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本文以歌德的戏剧《埃格蒙特》为研究个案,指出该作代表了歌德思想的重要转折标志,即由浪漫思脉向启蒙思脉的转向。一方面提出“埃格蒙特-奥兰宁结构”以凸显埃格蒙特这一人物类型的重要意义;另一方面则进一步追问英雄向死而生的命题,适当时引入克莱斯特的名作《洪堡王子》略作参照,凸显德国启蒙背景下不同代表性作家的思路差别。最后揭示此剧作为歌德转型启蒙之作的意义,是歌德倾向于启蒙思脉的重要标志,即在爱情与秩序之间的自由诉求。这是一种向现实妥协的选择,但也是一种告别青春浪漫时代的向社会的必由之路。
This article takes Goethe’s drama “Egmont” as a case study, pointing out that this book represents an important turning point in Goethe’s thought, that is, the shift from romantic thought to enlightenment. On the one hand, he proposed “the structure of Egmont-Orlanin” to highlight the significance of Egmont’s character type; on the other hand, he further asked the hero’s death to the proposition, introducing Christie’s Masterpiece “Humboldt” a little reference, highlighting the German enlightenment under the background of different representative writers different ideas. Finally, revealing the meaning of the play as the Goethe’s transitional enlightenment is an important symbol of Goethe’s tendency to enlightenment, that is, the free appeal between love and order. This is an option of compromise with reality, but it is also the only way to say goodbye to a youthful romantic era to society.