论埃斯库罗斯《阿伽门农》中的“距离”

On “Distance” in Aeschylus’ Agamemnon

“距离”产生悲剧张力,张力构成悲剧冲突,产生悲剧效果。埃斯库罗斯三联剧之一《阿伽门农》中的“距离”分别体现在内外两个方面:外部的“距离”体现在悲剧与传统,即与史诗的互文性前提下的继承和创新,一种从个人性体验到集体观念的转化和让渡;内部的“距离”分别在悲剧基本结构(歌队、人物、情节)的两个层面展开:歌队与演员的“距离”和演员与诸神等旁观者的“距离”。歌队的双重性使信息在交流过程的意义接受和失效中产生张力,凸显出悲剧中个体、家庭、城邦的相互关联。诸神、观众等旁观者的视域与参与到戏剧行动中的演员之间的“距离”也构成了悲剧效果——与最终公开审判下所展开的完整视野和最终正义的实现相比,一种在个人正义的执行中内与外共同体对立的悲剧冲突。

“Distance”creates tragic tension,which constitutes tragic conflict and produces tragic effects.The“distance”in Agamemnon,one of Aeschylus’triptychs,is embodied in two aspects:the external“distance”is embodied in tragedy and tradition,that is,inheritance and innovation under the premise of intertextuality with epic,a transformation and transfer from individual experience to collective concept;The internal“distance”unfolds at two levels of the basic structure of the tragedy(chorus,characters,plot):the“distance”between the chorus and the actors,and the“distance”between the actors and the bystanders such as the gods.The duality of the chorus creates tension in the acceptance and failure of the meaning of the message in the process of communication,highlighting the interconnectedness of individuals,families,and city-states in tragedy.The“distance”between the field of view of the gods,spectators,etc.,and the actors involved in the dramatic action also constitutes a tragic effect—a tragic conflict between internal and external communities in the execution of individual justice,compared with the complete vision unfolded under the final public trial and the realization of ultimate justice.