情感的涌动与性格的统一:从昆体良的修辞概念诠释贝多芬《“悲怆”钢琴奏鸣曲》第一乐章中的性格与情感

Emotion and Character:Applying Quintilian’s Rhetoric Theory into Beethoven’s Sonata Pathétique,1st Movement

19世纪贝多芬传记家威廉·冯·伦茨(Wilhelm von Lenz)以"作品概念"(后由莉迪娅·戈尔系统提出)为审美基础维护与宣扬《"悲怆"钢琴奏鸣曲》的超越性,也就是承认该作品所占居的经典地位不会因为熟悉感以及演奏家的平庸而被破坏;与此同时,伦茨也间接地表示了该作品对当时听众所能唤起的强大情感能量不是该"作品"的核心内涵。在"作品概念"的主导之下,从《"悲怆"钢琴奏鸣曲》强大的"群众基础"出发探究"悲怆"这个标题所辐射出的修辞意义与贝多芬如何通过音乐的手段来说服他的听众可能是研究者个人的选择,但事实并非如此。在18世纪与19世纪初,作曲家是以听众的聆听经验作为创作的主要考量,因此我们通过18世纪的修辞艺术理解《"悲怆"钢琴奏鸣曲》是如何感动、说服与取悦当时(或现在)的听众是理解该作品内涵的必要路径。本文的目的在于以昆体良(Marcus Fabius Quintilianus)这位影响18世纪修辞理论甚巨的修辞学专家的理论为基础,讨论贝多芬在《"悲怆"钢琴奏鸣曲》中如何使用不同的修辞格与动机节奏来平衡情感的涌动与维持"演说者"性格的统一性,并以黑格尔"扬弃"的概念辅助说明对立材料之间的消解与融合,进一步地达至崇高的境界。

Wilhelm von Lenz,the renowned biographer of Ludwig van Beethoven in the 19 th century,employed the"work concept"(later articulated by Lydia Goehr)as the aesthetic basis of defending and promoting the transcendental quality of Beethoven’s Sonata Pathétique.For Lenz,the canonic status of this sonata was protected from excessive familiarity among audiences and the mediocrity of incompetent performers because its substance was not defined by its emotional effect on audiences.In this instance,the"work concept"suggests that an investigation into Beethoven’s rhetorical strategies for moving the listener and the expressive choices open to performers are irrelevant to the analysis.Composers in the 18 th and 19 th centuries,however,often focused on the audience’s listening experience,such that"rhetoric"is a necessary consideration for the compositional process and the resulting work as well as its performance.This essay examines the rhetorical figures and rhythmic motives of the Sonata Pathétique in light of Quintilian’s model of the balanced emotional state and unified character of a"speaker."It further relates this unification of contrasting materials to Hegel’s concept of Aufhebung(sublation),by which Beethoven elevates the expressive level of the work into the"sublime."