Transcript Document

Greek Tragedy
Lecturer: Wu Shiyu
Athens after the Persian Wars
Athens grown into a major sea power protecting important
trade routes; prosper from these trade routes;
A cultural sponge: absorbing influences from all over the
ancient world;
A great breeding ground: “Trade and money flowed, art
flourished, and new ideas spread.” This hive of activity was
for the development of Athenian drama.
Social Background
Great Leaders and Their Visions (Thomistocles and
Pericles);
The Democratic Reform of the System of Justice;
• Stipend be paid to men who served on juries
• Poor people make a living by rowing or as a juror.
1. General Introduction
The Athenians went to the theatre just twice a
year at two festivals in honor of the god
Dionysos (Drama Competition ):
(1) The City Dionysia (The Dionysia): In the month
of March, over three days.
(2) The Lenaia Festival: In the month of January.
2. General Introduction
The presentations of the plays themselves were
political events, financed by the state and part of a
huge national holiday;
The Theatre of Dionysus on the slope of the Acropolis
in Athens capable of accomodating around 30,000.
雅典的狄俄倪索斯剧场
2. A Day at the Theatre: The Night Before
A great feast and celebration honoring the presence of
Dionysos, whose statue had been brought into the city
earlier that day on a ship and rolled through the streets of
Athens.
2. A Day at the Theatre: The Day of the Festival
Citizens gather at the theatre on the southern slope of the
Acropolis in Athens;
Work would stop in Athens for the three days;
Men would come into the city from all over Attica.
2. A Day at the Theatre: The Day of the Festival
Watch the performance of three tragedies staged by a
single dramatist (performed as a trilogy). (悲剧三联
剧,1 to 2 hours)
Watch a Satyr play: a type of physical comedy
Watch a comedy by a playwright such as
Arisophanes (Added later in the fifth century, soon
proved popular)
3. What is a Tragedy?
“Tragedy” derived from the Greek word tragoidia, something like
“goat song.”
Probably a goat sacrifice connected with the rites of Dionysus and
the original Dithyrambic songs sung at this feast.
3. What is a Tragedy?
Tragedy is the characteristic culture statement of the Athenian
democracy. (political schooling)
The God Dionysus, the God of wine who brings you eternal
life. (The God of “Nothing in Excess”)
Learning wisdom through suffering. In the tragedy, you can
learn wisdom by watching others suffer.
4. Tragedy: Aristotle’s Definition
The imitation of an action.
It’s not the action itself, but the imitation of the action that is
complete and noble.
It must deal with the noble theme and individual(a great and noble
figure like Oedipus ).
It is performed, not narrated.
4. Tragedy: Aristotle’s Definition
And by watching this performance, the emotions of fear and pity
are to be aroused in you. Fear, for what has happened to Oedipus;
pity, for what happens to him. And thereby to achieve a catharsis
A catharsis is purging (as thought you eat so many proms), you
have to be purged of these emotions. To learn to be purged, not to
be weighed down by them, but to learn from them and to go on.
(我最认同对悲剧的这个解读）
4. Tragedy: Aristotle’s Definition
And attending these tragedies was a civic duty. At
one period the Athenians were paid to go to the
tragedy. That is how important it was!
And the great creative age of Athenian tragedy is
absolutely coterminous (相连的 ) with the great age of
Athenian Democracy.
5. Greek Theatre
The
“Seeing
Place”
Greek Theatre
5. Greek Theatre: The Mask
All the actors wore masks on stage. The tragic mask
was a simple whole facemask made of linen, cork, or
wood. (not preserved)
Acoustic Effects
The Mask
Our Debts to the Athenians
Theatre
…………… seeing place (theatron)
Drama
……............ “doing” or “performing an action”
Scene
…………… skene
Chorus
…………… singing and dancing troupe
Orchestra ………….
Choral performing space
Protagonist ………..…. The first actor in a tragedy
Odeion
Podium
……………
……………
small covered theatre
raised platform
①开场（介绍剧情）
②进场歌（歌队进场）
道白
③第一场
歌舞
（1、3、5、7、9、11） ④第一合唱歌
（2、4、6、8、10）
剧中人与歌队或歌队长 ⑤第二场
歌队载歌载舞，
对话。剧中人物之间的 ⑥第二合唱歌
歌队合唱，有“幕
”
对话或独白。
⑦第三场
的作用，歌词可解
⑧第三合唱歌
释剧情，发表意见
⑨最后一场（通常只有三场）
⑩最后合唱歌（通常只有三曲）
○退场（剧中人及歌队退场）
7. Great Tragedians
We possess the writings of 3 great tragedians,
Aeschylus, Sophocles, and Euripides. Each of them
is an Athenian Citizen.
8. Aeschylus (c. 524-456 B.C.)
Recognized as the “father of tragedy”, and is the earliest of
the three Greek tragedians whose plays survive, the others
being Sophocles and Euripides.
He expanded the number of characters in plays to allow for
conflict among them.
Aeschylus (c. 524-456 B.C.)
8. Aeschylus (c. 524-456 B.C.)
Aeschylus was born in an old aristocratic family in 524 B.C.
During the Persian wars he had participated in the Battle of
Marathon and Battle of Salamis.
In 472 B.C. he returned to Athens and took part in the drama
competition with his play the Persians. This play won first prize
for him.
In 468 B.C. he lost the competition to Sophocles, but during his
lifetime he had won 13 times of the competition.
The life of Aeschylus represent the growth of Athenian political,
military, and cultural power.
The Persians (First Prize)
Atossa
Chorus
Atossa
Chorus
Atossa
Chorus
Atossa
Chorus
Atossa
Chorus
Atossa
Chorus
I’d like to know, dear friends,
Where Athens is.
Far west where the Lord Sun fades out.
My son really wanted to hunt down this city?
Yes, so Greece would bend beneath a Shah.
Does it field a manhorde of an army?
Such that is has worked evils on the Medes.
Then bowtugging arrows glint in their hands?
No. Spear held steady, and heavy shields.
What else? Wealth in their houses?
Treasure, a fountain of silver lies in their soil.
But who herds the manflock? Who lords the army?
They’re not anyone’s slaves or subjects.
The Persians (First Prize)
Shores and reefs filled up with our dead
And every able ship under Persian command
Broke order,
Scrambling to escape.
We might have been tuna or netted fish,
For they kept on, spearing and gutting us
With splintered oars and bits of wreckages,
While moaning and screams drowned out
The noise till
Night’s black face closed it all in.
The Persians
The Chorus and Atossa lament.
Atossa calls up the spirit of her dead husband Darius.
Darius tells of how he was defeated by the Athenians at
Marathon.
He warns that Earth herself is an ally of the Greeks.
Darius also warns against reckless pride and descends.
Atossa leaves and pledges to accept her son depsite his folly.
Xerxes enters a broken man and tells of his defeat.
He joins the lament with the chorus.
9. Works of Aeschylus
Among Aeschylus’ 90 plays, seven of them were preserved
wholly till today, and another three were partly preserved. These
include, the Persians, Seven against Thebes, Prometheus Bound,
Agamemnon, Libation Bearer, and Eumenides (these last three
compose a trilogy Oresteia)
10. The Oresteia –Our Only Trilogy
Agamemnon,
Libation Bearer,
And Eumenides
《阿迦门农》、
《奠酒人》
和《复仇女神》
Followed by a Satyr
The Curse
Their heads and hands and feet were hacked (劈, 砍 )
Into pieces and thrown into a boiling stew (炖 ),
From which he, in ignorance, ate his fill.
A meal that brought the curses upon this House!
When he discovered the obscene truth, he screamed
Out in horror, reeled back from the table,kicking it over
And, retching, vomited up the butchered flesh.
Then he shouted out his curse on the sons of Pelops,
“Damn to death the clan of Pleistenes!”
A Question
Is Clytemnestra justified to kill Agamemnon?
Is this revenge, protection, or destiny?
10. The Last Days of Aeschylus
He went to Sicily for the last time and was not
able to come back to Athens. It was said he was
killed by a tortoise dropped from the sky. He was
buried in Gela, and his epitaph reads (written by
himself),
Beneath this stone lies Aeschylus, son of Euphorion, the Athenian,
who perished in the wheat-bearing land of Gela;
of his noble prowess the grove of Marathon can speak,
or the long-haired Persian who knows it well.
墓碑下安睡着雅典人埃斯库罗斯，欧福里翁之子，
在丰饶的格拉死亡战胜了他。
但马拉松的战场可以证明他的勇敢，
连长发的波斯人也得承认。
这段墓志铭是由埃斯库罗斯本人撰写的。
His far-reaching influences
Mosaic of Orestes
11. Influence outside of Greek culture
During his presidential campaign in 1968, Senator Robert F.
Kennedy quoted Aeschylus on the night of the assassination of
Martin Luther King, Jr.
Kennedy was notified of King's murder before a campaign stop
in Indianapolis, Indiana and warned not to attend the event due to
fears of rioting from the mostly African-American crowd.
Kennedy insisted on attending and delivered an impromptu
speech that delivered news of King's death to the crowd.
Acknowledging the audience's emotions, Kennedy referred to his
own grief at the murder of his brother, President John F. Kennedy
and said:
“My favorite poet was Aeschylus. He once wrote: ”Even in our
sleep, pain, which cannot forget, falls drop by drop upon the heart,
until in our own despair, against our will, comes wisdom through
the awful grace of God."
What we need in the United States is not division; what we
need in the United States is not hatred; what we need in the United
States is not violence or lawlessness; but love and wisdom, and
compassion toward one another, and a feeling of justice toward
those who still suffer within our country, whether they be white or
they be black... Let us dedicate ourselves to what the Greeks wrote
so many years ago: to tame the savageness of man and make gentle
the life of this world." The speech is now considered to be
Kennedy's finest as well as one of the greatest speeches in
American history.
11. Sophocles (500-406 B.C.)
When he was young, he received good education and was
influenced by his father, who was good at music and dance. In
480 B.C., young Sophocles was selected as a chorus boy for
celebrating Athenian victory over the Persians. Later
Sophocles entered into politics. In 443 B.C. he was Financial
Chief for the Delian League headed by Athens, and was later
elected twice as strategoi.
11. Sophocles (500-406 B.C.)
His first known performance was in 468 B.C., where he
defeated Aeschylus at the City Dionysia.
He was said to have created over 120 works and won twenty
victories. He dominated the fifth century in a spectacular
career.
He was also an actor, but he retired early because of poor
vocal range. He then wrote for an actor named Tlepolemus.
The addition of a third actor.
Sophocles (500-406 B.C.)
Sophocles (500-406 B.C.)
12. Works of Sophocles
Created over 120 works, only seven of them still in existence:
Antigone, 《安提戈涅》，前441年
Oedipus the King
《俄底浦斯王》，前431年
Philoctetes《特拉基斯妇女》，前429年
Electra
《厄勒克拉特》，前418年
The Trachiniae 《菲洛克忒忒斯》，前409年
Oedipus at Colonus
《俄底浦斯在克罗诺斯》，前401年
12. Works of Sophocles: Oedipus the King
This was perhaps the most famous of all Greek
tragedies, primarily because in the fourth century
B.C. it was held by Aristotle in his poetics to be a
paragon of tragedy, and then in the twentieth century
to have entered the psychoanalytical vocabulary of
Sigmund Freud in his Interpretation of Dreams.
12. Works of Sophocles: Oedipus the King
The play opens with the news that the people of Thebes
are suffering a terrible plague. Everyone in the audience
at that time would have firsthand experience of the
devastating effect of such a pestilence. Some scholars
have seen a reflection of Pericles in the role of Oedipus.
Finally, Oedipus hears a crack of thunder and
knows it is time for him to die.Theseus leads him to
a secret sacred place, and we hear from a messenger
the mystical way in which Oedipus left the living
world.
《俄狄浦斯王》最索福克勒斯的剧作中最具震撼力的
一部。希腊人笃信命运，这在悲剧中也有所反映。埃斯
库罗斯的《奥瑞斯提斯》被看作是命运剧，《俄狄浦斯
王》更是命运剧的代表。但是，命运固然是不可战胜的，
俄狄浦斯并不是消极地等待，而是展开英勇的斗争，他
的品德，他那种完全不顾自己痛苦的行动，他那种不惜
任何代价去寻求真相的决心，本身就是可歌可泣的。可
以说，这是一曲人与命运作殊死斗争的悲歌。
13. On Sophocles
Known for its deeper development of characters
than earlier playwrights.
His reputation was such that foreign rulers
invited him to attend their courts, never
accepted.
Aristotle used Sophocles's Oedipus the King in
his Poetics (c. 335 BC) as an example of the
highest achievement in tragedy.
Portrait of the Greek actor
中文注解
索福克勒斯（前496－前406）是雅典民主全
盛时期的悲剧作家。他在27岁首次参加悲剧竞赛
，即战胜了埃斯库罗斯。阿里斯托芬称赞他“生前
完满，身后无憾”。索福克勒斯一生共写过100余
部戏剧，却只有7部传世，成就最高的是《安提
戈涅》和《俄底浦斯王》。其中《俄底浦斯王》
被认为是古希腊悲剧的典范。索福克勒斯的悲剧
往往被称为“命运悲剧”，即通常表现个人意志行
为与命运之间的冲突。
索福克利斯最初以埃斯库罗斯为样板，但很快形成
了自己的独特风格。他首先引进了第三个演员，便于
更充分地表现剧中人物的冲突。在他的悲剧中，合唱
队的重要性大大减低，戏剧对话和动作的重要性大大
增强，对话成了戏剧中第一位的东西，成了刻画人物
的有力手段。他把许多可怕的剧景引介到剧场，比如
埃阿斯当众自杀、俄狄浦斯刺瞎双眼后再度登台等等。
13. On Sophocles
When Sophocles passed away in 406 B.C., the Athenians and
the Spartans were fighting with each other. Because of war,
his body was not able to be sent back to his hometown for
burial. When the Spartan general heard of this, he ordered to
have a truce so that the Athenians could bury Sophocles.
During his long life, Sophocles had been high in position and
leading a happy life.
“生前完满，身后无憾”
索福克勒斯去世的时候，雅典和斯巴达之间战火再起，
诗人的遗体因此无法归葬故里。斯巴达将军闻讯后特别
下令停战，让雅典人放心地将其安葬。
索福克勒斯一生身居高位，他对于埃斯库罗斯较为
原始的技巧在各方面都进行了发展；他寿命很长，而且
有迹象显示一生很快乐；他是伯里克利时代 (Periclean
Age)为世界增添光彩的伟人之一。他共写了超过一百二
十部优秀的作品，使他跻身于历史上最伟大的剧作家的
行列之中。
14. Euripides (c. 480 -406 B.C.)
Little is known about Euripides; Born in Salamís on
23 September 480 BCE, the day of the Persian War's
greatest naval battle.
The last of the three great tragedians of classical
Athens.
Written ninety-five plays, eighteen or nineteen
survived complete.
14. Euripides (c. 480 -406 B.C.)
First competed in the City Dionysia in 455 BCE, one
year after the death of Aeschylus. He came third
because refused to cater to the fancies of the judges.
Until 441 BCE that he won first prize;claimed only
four victories.
Euripides (c. 480 -406 B.C.)
15. Works of Euripides
公元前441年，《独目巨人》
公元前414年，《在陶洛人里的伊菲格纳亚》
公元前438年，《阿尔刻提斯》
公元前413年，《厄勒克特拉》
公元前431年，《美狄亚》 Medea
公元前412年，《海伦》
公元前430年，《大力士的女儿》
公元前412年，《伊翁》
约公元前430年，《安德洛玛刻》
公元前411年，《腓尼基的妇女》
公元前428年，《希波吕托斯》
公元前408年，《俄瑞斯特斯》
公元前424年，《赫卡柏》
公元前407年，《醉酒的女人》
公元前421年，《特洛伊的妇女》
公元前407年，《伊菲格纳亚在奥里斯》
15. Works of Euripides
《美狄亚》是欧里庇得斯最感人的悲剧之一,.
剧中的美狄亚是个异国女子,她曾背叛自己的家庭,帮
助伊阿宋取得金羊毛,同他一起前往希腊的伊奥尔科
斯.她在那里为伊阿宋报了杀父之仇,但伊阿宋未能恢
复王权,又带着妻子和两个儿子流亡到科林斯.
这剧开场时,伊阿宋要另娶科林斯国王的女儿,国王打
算把美狄亚驱逐出境,美狄亚起初和伊阿宋争吵,后来
假意同他和解,用毒药害死了公主和国王,然后杀死自
己的两个儿子,乘坐龙车逃向雅典.
15. Works of Euripides
这剧批判不合理的婚姻制度和男女地位的不平等,
痛责男子的不道德和自私自利.美狄亚的遭遇是当
日妇女的共同命运,诗人对她们寄予无限的同情.
希腊悲剧到了欧里庇得斯手里,在形式上已十分完
美,因此诗人只就内容方面加以革新.
他在这方面有两大贡献,即写实手法与心理描写.
Focused on the realism of his characters.
Medea
如何看待美狄亚的杀子？
如何概括美狄亚的性格？
如何理解其中蕴涵的文学母
题？
15. Works of Euripides
欧里庇得斯善于描写人物的心理.《希波吕托斯》
写变态的恋爱心理,《伊翁》写妒嫉心理,《酒神
的伴侣》写疯狂心理.在《美狄亚》中,弃妇的恨
和贤母的爱展开了剧烈的冲突,美狄亚要杀儿子又
不忍下手的复杂心理刻划得非常深刻.这样的心理
描写在古代文学中是很少见的.
15. Works of Euripides
欧里庇得斯的风格比较华美,语言流畅,对话接
近口语,十分自然.他的诗的特点是明白清晰,只是
剧中往往充满了冗长的说理和辩论. 欧里庇得斯
在世时,他的悲剧不大受人欢迎,他死了以后,他的
名声反而更大,喜剧诗人阿里斯托芬对欧里庇得斯
揶揄备至，但也欣赏他的才华。
16. Comments
In comparison with Aeschylus (thirteen times) and
Sophocles (eighteen victories), Euripides was the least
honoured of the three, at least in his lifetime.
Later in the 4th century BCE, Euripides' plays became
the most popular, largely because of the simplicity of
their language. His works influenced New Comedy and
Roman drama, and were later idolized by the French
classicists; his influence on drama extends to modern
times.
16. Comments
亚里士多德在《诗学》中对欧里庇得斯有许多指
责,但也称赞他"最能产生悲剧的效果".欧里庇得斯
对罗马和后世欧洲戏剧的影响,比他的两位前辈悲
剧诗人大得多.罗马诗人塞内加和奥维德都摹仿过
他的《美狄亚》.但丁在《神曲》中只提到欧里庇
得斯.高乃依,拉辛和歌德也摹仿过欧里庇得斯的
作品.在英国,诗人拜伦,雪莱,布朗宁等也推崇欧里
庇得斯.
16. Comments
欧里庇得斯最早曾向Anaxagoras学习，这位伟大的自然哲学家第
一个提出月亮上的光反射自太阳光，但在希腊内战时，希腊当局将
这位满口异端学说的哲学家赶出了希腊，欧里庇得斯对此十分气愤，
他在《阿尔刻提斯》中杜撰了一个人物以表达对于驱逐他老师的不
平。
欧里庇得斯向他的好友Protagoras这位诡辩大师学习，
最后，欧里批得斯与苏格拉底为友并向他学习。有人说欧里庇得斯
的悲剧最大的不足就是他让他的剧中人在舞台上论述了太多哲学，
使整个剧情变得乏味，但从另一方面来看，这些哲学式的台词赋予
了其悲剧更多深刻的含义，而且也丝毫不损害其悲剧中的诗意。
欧里庇得斯曾承认写三句诗有时要花三天时间。
一位跟他谈话的低能诗人惊讶地叫了起来：“那
么长时间我可写出一百句诗呢！”“这我完全相
信，”欧里庇得斯答道，“可它们只会有三天的
生命力。”
4、三大悲剧家比较
人物
风格
命运观
埃斯库罗斯写神
或神化了的人物
索福克勒斯按“应当是怎 欧里庇得斯按“现
样”的原则写理想英雄
实中本来是怎样”的
原则塑造人
埃氏悲壮、雄浑、 索氏悲愤、迷惘，上下求
自豪而又充满信心 索
欧氏悲痛、憎恨，
寻找出路
索氏向命运提出怀疑和挑战，欧氏不相信命运。强
埃氏把命运看作
具体的神，认为命 把命运视为一种不可捉摸的 调事在人为，命运靠
运支配人的一切， 神秘力量，具有捉弄人的邪 自己掌握。
但又强调人的意志。 恶性质。强调人对命运的反
抗和坚强的意志。
Influences of Greek Drama
Athens exported the festival to its numerous
colonies and allies in order to promote a
common cultural identity. Western theatre
originates in Athens and its drama has had a
significant and sustained impact on Western
culture as a whole.
古希腊戏剧
地位：欧洲戏剧艺术发展史的开端，奠定了
欧洲后世戏剧创作的基础。
一、 古希腊悲剧
（ 一）起源与发展
 起源 ：
山羊之歌：祭祀酒神的歌舞（“酒神颂”）
 伴随着希腊民主运动的发展，公元前5世纪
日臻成熟，在雅典民主的全盛时代，达到
了繁荣；
（二）悲剧特点
 题材：大多取材于古希腊的神话传说，着重描写
人与命运的抗争，塑造崇高的英雄人物。
 主题：具有严肃、悲壮、崇高的特征：不着意于
悲，而重在严肃事件。
 结构形式：完整而严密
①开场（介绍剧情）
②进场歌（歌队进场）
道白
③第一场
歌舞
（1、3、5、7、9、11） ④第一合唱歌
（2、4、6、8、10）
剧中人与歌队或歌队长 ⑤第二场
歌队载歌载舞，
对话。剧中人物之间的 ⑥第二合唱歌
歌队合唱，有“幕
”
对话或独白。
⑦第三场
的作用，歌词可解
⑧第三合唱歌
释剧情，发表意见
⑨最后一场（通常只有三场）
⑩最后合唱歌（通常只有三曲）
○退场（剧中人及歌队退场）
（三）三大悲剧诗人
三大悲剧诗人的生活与创作，标志了雅典奴隶主
民主政治发展的三个历史阶段，即形成期、繁荣
期、衰落（危机）期。
1、埃斯库罗斯Aeschylus
1、文学地位：
恩格斯称之为“悲剧之父”、
“有强烈倾向的诗人”。
2、生平
（公元前525？——前456）
埃斯库罗斯（雕塑）
3、创作
相传一生创作了90部悲剧和笑剧， 只有7部完整的悲剧流
传下来：
《乞援人》、《波斯人》、《七将攻忒拜》、
《俄瑞斯忒亚》三部曲和《普罗米修斯》。
一般采取“三联剧”的形式，讲述相对独立的故事，但
情节、人物又是连贯的。合则为一，分则为三。
《俄瑞斯忒亚》三部曲
《阿伽门农》
《奠酒人》
《报仇神》
4、创作特色
（1）埃斯库罗斯首创三联剧悲剧形式；最先采用两个演
员；把对话作为悲剧主要成分；创造舞台布景，采用华
丽的服装、高底靴，演员面具初步定型。从此，希腊戏
剧不再是合唱抒情诗的分支，而转化为独立的艺术形式。
（2）人物形象单纯而高大，是理想化的性格；但人物性
格多缺乏发展变化。
（3）戏剧结构较简单，情节不曲折，动作少，独白和和
歌队作用较大，抒情气氛浓郁。
（4）语言庄严、夸张，风格雄伟。
5．
1、经典地位
2、内容
代表作《被缚的普罗米修斯》

3、普罗米修斯形象
他热爱人类，富于献身精神；
坚持正义，反对强暴统治；
意志坚定，满怀必胜信心。
2、索福克勒斯Sophocles
1、文学地位
“戏剧艺术的荷马” ，
他的悲剧标志着希腊悲剧艺术
已步入成熟。
2、生平
（公元前496——前406）
3、创作
一生写了120部剧作（？130部悲剧和萨提洛斯剧）。
得奖24次，是得奖最多的悲剧作家。
现存完整的剧作有7部：《埃阿斯》、《安提戈涅》、《俄
狄浦斯王》、《厄勒克特拉》、《特剌喀斯少女》、
《菲罗克忒忒斯》、《俄狄浦斯在科罗诺斯》。以《俄
狄浦斯王》和《安提戈涅》最杰出。
4、创作特色：
（1）索福克勒斯使悲剧艺术达到完美境界。
（2）突破抒情诗的悲剧形式，减少合唱队的作用，加强
了戏剧动作。
（3）弃三部曲形式，更简练地在一出悲剧中表现复杂的
戏剧冲突，注意情节的整一和内在联系，结构紧凑，情
节曲折，安排精巧。
（4）不注意写神而重写英雄，不重大段抒发人物的感情
而重刻画人物的性格，使之成为剧情发展的基本动力。
5、代表作《俄狄浦斯王》
Oedipus Tyrannus
1、经典地位
2、内容
狮身人面女妖斯芬克斯
3、俄底浦斯形象和剧作的主题
受命运惩罚和控制的受难
者
苦难命运的首先反抗者和
集中承受者
理解命运的智者
4、艺术特色
悲剧色彩浓烈
采用经济笔墨的“回溯法”和巧妙紧凑的“倒叙
式” 情节结构。
人物性格的内在冲突、心理描写深刻细腻。
3、欧里庇得斯Euripides
1、文学地位
“剧场里的哲学家”，
“问题剧”的创始人、
三大悲剧家中民主倾向最强。
2、生平
（公元前485——前406）
3、创作:
一生写了92出悲剧和萨提洛斯剧。
曾6次得奖。
现存完整的有18出。
4、特色
首先采用现实生活作为题材，开始把普通人形象放在剧
中重要位置。
善于对人物做心理分析。
创造出一种新型悲剧，在悲剧中加进了喜剧成分，为后
来的“新喜剧”铺好了道路。
5、代表作《美狄亚》
如何看待美狄亚的杀子？
如何概括美狄亚的性格？
如何理解其中蕴涵的文学母
题？
4、三大悲剧家比较
人物
风格
埃斯库罗斯写神或
索福克勒斯按“应当是怎 欧里庇得斯按“现
样”的原则写理想英雄
实中本来是怎样”的
命运观 神化了的人物
原则塑造人
埃氏悲壮、雄浑、 索氏悲愤、迷惘，上下求
自豪而又充满信心
索
埃氏把命运看作具
体的神，认为命运
支配人的一切，但
又强调人的意志。
欧氏悲痛、憎恨，
寻找出路
索氏向命运提出怀疑和挑战，欧氏不相信命运。强
把命运视为一种不可捉摸的 调事在人为，命运靠
神秘力量，具有捉弄人的邪 自己掌握。
恶性质。强调人对命运的反
抗和坚强的意志。
二、 古希腊喜剧
（一）概述
 形成 ：“狂欢游行之歌”
 发展 ：旧喜剧 ——中期喜剧 ——新喜剧
 结构：
开场—进场— 对驳— 评议— 插曲— 退场
（二）“喜剧之父” ：阿里斯托芬
 生平和创作（公元前446——前385）
 代表作
——《阿卡奈人》
 阿里斯托芬的喜剧艺术
 文论
雅典的狄俄倪索斯剧场
面具
伊菲革涅亚的牺牲
阿伽门农祭女
被谋杀的 阿伽门农
克吕泰涅斯特拉和阿伽门农的尸体
俄瑞斯忒斯祭奠父亲
俄瑞斯忒斯和厄勒克特拉
Orestes and Electra
俄瑞斯忒斯杀埃癸斯特斯复仇
遭到复仇女神追逐的俄瑞斯忒斯
俄瑞斯忒斯at Delphi
安提戈涅
喜剧场景1
喜剧场景2
谢 谢！