诗、诗人与拯救
摘要
19世纪初,年轻的济慈走到了赫拉克勒斯式的十字路口:在这样的时代,要过怎么样的人生?药剂师还是诗人?同时,济慈发现自己站在浪漫主义时代的十字路口:为传统神话招魂还是为新纪元殉道?这两个十字路口在济慈眼前渐渐模糊,隐没在时间的晦暗深林里。济慈选择的不是成为一个耽于感官的唯美诗人,而是走在生命的雾霭小径上寻求灵魂救赎之道的诗哲,每一个脚印都透出他的不安、焦虑和迷惘。
本文即以济慈的诗歌与书信为材料,从生命哲学角度详细诠释和初步评价济慈的信念体系。全文大致分为四章:
第一章首先介绍济慈的人生轨迹并总论济慈信念体系的内容,诠释了他的一套新的拯救体系或造魂体系,即个体需要一个充满苦难和烦恼的世界来磨砺心智、铸成灵魂。这是带有宗教色彩、旨在自救的审美人文主义。物质世界不仅不可或缺而且服务于审美人文主义的精神世界。这种拯救体系要求诗化的生命体验,诗的重要性不言而喻。
第二章具体诠释了在济慈的信念体系中诗与想象力的功能。诗歌充当诗人向世界赋予意义的言说形式,必须探索心灵晦暗不明的迷宫,提升人的精神境界。诗歌的世界就属于那些在现世中感到不安、又不愿离弃现世的人的世界。在诗歌中,美与丑、乐与忧、物质与精神等靠想象力交融在一起以达到超验的真实。
第三章剖析了济慈式诗人的特点与使命及其与痴梦者的区别。济慈式诗人的特点就是诗人是“无自我”的,并赋有“消极感受力”,就如耶稣或者苏格拉底,无所住心。在现世里诗人充当圣者、人本主义者及心灵医生的角色,用诗歌来承担人生之谜的负累。诗人是痴梦者的对立面。诗人利用审美精神自救进而救世,抚慰苦难世界,而痴梦者让生命在苦难世界里沉沦。
第四章评估了在当时希腊人文主义复兴的历史语境下济慈信念体系面临的困境。济慈一方面在古希腊神话的光辉下感到不安、焦虑、甚至绝望;一方面又期望把神话的光辉做为艺术之美的光源,借古希腊人文主义显示审美精神的价值。随着理性形而上学驱散了神话,济慈面对的古希腊神话却成为“冰冷的牧歌,”“沉默的大理石。”绝望和空虚成为他的神话诗歌的隐隐的基调。他后期的抒情诗充满了意义虚无的情绪。“无自我”的诗人越来越被自我情感束缚。
结论部分从济慈的死亡哲学出发肯定了他的新的拯救体系。在他看来,死亡不是人生的终点,而是人生的最高报偿。因为死亡具有极高极其彻底的强度能使人超越短暂的现世,进而与万全融合一起。
In the beginning of 19th century, young John Keats came to the critical Herculesian crossroad: how to live a worth life in this era, to be an apothecary or a poet? Meanwhile, he found himself standing at another crossroad of the Romanticism: whether to restore the lost mythology or to welcome the impending modern era as martyr? The two crossroads gradually became obscured and blended with each other before Keats, and then vanished into the dark woods of time. Keats chose not to be an aesthetic poet who abandoned himself to sensory pleasure, but an poet philosopher who walked on the little misty road of life seeking the redemption of soul, with every step suggesting his anxiety, inquietude and confusion.
This dissertation, while analyzing the materials like Keats’s poetry and letters, centers about explaining and preliminarily evaluating Keats’s belief system from the perspective of philosophy of life. The whole dissertation consists of four chapters.
The first chapter first introduces Keats’s life and a general survey of his belief system. He put forth a new grander system of salvation, or a system of spirit-creation than Christianity: individual necessarily need a world of pains and troubles to school an intelligence and make it a soul? It is more like aesthetic humanism with a tinge of religion, and initially aims to reach self-redemption. The materials of this world are indispensable and serve both humanist and spiritual ends. Meanwhile, this spirit-creation requires poeticizing the life experiences, which apparently make the importance of poesy understood.
The second chapter specifically explains the mission of poesy and the function of poetic imagination according Keats’s belief system. Poetry fundamentally is an expression by which poet endues this world with meaning. Poetry characterizes the interchange between the contraries of life and the fusion of the material and spiritual through the medium of sensation and imagination. So Poesy should penetrate into the dark passages of human life, soothe the cares, and lift the thoughts of human. Hence, poetry belongs to those who feel anxiety in this world but still unwilling to abandon it.
The third chapter analyses the characteristics and the missions of Keatsian poet and his differences from the dreamer. The characters that enable Keatsian poet to stand out are that he is the poet of no self or no identity, and more importantly, the poet of“negative capability”, just like the Christ and Socrates with their hearts completely disinterested. In this world, poet should serve as a sage, humanist and physician, and bear the burden of the mystery. The poet is the dreamer’s sheer opposite. The dreamer venoms all his days while the poet pours out a balm upon the world by aesthetic spirit.
The forth chapter evaluates the predicament that vexes Keats’s belief system in the context of the revival of Hellenism. On the one hand, Keats seems an artist in anxiety and despair over the magnitude of antique fragments. On the other hand, he expects the reviving of Hellenism so that the mythology can be the illuminant of poetry and help reveal the value of aesthetics. With the rational metaphysics driving away the mythos, the glory of mythology in Keats’s poems turns out to be“cold pastoral”and“silent marble”. Despair and vain can best describe the indistinct tone of his mythological poetry. His late lyrics reveal the mood of meaninglessness and nihility. The poet of no identity becomes more and more self-possessed.
The conclusion reaffirms Keats’s new system of salvation by evaluating his philosophy of death, which, to his mind, is not an end or relief but a life’s high meed because it has superior intensity so as to transcend the briefness of this world and merge into the permanence.
本文即以济慈的诗歌与书信为材料,从生命哲学角度详细诠释和初步评价济慈的信念体系。全文大致分为四章:
第一章首先介绍济慈的人生轨迹并总论济慈信念体系的内容,诠释了他的一套新的拯救体系或造魂体系,即个体需要一个充满苦难和烦恼的世界来磨砺心智、铸成灵魂。这是带有宗教色彩、旨在自救的审美人文主义。物质世界不仅不可或缺而且服务于审美人文主义的精神世界。这种拯救体系要求诗化的生命体验,诗的重要性不言而喻。
第二章具体诠释了在济慈的信念体系中诗与想象力的功能。诗歌充当诗人向世界赋予意义的言说形式,必须探索心灵晦暗不明的迷宫,提升人的精神境界。诗歌的世界就属于那些在现世中感到不安、又不愿离弃现世的人的世界。在诗歌中,美与丑、乐与忧、物质与精神等靠想象力交融在一起以达到超验的真实。
第三章剖析了济慈式诗人的特点与使命及其与痴梦者的区别。济慈式诗人的特点就是诗人是“无自我”的,并赋有“消极感受力”,就如耶稣或者苏格拉底,无所住心。在现世里诗人充当圣者、人本主义者及心灵医生的角色,用诗歌来承担人生之谜的负累。诗人是痴梦者的对立面。诗人利用审美精神自救进而救世,抚慰苦难世界,而痴梦者让生命在苦难世界里沉沦。
第四章评估了在当时希腊人文主义复兴的历史语境下济慈信念体系面临的困境。济慈一方面在古希腊神话的光辉下感到不安、焦虑、甚至绝望;一方面又期望把神话的光辉做为艺术之美的光源,借古希腊人文主义显示审美精神的价值。随着理性形而上学驱散了神话,济慈面对的古希腊神话却成为“冰冷的牧歌,”“沉默的大理石。”绝望和空虚成为他的神话诗歌的隐隐的基调。他后期的抒情诗充满了意义虚无的情绪。“无自我”的诗人越来越被自我情感束缚。
结论部分从济慈的死亡哲学出发肯定了他的新的拯救体系。在他看来,死亡不是人生的终点,而是人生的最高报偿。因为死亡具有极高极其彻底的强度能使人超越短暂的现世,进而与万全融合一起。
In the beginning of 19th century, young John Keats came to the critical Herculesian crossroad: how to live a worth life in this era, to be an apothecary or a poet? Meanwhile, he found himself standing at another crossroad of the Romanticism: whether to restore the lost mythology or to welcome the impending modern era as martyr? The two crossroads gradually became obscured and blended with each other before Keats, and then vanished into the dark woods of time. Keats chose not to be an aesthetic poet who abandoned himself to sensory pleasure, but an poet philosopher who walked on the little misty road of life seeking the redemption of soul, with every step suggesting his anxiety, inquietude and confusion.
This dissertation, while analyzing the materials like Keats’s poetry and letters, centers about explaining and preliminarily evaluating Keats’s belief system from the perspective of philosophy of life. The whole dissertation consists of four chapters.
The first chapter first introduces Keats’s life and a general survey of his belief system. He put forth a new grander system of salvation, or a system of spirit-creation than Christianity: individual necessarily need a world of pains and troubles to school an intelligence and make it a soul? It is more like aesthetic humanism with a tinge of religion, and initially aims to reach self-redemption. The materials of this world are indispensable and serve both humanist and spiritual ends. Meanwhile, this spirit-creation requires poeticizing the life experiences, which apparently make the importance of poesy understood.
The second chapter specifically explains the mission of poesy and the function of poetic imagination according Keats’s belief system. Poetry fundamentally is an expression by which poet endues this world with meaning. Poetry characterizes the interchange between the contraries of life and the fusion of the material and spiritual through the medium of sensation and imagination. So Poesy should penetrate into the dark passages of human life, soothe the cares, and lift the thoughts of human. Hence, poetry belongs to those who feel anxiety in this world but still unwilling to abandon it.
The third chapter analyses the characteristics and the missions of Keatsian poet and his differences from the dreamer. The characters that enable Keatsian poet to stand out are that he is the poet of no self or no identity, and more importantly, the poet of“negative capability”, just like the Christ and Socrates with their hearts completely disinterested. In this world, poet should serve as a sage, humanist and physician, and bear the burden of the mystery. The poet is the dreamer’s sheer opposite. The dreamer venoms all his days while the poet pours out a balm upon the world by aesthetic spirit.
The forth chapter evaluates the predicament that vexes Keats’s belief system in the context of the revival of Hellenism. On the one hand, Keats seems an artist in anxiety and despair over the magnitude of antique fragments. On the other hand, he expects the reviving of Hellenism so that the mythology can be the illuminant of poetry and help reveal the value of aesthetics. With the rational metaphysics driving away the mythos, the glory of mythology in Keats’s poems turns out to be“cold pastoral”and“silent marble”. Despair and vain can best describe the indistinct tone of his mythological poetry. His late lyrics reveal the mood of meaninglessness and nihility. The poet of no identity becomes more and more self-possessed.
The conclusion reaffirms Keats’s new system of salvation by evaluating his philosophy of death, which, to his mind, is not an end or relief but a life’s high meed because it has superior intensity so as to transcend the briefness of this world and merge into the permanence.
引文
1 Newell F. Ford, The Prefigurative Imagination of John Keats. (Stanford:Stanford UP,1951) 14-15.
2, 22 Robert M. Ryan, Keats: The Religious Sense. (Princeton: Princeton University Press, 1973) 208.
3 Ronald A. Sharp, Keats, Skepticism, and the Religion of Beauty. (Athens: University of Georgia Press, 1979) 5-6.
4 This view can be seen in David Perkins’s The Quest for permanence: The Symbolism of Wordsworth, Shelly and Keats. (Cambridge, Mass.: Harvard Up, 1965) 15.
5 Stuart M Sperry, Keats the Poet. (Princeton: Princeton UP, 1973) 15.
6 Some western scholars claim the religious traits of Keats’s new system of salvation as a Gnosticism. It’s very provocative. In western tradition, Gnosticism is defined as a mystical clue to self-knowledge and self-redemption, which placed an immense influence on Romanticism and coincided with Keats’s new system of salvation. It’s a pity Gnosticism seldom appears in literary studies at home.
7,30 Richard Monckton Milnes, Life, Letters, and Literary Remains of John Keats. (New York: Dutton; London: Dent, 1969) 23.
8,9 Jennifer N Wunder, Keats, Hermeticism, and the Secret Societies. (Hampshire: Ashgate Publishing Limited, 2007) 26.
10 Freiedrich Nietzsche,“The Birth of Tragedy”, The Complete Works of Nietzsche.
11 vols. (New York: The Macmillan Company, 1913) vol.II. 346.
11诺瓦利斯:《断片》第62页,转引自刘小枫:《诗化哲学》(上海:华东师范大学出版社,2006)第102页
12《诺瓦利斯文选》,第三卷,第297页,转引自刘小枫:《诗化哲学》(上海:华东师范大学出版社,2006)第79页
13 Bernard Blackstone, The Consecrated Urn, an Interpretation of Keats in Terms of Growth and Form. (London: Longmans, Green and CO., 1959)115-117
14 Stanley Rosen, The Quarrel between Philosophy and Poetry. (Routhledge:Chapman & Hall, Inc. 1988)23.
15 Plato,“the Republic,”the Complete Works of Plato. (Hertfordshire: Cumberland House,1997) 179, 186.
16 Plato,“Phaedo”the Complete Works of Plato. (Hertfordshire: Cumberland House,1997) 159. In Plato’s works, music and poetry are identical, and mousike refers to both music and poesy.相关论述参见陈中梅著:《柏拉图诗学与艺术思想研究》,(北京:商务印书馆,1999)第264页
17转引自胡家峦著:《历史的星空—文艺复兴时期英国诗歌与传统宇宙论》,(北京:北京大学出版社,2001)第312页
18 Abrams, M. H. The Norton Anthology of English Literature: The Major Authors. 6th Ed. (London: W. W. Norton & Company, Inc, 1990), 1546.
19 Freiedrich Nietzsche,“The History of an Error”, The Complete Works of Nietzsche.
11 vols. (New York: The Macmillan Company, 1913) vol.III. 214.
20谢林:《艺术哲学》,魏庆新译,(北京:中国社会出版社,1996)第96页
21 Wilhelm Dilthey, Poetry and Experience. (Princeton: Princeton UP, 1985) 113.
23,24 Quoted from Jennifer N Wunder, Keats, Hermeticism, and the Secret Societies. (Hampshire: Ashgate Publishing Limited, 2007) 105.
25 Walter Bate, John Keats. (Cambridge, Mass.: Harvard UP, 1963) 240.
26, 29 Stuart M. Sperry, Keats the Poet. (Princeton: Princeton University Press, 1973) 5.
27 Bernard Blackstone, The Consecrated Urn, an Interpretation of Keats in Terms of Growth and Form. (London: Longmans, Green and CO., 1959) 269.
28 David Masson, Wordsworth, Shelley, Keats, and Other Essays. (London: Mcmillan and Co., 1925) 245.
31 In romantic era, poet was nearly identical with priest, which could be suggested in the poet and romantic philosopher Novalis’s works. Even in ancient Greek era, Hesiod, in Theology, said that Muses“plucked a staff, a branch of luxuriant laurel, a marvel and gave it to me; and they breathed a divine song into me”and claim that“we know how to say many false things similar to genuine ones, but we know, when we wish, how to proclaim true things.”In this sense,“say falsethings similar to genuine ones”and“proclaim true things”seem the divine gifts that are given to poets by Muses, and moreover, poetic mission is divinized by receiving the“staff, a branch of luxuriant laurel”which appears to be a scepter symbolizing authority and majesty. Thus Keats’s view on poet reflects the western traditional poetics.
32 T.S.Eliot,“Tradition and the Individual Talent”(1917), Selected Essays: 1917-1932 (New York:Harcourt Brace,1932), 9-10.
33 David S Ferris, SILENT URNS: Romanticism, Hellenism, Modernity. (Stanford: Stanford University Press, 2000), 15.
34 Matin Aske, Keats and Hellenism: An Essay. (Cambridge: Cambridge University Press, 2004), 36.
35 Quoted from Alan Richardson,“Keats and Romantic Science”in the Cambridge Companion to John Keats. (Cambridge: Cambridge University Press, 2001), 237.
36 S.T. Coleridge, Lectures 1808-1819 On Literature, ed. R.A. Foakes, 2 vols. (Princeton: Princeton University Press, 1987), 2.224.
37 Der Doktorwürde Erlangung, Towards a Poetics of Becoming: Samuel Taylor Coleridge’s and John Keats’s Aesthetics between Idealism and Deconstruction. (Regensburg University, 2004), 517. In his essay, Erlangung discussed Keats’s philosophy of death from the standpoint of Gnosticism.
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Blackstone, Bernard. The Consecrated Urn, an Interpretation of Keats in Terms of Growth and Form. London: Longmans, Green and CO., 1959.
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Evert, Walter H. Aesthetic and Myth in the Poetry of Keats. Princeton: Princeton University Press, 1965.
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2, 22 Robert M. Ryan, Keats: The Religious Sense. (Princeton: Princeton University Press, 1973) 208.
3 Ronald A. Sharp, Keats, Skepticism, and the Religion of Beauty. (Athens: University of Georgia Press, 1979) 5-6.
4 This view can be seen in David Perkins’s The Quest for permanence: The Symbolism of Wordsworth, Shelly and Keats. (Cambridge, Mass.: Harvard Up, 1965) 15.
5 Stuart M Sperry, Keats the Poet. (Princeton: Princeton UP, 1973) 15.
6 Some western scholars claim the religious traits of Keats’s new system of salvation as a Gnosticism. It’s very provocative. In western tradition, Gnosticism is defined as a mystical clue to self-knowledge and self-redemption, which placed an immense influence on Romanticism and coincided with Keats’s new system of salvation. It’s a pity Gnosticism seldom appears in literary studies at home.
7,30 Richard Monckton Milnes, Life, Letters, and Literary Remains of John Keats. (New York: Dutton; London: Dent, 1969) 23.
8,9 Jennifer N Wunder, Keats, Hermeticism, and the Secret Societies. (Hampshire: Ashgate Publishing Limited, 2007) 26.
10 Freiedrich Nietzsche,“The Birth of Tragedy”, The Complete Works of Nietzsche.
11 vols. (New York: The Macmillan Company, 1913) vol.II. 346.
11诺瓦利斯:《断片》第62页,转引自刘小枫:《诗化哲学》(上海:华东师范大学出版社,2006)第102页
12《诺瓦利斯文选》,第三卷,第297页,转引自刘小枫:《诗化哲学》(上海:华东师范大学出版社,2006)第79页
13 Bernard Blackstone, The Consecrated Urn, an Interpretation of Keats in Terms of Growth and Form. (London: Longmans, Green and CO., 1959)115-117
14 Stanley Rosen, The Quarrel between Philosophy and Poetry. (Routhledge:Chapman & Hall, Inc. 1988)23.
15 Plato,“the Republic,”the Complete Works of Plato. (Hertfordshire: Cumberland House,1997) 179, 186.
16 Plato,“Phaedo”the Complete Works of Plato. (Hertfordshire: Cumberland House,1997) 159. In Plato’s works, music and poetry are identical, and mousike refers to both music and poesy.相关论述参见陈中梅著:《柏拉图诗学与艺术思想研究》,(北京:商务印书馆,1999)第264页
17转引自胡家峦著:《历史的星空—文艺复兴时期英国诗歌与传统宇宙论》,(北京:北京大学出版社,2001)第312页
18 Abrams, M. H. The Norton Anthology of English Literature: The Major Authors. 6th Ed. (London: W. W. Norton & Company, Inc, 1990), 1546.
19 Freiedrich Nietzsche,“The History of an Error”, The Complete Works of Nietzsche.
11 vols. (New York: The Macmillan Company, 1913) vol.III. 214.
20谢林:《艺术哲学》,魏庆新译,(北京:中国社会出版社,1996)第96页
21 Wilhelm Dilthey, Poetry and Experience. (Princeton: Princeton UP, 1985) 113.
23,24 Quoted from Jennifer N Wunder, Keats, Hermeticism, and the Secret Societies. (Hampshire: Ashgate Publishing Limited, 2007) 105.
25 Walter Bate, John Keats. (Cambridge, Mass.: Harvard UP, 1963) 240.
26, 29 Stuart M. Sperry, Keats the Poet. (Princeton: Princeton University Press, 1973) 5.
27 Bernard Blackstone, The Consecrated Urn, an Interpretation of Keats in Terms of Growth and Form. (London: Longmans, Green and CO., 1959) 269.
28 David Masson, Wordsworth, Shelley, Keats, and Other Essays. (London: Mcmillan and Co., 1925) 245.
31 In romantic era, poet was nearly identical with priest, which could be suggested in the poet and romantic philosopher Novalis’s works. Even in ancient Greek era, Hesiod, in Theology, said that Muses“plucked a staff, a branch of luxuriant laurel, a marvel and gave it to me; and they breathed a divine song into me”and claim that“we know how to say many false things similar to genuine ones, but we know, when we wish, how to proclaim true things.”In this sense,“say falsethings similar to genuine ones”and“proclaim true things”seem the divine gifts that are given to poets by Muses, and moreover, poetic mission is divinized by receiving the“staff, a branch of luxuriant laurel”which appears to be a scepter symbolizing authority and majesty. Thus Keats’s view on poet reflects the western traditional poetics.
32 T.S.Eliot,“Tradition and the Individual Talent”(1917), Selected Essays: 1917-1932 (New York:Harcourt Brace,1932), 9-10.
33 David S Ferris, SILENT URNS: Romanticism, Hellenism, Modernity. (Stanford: Stanford University Press, 2000), 15.
34 Matin Aske, Keats and Hellenism: An Essay. (Cambridge: Cambridge University Press, 2004), 36.
35 Quoted from Alan Richardson,“Keats and Romantic Science”in the Cambridge Companion to John Keats. (Cambridge: Cambridge University Press, 2001), 237.
36 S.T. Coleridge, Lectures 1808-1819 On Literature, ed. R.A. Foakes, 2 vols. (Princeton: Princeton University Press, 1987), 2.224.
37 Der Doktorwürde Erlangung, Towards a Poetics of Becoming: Samuel Taylor Coleridge’s and John Keats’s Aesthetics between Idealism and Deconstruction. (Regensburg University, 2004), 517. In his essay, Erlangung discussed Keats’s philosophy of death from the standpoint of Gnosticism.
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