공부 차원에서

Poetics. English by Aristotle – Project Gutenberg

As in the structure of the plot, so too in the portraiture of character,
the poet should always aim either at the necessary or the probable. Thus
a person of a given character should speak or act in a given way, by the
rule either of necessity or of probability; just as this event should
follow that by necessary or probable sequence. It is therefore evident
that the unravelling of the plot, no less than the complication, must
arise out of the plot itself, it must not be brought about by the 'Deus
ex Machina'--as in the Medea, or in the Return of the Greeks in the
Iliad. The 'Deus ex Machina' should be employed only for events external
to the drama,--for antecedent or subsequent events, which lie beyond the
range of human knowledge, and which require to be reported or foretold;
for to the gods we ascribe the power of seeing all things. Within the
action there must be nothing irrational. If the irrational cannot be
excluded, it should be outside the scope of the tragedy. Such is the
irrational element in the Oedipus of Sophocles.

deus로 검색했더니 걍 해당 구절이 바로 나오네.

공부 차원에서”에 대한 8개의 생각

  1. The Spectacle has, indeed, an emotional attraction of its own, but, of
    all the parts, it is the least artistic, and connected least with the art
    of poetry. For the power of Tragedy, we may be sure, is felt even apart
    from representation and actors. Besides, the production of spectacular
    effects depends more on the art of the stage machinist than on that of
    the poet.
    아니 이건 CG 얘긴가!!

  2. As therefore, in the other imitative arts, the
    imitation is one when the object imitated is one, so the plot, being an
    imitation of an action, must imitate one action and that a whole, the
    structural union of the parts being such that, if any one of them is
    displaced or removed, the whole will be disjointed and disturbed. For a
    thing whose presence or absence makes no visible difference, is not an
    organic part of the whole.
    플롯 얘기.

  3. Of all plots and actions the epeisodic are the worst. I call a plot
    ‘epeisodic’ in which the episodes or acts succeed one another without
    probable or necessary sequence.
    예: 디워는 에페이소딕하근영.

  4. Plots are either Simple or Complex, for the actions in real life, of
    which the plots are an imitation, obviously show a similar distinction.
    An action which is one and continuous in the sense above defined, I call
    Simple, when the change of fortune takes place without Reversal of the
    Situation and without Recognition.
    예: 300은 플롯이 참 심플하근영.

  5. A Complex action is one in which the change is accompanied by such
    Reversal, or by Recognition, or by both. These last should arise from the
    internal structure of the plot, so that what follows should be the
    necessary or probable result of the preceding action. It makes all the
    difference whether any given event is a case of propter hoc or post hoc.

    propter hoc: 이거 땜시.
    post hoc: 이거 다음에.
    중요한 차이

  6. If, however, the end might have been as well, or better, attained without
    violating the special rules of the poetic art, the error is not
    justified: for every kind of error should, if possible, be avoided.
    디워를 두번 죽이는 사람들께 드리는 말씀.

  7. So we are told that Epic
    poetry is addressed to a cultivated audience, who do not need gesture;
    Tragedy, to an inferior public. Being then unrefined, it is evidently the
    lower of the two.

    확실히 아리스토텔레스 이럴 땐 치사뽕.

    Again, Tragedy like Epic poetry produces
    its effect even without action; it reveals its power by mere reading. If,
    then, in all other respects it is superior, this fault, we say, is not
    inherent in it.

    그것은 구차한 변명입니다!

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