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罗切斯特大学-卡美洛计划
Background Essay Author: Leila K. Norako
背景文章作者：Leila K. Norako
译者：亚米加 一校：列兵 二校：T菌
The Isle of Avalon, most famous as thefinal resting place of Arthur in many stories and legends, has neither a fixedlocation nor a fixed description throughout the literary canon of Arthuriana.Geoffrey of Monmouth’s Historia Regum Britanniae (c. 1136) is theoldest extant work including references to Avalon. He calls it InsulaAvallonis, refers to the island's alleged healing powers, and claims thatArthur’s sword was forged there. Geoffrey also refersto Avalon in his Vita Merlini as the “Isle of Apples” (Insula Pomorum), an epithetrooted in Celtic, Greek, and Scandinavian mythological traditions in whichapples frequently possess magical properties. In both the Historia and Vita,Arthur is transported to Avalon after being mortally wounded, in hopes that hewill be healed on the isle (in the Vita Merlini by none other than Morgan leFay, who is benevolent in earlier Arthurian legends). Support for the theory ofAvalon’s Celtic origins stems in part from thefolkloric tradition surrounding the Isle of Arran, located in the Firth ofClyde. It has been frequently likened to the island of Emhain Abhlach (“Emhain of the Apple Trees”), a placeassociated with the Irish sea god Manannan. As Mike Dixon Kennedy suggestsin Arthurian Myth and Legend, Geoffrey was likely inspired by theextant Celtic tradition of such a place. It should be pointed out, however,that no conclusive evidence can be found that directly traces the influence ofCeltic mythology and legend to the genesis of Avalon and its literarytradition; while speculations abound and are, in many cases, well defended andresearched, they cannot be proven. Regardless, Avalon is consistentlyrepresented as a mysterious and otherworldly place, even after being associatedwith Glastonbury in the twelfth century (a connection inspired by the “discovery” of Arthur’s remains there).
阿瓦隆岛因在许多故事与传说中作为亚瑟王最后的长眠之地而举世闻名，贯穿于整个亚瑟王经典文学中却并无确切的位置或固定的描述。蒙茅斯的杰弗里的《不列颠诸王史》（C.1136）是现存最早提及阿瓦隆的著作。他称其为“苹果岛”（InsulaAvallonis），指出这座岛屿所谓的治愈之力，并声称亚瑟王的佩剑铸造于此。杰弗里也在他的《梅林传》中将阿瓦隆称为“果实之岛”（Insula Pomorum），这是一种源于凯尔特人、希腊和斯堪的纳维亚神话的传统，苹果时常拥有神奇的魔力。在《不列颠诸王史》与《梅林传》中，亚瑟王在受致命伤后被人送至阿瓦隆，以期他在岛上得到医治（在《梅林传》中，此人正是早期亚瑟王传说里仁慈的摩根勒菲）。可供支持阿瓦隆的凯尔特起源说源于爱尔兰岛克莱德湾的民间传说。在这些传说中，阿瓦隆时常被喻为果之平原（“苹果树的平原”），此地与爱尔兰海神马南南颇有些渊源。正如麦克·迪克森·肯尼迪在《亚瑟王神话与传说》中所提示的，杰弗里很可能受到这一地区现存的凯尔特传说的启发。需要注意的是，并无确凿证据证明凯尔特神话和传说对阿瓦隆起源及其文学传说的影响；尽管众说纷纭，并且多数情况下这些说法都经过充分推敲，但仍无法证实。无论如何，即使十二世纪阿瓦隆与格拉斯顿伯里被联系起来，但阿瓦隆始终被描绘为一个遗世独立的世外桃源（这一关联的提出正是因亚瑟王遗体的“发现”）。

The rulers of Avalon differ according tothe text in question. Morgan le Fay is, by far, most frequently identified asthe ruler of the isle. In addition to appearing in Geoffrey’s Vita (butnot, interestingly, in the Historia), she appears in Chrétien de Troye’s romances Eric andEnide and Yvain. In both, she is a healer and mistressof Avalon, though in Eric and Enide, the actual ruler of Avalonis said to be Guinguemar, and Morgan is simply referred to as his lover andlater as a powerful healer. In this tale, Morgan calls the Perilous Vale – The Valley of No Return – her home, alocation which might be a reference to Avalon. William of Malmesbury, however,states that Avalloch rules Avalon with his daughters, and Morgan is notmentioned at all by him. While rulership of the Isle is given little emphasisin later texts, Morgan is often tied to the place in some way, most typicallyby being one of those who brings Arthur to Avalon for healing after the battleof Camlann.
根据作品的不同，阿瓦隆的统治者也无定论。至目前为止，最常被称为岛之主的是摩根勒菲。除在杰弗里的《梅林传》中有过亮相（有趣的是《不列颠诸王史》却并非如此），摩根也在克雷蒂安的浪漫传奇《埃里克与伊妮德》及《狮子骑士伊凡》中有过登场。尽管在《埃里克与伊妮德》中，阿瓦隆的实际统治者据称是格林戈玛，摩根只是被简略地介绍为他的爱人，之后便以一位妙手回春的医者出场，但在这两个故事中，她既为医者亦为岛主。
【亚米加：啊好想吐槽，感觉摩根的情人或丈夫列出来也是个不得了的长名单，怪不得阿格说摩根是...的女人（手动滑稽】
在《埃里克与伊妮德》中，摩根以危谷——不归之谷为家，此地很可能与阿瓦隆有关。马姆斯伯里的威廉则称阿瓦隆奇与其女儿们共治阿瓦隆，并未提及摩根。之后的传说则鲜少强调阿瓦隆的统治者，而摩根也以某种方式与阿瓦隆相互关联，其中最为典型的，便是摩根是卡姆栏之役后将亚瑟王送至阿瓦隆疗伤的人之一。
【亚米加：所以你一开始为什么要搅屎一心***妹妹×】

《King Arthur in Avalon》 by: Dante Gabriel Rossetti

The Isle Avalon is, in fact, frequentlypresented (in medieval and modern texts alike) as a place of healing,particularly as the place where Arthur is taken after his mortal wounding.Initially, Avalon’s role seems to be one of preservation —though his wound is mortal, he will live as long as he remains on the Isle; insome cases his stay in Avalon must be permanent, while in other cases he needonly remain in Avalon until his wounds are healed. In the Vita, for instance,Morgan tells Arthur upon his arrival that he will need to stay for a long timefor his wounds to be properly healed. In later medieval Arthurian works,writers imply that Avalon is his permanent resting place, perhaps his place ofdeath and burial. Thomas Malory in his Morte D'Arthur leavesroom for either possibility in his description of Arthur’s departure:
阿瓦隆事实上（在中世纪与现代文学作品中）时常被描述为治愈之地，特别是被称为亚瑟王受致命伤后被带往之所。最初的阿瓦隆似乎仅作为一个保护的区域存在——伤势尽管致命，留于岛上则能回天；在某些情况下，亚瑟王必须永远留在阿瓦隆，而其他的情况下，亚瑟王只需待到伤口愈合便可离去。例如在《梅林传》中，亚瑟王到达阿瓦隆后，摩根便告知他，在他完全康复之前，他将会在阿瓦隆待上很长一段时间。在后世的中世纪亚瑟王作品中，作者们均暗示阿瓦隆乃是亚瑟王的长眠之地，甚至是他的魂归之所。
托马斯·马洛礼在他的《亚瑟王之死》中，对亚瑟王离开阿瓦隆的描述留下了余地：

“Now put me into thatbarge,” seyde the kynge.
And so he ded sofftely, and there[re]sceyved hym three ladyes
with grete mournyng. And so they sette he[m d]owne, and in one
of their lappis kyng Arthure layde hys hede. And than the quene seyde,
“A, my derebrothir! Why [ha]ve ye taryed so longe frome me?
Alas, thys wounde on youre hede hath caught overmuch coulde!"
And anone they rowed fromward thelonde, and sir Bedyvere
behylde all tho ladyes go frowarde hym. Than sir Bedwere cryed
and seyde,
“A, my lordeArthur, what shall becom of me, now ye go frome
me and leve me here alone amonge myne enemyes?”
“Comfortethyselff,” seyde the kynge, “anddo as well as thou
mayste, for in me ys no truste for to truste in. For I must into the
vale of Avylyon to hele me of my grevous wounde. And if thou
here nevermore of me, pray for my soule!”
But ever the quene and ladyes wepteand shryked, that hit was
pité to hyre. And as sone as sir Bedwere had loste the
syght of the barge he wepte and wayled, and so toke the foreste
and wente all that nyght. (Malory, ed. Vinaver, p. 716)
王曰：“今可置我于舟上矣。”
众女奉王入舟，三贵女迎之，状极哀恸；诸女坐定，王伏其首，枕一贵女股上。
其女呼曰：“吾弟何别我驻足久兮？君之首伤受风过乎。”
言毕，众则运桨行舟。贝卿见众别去，朗声呼道：“王上等去国，徒留臣形单只影，有敌甚众，奈何奈何？”
王曰：“卿尽自克难，况勉己身，何益待吾甚哉；吾欲之阿瓦隆谷以愈，倘君后失我闻，祝灵可之。”
众贵女及妇因之号啕，惨不忍闻。及至贝卿目失舟影，且泣且走，入林，奔走一宵。
【附：黄素封先生译版：
国王说道：“请把我放到船上吧。”
她们轻轻地抬他上船；有三位王后出来迎接，状极哀恸；各位王后坐定以后，亚瑟王便放下头颅，枕在一位王后的大腿上。
她开口招呼道：“亲爱的弟弟，您为什么离开我停留这么久呢？哎，您头上的伤口受的风寒太久了。”
说过这话，大家摇桨开船；贝狄威尔看见所有美女都离他走了。他放声喊道：
“亚瑟王呀，你们都走开了，留下我孤单单的一个跟着敌人，怎么办呢？”
国王说道：“你可以尽量克服困难，多多安慰自己；专门依赖我，有什么用呢；我打算到阿瓦隆的山谷里去医伤；若是你今后听不到我的消息，就请你为我的灵魂祈祷吧。”
随后各王后和贵妇们就号咷痛哭，惨不忍闻。及至贝狄威尔骑士的视线失去了船的踪影，他一面痛哭，一面跑向林里，跑了一宵。】
【亚米加：爆哭的小贝】
【特别说明：此部分因为原文是古英语，所以采用了文言译法。但为了大家观看方便，特地附上黄素封先生的译本，供大家对比食用】

As mentioned earlier, a tradition ofArthur’sdeath and burial at Avalon surfaced well before Malory, in no small part due tothe alleged discovery of Arthur and Gwenevere’s remainsat Glastonbury Abbey in the twelfth century. This area of England is stillassociated with the mythic isle; the flooding of the countryside during thesummer used to create islands out of many of the higher hills. Roger ofCoggeshall in his Chronicon Anglicanum (c. 1220) simplystates that Arthur's body was found at Glastonbury which was formerly known asAvalon, the Isle of Apples. Gerald of Wales, writing in the late 12th century,argued against fantastic speculations about Arthur's remains in both his Liberde Principis Instructione (c. 1196) and his SpeculumEcclesiae (c. 1216). He asserts in the former that though "legends had fabricated something fantastical about his demise (that he had notsuffered death, and was conveyed, as if by a spirit, to a distant place), hisbody was discovered at Glastonbury" (Liber, Sutton). In the latter, hespeaks even more forcibly against the legends of Arthur's journey to Avalon,stating that "tales are regularly reported and fabricated about KingArthur and his uncertain end, with the British peoples even now contendingfoolishly that he is still alive" (Speculum, Sutton).
如前所述，亚瑟王魂归阿瓦隆这一传说在马洛礼之前便已存在，原因很大程度上与十二世纪在格拉斯顿伯里大教堂发现了亚瑟王与桂妮薇尔的遗骨有关。英格兰的这个地区至今仍与神秘岛紧密相关，夏季乡村洪水暴涨，没过群山，形成诸岛。科格索尔的罗杰（拉尔夫）在他的《英文记事》中简单提及，亚瑟王的遗体在格拉斯顿伯里被发现，而格拉斯顿伯里原名阿瓦隆，即苹果岛。十二纪末期，威尔士的杰拉德在《君主教育之书》（C.1196）及《论君主的教育》（C.1216）中驳斥了关于亚瑟王遗骸的荒谬猜想。他在前者中断言：“传说曾编造过一些关于他死亡的荒诞故事（那些他并未死亡，仿佛神灵一般被转移到了遥远之地的故事），而实质上，他的尸体已经在格拉斯顿伯里被发现了”（《君主教育之书》，萨顿）。而在后者中，他甚至更为激烈地驳斥了亚瑟王的阿瓦隆之旅的传说，指出“由于传说频繁地传述和编造亚瑟王及其不确定的结局，即使到了现在，不列颠人民竟也愚蠢地相信亚瑟王还活着”。
【亚米加：讲的好像你不是不列颠人一样】

Despite Gerald's efforts to disavow themythologizing of Avalon, the tradition of the Isle as the final resting placeof Arthur and as a place of otherworldly mystery extends into the Arthurian"renaissance" of the 19th century, where many references to Avaloncontinue to be found. Many poems were written about Avalon during this time,several of which evoke the isle as an idyllic, healing place of eternal beauty.American poet Madison Julius Cawein, for instance, wrote a series of poems("Unanointed" [1901], "Uncalled" [1902] and "Avalon"[1909]) in which the isle is consistently described in such terms. In"Uncalled," the poet imagines that he can see the beautiful Avalonbut knows that it cannot be reached in this life. Other nineteenth-centurypoems that center on Avalon refer to it as the final resting place of Arthur.William Morris's "Near Avalon" is one such work, as is J. ArthurBlaikie's poem "Arthur in Avalon." Morris's imagistic poemdescribes the barge that carries Arthur to Avalon, and maintains, for all ofits detail, a sense of the unknowable; the many details have an air ofsignificance, but the reader is not necessarily aware of what they mean.Blaikie's poem was inspired by James T. Archer's painting, "La Mortd'Arthur"; it depicts the dying Arthur and the vigil kept by the fourQueens who bore him on the barge to Avalon. Another poem of this period thatevokes Avalon as Arthur's place of repose is Sally Bridges "Avilion" (1864), a dream-vision that includesa richly detailed account of the poet's metaphysical journey to the isle.
尽管杰拉德极力驳斥阿瓦隆的神话传说，但阿瓦隆岛作为亚瑟王长眠之地，作为遗世独立的世外桃源的传说却一直延续到十九世纪亚瑟王文学的“复兴”，无数这一时期有关阿瓦隆的文献被持续发现。这段时期诞生了无数有关于阿瓦隆的诗歌，其中一些将阿瓦隆描绘为一个田园般、具有永恒之美的疗愈之地。如美国诗人麦迪逊·朱利叶斯·卡维恩笔下一系列的诗歌（《不择》[1901]、《无应》[1902]与《阿瓦隆》[1909]）便都为阿瓦隆描绘了这样的图景。在《无应》中，诗人幻想他可目睹阿瓦隆的美景，却心知此生不可及。十九世纪其他以阿瓦隆为中心的诗歌也提及那是亚瑟王最后的长眠之地。威廉姆·莫里斯的《靠近阿瓦隆》便是这样一部作品，J·亚瑟·布莱基的诗歌《亚瑟王于阿瓦隆》也是如此。莫里斯的意象派诗歌描述了载着亚瑟王前往阿瓦隆的驳船，所有细节都隐喻于朦胧的感触间；当中诸多细节深具余味，读者却未必清晰知晓它们的含义。布莱基的诗歌深受詹姆斯·T·亚彻尔的画作《亚瑟王之死》的启发，画作描绘了在前往阿瓦隆的驳船上濒死的亚瑟王与注视并守护着他的四位女王。莎莉·布里奇斯的《阿瓦隆》（1864）是这一时期另一首描述阿瓦隆乃亚瑟王安眠之地的诗作，此诗以梦幻般的景致写尽了诗在阿瓦隆岛上的神秘之旅。

《La Mortd'Arthur》by：James T. Archer

This interest in Avalon continued intothe twentieth and twenty-first centuries due, undoubtedly, to the continuedinterest in the legends of Arthur in general. The idea of Avalon so popular inthe 19th century has extended into these more recent literary traditions,though (as is the case with nearly all aspects of the Arthurian legend) authorscontinue to reinterpret and reinvent its popular modes of representation.Authors from Margaret Atwood ("Avalon Revisited" [1955]) to SalmonRushdie ("Crusoe" [1990]) have evoked the idyllic landscape ofAvalon, as have various singer/songwriters; both Cindy Lauper ("Sisters ofAvalon" from the eponymous 1997 album) and Van Morrison ("Avalon ofthe Heart" from the 1990 album Enlightenment) have writtensongs about Avalon, both of which play on modern interpolations of the Avalonlegend; Lauper's evokes some of the later twentieth-century representations ofthe Isle as a place of feminine strength, while Morrison's is thematicallysimilar to the nineteenth-century poets such as Cawein, viewing Avalon as aninternal spiritual goal.
这股阿瓦隆热潮持续到二十纪与二十一世纪，毫无疑问，这是亚瑟王传说热忱的延续。
于十九世纪兴起的阿瓦隆流行已经渗入更多的文学传说之中，尽管（几乎所有的亚瑟王文学都是如此），作家们仍不遗余力地诠释和重构其流行模式与表现形式。从玛格丽特·阿特伍德（《重返阿瓦隆》[1955]）到萨曼·拉什迪（《克鲁索》[1990]），作者们，正如为数众多的歌者/词作者一样，都在呼唤着阿瓦隆的田园风光；包括辛蒂·劳帕（来自1997年同名专辑《阿瓦隆姐妹花》）以及范·莫里森（来自1990年专辑《启蒙》的《心中的阿瓦隆》）都为阿瓦隆撰写了歌曲，这两首歌都是阿瓦隆传说的现代演绎；劳珀二十世纪末期关于这座岛屿的一些作品将它作为了体现女性理想的地方，而莫里森的作品则和十九世纪的诗人卡文类似，都是在作品中将阿瓦隆视作其内在精神追求的寄托。

Avalon has also been adopted and adaptedby neo-pagan communities, some of which are more or less directly influenced byBradley's work. "Officers of Avalon," is an online support group forneo-pagans in emergency services (website: http冒号//www点officersofavalon点com).The Avalon Witchcamp and The Avalon East Pagan Gathering (in the UK and NovaScotia respectively) are gatherings devoted to the communal celebrations ofneo-pagans. The Avalonian Tradition is an entire branch of neo-paganism in andof itself. Jhenah Telyndru is the founder and "Morgen" of TheSisterhood of Avalon and Academic Dean of the Avalonian Theological Seminary,and has written several treatises on the tradition. On the Sisterhood of Avalonwebsite (http冒号//www点sisterhoodofavalon点org), Telyndru denies any directinfluence of Bradley's The Mists of Avalon, though there arenumerous similarities between their respective works. Telyndru asserts, in thewebsite's section entitled "The Avalonian Tradition," that
阿瓦隆的传说也为新异教组织所采用和改编，其中一些或多或少受到布拉德利作品的直接影响。“阿瓦隆官方”就是一个在线为新异教组织提供紧急服务的团队。阿瓦隆巫师营和阿瓦隆东异教徒聚会（分别在英国和新斯科舍）是为新异教公共庆祝活动举办的聚会。阿瓦隆传统是新异教的一个分支。杰纳·特林都是阿瓦隆姐妹会的创始人与“摩根”，还是阿瓦隆神学院的教务长，并创作了好几部关于阿瓦隆传说的专著。在阿瓦隆姐妹会的官网上，尽管两者的作品有许多相似之处，特林都也否认了布拉德利的《阿瓦隆的迷雾》对其作品产生直接影响。特林都在网站中题为《论阿瓦隆学》的文章中声称：

The power of Avalon, and indeed, theentire Arthurian legend, is not a fancy of days gone by. We need only lookaround us to find ample proof of its relevancy. Tales of Arthur, Morgan Le Fayand Merlin fill today's bookshelves. Psychologists, fantasy writers, Celtic scholarsand personal growth proponents have all gained insight from this mythic cycle.There are many Wiccan and Pagan groups which draw heavily from the realm ofArthur and find a path of spiritual growth symbolized in the Quest for theGrail and the Code of Chivalry.
阿瓦隆的影响，乃至亚瑟王传说，确实并非过往的幻想。我们只需环顾四周，便能找到其相关性的充足证据。如今汗牛充栋的亚瑟王、摩根勒菲与梅林的传说与著作。心理学家、奇幻小说家、凯尔特学者与自发的追随者们都从这个神话传说系列之中获得了真知灼见。大量的巫术迷恋者与异教组织从亚瑟王的领域之中汲取丰富的养分，并找到了一条象征着圣杯追求与骑士精神的精神成长之路。

This organization is only one of manyAvalonian groups, several of which apparently draw their authority from theirlocation in Glastonbury a place that has become a virtual neo-pagan communityin and of itself.
这个组织只是众多阿瓦隆学组织中的一个，其中一些已经在格拉斯顿伯里地区成为领域权威，并已经使得格拉斯顿伯里本身成为了实质上的异教组织团体。

The name "Avalon" also appearsfrequently in popular culture, sometimes clearly evoking the Arthuriantradition directly, while at other times being used only as a name that evokesthe mysterious. These references range from cars (Toyota's Avalon models,http冒号//www点toyota点com/Avalon/), to nightclubs(http冒号//www点avalonsacramento点com/html-home点html), to nudist colonies (Avalon,of West Virginia, featuring as its logo a nude figure curled up like an apple).Some play more substantially with the literary tradition of Avalon than others,but most of these appropriations seem to be more casual (though intriguing)evocations than anything else.
阿瓦隆之名也常常出现在流行文化之中，有时直接同亚瑟王传说相关，而另一些时候只是单纯用作指代神秘的名字。这些用法广泛，从汽车（丰田的阿瓦隆型号），到夜总会，再到裸体主义者的聚居区(西弗吉尼亚的阿瓦隆，以像苹果一样卷起来的裸体人像为标志)。一些用法更多地遵从了阿瓦隆的传统含义，但大部分的用法都比其他形式发挥得更随意（尽管很有趣）。

Avalon, as this brief chronologicalsurvey demonstrates, has been treated to a rich (if at times strange) andmultifaceted development over the centuries. From the early portrayals as amysterious place of supernatural qualities, to the wide-reaching array ofmodern permutations and adaptations, Avalon remains an ephemeral and mythiclocation that continues to inspire creative reinvention.
正如这个简短的概要中所展示的内容一般，阿瓦隆在过去的几个世纪，一直朝着丰富多彩（时而奇怪）的方向扩展。从早期的神秘、超自然式描述，到广泛的现代改编，阿瓦隆仍旧以朝露般的神秘之地激发着持续不断的再创作。