从缪斯女神到“变形”天才:《奥夫特丁根》中的女性诗学

From Muse to“Transformational”Genius:Female Poetics in Ofterdingen

女性原则是德国早期浪漫派诗化计划的重要内容,女性形象及其相关原则的内在张力导致相关研究的分歧性立场。作为最具有代表性的浪漫小说之一,诺瓦利斯《亨利希·封·奥夫特丁根》中的女性形象集中体现了这种矛盾性:女性被简化为被动的、沉默的缪斯女神,是男性诗人主体的灵感来源且助力于男性诗人的自我成长,同时又具备着天才诗人的变形能力。前者既与诺瓦利斯本人的“索菲经历”相关,又是18世纪对待女性的工具化态度的部分延续;后者则是诺瓦利斯突破传统“天才”定义的结果,在一种主体间性的关系中为作为“你”的女性主体留下发展空间。向更为普遍的理想世界过渡的过程则可以消解女性作为缪斯女神与作为“变形”天才之间的这种矛盾性,女性如何逐渐参与到爱的诗化世界的建构中因此成为理解《亨利希·封·奥夫特丁根》女性诗学的要点。

The female principle is an important part of the early German romanticism poetics project,and the inherent tension between female images and related principles leads to divergent positions in related research.As one of the most representative romantic novels,the female image in Novalis'Heinrich von Ofterdingen embodies this contradiction:women are simplified as passive and silent muses,providing inspiration and development assistance for male poets,while also possessing the transformational ability of genius poets.The former is not only related to Novalis'own“Sophie experience”,but also a continuation of the instrumentalized attitude towards women in the 18th century;the latter is the result of Novalis breaking through the traditional definition of“genius”,leaving room for the development of the female subject as“you”in a intersubjectivity relationship.The process of transition to a more general ideal world can dissolve this contradiction between women as muses and as“transformational”geniuses.How women gradually participate in the construction of the poetic world of love therefore becomes the key point to understand the female poetics of Heinrich von Ofterdingen.