瓦格纳美学与象征主义的音乐转向

Richard Wagner's Aesthetics and the Musical Turn of Symbolism

瓦格纳的音乐美学因为对梦幻的关注,吸引了自波德莱尔以降的象征主义诗人,这种音乐美学推动了象征主义的音乐转向。瓦格纳的音乐的立脚点在乐音及其组织,而象征主义文学是一种语言艺术,它对感应世界的强调,对理性语言的运用,对形象组织的创造,使象征主义诗人无法真正采用音乐的做法,而不得不创造新路.象征主义诗人将音乐的概念抽象化,发展出象征的音乐、情感的节奏的理论,具体来看,这分别表现为形象的暗示作用,以及形象、印象的自然流动:,虽然象征主义的音乐转向不同于瓦格纳的模式,但是瓦格纳的理论仍旧是它的主要参照。

Wagner's musical aesthetics,because of its concentration on reverie,appeals to symbolists from Baudelaire onward.Such aesthetics informs the musical turn of symbolism.Unlike Wagners music which has a foothold in the musical sound and its structure,symbolist literature,inherently an art of language,puts emphasis on feeling and experiencing the world,employs the language of rationality,and produces symbolic imageries,all of which makes it impossible for symbolists to integrate musical features into poetry but to create new forms of expression.Abstracting the spirit of music,symbolist poets have developed such conceptualization as symbolic music,which refers to the suggestive power of images,and the theory of emotional music,which involves the spontaneity of images and impressions.Although symbolist musical turn differs from Wagner’s model,it is informed by the latter and has regarded it as the main reference.