在早期浪漫派和歌德之间:论本雅明的《荷尔德林的两首诗》中的文学思想

Between German Frühromantik and Goethe:On Walter Benjamin’s Literary Thoughts in Zwei Gedichte der Hölderlin

对荷尔德林诗歌的解释是20世纪诸多思想家阐发其思想的重要手段。在这些解释中,海德格尔《荷尔德林的诗阐释》对后世思想家产生了重要影响。但是,德国思想家本雅明对荷尔德林诗歌的解释长期并未得到国内研究者的重视。在其学术生涯的早期,本雅明对荷尔德林产生了浓厚的兴趣。通过对荷尔德林《诗人之血气》和《羞愧》这两首诗的比较,本雅明试图呈现文学作品的真理内容(绝对形式)和其在作品中的显现形式之间的张力,并试图通过对文学作品的语文学评注,展示文学具体而普遍的直观—精神结构。这一解释体现了本雅明文学思想从倾向于早期浪漫派思想到转向歌德以“自然”概念为中心的艺术理论的趋势。

For many major thinkers of the twentieth century,exegeses on Friedrich Hölderlin’s poems were once an essential medium for manifesting their thoughts,of which Martin Heidegger’s were the most influential.In contrast to Heidegger’s Erläuterungen zu Höelderlins Dichtung,Walter Benjamin’s interpretative work on Hölderlin was omitted by Chinese scholars.In his early academic career,Benjamin was greatly interested in Hölderlin’s works.Via the comparison of Hölderlin’s“Dichtermut”and“Blödigkeit,”Benjamin tried his best to present the tension between truth of the art itself(Absolute Form)and its appearance(Erscheinungsform)in a work.The endeavor was in the service of a manifestation on the concrete but universal intuitive-spirit configuration of literary compositions.Benjamin’s interpretation of Hölderlin’s works shows the turning of his literary thoughts,which once followed the step of German early romanticism,to Goethe’s art theory based on the concept of“nature.”