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施托姆诗15首

德国星期一诗社 2024-01-10

汉斯·台奥多尔·沃尔特森·施托姆（Theodor Storm, 1817-1888），德国小说家和诗人。出生于北海边的胡苏姆，代表作有《茵梦湖》《白马骑士》等。施托姆中学毕业后入基尔和柏林的大学学习法律，1843年回故乡当律师。但当时德国北部还处在丹麦统治下，施托姆受到排挤，他不得不于1853年离开家乡，去普鲁士过流亡生活，直到1864年丹麦撤出后才重返故乡。他早期从事诗歌创作，歌咏家乡的自然风貌和孤寂的人生，也有些诗歌表达了反对丹麦统治的爱国主义思想。施托姆的主要成就是小说，从1847年至1888年他一共创作了58个中短篇小说，代表作有《茵梦湖》、《在大学里》、《淹死了》和《白马骑者》等。

Theodor Woldsens Storm, well known poet and writer, was born September 14th, 1817 in Husum, Germany. He became a lawyer in 1842, but he was exiled (1853-64) by Denmark for pro-Prussian sentiments. It was only in 1864 that he was able to return to Husum, where in 1874 he became a judge of the Court of Appeals.

As early as 1843 he had made himself known as a lyrical poet of the

Romantic School, but it was as a short-story writer that he first took

a prominent place in literature with the story entitled Immensee in 1849.

The work, which Storm himself referred to as a "Perle deutscher Poesie" (pearl of German poetry) reached over thirty editions and was translated into 17 languages by the time of the author's death. But in addition to being called a masterpiece by such leading literary lights of the day as Theodor Fontane and Paul Heyse, Immensee also attracted its share of criticism as a mere sentimental love story. Then in the 1930s and forties Storm's novella was seized upon by right-wing critics as appropriate National Socialist reading material, which had the effect of sullying its reputation somewhat long after 1945. Since the 1960s Immensee's critical reputation has been rehabilitated and both novella and Storm himself analyzed from a variety of viewpoints, including Marxism and democratic humanitarianism.

Storm's literary work was based on personal experience rather than political attitudes. His contacts in Berlin with the literary club 'Der Tunnel Uber der Spree', and notably with Theodor Fontane, sharpened his northern individualism, though they stimulated his development as a writer. His strong personality was nurtured by his profoundly emotional sensibility and an increasing scepticism, which inclined him to determinism.

Theodor Storm's life-long interest in writing fairy tales found its most consummate expression in 1863 with the writing of The Rainmaiden ("Die Regentrude"). The story of a young girl who enters a subterranean realm in order to awaken the sleeping rainmaiden and to revive a drought stricken countryside is a metaphor for Storm's own descent into the realm of his subconscious in order to activate his slumbering creative powers.

The last and greatest of his works was The Rider on the White Horse. In this masterpiece, Storm exhibits a man's will in conflict. On one side, with unintelligent conservatism among his fellowmen and, on the other, with the forces of nature. The figure of the dike-master emerges from the double struggle with a fine impressiveness; and the tragedy which finally engulfs him and his family is profoundly moving. At the same time we are given a vivid picture of the landscape of the low-lying coast of the North Sea, with the ever-present menace of the flood tide; and the sternness of the action is tempered with glimpses of humor and a picture of warm affection. Here Storm's art reached a pitch which places him beside the masters of the short novel.

Storm died of cancer July 4, 1888 in Hademarschen.

人生派创作的主导倾向

人生派是五四新文学革命发生发展的一支主要力量，也是五四新文学确立起的一个重要方向。人生派既指狭义上的文学研究会作家，也可用以指称五四文学中强调启蒙与人的解放、关注人生与社会问题的“为人生”的创作。在这样一个较为广阔的文学史视野中，《新青年》、《新潮》、文学研究会等文学群落构成了人生派文学的核心发展线索。

人生派创作的宗旨实际上也正是新文学革命所倡导的主流文学理念。早在胡适的文学改良思想中有关新文学创作内质的规定，所谓“不做无病之呻吟”、“须言之有物”等主张，也正是对文学适应社会发展需要、满足新知新思想的传播，从而作用于中国启蒙大业的方向的肯定。陈独秀在新旧文学观念之间做出的鲜明界分与选择更是将新文学、为人生为社会的立意进行了透彻申发，标志着“文以载道”意图的贵族文学、古典文学、山林文学被彻底否定，意在启蒙与改良人生的国民文学、写实文学、社会文学被充分彰显。深刻影响人生派创作的另一个精神源头则是周作人的《人的文学》，西方启蒙运动以来的人道主义与个性主义思想被周作人确立为新文学的主导精神，“个人主义的人间本位主义”一方面规定了新文学指向人的解放的维度，同时也将“为人生”的文学引入社会历史层面。最早以创作深刻体现上述人生派文学理想的是鲁迅的小说，鲁迅始终自觉地抱着“启蒙主义”与“为人生”、“而且要改良这人生”的宗旨从事创作，继续展开其早年确立的“立人”的启蒙原则，深入反省国民性问题，揭出病根以引起疗救的注意。鲁迅的创作对中国社会历史与伦理秩序的深刻批判、对知识分子与农民这两大新文学形象的深入发掘、对国民性弱点的分析以及冷峻的写实和忧愤深广的审美风格，一再深化着新文学对人生与社会的理解和表现。文学研究会也正是以文学团体与作家群落的力量强化着人生派的创作倾向。作为为人生文学的主要代表，文学研究会作家宣示告别了游戏与消遣的文学观，在与旧派文人特别是消闲文学的严格界分中明确自己对文学工作神圣性的新的信仰，文学对人生而言成为一种很切要的工作，立意表现人生、反省人生、重塑人生。这个时期出现的“问题小说”创作高潮正是为人生文学主张的一个集中体现。冰心、王统照、叶绍钧等作家自觉将种种复杂缠绕的人生与社会问题作为自己小说的创作主题，虽然其“爱与美”的精神取向未必是救世良方，但其创作意图又是典型的启蒙主义的文学意识。

尽管人生派作家的具体创作风格存在种种差异，其对人生与社会的理解与表现也有高下之分，但这些作家对启蒙主题的自觉承担和对人与社会解放的热切期待都是其共同不变的题旨。

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