摘要
但丁随《天国篇》部分手稿呈流亡时期庇护人的《致斯加拉大亲王书》,再度强调诗为寓意说。这一诗学可以上溯到阿奎那的经院哲学。但丁安排秉承亚里士多德哲学的阿奎那来主持协调信仰与理性的太阳天,可以说适得其所。但丁天国的九重天空间结构,分别呼应中世纪以“自由七艺”为基础的十一大学问。贝雅特丽齐形象天上人间相互映照,《天国篇》与《新生》可为互文。布鲁姆认为贝雅特丽齐历史上是不是真有其人无从稽考,即便她果真是某个银行家的女儿,那也无关紧要,因为她说到底是但丁本人独特个性和伟大诗情的理想化投影。《天国篇》中但丁与贝雅特丽齐的最后一别,终究还是此恨绵绵无绝期。
In his“Letter to Can Grande Della Scala”which was presented to his patron in exile along with his unfinished Paradiso,Dante reiterates the allegorical meaning of poetry.This poetics can be traced back to Aquinas’scholasticism.Dante let Aquinas,who inherits Aristotle’s philosophy,to host the Sphere of the Sun,which coordinates faith and reason,is then a perfect spatial location.Allegorically,the nine fold space structure in Paradiso echoes the eleven major medieval learning based on the“seven arts”.The images of Beatrice reflect each other in divine and secular worlds,which lead to an intertexual reading of Paradiso and Vita Nuova.Harold Bloom wonders if Dante’s Beatrice really exists in history,even if she is the daughter of a banker indeed,for after all she is in the ideal projection of Dante’s unique personality and poetic talent.The farewell between Dante and Beatrice in the background of the“white rose”reveals the poet’s everlasting sorrow.
出处
《当代外语研究》
CSSCI
2022年第5期5-11,F0003,共8页
Contemporary Foreign Language Studies
