那个 帮忙大概的翻译一下，谢谢！！

LONDON, Feb. 21 — The poet Philip Larkin famously declared that the English discovered sex in 1963, but a new show at Tate Britain proposes the far earlier date of 1782, the year curious Londoners flocked to the Royal Academy's summer exhibition to look in amazement, confusion and excitement at Henry Fuseli's painting "The Nightmare."

新华社伦敦2月21日-诗人菲利普?拉金著名宣布，英国在1963年发现的性别，但一个新的展示泰特英国提议远远早日期1782年，这一年好奇涌向伦敦皇家学院夏季展看愣住，混乱和兴奋在亨利Fuseli的绘画“的噩梦。 ”

There, amid the usual worthy portraits and landscapes, Fuseli's oil displayed the prostrate body of a sleeping maiden, with a depraved-looking ogre or incubus sitting on her chest and the head of a blind horse protruding menacingly through red velvet curtains. What could it mean?

It was a decade before a Church of England minister cleared things up by denouncing Fuseli as one of the "libertines of painting." Fuseli naturally objected, insisting he would never play to the "charm-struck crowd." But, yes, "The Nightmare" was about sex: with her head thrown back, her arms hanging limply yet sensually, the young woman was surely dreaming of sex.

因此，在通常的值得肖像和风景， Fuseli石油展示了身体，俯卧睡觉的处女，以堕落前瞻性食人魔或梦魇坐在她的胸部和头部的瞎马突出menacingly通过红色天鹅绒窗帘。什么意思？

这是10年前，英格兰教会部长清除起来谴责Fuseli作为一个“浪子的绘画。 ” Fuseli自然反对，坚持他决不会发挥“的魅力，击中人群。 ”但是，是的， “恶梦”的有关性：与她低着头，她的胳膊挂松弛尚未sensually ，年轻女子做梦的肯定性。

Fuseli also appears to have added his own pun. The "mare" of "nightmare" comes from the German "mara," meaning a tormenting spirit who applies pressure on a sleeper's chest. Thus, it may well have been Fuseli's joke to accompany the "mara" — the imp in the painting — with a "mare" in the form of a horse's head. Ah, the stuff of dreams.

"The Nightmare" soon became a popular image, copied by other artists and reproduced in prints. Indeed, a print of the oil was pinned up in Freud's office in Vienna. And now, the original — on loan from the Detroit Institute of Art — is again drawing crowds as the centerpiece of "Gothic Nightmares: Fuseli, Blake and the Romantic Imagination," which continues at Tate Britain through May 1.

Fuseli似乎也补充说他自己的双关语。在“马”的“噩梦”来自德国的“玛拉” ，意思是谁适用折磨精神压力卧铺的胸部。因此，它很可能是Fuseli的笑话陪同“玛拉” -在进出口中的绘画-以“马”的形式，马的头部。啊，东西的梦想。

“恶梦”很快成为一个受欢迎的形象，同时抄送其他艺术家和转载于打印。实际上，打印的石油寄托在弗洛伊德的办公室在维也纳举行。现在，原始-对贷款底特律艺术学院-再次提请人群为核心的“哥特式的恶梦： Fuseli ，布雷克和浪漫的想象， ”它仍然在泰特英国通过5月1日。

Still, this is not a sex show, even though a veil does isolate some saucy images. (Or is the veil there to make sure no one misses them?) Rather, it is an exploration of the world of fantasy, mysticism, horror and sexual perversity that found expression in art and literature in Britain between 1770 and 1830 and which, fueled by novels, movies and even pop music, later became known as Gothic.

In literature, the iconic work was Mary Shelley's 1818 "Frankenstein." In art, the fad translated into paintings and drawings with strong narratives, muscular Michelangelo-inspired men and naked nymphs, as well as myriad fairies and demons. In one sense, these works were a reaction against the rationalism of the Enlightenment; in another, they represented a search for a uniquely British mythology.

不过，这不是一个性别表明，即使面纱并不孤立一些俏皮的形象。 （或存在的面纱，以确保没有人怀念他们？ ）相反，它是探索世界的幻想，神秘，恐怖和性变态的表现在艺术和文学在英国1770年和1830年之间，并引发通过小说，电影，甚至流行音乐，后来被称为哥特式。

在文学，标志工作是玛丽雪莱的1818年“科学怪人” 。在艺术，时尚化为画和素描强烈说明，肌肉米开朗基罗启发男子和裸若虫，以及无数的仙女和恶魔。从某种意义上说，这些作品是一个反应对理性的启示，在另一个，他们代表了寻求一种独特的英国神话。

The political context was relevant. Britain had just lost its American colony, while the French Revolution was spreading turmoil across Europe. The ferocity — even vulgarity — of the cartoons in this exhibition testifies to the political battles taking place in Britain itself during the oft-unstable reign of George III.

The odd thing is that the man who came to personify the Gothic in English art was Fuseli, a Zurich-born self-taught artist who was in his mid-30's when he moved to London and who never spoke English fluently. Yet, more than any of his contemporaries, he turned to Shakespeare and Milton for material, attracted in both cases by the supernatural elements in their writing.

政治背景有关。英国刚刚失去了美国的殖民地，而法国大革命风暴蔓延欧洲各地。危言耸听-甚至粗俗-这些漫画在此展览证明了政治斗争发生在英国本身在经常不稳定的乔治三世统治时期。

奇怪的是，该名男子谁来到人格化的哥特式英语艺术Fuseli ，苏黎世出生的自学成才的画家是谁在他的中期30日的时候，他搬到伦敦，谁不会说英语流利。然而，超过任何他的同时代人，他把莎士比亚和弥尔顿的材料，吸引了在这两种情况下的超自然因素在其书面答复。

Among the 50 paintings and drawings by Fuseli in this show is "The Weird Sisters," his take on the witches in "Macbeth," itself a much copied — and parodied — image. Many others are more erotic. For instance, his two paintings based on "A Midsummer Night's Dream" — "Titania and Bottom With the Ass's Head" and "Titania Awakening" — portray Titania gloriously naked.

Fuseli certainly liked his dreams, ghosts and spirits. In "Queen Katherine's Dream," taken from Shakespeare's "Henry VIII," the dying and deposed queen is visited by "spirits of peace." His contemporaries were similarly inspired: an engraving by Robert Thew has Hamlet meeting the ghost of his father, and William Blake has Richard III haunted by the ghosts of his victims.

在50幅绘画和绘画Fuseli在这显示是“怪异姐妹” ，他采取的女巫在“麦克白” ，本身就是一个很大复制-和模仿-形象。许多其他国家都更加诱人。举例来说，他的两幅画作以“仲夏夜之梦” - “二氧化钛和底部的驴头”和“二氧化钛觉醒” -把二氧化钛光荣裸体。

Fuseli当然希望他的梦想，鬼神。在“女王凯瑟琳的梦想， ”从莎士比亚的“亨利八世” ，临终和废黜女王访问的“和平的精神。 ”同样他同时代的启发：一个版画罗伯特Thew已经哈姆雷特会议的幽灵他的父亲，威廉布莱克了理查德三世的幽灵困扰他的受害者。

Fuseli also tapped into Milton's "Paradise Lost," with "Satan Starting at the Touch of Ithuriel's Lance" presenting Adam and Eve in happy naked embrace. And as a Swiss, he was close to Germanic folklore and legends. All in all, he was devoted to mumbo-jumbo.

The 18th-century Swiss theologian Johann Casper Lavater wrote of Fuseli: "Specters, demons and madmen's phantoms, exterminating angels; murders and acts of violence — such are his favorite subjects; and yet, I repeat, no one loves with more tenderness."

But was Fuseli also a good painter? In a way, the question is unfair as he was among those artists more concerned with what they say than how they say it. Certainly, his fantastic imagination prompted the Surrealists to revive interest in his work in the 1920's.

Fuseli还利用了弥尔顿的“失乐园” ，其中“撒旦开始，触Ithuriel的Lance ”提出的亚当和夏娃赤裸拥抱幸福。作为瑞士，他已接近德国民间传说和传奇。总之，他是专门牟姆博-珍宝。

18世纪瑞士神学家约翰卡斯帕拉瓦特尔Fuseli写的： “幽灵，魔鬼和疯子的幻影，灭绝天使;谋杀和暴力行为-例如是他最喜欢的科目，可是，我再说一遍，没有人喜欢有更多的温情。 ”

但Fuseli也是一个不错的画家？从某种意义上说，这个问题是不公平的，他在这些艺术家更关心的是他们所说比他们如何说。当然，他梦幻般的想象力，促使Surrealists恢复关心他的工作在1920年的。

Blake, too, was interested in the supernatural. Tate Britain displays 25 of his watercolors, drawings and paintings, including several from his Apocalypse series. Others use biblical subjects, like "God Writing on the Tables of the Covenant." Quite his strangest and certainly most Gothic work is "The Ghost of a Flea," which shows a muscular vampire-like figure and, it was said, resulted from Blake's conversation with a flea.

Perhaps most surprising, though, is how the Gothic still appeals to the British, at least if measured by newspaper art critics here, who have responded with a peculiar mixture of delight and embarrassment.

布莱克，也很感兴趣，超自然。泰特英国显示器25他水彩，素描和油画，其中包括一些从他的启示系列。其他使用圣经的主题，如“上帝写作摆在桌子上的盟约。 ”很奇怪的，当然他最哥特式的工作“的幽灵跳蚤” ，这表明肌肉吸血鬼般的人物，有人说，由于布雷克的交谈跳蚤。

也许最令人吃惊的是，是如何的哥特式仍然呼吁英国，至少如果衡量报纸艺术评论家在这里，谁的反应，以独特的混合喜悦和尴尬。

"By the end of this show," Richard Dorment wrote in The Daily Telegraph, "I had come to feel that Fuseli is a schlock artist, but a great one." In The Independent on Sunday, Suzi Feay wrote of "The Nightmare:" "It's camp, it's tacky, it's silly. It's pure Fuseli." But she then confessed: "Gothic art, like the Gothic novel, is a guilty pleasure: so enjoyable, you feel it can't be doing you any good."

For Rachel Campbell-Johnston, writing in The Times, "this is a thrillingly extravagant, exhilarating show." But it also speaks of a key moment in British history. "As room after room of images unfurl," she wrote, "we watch a nation peering for the first time into the inner recesses of its psyche, exploring its dreams and its memories and desires, probing its fears and its phobias." And it all began one summer's day in 1782.

“到本查看， ”理查德Dorment中写道每日电讯报， “我已经觉得Fuseli是一个schlock艺术家，而是一个伟大的。 ”在独立日，苏丝Feay写的“噩梦： ” “这是营，它的粘性，这是愚蠢的。这是纯Fuseli 。 ”但她随后供认： “哥特式艺术，如哥特式小说，是一个犯高兴：这么愉快的，您觉得它不能做的事你都没有好处。 ”

坎贝尔的雷切尔，约翰斯顿，写在他的时代， “这是一个thrillingly奢华，振奋的表演。 ”但它也谈到了一个关键时刻，在英国的历史。 “房间后，房间的图片展示， ”她写道， “我们看一个国家的对等首次进入内心深处的精神，探索它的梦想和回忆和愿望，探测其担心和恐惧。 ”它始于一个夏天的一天，

1782年。

软件翻译的，凑或者看吧