酒神音乐作为一种诗学纲领——尼采与早期浪漫派的音乐诗学观之比较

Dionysian Music as a Poetic Programme:A Comparison Between Musical Poetics of Nietzsche and Early Romantic School

尼采在其早期作品《悲剧的诞生》中对酒神狄奥尼索斯的本质及其音乐性进行了反思,他认为悲剧的诞生乃是由于作为诗歌特性之根本的音乐性在日神的梦境塑造下才得以显现在形象以及譬喻的世界中,悲剧最终从原始的声响状态转变为一种视觉状态。这一诗学构建的核心乃是将抒情诗人与酒神音乐家类比。这种诗学观点的源头可追溯到早期浪漫主义诗学观。本文将尼采的诗学构建与由弗·施莱格尔、诺瓦利斯等人建立起来的早期浪漫派诗学进行了比较,重构了“酒神音乐”与“音乐诗学”之异同,并揭示了尼采笔下的“酒神神话”与早期浪漫派的“新神话”之间的内在联系。

Nietzsche reflected on the nature and musicality of Dionysus in his early work The Birth of Tragedy.He believed that the birth of tragedy is due to the fact that musicality,the essence of poetry,manifested in images and the world of metaphor under the shaping of Apollo’s dreams,and tragedy eventually transformed from the original state of sound to a state of vision.The core of this poetic construction is to compare lyric poets with Dionysian musicians.The origin of this poetic view can be traced back to the early romantic poetic view.This paper compares Nietzsche’s poetics construction with the early romantic poetics established by Friedrich Schlegel,Novalis,etc.,reconstructs the similarities and differences between“the Dionysian Music”and“Music Poetics”and reveals the inner connection between Nietzsche’s“The Myth of Dionysus”and the“New Myth”of the Early Romantics.