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第6章

poetics-第6章

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  As in the structure of the plot; so too in the portraiture of



character; the poet should always aim either at the necessary or the



probable。 Thus a person of a given character should speak or act in



a given way; by the rule either of necessity or of probability; just



as this event should follow that by necessary or probable sequence。 It



is therefore evident that the unraveling of the plot; no less than the



complication; must arise out of the plot itself; it must not be



brought about by the Deus ex Machina… as in the Medea; or in the



return of the Greeks in the Iliad。 The Deus ex Machina should be



employed only for events external to the drama… for antecedent or



subsequent events; which lie beyond the range of human knowledge;



and which require to be reported or foretold; for to the gods we



ascribe the power of seeing all things。 Within the action there must



be nothing irrational。 If the irrational cannot be excluded; it should



be outside the scope of the tragedy。 Such is the irrational element



the Oedipus of Sophocles。



  Again; since Tragedy is an imitation of persons who are above the



common level; the example of good portrait painters should be



followed。 They; while reproducing the distinctive form of the



original; make a likeness which is true to life and yet more



beautiful。 So too the poet; in representing men who are irascible or



indolent; or have other defects of character; should preserve the type



and yet ennoble it。 In this way Achilles is portrayed by Agathon and



Homer。



  These then are rules the poet should observe。 Nor should he



neglect those appeals to the senses; which; though not among the



essentials; are the concomitants of poetry; for here too there is much



room for error。 But of this enough has been said in our published



treatises。



POETICS|16



  XVI







  What Recognition is has been already explained。 We will now



enumerate its kinds。



  First; the least artistic form; which; from poverty of wit; is



most commonly employed… recognition by signs。 Of these some are



congenital… such as 'the spear which the earth…born race bear on their



bodies;' or the stars introduced by Carcinus in his Thyestes。 Others



are acquired after birth; and of these some are bodily marks; as



scars; some external tokens; as necklaces; or the little ark in the



Tyro by which the discovery is effected。 Even these admit of more or



less skilful treatment。 Thus in the recognition of Odysseus by his



scar; the discovery is made in one way by the nurse; in another by the



swineherds。 The use of tokens for the express purpose of proof… and;



indeed; any formal proof with or without tokens… is a less artistic



mode of recognition。 A better kind is that which comes about by a turn



of incident; as in the Bath Scene in the Odyssey。



  Next come the recognitions invented at will by the poet; and on that



account wanting in art。 For example; Orestes in the Iphigenia



reveals the fact that he is Orestes。 She; indeed; makes herself



known by the letter; but he; by speaking himself; and saying what



the poet; not what the plot requires。 This; therefore; is nearly



allied to the fault above mentioned… for Orestes might as well have



brought tokens with him。 Another similar instance is the 'voice of the



shuttle' in the Tereus of Sophocles。



  The third kind depends on memory when the sight of some object



awakens a feeling: as in the Cyprians of Dicaeogenes; where the hero



breaks into tears on seeing the picture; or again in the Lay of



Alcinous; where Odysseus; hearing the minstrel play the lyre;



recalls the past and weeps; and hence the recognition。



  The fourth kind is by process of reasoning。 Thus in the Choephori:



'Some one resembling me has come: no one resembles me but Orestes:



therefore Orestes has come。' Such too is the discovery made by



Iphigenia in the play of Polyidus the Sophist。 It was a natural



reflection for Orestes to make; 'So I too must die at the altar like



my sister。' So; again; in the Tydeus of Theodectes; the father says;



'I came to find my son; and I lose my own life。' So too in the



Phineidae: the women; on seeing the place; inferred their fate…



'Here we are doomed to die; for here we were cast forth。' Again; there



is a composite kind of recognition involving false inference on the



part of one of the characters; as in the Odysseus Disguised as a



Messenger。 A said 'that no one else was able to bend the bow; 。。。



hence B (the disguised Odysseus) imagined that A would' recognize



the bow which; in fact; he had not seen; and to bring about a



recognition by this means… the expectation that A would recognize



the bow… is false inference。



  But; of all recognitions; the best is that which arises from the



incidents themselves; where the startling discovery is made by natural



means。 Such is that in the Oedipus of Sophocles; and in the Iphigenia;



for it was natural that Iphigenia should wish to dispatch a letter。



These recognitions alone dispense with the artificial aid of tokens or



amulets。 Next come the recognitions by process of reasoning。



POETICS|17



  XVII







  In constructing the plot and working it out with the proper diction;



the poet should place the scene; as far as possible; before his



eyes。 In this way; seeing everything with the utmost vividness; as



if he were a spectator of the action; he will discover what is in



keeping with it; and be most unlikely to overlook inconsistencies。 The



need of such a rule is shown by the fault found in Carcinus。



Amphiaraus was on his way from the temple。 This fact escaped the



observation of one who did not see the situation。 On the stage;



however; the Piece failed; the audience being offended at the



oversight。



  Again; the poet should work out his play; to the best of his



power; with appropriate gestures; for those who feel emotion are



most convincing through natural sympathy with the characters they



represent; and one who is agitated storms; one who is angry rages;



with the most lifelike reality。 Hence poetry implies either a happy



gift of nature or a strain of madness。 In the one case a man can



take the mould of any character; in the other; he is lifted out of his



proper self。



  As for the story; whether the poet takes it ready made or constructs



it for himself; he should first sketch its general outline; and then



fill in the episodes and amplify in detail。 The general plan may be



illustrated by the Iphigenia。 A young girl is sacrificed; she



disappears mysteriously from the eyes of those who sacrificed her; she



is transported to another country; where the custom is to offer up



an strangers to the goddess。 To this ministry she is appointed。 Some



time later her own brother chances to arrive。 The fact that the oracle



for some reason ordered him to go there; is outside the general plan



of the play。 The purpose; again; of his coming is outside the action



proper。 However; he comes; he is seized; and; when on the point of



being sacrificed; reveals who he is。 The mode of recognition may be



either that of Euripides or of Polyidus; in whose play he exclaims



very naturally: 'So it was not my sister only; but I too; who was



doomed to be sacrificed'; and by that remark he is saved。



  After this; the names being once given; it remains to fill in the



episodes。 We must see that they are relevant to the action。 In the



case of Orestes; for example; there is the madness which led to his



capture; and his deliverance by means of the purificatory rite。 In the



drama; the episodes are short; but it is these that give extension



to Epic poetry。 Thus the story of the Odyssey can be stated briefly。 A



certain man is absent from home for many years; he is jealously



watched by Poseidon; and left desolate。 Meanwhile his home is in a



wretche

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