论瓦格纳打破“叔本华循环”的方式 ——对歌剧《特里斯坦和伊索尔德》的意志主义解读  

On Wagner s Way of Breaking the“Schopenhauer Cycle”:A Voluntarist Interpretation of the Opera Tristan and Isolde

作　　者：奚望 XI Wang

机构地区：[1]北京大学哲学系

出　　处：《北京社会科学》2024年第5期57-69,共13页Social Sciences of Beijing

摘　　要：叔本华循环显示出人生永远陷于痛苦和无聊的循环中,只有在禁欲中熄灭生命意志,才能从循环中获得救赎。瓦格纳用歌剧《特里斯坦和伊索尔德》呈现所谓生命意志的熄灭,但主角不是在禁欲中而是在强烈的爱欲中弃绝世界、获得救赎。尽管有学者质疑这种爱欲未脱离个体化存在,仍囿于叔本华循环,但通过研究该歌剧文本及相关论著可得知,爱欲是一种单向的欲望,不寻求“生”的满足,而是通过否定个体生命及其欲求来实现救赎,因此脱离了叔本华循环。爱欲也体现为剧中不寻求解决的、单向的音乐,打破了传统音乐中不稳定—单调的循环,也暗示着叔本华循环的瓦解。然而,这种旨在否定生命的爱欲激发了狂热的非理性冲动,并创造了审美体验,又将成为肯定生命的力量。The Schopenhauer Cycle shows that life is perpetually ensnared in a cycle of suffering and boredom,and that the only way to achieve redemption from this cycle is to extinguish the will to live through abstinence.Wagner,in his opera Tristan and Isolde,presents the extinguishing of the so-called will to live.However,its protagonists renounce the world and achieve redemption not through abstinence,but intense eros.Many scholars argue that this kind of eros does not separate from the individual existence and is still confined to the schopenhauer cycle.However,through studying the text of this opera and related textual discussions,it can be concluded that this fervent eros is a unidirectional desire that does not seek satisfaction of life but seek redemption through denying individual life and its desire,and therefore it is seperated Schopenhauer Cycle.Furthermore,in the music of this opera,eros is manifested as one-directional music that does not seek resolution,breaking the traditional music pattern of instability-monotony cycles and implying the dissolution of Schopenhauer Cycle.Nevertheless,this desire to deny life stimulates a fanatical irrational impulses and creates aesthetic experience,thus in turn becomes a force that affirms life.

关 键 词：爱欲 叔本华 瓦格纳歌剧 特里斯坦和弦 救赎 

分 类 号：B505[哲学宗教—外国哲学]