「永恆的女性」－論李斯特《浮士德交響曲》與《但丁交響曲》終曲中的女性救贖角色

「永恆的女性」(Das Ewig-Weibliche)一詞出於歌德(Johann Wolfgang Goethe, 1749-1832)的作品《浮士德》(Faust, 1773-1831) 第二部最後一幕的〈神秘的合唱〉，此時浮士德的靈魂得到救贖；但丁(Dante Alighieri, 1265-1321)的作品《神曲》(Divina Commedia, 1308-1321)，在〈天堂篇〉最後，男主角但丁也在榮光中看見上帝。這兩部西洋文學史上的鉅著，都各有一位「女性」－葛麗卿與佩雅特麗琪－在故事男主角最後救贖的過程裡，扮演重要角色，並且另有一位「永恆的女性」在兩位「女性」之上，成為她們的幫助。在威瑪期間(1847-1861)的李斯特(Franz Liszt, 1811-1886)先後以這兩部文學鉅著為題材，寫下《浮士德交響曲》(1854-1857)與《但丁交響曲》(1857)。他還特別將故事中「女性」對男主角的救贖角色，透過歌詞的運用、樂曲的織度處理、以及旋律主題的引用，巧妙的編織入這兩部交響曲最後的「合唱終曲」中。從這兩部「合唱終曲」裡可以看出李斯特如何透過音樂，來表現出他對書中兩位「女性」以及「永恆的女性」的詮釋與看法。

關鍵字

永恆的女性；救贖；神秘的合唱； Magnificat

並列摘要

The term ”Das Ewig-Weibliche” (Eternal-Woman) was first used by Johann Wolfgang Goethe in his literature works ”Faust” (1731-1831). In its last act ”Chorus Mysticus”, Faust's soul got eternally redeemed. At the end of 'Paradise' of the ”Divina Commedia”, written by Dante Alighieri (1265-1321), its main character, Dante, sees the glory of God. In both masterpieces, we can see a woman, respectively, Gretchen and Beatrice, who played an important role in the redemptive process of the main characters. On top of the two ”Women”, there was another ”Eternal-Woman”-Blessed Virgin Mary-to be their help.In the era of Liszt's Weimar period (1847-1861), Franz Liszt (1811-1886) composed two symphonies, ”Eine Faust-Symphonie in drei Charakterbildern” (1854-1857) and ”Eine Symphonie zu Dantes Divina Commedia” (1857), based on the above two master literature works. With the text arrangement, musical texture and thematic borrowing, Liszt tactically weaved the redemptive role into main character's life at the end of the symphonies final choir. By analytical study on the music form of final choir, we are able to explore Liszt's musical description and his personal interpretation for the two women and the Eternal Lady in both literature masterpieces.