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poetics-第7章

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



wretched plight… suitors are wasting his substance and plotting



against his son。 At length; tempest…tost; he himself arrives; he makes



certain persons acquainted with him; he attacks the suitors with his



own hand; and is himself preserved while he destroys them。 This is the



essence of the plot; the rest is episode。



POETICS|18



  XVIII







  Every tragedy falls into two parts… Complication  and Unraveling



or Denouement。 Incidents extraneous to the action are frequently



combined with a portion of the action proper; to form the



Complication; the rest is the Unraveling。 By the Complication I mean



all that extends from the beginning of the action to the part which



marks the turning…point to good or bad fortune。 The Unraveling is that



which extends from the beginning of the change to the end。 Thus; in



the Lynceus of Theodectes; the Complication consists of the



incidents presupposed in the drama; the seizure of the child; and then



again 。。。 'the Unraveling' extends from the accusation of murder to



the end。



  There are four kinds of Tragedy: the Complex; depending entirely



on Reversal of the Situation and Recognition; the Pathetic (where



the motive is passion)… such as the tragedies on Ajax and Ixion; the



Ethical (where the motives are ethical)… such as the Phthiotides and



the Peleus。 The fourth kind is the Simple。 'We here exclude the purely



spectacular element'; exemplified by the Phorcides; the Prometheus;



and scenes laid in Hades。 The poet should endeavor; if possible; to



combine all poetic elements; or failing that; the greatest number



and those the most important; the more so; in face of the caviling



criticism of the day。 For whereas there have hitherto been good poets;



each in his own branch; the critics now expect one man to surpass



all others in their several lines of excellence。



  In speaking of a tragedy as the same or different; the best test



to take is the plot。 Identity exists where the Complication and



Unraveling are the same。 Many poets tie the knot well; but unravel



it Both arts; however; should always be mastered。



  Again; the poet should remember what has been often said; and not



make an Epic structure into a tragedy… by an Epic structure I mean one



with a multiplicity of plots… as if; for instance; you were to make



a tragedy out of the entire story of the Iliad。 In the Epic poem;



owing to its length; each part assumes its proper magnitude。 In the



drama the result is far from answering to the poet's expectation。



The proof is that the poets who have dramatized the whole story of the



Fall of Troy; instead of selecting portions; like Euripides; or who



have taken the whole tale of Niobe; and not a part of her story;



like Aeschylus; either fail utterly or meet with poor success on the



stage。 Even Agathon has been known to fail from this one defect。 In



his Reversals of the Situation; however; he shows a marvelous skill in



the effort to hit the popular taste… to produce a tragic effect that



satisfies the moral sense。 This effect is produced when the clever



rogue; like Sisyphus; is outwitted; or the brave villain defeated。



Such an event is probable in Agathon's sense of the word: 'is



probable;' he says; 'that many things should happen contrary to



probability。'



  The Chorus too should be regarded as one of the actors; it should be



an integral part of the whole; and share in the action; in the



manner not of Euripides but of Sophocles。 As for the later poets;



their choral songs pertain as little to the subject of the piece as to



that of any other tragedy。 They are; therefore; sung as mere



interludes… a practice first begun by Agathon。 Yet what difference



is there between introducing such choral interludes; and



transferring a speech; or even a whole act; from one play to another。



POETICS|19



  XIX







  It remains to speak of Diction and Thought; the other parts of



Tragedy having been already discussed。 concerning Thought; we may



assume what is said in the Rhetoric; to which inquiry the subject more



strictly belongs。 Under Thought is included every effect which has



to be produced by speech; the subdivisions being: proof and



refutation; the excitation of the feelings; such as pity; fear; anger;



and the like; the suggestion of importance or its opposite。 Now; it is



evident that the dramatic incidents must be treated from the same



points of view as the dramatic speeches; when the object is to evoke



the sense of pity; fear; importance; or probability。 The only



difference is that the incidents should speak for themselves without



verbal exposition; while effects aimed at in should be produced by the



speaker; and as a result of the speech。 For what were the business



of a speaker; if the Thought were revealed quite apart from what he



says?



  Next; as regards Diction。 One branch of the inquiry treats of the



Modes of Utterance。 But this province of knowledge belongs to the



art of Delivery and to the masters of that science。 It includes; for



instance… what is a command; a prayer; a statement; a threat; a



question; an answer; and so forth。 To know or not to know these things



involves no serious censure upon the poet's art。 For who can admit the



fault imputed to Homer by Protagoras… that in the words; 'Sing;



goddess; of the wrath; he gives a command under the idea that he



utters a prayer? For to tell some one to do a thing or not to do it



is; he says; a command。 We may; therefore; pass this over as an



inquiry that belongs to another art; not to poetry。



POETICS|20



  XX







  Language in general includes the following parts: Letter;



Syllable; Connecting Word; Noun; Verb; Inflection or Case; Sentence or



Phrase。



  A Letter is an indivisible sound; yet not every such sound; but only



one which can form part of a group of sounds。 For even brutes utter



indivisible sounds; none of which I call a letter。 The sound I mean



may be either a vowel; a semivowel; or a mute。 A vowel is that which



without impact of tongue or lip has an audible sound。 A semivowel that



which with such impact has an audible sound; as S and R。 A mute;



that which with such impact has by itself no sound; but joined to a



vowel sound becomes audible; as G and D。 These are distinguished



according to the form assumed by the mouth and the place where they



are produced; according as they are aspirated or smooth; long or



short; as they are acute; grave; or of an intermediate tone; which



inquiry belongs in detail to the writers on meter。



  A Syllable is a nonsignificant sound; composed of a mute and a



vowel: for GR without A is a syllable; as also with A… GRA。 But the



investigation of these differences belongs also to metrical science。



  A Connecting Word is a nonsignificant sound; which neither causes



nor hinders the union of many sounds into one significant sound; it



may be placed at either end or in the middle of a sentence。 Or; a



nonsignificant sound; which out of several sounds; each of them



significant; is capable of forming one significant sound… as amphi;



peri; and the like。 Or; a nonsignificant sound; which marks the



beginning; end; or division of a sentence; such; however; that it



cannot correctly stand by itself at the beginning of a sentence… as



men; etoi; de。



  A Noun is a composite significant sound; not marking time; of



which no part is in itself significant: for in double or compound



words we do not employ the separate parts as if each were in itself



significant。 Thus in Theodorus; 'god…given;' the doron or 'gift' is



not in itself significant。



  A Verb is a composite significant sound; marking time; in which;



as in the noun; no part is in itself significant。 For 'man' or 'white'



does not express 

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