the present mirrored in the past. London:Regency Press,1981. P.239.
② Siegel, Paul N.. Shakespeare's English and Roman History Plays. Fairleigh Dickinson University Press. P.124.
Levin. Harry. Shakespeare and the Revolution of the Times. Oxford:Oxford University Press.1976. Pp.187-196.亦参见陆谷孙.“《科里奥兰纳斯》的悲剧真谛：官能失调”.《莎士比亚研究十讲》.上海：复旦大学出版社,2005.P.188.
①在二十世纪三十年代美国威尔斯(Orson Welles)执导的《裘力斯·凯撒》中,一群身穿西服的现代欧洲市民在一法西斯军官带领下,将诗人西那撕得粉碎。参见Ripley, John. Julius Caesar on Stage in England and America,1599-1973. London:Cambridge University Press,1980. Pp.225-232.亦请参见Halpern. Richard. Shakespeare among the Moderns. Ithaca:Cornell University Press,1997. Pp.52-53..十世纪英语桂冠诗人奥登和著名文论家弗莱对此亦印象深刻,参见Auden, W. H. "Julius Caesar". Lectures on Shakespeare. Princeton:Princeton University Press,2000; Frye, Northrop. Fools of time:studies in Shakespearean tragedy. Toronto:University of Toronto Press.1967. P.18
② Halpern, Richard. Shakespeare among the Moderns. Ithaca:Cornell University Press.1997. P.75;亦请参见哈罗德.布鲁姆对此的回忆。布鲁姆,哈罗德.《西方正典》江宁康译.江苏人民出版社.2005.P.411
① Seidel, Michael A. "The Restoration Mob:Drones and Dregs". Studies in English Literature,1500-1900. Vol. 12, No.3 (Summer,1972). Pp.431-433.
② McClelland, J. S., The Crowd and the Mob:From Plato to Canetii. London:Unwin Hyman Ltd.1989. P.1
③ Visser, Nicholas. "Plebian Politics in Julius Caesar". William Shakespeare's Julius Caesar ed. Harold Bloom. New York:Infobase Publishing.2010. P.49.
① Johnson, Samuel. "Preface to Shakespeare". The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch. New York:W. W. Norton & Company. Inc.,2001. Pp.471-472.
② many-headed multitude or many-headed monster等自柏拉图开始就是将群众建构为群氓的经典意象,具体请参见本研究第一章第节。
Weever. John. The mirror of martyrs, or The life and death of that thrice valiant capitaine, and most godly martyre Sir lohn Old-castle knight Lord Cobham. [London]:Printed by V[alentine] S[immes] for William Wood.1601.P.4.此文对应页面图片请参见附录。
① Dryden. John. "Prologue to Julius Caesar". Bloom's Shakespeare through the Ages. Ed. Harold Bloom. New York:Infobase Publishing,2008
② de Voltaire. Francois-Marie Arouet. "Essay on Tragedy." Critical Essays on Dramatic Poetry,L. Davis and C. Reymers,1761.33.
① Montagu. Elizabeth. "Upon the Death of'Julius Caesar'." An Essay on the Writings and Genius of Shakespear (1769). Rpt. in Shakespearean Criticism. Ed. Mark W. Scott. Vol.7. Detroit:Gale Research.1988.
② Schlegel. August Wilhelm."Antiquities of the French Stage' and 'Criticisms on Shakspeare's Historical Dramas'."Trans. John Black. A Course of Lectures on Dramatic Art and Literature. Ed. A. J. W. Morrison.1846. Rpt. in Shakespearean Criticism. Ed. Mark W. Scott. Vol.7. Detroit:Gale Research.1988. Pp.240-241
① Schlegel, August Wilhelm."Antiquities of the French Stage 'and' Criticisms on Shakspeare's Historical Dramas'. "Trans. John Black. A Course of Lectures on Dramatic Art and Literature. Pp.415-416
Goethe, Johann Wolfgang Von Shakespeare in Europe. Ed. Randolph S. Bourne and Oswald LeWinter. The World Publishing Company,1963. Pp.62-63.
Hazlitt, William. Characters of William Shakespeare s Plays. New York:Willey and Putman.1845. P.22
① Hazlitt. William. Characters of William Shakespeare's Plavs. New York:Willey and Putman.1845. Pp.25-26
② Coleridge. Samuel Taylor. "Lectures and Notes on Shakespeare and Other English Poetsn" The Complete Works of Samuel Taylor Coleridge. Vol. IV. New York:Harper and Brother,1853 P.105
① Gervinus. Georg Gottfried. Shakespeare Commentaries. Trans. F. E. Bunnett. London:Smith. Elder. Co..1863. P.351
② Hudson. Henry Norman."Shakespeare:His Life, Art and Character". Bloom s Shakespeare through the Ages. Ed. Harold Bloom. New York:Infobase Publishing.2008. P.80.
③ Dowden. Edward. Shakespeare:A Critical Study of His Mind and Art. New Delhi:Atlantic Publishing And Distributors,2003. P.218.
④ Stapher. Paul. Shakespeare and Classical Antiquity:Greek and Latin Antiquity as Presented in Shakespeare's Plays. C. Kegan Paul & Co.,1880. P.330
① Moulton, Richard G. "Julius Caesar Beside His Murderers and His Avenger:A Study in Character-Grouping' and 'How the Play of'Julius Caesar' Works up to a Climax at the Centre:A Study in Passion and Movement." Shakespeare as a Dramatic Artist:A Popular Illustration of the Principles of Scientific Criticism.2nd ed. Oxford at the Clarendon Press,1888.187-191.
② Shaw, George Bernard."Tappertit on Caesar". William Shakespeare's Julius Caesar ed. Harold Bloom. New York:Infobase Publishing.2010. P.114.
①勒庞,吉斯塔夫.《乌合之众》,冯克利译,北京：中央编译出版社,2005年.Pp.49-50.
② Sedgwick, Henry Dwight. "The mob spirit in literature". The new American type, and other essays. New York: Kennikat Press,1908. P.46.
③ Tupper, Frederick."The Shakespearean Mob". PMLA. Vol.27. No.4 (1912).
④ Stirling, Brentz. "Shakespeare's Mob-Scenes:a Reinterpretation". Huntington Library Quarterly. Vol.8. No.3 (May,1945). Pp.213-240.斯特林和布卢因的作品主要为背景资料汇集和情节总结,故不在此详细讨论。
⑤ Bruyn, Lucy de. Mob—Rule and Riots:the present mirrored in the past. London:Regency Press.1981.
3 Tupper, Frederick. "The Shakespearean Mob ". PMLA. Vol.27. No.4 (1912). P.5.
4 Wilson, Knight. The Imperial Theme:Further Interpretations of Shakespeare's Tragedies. London. Routledge, 2002. Pp.67-74.
1 Burke. Kenneth. "Antony in Behalf of the Play". William Shakespeare s Julius Caesar ed. Harold Bloom. New York:Infobase Publishing,2010. Pp.147-153.
7 Grandville-Barker. Harley. Julius Caesar. London:Nick Hern Books Limited & Royal National Theatre,1993. Pp.68-83.
① Auden, W. H. "Julius Caesar". Lectures on Shakespeare. Princeton:Princeton University Press.2000. Pp. 126-129.
② Goddard. Harold C.. "Julius Caesar". The Meaning of Shakespeare. Chicago:University of Chicago Press. 1951. P.329.
① Frye. Northrop. Fools of time:studies in Shakespearean tragedy. Toronto:University of Toronto Press.1967. P. 19.
② Greene, Gayle. "The Power of Speech/To Stir Men's Blood:The Language of Tragedy in Shakespeare's Julius Caesar". Renaissance Drama. Vol.11.1980. Pp.67-93
③ Velz, John W.. "Orator and Imperator in Julius Caesar". Shakespeare Studies. Vol.15.1985. Pp.55-75
① Mehl, Dieter. "Julius Caesar". Shakespeare's Tragedies:An Introduction. Cambridge University Press,1986. P. 147.
② Leggat. Alexander. Shakespeare s Political Drama:the History Plays and Roman Plays. London:Routledge, 1988. Pp.141-142.
③ Leggat. Alexander. Shakespeare's Political Drama:the History Plays and Roman Plays. London:Routledge. 1988. Pp.157-158.
① Honigmann, E. A. J. Myriad-minded Shakespeare:Essays, chiefly on the tragedies and problem comedies. London:Macmillan Press.1989. P.30
② Honigmann, E. A. J. Myriad-minded Shakespeare:Essays, chiefly on the tragedies and problem comedies. London:Macmillan Press.1989. Pp.25-35
③令人玩味的是,布鲁姆对人物的注解本是按姓名首字母顺序排列,而代表了全体罗马民众仅仅用
"citizen"一词概括,而且被放在整篇注解的最后,并一笔带过。
③ Bloom. Harold. "Julius Caesar". Bloom's Shakespeare through the Ages. Ed. Harold Bloom. New York: Infobase Publishing,2008. P.34.
① Kermode, Frank. Shakespeare's Language. London:Penguin,2000. P.95.
② Hadfield, Andrew. Shakespeare and Republicanism. Cambridge:Cambridge University Press.2005. Pp. 171-172.
① Willson. Robert F. "Forum Scene". William Shakespeare s Julius Caesar ed. Harold Bloom. New York: Infobase Publishing.2010. P.24.
② Willson. Robert F. "Forum Scene". William Shakespeare s Julius Caesar ed. Harold Bloom. New York: Infobase Publishing.2010. Pp.24-26
① Visser, Nicholas. "Plebian Politics in Julius Caesar". William Shakespeare's Julius Caesar ed. Harold Bloom. New York:Infobase Publishing,2010. Pp.47-48.
② Upton. John. "An extract from Shakespeare." the Critical Heritage:1733-1752. Ed. Brian Vickers. Vol.3. Routledge & Kegan Paul,1975. P.300.
① Coleridge. Samuel Taylor. Lectures and Notes on Shakespeare and Other English Poets. P.78
② Stapher, Paul. Shakespeare and Classical Antiquity:Greek and Latin Antiquity as Presented in Shakespeare's Plays. C. Kegan Paul & Co.,1880. P.461.
① Brandes, George. "Appendix". The Tragedy of Coriolanus. Philadelphia:Washington Square Press.1928. P. 704.
② Tupper, Frederick. "The Shakespearean Mob". PMLA. Vol.27. No.4 (1912). P.4.
①舍斯托夫,列夫.《论莎士比亚的“裘力斯·凯撒”》.《悲剧哲学家的旷野呼唤》.张冰译.上海：上海远东出版社,2004.P.16.
②鲁迅“目.介亭杂文.以眼还眼”,《鲁迅全集》第六卷,北京：人民文学出版社,2005年.P.127.
③鲁迅“花边文学.又是“莎士比业”,《鲁迅全集》第五卷,北京：人民文学出版社,2005年.P.600-601
④福柯.米歇尔.《话语的秩序》.肖涛译《语言与翻译的政治》.北京：中央编译出版社.2000.Pp.2,9-10.
① Louis A., Montrose. "Shaping Fantacies:Figurations of Gender and Power in Elizabehtan Culture." Representing English Renaissance. Ed. Stephen Greenblatt. London:University of California Press,2005. Pp. 31-65.
② Greenblatt, Stephen. "Introduction". Representing the English Renaissance. London:University of California Press.2005. vii-viii
③巴赫金.《诗学与访谈》.白春仁、顾亚铃译.石家庄：河北教育出版社,1998.Pp.4-5.
④巴赫金.《拉伯雷酬究》.李兆林、夏忠宪等译.石家庄：河北教育出版社.1998.Pp.561-562.
① Stapher, Paul. Shakespeare and Classical Antiquity:Creek and Latin Antiquity as Presented in Shakespeare's Plays. C. Kegan Paul & Co.,1880. P.330
②莫斯科维奇,塞奇.《群氓的时代》,许列民等译.南京：江苏人民出版社,2003年.P.9.
③布鲁姆,哈罗德.《影响的焦虑》.徐文博译.南京：江苏教育出版社,2005.P.151-155
② Erickson, Peter. Rewriting Shakespeare, Rewriting Ourselves. Berkeley:University of California Press.1994. Pp.3-10
④钱理群.《丰富的痛苦》.北京：北京大学出版社,2007.P.1.
① Baldwin, T. W.. William Shakespeare's Small Latine and Less Greek.2 vols. Urbana:University of Illinois Press,1944. P.378
① Martindale, Charles and Taylor. A. B."Introduction". Shakespeare and the Classics, eds. Charles Martindale and A. B. Taylor. Cambridge:Cambridge University Press.2005. P.1.
② Jones, Emrys. The Origins of Shakespeare. London:Oxford University Press,1977. P.109.
③ Jones, Emrys. The Origins of Shakespeare. London:Oxford University Press,1977. P.13.
④ Burrow, Colin. "Shakespeare and Humanistic Culture". Shakespeare and the Classics, eds. Charles Martindale and A. B. Taylor. Cambridge:Cambridge University Press,2005. P.11
⑤ Burrow, Colin."Shakespeare and Humanistic Culture". Shakespeare and the Classics, eds. Charles Martindale and A. B. Taylor. Cambridge:Cambridge University Press,2005. P.11
⑥ Martindale, Charles and Taylor, A. B. "Introduction". Shakespeare and the Classics. eds. Charles Martindale and A. B. Taylor. Cambridge:Cambridge University Press,2005. P.2.
⑦ Frye, Northrop. Fools of time:studies in Shakespearean tragedy. Toronto:University of Toronto Press.1967. P.18
① Polybius. The Complete Histories of Polybius.trans. W. R. Paton. Digireads.com Publishing.2009. P.238.
②普鲁塔克.《古希腊罗马名人传》.上海：商务印书馆.1990.Pp.319-320,399,402-404,468-478,501.
② Charron, Pierre. Of Wisdom. Book I, trans. Samson Lennard. London. Pp.198-199.此书1609年版对应页面图片请参见附求。
④布鲁姆,哈罗德.《误读图示》,朱立元.陈克明译.天津：天津人民出版社.P.1.
③ Kristeva. Julia. Word, dialogue and novel. The Kristeva Reader, ed. Toril Moi. Oxoford:Oxford University Press,1986. P.37.
① Martindale. Charles and Taylor. A. B. "Introduction". Shakespeare and the Classics, eds. Charles Martindale and A. B. Taylor. Cambridge:Cambridge University Press,2005. P.1
② Munro, Ian. The Figure of the Crowd in Early Modern London. New York:PALGRAVE MACMILLan.2005. P. 35.
①柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.Pp.380-381.
①柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.Pp.381-383
②柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.P.157.
③柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.P.173.
①柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.P.197.亦参见《理想国》第八章“(不健康的国家)就像一个不健康的身体,只要遇到一点儿外邪就会生病,有的时候甚至没有外邪,也会病倒,一个整体的人就是一场内战。一个国家同样……”P.331.
① Parker. L. Barbara. "A Thing Unfirm" :Plato's Republic and Shakespeare's Julius Caesar. Shakespeare Quarterly Vol.44 No.1 (1993). Pp.32-33.
①柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.P.142.
① Parker, L. Barbara. "A Thing Unfirm" :Plato's Republic and Shakespeare's Julius Caesar. Shakespeare Quarterly Vol.44 No.1 (1993). Pp.32-33.
②柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.Pp.242-243
③柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.P.241
① Parker. L. Barbara. "A Thing Unfiirm" :Plato's Republic and Shakespeare's Julius Caesar. Shakespeare Quarterly Vol.44 No.1 (1993). P.40.
②柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.P.167.
① Schanzer, Ernest. The Problem Plays of Shakespeare. London:routledge & Kegan paul Ltd.1963. P.30.
①黑格尔.《哲学演讲录》.北京：三联书店.1957.
② Munro. Ian. The Figure of the Crowd in Early Modern London. New York:PALGRAVE MACMILLan,2005. P. 110.
③ Breslser, Charles E. "Deconstruction". Literary Criticism.2nd ediction. London:Prentice-Hall International Limited,1999. P.128.
①本研究除《吕西斯特拉特》外,所引用阿里斯托芬喜剧台词全部采用罗念生先生译本。具体版本信息为：阿里斯托芬.《阿里斯托芬喜剧六种》罗念生译.上海：上海人民出版社.2004.所引《吕西斯特拉特》台词由英译本译出,具体版本信息为：Aristophanes. "Lysistrata". Aristophanes, V3. Edited and Translated by Jeffrey Henderson. The Loeb Classical Library.1998. P.1.
② Hamilton, Edith. The Greek Way. New York:W. W. Norton.1960. P.127.
③ Ste Croix, G E. M. de. The Origins of the Peloponnesian War. Ithaca:Cornell University Press.1972. P.371.
①布鲁姆,哈罗德.《西方正典》.江宁康译.江苏：江苏人民出版社.2005.P.12.
② Hamilton, Edith. The Greek Way. New York:W. W. Norton,1960. P.126.
③柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.P.342.
④德谟斯(Demos)在古希腊语中为“人民”之意。
① Kristeva, Julia. Semeiotike:Recherche Pour Une Semanalvse. Seuil,1969. P.89
②巴赫金.《文本、对话与人生》.白春仁等译.石家庄：河北教育出版社.1998.P.61.
③巴赫金.《拉伯雷研究》.李兆林夏忠宪等译.石家庄：河北教育出版社,1998.P.13.
①巴赫金.《文本、对话与人生》.白春仁等译.石家庄：河北教育出版社.1998.P.28.
② Goldhill. S. The Poet's Voice. Cambridge:Cambridge University Press,1991. P.201.
③ Gomme. A. W. "Aristophanes and Politics". Classical Receptions Journal,52(1938). P.102
①此处指德谟斯参加公民大会,参见罗念生刘此剧的第115条注解——阿里斯托芬.《阿里斯托芬喜剧六种》罗念生译.上海：上海人民出版社,2004.P.151。德谟斯为人民的象征,此处腊肠贩深知如何使人民聚集在公民大会中受集体氛围和煽动的感染成为群氓。
②“三头狗”在对话中指德谟斯原先的管家帕佛拉工,在古希腊神话中它就是看守冥界入口的多头怪兽,参见罗念生对此剧的第161条注解——阿里斯托芬.《阿里斯托芬喜剧六种》罗念生译.上海：上海人民出版社,2004.P.151。《理想国》中苏格拉底就用它比喻人内心的多头怪,参见本章第一节讨论,和《理想国》中原文——柏拉图.《理想国》.郭斌和,张竹明译.北京：商务印书馆,2003.Pp.380-381.
③“海岛”暗指雅典盟邦所献的贡款。雅典的盟邦大半是爱琴海的岛屿。此处直接讽刺那些所谓城邦与人民的守护者如何贪婪。参见罗念生对此剧的第162条注解——阿里斯托芬.《阿里斯托芬喜剧六种》罗念生译.上海：上海人民出版社,2004.P.151。
① Mitchell. Thomas. "View of Grecian Philosophy.—The Clouds". Quarterly Review.21 (1819). P.276.
② Schlegel. August Wilhelm."Antiquities of the French Stage' and 'Criticisms on Shakspeare's Historical Dramas'." Trans. John Black. A Course of Lectures on Dramatic Art and Literature. Ed. A. J. W. Morrison.1846. Pp.192-193.
③ Hope. Alexander J. E. "Shakespeare and Aristophanes". Essays. London:Francis and John Rivington.1844. P. 159.
Aristophanes. Aristophanes, V1. Edited and Translated by Jeffrey Henderson. The Loeb Classical Library.1998. P.1.
②Hamilton, Edith. The Greek Way. New York:W. W. Norton.1960. P.127.
Hope. Alexander J. E. "Shakespeare and Aristophanes". Essays. London:Francis and John Rivington.1844. P. 148.
①布鲁姆,哈罗德.《西方正典》.江宁康译.江苏：江苏人民出版社,2005.P.79
②布鲁姆,哈罗德.《西方正典》.江宁康译.江苏：江苏人民出版社.2005.P.78.
③ Brewer, Derek. Chaucer and His World. London:Eyre Methuen Limited,1978. Pp.150-156
① Brewer, Derek. Chaucer and His World. London:Eyre Methuen Limited,1978. P.158.
②“学者的故事”(The Clerk-s Tale)讲述的是国王对出身微寒的妻子格丽西达进行多次近乎变态的残忍考验,包括从她手中夺走儿女后声称已杀死他们,以试探她的忠贞程度。迎娶新后是故事中最后一次考验。
③乔叟.《坎特伯雷故事集》.方平译.上海：新文艺出版社,1955.Pp.247-248.
② Brewer, Derek. Tradition and Innovation in Chaucer. London:The Macmillan Press Ltd.,1982. P.57
④托维.巴巴拉.《乔叟的辨证法》.《莎士比亚笔下的王者》.李春长译.刘小枫、陈少明主编.北京：华夏出版社.2007.P.183.
⑥布鲁姆.哈罗德.《西力正典》.江宁康译.江苏：江苏人民出版社,2005.P.82.
①乔叟.《坎特伯雷故事集》,方平译.上海：新文艺出版社,1955.P161.
② fable, parable, and allegory." Encyclopcedia Britannica. Encyclopedia Britannica Online Academic Edition. Encyclopaedia Britannica Inc.2012.
③ Brewer. Derek. Chaucer and His World. London:Eyre Methuen Limited.1978. Pp.157-158.
① Hussey, S. S.. Chaucer:An Introduction. London:Methuen & Co. Ltd.,1981. Pp.183-188.
②布鲁姆.哈罗德.《西方正典》.江宁康译.汀苏：江苏人民出版社,2005.P.79.
Tupper. Frederick. "The Shakespearean Mob". PMLA. Vol.27, No.4 (1912). P.5.
①本研究论述中所引用莎剧台词均参照The Riverside Shakespeare.2nd ed. Boston:Houghton Mifflin Co.,1997.引文参照朱生豪先生的译文,但几处关键处有所改变。
② Goldberg, Jonathan. James I and the Politics of Literature. Baltimore:Johns Hopkins University Press.1983. Pp.33-50.
③ Archer, John M.. Citizen Shakespeare:Freemen and Aliens in the Language of the Plays. New York:Palgrave Macmillan,2005. P.120.
① Rickman. H. P.. "Shakespeare and Plato". Hermes.123. Bd.. H.3 (1996). P.378.
②柏拉图.《裴多》.杨绛译.沈阳：辽宁人民出版社,2004.P.100.
③ Johnson, Samuel. "Preface to Shakespeare". The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch. New York:W. W. Norton & Companv, Inc.,2001. Pp.471-472.
④米勒.J.希利斯.《小说与重复——七部英国小说》.王宏图译.天津：天津人民出版社.2008.Pp.7-11.
①勒庞,吉斯塔夫.《乌合之众》,冯克利译,北京：中央编译出版社,2005年.pp.49-50.
②莫斯科维奇.塞奇.《群氓的时代》,许列民等译.南京：江苏人民出版社,2003年.pp.128,182,389.
③巴赫金.《拉伯雷研究》.李兆林、夏忠宪等译.石家庄：河北教育出版社,1998.Pp.561-562.
④莫斯科维奇.塞奇.《群氓的时代》.许列民等译.南京：江苏人民出版社.2003年.p.9.
①莫斯科维奇,塞奇,《群氓的时代》.许列民等译.南京：江苏人民出版社,2003年.p.9
④ Orwell. George. "Politics and English". Seleted Essays. Harmondsworth:Penguin,1957. P.154.
①勒庞,吉斯塔夫.《乌合之众》.冯克利译.北京：中央编译出版社.2005年.P.12.
②莫斯科维奇,塞奇.《群氓的时代》.许列民等译.南京：江苏人民出版社,2003年.Pp.132-133.
③莫斯科维奇.塞奇.《群氓的时代》.许列民等译,南京：江苏人民出版社.2003年P.184.
①勒庞,吉斯塔夫《乌合之众》、冯克利译,北京：中央编译出版社.2005年.P.45.
②涂尔干《宗教生活的基本形式》,渠东汲喆译,上海：上海人民出版社,1999年.P.279.
①涂尔干《宗教生活的基本形式》,渠东汲喆译,上海：上海人民出版社,1999年.Pp.278-280.
②试比较第四幕第三场中勃鲁托斯先后两次谈及他夫人死亡时痛苦而自相予盾的话语,特别是梅萨拉关于她“死得很奇怪”的暗示,它昭示着某些极为恐怖的场景。
①勒庞,吉斯塔夫.《乌合之众》,冯克利译.北京：中央编译出版社,2005年.P.49.
②莫斯科维奇,塞奇.《群氓的时代》,许列民等译.南京：江苏人民出版社,2003年.Pp.189-190
③勒庞.吉斯塔夫.《乌合之众》,冯克利译,北京：中央编译出版社,2005年.P.50.
④勒庞.吉斯塔夫.《乌合之众》,冯克利译,北京：中央编译出版社,2005年.Pp.89-90.
⑤莫斯科维奇.塞奇.《群氓的时代》.许列民等译,南京：江苏人民出版社.2003年.Pp.181-182.
⑤ Bruyn. Lucy de. MobRule and Riots:the present mirrored in the past. London:Regency Press,1981. P.234.
①勒庞,吉斯塔夫.《鸟合之众》.冯克利译.北京：中央编译出版社,2005年.P.31.
②勒庞,吉斯塔夫.《乌合之众》.冯克利译.北京：中央编译出版社,2005年.P.50.
③莫斯科维奇,塞奇.《群氓的时代》.许列民等译.南京：江苏人民出版社,2003年.P 128.
①莫斯科维奇,塞奇.《群氓的时代》.许列民等译,南京：江苏人民出版社.2003年.Pp.48.138-148.
②莫斯科维奇,塞奇.《群氓的时代》.许列民等译,南京：江苏人民出版社.2003年.P.193.
①布鲁姆,哈罗德.《西力正典》.江宁康译.江苏：江苏人民出版社,2005.Pp.17-18.
② Visser, Nicholas. "Roaring Beasts and Raging Floods:The Representation of Political Crowds in the Nineteenth-Century British Novel". The Modern Language Review, Vol.89, No.2 (April,1994). P.295.
③马克思,恩格斯.《德意志意识形态》.《马克思恩格斯全集》,第三卷.北京：人民出版社.1992.P.569.
③ Visser, Nicholas. "Roaring Beasts and Raging Floods:The Representation of Political Crowds in the Nineteenth-Century British Novel". The Modern Language Review. Vol.89. No.2 (April,1994). P.295.
① Stapher. Paul. Shakespeare and Classical Antiquity:Greek and Latin Antiquity as Presented in Shakespeare's Plays. C. Kegan Paul & Co.,1880. P.461.
② Greenblatt, Stephen. "Murdering Peasants:Status. Genre, and the Representation of Rebellion". Representing the English Renaissance. London:University of California Press.2005. Pp.13-14.
③ Johnson, Samuel. "Preface to Shakespeare". The Norton Anthology of Theory and Criticism. Ed. Vincent B.
① Plutarch. "Caesar", trans. Thomas North, Narrative and dramatic sources of Shakespeare. Vol 5. Ed. George Bullough. London:Routledge and Kegan Paul,1957-75. P.81.
② Plutarch, "Antony", trans. Thomas North. Narrative and dramatic sources of Shakespeare. Ed. George Bullough, vol.5, London:Routledge and Kegan Paul,1957-75. Pp.186-187.
③ Plutarch, "Antony", trans. Thomas North. Narrative and dramatic sources of Shakespeare. Ed. George Bullough, vol.5, London:Routledge and Kegan Paul,1957-75. Pp.186-187.
① Williams. Raymond. Key Words:A Vocabulary of Culture and Society. London:Oxford University Press.1983. P.1.
② Parker. Patricia. Shakespeare from the Margins. Chicago:The University of Chicago Press.1996. P.1.
① Platt. Michael. Rome and Romans According to Shakespeare. Salzburg Studies in English Literature. Institute fur Englische Sprache und Literatur,1976. P.57.
② Glare, P. G. W ed. Oxford Latin Dictionary. New York:Oxford University Press,1977. P.1389.
①恩格斯“家庭、私有制和国家的起源”,《马克思恩格斯选集》,第四卷,北京：人民出版社,1972年.P.124.
①孟德斯鸠《罗马盛衰原因论》,婉玲译,北京：商务印书馆,2005年.P.50
②孟德斯鸠《罗马盛衰原因论》,婉玲译,北京：商务印书馆,2005年.P.50.
③ Blits. Jan H.. "Caesarism and the End of Republican Rome:Julius Caesar. Act I, scene I". The Journal of Politics. Vol.43. No.1 (Feb.,1981). P.47.
①亚里士多德《政治学》,吴寿彭译,上海：商务印书馆,1965年.Pp.113-115.
② Blits. Jan H.. "Caesarism and the End of Republican Rome:Julius Caesar. Act I. scene I". The Journal of Politics. Vol.43. No.1 (Feb.,1981). Pp..41-43.
③ Blits. Jan H.. "Caesarism and the End of Republican Rome:Julius Caesar, Act I, scene I". The Journal of Politics. Vol.43, No.1 (Feb.,1981). P.43.
④ Hadfield, Andrew. Shakespeare and Republicanism. Cambridge:Cambridge University Press. P.171.
① Mehl. Dieter. "Julius Caesar". Shakespeare's Tragedies:An Introduction. Cambridge University Press.1986. P. 147.
② Willson. Robert F. "Forum Scene". William Shakespeare s Julius Caesar ed. Harold Bloom. New York: Infobase Publishing,2010. P.24.
③ Plutarch. "Caesar", trans. Thomas North. Narrative and dramatic sources of Shakespeare. Vol 5. Ed. George Bullough. London:Routledge and Kegan Paul,1957-75. P.81.
④恺撒(凯撒)《恺撒战记》席代岳译,桂林：广西师大出版社,2004.P.4.
⑤恺撒(凯撒)《恺撒战记》席代岳译,桂林：广西师大出版社,2004.P.10.
① Plutarch. "Caesar", trans. Thomas North. Narrative and dramatic sources of Shakespeare. Vol 5. Ed. George Bullough. London:Routledge and Kegan Paul.1957-75. P.11
②斯特莱切.《伊丽莎白女王和埃塞克斯伯爵：一部悲剧性的历史》.北京：三联书店,2005.P.185.
①马克思《神圣家庭》《马克思全集》第二卷,北京：人民出版社,1976年.P.115-116.
① Plutarch."Caesar", trans. Thomas North. Narrative and dramatic sources of Shakespeare. Vol 5. Ed. George Bullough. London:Routledge and Kegan Paul.1957-75. P.69.
②勒庞,吉斯塔夫《乌合之众》,冯克利译,北京：中央编译出版社,2005年.P.49.
③ Bullough, George ed. Narrative and dramatic sources of Shakespeare. vol.5. London:Routledge and Kegan Paul,1957-75. P.13.
① Schanzer. Ernest. The problem plays of Shakespeare:a study of Julius Caesar, Measure for measure, Antonv and Cleopatra. New York:Schocken Books.1963. Pp.63-65.
② Muir, Kenneth. Shakespeare's Tragic Sequence. London:Hutchinson.1972. Pp.51-53.
③ Goddard, Harold C., "Julius Caesar". The Meaning of Shakespeare. Chicago:University of Chicago Press. 1951. P.329.
④ Mehl, Dieter. "Julius Caesar". Shakespeare's Tragedies:An Introduction. Cambridge University Press.1986. P. 147.
Leggat, Alexander. Shakespeare's Political Drama:the History Plavs and Roman Plays. London:Routledge. 1988. P.142.
①布鲁姆.阿兰、雅法.哈瑞.《莎士比亚的王者》.潘望译.南京：江苏人民出版社.2009.P.92
②布鲁姆.阿兰、雅法.哈瑞.《莎士比亚的王者》.潘望译.南京：江苏人民出版社,2009.P.71
① Bullough. George ed. Narrative and dramatic sources of Shakespeare, vol.5. London:Routledge and Kegan Paul,1957-75. P.6.
② Plutarch. "Caesar", trans. Thomas North. Narrative and dramatic sources of Shakespeare. Vol 5. Ed. George Bullough. London:Routledge and Kegan Paul,1957-75. P.69.
③安东尼挥动的是临时为收买民心而编造的遗嘱,因为在第四幕第一场,他要莱必多斯“到凯撒家里去一趟,把他的遗嘱拿来,让我们决定怎样按他的意旨替他处分遗产。”
①布鲁姆.阿兰、雅法,哈瑞.《莎士比亚的王者》.潘望译.南京：江苏人民出版社,2009年.P.73.
②培根“论善与性善”《培根论说文集》水同天译,北京：商务印书馆,1986年.P.44.
④孟德斯鸠《罗马盛衰原因论》,婉玲译,北京：商务印书馆,2005年.P.50.
④ Plutarch. "Caesar", trans. Thomas North, Narrative and dramatic sources of Shakespeare. Vol 5. Ed. George Bullough. London:Routledge and Kegan Paul.1957-75. Pp.68-69.
'Frye. Northrop. Fools of time:studies in Shakespearean tragedy. Toronto:University of Toronto Press.1967. P.10
① Bruyn. Lucy de. Mob—Rule and Riots:the present mirrored in the past. London:Regency Press,1981. P.239.
②孟德斯鸠《罗马盛衰原因论》,婉玲译,北京：商务印书馆,2005年.P.51
③布鲁姆,哈罗德.《西方正典》.江宁康译.江苏:江苏人民出版社.2005.Pp.35,38 ①本研究中引用的菲尔丁作品包括《弃儿汤姆.琼斯史》(A History of Tom Jones, A Foundling)与《考文特公园双周刊》(Convent Garden Journal)。其中《弃儿汤姆琼斯史》英文版参考Fine Creative Media公司2004年版(Fielding Henry. A History of Tom Jones, A Foundling. New York:Fine Creative Media.2004.),引文用张谷若先生的译本(《弃儿汤姆.琼斯史》.重庆：重庆出版社,2008)；《考文特公园双周刊》英文版参照Nichos and Snow1806年版The Works of Henry Fielding第10卷(The Works of Henry Fielding. London. Vol. X: Nichos and Snow,1806.)所有引文均为本研究作者所译。本章所引菲尔丁作品将在行文中随行标注,不再另加注。
②本研究中引用的雪莱作品以剑桥版《雪莱诗作集》为准(Shelley, B. Percy. The Poetical Works of Shelley. Ed. Newell F. Ford. Boston:Houghton Mifflin Company,1974.).译文主要引用河北教育出版社版《雪莱全集》(雪莱.《雪莱全集》.江枫主编.河北：河北教育出版社,2000年.),在一些过于意译的关键处,为展现作品原貌,均该用直译。本章所引雪莱作品将在行文中随行标注,不再另加注。
③布鲁姆.哈罗德.《误读图式》.朱立元.陈克明译.天津：天津人民出版社.P.1.
① Seidel. Michael A. "The Restoration Mob:Drones and Dregs". Studies in English Literature.1500-1900. Vol. 12. No.3 (Summer.1972). P.430.
① Atherton. Herbert M.. "The 'Mob' in Eighteenth-Century English Caricature". Eighteenth-Century Studies, Vol. 12. No.1 (Autumn.1978). Pp.47-48.
② Shoemaker. Robert. The London mob:violence and disorder in eighteenth-century England. London: Cambridge University Press,2004. P. xiii.
③ Visser, Nicholas. "Roaring Beasts and Raging Floods:The Representation of Political Crowds in the Nineteenth-Century British Novel". The Modern Language Review. Vol.89. No.2 (April,1994). Pp.290-291.
④ Seidel. Michael A. "The Restoration Mob:Drones and Dregs". Studies in English Literature,1500-1900. Vol. 12, No.3 (Summer.1972). Pp.431-433.
⑤ Rude. George. The London "Mob" of the Eighteenth Century. Historical Journal, Vol.2. No.1 (1959). Pp.1-2.
① Atherton, Herbert M.. "The 'Mob' in Eighteenth-Century English Caricature". Eighteenth-Century Studies, Vol. 12. No.1 (Autumn,1978). Pp.57.
② Atherton, Herbert M.. "The 'Mob' in Eighteenth-Century English Caricature". Eighteenth-Century Studies, Vol. 12. No.1 (Autumn,1978). Pp.47-48.
③ Paulson, Ronald. Representations of Revolution (1789-1820). New Haven:Yale University Press,1983. P. xviii.
① Milton, John. Paradise Regained. New York:Signet Classic,1982. Ⅲ 49-51.
②另一著名新古典主义诗人蒲伯(Alexander Pope)指责民众时则直接借用贺拉斯的原话,“人民是多头怪。”政治哲学家霍布斯(Thomas Hobbes)则认为群众象“奔腾、狂暴且肮脏的爱尔河。”17世纪晚期都柏林大主教帕克(Bishop Parker)将人民的呼声称为“狼、虎、猿与狒狒的嚎叫”甚至连英工查尔斯二世颁布的允许伦敦享有部分自治的伦敦市宪章都被称为“(反对国王的)地狱的看守恶犬、多头怪”。参见Seidel, Michael A. "The Restoration Mob:Drones and Dregs". Studies in English Literature.1500-1900. Vol.12. No.3 (Summer,1972). Pp.430-439.
③ Thomas, Keith. Man and the Natural World:A History of the Modern Sensibility. Oxford:Oxford University Press,1996. P.41.
④柏克.《法国革命论》.何兆武等译.北京：商务印书馆.2010.P.iii.
①柏克.《法国革命论》.何兆武等译.北京：商务印书馆,2010.P.114.
②柏克.《法国革命论》.何兆武等译.北京：商务印书馆.2010.P.105.何兆武先生的译本将最关键的意象"swinish multitude"意译为“一群猪一样的粗鄙之徒”,但nultitude词并非指普通人群.而是在社会学意义上指称大规模社会运动中的群体。何兆武先生的译文未能完全体现"multitude"一词中隐含的社会学意义的群众、群体之意。同时考虑"swinish multitude这意象为本章多个标题及正文所用,为行文简明起见,本研究将其译为“猪猡般的群众”。关于"multitude"的社会学定义,请参见Schuyler. Susan. "Multitude:English". Crowds. Eds.J. T. Schnapp and M. Tiews. Stanford:Stanford University Press.2006. Pp. 124-125.
③ Seidel, Michael A. The Restoration Mob:Drones and Dregs. Studies in English Literature,1500-1900. Vol.12, No.3 (Summer.1972). Pp.431.
④ Bartel, Roland. "Shelley and Burke's Swinish Multitude". Keats-Shelley Journal. Vol.18 (1969). P.6.
① Bartel. Roland."Shelley and Burke's Swinish Multitude". Keats-Shelley Journal. Vol.18 (1969). P.8.
② Bartel, Roland. "Shelley and Burke's Swinish Multitude". Keats-Shelley Journal. Vol.18 (1969). Pp.4-9
③ Howard, Darren Philip. Imperial animals:Romanticism and the politicized animal. Los Angeles:University of California, Los Angeles,2007. P.10.
④ Bartel, Roland. "Shelley and Burke's Swinish Multitude". Keats-Shelley Journal. Vol.18 (1969). Pp.4-9
⑤ Campbell, Gertrude H. The Swinish Multitude. Modern Language Notes. Vol.30, No.6 (Jun..1915). Pp. 161-164.
①此处《崇高和美》的作者指柏克。柏克另著有《崇高和美》(On the Sublime and Beautiful)一书传世。
② Porson. Richard. "A NEW CATECHISM for the use of the NATIVES OF HAMPSHIRE". THE EXAMINER FOR THE YEAR 1818. Ed. Leigh Hunt. London:John Hunt,1818. P.548.
③ Jenkyns. R. The Victorians and Ancient Greece. Cambridge:Harvard University Press,1980. P.79
④ Hall. E. Aristophanes in Performance 421 BC-AD 2007:Peace, Birds, and Frogs. London:Maney Publishing, 2007. P.67.
⑤ Erkelenz. Michael. The Genre and Politics of Shelley's Swellfoot the Tyrant. The Review of English Studies, New Series, Vol.47. No.188 (1996). P.515
① Walsh. Philip. "A study in reception:the British debates over Aristophanes'politics and influence". Classical Receptions Journal, Vol.1. No.1 (2009). P.58
② Walsh. Philip. "A study in reception:the British debates over Aristophanes'politics and influence". Classical Receptions Journal, Vol.1. No.1 (2009). P.57
③ Erkelenz, Michael. The Genre and Politics of Shelley's Swellfoot the Tyrant. The Review of English Studies, New Series, Vol.47, No.188 (1996). P.515
④ Gillies, J.. The History of Ancient Greece, vol. I. London:A Strahan and T Cadell.1786. P. A2
⑤ Mitford, W.. The History of Greece, vol. V. London:T. Cadell,1818. P.29.
⑥ Mitford, W.. The History of Greece, vol. V. London:T. Cadell,1818. P.29.
① Coleridge, T. Samuel. "The Friend", ed. B. E. Rooke. The Collected Works of Samuel Taylor Coleridge 4. Princeton:Bollingen Series,1848. P.18.
② Gomme, A. W. "Aristophanes and Politics". Classical Receptions Journal.52(1938). P.102
③ Lefevere, Andre. Translation, Rewriting and the Manipulation of Literary Fame. Shanghai:Shanghai Foreign Language Education Press.2003. Pp.1-15.
④ Erkelenz, Michael. The Genre and Politics of Shelley's Swellfoot the Tyrant. The Review of English Studies, New Series, Vol.47, No.188 (1996). Pp.516-517
① Mitchell, T. "Translations of the Comedies of Aristophanes". Quarterly R eview.9 (1813). P.144;
② Mitchell. T. The Comedies of Aristophanes, vol. London:1820. Pp. xii-xiii.
③ Walsh. Philip. "A study in reception:the British debates over Aristophanes' politics and influence". Classical Receptions Journal, Vol.1. No.1 (2009). P.57
① Seidel, Michael A. The Restoration Mob:Drones and Dregs. Studies in English Literature,1500-1900. Vol.12, No.3 (Summer,1972). Pp.431.
②斯威夫特.《木桶的故事》.主万,张健译.人民文学出版社,2000.P.4.
② Godden, G. M.. Hemy Fielding:A Memoir. Middlesex:The Echo Library,111-119
④ Cleary, Thomas Raymond. Henry Fielding, political writer. Ontario:Wilfrid Laurier University Press,1984. Pp. 275-276.
① Cross. Wilbur L.. The History of Fielding. Vol 1. New York:Russell and Russell.1963. P.44.
② Miller. Henry K.. "Henry Fielding's Tom Jones and the Romance Tradition". English Literarv Studies 6 (1976). P.81.
① Knight. Charles A.. Fielding and Aristophanes. Studies in English Literature.1500-1900. Vol.21, No.3 (1981). P.493.
② Hamilton, Edith. The Greek Way. New York:W. W. Norton,1960. P.126.
③ Spearman. Diana. The novel and society. New York:Routledge & Kegan.1966. P.99.
① Frye, Northrop. "The Archetype of Literature". The Twentieth Century Literary Criticism. Ed. David Lodge. London:Longman.1957.
①黑格尔.《美学》第3卷下册.朱光潜译.北京：商务印书馆,1981.P.293.
① Taylor. Antony. "Shakespeare and Radicalism:The Uses and Abuses of Shakespeare in Nineteenth-Century Popular Politics". The Historical Journal. Vol.45. No.2 (June.,2002). Pp.362.365.367.
② Clark, David L.."Shelley and Shakespeare". PMLA. Vol.54, No.1 (Mar.,1939). P.261.
③ Webb, Timothy. Shelley:a Voice not understood. Manchester:Manchester University Press.1977. P.93.
① Webb. Timothy. Shelley:a Voice not understood. Manchester:Manchester University Press,1977. P.93.
① Herson. Ellen. B.. "Oxymoron and Dante's Gates of Hell in Shelley's Prometheus Unbound". Studies in Romanticism. Vol.29, No.3.1990. P.371.
① Cox, Jeffrey N.. "The dramatist". The Cambridge companion to Shelley. Cambridge:Cambridge University Press,1997.
①雪莱.玛丽.“”《雪莱全集》.江枫主编.河北：河北教育出版社,2000年P.438
① Campbell. Gertrude H. "The Swinish Multitude". Modern Language Notes. Vol.30. No.6 (Jun..1915). Pp. 161.
② Porson, Richard. "A NEW CATECHISM for the use of the NATIVES OF HAMPSHIRE". THE EXAMINER FOR THE YEAR 1818. Ed. Leigh Hunt. London:John Hunt,1818. P.548亦参见King-Hele. Desmond. Shelley. His Thought and Work. New York:Macmillan,1960. P.264.
③ Bartel, Roland."Shelley and Burke's Swinish Multitude". Keats-Shelley Journal. Vol.18 (1969). P.6.
①雪莱《暴虐的俄狄浦斯》全名为《暴虐的俄狄浦斯或暴君斯威尔夫特：两幕悲剧——译自古希腊方言陶立克语》。俄狄浦斯(Oedipus)与斯威尔夫特(Swellfoot)为同一人,俄狄浦斯(Oedipus)在希腊语中原为肿足之意,英语为Swellfoot,本研究从顾子欣先生译本(雪莱.“暴虐的俄狄浦斯”,顾子欣译《雪莱全集.第4卷》.江枫主编.河北：河北教育出版社,2000年.)中的音译斯威尔夫特。
① Halliwell. Stephen. "Introduction". Birds:Lysistrata:Assembly-women:Wealth. Oxford:Oxford University Press,1998.
① Lefevere. Andre. Translation, Rewriting and the Manipulation of Literary Fame [M]. Shanghai:Shanghai Foreign Language Education Press,2003. P.13.
② Lind. L. Robert. "Shelley Reappraised". The Sewanee Review. Vol.43, No.4 (1935). P.430.
①布鲁姆,哈罗德.《影响的焦虑》.徐文博译.南京：江苏教育出版社,2005.P.19
①雪莱,玛丽.“”《雪莱全集》.江枫主编.河北：河北教育出版社,2000年.P.438
② Erkelenz, Michael. The Genre and Politics of Shelley's Swellfoot the Tyrant. The Review of English Studies, New Series, Vol.47, No.188 (1996). Pp.512-513.
①阿伦特,汉娜.《论革命》.陈周旺译.南京：译林出版社,2007.P.37.
② Erkelenz. Michael. The Genre and Politics of Shelley's Swellfoot the Tyrant. The Review of English Studies, New Series. Vol.47. No.188 (1996). Pp.517-519.
①阿伦特,汉娜.《论革命》.陈周旺译.南京：译林出版社,2007.P.11.
②阿伦特,汉娜.《论革命》.陈周旺译.南京：译林出版社,2007.P.20.
①阿伦特.汉娜.《极权主义的起源》.林骧华译.北京：生活.读书.新知.三联书店,2008.P.407.
②布鲁姆.哈罗德.《影响的焦虑》.徐文协译.南京：江苏人民出版社.Pp.14-15.
③ Goddard. Harold C. "Julius Caesar". The Meaning of Shakespeare. Chicago:University of Chicago Press. 1951. P.329.
①阿伦特.汉娜.《论革命》.陈周旺译.南京：译林出版社,2007.P.11.
②乔治.奥威尔.《动物农场》.傅惟慈译.北京：北京十月文艺出版社,2004.P.108.
① Visser. Nicholas. "Roaring Beasts and Raging Floods:The Representation of Political Crowds in the Nineteenth-Century British Novel". The Modern Language Review, Vol.89. No.2 (April.1994). P.289.
② Galt. John. The Provost. London:A.& R. Spottiswoode,1822. Pp.78,188.
③ Galt. John. The Provost. London:A.& R. Spottiswoode.1822. P.77.
① Galt, John. The Provost. London:A.& R. Spottiswoode.1822. P.82.
② Visser, Nicholas. "Roaring Beasts and Raging Floods:The Representation of Political Crowds in the Nineteenth-Century British Novel". The Modern Language Review. Vol.89. No.2 (April.1994). Pp.289-290.
③ Galt, John. The Provost. London:A.& R. Spottiswoode.1822. P.82.
④ Bate, Jonathan. The Genius of Shakespeare. London:Picadorp,1997. P.225.
①本研究所参考的司各特作品英文版版本出版信息为Scott. Walter. The Complete Works of Sir Walter Scott: with a biography, and his last additions and illustrations. New York:Corner & Cooks.1833.其中《湖上夫人》(The Lady of the Lake)引文以曹明伦先生的译文为主(司各特.《湖上夫人》.曹明伦译长沙：湖南文艺出版社,1986.),《密得洛西监狱》(The Heart of Midlothian)引文以王楫,任大雄先生的译文为主(司各特.《密得洛西监狱》.王楫,任大雄译南京：译林出版社,1997.)。本章所引司各特各个作品将在行文中随行标注,不再另加注。
⑥ Garbin, Lidia. "Not fit to tie his brogues":Shakespeare and Scott". Shakespeare and Scotland. Eds. Willy Maley and Andrew Murphy. Manchester:Manchester University Press.2004. P.143.
⑦ Bate, Jonathan. The Genius of Shakespeare. London:Picadorp,1997. P.227
① Bate, Jonathan. The Genius of Shakespeare. London:Picadorp.1997. P.239.
② Brewer. Wilmon. Shakespeare s influence on Sir Waller Scotl. Boston:Cornhill.1992. P.172.
① Brewer. Wilmon. Shakespeare s influence on Sir Walter Scoll. Boston:Cornhill.1925. P.423.
① Bate, Jonathan. The Genius of Shakespeare. London:Picadorp,1997. P.28.
① Garbin, Lidia. "Not fit to tie his brogues':Shakespeare and Scott". Shakespeare and Scotland. Eds. Willy Maley and Andrew Murphy. Manchester:Manchester University Press.2004. P.143.
②萨莫瓦约.蒂费纳.《互文性研究》.邵炜译.天津：天津人民出版社.2003.P.19.
③ Garbin. Lidia. "Not fit to tie his brogues':Shakespeare and Scott". Shakespeare and Scotland. Eds. Willy Maley and Andrew Murphy. Manchester:Manchester University Press.2004. P.143.
④ Brown. David. Walter Scott and the historical imagination. London:Routledge & Kegan Paul Ltd.1979. P. 116.
⑤ Daiches, David. "Scott's Achievement as a Novelist". Literary Essays. Edinburgh.1956. P.104.
① Poole, Adrian. Scott, Dickens, Eliot, Hardy:Great Shakespeareans. London:Continuum International Publishing Group.2011. P.11.
② Poole, Adrian. Scott. Dickens, Eliot, Hardy:Great Shakespeareans. London:Continuum International Publishing Group.2011.Pp.28-29.
③ Scott, Walter. "Prefatory Letter". The Complete Works of Sir Walter Scott:with a biography, and his last additions and illustrations. Vol. IV. New York:Corner & Cooks.1833. P.12.
① Visser, Nicholas. "Roaring Beasts and Raging Floods:The Representation of Political Crowds in the Nineteenth-Century British Novel". The Modern Language Review. Vol.89, No.2 (April.1994). P.291.
②本研究所参考的狄更斯作品中《双城记》引文以张玲和张扬合译本为主0狄更斯.《双城记》.张玲,张扬译.上海：上海译文出版社,2006.)：《巴纳比.鲁吉》引文以高殿森、程海波和高正清合译本为主(狄更斯.《巴纳比.鲁吉》.高殿森等译.上海：上海译文出版社,1998.)：《少儿英国史》引文为作者自译,参考英文版本信息为：The Complete Works of Charles Dickens:A Child's History of England. New York: Cosimo,2009。本章所引狄更斯各个作品将在行文中随行标注,不再另加注。
① Bloom, Harold. "Introduction". Charles Dickens. New York:Infobase Publishing.2008. P. xi.
② Gager, Valerie L. Shakespeare and Dickens:The Dynamics of Influence. Cambridge:Cambridge University Press,1996. P.179.
③ Alter, Robert. "The Demons of History in Dickens" "Tale". Novel:A Forum on Fiction. Vol.2. No.2 (Winter. 1969). P.140.
④ Sanders, AL. "Clio's Heroes and Thackeray's Heroes". The Victorian Historical Novel 1840-1880. London: Macmillan,1978. P.69.
⑤ Chapman, Raymond. The Sense of the Past in Victorian Literature. London:Groom Helm.1986. P.177.
① Chapman, Raymond. The Sense of the Past in Victorian Literature. London:Groom Helm.1986. P.177.
② Goldberg, Michael. Carlyle and Dickens. Athens:University of Georgia Press,1972. P.101.
③ Oddie. William. Dickens and Carlyle:The Question of Influence. London:Centenary Press.1972. Pp.61-63.
④ Dickens. Charles. Selected Letters of Charles Dickens. Ed. Jenny Hartley. Oxford:Oxford University Press, 2002. P.92
①奥威尔,乔治.《查尔斯·狄更斯》.《奥威尔文集》.董乐山译.北京：中央编译出版社,2010.Pp.430-433.
① Stange. G. Robert. "Dickens and the Fiery Past:"A Tale of Two Cities Reconsidered". The English Journal. Vol. 46. No.7 (October.1957). Pp.386.
② Visser. Nicholas. "Roaring Beasts and Raging Floods:The Representation of Political Crowds in the Nineteenth-Century British Novel". The Modern Language Review. Vol.89. No.2 (April.1994). P.304.
① Poole. Adrian. Shakespeare and the Victorians. London:Thomas Learning.2004. P.132.
② Gager. Valerie L. Shakespeare and Dickens:The Dynamics of Influence. Cambridge:Cambridge University Press.1996. P.200.
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① Bloom. Harold. "Introduction". Charles Dickens. New York:Infobase Publishing,2008. P. xii.
①本研究所参考的奥威尔《巴黎伦敦落魄记》的版本信息为：乔治,奥威尔.《巴黎伦敦落魄记》.胡仁鹏译.南京：江苏人民出版社,2006.本章对其的引文将在行文中随行标注,不再另加注。
②乔治.奥威尔.《射象》.《奥威尔文集》.董乐山译.北京：中央编译出版社,2010 P.386
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④本研究所参考的奥威尔《向加泰罗尼亚致敬》的版本信息为：乔治,奥威尔《向加泰罗尼亚致敬》.李华、
刘锦春译.南京：汀苏人民出版社.2005.本章对其的引文将在行文中随行标注,不再另加注。
①本研究所参考的奥威尔《上来透口气》的版本信息为：乔治,奥威尔.《上来透口气》.孙仲旭译.南京：译林出版社,2002.本章对其的引文将在行文中随行标注,不再另加注。
① Cain, William E., "Orwell's Perversity:An Approach to the Collected Essays". Bloom' Modern Critical View: George Orwell—Updated Edition. Ed. Harold Bloom. New York:Intobase Publishing,2007. P.120.
②本研究所参考的奥威尔《一九八四》的版本信息为：乔治,奥威尔.《一九八四》.《奥威尔文集》.董乐山译.北京：中央编译出版社,2010.本章对其的引文将在行文中随行标注,不再另加注。
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①本研究所参考的奥威尔《动物农场》的版本信息为：乔治.奥威尔.《动物农场》.傅惟慈译.北京：北京十月文艺出版社,2004本章对其的引文将在行文中随行标注,不再另加注。
② O'Sullivan, Noel. Conservatism:Modern ideologies. New York:Dent.1976. P.120.
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② Gleason. Abbott. "Totalitarianism'in 1984. Russian Review. Vol.43. No.2 (Apr.,1984). P.152.
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