人類為什么會接吻?接吻起源于何處?在古代，接吻也許是為了向不合意的婚姻發(fā)起挑戰(zhàn)，異性親吻也常被描寫為不幸命運的開端。現(xiàn)在，親吻隨處可見，它能讓我們暫時忘卻世間俗事，逃離現(xiàn)實，進入理想的境界。
A question that comes up frequently on Google is why humans kiss, and while the kissing of various parts of the body (the face and the hand, for instance) are a feature of many social functions, the question, as I read it, is not about social kissing, but about romantic lip-kissing, known technically as osculation(唇吻). Is osculation a modern-day leftover from some ancient animal courtship display, as Darwin called mating rituals(求偶儀式)? If so, one would expect it to be universal, cutting across time and cultures. (如果是這樣，我們就會認(rèn)為唇吻是普遍現(xiàn)象，無論何時，無論何文化。)But it is not. To this day, some societies are either unaware of osculation or, if they are aware, have sanctions(處罰) against it.
The word “romantic” is key. It needs to be differentiated from “sex”, “l(fā)ove” and “courtship”. Sex is, of course, a mating urge in all animals. Kissing is not necessarily connected to sex, unless one uses it as a form of foreplay. Love is, well, love (to wax poetic). There is no culture on earth that does not possess some notion of what love is. It comes in many forms and guises, but we all instinctively(本能地)recognise all of them as love. Philosophers such as Plato wrote treatises(論著;論點)on love and similar works are found throughout the ancient world. Love and sex are often intertwined(相互纏繞) in writings such as the Indian Kama Sutra, a manual on the practical art of love-making. Lip-kissing is portrayed in the Kama Sutra as part of that art, because the lips are seen as sensitive erogenous(情欲的) organs.
Writers such as Homer, Aristophanes and Catullus were also obsessed with love and sex. Catullus implores(請求)his beloved to give him an infinite number of “kisses”. But, as in the Kama Sutra, one gets the impression that the kiss (wherever it is placed anatomically) is about sex and love (more about the former), with the male (Catullus) in charge of the situation and the female at his beck and call(聽從他的指使).
Courtship may or may not involve love or even sex. It is a prenuptial(婚前的)practice, taking on many ritualistic forms, dictated by specific traditions that are designed to ensure marriage typically as an agreement between families. Love is certainly not a prerequisite(前提條件)for courtship practices, and the kiss has rarely played a role in them – until recently, of course.
So where does the kiss fit in? The “romantic” (not “sexual”) lip-kiss is an invention that comes, in all likelihood(非常有可能地), from medieval courtly love traditions. It is imbued with(充滿) “true” (rather than “arranged”) love; it is a subversive act(反抗行為) against arranged courtship and against boring love. To this day, betraying or cheating on a partner starts with a kiss. Sex follows, of course. But the two cannot be reversed(反轉(zhuǎn)) – sex is never put before kissing.
The origins of the kiss may well be found in a declaration of freedom from stultifying(沉悶的)nuptial and love practices.(接吻極有可能源于宣稱擺脫沉悶的婚姻和戀愛行為。) Is there any proof? There is no direct proof, of course. But there is plenty of anecdotal evidence.
The first stories in which the romantic kiss appears, generally depicting star-crossed(命運多舛的)lovers away from the strictures of society, are the medieval fables, legend, and troubadour songs based on chivalry(騎士般的)and courtly love. A classic example is the story of the love affair between Paolo and Francesca in the 13th century, immortalised(使不朽)by the poet Dante in Canto V of his Inferno. It is about Francesca da Rimini, whose hand in marriage was given to Giovanni Malatesta (also known as Gianciotto) to solidify(鞏固)the peace between warring families. Because her father knew she would reject the ugly and deformed(畸形的)Gianciotto, he asked his younger brother, Paolo, to retrieve Francesca. She fell instantly in love with the handsome Paolo, as the two kissed passionately – an image that influenced many subsequent(后來的)art works, including Rodin’s awe-inspiring(令人敬畏的)The Kiss sculpture. Realising that Paolo was not going to be her spouse, but that she was going to marry Gianciotto, Francesca became enraged. Her love for Paolo could not be denied.
According to Dante, it was kindled(點燃)after the two lovers had themselves read the story of Lancelot and Guinevere. The tragic ending comes when the jealous Gianciotto, rapier in hand, is about to kill Paolo. Francesca throws herself between the two brothers. The blade passes through her, killing her. Gianciotto, completely beside himself, for he loved Francesca more than life itself, then kills his brother. The two lovers are buried in the same tomb, symbolising their union beyond mortal life.
Paolo and Francesca’s love story is overwhelmingly sad and powerful at the same time. It is about “romantic” love, sealed with a kiss, that transcends(超越)both life and death, even though society sees their act as a sin. As Juliet tells Romeo in the Shakespearean version of that medieval tragedy, “Then have my lips the sin that they have took,” to which Romeo answers, “Sin from thy lips? O trespass sweetly urged! Give me my sin again.” From the outset(一開始), kissing and “ill-fated love” go hand in hand. This is perhaps the only possibility for true love. Sinful, maybe, as Juliet says, but irresistible. Today this subtext is found throughout pop-culture narratives, from the movies to the Harlequin bestsellers. The power of the furtive(偷偷摸摸的)kiss to change people’s lives draws us inexorably(不可避免地) to kissing.
In the courtly love literature, women are portrayed as “angelic” beings, not mere sexual objects. The kiss was seen as the conduit(渠道) to spiritual love, not a prelude(序曲)to sex. The idea of the woman as an angel has lived on. It can be seen in pop songs such as Curtis Lee’s Pretty Little Angel Eyes (1961) and Neil Sedaka’s Next Door to an Angel (1962). The lyrics resonate with the celestial metaphors of the medieval poems and songs. Of course, in some of the lyrical portraits, the metaphor of the angel is juxtaposed(并置)against that of the devil, as in Elvis Presley’s The Devil in Disguise (1963).
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