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但丁的《地狱篇》体现了但丁探索“恶”的努力,正是这一点使朝圣者的“地狱之行”具有与维吉尔笔下的“冥府之行”完全不同的精神与风格。本文对《地狱篇》中描写深层地狱的三个片段进行了分析:《地狱篇》第10歌朝圣者与法里纳塔、卡瓦尔坎泰的对话;《地狱篇》第21-23歌贪官污吏恶囊中发生的闹剧;《地狱篇》第24-25歌盗贼灵魂的变形。笔者力图通过文本解读,揭示出但丁“喜剧”美丑善恶皆能入诗、不拘一格用素材的风格。这种无所不包的诗学精神既是古希腊“诗”精神的体现,也是保罗传教精神的体现,在此意义上,但丁将基督教精神与“诗”的精神结合在一起,以基督教为引导促成了“诗”在文艺复兴时期的复活,在某种意义上,这种“诗”的精神正是文艺复兴的本质所在。
Dante’s “Hell” epitomizes Dante’s efforts to explore “evil”, which makes the Pilgrim’s “Hell’s Walk” completely different from Virgil’s “Hades” Spirit and style. This article analyzes the three fragments of Hell in Depth Hell: “Hell” dialogue of the 10th Pilgrim and Farinata, Kaval Kantai; “Hell” Episode 21-23 corrupt officials Tucker occurred in the vicious episode of drama; “hell chapter” 24-25 song thieves soul deformation. The author tried to interpret through the text, revealing Dante “comedy ” good or evil can enter poetry, eclectic with the material style. This all-embracing poetic spirit is not only an expression of the spirit of ancient Greek poetry, but also an expression of Paul’s missionary spirit. In this sense, Dante combines the spirit of Christianity with the spirit of poetry , Guided by Christianity contributed to the resurrection of “Shi ” in Renaissance. In a sense, the spirit of “Shi ” is precisely the essence of Renaissance.