古羅馬時期的文藝思想課件

Cultural

featuresLonginusandhisOntheSublimeHoraceandhisArtofPoetryAncientRomanLiteraryThoughtsCulturalfeaturesLonginusHora1CulturalfeaturesWhataretheculturalfeaturesofthetime?宗教因素為例希臘化的產(chǎn)物強(qiáng)調(diào)“模仿古人”，以希臘古典為范本但這一模仿與希臘文化不同，它更精致化、文雅化、膚淺化、公式化CulturalfeaturesWhatarethe2HoraceandhisArtofPoetryThepersonTheliterarythoughtinArtofPoetryTheinfluenceHoraceandhisArtofPoetryTh3ThepersonWhoisHorace?QuintusHoratiusFlaccus(Venusia,December8,65BC–Rome,November27,8BC),knownintheEnglish-speakingworldasHorace,wastheleadingRomanlyricpoetduringthetimeofAugustus.HoraceisgenerallyconsideredtostandalongsideVirgilandOvidasoneofthegreatestpoetsoftheAugustanAge.ThepersonWhoisHorace?4TheliterarythoughtsHoracewastheclassicistwhoestablishedtheclassicalsetsofbeliefrulesandorders,restraintandcorrectexpression.Hewishedthatthewritershouldchoosecorrectandrightwords;thatheshouldusemetersmaintainingtheirappropriateness;thatheshouldbeabletochooseapropersubject;thatheshouldmakeuseofproperpoeticdiction;andthatheshouldfollowtherulesofancientarts.Alexandrianinfluencecanbenotedinhisdemandforcarefulworkmanshipandpolishandorderandorganization.Moreover,forthathesaysanartistisalwaysacraftmanwhousinghisarchitecturalgeniusmaintainsdecorumand‘urbanity’inhisworkofart.TheliterarythoughtsHoracewa5ForHorace,awritermustchooseasubjectwithinhispowerandappropriatetohisgifts;hemustsayatanygivenmomentwhatneedstobesaid,andnomore.Hemustchoosevocabulary,meterandformthatarerightforhissubject,whethernoble,exciting,eroticorjoyous.Hewarnsagainstextravagantimplausibilityandincongruities.Indeedtheprevailingemphasisthroughoutisontheneedforconsistency,coherenceandseemliness.Itisthewriter'sbusinesstorefineandpolishhistextthatthehigheststandardsofproprietyandartistryaremaintained.However,Horacedemandsacraftman’sskillinanartist;hedoesnotutterlyneglecttheroleofnaturaltalentinart.Infact,heisinsistingonacomplementaryrelationshipbetweenlearnedartistryandgenius.ForHorace,awritermustchoo6

HisArtforpoetrycanalsohereadasausefuladvicetotheperspectivewriters.ItremainedaninfluentialdocumentoraBibleforesp.Boileau,Pope,EliotandFyre.Heequatespoetrywithpainting.Inpoetry,wordsarelikevariouscolorsthatareputbeautifully.Hefocusesondecoruminpoetryi.e.therightnessofeachparttothewhole.Thereshouldbetheharmonyofeachpartsofpoetrytothewhole.Theseideasbecomelawsforneo-classicalwriters.Heoutlinesthefollowingpointstobeingoodpoetrysothatthepragmaticeffectofpoetrycanbeachieved.

HisArtforpoetrycanalsoh7HisthoughtsonliteratureUnityandsimplicityofformsFormandcontentmatchedAppropriatenessofmeterConsistencyofcharactersStyle(Startingandending)Prolepsis(flashback)Analepsis(foreshadowing)Anachronistic(random)HisthoughtsonliteratureUnit8Unityandsimplicityofforms:Whatisunityandsimplicityofforms?

Simplicityreferstoluciditythatiseveryoneunderstands.Unityistheperfectcombinationofbeginning,middleandending.Everythingshouldbematchingsothatitcreatesdecorumandthesenseofpropriety.(Correctnes+Suitable)Unityandsimplicityofforms:9FormandcontentmatchedWhatisproper?Decorum?Thestyleshouldbeproper.Byproper,hemeansthatthetrivialandseriousmattersshouldnotbewritteningrandstyle.Andinthesameway,thetreatmentofseriousmattershouldnotbeintrivialform.Therefore,formandcontentshouldbematched.Poetsandpaintersshouldnotcreatemonotonybyshowingdolphinintheforestandelephantinthesea.Suchunnaturalcombinationfailstoteachandgivethedelight.FormandcontentmatchedWhati10AppropriateuseofwordsThewordscomeandgoliketheleavesofatree.Thewordsneedtobeusedinproperplacesaccordingtothenatureofthewords.Clichéshouldnotbeusedandthelanguageofcommonpeopleshouldbemagnified.Poetsshouldusefamiliarwordsinquitedifferentway.IfcharacterswanttospeakwordsthenitisokaybutitshouldhaveitsorigininGreek.AppropriateuseofwordsThewo11AppropriatenessofmeterHoraceprefersVirgil'sopinionthattofollowHomeristofollownature.Homersaysitisappropriatetousehexameterinepic,iambicpentameterintragedyandhexameterandiambicpentameterinelegy.

AppropriatenessofmeterHorace12ConsistencyofcharactersThecharactersshouldbeconsistentandlifelike.HisviewsoncharactersareidenticaltoAristotle.Charactertraitsshouldbebasedonage,thereshouldnotbeanyexaggeration,thatiswhichisnotpossibletothecharactermustnotbepresented.Therefore,charactersshouldbeconvincing,probableandconsistent.ConsistencyofcharactersThec13Style(Startingandending)Thewritercantakeoneofthefollowingtechniquestopresentthecontent.

Prolepsis(flashback):Whathappenedbeforetheactiontakesplace.

Analepsis(foreshadowing):Whathappensnexttoongoingaction.

Anachronistic(random):Mixtureofalltechniques.

Style(Startingandending)The14Whateverthetechniquethereis,theendofpoetryshouldteachanddelight.Toteachactionsshouldbephysicalthanverbalbecausewhateverpeoplesee,theyarelikelytobelieve.Therefore,itisbettertoperformeverything.Butscenesofmurder,violenceetcshouldnotbeshownonthestage.Deuxexmachine(performingofGodonthestage)istobehidden.Whateverthetechniquetherei15《詩藝》的主要文藝思想繼承了古希臘模仿說的傳統(tǒng)：合理性與可信性接受藝術(shù)模仿自然的觀點(diǎn)，并從“適度”、“合理”這個思想出發(fā)，強(qiáng)調(diào)作家應(yīng)有生活經(jīng)驗、真實(shí)感情，主張作家到生活中去觀察，到風(fēng)俗習(xí)慣中去尋找模型，從那里汲取活生生的語言。明確提出藝術(shù)可以創(chuàng)造，但創(chuàng)造要“合式”真正的藝術(shù)作品既要大膽創(chuàng)造，又要和諧統(tǒng)一藝術(shù)可以虛構(gòu)，但虛構(gòu)要“合理”《詩藝》的主要文藝思想繼承了古希臘模仿說的傳統(tǒng)：合理性與可信16提出了古典主義的詩學(xué)原則：借鑒原則和合適原則繼承了柏拉圖的“有機(jī)統(tǒng)一說”和亞里士多德關(guān)于悲劇情節(jié)“整一性”的原則創(chuàng)作性的借鑒：內(nèi)容上，對古典傳統(tǒng)題材要要經(jīng)過一番改造和創(chuàng)新，同時要重視羅馬帝國的現(xiàn)實(shí)題材；形式上強(qiáng)調(diào)語言文字的新陳代謝合適原則：賀拉斯文藝?yán)碚摰闹鲗?dǎo)思想，即從形式到內(nèi)容都應(yīng)當(dāng)和諧統(tǒng)一、合情合理；作品總體方面要求和諧統(tǒng)一，注意作品的整體美和總效果，在人物性格方面要求自相一致提出了古典主義的詩學(xué)原則：借鑒原則和合適原則17闡述了寓教于樂的藝術(shù)功用：詩人創(chuàng)作的目的在于“給人益處和樂趣”強(qiáng)調(diào)了詩人的基本修養(yǎng)：培養(yǎng)正確的判斷力加強(qiáng)人格修養(yǎng)：作家首先應(yīng)當(dāng)有高尚的靈魂強(qiáng)調(diào)天才與苦練相結(jié)合端正創(chuàng)作態(tài)度：善于聽取有益的批評，不被假意的捧場所迷惑闡述了寓教于樂的藝術(shù)功用：詩人創(chuàng)作的目的在于“給人益處和樂趣18GroupdiscussionProposeexamplestoillustratethetheoryofdecorumPleaseuseJaneAusten’snovelsasthecasetointerpretHorace’sliterarytheoryTakePrideandPrejudiceasthecaseWhatisyourimpressionofMr.Darcy?Readchapter10,canyoudrawanyfeaturesofdecoruminthediscourseandactionofMr.Darcy?GroupdiscussionProposeexamp19《詩藝》對后世的影響“合式”原則：中世紀(jì)神學(xué)家對現(xiàn)實(shí)生活的肯定，對普遍人性的肯定：文藝復(fù)興時期的作家和評論家對理性原則的肯定：17世紀(jì)古典主義批評家和作家寓教于樂：啟蒙運(yùn)動《詩藝》對后世的影響“合式”原則：中世紀(jì)神學(xué)家20LonginusandhisOntheSublimeTheliterarypositionofsublimeThedefinitionofsublimethefeaturesofsublimeCasestudyLonginusandhisOntheSublim21GroupdiscussionWhatissublime?Whatelementsshouldbeinvolvedtoachievetheeffectofsublime?GroupdiscussionWhatissublim22TheliterarysituationofOntheSublimeOntheSublimeisbothatreatiseonaestheticsandaworkofliterarycriticism.Itiswritteninanepistolaryformandthefinalpart,possiblydealingwithpublicspeaking,hasbeenlost.Longinussetsoutfivesourcesofsublimity:"greatthoughts,strongemotions,certainfiguresofthoughtandspeech,noblediction,anddignifiedwordarrangement"TheliterarysituationofOnt23ThedefinitionofSublimeLonginusdefinessublimeasakindofloftinessandexcellenceinlanguageraisingthestyleoftheordinarylanguage.Sublimityspringsfromagreatandloftysoul,therebybecoming"oneechoofagreatsoul".崇高是“偉大心靈的回聲”，有五個方面：莊嚴(yán)偉大的思想、慷慨激昂的感情、辭格的藻飾、高雅的措辭和尊嚴(yán)的結(jié)構(gòu)

ThedefinitionofSublimeLongi24Itshouldnotonlybedistinctandexcellentincompositionbutalsomovethereadersalongwiththeeffectsofpleasureandpersuasion.Sucheffectsshouldbesubtle,flashingattherightmoment,scatteringeverythingbeforeitlikeathunderboltandatoncedisplayingthepowerofplentitude.Itshouldnotonlybedistinct25sublimeisloftyandexcellentpoeticcreationwithpowertoplease,persuadeandmovethereadersthroughtheupliftmentoftheirsouls.Sublimityisthustheaestheticupliftmentofthesoulthroughthereconciliationofthepoeticinspirationandrhetoricalmasteryofthewriters.LonginusbelievesthatsublimityisachievedbyadefthandlingofNatureandArt,whichisinborngeniusandlearnedskills.Thefivesourceshementionsforthesublimeareeitherrelatedtoauthororpoem.

sublimeisloftyandexcellent26ThefeaturesofSublimePowerofforminggreatconceptionsVehementandinspiredpassionThedueformationanduseoffiguresofspeechNobledictionDignifiedandelevatedcompositionThefeaturesofSublimePowero27PowerofforminggreatconceptionsItisconcernedwiththegrandeurofthoughtinwritersandisthefirstessentialsourceofsublime.Loftyandnaturalexpressionispossiblewhentherearenobleandloftythoughts.Suchelevatingthoughtsthatremainasthe“echoofgreatsoul"arepossiblewhentheauthorhaspowerofforminggreatconceptions.Meanandignorablethoughtscanneverenergiesaloftyutterance.孟子把他所強(qiáng)調(diào)的人格美稱為“浩然之氣”。在對個體人格的評價中，他提出善、信、美、大、圣、神六個等級，提到“充實(shí)之謂美，充實(shí)而有光輝之謂大”。他所說的“大”，比一般的美在程度上更鮮明強(qiáng)烈，在范圍上更廣闊宏偉，是一種輝煌壯觀的美。

Powerofforminggreatconcept28Thegreatthoughtscomefromtheimaginationofagreatcreativegeniusandfromasoundinterpretationoftheimitationofnatureandofthegreatpredecessors.Thedetailsoftheconceptionsshouldbesochosentoformanorganicwholebeingheightenedbyamplificationofallthedetailsofagivensubjectthroughthevividuseofimageryandrhetoric.文章要靠布局才能達(dá)到高度的雄偉，正如人體要靠四肢五官的配合才能顯得美。整體中任何一部分如果割裂開來孤立的看，是沒有什么引人注意的，但是把所有各部分綜合在一起，就形成一個完美的整體”。

朗吉弩斯把“崇高”導(dǎo)向的不是近代意義上的崇高，而是導(dǎo)向了和諧。

Thegreatthoughtscomefromt29VehementandinspiredpassionThesecondsourceofsublimeisthegenuineemotion.Theemotionshouldbestrongandnaturalexpressedinloftyandelevatedlanguagesothatitcanmovethereaderswithpleasureandpersuasion.Itshouldmatchwiththegrandeurofsubject,thoughtandloftystyle.VehementandinspiredpassionT30ThedueformationanduseoffiguresofspeechThethirdsourceofsublimeisthepoeticuseoflanguage.Theformationanduseoffiguresboosttheelevatedexpressioniftheyareproperlyused.Suchauseoffiguresshouldnotbemechanicalandforceful.Theyshouldbeusedgenuinelyandasperthedemandsofthecontextualenvironment.

Longinusdealswithsomemajorfiguresofspeech-tohim;theproperuseofrhetoricalquestionmakesanimmediateappealtotheemotions.Itisastatementinquestionformthatsuggestsitsownanswer.Theuseoffiguresmustbephysicalandintimatelyconnectedwiththoughtsandemotions.Readchapter10ofPrideandPrejudice,canyoudrawanyevidencesofthisfeatureinthediscourseandactionofMr.Darcy?Thedueformationanduseoff31NobledictionThefourthsourceofsublimeisdictionthatincludeschoiceandarrangementofwords.Longinussaysthattheuseofproperandstrikingwordsenthrall(holdattention)thehearers.Thewords,tohim,shouldbenoblecorrespondingtothesubjectmatterandemotion.Soastoimpartgrandeurandbeauty,givingbreathintodeadthings.

NobledictionThefourthsource32DignifiedandelevatedcompositionThelastsourceofsublimeisthedignifiedandelevatedarrangementofthedictionforthegrandeurofcomposition.Theverbalordershouldberhythmicandharmoniouswhichhelpspulloffpersuasionandpleasure.Suchacompositionappealstothesoulandenablesthereaderstoparticipateintheemotionsoftheauthor.Similarly,whilediscussingthesourcesoftruesublime,Longinusalsodealswiththefactorsofthefalsesublime.Tohim,thevicesofthesublimeemergeoutofthelackofpassionsincerelyandinadequacyofcommunicationcausedbyfaultytechniques.

Dignifiedandelevatedcomposi33ThefalsesublimeConceitofturgidity:Itisatypeoftimidityorbombastinguseoflanguage,whichhethinks,isdrierthandropsy.

Puerility:Theuseofpuerilityspoilsthesublimity.Itisapedantictypeofconceitaddingtoapompousandfrigidstyle.Parentheses:Itisapassionoutofplaceandmeaning,wherethereisnocauseforpassionorunrestrainedwhererestraintisneeded.Hereunrestrainedpassiondoesnotmakesublimeforthegreatnessofsoul,place,manner,occasion,andpurposesareessential.

Defectsofstyle:Thefalsesublimityevenarisesoutofthedefeatsofstyle,especiallywhensincerityissidelinedinfavorofthecrazeforfashionablestyle.Here,hesuggeststhatthesameelementsoftruesubl