身体视域下亚里士多德悲剧观再解读

A Reinterpretation of the Aristotelian Idea of Tragedy from the Perspective of the Body

亚里士多德在希腊戏剧渐近没落的背景之下为悲剧辩护,从身体性人的存在事件出发来重新审视悲剧,建构了一种新的悲剧性。他重新发现了身体,内在地饱含着灵魂,并将人的本质内在于自身,通过行动得以显现。悲剧艺术通过对行动的摹仿,是对人的本质的揭示。同时悲剧中的摹仿,是身体本身一种有意识的回响,也是另一种肉的延续,从而使得悲剧的产生获得一种内源性的依据。在悲剧所有成分中他最重视情节,将其作为悲剧的形式,内在统一着其他所有要素。情节整一性以行动落定为完满,将行动的最后落定同时意味着对自我的否定这一内在的悲剧性以艺术的形式揭示出来,最后达到对存在的恐惧与怜悯。悲剧也由此获得一种生命性的高度。

Aristotle defended tragedy in the context of the decline of Greek drama. Re - examining it from the existence of the physical body, he constructed a new idea of tragedy. Aristotle rediscovered the body, with the soul in the body and the essence of human beings in themselves shown in action. Through the imitation of action, tragedy revealed the essence of human nature. At the same time, the imitation of tragedy was a conscious echo in the body and an extension of the flesh, giving tragedy its internal source. Of all the elements of tragedy, he attached great importance to plot and considered it as the core form of tragedy, unifying all the other elements. The wholeness of the plot was marked by the completion of action, revealing through art the inner tragedy of human beings, as the end of action marks the denial of self. Fear and pity were finally gained, and a higher level and understanding of life was reached in tragedy.