Given how thoroughly Ibsen is identified with his prose dramas it is perhaps unsurprising that relatively little attention has been paid to his verse. When it is discussed at all, it tends to be in terms of the light it sheds on his later production or, at best, in the context of the closet dramas Brand and Peer Gynt. In studies of these latter works, however, purely poetic considerations are mostly sidelined by attention to questions of character or plot. If understandable, this tendency is nevertheless highly regrettable since Ibsen was an eminently accomplished poet whose craft amply rewards detailed examination. Perhaps this is nowhere as apparent as in the magnificent scene of Aase’s death in Peer Gynt (584–595), made famous, not least, by Edvard Grieg’s musical version. The passage is widely recognized as an extraordinary achievement and yet, to the best of my knowledge, it has not previously been subjected to detailed analysis. In what follows, I offer a close reading of some of this scene’s poetic features, both as a way to unpack its overall dynamic and to suggest a few of its broader aesthetic implications. In basic terms, my argument is that the scene divides in two. The first half consists of three distinct attempts to escape the fact of death by deploying the creative force of poetry and narrative in three different temporal

中文翻译：

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有限的形式：AASE 在 Peer Gynt 中的死亡

鉴于易卜生对他的散文戏剧的认同程度如此之高，人们对他的诗歌的关注相对较少也就不足为奇了。在讨论这个问题时，往往是根据它对他后来的作品的启发，或者充其量是在壁橱剧 Brand 和 Peer Gynt 的背景下。然而，在对这些后期作品的研究中，纯粹的诗意考虑大多被对人物或情节问题的关注所忽视。如果可以理解，这种倾向仍然是非常令人遗憾的，因为易卜生是一位成就卓著的诗人，他的手艺值得仔细研究。也许这在阿斯在佩尔·金特（Peer Gynt，584-595）中去世的壮丽场景中最为明显，尤其是由爱德华·格里格（Edvard Grieg）的音乐版本而闻名。这段话被广泛认为是一项非凡的成就，然而，据我所知，之前没有对其进行详细分析。在接下来的内容中，我将仔细阅读这个场景的一些诗意特征，既可以作为解开其整体动态的一种方式，也可以提出一些更广泛的美学含义。基本上，我的论点是场景分为两部分。前半部分包括三个不同的尝试，通过在三个不同的时间段中部署诗歌和叙事的创造力来逃避死亡的事实。