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《埃涅阿斯纪》卷六结尾的“睡梦之门”历来是维吉尔研究的重点之一。本文介绍并评析了20世纪初以来西方维吉尔研究界对“睡梦之门”的诸种解释。在从荷马到柏拉图再到西塞罗的冥府叙述传统的框架下重新考察维吉尔笔下埃涅阿斯的冥府之旅,会发现维吉尔实际上是传统诗学资源最完美的综合者,他改编了荷马和柏拉图冥府之旅的叙述方式,不再将冥府之旅塑造成一个实实在在的事件,而是通过睡梦之门这个诗学手段否定了冥府之旅的实存性。同时,维吉尔也不像西塞罗那样追随伊壁鸠鲁主义哲学的新潮,直白地说埃涅阿斯的冥府之旅就是一个幻梦,而仅隐晦地点明这一点。通过睡梦之门的精妙设计,维吉尔在冥府叙述的传统和哲学研究的新潮之间找到了一个完美的结合点。
One of the focuses of Virgil’s research has always been the “Sleeping Door” at the end of the Aeneas. This article presents and comments on various explanations of “Sleeping Door ” by the research community in the West by Virgil since the beginning of the 20th century. In the framework of narrative traditions from Homer to Plato to Cicero, a revisit of the Underworld trip of Aeneas by Virgil will reveal that Virgil is in fact the perfect synthesizer of traditional poetic resources and that he Adapt the narration of Homer and Plato’s Hades trip, no longer the Hades trip into a real event, but through the poetic means of the door of sleep denied the existence of Hades trip. At the same time Virgil does not follow Epicureanism’s trendy trend as Cicero did. Frankly speaking, Aeneas’s Hades trip is a dream, but only shows it vaguely. Through the ingenious design of Sleeping Door, Virgil has found a perfect combination between the tradition of the Hades narration and the wave of philosophical research.