格奥尔格对波德莱尔《致一位过路女子》的诗学变形

Stefan George's Poetical Transformation of Charles Baudelaire's Sonnet“To a Passer-by”

对波德莱尔十四行诗《致一位过路女子》的诗学变形贯穿了格奥尔格从早期到后期的诗歌创作,折射出这位德国诗人在形式和美学上从以法国象征主义为师到回归德意志“浪漫-古典”传统的转向。波德莱尔笔下以瞬间和偶然为特征的现代性在格奥尔格的翻译、仿写和改写中被逐步演绎成永恒和绝对的艺术宗教。稍纵即逝、爱而不得的陌生女子让位于以“危机-救赎”的叙事机制显现的马克西敏,他以先验的理念存在,在相遇的经验中获得形体,并在死后作为超验的奥义维系格奥尔格圈的身份认同。

The poetic transformation of Baudelaire's sonnet“To a Passer-by”can be seen throughout George's poetry,from his early to late periods.This transformation reflects George's formal and aesthetic shift from taking French Symbolism as his model to returning to the German“Romantic-Classical”tradition.Baudelaire's modernity,characterized by moments and chance,was gradually transformed into an eternal and absolute art religion in George's translation,imitation and rewriting of the sonnet.The fleeting strange woman gives way to Maximin,who is revealed by the narrative mechanism of“crisis-salvation”.Maximin exists as an a priori idea,takes form in the experience of encounter,and sustains the identity of the George-Circle as a transcendental axiom after his death.