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发信人: derud(天堂中的奥菲欧) 整理人: xiur(2001-06-13 22:34:29), 站内信件 |
| 有关文学和音乐肤浅的看法
接到命题之后我一直在思索如何将文学与古典音乐结合起来，看来这个问题要比我想象的难得多。文学之于音乐，非比绘画，建筑，宗教至于音乐那样来的直观。文学流派的分类也与音乐的分类有很大差距。文学作品固然对音乐作品的创作起着灵感来源的作用，但这只是浅层的，表面的关联。我试图在文学和音乐之间找到一座桥梁，那便是执掌西方文明上千年的基督教宗教。事实上整个西方文明都是围绕着宗教问题而展开的，马丁·路德那一场轰轰烈烈的教改运动影响了几乎是整个西方的传统思想，价值，道德观，两次大战则彻底打破了人们关于西方文明正在进步的美梦。The Loss of Transcendence（我不知道应该怎样翻译，神性的丧失，还是信仰的缩减？）是促成西方文明没落的公认的因素。研究音乐史时你会发现，中世纪到文艺复兴是的音乐的介绍是严格遵循sacred music 和secular music（即宗教音乐和世俗音乐来划分的），到了巴洛克时期，分类已不再如此明显，宗教音乐已不再享有至高无上的地位。至于其后的古典，浪漫，二十世纪，则好像已于宗教完全脱钩。 在文学上，朝验主义的丧失也可在不同时期的作品中窥见一斑。文学中的“巴赫”——莎士比亚（1564-1616）的作品中，人即为神，人享有与神一样的崇高的地位和美德，看看莎士比亚在Hamlet中是怎样写的： What a piece of work is man! How noble in reason! how infinite in faculty! In form and moving how expres and admirable! In acton how like an angel! The beauty of the world! The paragon of animals! 而到了现实主义时期，人本主义逐渐退散，取而代之的是人类对自身的自我觉醒和领悟。人们开始意识到人类自己不过是苍茫芸芸众生中的一滴雨水，一片枯叶。在D·H·Lawrence的大多数作品中，都无是不刻的透出对人类作为动物的原始本能——性的渴求。劳伦斯反对科技的进步，认为它们只是破坏了人类赖以生存的本能和生态平衡，标榜回归自然，返朴归真。然而到了二十世纪，人类竟将自身看得连动物都不如，于是便有了Franz Kafka在Metamorphosis开头在文学作品文献中最为著名的一句话： As Gregor Samsa awoke one morning from uneasy dreams he found himself in his bed intro a gigantic insect。 以上简短而又肤浅的思想只是想说明一点，那就是the loss of transcendence是西方文明的一根主线，一条不变的定律。不管是音乐，文学，还是绘画，雕塑等都是围绕着它来运转着。下面是我从文件夹深处挖出来的一篇大一时写的论文——法国文学中的妓女，或多或少牵涉到了文学和音乐的关系。现在看起来非常幼稚，但仍不失为一篇动情之作——我记得我写的时候泪水情不自禁的滚了下来。“凡文，以意味主，气为辅，采辞章句为之兵卫”，我那时写出了感情，我就认为这是一篇我的佳作。 Prostitutes in French literature I see no reason why I have got so involved in such stories concerning miserable belles in French literature. I can still recall how I was deeply touched to tears after I finished La Dame aux Camellias by A. Dumas FILS when I was a mere senior high school student. Actually, I had had a little acquaintance with the opera La Traviata even earlier than I read the original book. The movie edition I saw, presented by Metropolitan Opera House with Placido Domingo as Alfredo (Armand), continues to linger on in my mind, not to mention the melody by Giuseppe Verdi. As the music comes to the final act with the atmosphere chilly and the scene dim and Violetta breaks down in a sofa and gently moans: “ Addio! Del passato… Ah! gran Dio… (farewell then, forever)”, I am so impressed that I do not think I even know how to forget it. What I treasure most in this novel is the courage Marguerite Gautier, the courtesan, summons up to rebel the society as well as the convention, which chains her firmly to so-called “prostitutes’ class”. Also worth valuing are her unyielding and continuous endeavours to seek after true love without paying attention to others gossip or strong resistance from her wealthy patrons. Marguerite is a perfect creature Dumas meant to portray. He endowed her with every virtue: beauty, elegance, grace, and most important, her remaining devoted and loyal to her beloved—Armand from time to time, which distinguishes her from anyone around her. She is like a goddess indeed. The underlying aim of the author doing so, I believe, is that he preferred us to pay respect rather than bestow tears to her since sympathy results in understanding while admiration leads to passion. Thus can we deprive power from the novel and defy convention without hesitation or conservation. Of almost equal brilliance and significance is the love story Manon Lescaut written by L’Abbe Prevost. I also came to know it through the celebrated operas by Jules Massenet and Giacomo Puccini. By reading this book, I get to find the story is far more than enough to break my heart. Chevalier passionately falls in love with Manon at the first sight and decides to be her escort. Manon accepts his affection and soon becomes crazy about him. You can imagine how a young man of social eminence, due to his attachment for a courtesan, is opposed by his father—Count de Grieux and how painful Manon is constantly threatened and tempted by her noble acquaintances! On account that she loves him to distraction, she unwarily enrages some aristocrats of power. Thus, she is forced to leave him, being sent to Reformatory twice and, consequently, exiled to America. She dies exhausted in Chevalier’s arms. Either Marguerite or Manon has been immortal fair lady ever-appeared in French literature. It is generally considered that French literature is always too romantic and too beautiful to be true. However, due to the authors’ backgrounds and their unique skills in writing, you will not sense any unrealistic feelings for both novels. The unfortunate prostitutes, Marguerite and Manon, are both quintessence of the women who long for true love yet fail to escape thoroughly from the traditional values and, as a result, are suffocated and suffer a lot. What impresses me most is the dig-nity they cherish now and then. Even for an ordinary woman it is sometimes very difficult to remain dignified personality and keeps faithful to her lover, not to mention these prostitutes. On the whole, either prostitute is well worth respecting and admiring. Their loyalty and dignity, both internal and external, only add to their beauty and make the stories move rocks. Tragedies as they are, the authors cannot help but end them with sad epilogues. Countless lovers of different classes being separated or isolated from each other seems to be a universal principle ever since the Garden of Eden. It reminds me of the Chinese saying: “Wish all the lovers in the world to couple.” Nevertheless, I can only regard it as a wish—a fair kind of wish, but a wish nonetheless! deRud ---- 
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