空间与界限——里尔克《杜伊诺哀歌》第八首中的“敞开者”

Space and Boundary:the Notion of “the Open” in Rilke's 8th Duino Elegy

本文基于《杜伊诺哀歌》第八首,探讨里尔克的"敞开者"概念以及与此相关但不等同的"世界内在空间"。前者是除"敞开"之外再无界定可能性的"纯粹空间",它对知晓自身局限性的常人是封闭的。相对人类所处的"被阐释的世界","造物"的存在则是无边无际的,不受讲究区分、是否等意识的拘束和限制,尽管无论人还是动物都有上下等差和临界状态。第八首哀歌中的人兽对比,与其说是呼吁回归,毋宁说是意在批判。在里尔克看来,若想拯救《祈祷书》、《马尔特手记》等作品中抨击的现代世界,出路在于以诗的语言营造"世界内在空间",构建一个扬弃时间线性、消弭包括生死在内的各种界限的大一统空间。

This paper explores Rilke＇s concept of ＂the open＂ and the other related but not equivalent notion, ＂world-inner-space.＂ As pure space that defies any other possible delimitation, ＂the open＂ is inaccessible to humans who are conscious of their own limitations. The existential space of the ＂creatures,＂ different from the humans＇ interpreted world, is boundless, free from such conscious constraint and control as differentiation or judgment, although there are hierarchical orders and borderline states in both animals＇ and humans＇ worlds. The contrast between animals and humans in the elegy is meant to critique rather than call for return. Rilke hypothesizes that the only antedote to the modern world as is castigated in The Book of Hours, The Notebooks of Malte Laurids Brigge and other works is to construct a poetic ＂world-inner-space,＂ which builds oneness by discarding all inner boundaries such as temporal linearity, life and death, etc.