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易卜生的诗歌写作存在三种向度,即以政治事件为对象的外观向度、以人生哲学为对象的内视向度和以动物植物为对象的象征向度,表明其诗歌写作始终处于不稳定形态,其对诗歌艺术的探索还处在途中。同时,它在一定程度上直接预示了其后来的戏剧写作形态:早期浪漫主义诗剧、中期社会问题剧和后期象征剧。三种向度之间表面上没有必然联系,却存在着诸多内在关联,有所交叉与渗透。它也形成其诗歌的三种艺术形态:外观形态是其心绪在相当激烈与波动情况下的不得已;内视形态是其心情宁静与明朗的表征;象征形态是其在凝神聚气下的超越情怀与时空穿透力的体现。以三种向度和三种形态为主要内容的艺术图式的产生与其后期的诗学观念存在一定距离,说明诗人对诗歌文体本质与特征的认识有一个发展与成熟的过程。
Ibsen’s poetic writing has three kinds of dimensions, that is, the outward appearance of the object of political events, the inward-looking dimension of life philosophy and the symbolic orientation of animal plants, indicating that poetry writing is always in Unstable form, its exploration of the art of poetry is still on the way. At the same time, it directly predicts the writing form of the later drama directly: early romantic poetry drama, mid-term social drama and later symbolic drama. There is no necessary connection on the surface between the three kinds of dimensions, but there are many internal connections that cross and infiltrate. It also forms the three artistic forms of its poetry: appearance is the last resort of its mood under the condition of fierceness and fluctuation; the appearance of inner vision is the representation of its calm and clear mood; the symbolic form is its surpassing feeling And the expression of time and space penetration. The emergence of artistic schema with three kinds of orientation and three forms as the main content has some distance from the poetic concepts of the later period. It shows that the poet has a process of development and maturation of the understanding of the nature and characteristics of the style of poetry.