“别把任何东西占为己有”:迈克尔·帕默的“波德莱尔组诗”中的欧莉迪丝与场景书写

“Take nothing as yours”: Eurydice and the Scene of Writing in Michael Palmer’s “Baudelaire Series”

迈克尔·帕默1988年发表的诗作,"波德莱尔组诗",常被人读作一首为西方抒情诗从霍尔德林到艾略特的历史而写的挽歌。此诗引经据典,大有诗中诗的效果,即展现、又否定抒情诗的功能。然而,换种读法就会发现,此诗竭力揣摩西奥多·阿德诺有关写于奥斯维辛之后的诗歌而明言释定的难题。本文试图探索帕默如何运用欧莉迪丝的形象来与阿德诺的见解达成一致,并着重于检视他如何涉猎瑞尔克的名诗,"奥菲厄斯、欧莉迪丝、赫耳墨斯",把她虽已临近上层世界之门、却致命地消失在哈德斯(地狱)的细节加以戏剧化,从而创造出奥菲厄斯之歌在一个失落和灾难的世界里仅仅作为痕迹而赖以延续的必要条件。

Michael Palmer’s 1988 poem,"Baudelaire Series," is often read as an elegy for the history of the Western lyric from H?lderlin to Eliot. Replete with allusion and quotation,it creates a mise en abyme effect which both embodies and negates what lyric is capable of.However,it can also be read as a poem grappling with the conundrum articulated by Theodor Adorno about poetry after Auschwitz. In this essay,I explore how Palmer comes to terms with Adorno through his use of the figure of Eurydice. In particular,I examine how he engages with Rilke’s famous poem,"Orpheus. Eurydice. Hermes," which dramatizes her fatal disappearance back into Hades at the very threshold to the upper world,thereby creating the conditions necessary for the song of Orpheus to unfold amid a world of loss and catastrophe but only as trace.