ABSTRACT

Percy Bysshe Shelley’s fascination with Goethe’s Faust spanned a large part of his writing career, starting with a line-by-line translation of nearly a thousand lines from the drama’s opening in 1815 and culminating in a poetic rendition of the ‘Prolog im Himmel’ and ‘Walpurgisnacht’ finished shortly before his untimely death in July 1822. This article offers a detailed examination of the two Faust translations and the contexts in which they were produced. The 1815 translation is read against the backdrop of contemporary language learning materials whereas the 1822 translation is brought into relation with Goethe’s conception of Weltliteratur as a web of textual encounters across linguistic boundaries.

摘要

珀西·比谢·雪莱（Percy Bysshe Shelley）对歌德的《浮士德》的迷恋涵盖了他的写作生涯的大部分时间，首先是从1815年该剧开始以来逐行翻译近一千行，最终以诗意的形式演绎了《普罗姆·希默尔》（Prolog im Himmel）和“ Walpurgisnacht”在他于2222年7月过世去世之前不久完成。这篇文章详细研究了两次《浮士德》译本及其产生的语境。1815年的译文是在当代语言学习材料的背景下阅读的，而1822年的译文则与歌德的“世界文学”的概念联系在一起，后者是跨越语言边界的文本遭遇网络。