摘要
莱辛(1729-1781年)在《拉奥孔》"前言"中曾发人深省地指出,该书的出发点仅仅"仿佛"是拉奥孔;而其全书三分之一以上篇幅则主要关注荷马史诗,特别是《伊利亚特》。本文从上述重要事实出发,首先细致分析了温克尔曼意义上的静穆与莱辛所倡导之荷马意义的号喊所形成的对照关系,并在此基础上较全面考察了莱辛在《拉奥孔》中讲述荷马故事的独特方式。论文认为,莱辛的启发意义在于,在温克尔曼所代表的雕刻般地面对苦难与荣光的方式之外,我们至少还应该有另外一种选择的可能,那就是荷马的即诗的方式,也就是古代的方式。这后一种方式,乃是"更高的类别的人"的方式,与野蛮人相区别,更与文明的现代人不可同日而语。
Laokoon by G.E.Lessing（1729-1781） has long been considered as a masterpiece of modern aesthetics pertaining to the limits of painting and poetry.However,this controversial book,in fact discussed more about Homeric epic than about Laokoon if we take its content into consideration.So Lessing himself mentioned in its introduction not without connotation that Laokoon was only seemingly（gleichsam） his starting point.The present paper tries to highlight the differences between the quietness in Winckelmann＇s sense and the crying in that of Iliad which Lessing specifically emphasized,and then purports to follow Lessing＇s way to understand the significances of those Homeric stories in the context of the quarrel between the ancient and the modern.For Lessing,the ideal human being or wahre Menschen is not only different from the barbarians but also from our quiet and narrow-minded moderns.
出处
《文艺理论研究》
CSSCI
北大核心
2012年第1期28-35,共8页
Theoretical Studies in Literature and Art
关键词
莱辛
《拉奥孔》
荷马史诗
古今之争
G.E.Lessing Laokoon Homeric epic debate between the Ancient and the Modern
