向死而生:悲剧的时间结构

Being Towards Death:Time Structure of Tragedy

死亡是悲剧中经常出现,也最为震撼人心的事件。但是,不同于海德格尔对"向死亡存在"的分析,悲剧主人公则处在"临界处境",这一危机状态激发出人的所有潜在可能性,使人更接近于"神"或"魔",或者本身就是"神"或"魔"。悲剧时间也因此成为从人的生命时间向神圣时间移位的一种时间形态。悲剧的命运观念强化了悲剧的未来时间,以至于未来成为悲剧首要的时间向度。因此,以"现在"方式呈现由"未来"牵引着的"过去",是悲剧典型的时间结构,而悲剧的时间节奏则体现着生命的节奏。悲剧是个矛盾体,它同时包含着死亡和永恒,是人意图通过死亡来叩问、探寻永恒的一条重要途径。可是,由于对永恒的理解和解释不同,死亡的意义、人的意义、悲剧时间的意义乃至悲剧本身都将随之变化。

Death is often appears and is the most stirring events in tragedy. However, different from Heidegger ~s analysis of ＂Death to the existence＂, the tragic hero is in a ＂critical situation＂that the cri- sis inspires all the potential of him, which is closer to ＂God＂ or ＂Magic＂, or oneself is ＂God＂ or ＂magic＂. Tragical time also become a shift pattern from human life time to sacred time. The idea of tragical fate has strengthened the future time of tragedy, so the ＂future＂ becomes the most important dimension of tragical time. As a result, ＂now＂ becomes a way that the ＂past＂ dragged by ＂future＂, is the typical structure of tragical time, and the rhythm of tragical time are reflects in the rhythm of life. Tragedy is a contradiction, which contains death and eternity, is intended to make inquiries through death, an important way of searching the eternity. However, due to the different understanding and interpretation of the eternity, the meaning of death, the human sense, significance of tragical time, and even tragedy itself will be changes.