20世纪文学中论美最重要的段落（机翻附原文）

......这种遥远的距离将生命的每一个音调，甚至是下面哨兵孤独的、不常出现的脚步，从感官的领域中吸引出来，并将其全部带回家，带入听不见的地方，将距离带入临近，不真实的元素仍然在两者的现实中，在两者中，通过距离来运输，即美。在最遥远的地平线上，美闪耀着光芒，流向人类，脱离了感知，脱离了问题，费力地只瞥见美所建立的世界的统一，建立在超距离的美丽平衡之上，它饱和了所有的空间点，使它们充满距离、 而且--纯粹是恶魔般的--不仅把最不协调的事物化解为同等的等级和意义，而且--更加恶魔般的--用时间的遥远来填充空间中每一点的遥远，使到处颤动的时间刻度停滞，重复它的土星式的悬停，而不是时间的取消，更多的是它的持久的现在，美的直接性，就好像凝视着它

人，尽管直立着，也越来越直立，却被允许重新沉浸在昏昏欲睡的聆听中，重新伸展在上层的深邃与下层的深邃之间，重新与他的聆听合二为一，他发出聆听的声音，仿佛深邃允许一种新的参与，一种没有知识和疑问的参与，一种可以放弃的参与，就像在时间的黎明或黑夜中一样、 仿佛人们可以放弃善与恶的选择，逃避人类的感知义务，逃避新的因而也是虚假的纯真，让被抛弃者与义务者、邪恶与救赎、残忍与善良、生命与死亡、可理解者与不可理解者融为一体，被束缚在美的巢穴中，轻率地流向拥抱美的目光。 因此，美是一种蛊惑，令人着迷和陶醉的美妖冶地吸收一切，将一切汇聚到它的土星姿态中；因此，美是对神灵之前的一种回溯，萦绕在人的心中，是对他的先知先觉之前存在的某种东西的记忆，是对神灵之前的创造的暂定时间的记忆，是对无定形的、黄昏笼罩下的半创造的记忆，缺乏保证，缺乏发展，缺乏更新； 然而，这种回忆是虔诚的，尽管这种虔诚对誓言、对发展、对更新都是无动于衷的，这种恶魔般的虔诚是濒临狂喜却无心超越狂喜的遁世之人对美景的瞻仰，这种虔诚又回到了创世之前，回到了类似神性的神性的前兆，回到了美之中； 因为他眼前的夜如此包罗万象，如此遥远，如此充满了从世界的最后角落回响的银色尘埃，以至于夜和埋藏在其中的一切都变得密不可分，无论是歌声、大笑、一丝兽声，还是风的沙沙声，都让人分辨不清。这种巧妙，这种与知识的对立，美--似乎是为了保护自己的脆弱和温柔--遮蔽了自己，是的，必须遮蔽自己，因为它所建立的世界统一体比知觉的世界统一体更易消逝、更难抵抗、更脆弱，而且，与知觉的世界统一体相比，后者在任何时候都可能受到知识的伤害、 它傲慢地引诱着他等价交换，恶魔般地从最外层的边界向他低语，并渗透到最内层，波光粼粼的海洋般的低语伴随着月亮的月光流入他的体内，就像宇宙的潮汐一样平衡，它们在低语的威力中交换着有形和无形，将事物的多元性束缚为自我的实体，将思想的多元性束缚为世界的统一性，然而，两者都在成为美时变质了： 对美的认识是缺乏认识，对美的感知是缺乏感知，一个缺乏思考的视角，另一个缺乏对现实的全面衡量，在美的平衡的僵硬中--僵硬的是思考与现实之间的平衡，僵硬的是问与答、可问与可答的相互关系，而世界正是从这种关系中诞生的--内外世界的天平停滞了，在这种僵硬的平衡中成为象征的象征。因此，黑夜在他周围拱起，黑暗中闪耀的空间在和谐之美中保持平衡，并以土星的方式散布在所有时间中，因此肯定会停留在时间中，而不会延伸到地球之外，从边界延伸到边界，同时在自身的每一点上都构成了最内层和最外层的界限；

黑夜就这样在他的周围和内心拱起，美，象征中的象征，从黑夜中向他飘来，平衡地笼罩着整个世界，带来了内在和外在的遥远的陌生感，但又奇妙地熟悉起来，隐藏在不经意间，却又奇妙地揭开了它的面纱、 因为此时此刻，它突然展现在他面前，就像在第二次魔法的照耀下，它是他自己形象的象征，就像他自己创造了它一样清晰，是宇宙中自我的象征，是自我中宇宙的象征，是所有尘世存在的交错的双重象征： 它照亮了黑夜，照亮了世界，它的美延伸到了无边无际的空间的边界，它与空间一起沉浸在时间中，与时间一起穿越岁月，它成为了永恒的现在，为无边无际的时间划定了边界，它是受时间和空间限制的尘世生活的完美象征，揭示了限制的悲哀和尘世生活的美丽；

就这样，在哀伤中，美展现在人类面前，展现在象征和平衡的自足中，凝视美的自我和充满美感的世界陶醉地对峙着，各自漂浮在分配给自己的位置上，两者都是有限的，都是自足的，都是平衡的，因此在两者共同的空间中平衡地排列着： 人类由此领悟到了尘世之美的自足性，自足空间的浮动广阔和神奇之美，它被时间所承载，被时间所摧残，无法因问题而更新，无法因知识而扩展，空间的恒定完整性因其内部美的影响而保持平衡，但却没有更新或扩展； 因此，空间的完整性和自足性在它的每一个部分、每一个点上显现出来，仿佛每一个部分、每一个点都是它最内在的核心，在每一个图形、每一件事物、每一件人类作品中显现出来，作为其自身空间有限性的象征，每一个被创造的事物都在其最内在的界限上取消了自己、 美通过其内外边界之间保持的统一性，通过自我包含的边界的无限性，即人的悲哀--无限但有界，来取消和升华空间的象征； 因此，美是作为边界上的一种现象展现在人类面前的，而这种边界，内部的边界与外部的边界，最遥远的地平线的边界或一个点的边界，被跨越在黑夜与无限之间，完全遥远，但仍在尘世之中，在尘世的时间之内，是的，束缚了时间本身，使其徘徊、 空间在自己与时间的边界上徘徊，但并没有取消时间，这只是一个象征，一个时间取消的尘世象征，一个死亡取消的象征，而不是取消本身，是人类生命的边界，它从未超越自身，因此它也是非人的边界--因此，它作为一个美的事件展现在人类面前、

美是有限领域中的无限，是尘世中的虚假无限，因而是一场游戏，是尘世中的人在尘世中玩弄永恒的游戏，是尘世生活外围的象征性游戏，美是游戏的本质，是人与自己的象征玩的游戏，目的是象征性地--因为否则就不可能--摆脱对孤独的恐惧，一次又一次地重复美丽的自欺欺人，飞向美，飞的游戏； 这样，人类就看到了美化世界的僵化，它没有任何发展的能力，它的完美是有局限的，这个世界只有通过重复才能生存，即使是为了这种虚假的完美，也必须一直重新努力，它被揭示为艺术服务于美的游戏，是艺术的绝望，是艺术绝望地试图从消亡的事物、从文字、从声音、从石头、从色彩中建立起不朽的东西、

艺术将空间融入每件作品，在空间而非人的身上创造不朽--因此它缺乏成长，因此它被束缚在没有成长的单纯重复的完美之中、 艺术被束缚在无法实现的完美之中，在接近完美的过程中变得更加绝望，被迫不断地回到自己的起点，而起点就是它的终点，因此艺术对人类的悲哀是无情的，人类的悲哀对艺术来说不过是短暂的存在，不过是一个词、一块石头、一种声音或一种颜色，用来在无休止的重复中探索和揭示美； 因此，美在人类面前显现为残酷，显现为肆无忌惮的游戏所带来的日益增长的残酷，这种游戏通过符号许诺了无限的快乐，一种世俗的虚假的无限的妖娆的、蔑视知识的快乐，因此可以不假思索地造成悲伤和死亡，就像发生在遥远的边缘的美的境界一样，只有一眼可以看到，只有时间可以看到，但人类和人类的任务却不再可以看到；

因此，美在人类面前显现为缺乏感知的法则，美在被遗弃的过程中宣告自己是一种法则，自足、不可延伸、无法发展或更新，快乐是游戏的规则，自我满足、妖娆、不贞、不可改变，美已饱和、 这个游戏可以无休止地重复，无休止地继续，但从一开始就注定要中断，因为只有人性是神圣的；

因此，美感的陶醉向人类揭示了游戏从一开始就注定是孤独的，尽管它建立了永恒的平衡，尽管它不得不一次又一次地重新开始，但还是注定是孤独的，因为不可避免的重复带来了不可避免的损失，注定是孤独的、 因为重复的陶醉和游戏的陶醉在影响上不可避免地相互影响，两者都陷入暮色之中，两者都会失效，两者都没有成长，尽管残酷程度肯定会增加，而真正的成长，即感知人类不断增长的知识，不受失效的影响，从重复中解脱出来，在时间中展开、 这样，当时间以不断增长的现实之力吞噬了所有的时间流逝时，它可能会突破并超越一个又一个界限，最内在的就像最外在的一样，留下一个又一个符号，即使它没有破坏美的最终象征性质，也没有触动其完美和谐的必然性、 然而，这种游戏的世俗性必须被揭露，世俗象征的不足必须被揭示，美的悲伤和绝望必须被揭露，美的陶醉和清醒必须被剥离，美的感知必须被放弃，美的自身必须在无知中迷失，随之而来的是清醒的自我和贫穷、

而他，对他来说，自我的象征性、美、游戏、时间的流逝，就像一种照明，从世界的最里面和最外面的界限，从被黑夜束缚的最里面和最外面的空间，不可避免地流向他、 因此，他把整个事件放在自己身上，埋在自己身上，尽管他被骗了，在必然性的范围内，在他自我的有限空间内，在世界的空间界限内，在其无界限的象征内，在游戏的范围内举行、 在一个遥远的接近的罗盘内，在美丽的罗盘内，在象征的罗盘内，它在每一点上都是有疑问的，但它又能抵御和超越每一个问题，在每一种僵化的限制中，他自己也是僵化的，被僵化所僵化，他感觉到、 他明白了，这些空间都没有超出上界和下界之间的透明罩子，它们都在尚未实现的先天性之间，它们的边界是先天性的边界，但却属于地球的领域： 仍然是地球上的，美丽的境界，地球上的，仍然是地球上的，无限!

原文：

a remoteness that drew every tone of life, even the lonely, infrequent step of the sentry down there, out of the realm of the senses and took it all home into the inaudible, distance brought into proximity, the unreal element still in the reality of both, and in both, transported by distance,—beauty. For on the most transported horizons beauty shone forth streaming out into mankind,removed from perception, removed from the question, effortless only to be glimpsed the unity of the world established by beauty,founded on the beautiful balance of ultra-distance,which saturated all points of space, sating them with distance,and—sheerly demonic—not only resolved the most incongruous things into equal rank and meaning,but also—still more demonic—filled the remoteness of every point in space with the remoteness of time,bringing the quivering scales of time everywhere to a standstill, repeating its Saturnian suspension,not the annulment of time, far more its enduring now,the immediacy of beauty, as if by gazing upon it ，

man, although set erect and growing upright, were permitted to sink back into his drowsy, recumbent listening,stretched out anew between the depths above and the depths below,newly at one with his listening-looking, which he sent forth as if the depths allowed a new participation,one free from knowledge and questioning,one which might be foregone as it was in the dawn of time or in its night,as if one might forego the choice between good and evil, fleeing the human duty of perception,fleeing into a new and hence false innocence, letting the abandoned and the duty-bound, evil and redemption, the cruel and the kind, life and death,the comprehensible and the incomprehensible be brought into a single indiscriminate unity,bound in the cestus of beauty,streaming out blithely into the beauty-embracing glance.Wherefore beauty was a bewitchment, enchanting and enchanted beauty demonically absorbing everything, gathering all into its Saturnian poise;wherefore beauty was a reversion to the pre-divine lingering in man as a memory of something that existed before his prescience, a memory of the tentative time of the creation, prior to the gods, a memory of the amorphous, dusk-enshrouded semi-creation, lacking the pledge, lacking development, lacking renewal;nevertheless recollection and as such pious, albeit with a piety impervious to the pledge, to development, to renewal, the demonic piety of the transported being who looked on beauty, on the threshold of ecstasy but without the will to go beyond it,turned back to the pre-creation,to the fore-show of the divine which resembles divinity,to beauty;

for so all-embracing was the night spread out before him, so very remote, so filled with the silver dust of echo ringing back from the last reaches of the world, that the night and all that was buried within it became inseparable, whether a song, a yelping laugh, a hint of the animal voice, a rustling of the wind, one could not tell which. And this ingenuousness, this antagonism to knowledge with which beauty—as if to protect its frailty and tenderness—veiled itself, yes must veil itself, because the world-unity founded by it was much more evanescent, less resistant, more vulnerable than that of perception, one which furthermore and in contrast to the latter could be injured at any point by knowledge, this impercipience was radiated to him from the whole cycle of the visible world along with beauty, gentle and at the same time demonic in its allure, in its arrogant seduction to equivalence, demonically whispered to him from the outermost borders and penetrating to the innermost, a shimmering oceanic whisper streaming into him with the drenching light of the moon, balanced like the oating tides of the universe which interchange the visible and invisible in their whispering might, binding the multiplicity of things into the entity of the self, binding the multiplicity of thoughts into the unity of the world, both, however, denatured in becoming beauty: knowledge of beauty was lack of knowledge, perception of beauty was lack of perception, the one without vantage of thinking, the other without the full measure of reality, and in the rigidity of beauty’s equilibrium—rigid the oating balance between thinking and reality, rigid the reciprocity of question and answer, of askable and answerable from which the world was born—the ood-scales of inner and outer worlds were brought to a standstill, becoming in this rigid balance the symbol of the symbol. Thus the night arched about him, the dark-gleaming space balanced in harmonious beauty and spread out Saturnically over all time, therefore surely remaining in time and not extending beyond the realm of earth, stretched from boundary to boundary while constituting at every point of itself the innermost and outermost of limits; thus arched the night about and within him, and beauty, the symbol of the symbol, was oated to him from the night, balanced over the world, bringing with it all the strangeness of inner and outer remoteness and withal curiously familiar, veiled in impercipience and yet curiously unveiled, because now it revealed itself to him suddenly as under a second magical illumination, the symbol of his own image, as clearly as though he himself had created it, the symbolization of the self in the universe, the symbolization of the universe in the self, the interlocked dual symbol of all earthly existence: illuminating the night, illuminating the world, beauty spread to the borders of unbounded space and, immersed with space in time, carried on with time through the ages, it became the ever-enduring now, giving boundaries to boundless time, the perfect symbol of earthly life limited by time and space, revealing the woe of limitation and the beauty of life on earth;

thus in mournful sorrow,thus beauty was revealed to man,revealed in its self-containment which was that of the symbol and of equilibrium, the self gazing at beauty and the beauty-lled world enchantedly facing each other,each a-oat in the place allotted to it,both limited, both self-contained, both in equilibrium and therefore balanced in their apposition in the space common to both:thus was revealed to man the self-containment of earthly beauty,the floating expanse and the magical beauty of self-contained space, borne on and benumbed by time,incapable of renewal by the question,incapable of expansion by knowledge,the constant completeness of space held in balance by the influence of beauty within it, yet without renewal or expansion;

thus space in its completeness and self-containment revealed itself in every one of its parts, at every point, as if each of these were its innermost core,revealing itself in every single gure, in every thing, in every human work as the symbol of its own spatial nitude at the innermost limit of which every created thing annuls itself,the symbol annulling and subliming space, beauty annulling and subliming space by the unity maintained between its inner and outer boundaries,by the innitude of the self-containing boundaries,infinity—but bounded, the sorrow of man;thus beauty was revealed to man as an occurrence on the boundary, and this boundary, the inner like the outer,the boundary of the remotest horizon or that of a single point, was spanned between the nite and the innite,utterly remote while still of earth and within earthly time, yea, bounding time itself and causing it to linger,space lingering at its own border with time, but not annulling time, this being but a symbol, an earthly symbol of time’s annulment,a mere symbol of death’s abolishment, not the abolishment itself, the boundary of human life that never reached beyond itself,wherefore it was also the boundary of inhumanity—thus it was revealed to man as an event of beauty,

revealing beauty for what it was, as the innite in the realm of the finite,as an earthly sham-infinity,and hence a game,the game of earthly men amidst their earthliness, playing at eternity,the symbolic game on the periphery of earthly life,beauty the essence of the play,the game that man played with his own symbol in order that symbolically—since otherwise it was impossible—he might escape his fear of loneliness,repeating the beautiful self-deception again and again,the ight into beauty, the game of ight;thus there was revealed to man the rigidity of the beautied world,its incapacity for all growth, the limitation of its perfection,this world which survived only by repetition and which, even for this sham-perfection, had always to be striven for anew,it was revealed as the play of art in its service of beauty, as art’s despair, its despairing attempt to build up the imperishable from things that perish, from words, from sounds, from stones, from colors,

so that space, being formed,might outlast time as a memorial bearing beauty to the coming generations, art building space into every production,building the immortal in space but not in men —wherefore it lacked growth,wherefore it was bound to the perfection of mere repetition without growth, bound to an unattainable perfection and becoming more desperate as it came nearer to perfection,constrained to return constantly into its own beginning which was its end,and hence pitiless,pitiless toward human sorrow which meant no more to art than passing existence, no more than a word, a stone, a sound, or a color to be used for exploring and revealing beauty in unending repetition;and thus beauty revealed itself to man as cruelty,as the growing cruelty of the unbridled game which promised the pleasure of innity through the symbol, the voluptuous, knowledge-disdaining pleasure of an earthly sham-infinity,hence thoughtlessly able to inict sorrow and death,as happened in the realm of beauty at the remote periphery, accessible only to the glance, only to time,but no longer available for humanity and the human task;

thus beauty revealed itself to man as the law that lacked perception, beauty in its abandonment proclaiming itself as a law unto itself,self-contained, inextensible, incapable of development or renewal, pleasure the rule of the game,self-gratifying, voluptuous, unchaste, unchangeable,the beauty-saturated, beauty-saturating game in which beauty was at play with itself,passing the time but not annulling it,playing out fate but not controlling it,the game that could be repeated endlessly, continued endlessly,yet one that had been destined from the beginning to be broken off,because only humanity is divine;

and thus the intoxication of beauty revealed itself to man as the game forlorn from the outset, forlorn in spite of the eternal balance in which it was established,in spite of the necessity which compelled it to be resumed again and again,forlorn, because the unavoidable repetition brought with it the unavoidable loss,forlorn, because the intoxication of repetition and that of the game were inevitably reciprocal in their aects,both caught in the twilight,both subject to lapse,both without growth though assuredly waxing in cruelty—whereas the true growth,the increasing knowledge of perceptive mankind,undeterred by lapse and freed from repetition, unfolded itself in time,unfolded time to timelessness, so that time, as it consumed all lapse by force of growing reality,might break through and pass beyond boundary after boundary,the innermost like the outermost, leaving behind symbol after symbol,and even though it left the nal symbolic nature of beauty undisturbed,untouched the necessity of its consummate harmony,yet the earthly quality of this game had nonetheless to be uncovered,the inadequacy of the earthly symbol be revealed,the sadness and despair of beauty laid bare,beauty stripped of intoxication and sobered,its perception forfeited and itself lost in impercipience, and with it, the sobered self,its poverty—,

and he, to whom the symbolic nature of the self, of beauty, of the game, of time’s passing, had come as an illumination, streaming to him by unavoidable necessity from the innermost and outermost limits of the world, from the innermost and outermost spaces bound by the night, so that he bore the whole occurrence within himself, buried in himself even though he was conned in it, held within the bounds of necessity, held into the limited space of his own ego, within the spatial boundaries of the world and within the symbol of its boundlessness, held within the scope of the game, within the compass of an overdistant nearness, the compass of beauty, the compass of the symbol, which was questionable at every point and yet which warded o and transxed every question, held in the constriction of every kind of rigidity, he himself rigid, stied by the rigidity, he sensed, he grasped, that none of these spaces reached beyond the transparent cover which was spanned between the realms above and those below, that all of them lay in the interrealm of the still-unachieved innity, that their borders were those of the innite while yet belonging to the realm of earth: the still-earthly, the realm of beauty, the terrestrial, still terrestrial, infinity!