从《熙德》到《西拿》:高乃依的古典主义悲剧实验  

From Le Cid to Cinna: Corneille's Classical Tragedy Experiment

作　　者：陈杰[1] 

机构地区：[1]复旦大学外国语言文学学院

出　　处：《戏剧（中央戏剧学院学报）》2016年第5期59-68,共10页Drama:The Journal of the Central Academy of Drama

基　　金：复旦大学青年教师科研启动基金项目"十七世纪法国中央权力与文人阶层关系"(项目编号:JJH3152201)的阶段性成果

摘　　要：1637年,从空前成功的《熙德》到轰动文坛的论战,短短几个月,名满巴黎的高乃依沦为理论家眼中只擅修辞,却不识创作奥义的文字工匠。这次淬炼真正开启了高乃依的古典主义悲剧探索期。《西拿》问世后所获的一致认可,宣告这次古典实验的成功。高乃依从古罗马哲学家塞内卡《论宽仁》一文中一个看似超越常理的典故出发,在17世纪的"法礼"框架内进行情节设置和角色塑造,最终成就了这出既忠于自身美学选择,又符合古典法则的理想悲剧。In 1637, only a few months from unprecedented success of Le Cid to the literary circle shocking debate, celebrity Corneille deteriorated into a word craftsman good at rhetoric and innocent of creation theory. The ＂quenching＂ practically opens his exploration period of classical tragedy. The classical experiment was declared a huge victory after the publication of Cinna. Corneille starts from a seemly abnormal allusion quoted from Seneca＇s De Clemantia, he does plot setting and character shaping within the frame of 17th C ＂Law ＆ Propriety＂, in this way, Cinna, the ideal tragedy which sticks to Corneille＇s aesthetics and conforms to classical doctrines, was finally accomplished.

关 键 词：高乃依 《西拿》 塞内卡 奥古斯都 

分 类 号：I565.073[文学—其他各国文学]