Matthew Arnold is a great Victorian poet and a leading social critic."Dover Beach"is one of Arnold's most famous poems. Critics differ widely on how to interpret Matthew Arnold's choice of"Sopho...Matthew Arnold is a great Victorian poet and a leading social critic."Dover Beach"is one of Arnold's most famous poems. Critics differ widely on how to interpret Matthew Arnold's choice of"Sophocles"in it. Many critics argue that the introduction of the Greek author Sophocles in the second stanza strengthened the theme in a large degree by forming a contrast between the present and past. Some others think that Arnold chooses Sophocles because he appreciates Hellenism. But most of the critics attempt to discover a specific reference to Sophocles. In this article, the author is going to discuss why reasons mentioned above can not explain the role"Sophocles"played in improving the theme of"Dover Beach"and prove that"Sophocles"was used by Arnold, a pious Christian, to grieve for the collapse of faith.展开更多
Breaking with Aristotle＇s theory of tragedy in which the grand magnitude of the spirit of the tragic hero somehow trapped and misguided by a certain tragic flaw arouses the audiences＇ emotional intensity of pity and...Breaking with Aristotle＇s theory of tragedy in which the grand magnitude of the spirit of the tragic hero somehow trapped and misguided by a certain tragic flaw arouses the audiences＇ emotional intensity of pity and fear for the functioning of catharsis, Hegel analyzes the structure of tragedy in terms of the social conflict, in the case of Sophocles＇ Antigone, between the ruler Creon and the rebel Antigone, the patriarchal state and the individual woman, the civil codes and the divine law. Rejecting Creon＇s dictatorship and performing civil disobedience, Antigone intentionally buries the dead body of her brother Polyneices at the cost of being sentenced to death. Through this sacrifice, Antigone exposes the structural fissure of the civil society embedded in decaying morality for realizing the higher ideal of divine law and ethics. Through Antigone＇s sacrifice, the paradox of self-denial and self-elevation manifests the inner principle of dialectic through which the very opposite forces of contradiction engender the dynamic facets of the formation of modern civil society. As Hegelian dialectic is driven by its inner principle of negativity or negation of negation, through self-denial, Antigone transcends the moral codes of the mundane world for reaching the higher divine will. Yet, this dialectical ascending does not indicate a transcendent hero beyond the human world; instead, through the means of self-denying sacrifice, Antigone accomplishes the purpose of the divine will and conveys the divine spirit incarnated in the human flesh. For Hegelian tragic hero, the external and internal conflicts lead to the realization of self-consciousness and the ultimate consummation of heroic identity. Instead of being conditioned by Aristotelian tragic flaw and unconquerable fate, for Hegel, Antigone explicates the modern rebellious spirit of free will, and this martyrdom, not in the sense of scapegoat as the passive substitute for the sin of collective human community, presents a modern sense of tragic hero, an incarnated flesh invested with politically radical spirit. The flesh figure of heroine Antigone exemplifies the immanent power of ethical substance and dialectically transforms the divine will into the earthly spirit. Thus, this paper aims to investigate into the shift from Aristotle＇s concept of tragic hero to Hegelian dialectic tragedy and further examines how Hegelian tragic hero engenders the historical move into Western modernity through negative dialectic and accomplishes the self-other positioning of ethical substance presented in Sophocles＇ Antigone.展开更多
Socrates' discussions in Plato's early dialogues are predominantly concerned with value-concepts. The discussions often start with the social roles which Socrates5 partners play and the virtues associated with...Socrates' discussions in Plato's early dialogues are predominantly concerned with value-concepts. The discussions often start with the social roles which Socrates5 partners play and the virtues associated with those roles. They react to a widespread uncertainty concerning the decline of moral as well as a reassessment of values, all of which took place in the course of the fifth century. Plato's Socrates tried to prove that one's life should be guided by standards such as true justice. In this context, he also referred to Hesiod, who had advanced a new concept of justice in reaction to a private problem, but also in an effort to contribute to a change of values in the society of his time (the 8th century). Thus, to some extant Hesiod can be regarded as a forerunner of those like Plato who tried to establish fixed norms which are separated from personal interests and should be observed in order to live a good life. I shall argue that Hesiod's position itself is based on a transformation of an ancient concept and influenced later poets like Aeschylus, Sophocles and, despite his criticism, even Plato.展开更多
文摘Matthew Arnold is a great Victorian poet and a leading social critic."Dover Beach"is one of Arnold's most famous poems. Critics differ widely on how to interpret Matthew Arnold's choice of"Sophocles"in it. Many critics argue that the introduction of the Greek author Sophocles in the second stanza strengthened the theme in a large degree by forming a contrast between the present and past. Some others think that Arnold chooses Sophocles because he appreciates Hellenism. But most of the critics attempt to discover a specific reference to Sophocles. In this article, the author is going to discuss why reasons mentioned above can not explain the role"Sophocles"played in improving the theme of"Dover Beach"and prove that"Sophocles"was used by Arnold, a pious Christian, to grieve for the collapse of faith.
文摘Breaking with Aristotle＇s theory of tragedy in which the grand magnitude of the spirit of the tragic hero somehow trapped and misguided by a certain tragic flaw arouses the audiences＇ emotional intensity of pity and fear for the functioning of catharsis, Hegel analyzes the structure of tragedy in terms of the social conflict, in the case of Sophocles＇ Antigone, between the ruler Creon and the rebel Antigone, the patriarchal state and the individual woman, the civil codes and the divine law. Rejecting Creon＇s dictatorship and performing civil disobedience, Antigone intentionally buries the dead body of her brother Polyneices at the cost of being sentenced to death. Through this sacrifice, Antigone exposes the structural fissure of the civil society embedded in decaying morality for realizing the higher ideal of divine law and ethics. Through Antigone＇s sacrifice, the paradox of self-denial and self-elevation manifests the inner principle of dialectic through which the very opposite forces of contradiction engender the dynamic facets of the formation of modern civil society. As Hegelian dialectic is driven by its inner principle of negativity or negation of negation, through self-denial, Antigone transcends the moral codes of the mundane world for reaching the higher divine will. Yet, this dialectical ascending does not indicate a transcendent hero beyond the human world; instead, through the means of self-denying sacrifice, Antigone accomplishes the purpose of the divine will and conveys the divine spirit incarnated in the human flesh. For Hegelian tragic hero, the external and internal conflicts lead to the realization of self-consciousness and the ultimate consummation of heroic identity. Instead of being conditioned by Aristotelian tragic flaw and unconquerable fate, for Hegel, Antigone explicates the modern rebellious spirit of free will, and this martyrdom, not in the sense of scapegoat as the passive substitute for the sin of collective human community, presents a modern sense of tragic hero, an incarnated flesh invested with politically radical spirit. The flesh figure of heroine Antigone exemplifies the immanent power of ethical substance and dialectically transforms the divine will into the earthly spirit. Thus, this paper aims to investigate into the shift from Aristotle＇s concept of tragic hero to Hegelian dialectic tragedy and further examines how Hegelian tragic hero engenders the historical move into Western modernity through negative dialectic and accomplishes the self-other positioning of ethical substance presented in Sophocles＇ Antigone.
文摘Socrates' discussions in Plato's early dialogues are predominantly concerned with value-concepts. The discussions often start with the social roles which Socrates5 partners play and the virtues associated with those roles. They react to a widespread uncertainty concerning the decline of moral as well as a reassessment of values, all of which took place in the course of the fifth century. Plato's Socrates tried to prove that one's life should be guided by standards such as true justice. In this context, he also referred to Hesiod, who had advanced a new concept of justice in reaction to a private problem, but also in an effort to contribute to a change of values in the society of his time (the 8th century). Thus, to some extant Hesiod can be regarded as a forerunner of those like Plato who tried to establish fixed norms which are separated from personal interests and should be observed in order to live a good life. I shall argue that Hesiod's position itself is based on a transformation of an ancient concept and influenced later poets like Aeschylus, Sophocles and, despite his criticism, even Plato.
