西方文艺理论课件01F.ppt

古希腊罗马时期文学理论,西方文艺理论,古希腊罗马时期文学理论,贺拉斯的诗艺,“希腊，如今的俘虏，却俘获了她狂野的征服者，为罗马带来了文化。” 罗马诗人中的一个主要争论：在什么范围内背离希腊典范或者进行创新是可以允许的。不唯作诗之法缺乏创新，诗论亦无创新。 日本在有些时期（特别是中国国力减弱时）会出现抵制甚至贬低中国文化的民族主义倾向，罗马则虽明见希腊在政治上衰落，也不改其对希腊文化的倾慕。,古希腊罗马时期文学理论,贺拉斯的诗艺,贺拉斯（Horace）奥古斯都时代（公元前30-公元14年）的文坛巨匠。其文学理论见其书信（亦以诗写成）中的一些篇章，以诗艺（原名Epistola ad Pisones，后昆体良（Quintilian）将其改称Ars Poetica）一篇最著。,古希腊罗马时期文学理论,贺拉斯的诗艺,奥古斯都（Augustus），本名Gaius Octavius Thurinus, named Gaius Julius Caesar (after his great-uncle by the same name)。在其任皇帝期间，拉丁文学达到极盛。 Augustine of Hippo (奥古斯丁，354430), also known as St. Augustine, was Bishop of Hippo Regius. He was a Latin-speaking philosopher and theologian who lived in the Roman Africa Province. His writings were very influential in the development of Western Christianity.,古希腊罗马时期文学理论,贺拉斯的诗艺,Horace was the son of a freed slave, and his father was able to spend considerable money on his education, accompanying him first to Rome for his primary education, and then sending him to Athens to study Greek and philosophy. After the assassination of Julius Caesar, Horace joined the army and fought on the republican side. When an amnesty was declared for those who had fought against Octavian, Horace returned to Italy, only to find his estate confiscated. However, he had the means to gain a profitable lifetime appointment as an official of the Treasury, which allowed him to practice his poetic art.,古希腊罗马时期文学理论,贺拉斯的诗艺,Horace was a member of a literary circle that included Virgil and Lucius Varius Rufus, who introduced him to Maecenas, friend and confidant of Augustus. Maecenas became his patron and close friend and presented Horace with an estate near Tibur in the Sabine Hills (contemporary Tivoli). Horace died in Rome at age 57 a few months after the death of Maecenas. Upon his death bed, having no heirs, Horace relinquished his farm to his friend, the emperor Augustus, for imperial needs, and it stands today as a spot of pilgrimage for his admirers.,古希腊罗马时期文学理论,贺拉斯的诗艺,贺拉斯的理论几乎全借自亚里士多德，而乏论证，亦乏对文学终极目的的哲学思辨。其文近于教科书，为作诗之法立下许多规矩。 得体(decorum，文学理论作“适宜性”)：对戏剧是否表现恰当的判断标准。,古希腊罗马时期文学理论,贺拉斯的诗艺,贺拉斯：太多的独创性不是好事，追求新奇的“风魔诗人”必定会遭受嘲笑。 贺氏为诗定的规矩使作诗程式化了，成了一门经过训练可以掌握的“手艺”。不过他也意识到，训练虽必不可少，但仅强调训练也不够。 比较：唐诗与宋诗的差别，宗李白与宗杜甫之争 对“模仿”概念的发展：可以模仿其他作家，如将特洛伊的诗篇改编成戏剧。,古希腊罗马时期文学理论,贺拉斯的诗艺,对诗歌的道德价值的强调，近于“寓教于乐”说。其所隐含的前提是：诗歌的“美学价值”和“伦理价值”（“甜美”和“有用”）是两个不同的事物，这两个方面的完美结合，远不是作品自然而然的结果。作家要从外部将道德教化“输入”到诗歌这种艺术作品中去。后世把诗歌当作“包着糖衣的道德训诫”的诗学观念，可以追溯到贺拉斯。 在争取文学的独立性上比亚里士多德退了一步，但没退到柏拉图那里。 当古典批评概念在文艺复兴时期和新古典主义时期重新被拾起来的时候，人们正是通过贺拉斯来看亚理士多德的诗学的，而且在贺拉斯的这种阐释方向上走得更远。,古希腊罗马时期文学理论,朗吉努斯的论崇高,朗吉努斯（Longinus）：修辞与崇高 朗吉努斯的文化环境：托勒密王国斥资在亚历山大利亚（Alexandria，亦可译作“亚历山大城”）建立作为研究机构的王家图书馆，几乎将古希腊文本搜罗净尽，为希腊文本的编辑、语文学研究和历史评注的黄金时代奠定了基础。在研究的基础上，亚历山大学派的学者们以在卷帙浩繁的文本中订立“正典”（canon）为己任，开出了一个最值得保存和研究的书目。后来，希腊语世界全部并入罗马帝国，罗马在文化上“以希腊为宗”，刺激了“雅典主义”（Atticism）的形成。“雅典主义”要求创作必须师法公元前四世纪的希腊人，使用“最纯粹的”古典希腊修辞语汇。,古希腊罗马时期文学理论,朗吉努斯的论崇高,朗吉努斯的真名与生卒年月不可考，著作仅存论崇高（On the Sublime）一文。该文主要探讨高尚和宏大的语言，以图解释“ekstasis（激昂慷慨）”这种特殊的审美感知的原因。 论崇高通篇都在向论辩者传授修辞技巧，似乎可归入普罗泰戈拉、高尔吉亚等的“修辞批评”中。朗吉努斯强调的重点不是文章的整体结构，而是实际的语言效果。与更晚近的西塞罗（Cicero）等修辞批评家一样，他大量运用倒装、隐喻、迂回、夸张、连词省略等修辞学术语，但如果深入研读此文，我们会发现其另有深意。,古希腊罗马时期文学理论,朗吉努斯的论崇高,希腊、罗马的修辞学传统一直认为崇高的特征与高尚和宏大的风格相关，但在朗吉努斯那里，崇高还是一切伟大诗作和修辞作品的本质所在。 朗吉努斯对修辞的劝说目的不感兴趣，他说：“崇高的语言，不是要劝说听众，而是要进入他们的心灵使我们感到慷慨激昂的词句比那巧言令色的词句更有说服力。”在说到传统修辞理论中的种种修辞格的时候，他说：“崇高和强烈的情感表达，对只专注于修辞格的令人生疑的文辞不啻是一剂矫正的良药。不要去考虑什么修辞上的雕虫小技。”朗吉努斯很成功地论述了修辞格使用中的“以情为文”的原则。如果说朗吉努斯是修辞学派在罗马的继承人的话，那么我们也可以说，朗吉努斯实现了修辞批评或修辞理论的“自我救赎”。,古希腊罗马时期文学理论,朗吉努斯的论崇高,现代的观点：只有源于真情实感的写作才最真实(cf. 为情而造文vs.为文而造情)。但在朗吉努斯的时代，希腊诗人仍然以卡利马楚斯(Callimachus，约公元前305-240年)那种纤小精细的创作方式为宗，认为“大作乃大恶”。 然“为情而造文”与纤小精细并非必然矛盾。诚然，纤小精细有六朝的纤秾（多“为文而造情”），但也有宋词婉约派中那些颇具真情之作。同样，宏大既有唐代边塞诗与宋词的豪放派，但也有汉代大赋与西方的descriptive poetry。,古希腊罗马时期文学理论,朗吉努斯的论崇高,Callimachus (310/305240 BC) was a noted poet, critic and scholar of the Library of Alexandria and was responsible for producing the catalogue of all the volumes contained in the Library. His Pinakes, 120 volumes long, provided the complete and chronologically arranged catalogue of the Library, laying the foundation for later work on the history of Greek literature.,古希腊罗马时期文学理论,朗吉努斯的论崇高,Elitist and erudite, Callimachus claimed to “abhor all common things.“ He is best known for his short poems and epigrams. During the Hellenistic period, a major trend in Greek-language poetry was to reject epics modelled after Homer. Instead, Callimachus urged poets to “drive their wagons on untrodden fields“, idealizing a form of poetry that was brief, yet carefully formed and worded, a style at which he excelled. In the prologue to his Aitia, he claims that Apollo visited him and admonished him to “fatten his flocks, but to keep his muse slender,“ a clear indication of his choice of carefully crafted and allusive material.,古希腊罗马时期文学理论,朗吉努斯的论崇高,“Big book, big evil“ is another of his verses, attacking long, old-fashioned poetry using the very style Callimachus proposed to replace it. Callimachus also wrote poems in praise of his royal patron and a wide variety of other poetic styles (including a few longer poems treating epic materials), as well as prose and criticism. The extant hymns of Callimachus are extremely learned, and written in a style that some have criticised as labored and artificial (盖近西昆体). The epigrams are more widely respected, and several have been incorporated into the Greek Anthology.,古希腊罗马时期文学理论,朗吉努斯的论崇高,朗吉努斯：“涓涓细流也许美丽澄澈，当然也有它的用处，可是我们不喜欢，我们喜欢尼罗河、多瑙河、莱茵河，还有比这些河流大得多的海洋。”宏大虽然也难免“会有一些瑕疵”，但也比“平庸的正确”好得多。 朗吉努斯甚至认为，不加润饰、率性而作是一种创作上的好习惯，能使崇高的感情表达得质朴而有力。他认为伟大的希腊作家都使用这种质朴的力量来作用于读者的，荷马、品达、德谟斯提尼（Demosthenes）、索福克勒斯无不是这样。像雅典主义者一样，他希望追溯回希腊的源头。可是，朗吉努斯对希腊源头的理解很少受到同时代人的支持，他曲高和寡。,古希腊罗马时期文学理论,朗吉努斯的论崇高,对朗吉努斯来说，崇高更重要的是读者一方的感受。他一方面强调作者必须高尚其志，从而使作品具有伟大的理念，另一方面，他也强调“崇高是高尚灵魂的回音。”他的理论不是以“自我表达”为中心的理论，而是一种关于效果的理论。他以文本为例证，对慷慨激昂和乏味感、激动狂喜和荒谬感做了细致的区分。朗吉努斯与只传授达到某种修辞效果的技巧的那些修辞批评家不同，他特别强调情感的最强烈的反应，有时甚至强调得过了头。,古希腊罗马时期文学理论,朗吉努斯的论崇高,朗吉努斯理论中似乎存在一个悖论：他所定义的崇高是超越语言（至少是超越一般语言）的。他特别关注文本的传达效果，而不是作