I would like to try today to talk about Antigone, the play written by Sophoclesin 441 B.C., and in particular about the economy of the play.
今天我想要尝试谈了安提贡尼,纪元前441世纪,索福克利图斯写的这个戏剧。特别是关于戏剧的经济活力。
With the category of the beautiful, Kant says that only the example -which doesn't mean the object - is capable of assuring its transmission insofaras this is both possible and demanded. Now, from every point of view,this text deserves to play such a role for us.
使用美丽的范畴,康德说,仅有这个例子并没有意味著,客体能够确定它的传递,因为它既是可能,又是被要求。现在,从每个观点,这个文本应该跟我们扮演一个角色。
As you in any case know, I am reopening the question of the function ofthe beautiful in relation to that which we have been considering as the aim ofdesire. In a word, it may be that something new on the subject of the functionof desire may come to light here. That is the point we have reached.
无论如何,众所周知,我正在重新展开美的功用的这个问题,相关于我们一直在考虑到,作为欲望的目标。总之,那可能是,某件新的东西,对于欲望的功用的主题,在此会有所启发。这就是我们已经到达的这点。
It is only a single point on our path. Don't be astonished at how long thatpath is, Plato says somewhere in the Phaedrus, which is itself a dialogue onthe beautiful: Don't be astonished if the detour is such a long one, for it is anecessary detour.
这仅是我们的途径的一个点。你们不要惊讶,那个途径会有多久。柏拉图在「费德拉斯」的某个地方说过,它本身是讨论美的对话。你们不要惊讶,假如这个迂迴如此漫长,因为这是一个必须的迂迴。
Today we need to make progress in our commentary on Antigone.Read this truly admirable text. It is an unimaginable highpoint, a work ofoverwhelming rigor, whose only equivalent in Sophocles's work is his finalwork, Oedipus at Colonus, which was written in 401.
今天,我们需要进展,在我们对于安提贡尼的评论。请阅读这个确实让人赞赏的文本。这是一个难以想象的高潮,一部磅礴充沛的作品。在索福克利图斯的作品,唯一能够匹敌的是他后的作品「伊狄浦斯在科伦那斯」,写于401年。
I will now attempt to analyze this text with you so as to make you appreciateits extraordinary stature.
我现在将企图跟你们分析这个文本,为了要让你们赏识它的特别的形态。
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As I said last time then, we have Antigone, we have something going on, wehave the Chorus.
如我上次所说,我们谈论安提贡尼,我们谈论某件正在进行的东西。我们谈论合唱队。
On the other hand, as far as the nature of tragedy is concerned, I quotedthe end of Aristotle's sentence on pity and fear effecting the catharsis of theemotions, that famous catharsis the true meaning of which we will try tograsp at the end. Strangely enough, Goethe saw the function of this fear andpity in the action itself. That is, the action would provide us with a model ofthe balance between fear and pity. That is certainly not what Aristotle says;what he says is as inaccessible to us as a closed road on account of the curiousfate that has left us with so little material to confirm what he says in his text,because so much of it has been lost down through the centuries.
在另一方面,就悲剧的特性而言,我引述亚里斯多德讨论同情与恐惧的句子的结局,造成情感的心灵净化的结果。那个著名的心灵净化的真实的意义,我们最后将尝试理解。奇特的是,歌德看到恐惧与同情的这个功用,在行动的本身。换句话说,行动将会提供我们恐惧与同情的一个平衡点模式。那确实并不是亚里斯多德所说的。他所说的内容是我们无法接近,作为一条封闭的道路,因为这个耐人寻味的命运,曾经留给我们如此少的材料,为了要肯定他在他的文本所说的话。因为经历许多世纪下来,如此多的部分已经丧失。
I will tell you one thing right away. Please note, and this is my first point,that at first glance, of the two protagonists, Creon and Antigone, neither oneseems to feel fear or pity. If you doubt that, it is because you haven't readAntigone, and since we are going to read the play together, I hope to point itout to you in the text.
我将立即告诉你们一件事情。请注意,这是我的第一点。乍然一看,两位主角,克瑞恩与安提贡尼,没有一位似乎感觉恐惧与同情。假如你们怀疑这点,你是因为你们还没有阅读「安提贡尼」。因为我们将一块阅读这个戏本,我希望在文本里跟你们指出它。
My second point is that it is not "seems," but it is "certain" that at leastone of the protagonists right through to the end feels neither fear nor pity,and that is Antigone. That is why, among other things, she is the real hero.Creon, on the other hand, is moved by fear toward the end, and if it isn't thecause of his ruin, it is certainly the sign of it.
我的第二点是,它并不是「似乎」,而是「确定」。至少两位主角的其中一位从头到尾,既不感到恐惧,也不感到同情。那就是安提贡尼。那就是为什么,在众多事情当作,她是真实的英雄。在另一方面,将近结局时,克瑞恩受到恐惧的感动。即使那并不是他的灭亡的原因,它确实是它的迹象。
Let us now take up the question from the beginning.
让我们从开头探讨这个问题。
It's not even that Creon says the play's opening words. As composed bySophocles, the play begins by introducing us to Antigone in her dialogue withIsmene; and she affirms her position and her reasons from the opening lines.Creon isn't even there as a foil. He only appears later. He is neverthelessessential for our demonstration.
这甚至不是因为克瑞恩说出戏剧开场白。由索福克利图斯写作,这部戏剧开始时,跟我们介绍安提贡尼,以她跟艾斯民的对话。她肯定她的立场与她的理由,从开头的几行。克瑞恩在那里甚至仅是一个陪衬人物。他仅是后来才出现。可是对于我们的展示,他是举足轻重。