在古希腊神话里,伊卡洛斯由于不听父亲的劝告而飞得太高,翅膀被太阳融化,坠海而死。后人将他阐释成各种形象,如追求爱与美的诗人与爱人,追求自由的英雄、革命者、反叛者与乌托邦主义者。在19世纪,有三位大诗人——拜伦、波德莱尔、斯特凡·格奥尔格——续写了伊卡洛斯神话。献身希腊战场的英国诗人拜伦在歌德的《浮士德》里以欧福里翁的形象出现,是一个英雄伊卡洛斯。法国诗人波德莱尔把追求美的现代诗人比作不幸坠落的伊卡洛斯,德国诗人格奥尔格则塑造了一个作为诗人-先知的伊卡洛斯,他是变革社会的精神领袖。格奥尔格对伊卡洛斯形象的塑造,成熟于他在伦敦漫游中与拜伦的神交、在巴黎参加马拉美主持的星期二聚会以及对波德莱尔诗歌的熟稔,这可视为一种＂侨易＂现象,同时也造就了格奥尔格的伊卡洛斯形象的独特性。身处不同时代、源自不同民族与国家的这三位诗人对伊卡洛斯的不同感悟与阐释,展现了伊卡洛斯形象在19世纪的一种＂侨易＂过程。
The mythical figure of Ikarus who ignored his father''s advice and flew too close to the sun and then fell into the sea where he drowned was interpreted as poet and lover in pursuit of beauty and love,as hero,revolutionist,rebel and u-topian longing for freedom.In the 19th century three famous poets Byron,Baudelaire and Stefan George showed their conceptions of Ikarus.While Goethe depicted English poet Byron as a hero Ikarus in the mythical figure of Euphorion in Faust and French poet Baudelaire composed a lament to the modern poet who soars up into heaven longing for beauty like Ikarus and falls but more unfortunately than Ikarus,German poet Stefan George gave an image of Ikarus as poet-prophet who is the spiritual leader of changing society.George''s mature image of Ikarus grew out of his admiration for Byron in London,his attendance at the Tuesday evening held by Mallarméand his familiarity with Baudelaire''s poetry in Paris dur-ing his wander,this development can be rega
