最近在读 一本书，“人的本性极其复杂，不是由两种而是由上百种、上千种本质构成，不是在两极之间摇摆，而是在无数对极性之间摇摆。” you can download from here http://www.verycd.com/search/star/【德】赫尔曼·黑塞%28Hermann+Hesse
"Steppenwolf" is in part an autobiographical novel exploring the mid-life crisis of Hermann Hesse. Readers should be aware that German nationalists up to this point had criticised Hesse for his pacifist writings and activities during WWI. He like so many of his generation had helplessly watched the socio-economic turmoil and transition of Germany during the Weimar Republic, although he had long ago immigrated to Switzerland. He witnessed the deterioration of his first wife's mental health, which subsequently lead to their divorce. And he was afflicted with gout and other physical ailments, some of which are mentioned in the novel. With these tragic events weighing heavily on Hesse, he suffered a nervous break down, whereupon he underwent Jungian psychoanalysis and was inspired by it to put his accounts to paper.
The result was "Steppenwolf", a poetic tale about a middle-aged man who is spiritually, emotionally and physically sick. Any doubt to its subject matter can be easily dispelled in the book of poetry entitled "Crisis" or Crisis Pages From a Diary (Noonday), which Hesse published in 1927 at the same time as "Steppenwolf". It contains two poems found in "Steppenwolf" and a number of confessional poems describing his despair and personal loss.
Despite the abundance of reviews and narratives written on "Steppenwolf" and Hesse's philosophical position it was, he confided in the preface of editions printed after 1961, his most "violently misunderstood" work. Hippies in the late sixties embraced the book's references to drug use, anti-war activity, provocative music and sexual promiscuity. Even counter-culture guru and psychiatrist Dr. Timothy Leary speculated in his book The Politics of Ecstasy (Leary, Timothy) what types of medication Hesse had been prescribed, based on his dream and surrealistic images in the novel.
In truth, Hesse's intention was to paint the picture of Steppenwolf's (or Harry Haller's) state of mind. To portray this personality, Hesse resorted to Jungian psychology, particularly the principals of `ego', `animus/anima' and `self'. Harry Haller is his `ego'. Hermine is his `anima' (animus in women). Pablo and Maria are his `self'. Harry Haller (whose initials H.H. are the same as Hermann Hesse's), however, is unable to integrate the opposite and multiple pieces in his psychological make up. Unity of the personality is attainable by emulating the immortals' (Mozart, Goethe, Nietzsche, Novalis) sense of humour or adaptability whenever confronted with rigid conformity and resistance to change.
When Hesse introduces the reader to Hermine, he is referring to the `anima' in himself; Hermine is the feminine name for Hermann. In Jungian psychology, this is the feminine principal present in the male consciousness or the inner personality in communication with the subconscious. Hermine is in effect the inner voice of Harry Haller (Hermann Hesse) helping him to unify his `ego' and `self'. She encourages the intellectual and serious side of Harry - the `ego' - to recognise and accept the sensual and animal (Steppenwolf) side of his personality - the `self' - which jazz musician Pablo and escort Maria are only too willing to nurture. Hermine is the unifying force of the `ego' and `self', leading to the realm of the immortals in The Magic Theatre where multiple aspects of his personality are synthesised and made whole.
In this respect, The Magic Theatre becomes a metaphorical extension of Harry Haller's mind. All that Harry loathes about the mediocrity of the bourgeois, all that he loves about Mozart, Goethe, Novalis and Nietzsche, all the passion he feels for past loves and Hermine -- in essence, all that comprises Harry -- is distilled and fused as one. For instance, the music of his revered Mozart is played through the radio he so despises; the ugliness of war he dislikes, he embraces with a theologian friend in a war against the automobile (or machine); and when he figuratively kills Hermine, expecting the jury of immortals to sentence him to the gallows, he is heartily laughed down by them.
As for the structure of the novel, one literary critic has compared it to a sonata. "Steppenwolf" is comprised of three movements. In the first movement the narrator introduces us to Harry Haller and his peculiarities; the second movement elaborates on the "Treatise Of The Steppenwolf" to explain his personality and behaviour; and the third movement resolves the psychological conflict in The Magic Theatre. It is a plausible premise, considering Hesse's knowledge of classical music and his allusions to classical musicians in this novel.
Despite the complexities of "Steppenwolf", it is a fascinating novel to read. Every word and passage is heartfelt and meaningful. Hesse pours out his soul, probing his psyche, confessing his insecurities and beliefs, his sorrows and joys, his sensuality and intellect, analysing his (the individual's) role in society and offering some form of spiritual solace. He speaks to us all, regardless of age, sex, race or culture. For we have all at some point in life experienced the bittersweet condition of the Steppenwolf.
As a companion piece to the novel, I would recommend the 1974 movie, Steppenwolf. Max von Sydow (Harry Haller), Dominique Sanda (Hermine), Pierre Clementi (Pablo) and Carla Romanelli (Maria) deliver credible performances, faithful to their respective characters. Storyline is true to the book as well. The editing is hurried and choppy in the first half of the film, making it difficult to connect emotionally with the Steppenwolf's plight, whereas the surrealistic scenes in The Magic Theatre are superbly executed (pardon the pun). Nevertheless, it's a movie not to be overlooked if you love this amazing book by one of the 20th century's great writers.
The result was "Steppenwolf", a poetic tale about a middle-aged man who is spiritually, emotionally and physically sick. Any doubt to its subject matter can be easily dispelled in the book of poetry entitled "Crisis" or Crisis Pages From a Diary (Noonday), which Hesse published in 1927 at the same time as "Steppenwolf". It contains two poems found in "Steppenwolf" and a number of confessional poems describing his despair and personal loss.
Despite the abundance of reviews and narratives written on "Steppenwolf" and Hesse's philosophical position it was, he confided in the preface of editions printed after 1961, his most "violently misunderstood" work. Hippies in the late sixties embraced the book's references to drug use, anti-war activity, provocative music and sexual promiscuity. Even counter-culture guru and psychiatrist Dr. Timothy Leary speculated in his book The Politics of Ecstasy (Leary, Timothy) what types of medication Hesse had been prescribed, based on his dream and surrealistic images in the novel.
In truth, Hesse's intention was to paint the picture of Steppenwolf's (or Harry Haller's) state of mind. To portray this personality, Hesse resorted to Jungian psychology, particularly the principals of `ego', `animus/anima' and `self'. Harry Haller is his `ego'. Hermine is his `anima' (animus in women). Pablo and Maria are his `self'. Harry Haller (whose initials H.H. are the same as Hermann Hesse's), however, is unable to integrate the opposite and multiple pieces in his psychological make up. Unity of the personality is attainable by emulating the immortals' (Mozart, Goethe, Nietzsche, Novalis) sense of humour or adaptability whenever confronted with rigid conformity and resistance to change.
When Hesse introduces the reader to Hermine, he is referring to the `anima' in himself; Hermine is the feminine name for Hermann. In Jungian psychology, this is the feminine principal present in the male consciousness or the inner personality in communication with the subconscious. Hermine is in effect the inner voice of Harry Haller (Hermann Hesse) helping him to unify his `ego' and `self'. She encourages the intellectual and serious side of Harry - the `ego' - to recognise and accept the sensual and animal (Steppenwolf) side of his personality - the `self' - which jazz musician Pablo and escort Maria are only too willing to nurture. Hermine is the unifying force of the `ego' and `self', leading to the realm of the immortals in The Magic Theatre where multiple aspects of his personality are synthesised and made whole.
In this respect, The Magic Theatre becomes a metaphorical extension of Harry Haller's mind. All that Harry loathes about the mediocrity of the bourgeois, all that he loves about Mozart, Goethe, Novalis and Nietzsche, all the passion he feels for past loves and Hermine -- in essence, all that comprises Harry -- is distilled and fused as one. For instance, the music of his revered Mozart is played through the radio he so despises; the ugliness of war he dislikes, he embraces with a theologian friend in a war against the automobile (or machine); and when he figuratively kills Hermine, expecting the jury of immortals to sentence him to the gallows, he is heartily laughed down by them.
As for the structure of the novel, one literary critic has compared it to a sonata. "Steppenwolf" is comprised of three movements. In the first movement the narrator introduces us to Harry Haller and his peculiarities; the second movement elaborates on the "Treatise Of The Steppenwolf" to explain his personality and behaviour; and the third movement resolves the psychological conflict in The Magic Theatre. It is a plausible premise, considering Hesse's knowledge of classical music and his allusions to classical musicians in this novel.
Despite the complexities of "Steppenwolf", it is a fascinating novel to read. Every word and passage is heartfelt and meaningful. Hesse pours out his soul, probing his psyche, confessing his insecurities and beliefs, his sorrows and joys, his sensuality and intellect, analysing his (the individual's) role in society and offering some form of spiritual solace. He speaks to us all, regardless of age, sex, race or culture. For we have all at some point in life experienced the bittersweet condition of the Steppenwolf.
As a companion piece to the novel, I would recommend the 1974 movie, Steppenwolf. Max von Sydow (Harry Haller), Dominique Sanda (Hermine), Pierre Clementi (Pablo) and Carla Romanelli (Maria) deliver credible performances, faithful to their respective characters. Storyline is true to the book as well. The editing is hurried and choppy in the first half of the film, making it difficult to connect emotionally with the Steppenwolf's plight, whereas the surrealistic scenes in The Magic Theatre are superbly executed (pardon the pun). Nevertheless, it's a movie not to be overlooked if you love this amazing book by one of the 20th century's great writers.
《荒原狼》是一部充满了狂暴幻想、具有表现主义色彩的小说。小说先是虚拟了一个出版者对哈勒的手记的第一人称叙述，描述了哈勒这个人物的形象和行为特征。然后又根据哈勒留下的手记，通过另一个的第一人称叙述展开后面的情节。黑塞在小说中大量运用了梦幻形式，把第一次世界大战之后的一个中年欧洲知识分子的内心世界淋漓尽致地展示出来，使其成为20世纪西方小说的经典之作。
作品主人公哈勒是才智之士，有着丰富细腻的内心世界。他很孤独，很少向别人敞开心扉。他好像是来自另外一个星球，对人世间的虚荣、做作、追名逐利和自私浅薄极其厌恶。但与此同时他又发现，自己的这种厌恶感更多的是指向自己。正因为如此，哈勒时时刻刻处于一种巨大的分裂和痛苦之中，用他的话来说，就是他身上有两种截然相反的东西在斗争着：狼性和人性。人性和狼性互不协调，当人性沉睡而狼性苏醒的时候，哈勒就走向堕落；当人性苏醒而狼性沉睡的时候，哈勒就会对自己的堕落和罪恶充满厌恶。正是人性和狼性的严重敌对，使哈勒产生了孤独感和自杀倾向。
那么拯救之路在哪里?一开始，哈勒企图用身上的人性去压制狼性，但结果却是不断陷入更大的苦闷之中。然后他用狼性来取代人性，则更行不通。这其实说明，哈勒将人的本性简单地看成狼性和人性的二元对立是错误的，是一种“毫无希望的儿戏”，“是对现实的强奸”。认识舞女赫尔米拉之后，哈勒逐渐认识到了这个错误。经赫尔米拉介绍，哈勒先后认识了舞女玛利亚和赫尔米拉的男友、音乐师巴伯罗。在他们的熏陶之下，哈勒逐渐接受了许多自己原先根本不能接受的东西。他认识到，人的本性极其复杂，不是由两种而是由上百种、上千种本质构成，不是在两极之间摇摆，而是在无数对极性之间摇摆。
在小说最后的“魔术剧”中，哈勒终于找到了真正的解救之道。正因为世界和自我都是多元的而不是二元的，所以无论是回归人性还是回归狼性都是枉然。“回头根本没有路，既回不到狼那里，也回不到儿童时代”。面对这个世界所有的背谬和荒诞，只有用笑和幽默来对付。小说的最后，哈勒终于将生活戏剧的所有“十万”个棋子装进口袋，而且决定反复去体会生存的痛苦，将游戏玩得更好些，“总有一天会学会笑”。
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作者简介
赫尔曼·黑塞（Hermann Hesse，1877.7.2-1962.8.9）德国作家。1923年46岁入瑞士籍。1946年获诺贝尔文学奖。1962年于瑞士家中去世。爱好音乐与绘画，是一位漂泊、孤独、隐逸的诗人。黑塞的诗有很多充满了浪漫气息，从他的最初诗集《浪漫之歌》的书名，也可以看出他深受德国浪漫主义诗人的影响，以致后来被人称为“德国浪漫派最后的一个骑士”。主要作品有《彼得·卡门青特》、《荒原狼》、《东方之行》、《玻璃球游戏》等。
主要生平及创作
出生于德国西南部的小城卡尔夫的一个牧师家庭。自幼在浓重的宗教气氛中长大，1891年，他通过“邦试”，考入毛尔布隆神学校。由于不堪忍受经院教育的摧残，半年后逃离学校。这期间他游历许多城市，从事过多种职业。
在比较广泛地接受东西方文化熏陶之后，1904年，黑塞发表了长篇小说《彼得·卡门青特》，一举成名，从此成为专业作家。这一年他与玛丽结婚，移居巴登湖畔，埋头写作，1906年发表了长篇小说《在轮下》。这一时期的创作以浪漫主义诗歌、田园诗风格的抒情小说和流浪汉小说为主，作品洋溢着对童年和乡土的思念之情，充满对广大自然和人类的爱，同时也表现了青年人的精神苦闷与追求。
第一次世界大战后，黑塞的创作发生了明显的变化，他醉心于尼采哲学，求助于印度佛教和中国的老庄哲学，并对荣格的精神分析产生了深厚的兴趣。他试图从宗教、哲学和心理学方面探索人类精神解放的途径。这时期的长篇小说有《克努尔普》（1916）、《德米安》（1919）、《席特哈尔塔》（1922）、《荒原狼》（1927）和《纳尔齐斯与歌尔德蒙》（1930）等。这些书深受西方读者的喜爱，得到极高的评价，其中《荒原狼》曾轰动欧美，被托马斯·曼誉为德国的《尤利西斯》。
30年代后，法西斯在德国猖獗，黑塞对社会前途陷入深深的怀疑与绝望之中，但他仍不倦地从东西方宗教与哲学中寻求理想世界，《东方之行》（1932）、《玻璃球游戏》（1943）正是这一时期追求与探索的结晶。
黑塞被雨果·巴尔称为德国浪漫派最后一位骑士，这说明他在艺术上深受浪漫主义诗歌的影响。他热爱大自然，厌倦都市文明，作品多采用象征手法，文笔优美细腻；由于受精神分析影响，他的作品着重在精神领域里进行挖掘探索，无畏而诚实地剖析内心，因此他的小说具有心理的深度。1946年，”由于他的富于灵感的作品具有遒劲的气势和洞察力，也为崇高的人道主义理想和高尚风格提供一个范例”，黑塞获诺贝尔文学奖。
影响及国内译介
1962年黑塞逝世，但他的生命在作品中延续着，影响着世界各地一代又一代人，百年不衰。黑塞的作品迄今已被译成五十三种语言，有七百四十二种译本，仅在印度，《席特哈尔塔》就被译成了十二种方言。
二次大战后，美国文坛霸主一直是海明威。然而自六十年代中起黑塞渐渐取代了海明威，一时成了美国大众的文学拜偶像。特别是《荒原狼》，它在问世差不多半个世纪后在美国掀起一股“狼潮”，甚至有的摇滚队也取名“荒原狼”（今年这个队将在黑塞纪念活动期间去德国演出）。一些离经叛道的年轻人在小说主人公身上找到了自己的影子，哈勒尔成了他们的楷模与偶像。
此外，黑塞也跨出了西方文化圈，在东方同样受到读者的爱戴。黑塞在日本的影响非常大，甚至被某些日本人称“追求真理的英雄与先驱者”，他的作品在那里深受读者欢迎，读者还成立了赫尔曼·黑塞协以系统研究他。一位日本青年在给黑塞的信中告诉他：
“我越是读它们（指黑塞的作品），越是发现自己在这些书中。现在我相信，最了解我的人是瑞士，他总在注视着我。”
黑塞作品在我国的评介始于二、三十年代。赵景深曾在《小说月报》上撰文介绍赫塞（黑塞）的《纳尔西斯与哥尔孟》（今译《纳尔齐斯与歌尔德蒙》）。1936年，上海商务印书馆出版了黑塞作品的单行本–中篇小说集《青春是美好的》。然而遗憾的是黑塞的名字从此销声匿迹，对他作品的翻译评论中断了十年。
1946年黑塞获得诺贝尔文奖后，许多国家都出现了“黑塞热”，然而在中国黑塞却没“热”起来，对他的关注只是个别现象。当时的文学期刊上只发表了为数不多的黑塞作品译文，大多是从世界语转译的。
选段《获得教养的途径》选入高中课本。