神祇时代的诗学

【作者】 李平；

【导师】 孙景尧；

【作者基本信息】 上海师范大学 ， 比较文学与世界文学， 2004， 博士

【摘要】 柏拉图和亚理士多德的诗学思想和著述是一种发生学的文学理论，是后来各种理论的源头，具有极其丰厚的内涵。它们不仅在西方影响巨大，而且对中国的学术研究也有重要的意义。 希腊诗学的形成和展开有一个巨大的宗教背景，这个背景中的理论有其自身的特点。奥林匹斯教和俄耳甫斯教是古希腊的重要宗教，它们不仅是民间的信仰，而且与不同的艺术类型——史诗和悲剧——发生了联系。对荷马史诗的态度与柏拉图和亚理士多德的诗学思想有直接的勾连。在诗与哲学的争论中，希腊的理性神学逐渐上升，柏拉图的基本宇宙观“理式”说，正是这个时代的产物。“理想国”的诗人观，是柏拉图贵族政治理想的生动体现。希腊的诗学理论有许多今天看似矛盾的说法，然而一旦放到特定的时空中，就变成了十分自然的见解。 柏拉图的“理式”说和亚理士多德的“形式”说，并不是完全对立的学说。柏拉图是理性神学家，而亚氏的理论是二元论的。从总体而言，亚氏并未沉迷于神学，他的诗学理论是重现实、重逻辑的。 柏拉图和亚理士多德的诗学著述文体大相径庭，其本质一为作者“在场”、一为作者“缺席”。柏拉图虽然反对和蔑视修辞学，但是为了说明自己的观点，他的诗学著述常常充满了修辞，俨然一位“诗人”。这与柏拉图的诗人气质分不开。 柏拉图所说的“第一等人”，其实并不是指诗人，而是指散发着神的气息的、富有诗人气质的哲学家(哲学王)，也即苏格拉底和柏拉图自己。古希腊虽然存在多种文学类型，但是柏拉图和亚理士多德讨论的实际上只有两种，那就是：史诗和戏剧，它们都与叙述有关。从现代艺术类型学的观点来看，柏拉图的散见论述和《诗学》的集中论述，都存在一些严重的不足，比如：混同了叙述者和作者的角色、缺少了艺术分类之必要条件等等。讲清了这些问题，希腊艺术的面貌和性质就会更加明晰。 “摹仿”说在希腊有漫长的历史，其内涵是丰富的，不能简单地与“逼真”相对应；“灵感”说也是希腊的传统意识。“摹仿”和“灵感”是柏拉图创作论中两个滑动的概念。他把这两个概念随意安放在荷马的身上，似乎没有任何阻碍。要解决这里的矛盾，只有从柏拉图自身的特点去找原因。柏拉图的诗学思想和理论具有三个既独立又有联系的特征：1．建立理想国的政治抱负，2．浓烈的宗教神学观念，3．诗人艺术家气质。当这里的第一和第二部分处于优先地位的时候，柏拉图的诗学思想和理论便打上了深刻的实用观的印记(为了城邦利益，建立理神抵时代的诗学中丈提要想国度，反对艺术摹仿、驱逐诗人);当这里的第二部分和第三部分紧密结合的时候，柏拉图的诗学思想和理论便变得恍惚和迷离起来(声称自己的诗人身份，强一调诗歌创作的神灵凭附和迷狂状态)。这三个因素的存在及其不同组合，是理解柏拉图诗学思想和理论的关键。亚理士多德把“摹仿”作为艺术的基本特征，并以摹仿的对象、摹仿的媒介和摹仿的方式为标准来区分不同的一艺术。“攀伪”在亚理士多德笔下是一个动态的概念。亚氏比较了诗与历史，认为诗描述的是“可能发生的事”，而历史叙述的是“已经发生的事”。 “虚构”在古希腊是一个含混的概念。在柏拉图那里，它是指对“神”的非“真实”描写，有时与“摹仿”同义;在亚理士多德那里，“虚构”更多的是指创作想象。 在对待悲剧接受的心理效应问题上，柏拉图出于挽救希腊世界的政治目的，完全采取了批评的态度，他认为悲剧激起的情感会影响到人的正常理智。而亚里士多德则在柏拉图的基础上往前走了关键的一步，他看到和分析了这种情感的后续效果。他不同寻常地提出了悲剧的“净化”作用，并把它作为“终极因”’与进了悲剧的定义。更多还原

【Abstract】 The poetics of Plato and Aristotle have rich connotations, which are original literary theories and the source of the other theories. They have affected the academic studies both in western countries and China heavily.There was a wide religious background in forming and development of Greek poetics which have their own specialties. The religions of Olympian and Orpheus were quite important in ancient Greece and not only the people’ s religions but also having the relationship with Greek epic and tragedy. The attitude to Homer’ s epics directly influenced the poetics of Plato and Aristotle. Greek logos’ theology was gradually developing in the quarrels between the philosophy and the poetry Plato’ s basic thought of" idea" is the outcome of the age. The view about the poets in the Republic is the vivid expression of his aristocratic ideal. It’ s quite nature to put the Greek poetics in the specific time (ancient Greece) even though there are full of contradictions in Greek poetics according to the contemporaries’ viewpointsPlato ’ s thought of " idea" and Aristotle ’ s " form" theory are not complete opposite. Aristotle’ s theory is dualism. In general, Aristotle never indulged in the religions. His poetics attached great importance to reality and logic.The styles of writing between Plato and Aristotle are quite different. One is author’ s"absence" and the other is author’ s"attendance" . Plato looked down the rhetoric in his age, but sometimes his dialogues were full of rhetoric and he was like a poet because of his temperament." The first grade people" who don’ t mean the poets but the philosophers with the belief of the gods and the poet’ s temperament are Plato and Aristotle themselves Plato and Aristotle paid attention just to epic and tragedy although there were many types of literatures in ancient Greece. Their theories about artistic typology have some mistakes, such as mixing narrators and writers, lacking in the necessary conditions of taxology. The types of Greek arts will be clearer if we can resolve these problems.The concept of" imitatiori’ that’ s not the same meaning as the word " lifelike" had a long history in ancient Greece with rich connotations. " Inspiration" was atraditional concept as well. The meanings of "imitation" and "inspiration" are changeable and there are no difficulties for Greek people to understand them that were often put on Homer by Plato. There are three aspects that are either separate or correlative in Plato’ s poetics: 1. the ambition of establishing Republic. 2. the strong religious belief, 3. the temperament of a poet. When the first aspect connected with the second one, Plato’ s poetics would be practical. Whereas, when the second aspect connected with the third one, Plato’ s poetics would be puzzled. It’ s very important to know the different elements ’ combinations of Platd s poetics. Aristotle looked " imitation" as the basic feature of art. He said that the objects, medias and methods of imitation were the standards to distinguish the different arts." Imitation" is a dynamic concept in Aristotle’ s work. Aristotle talked about the poet’ s job of representing "what is likely to happen’ as opposed to the historian’ sjob of representing" what has happened" ." Fiction" was a confused concept in ancient Greece. In Plato’ s opinion," fiction" meant either false describing about the gods or the same as" imitation" . According to Aristotle’ s theory, " fiction" usually equaled " imagination" .For saving the Greece from the decline, Plato criticized the tragedies in Greece. He thought that the emotions aroused by the tragedies would affect people’ s normal senses. Aristotle was advancing on the basis of Plato’ s thought and analyzed the later effect of the emotions. He brought forward the " purifying" function of tragedy extraordinarily and wrote it into his definition of tragedy as the reason of" goal" .更多还原