《浮士德》格雷琴剧的修辞与程式——兼论剧中的寓意与救赎

Rhetoric and Conventional Formula in the Gretchen-Playwith Reference to the Allegory and Redemption in the Play

考察戏剧的修辞与程式,是理解歌德时代戏剧语言的前提。《浮士德》第一部的格雷琴剧中,男女主人公分别被赋予贵族风雅风格和市民善感风格,前者使用普泛的社交辞令,后者涉及私人事务和情感。浮士德有意识针对格雷琴教育修养的缺失启动修辞和诡辩策略,故意造成意向模糊或引发误解,以达到诱惑和规避责任的目的。修辞差异从戏剧开场便预示了悲剧结局。格雷琴剧中运用的修辞和书写程式表明,该剧并非建立在个体心理真实上的爱情悲剧。它同时超越了以捍卫市民道德为宗旨的市民悲剧,在寓意层面上展演了属于魔鬼界域的人的原罪和欲望,人无法启动自由意志对之进行克服,故而《浮士德》两部结尾均以人的救赎作结。

Rhetoric and conventional formula practiced in drama are keys to understanding the dramatic language in Goethe’s epoch. In the Gretchen-play of Faust I , upon the hero and heroine are bestowed respectively aristocratic sophistication and bourgeois sentimentality, with the former engaging general social rhetoric and the latter concentrating on private issues and emotions. In order to seduce and evade responsibility, Faust consciously targets Gretchen’s lack of aristocratic education by initiating rhetorical and sophomoric strategies to deliberately provoke ambiguity and misunderstanding. Rhetorical discrepancy predicts the tragic ending from the opening of the play. The rhetoric and conventional patterns employed in the Gretchen-play imply that the play is not a love tragedy based on individual psychological reality;it furthermore transcends the traditional bourgeois tragedy which aims at the preservation of bourgeois morality and illustrates on an allegorical level the original sin and desires of human beings which are more fitted in the realm of the Devil and are not to be surmounted by free will. Consequently, both parts of Faust end with the redemption of man.