走向灵魂永生的存在之道——论荷尔德林的“蒂奥提玛”

Toward the Way to the Immortal Being——On the Image of H?lderlin’s Diotima

蒂奥提玛原本是《会饮》中苏格拉底的爱欲导师,此名在启蒙时代颇显荣耀。荷尔德林在诗化小说《旭培里昂》终稿以蒂奥提玛喻指柏拉图的美的理念。蒂奥提玛最初显现于一片浑沦之境,来自旭培里昂丧失意识判断的精神瞥视。荷尔德林受威廉·海因泽影响,赋予其乌拉尼亚神话的创世意味,体现在蒂奥提玛之爱所代表的万有合一的原初状态。这与荷尔德林同时期的理论规划表里相合,亦即以存在之维的美感经验作为自我意识的本原规定,从而跨越康德美学的认识界限。蒂奥提玛最终以自我消融实现与万有生命崭新的联结。从死到生的过渡显示了荷尔德林对灵魂永生的理想,亦合于他所理知的存在之规律。

Diotima is originally the mentor of Socrates in Plato’s"Symposium",and it became glorious in the Age of Enlightenment.This paper illustrates his aesthetical idea embodied in the image of the protagonist’s lover Diotima in Friedrich H?lderlin’s Hyperion,oder der Eremit in Griechenland.Diotima appears initially in Chaos.It is from the spiritual glance of Hyperion in the loss of consciousness.With the influence of Wilhelm Heinse’s Urania in Ardinghello,H?lderlin’s Diotima is endowed with the significance of the Creation,which reflects in Diotima’s love,the most intensive unity with all.In this way,it relates the metaphor of Diotima with H?lderlin’s philosophical program at that time.He reactivates Platonic ontological idea,and steps out Kantian limit of Reason,radically places the beautiful Being as the original stipulation of self-consciousness.Diotima reestablishes the ties to the universal life in the way of self-sacrifice in the end of the novel.The transition from death to vitality indicates H?lderlin’s ideal toward the immortality of the soul,and also accord with the law of Being he argued.