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poetics-第4章

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which the plots are an imitation; obviously show a similar



distinction。 An action which is one and continuous in the sense



above defined; I call Simple; when the change of fortune takes place



without Reversal of the Situation and without Recognition



  A Complex action is one in which the change is accompanied by such



Reversal; or by Recognition; or by both。 These last should arise



from the internal structure of the plot; so that what follows should



be the necessary or probable result of the preceding action。 It



makes all the difference whether any given event is a case of



propter hoc or post hoc。



POETICS|11



  XI







  Reversal of the Situation is a change by which the action veers



round to its opposite; subject always to our rule of probability or



necessity。 Thus in the Oedipus; the messenger comes to cheer Oedipus



and free him from his alarms about his mother; but by revealing who he



is; he produces the opposite effect。 Again in the Lynceus; Lynceus



is being led away to his death; and Danaus goes with him; meaning to



slay him; but the outcome of the preceding incidents is that Danaus is



killed and Lynceus saved。



  Recognition; as the name indicates; is a change from ignorance to



knowledge; producing love or hate between the persons destined by



the poet for good or bad fortune。 The best form of recognition is



coincident with a Reversal of the Situation; as in the Oedipus。



There are indeed other forms。 Even inanimate things of the most



trivial kind may in a sense be objects of recognition。 Again; we may



recognize or discover whether a person has done  a thing or not。 But



the recognition which is most intimately connected with the plot and



action is; as we have said; the recognition of persons。 This



recognition; combined with Reversal; will produce either pity or fear;



and actions producing these effects are those which; by our



definition; Tragedy represents。 Moreover; it is upon such situations



that the issues of good or bad fortune will depend。 Recognition; then;



being between persons; it may happen that one person only is



recognized by the other… when the latter is already known… or it may



be necessary that the recognition should be on both sides。 Thus



Iphigenia is revealed to Orestes by the sending of the letter; but



another act of recognition is required to make Orestes known to



Iphigenia。



  Two parts; then; of the Plot… Reversal of the Situation and



Recognition… turn upon surprises。 A third part is the Scene of



Suffering。 The Scene of Suffering is a destructive or painful



action; such as death on the stage; bodily agony; wounds; and the



like。



POETICS|12



  XII







  The parts of Tragedy which must be treated as elements of the



whole have been already mentioned。 We now come to the quantitative



parts… the separate parts into which Tragedy is divided… namely;



Prologue; Episode; Exode; Choric song; this last being divided into



Parode and Stasimon。 These are common to all plays: peculiar to some



are the songs of actors from the stage and the Commoi。



  The Prologue is that entire part of a tragedy which precedes the



Parode of the Chorus。 The Episode is that entire part of a tragedy



which is between complete choric songs。 The Exode is that entire



part of a tragedy which has no choric song after it。 Of the Choric



part the Parode is the first undivided utterance of the Chorus: the



Stasimon is a Choric ode without anapaests or trochaic tetrameters:



the Commos is a joint lamentation of Chorus and actors。 The parts of



Tragedy which must be treated as elements of the whole have been



already mentioned。 The quantitative parts… the separate parts into



which it is divided… are here enumerated。



POETICS|13



  XIII







  As the sequel to what has already been said; we must proceed to



consider what the poet should aim at; and what he should avoid; in



constructing his plots; and by what means the specific effect of



Tragedy will be produced。



  A perfect tragedy should; as we have seen; be arranged not on the



simple but on the complex plan。 It should; moreover; imitate actions



which excite pity and fear; this being the distinctive mark of



tragic imitation。 It follows plainly; in the first place; that the



change of fortune presented must not be the spectacle of a virtuous



man brought from prosperity to adversity: for this moves neither



pity nor fear; it merely shocks us。 Nor; again; that of a bad man



passing from adversity to prosperity: for nothing can be more alien to



the spirit of Tragedy; it possesses no single tragic quality; it



neither satisfies the moral sense nor calls forth pity or fear。 Nor;



again; should the downfall of the utter villain be exhibited。 A plot



of this kind would; doubtless; satisfy the moral sense; but it would



inspire neither pity nor fear; for pity is aroused by unmerited



misfortune; fear by the misfortune of a man like ourselves。 Such an



event; therefore; will be neither pitiful nor terrible。 There remains;



then; the character between these two extremes… that of a man who is



not eminently good and just; yet whose misfortune is brought about not



by vice or depravity; but by some error or frailty。 He must be one who



is highly renowned and prosperous… a personage like Oedipus; Thyestes;



or other illustrious men of such families。



  A well…constructed plot should; therefore; be single in its issue;



rather than double as some maintain。 The change of fortune should be



not from bad to good; but; reversely; from good to bad。 It should come



about as the result not of vice; but of some great error or frailty;



in a character either such as we have described; or better rather than



worse。 The practice of the stage bears out our view。 At first the



poets recounted any legend that came in their way。 Now; the best



tragedies are founded on the story of a few houses… on the fortunes of



Alcmaeon; Oedipus; Orestes; Meleager; Thyestes; Telephus; and those



others who have done  or suffered something terrible。 A tragedy; then;



to be perfect according to the rules of art should be of this



construction。 Hence they are in error who censure Euripides just



because he follows this principle in his plays; many of which end



unhappily。 It is; as we have said; the right ending。 The best proof is



that on the stage and in dramatic competition; such plays; if well



worked out; are the most tragic in effect; and Euripides; faulty



though he may be in the general management of his subject; yet is felt



to be the most tragic of the poets。



  In the second rank comes the kind of tragedy which some place first。



Like the Odyssey; it has a double thread of plot; and also an opposite



catastrophe for the good and for the bad。 It is accounted the best



because of the weakness of the spectators; for the poet is guided in



what he writes by the wishes of his audience。 The pleasure; however;



thence derived is not the true tragic pleasure。 It is proper rather to



Comedy; where those who; in the piece; are the deadliest enemies… like



Orestes and Aegisthus… quit the stage as friends at the close; and



no one slays or is slain。



POETICS|14



  XIV







  Fear and pity may be aroused by spectacular means; but they may also



result from the inner structure of the piece; which is the better way;



and indicates a superior poet。 For the plot ought to be so constructed



that; even without the aid of the eye; he who hears the tale told will



thrill with horror and melt to pity at what takes Place。 This is the



impression we should receive from hearing the story of the Oedipus。



But to produce this effect by the mere spectacle is a less artistic



method; and dependent on extraneous aids。 Those who employ spectacular



means to create a sense not of the terrible but only of the monstrous;



are strangers to the purpose of Tragedy; for we must not demand of



Tragedy any and every kind of pleasure; but only that which is



proper to it。 And since the pleasure which the poet should afford is



that which comes from pity and fear through imitation; it is evident



that this quality must be impressed upon the incidents。



  Let us then determine what are the circumstances which strike us



as terrible or pitiful。



  Actions capable of this effect must happen between persons who are



either friends or enemies or indifferent to one another。 If an enemy



kills an enemy; there is nothing to excite pity either in the act or



the intention… except so far as the suffering in itself is pitiful。 So



again with indifferent persons。 But when the tragic incident occurs



between those who are near or dear to one another… if; for example;



a brother kills; or intends to kill; a brother; a son his father; a



mother her son; a son his mother; or any other deed
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