亚里士多德“净化说”之过失  

The Hamartia of Aristotle's theory of Catharsis

作　　者：丁尔苏 DING Ersu(School of English Studies,Shanghai International Studies University,Shanghai 201620,P.R.China)

机构地区：[1]上海外国语大学

出　　处：《外国语言文学》2024年第1期3-10,133,F0003,共10页Foreign Language and Literature Studies

摘　　要：亚里士多德的《诗学》是西方美学史上第一部全面讨论悲剧之文类特征的理论著作,它也是古希腊文人就诗与哲学孰优孰劣激烈争辩的产物。针对柏拉图否定诗歌的观点,亚里士多德以悲剧艺术为例,令人信服地阐明了诗歌的认知价值。然而,他所提出的“净化说”虽然揭示了艺术寓教于乐的一般特征,但终因忽略悲剧的具体内容而有失偏颇。真正的悲剧快感来自对种种苦难情景的认知及其解决方法的探索,而不是空泛的“恐惧”或“怜悯”之情的疏泄。此外,悲剧在观众心里所引发的情绪还有其他种类,如厌恶和愤怒,它们共存而又相互转化,展现悲剧艺术形式的多样性。Aristotle's Poetics was the first theoretical work in the history of Western aesthetics that deals comprehensively with the topic of tragedy.It was also a side-product of the ancient quarrel between poetry and philosophy that was going on at the time of its composition.In response to Plato's criticism of poetry and using tragic drama as an example,Aristotle convincingly demonstrates the epistemological value of art and literature in his monumental book.However,despite its great insights on the emotional effect of tragedy,his theory of catharsis is much less convincing because it fails to explain the real source of tragic pleasure which is derived not from the purgation of fear and pity but from our knowledge of human sufferings and their possible solutions.Besides,the emotions that tragedy can arouse in its audience are more than“pity”and“fear”(i.e.“disgust”and“anger”)and their co-existence and mutual transformation point to the diversity of tragic drama.

关 键 词：悲剧理论 柏拉图 亚里士多德 净化说 过失说 

分 类 号：H0[语言文字—语言学]