“相恋”中的相悖:《诗人之恋》的诗乐关系  

Fusion and Contradiction:On the Relationship between Poetry and Music in“Dichtliebe”

作　　者：卓睿 周荣胜[2] ZHUO Rui;ZHOU Rongsheng

机构地区：[1]上海师范大学教育学院,上海200234 [2]复旦大学中文系,上海200433

出　　处：《上海师范大学学报（哲学社会科学版）》2022年第2期77-84,共8页Journal of Shanghai Normal University(Philosophy & Social Sciences Edition)

摘　　要：由海涅诗集《抒情的间奏》中的16首诗歌谱曲而成的艺术歌曲套曲《诗人之恋》,是德奥浪漫主义音乐史上诗乐结合的经典。在海涅的诗歌中,诗人运用个性鲜明的反讽手法,即在对浪漫主义抒情诗歌进行模仿后反转出反浪漫的批判内涵。舒曼运用音乐的手法,在歌曲中为“海涅式反讽”的双重意味与言不由衷提供了对等的呼应。然而,舒曼的诗意构建并不完全忠实于海涅原诗,音乐家前卫的调性布局与旧旋律的断片式插入,折射出浪漫主义反讽的唯心哲学意蕴,形成二重的反讽维度,从而体现出融合且独立的诗乐关系。“Dichtliebe”is a set of art songs composed of 16 poems in Heine’s poetry collection Lyrisches Intermezzo.“Dichtliebe”is a classic that combines poetry and music in the history of German and Austrian romantic music.Heine’s poems appear to be simply constructed from familiar romantic motifs,but conclude with the turn or ironic twist,which challenge the ideal of harmony and the idyllic world found in the literature of the preceding period.Schumann appreciates and reflects Heine’s bitter irony in“Dichtliebe”.However,Schumann’s poetic construction is not completely faithful to Heine’s original poems.The musician’s avant-garde tonal layout and the fragmented insertion of old melodies reflect the idealistic philosophical implication of romantic irony,forming a double dimension of irony,which reflects an integrated and independent relationship between poetry and music.

关 键 词：反讽 反转 浪漫主义 悖立 断片 诗人之恋 海涅 舒曼 

分 类 号：J65[艺术—音乐]