从里尔克《杜伊诺哀歌》第八首看西方写实主义传统.pdfVIP

I. Introduction: Rilke’s The 8th Duino Elegy and Western Realistic Tradition 從里爾克《杜伊諾哀歌》第八首看西方寫實主義傳統 Rilke, The Eighth Elegy With all its eyes the natural world looks out 生物睜大眼睛注視著 into the Open. Only our eyes are turned 空曠。只有我們的眼睛 backward, and surround plant, animal, child 彷彿倒過來，將它團團圍住 like traps, as they emerge into their freedom. 有如陷阱，圍住它自由的出口。 We know what is really out there only from 外面所有 的一切，我們只有從動物的 the animals gaze; for we take the very young 臉上才知道;因為我們把幼兒 child and force it around, so that it sees 翻來轉去，迫使它向後 凝視 objects—not the Open, which is so 形體，而不是在動物眼中顯得 deep in animals faces. 如此深遂的空曠。 Rilke, The Eighth Elegy 這就叫做命運:對立， 捨此無它：永遠對立。 …… 而我們：觀望者，永遠，到處 轉向物的世界，卻從不望開去! 了。 我們重新整頓它，自己也崩潰了。 誰把我們如此地扭曲，以致我們 不論做什麼，都保留 一個離別者的態度?就好像在 山谷 他轉過身來，駐足，流連―― 我們就這樣生活著，並不斷告別。 • The order of Knowledge: Raphael’s School of Athens • The order of War: Ucello’s The Battle of San Romano, (1456) • The order of inspiration: Fra Angelica’s Annunciation , • Landscape as the expanse of quest: Gozzali’s Procession of the Magi (1459- 61) • Landscape as possession: Francesca’s Double Portrait of Federigo da Montefelttro and his wife Battista Sfoza (c. 1470) • Landscape as possession: Gainsbo