雅思课外读物--Why do humans kiss?

北京雅思培训,雅思备考资料,雅思网课,雅思培训机构,雅思保分班,雅思真题,雅思课程

人类为什么会接吻?接吻起源于何处?在古代，接吻也许是为了向不合意的婚姻发起挑战，异性亲吻也常被描写为不幸命运的开端。现在，亲吻随处可见，它能让我们暂时忘却世间俗事，逃离现实，进入理想的境界。

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(求偶仪式)? If so, one would

expect it to be universal, cutting across time and cultures.

(如果是这样，我们就会认为唇吻是普遍现象，无论何时，无论何文化。)But it is not. To this day, some societies are

either unaware of osculation or, if they are aware, have sanctions(处罚) against

it.

The word “romantic” is key. It needs to be differentiated from “sex”, “love”

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(论著;论点)on love and similar works are found throughout the ancient

world. Love and sex are often intertwined(相互缠绕) 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(请求)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(听从他的指使).

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(前提条件)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(充满) “true” (rather than “arranged”) love; it is a

subversive act(反抗行为) 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(反转) – sex is never put before

kissing.

The origins of the kiss may well be found in a declaration of freedom from

stultifying(沉闷的)nuptial and love practices.(接吻极有可能源于宣称摆脱沉闷的婚姻和恋爱行为。) 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(命运多舛的)lovers away from the strictures of society, are the medieval

fables, legend, and troubadour songs based on chivalry(骑士般的)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(巩固)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(后来的)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(点燃)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(一开始), 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).

（转第二页）