基于视域融合与情节结构的文本诠释——歌德《浮士德》对人本-光照思潮的诗学批判

A Text Interpretation Based on the Fusion of Horizons and the Plot Construction: On Goethe’s Faust as a Poetic Critique of Humanistic Enlightenment

文章对歌德《浮士德·第一部》中《莱比锡的奥尔巴赫酒窖》一场的主题意义和结构功能进行了重新考察。就主题而言,“奥尔巴赫酒窖”不只局限于对法兰西革命中暴力的批判,而是在整体上对人本光照思潮的全面否定和拒绝,是浮士德与魔结盟之后梅菲斯特展现给浮士德观看的魔性幻象世界,其实质就是如上帝一般允诺伊甸园的自由。这种魔性幻象是对欧洲18世纪理性时代的诗学写照。在戏剧结构上,《奥尔巴赫酒窖》并非孤独存在的场次,它和《女巫厨房》《瓦尔普吉斯之夜》共同构成了一个内在的魔性框架,它对“玛格雷特剧”的框架性钳制决定了“玛格雷特剧”非世俗化的涵义方向。

This paper proposes a reinvestigation into the scene of“Auerbach’s Cellar”in Part One of Goethe’s Faust in terms of its thematic significance and structural function.It argues that“Auerbach’s Cellar”,as an enchanted illusory world created by Mephistopheles and witnessed by Faust,mirrors people’s blind faith in human reasoning and frantic pursuit of freedom in Europe during the eighteenth century;and thus the scene presents not only a critique of violence in the French Revolution,but also a total negation and rejection of the humanistic enlightenment spirit through its frequent reference to French elements and parodying of biblical passages.Structurally speaking,“Auerbach’s Cellar”does not stand alone,but serves respectively as the beginning and the end of a bracket,a coherent evil frame structure with“Witch’s Kitchen”and“Walpurgis Night”,which in turn dictates a non-secular approach to“Margaret’s Play”within the framework.