The Conflict/Continuity between Renaissance and Neoclassicism: Multi-voiced Presentation of the Human Capability in Pope's Essay on Criticism

文藝復興與新古典之衝突∕承續：波普《批評論》對人之能力的多重音論呈現

10.30092/JHCLANCHU.201012.0005

張登翰(Deng-Han Zhang)

亞歷山大•波普 ； 批評論 ； 巴克汀 ； 對話 ； 多重音 ； 人之能力 ； Alexander Pope ； Essay on Criticism ； Bakhtin ； dialogue ； multi-voicedness ； human capability

興大人文學報

45期（2010 / 12 / 01）

107 - 151

英文

波普肩負文藝復興時代人文主義之承傳，在其詩學及對人類能力的論述中，展現了多重音(multi-voicedness)的特色。此多重音之特性實源於波普學習過程中，和古人及今人不斷對話，彰顯了文藝復興和新古典之衝突∕承續，且可從巴克汀之對話理論觀點，以《批評論》加以進一步說明。波普研究經典，用功頗深，企圖實現人文主義中「文藝復興人」(Renaissance Man)的理想；然而，波普強調限制才思，不可任其肆意發展，並認為人的潛力有限；在他詩學之中，看不到明顯的「進步觀」(the idea of progress)－而這是啟蒙時代特有的思想。他鼓勵批評家對文化及社會要培養全方位的認知，並在文化的架構下閱讀文學；不過他也指出：由於人的能力有限，批評家最好專精一項「學問」即可。《批評論》中之說話者，可認定為波普本人；他其實偏離了卡斯提里歐(Castiglione)所提「文藝復興人」的理想，也沒有建立一套前後一致、觀點和諧的詩學。他預設了天道(Nature)，一種超然的力量，並意圖將之加諸在詩歌與評論上；然而波普多重音論述所帶來的異質性，卻顛覆了此超然力量的絕對性。所謂真理和批評，並非出自一超越、絕對標準之指引，而出於批評家與文化之持續對話。

With the heritage of Renaissance humanism, Alexander Pope demonstrates multi-voicedness in his poetics and in his discourse on human capability. This multi-voicedness, resulting from his dialogues with ancients and moderns, exemplifies the conflict/continuity of Renaissance and Neoclassicism, and can be further illustrated in Essay on Criticism from the Bakhtinian dialogism. Pope studied the classics assiduously, and intended to achieve a humanist ideal of the Renaissance man; however, he emphasizes the restraint of wit and the limitation of human potential more than he affirms the idea of progress, the unique mark of Enlightenment. He encourages critics to cultivate a panoramic view of culture and society, and to read literature in the context of culture, but he also indicates that a critic can only devote himself to studying one specific ”art” because of the limits of human capability. The multi-voiced speaker in Essay on Criticism, which can be identified as Pope himself, deviates from the ideal Renaissance courtier proposed by Castiglione and does not establish consistent, harmonious poetics. He endeavors to impose a transcendental power, Nature, on poetry and criticism, yet this centripetal force is upset by heterogeneity in Pope's multi-voiced discourse. Valid truth and criticism do not come from the guidance of a transcendental and absolute standard, but from continual dialogue between critics (parts) and culture (whole).

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