《西方文明中的音乐》第十章 巴洛克 (2&3)摘抄

The baroque changed the atmosphere of this world, and Michelangelo threw all these notions overboard. The strong metaphysical impulse that we know in the Gothic world reappears in his works, but the opposing motives are not brought into harmonic unison. The shadow of an overwhelming tragedy covers his works. Michelangelo’s figures writhe, groan, and sigh. They desire to gain the transcendental spiritual regions, but with their massive corporeality they are even more the prisoners of the earthy, sensuous-spatial, than ordinary mortals. The wondrous gigantic bodies created by his imagination will remain the symbols of captivity in matter, of a longing and desire for transcendental purity. 
 
       巴洛克改变了这一世界的气氛，米开朗基罗把这些观念一脚踢开。在他作品中，哥特世界中强烈的玄秘冲动重新出现，敌对的动机不能达成和谐的统一。吞噬一切的悲剧的阴影笼罩他的作品。米开朗基罗的痛苦地扭曲，呻吟，叹息。他们向往超验的精神世界，但是，硕大的肉身使他们比一般凡人更加是尘世的囚犯，更属于情感和空间。他凭想象力创作的奇妙的巨大的体魄将永远是物质俘虏的象征，是渴望、追求超验和纯洁的象征。

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What was restricted by Michelangelo and the early baroque to the elements of construction invades the whole structure in the high baroque. What we behold is not simply an edifice, but a drama in which the dramatis personae are the walls, the columns, interior and exterior. While Italian architecture still retained its rational foundations—it could not cast away such an essential trait of the Latin—these dynamic qualities led to their most violent expression in the German baroque.
 
       米开朗基罗和巴洛克早期仅限于对建筑元素的态度，到巴洛克盛期扩大到结构整体。眼前所见不仅是一栋建筑，而是一部戏剧，墙壁、圆柱、室内室外都是剧中人。意大利建筑任然保留其理性基础，它不能轻易抛弃拉丁风格的重要特征，但是这些动感在德国巴洛克中表现得最为剧烈。