英文摘要
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This essay pursues the different ways in which the mermaid is represented in early nineteenth-century Scottish writing, exploring how and why, as an intrinsically metamorphic and protean figure, she becomes a source of literary and cultural fascination for a variety of writers. It suggests that there are three principal ways in which the subject of mermaids draws together different discourses (scientific, mythic, folkloric, and aesthetic). Firstly, mermaids are ”collected” in quasi-scientific, ”travel” writing which charts the unknown northern waters of Scotland, both geographically and culturally; secondly, they are ”translated” in the work of antiquaries and collectors which seeks to discover affinities between Scottish folklore, ballads, and legends and those of other cultures, principally Germanic and Scandinavian; and, thirdly, they are ”invented” in new poetic fictions by Scottish writers which demonstrate their power to embody a popular, and artistically compelling, feminine mythology. The essay argues that in Scotland, as in Europe, the Romantic ”cult of the mermaid” is partly inspired by what might be termed ”cultural nationalism”; because the lore and legend attached to the mermaid has particular folkloric and regional specificity, it becomes a significant strand of the material gathered by folk and ballad collectors. The ”mermaid of the northern legends,” to use John Leyden's phrase (Poetical Remains), becomes valuable to the allied antiquarian and folk revival movements. The essay examines how the distinctive Scottish association of the mermaid with a larger mythic and folkloric body of material relating to mer-people and seal-folk (in Orkney and Shetland) produces narratives which echo traditional medieval and Romantic literary accounts of erotic encounters between mermaid and mortal, and yet strikingly portray the mermaid/seal-maiden as a figure of empathic fragility. Accordingly, the essay argues how the ”northern mermaid” finds new cultural kinship, important to the cross-cultural, or internationalist dimension, of the late Romantic and early nineteenth-century folk movement. Collectively, the different texts and writers which the essay newly considers in relation to one another offer an interesting illustration of the ways in which the figure of the mermaid embodies certain popular, mythic ideas about the nature of the feminine, and licenses the telling of various stories which renews her significance as a figure of, and about, the nature of creativity itself.
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