Abstract:This essay traces the genesis of Berlioz's opera Les Troyens (1856–63) to a climactic moment of self-discovery he experienced while reading Virgil as a youth. Dido's suicide in the Aeneid one day aroused Berlioz's autobiographical self-contemplation and awakened him to the literature that would later inform his music. A close reading of Berlioz's Mémoires enables a comparison with autobiographers like Rousseau and Chateaubriand, whose youthful experiences with reading excited their earliest autobiographical revelations. Berlioz's discovery also provoked a sequence of painful but stimulating bursts of inspiration, as though he were obsessed with instants of self-contemplation induced by artistic stimuli. Finally, Berlioz's late musical tribute to Dido in the last three acts of Les Troyens can also be a tribute to his autobiographical awakening from childhood.

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诗意的颠簸，自传的痴情：赫克托·柏辽兹的《莱斯·特罗伊恩斯》的起源

摘要：本文追溯了柏辽兹歌剧莱斯·特洛伊恩斯（Les Troyens，1856–63）的起源，是他年轻时读维吉尔时经历的自我发现的高潮时刻。迪多（Dido）在埃涅阿迪（Aeneid）的自杀事件激起了柏辽兹（Berlioz）的自传自省感，并唤醒了他的文学作品，这些文学作品随后为他的音乐增色不少。仔细阅读柏辽兹的《回忆录》，就可以与像卢梭和沙托布里安这样的自传作者进行比较，后者的阅读经验激发了他们最早的自传启示。柏辽兹的发现也激起了一系列痛苦但令人振奋的灵感，似乎使他沉迷于艺术刺激所引发的自我思考的瞬间。最后，柏辽兹