日本英文学会第 83 回大会 Symposia 第二部門
詩のことばと散文のことば――韻文の存在理由を探る
横溢する叙情性――Wordsworth と Byron の場合笠原順路[ I ] From William Wordsworth, ¶Preface· to Lyrical Ballads (1800, 1802, 1805,etc.):-­-­(a) Now the music of harmonious metrical language, the sense of difficulty
overcome, and the blind association of pleasure which has beenpreviously received from works of rhyme or metre of the same or similar
construction, an indistinct perception perpetually renewed of language
closely resembling that of real life, and yet, in the circumstance ofmetre, differing from it so widely -­-­ all these imperceptibly make up acomplex feeling of delight, which is of the most important use intempering the painful feeling which will always be found intermingledwith powerful descriptions of the deeper passions.
(1800 without underlined parts;; 1802, 1805 and all subsequent editions.
Owen & Smyser, I, 151)(b) The Poet writes under one restriction only, namely, the necessity ofgiving immediate pleasure to a human Being«as a Man. « Nor let
this necessity of giving immediate pleasure be considered as adegradation of the Poet·s art.
It is far otherwise.
It is anacknowledgment of the beauty of the universe, an acknowledgment of
the more sincere, because not formal, but indirect«. «wherever we
sympathise with pain, it will be found that the sympathy is produced
and carried on by subtle combinations with pleasure. « He [thePoet] considers man and the objects that surround him as acting andre-­acting upon each other, so as to produce an infinite complexity ofpain and pleasure«he considers him as looking upon this complex
scene of ideas and sensations, and finding every where objects that
immediately excite in him sympathies which, from the necessities of hisnature, are accompanied by an overbalance of enjoyment.
(1802, 1805 and all subsequent editions. Owen & Smyser, I, 139-­40)[II] Wordsworth, ¶The Solitary Reaper· (comp. 1805, pub. 1807): OMMITTED

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[III] From Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of
the Sublime and Beautiful (1757):-­-­(a) ...they [pain and terror] are capable of producing delight;; not pleasure but a sortof delightful horror, a sort of tranquillity tinged with terror. (4:7;; Boulton, 136)(b) ...both [pain and terror] agreeing, either primarily, or secondarily, in producing atension, contraction, or violent emotion of the nerves«.(4:3;; Boulton, 132)(c) ...it is almost impossible not to conclude, that beauty acts by relaxing the solidsof the whole system. There are all the appearances of such a relaxation;; and arelaxation somewhat below the natural tone seems to me to be the cause of all
positive pleasure. (4:19;; Boulton, 149-­50)[IV] Examples of ¶delightful horror ·:-­-­(a) John Langhorne: Ye rocks on precipices pil·d! / Ye ragged desarts, waste andwild! / Delightful horrors, hail!
(b) Charlotte Smith: The insatiate ocean gives not up its dead. / ·Tis not his voice
Hark! The deep thunder roll;; / Upheaves the ground;; the rocky barriers fail;; /Approach ye horrors that delight my soul«(c) Lord Byron: All which expands the spirit, yet appals, / Gather around thesesummits«[V] Ann Radcliffe, From ¶On the Supernatural in Poetry·, in The New Monthly
Magazine , Vol. 16 (1826), 149:-­-­
Terror and horror are so far opposite, that the first expands the soul, andawakens the faculties to a high degree of life;; the other contracts, freezes, andnearly annihilates them. )[VI] Lord Byron, Childe Harold·s Pilgrimage, IV, 128-­45: OMMITTED[VII] Metrical scheme for Stanza 141:-­-­

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There were his young barbarLDQV«
There were his young barbarLDQV«
T h e r e were his young barbarLDQV«
T h e r e was their Dacian mothHU«
BuWFKHU·GWRPDNH a Roman«
And unavenged?³Arise! ye Goths, and glut your ire!

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