So, as you'll recall from our previous episode, a declining European population due to disease and war in the 14th century meant that labor had become much more valuable, which shifted long-held beliefs about how society should be organized.

你大概還記得我們上一集提到， 14 世紀的疾病與戰爭造成歐洲人口減少，意味著勞動變得更加值錢，也改變了長久以來社會組成的方式。

Amid all this upheaval, and to some extent because of it, the Florentine author Francesco Petrarca, aka Petrarch, was unleashing his critique of 14th century life.

在這場劇變中，部分也因為這場劇變，佛羅倫薩人佩脫拉克對 14 世紀的生活有以下評論。

"Living," he lamented, "I despise what melancholy fate has brought us wretches in these evil years."

「生存，」他嘆道。「我鄙視厄運在這些悲慘年歲中，給我們苦人所帶來的一切。」

Oh, Petrarch, are you sure you weren't writing about now?

噢，佩脫拉克，你確定你寫的不是現代嗎？

It's almost like people always feel like they live in the worst possible time.

人們好像總感覺自己活在最糟糕的年代裡。

At any rate, unhappy with the state of things in Europe, Petrarch turned to Plato, Cicero, and other ancient writers, whom he thought of as residents of the Old Age.

總之呢，由於對歐洲情勢不滿，佩脫拉克轉而投向柏拉圖、西塞祿及其他古老作家，這些他視為屬於舊時代的人們。

In fact, Petrarch gave the era in which he lived its name--calling them the "middle ages" just as his writing and research helped usher in a New Age that we now call the Renaissance.

事實上，佩脫拉克給他所處的年代起名作「中世紀」，正好他的著作與研究幫助進入一個稱為「文藝復興」的新時代。

According to Renaissance author Leonardo Bruni in the early fifteenth century, "Francesco Petrarch was the first with a talent sufficient to recognize and call back to light the ancient elegance of the lost and extinguished style."

根據十五世紀初的文藝復興作者李奧納多．布鲁尼，「佩脫拉克是是第一位才智足以將久遠失傳的遠古典雅挖掘、並使之重見天日的人。」

The Renaissance, meaning revival or renewal, harkened back to what was seen as the bright light of classical antiquity, which had then been obscured in the dark and ignorant Middle Ages.

文藝復興 —— 意指重生、革新 —— 將古代經典的風華再現於人們眼前，否則它早已在中世紀時被遺忘在黑暗之中。

But in some ways, the Middle Ages existed simultaneously with the Renaissance.

但某方面而言，中世紀和文藝復興同時並存。

Like just as scholars were reviving translations of Plato and integrating knowledge from the Islamic world, the bubonic plague went on killing people; and in Petrarch's hometown, ordinary people like the Ciompi were vigorously protesting living conditions.

比如就在學者努力翻譯柏拉圖的作品，並且吸收伊斯蘭世界的知識時，鼠疫還在殘害人們；而在佩脫拉克的家鄉，如強比 (the Ciompi) 的一般人還在激烈抗議生活環境。

Which brings us to an old question here at Crash Course: Was the Renaissance really a thing? Was it in fact just a continuation of the medieval world?

這帶回到我們速成教室的一個老問題：真有文藝復興這回事嗎？或是它其實只是中世紀的延續？

Or was it the dramatic change that Renaissance thinkers believed it to be?

或者正如文藝復興思想家相信的，它是一場劇變？

The writers and thinkers of the Renaissance scoured monasteries for ancient works, initially written or at least influenced by Roman writers.

文藝復興的作家和思想家們仔細搜查修道院、尋找古老著作，這些作品起先就是由羅馬作家所著，或至少受他們影響。

It was from this manuscript-hunting--especially for works by Cicero, and Tacitus, and Quintilian--that Renaissance scholars began to focus on so-called humanism.

正是藉由這種搜索手稿的行動 —— 尤其尋找西塞祿、泰西塔斯和昆提連的作品 ，文藝復興學者開始聚焦在所謂的人文主義。

That is to say, they became more interested in worldly and human concerns.

換句話說，他們開始對世俗及人類事務感興趣。

And because the Renaissance really was a revival, this new thought was based on learning about old or ancient ways, especially in the study of the "humanities."

文藝復興說來算是一場復興運動，這類的新思想有賴於學習古老風俗，尤其是人文學科的研究。

The three liberal arts of grammar, rhetoric, and logic, led to the so-called sciences of theology, philosophy, laws, and medicine.

三大人文教育 —— 文法、修辭和邏輯，造就了神學、哲學、法學和醫學等所謂的科學。

The study of the humanities as developed by the ancients focused not on the heavens or saints but on human speech or rhetoric, human logic, and the correct use of language.

古人發展出的人文教育並不聚焦於天堂或聖人，而是在講話口才、修辭、邏輯思考，以及語言的正確使用。

And by language, of course, they mostly meant Latin--being able to write in Latin and even perform Latin orations was seen as key to a fully educated life, as every high school Latin teacher will be happy to tell you.

這裡指的語言當然就是拉丁文，能夠書寫拉丁文、甚至用拉丁文演說被視為是完善教育的關鍵，高中的拉丁老師會樂於告訴你這點。

Competence in these fields was seen as crucial to developing the self and a prerequisite for joining Florentine or Venetian elites.

擁有這些領域的知識被視為是發展自我的關鍵，同時也是躋身佛羅倫斯或威尼斯菁英之列的必要條件。

Like, Venetian youth Lauro Quirini, for example, studied the humanities at the University of Padua and then was sent to work in a Venetian enterprise on Crete, fully prepared for his new job as a commodities trader, although he also worked as a translator and a writer.

舉例來說，威尼斯青年勞羅．奎里尼於帕多瓦大學修讀人文學科，然後被派至威尼斯人位於克里特島的企業工作，已萬全準備好要當一個商人，雖然他主要擔任翻譯和作家。

You might say he was a real Renaissance Man. I'm sorry.

你可以說他是一個文藝復興真男人。開玩笑啦。

The Italian city-states were the heartland of the early Renaissance. In these prosperous cities, artists, composers, writers, and scholars thrived alongside the commerce that paid for everything.

義大利城邦是文藝復興早期的重鎮。在這些繁榮的城市裡，藝術家、作曲家、作家和學者與其他商業活動並駕齊驅。

Urban merchants and manufacturers built a brisk business that brought in products and ideas from around Afroeurasia.

城市商人與製造商建立了熱絡的商業網絡，帶進了歐亞非大陸的商品與思想。

And some families achieved immense wealth, which allowed them to support the world of Renaissance thinkers and artists in a system called patronage.

有些家族獲得了大筆財富，讓他們得以透過贊助支持文藝復興的思想家與藝術家們。

I would like a phenomenally wealthy patron like Lorenzo Medici.

我也想要一個和羅倫佐．麥第奇一樣富有的贊助人。

If any of you are out there, I am available.

如果說的就是螢幕前的你，我還缺贊助人哦！

And I would like all your ducats. You can visit patreon.com/crashcourse.

我會很樂意接受你們的銀兩。你可以去看看 patreon.com/crashcourse。

But at any rate, banking institutions also sprang up, and bankers funded civic events and the construction of lavish cathedrals.

銀行機構也跟著竄身，並且投資市民活動或是奢華教堂的建造。

Bankers also backed or personally paid for the building of masterworks in the classical style--that is, in the style of the restrained, stately design of the pre-Christian Roman Empire.

銀行家也支持或是自行掏錢建設古典風格大師建築 —— 在這個規條下，指的就是基督羅馬帝國前的莊嚴設計風。

Did the Globe open? Is there a neoclassical piggy bank in the center of the world? There is!

地球開啟了嗎？世界的中心是不是有個新古典風格的小豬撲滿？有耶！

You know all those white statues of the renaissance that take their whiteness from the white statues of the ancient Greeks and Romans?

你知道那些想法取自古希臘與古羅馬的文藝復興白色雕像嗎？

Yeah, they were not white! They were painted.

其實他們不該是白的！是有上色的。

Like, here are some of our best guesses of what actual classical statues looked like, and as you can see, not very much like neoclassical white piggy banks.

比如以下是我們的一些猜測，認為經典雕像其實應該長這般，就如所見，不怎麼像新古典風格的白色小豬撲滿。

Nonetheless, the idea of unpainted marble, or porcelain, or whatever has proven so powerful that even though we now know that ancient statues were painted, we still don't paint our neoclassical ones.

然而，未上色的大理石或瓷器等等看起來是如此強烈，幾百年我們知道了古代雕像是有上色的，我們還是不會為新古典主義的雕像上色。

Bankers also financed artists needing funds to complete their works, including Botticelli and Michelangelo.

銀行家也會贊助需要資金完成作品的藝術家，包括波提切利和米開朗基羅。

And city governments themselves were also important patrons of the Renaissance, while individual leaders often spent as much as six percent of their personal income on the arts.

市政府本身也是文藝復興時重要的贊助人，長官也會以私人名義將個人收入的 6% 捐給藝術創作。

Why? Well, largely for the same reason rich people fund art and buildings today--for status, for recognition, and maybe even for the love of beauty.

為什麼？基本上和現代有錢人贊助藝術和建築物的理由一樣，為了地位、為了知名度，甚至為了對美的熱愛。

But also, funding public art and cathedrals and the like served to legitimize the wealth of these families.

還有就是，投資公共藝術和教堂之類的，有助於合法化這些家族的財富。

The Church could not very well condemn merchant wealth if it was used to build churches, nor could the governments that came to depend on it.

教堂沒什麼理由譴責商人的財富，若是這些財富被用於建造教堂，有賴於此的政府也沒有理由。

We see this again and again throughout history--wealth supports institutions that in turn legitimize that wealth.

我們在歷史上一再看到這種情況，財富支持那些事後合理化財富的機構。

Regardless, in these artworks, you can see the paradoxes of the Renaissance-- paganism is combined with Christianity, as it often had been throughout Christian history.

無論如何，在這些藝術中能看見文藝復興時的矛盾 —— 異教信仰與基督教結合，縱觀基督教歷史中往往如此。

Profit-oriented bankers financed the Church, which was run by priests who'd taken a vow of poverty, and founded by a figure who in the gospels overturns the tables of moneylenders in the temple.

利益導向的銀行家給予教堂資金，後者的運作有賴於誓言清貧的牧師，而它在聖經中同時也是在廟裡推翻放債人的角色。

Also, In these city-states, access to a more humanistic educational approach helped boost economic growth and fueled the creation of much art and architecture that is still really influential.

再者，在這些城邦中，更加偏重人文主義的教育方針也幫助促進經濟成長，並且激發一些影響至今的藝術和建築創作。

Now, many city states participated in this humanist revival, but its headquarters was undoubtedly Florence.

許多城邦都在彼此較勁人文發展，不過其中的領頭羊毋庸置疑是佛羅倫斯。

Let's go to the Thought Bubble.

有請思考泡泡。

Artists of the time were following ancient styles and taking them further.

那時代的藝術家遵循古老風格並更進一步發展。

Visual artists, like Sandro Botticelli and Michelangelo, focused on human dignity and realistic details.

視覺藝術家，如波提切利和米開朗基羅，著重於人類自尊與寫實細節。

Botticelli's portraits of Florentine citizens display the distinct features of his subjects, while his depictions of religious individuals show, for example, a plump infant Jesus realistically reaching for his mother's garments.

波提切利筆下的佛羅倫斯公民展現出了他的個人特色，而他對於宗教人物的個人描繪上，舉例來說，寫實地展示一個肥嘟嘟的耶穌嬰兒伸手抓媽媽的衣服。

Botticelli's portrait of the long-dead Dante similarly displayed his long, thin, and pointed nose rather than some idealized, formulaic hero.

波提切利同樣真實地描繪古人但丁瘦長的尖鼻子，而非那些美化過的理想模樣。

And Michelangelo's "David" presents truly human characteristics even as it sought to copy ancient sculptural styles.

而米開朗基羅的雕塑真實地展示出人體特徵，即便其意圖仿效古代雕塑風格。

Across the spectrum of Renaissance art, anatomical accuracy flourished, which you can see in Michelangelo's sculptures and also in the work of fellow Florentine Leonardo da Vinci.

縱橫文藝復興藝術光譜，生理解剖蓬勃發展，從米開朗基羅的雕塑到同樣身為佛羅倫斯人的藝術家達文西的作品上節能看出這點。

Both artists, incidentally, were able to render the human form in part because they both dissected cadavers.

兩位藝術家都同樣能描繪出人體，部分是因為他們都解剖過大體。

And nature, as a setting for humans and thus humanism, was also glorified in Renaissance art, as you can see in the Birth of Venus.

而大自然，作為人類和人文主義的舞台，同樣在文藝復興藝術大放異彩，就如你所見的《維納斯的誕生》。

Botticelli's painting focuses on the mythical goddess from the classical world but at the same time she's about to be clothed in the flowers found in the natural world of the countryside.

波提切利聚焦在描繪經典中的神話女神，但同一時間她也正被來自大自然的花朵包裹身軀。

In short, the artists of the Renaissance focused on situating a realistically depicted human body in both its natural environment and its civic setting.

簡而言之，文藝復興的藝術家們聚焦於將真實描繪的人體放置在自然環境或其城市背景中。

Thanks, Thought Bubble.

謝啦，思考泡泡。

But amid this prosperity and cultural revival, Florentine history was marked by a succession of economic and natural shocks, class divisions, corporate rivalries, party struggles, conflicts with the church, and especially political crises.

但在這一切繁榮與文化復興之中，佛倫倫斯的歷史也遭逢了一系列經濟及自然衝擊、社會階層分化、企業組織隊里、黨派鬥爭、教會衝突，尤其是政治危機。

And those arose from threats of external invasion as well as internal tyranny and discontent among the lower classes.

這些動蕩源自外來入侵威脅、內部高壓統治，以及下層階級人們的不滿。

Like Venice, Florence took great pride in being a Republic, although it was a bit different from contemporary republics and exceedingly unstable.

就如同威尼斯，佛羅倫斯也以自居共和國為榮，雖然和當今的共和國意思不盡相同，而且極度不安定。

Like, there weren't really elections; instead, names of members of Florence's guilds would basically be drawn out of a large leather bag.

舉例來說，根本沒有選舉這回事；他們的做法是將佛羅倫斯各公會成員的名字放進一個大皮帶，然後抽籤選人。

And if your name was drawn, you got to serve on the Signoria, which ran the city.

如果你的名字被抽到了，你就要去 Signoria 任職，管理整座城市。

And if you weren't psyched about the job, no worries--new Signorias were chosen every two months, which might make it seem like lots of people were able to participate in civic life.

如果你對這個工作不感興趣也不打緊，Signoria 每兩個月選一次新成員，乍看之下非常多人都有機會參與市政。

But in order to be a member of a guild, you needed to be debt-free and male and well-connected.

不過想要成為公會成員，你必須無債務纏身，而且必須是擁有良好家族背景的男性。

And in truth the lotteries were often rigged, with wealthy families tending to win places on the signoria.

而且事實上做籤常常發生，富有的家族試圖藉此進入 Signoria 掌政。

Also, there were frequent coups and countercoups, and the Republic would often cease to be republican and at times become downright Monarchical.

而且經常有政變以及反政變，共和國就經常要終止共和國身份，變成一個完全的君主國。

It was all quite Games of Thronesy--one might even say that it was a bit Machiavellian.

其實和《權力的遊戲》蠻像的，有些人或許會說也有馬基維利主義的味道。

And no wonder--the political theorist Niccolo Machiavelli did live in Florence.

這也難怪，政治理論家馬基維利的確就住在佛羅倫斯。

We'll discuss him more next week, but for now, it's important to know that he saw--and suffered through--much of this turmoil, including the rise and fall and rise again of the Medici family.

我們下週會講更多有關他的事，就目前為止只要先知道他目睹 —— 並受苦過 —— 這些混亂動蕩，包含麥第奇家族的興衰與東山再起。

The Medicis were tremendously powerful in Florence, although contrary to what you might read they weren't the only important family in the Renaissance.

麥第奇家族在佛羅倫斯極其強盛，不過和你或許讀過的不同，他們並不是文藝復興時唯一重要的家族。

But they did make huge sums of money in banking and investing, and were important patrons to artists.

不過他們的確藉由銀行及投資獲得了一大筆財富，成為了藝術家重要的資助人。

In fact Michelangelo carved one of their tombs.

事實上米開朗基羅就雕刻了他們其中一人的墳墓。

Cosimo Medici and his grandson Lorenzo dominated the second half of the fifteenth century in Florence, while successive members of the family perpetuated its power and patronage by serving as popes in the next centuries.

柯西莫．麥第奇和他的孫子羅倫索支配了佛羅倫斯的 15 世紀後半葉， 而之後的家族成員藉由在下個世紀擔任教宗，延續其家族權勢及資助活動。

Machiavelli argued that the Florentine Renaissance's Golden Age ended with the death of Lorenzo de Medici in 1492 and the invasion of the "barbarians."

馬基維利認為，佛羅倫斯文藝復興的黃金年代隨著羅倫索．麥第奇在 1492 年的辭世以及野蠻人的入侵步入終結。

Of course, "Barbarians" mostly means "Not Us" throughout history--in fact the word itself comes from a feeling that the language of Barbarians sounded like bar bar bar bar bar.

當然，所謂的「野蠻人」在歷史中多半意味著「非我族類」，事實上 barbarian 這個字源自野蠻人說話聽起來感覺就像 bar bar bar 胡言亂語。

Anyway, these particular Barbarians were French, so I guess it sounded like Bar.

總之呢，這一群野蠻人來自法國，所以我想他們聽起來應該像 Barrr。

I wasn't very good at High School French.

我高中法語學得不好。

And so we return at last to the old question: Were there really broad shifts away from the religiofication of all aspects of European life toward the human and the secular in the Renaissance?

所以我們終於回到了老問題：歐洲生活的各個層面有大幅地從「以宗教為中心」進入到文藝復興的「人文世俗」嗎？

Like, yes, Michelangelo sculpted David, but he also painted the ceiling of the Sistine Chapel.

比如說，米開朗基羅的確雕刻了大衛像，但他也繪製了西斯汀教堂的天花板。

Perspective matters when you ask these questions--something important and new was happening in 14th century Florence (and Venice and Milan and so on) among merchants and intellectuals.

當你問這些問題時，觀點很重要 —— 對於生活在 14 世紀佛羅倫斯 (及威尼斯、米蘭等地) 的商人和知識分子而言，的確有重要、嶄新的事物出現。

But the lives of average people, especially peasants, were not much transformed by this humanist thinking--at least not in the short run.

但是尋常人的生活 —— 尤其是農民 —— 並無受這場人文主義思維大大影響，至少短期內沒有。

But in other ways, ordinary people did also have a Renaissance--ancient authors were translated into Italian and French, which allowed those without access to Latin to read Cicero and the like.

不過就其他方面而言，尋常人的確也有自己的文藝復興，古代經典被翻譯成義大利語和法語，讓那些不識拉丁文的人們也能夠閱讀西塞羅及其他大師的作品。

But of course most Italian peasants couldn't read anything.

不過當然了，當時大部分義大利農民根本不識任何字。

Historians also debate whether women experienced a Renaissance.

歷史學家也在爭論女性是否有經歷到文藝復興。

Women were among the patrons of the arts: Isabella d'Este sponsored musical events and loved Petrarch's poems so much that she had music composed for them.

確實有女性的藝術資助人：伊莎貝拉．德斯特贊助音樂活動，而且她熱愛佩脫拉克的詩，甚至讓作曲家替他的詩譜曲。

She also sponsored painters, maintaining contacts with Leonardo da Vinci. But, Isabella d'Este and her similarly accomplished sister Beatrice are often seen as the exception.

她同樣贊助畫家，和達文西維持聯繫。不過，伊莎貝拉．德斯特和她同樣大有為的姐妹碧翠絲往往被視為特例。

In general men, according to fifteenth century writer Laura Cereta, discounted women's intellectual worth.

根據 15 世紀作家蘿拉．切萊塔，男性大致看不起女性的知識價值。

Deliberately following Petrarch's path as he had followed Cicero's, Cereta wrote a famous letter to one misogynist that read in part: "I cannot tolerate your having attacked my entire sex. . . . With just cause I am moved to demonstrate how great a reputation for learning and virtue women have won by their inborn excellence, manifested in every age as knowledge. . . ."

切萊塔刻意仿效佩脫拉克追隨西塞羅的方式，寫了一封信給一位厭惡女性的人，信中寫到：「我無法忍受你攻擊我的性別，因著合理的原因，我必須示範女性如何藉由天生的聰穎，獲得樂於學習與富有道德的好名聲，從少到老皆是如此。」

Also, the rise of Roman legal thinking meant the rise of the Pater Familias.

再者，羅馬提升的法律思維也意味著父權思想的提升。

The idea that the father is the center of every family, and also the center of power.

認為父親是每個家庭的中心，也是權力的中心。

All of which is to say that the Renaissance saw tremendously important developments in the intellectual and cultural life of Italian city-states, developments that would soon be exported to other communities.

整體來說，文藝復興時期在知識方面以及義大利城邦文化生活上都有極大的重要進展，這些進步很快就會被輸出到其他的地區。

But we have to be able to shift perspectives--to the Medicis, the Renaissance was a thing.

但我們也要能轉換視角，對麥第奇家族而言，文藝復興的確是一回事。

To many peasants, it was not.

對大多數農民而言，則不是那麼有感。

We remember the Renaissance today partly because it's helpful for historians to periodize history to frame their analyses, and partly because so much Renaissance thinking shapes our thinking.

我們現今之所以記得文藝復興，部分是因為它幫助歷史學家將歷史分段、架構他們的分析，部分也是因為當時許多的思維形塑了我們的想法。

And I think it's worth remembering how the ideas of the Renaissance continue to resonate for us today.

值得記得的一點是，文藝復興時的一些想法就我們現代人看來依舊有共鳴。

Consider, for example, the feeling that the current age is so full of corruption and destruction that we must return to the purity of some bygone era of greatness.

舉例來說，感覺當今世代滿是腐敗及毀壞，認為我們必須重回過往黃金年代的淳樸。

That Renaissance thinking seems very relevant, indeed.

這一個文藝復興時期的思維現在看來與我們切身相關。

Thanks for watching. I'll see you next time.

感謝收看。我們下次見。