在舞蹈的时间

yschong

最初 打算写关於贝多芬的作品132,但在搜集资料的时候,却找到这个更有趣的诗作:

自艾略特 “四首四重奏 “的笫一部 “焚毁的诺顿 “

但我自己对这首诗并不熟悉, 希望有朋友能到来多解说一下。这些都是网上所找到的连结:

艾略特  “ 四首四重奏 ” 及贝多芬的作品132的基本介绍:

http://bbs.tianya.cn/post-200-579016-1.shtml

两篇对 艾略特  “  四首四重奏  “  的解说及评价 ( 台灣 ):

http://galilee.campus.org.tw/JHK_709.html

http://www.cc.ntut.edu.tw/~f10970/recommended_essay_p707.htm

来自 wiki 的评价 :

The central discussion within the poem is on the nature of time and salvation. Eliot emphasises the need of the individual to focus on thepresent moment and to know that there is a universal order. By understanding the nature of time and the order of the universe, mankind is able to recogniseGod and seek redemption. Many reviewers of Burnt Norton focused on theuniqueness and beauty of the poem. However, others complained that the poemdoes not reflect Eliot's earlier greatness and that the use of Christian themes harmed the poem.

论文:  T.S.艾略特与东方宗教思想”透视《荒原》与《四个四重奏》中的印度教与佛教思想“

http://wenku.baidu.com/view/636b2dacf524ccbff1218478.html

  这论坛包括 ” 焚毁的诺顿 “ 的原文, 两个中文翻譯, 及作品解说/翻譯等问题探討:

http://www.jintian.net/bb/viewthread.php?tid=51594&extra=&page=1

yschong

说起“焚毁的诺顿 “对时间的描述, 令我想起会法国画家普桑的作品


“ 随着时间之神的音乐起舞 “

http://www.youhuaaa.com/page/painting/show.php?id=4502


“ 随着时间之神的音乐起舞” 这幅画充满理性的杰作的主题是关于时间变幻和人生循环往复的本质，普桑以寓意性表现和几何学相协调的象征性构图，将立意表现为具体的形式。圆舞表示永恒往复的人生循环，跳舞者各自具有寓意性作用。该油画中，表示时间变幻的各种要素配置在跳舞者周围。画面中每个人的表情投入而专注，尽情舞着，展示出的美与和谐同样令人感叹。



http://en.wikipedia.org/wiki/A_Dance_to_the_Music_of_Time_(painting)


Four figures, holding each other by the hand, dance in a circle, as Time plays a lyre on the right. The scene is set in the early morning, with Aurora, goddess of dawn, preceding the chariot of Apollo the sun-god in the sky behind; the Hours accompany him and he holds a ring representing the Zodiac. According to Bellori, Rospigliosi's original idea was inspired by Boitet de Frauville's 'Les Dionysiaques', which describes the passing of time and the cycle of the seasons. According to this story, the god Jupiter (Greek Zeus) gave Bacchus and wine to the world in order to compensate for the miserable living conditions mortals must endure after Time and the Seasons complained. The male dancer with the crown of twigs was originally intended to represent the god Bacchus as well as the season Autumn, followed by Winter, Spring and Summer.



As Poussin developed the painting, however, this theme gradually transformed into the concept of the cycle of life and fortune. Today it is widely accepted that Dance to the Music of Time was meant to represent the passing of time, and the different stages of life on the rapidly revolving wheel of fortune: poverty, labor, wealth, and pleasure. Poverty is the male figure at the very back of the circle, with his back turned towards the viewer. He dances barefoot, in keeping with his humble status, and looks longingly towards Labor, his dancing partner on the right. Labor, a muscular young woman also dancing barefoot whose bare shoulders and covered hair indicate her hard work, eagerly twists to grasp Wealth's hand. Wealth, dancing in golden sandals and robes, disdainfully takes Labor's hand and gazes outward with haughty self-propriety. Finally, Pleasure gazes knowingly at the viewer with a sly smirk.

yschong

  虽然艾略特提到  “ 四首四重奏 ” 的写作灵感是来自贝多芬的 op.132。 但若只是着眼在“焚毁的诺顿 “上,  在情绪上我则觉得较近似作品 59  “ 拉苏莫夫斯基 “四重奏: 其中笫二首的笫二乐章 (慢板 )


http://en.wikipedia.org/wiki/String_Quartet_No._8_(Beethoven)


According to Carl Czerny, the second movement of the quartet occurred to Beethoven as he contemplated the starry sky and thought of the music of the spheres (Thayer, Life of Beethoven); it has a hymnlike quality reminiscent of a much later devotion, the "Heiliger Dankgesang"(  海立根感恩颂 ) hymn to the Divine in the Quartet Op. 132.


乐曲结构:


E大调, 奏鸣曲式,  拍子 ( 4分4 )


呈現部


笫一主题 ( 0:00 )
笫一主题 (在笫二提琴, 中/大提琴部份再现), 以及笫一提琴加入新旋律1b ( 0:44 )
过门 ( 1:17 ):  笫二提琴奏出新主题, 中/大提琴随後加 模。 ( 笫一提琴的分解和弦在模仿时锺的声音? )
笫二主题a ( B大调, 2:13  )
笫二主题a(再现及扩大,  2:26 )
属和弦准备( Dominant preparation , 2:44 ), 中提琴奏出“ 时锺” 动机”
笫二主题b ( 3:05 )
小终结 ( codetta , 3:53 ) : 先由笫一提琴奏出主旋律, 其後中提琴模仿。感觉着持续低音 B, D#象是代表永恒的时间。



发展部


笫一主题 (从B大调 , 4:10扩大至 D大调 4:27 )
小终结再现( 4:43 , 从 D大调开始, 经过d小调 4:50 , 降B大调 4:59 , 到最後扩大至升f小调 5:25 )
属和弦准备 ( 5:47, 大提琴奏出“ 时锺” 动机” ),  音乐停留在 e小调 ( 这亦是笫一乐章的主调 ): 这可以看作” 过去的时间 “,或 “过去的忧伤 ) 。




再现部


笫一主题(  6:37  在笫一/二提琴, 中提琴部份再现 ) E大调, 大提琴奏出旋律1b
过门 ( 7:12 ): 大提琴奏出“ 时锺” 动机”
笫二主题a ( E大调, 8:16   )
笫二主题a(再现及扩大,  8:31 )
属和弦准备( Dominant preparation , 8:47 ), 中提琴奏出“ 时锺” 动机”
笫二主题b ( 9:09 )
小终结 ( 10:06 )



终结部


笫一主题扩大及最终再现( E大调, 10:47 )
小终结(  最终再现, 11:20 ), 弦乐手互相模仿着对方的旋律: 就像是画中, 四个” 不同时间 “ 手拉手地在舞蹈着。