柏拉图关于文艺本质的探讨

发布时间：2018-08-30 17:08

【摘要】： 柏拉图是西方文艺理论重要的奠基人之一,他对西方文艺理论深入思考,提出了自己独特的见解。他明确地把诗分为两类:摹仿的诗和灵感的诗。他从文艺的本质、文艺的功用、文艺的接受角度三方面肯定灵感诗,贬抑摹仿诗。由此他把诗和艺术分离开,认为真正意义上的诗是灵感诗,它是诗人代神立言的产物,具有神性;艺术是摹仿,留有人工的痕迹,因此诗高于艺术。柏拉图把灵感分为四种:预言的灵感、宗教的灵感、诗的灵感、爱情的灵感。它们的共同特征是迷狂。他认为,诗的灵感来自诗神附体,进而诗人陷入迷狂状态。它的另一个显著特征是传递性,也是诗的灵感和其他灵感相区别的一个特征。国内一些研究者认为柏拉图的灵感也是来自“回忆”,与神灵凭附并立,这种说法实为误解。实际上,只有爱情迷狂与回忆相联系,它是通过对美的本体的回忆而产生的。它与诗的灵感的迷狂不同,诗的灵感只是由诗神附体产生,不经由回忆过程。理式论是柏拉图哲学思想的基础。善也被他纳入了理式的体系中。在柏拉图的眼中,理式是永恒不变的真实体,现实世界分有理式世界的特征,是理式世界的影子或摹本,它是变化不定的、虚幻的,而艺术世界又摹仿现实世界,所以它更不真实。柏拉图就是以其哲学理式论为出发点将文艺的创作目标设定为追求理性的真。灵感诗是神借诗人之口创作出来的,它传达真理;摹仿诗则因为远离理式,是“影子的影子”、“摹本的摹本”,所以柏拉图从摹仿的内容、摹仿的形式、采用的体裁三方面来规范摹仿诗,使它满足理想国的政治需求。但同时他又认为文艺的创作过程是非理性的。灵感诗人由于诗神凭附陷入迷狂状态失去理性,摹仿诗人因为既没有知识也没有正确的见解,而缺乏理性。灵感诗人的创作是借神力所为,而摹仿诗人的创作需要:语文天赋、知识、练习。柏拉图的诗学理论博大精深,并在许多方面奠定了西方诗学的基础。后世比较有影响的理论家几乎都是从他那里汲取营养进而深化充实,各种不同的诗学观点似乎都可以在他的对话中找到影子或雏形。
[Abstract]:Plato is one of the important founders of western literary theory. He categorizes poems into two categories: mimic poems and inspired poems. He affirmed the inspirational poems from the essence of literature and art, the function of literature and art and the reception of literature and art. Therefore, he separated poetry from art, and thought that poetry in real sense was inspired poetry, which was the product of poet's words on behalf of God and had divinity; art was imitated and left artificial marks, so poetry was superior to art. Plato divided inspiration into four categories: the inspiration of prophecy, the inspiration of religion, the inspiration of poetry, and the inspiration of love. Their common feature is fanaticism. He believed that the inspiration of poetry came from the poetic body, and then the poet fell into a state of ecstasy. Another striking feature of poetry is transitivity, which distinguishes its inspiration from other inspirations. Some domestic researchers believe that Plato's inspiration also comes from "memory", standing side by side with the gods, which is a misconception. In fact, only the lover of love is associated with memory, which is generated by recollection of the beauty itself. It is different from the ecstasy of poetic inspiration, whose inspiration is generated only by the body of the poetic god, not through the process of recollection. The theory of rationalism is the foundation of Plato's philosophy. Goodness was also incorporated into his rational system. In Plato's eyes, the truth is the immutable reality, the real world is the characteristic of the rational world, the shadow or the copy of the rational world, it is variable, illusory, and the artistic world imitates the real world. So it's even more unreal. Plato set the creation goal of literature and art as the pursuit of rationality. Inspiration poetry is created by God through the mouth of the poet, it conveys the truth; and the imitation poem, because it is far from reason, is the shadow of the shadow, the copy of the copy, so Plato starts from the content of imitation, the form of imitation, Three aspects of the genre used to regulate imitation poetry, so that it meets the political needs of the Republic. But at the same time, he thinks that the creative process of literature and art is irrational. The poet of inspiration lost his reason because of his attachment, and imitated the poet's lack of reason because he had neither knowledge nor correct opinion. The creation of the inspired poet is done by divine power, and the imitation of the poet's creation needs: language talent, knowledge, practice. Plato's poetics is extensive and profound, and lays the foundation of western poetics in many aspects. Almost all the influential theorists of later generations have drawn nutrients from him and deepened their enrichment. All kinds of poetical viewpoints seem to be able to find the shadow or embryonic form in his dialogue.
【学位授予单位】：内蒙古师范大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：I02

【共引文献】