Thomas De Quincey’s essayOn the Knocking at the Gate in Macbethis one of the best known of his critical works-it appears in most anthologies of criticism and nineteenth-century prose, and is hailed it as “the finest romantic criticism.” “On the knocking at the Gate in Macbeth” was first published in the London Magazine in October, 1823, as an item in De Quincey’s series of “Notes from the Pocket-Book of a Late Opium-Eater.” Although he was then thirty-eight, his paper was one of his earliest critical articles and, since he had been engaged in introducing German authors to the English public, almost his first on English literature. Its two subjects-murder and stagecraft-continued to intrigue him throughout his late-developing critical career, and he even intended to enlarge this essay for his septuagenarian collected edition. He never got around to it, however-quite possibly could not find it in his bathtub file-and it was simply reprinted in the last volume, which came out posthumously in 1860.
这篇文章源于真正的个人经历，具有戏剧性的效果。德·昆西（de Quincey）首先说，在邓肯被谋杀后，他一直在敲门上感到不负责任的效果。感觉到这“反映了凶手，这是一个奇特的可怕和庄严的深度”，他仍然无法解释这一现象：“然而，多年来，我一直努力理解这一点，多年来，我从来没有看到为什么它看到了为什么这是为什么应该产生这种效果。”与感官相比，在暂停了暂停理解的普遍不信任之后，他回到了“我正确地依靠我自己的感觉，反对我的理解”的“新鲜的证据”。麦克白。他在1812年在伦敦举行的谋杀案的一场平行事件中得到了这样的支持，当时著名的威廉姆斯（Williams）松散：
现在，人们会记住，在这些谋杀案（玛尔斯的谋杀案中）中的第一次谋杀案（在灭绝工作完成后不久就敲门）确实发生了同一事件。所有优秀的法官以及最出色的Dilettanti都承认了Shakspere的建议，一旦意识到了（X，391）。
But this “proof” only reinforced his sense of the power of the knocking; it did not explain it. That remained in the final analysis for his despised understanding: “I again set myself to study the problem. At length I solved it to my own satisfaction.” Thereupon he reveals his solution, starting with the point that ordinarily our sympathy is with the victim of a murder; but since this feeling is based on the common desire for life which inspires even the lowest animals, it is not susceptible of poetic treatment. The artist, then, “must throw the interest on the murderer” and
in the murderer, such a murderer as a poet will condescend to, there must be raging some great storm of passion, jealousy, ambition, vengeance, hatred, which will create a hell within him; and into this hell we are to look (X, 392).
在这样的“地狱”中，我们在整个谋杀现场的气氛中看麦克白：
我们要让我们感到人性，即爱与怜悯的神性，在所有生物的心中蔓延，很少完全撤回人类， - 消失了，消失，灭绝，而邪恶的自然已经消失了取代它。而且，由于这种效果是在对话和独谋本身中出色地完成的，因此最终被考虑的权宜之计（X，392）。
This “expedient,” the knocking, is a sort of gate to that “hell”; it stands at the boundary between the two realms of human nature and fiendish nature and emphasizes the differences between them; it marks the brief period of change which comes at the end of a time of stress, the perceptive time of reawakening, of slowly stirring into consciousness after a spell that crucial moment which by its contrast renders vital and significant all that has gone before. By this principle it is the instant that quivering lashes and tiny sighs announce the return to normal of a fainting wife or sister that is the most affecting; it is the moment that the rattling wheels and wakening streets betoken a return to city business after the solemn passage of the funeral procession of a mourned hero, that is most moving. To put it in a formula to fit his pervasive “law of antagonism” is to be expected of De Quincey: “All action in any direction is best expounded, measured, and made apprehensible, by reaction.” The knocking at the gate, then, is a symbol of reaction:
正如我已经说过的，在这里，要表达并变得明智。另一个世界已经走了。凶手被从人类事物，人类目的，人类欲望的地区带走。他们被变身了：麦克白夫人“没有性格”；麦克白忘记了他是女人出生的。两者都符合魔鬼的形象。魔鬼的世界突然被揭示。但是，如何传达并使其显而易见呢？为了使新世界介入，这个世界必须一段时间消失。凶手和谋杀案必须由普通的潮流和继承人类事务的不可估量的鸿沟隔离，被锁定并隔离了一些深处的凹陷。 we must be made sensible that the world of ordinary life is suddenly arrested, laid asleep, tranced, racked into a dread armistice; time must be annihilated, relation to things without abolished; and all must pass self-withdrawn into a deep syncope and suspension of earthly passion. Hence it is that, when the deed is done, when the work of darkness is perfect, then the world of darkness passes away like a pagentry in the clouds: the knocking at the gate is heard, and it makes known audibly that the reaction has commenced; the human has made its reflux upon the fiendish; the pulses of life are beginning to beat again; and the re-establishment of the goings-on of the world in which we live first makes us profoundly sensible of the awful parenthesis that had suspended them (X, 393).
德·昆西（de Quincey）对敲门声的分析是“生命的豆类开始再次击败”，而老虎精神茎则是一个惊人的原始人。它首先揭示了他所有的急性崇拜。它进一步揭示了他戏剧性批评的模式。在这种解释的演变中，需要三个步骤：一种效果的感觉，对这种感觉的意识和本地化以及对其生产涉及的因果原则的分析。最后一步纯粹是智力的，这是提出批评的关键。从根本上讲，这种特殊的批评是心理上的，因为它重点是对观众的影响，并通过比较类似的反应来分析效果。这次在莎士比亚空间中航行。。。正如拉利所说，“情感而不是智力”与测试patella反射类似。 It is, as any criticism worthy of the name must be, based on feeling; but it is in the spirit of scientific analysis.
Although this essay is usually cited as an early study of “comic relief” in Shakespearean tragedy, the problem that De Quincey is addressing is much more complex. How close can art bring the viewer or reader to the actual horror of violent crime? What strategies of “distancing” are necessary if murder is to be considered as a fine art?
In recreating in excruciating detail the events of the Ratcliffe Highway murders, or those in the cellar of a brandy merchant in Cologne, De Quincey’s narrative may seem at odds with those conventions of intellectual deliberation that were later to become indispensable to the literary strategy of Arthur Conan Doyle or Agatha Christie. De Quincey draws from the documentary precision of journalism and the new style of reportage being developed in the newspapers of his day. For this reason, his essays on murder are more properly antecedent to Truman Capote’s In Cold Blood (1966) than to the murder stories of popular fiction. Even Capote’s gory exercise in the “new journalism” of the 1960s used “matter-of-fact” police reports and official accounts of the investigation to buttress the reader against the sheer horror of the slaughter of a family which, in many of its details, closely resembled Williams’s murder of the Marr family. Not surprisingly, De Quincey occasionally achieves a “distancing” from violence with a strategy similar to that which he had studied in the scene with the drunken porter in麦克白。然而，他发展的不是“漫画救济”，它打断了他对谋杀的叙述。相反，这是一种融入了谋杀本身的“绞刑幽默”，例如，他将曼海姆贝克谋杀的谋杀案变成了一场怪异的拳击比赛。德·昆西（De Quincey）还可以通过阐述恐惧的心理来操纵读者的注意。尽管他没有忽略血腥的细节，但他并没有以平时的效率风格徘徊。散文经济稀疏，他将注意力从谋杀的残酷行为转移到潜在受害者的反应中：男孩在谋杀案中装饰睡眠，而凶手在谋杀者偷偷摸摸他的同伴的喉咙时，他将注意力从谋杀的残酷行为转移到了潜在受害者的反应；仆人女孩回到黑暗的家庭中，狂暴的凶手仍然潜伏。
莎士比亚对查尔斯·兰姆，威廉·哈兹利特和塞缪尔·泰勒·科尔里奇的批评都非常关注。德·昆西（De Quincey）的莎士比亚（Shakespeare）是一位诗人，而不是剧作家。羔羊在他的文章“关于莎士比亚的悲剧中，考虑到舞台代表的适应性”（1811年），辩称，莎士比亚的戏剧太丰富且多方面，无法在剧院中充分代表，因此应以孤独的态度阅读。但是，羔羊虽然不关注情节，性格和戏剧性的形式。德·昆西（De Quincey）的莎士比亚（Shakespeare）是一位言语的妻子，他对他对心理学运作的敏锐的言论和口才表示了熟练的命令。德·昆西（De Quincey）称其为“心理批评”的麦克白（Macbeth）的敲门声是对观众反应的主观机制的一种探索。他的百科全书也是一种“心理传记”，其中戏剧中的台词被认为是莎士比亚关于他一生中实际经历的个人启示。这两篇论文，以及关于莎士比亚专门针对莎士比亚的唯一作品《莎士比亚和华兹华斯》上的片段，但它们仅占de Quincey广泛关注莎士比亚作品的一部分。他对莎士比亚的语言和艺术的提及在他的关键散文中散布着。在米尔顿和华兹华斯之后，莎士比亚是德·昆西（De Quincey）最常引用的作者。
从我的男孩时代开始，我一直感到很困惑麦克白：就是这样：成功地谋杀了邓肯的大门，产生了我永远无法解释的效果：效果是 - 它反映在谋杀案上，这是一个奇特的可怕和深度庄严：然而，无论如何，我努力理解这一点，多年来，我永远都无法看到为什么它应该产生这种影响。
In its concern with “effects,” De Quincey’s “psychological criticism” is a mode of “reader response” criticism. The nature of the critical inquiry that he brings to Shakespeare is one grounded in his “boyish days” when literary aporia began to gather in mysterious involutes.
Why the porter’s scene should have the power to contribute “a peculiar awfulness and a depth of solemnity” to Duncan’s murder, De Quincey explains, finally became clear to him when he read the account of the Ratcliffe Highway murders. On that occasion, while Williams was still lurking in the Marr’s house, having already slit the throats of Marr, his wife, the apprentice boy, and even the infant in its cradle, the servant-girl returned from an errand and knocked at the door. With this actual occurrence of the very incident “which the genius of Shakespeare had invented,” De Quincey gains insight into the mystery of the involute:
凶手和谋杀案必须被隔离 - 被人类事务普通潮的无法衡量的鸿沟切断 - 被锁定并隔离了一些深处的凹陷：我们必须明智地认为，普通生活的世界被突然被捕 - 搁置 -入睡 - 陷入困境 - 陷入可怕的停战中：必须消灭时间；与事物的关系没有废除；所有人都必须将自我掌握的人带入深层的晕厥和暂停地球激情。因此，当契据完成时 - 当黑暗的工作是完美的时，黑暗的世界就像云中的盛宴一样流逝：听到了大门的敲门声。而且它听到反应已经开始了：人类已经在恶魔般的狂暴中反省：生命的脉搏开始再次击败：我们生活的世界上的重新建立了，首先使我们对暂停它们的可怕括号非常明智。
His literary criticism, De Quincey repeatedly insists, is built upon a foundation of psychology. He approaches Shakespeare as a playwright whose power derived from penetrating psychological insight into character. De Quincey, as we have seen, describes the method of “On the Knocking at the Gate in Macbeth” as “psychological criticism,” and he introduces his article on Shakespeare for the Encyclopaedia Britannica as a “psychological biography.”
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