Tragoidia literally means "Song of the Goat". There are different explanations, which can be summarized as follows: "(1) the prize of the competition is a goat, (2) the chorus is surrounded by goats as a sacrifice during the performance, and (3) the chorus consists of Saturos disguised as goats." In a word, it can't be separated from chorus and goat in art performance. Tragedy, as a typical art form, probably appeared in Athens in the 5th and 6th centuries BC, and the world-famous tragic writers euripides, Sophocles and Aeschylus were all active in this period. In the field of philosophy, Plato and Aristotle give tragedy different status for the needs of their respective systems. For a long time, academic circles have regarded their views on tragedy and even literature and art as different or even diametrically opposed. However, the author believes that on the surface, Bai and Ya have different attitudes towards tragedy, but this is only their epistemological difference; In the deepest place, Aristotle did not completely get rid of Plato's influence, but a kind of warmth transcendence and the return of human studies.

First, the position of tragedy in Aristotle's literary thought.

Aristotle's exposition on tragedy is concentrated in Poetics. Here, let's first review the canonization process of poetics, because it represents the acceptance of Aristotle's view of tragedy to a certain extent. Poetics is regarded as Aristotle's unpublished work, and it is generally believed that it also has scattered parts to discuss comedy. Compared with metaphysics, physics, instrumentalism and Nikolai ethics, it entered the scholars' field of vision later. For a long time, it has been regarded as an integral part of Aristotle's logic together with rhetoric, and even literary theorists and poets such as Horace and Virgil have not read it. At that time, scholars even confused it with Horace's The Art of Poetry. However, it received unprecedented attention during the Renaissance in the15th century. First of all, G. Vara provided Latin translation, Roberto was the first Italian scholar to write a review of Poetics, and his interpretation of Aristotle's poetic art occupied an important position in academic history. Then Lombardy and Maggie published their research works on it respectively. Castells Vitro, a famous Italian literary thinker, was the first person to write a review of Poetics in Italian, and he boldly refuted some of its viewpoints. Other Italian scholars, such as Roberto, Mintono and Scar riegel, also devoted themselves to studying some important viewpoints. Subsequently, French version, Greek version and Latin version came out one after another, and even Lessing's Hamburg Drama Review in Germany was deeply influenced by it.

Second, the tragic imitation action

Aristotle defined tragedy as "the imitation of a serious, complete and long-term behavior". Its medium is "decorative" language, which is used in different forms in different parts of the play. Its imitation mode relies on the actions of characters, rather than narration, and alleviates these feelings by arousing pity and fear. "We can clearly feel that compared with Plato's" representative theories ",Aristotle has shifted his perspective to the real" human "level. In Plato's "metaphor of bed", the painter's bed imitates the bed made by craftsmen, so "like all other imitators, he is naturally separated from the king or truth by two layers." Plato denied the value of tragedy from the credibility of knowledge or truth, and stuck to his triple world (idea-real world-art).

Thirdly, the character of tragedy lies in realization.

In Plato's view, the tragic poet must be expelled from the utopia, because: "Poetry is a part that satisfies and caters to our spiritual nature (which is forcibly suppressed when we encounter misfortune) and is eager to cry and vent. The part with the best nature has relaxed the supervision of crying because it has not been educated by reason or even habit. " So, what is qualified? Plato believes that our soul has three components: passion, wisdom and courage. If a work of art damages these three core qualities instead of actively coordinating them, it is not in line with the principle of justice. In the debate with Glaucon, justice has always been defined as a kind of coordination ability-internally coordinating the three components of the soul and externally coordinating the workers, soldiers and managers in the polis. The guardian of the polis marked by "strong physique and noble wisdom" is Plato's pursuit of personality ideal.

Fourthly, the law of possibility and inevitability in tragic imitation.

Although Aristotle's view of tragedy has stepped out of Plato's "representative theories" in form, it is inextricably linked with Plato in a deep level. This kind of warmth transcendence reflects the great inclusiveness of Aristotle's poetic thought. Aristotle emphasized that "the poet's duty is not to describe what has happened, but to describe what may happen, that is, what may happen according to the principle of possibility or inevitability". "Possibility and inevitability" means that the material of tragedy has the possibility of transcending reality, which seems to be different from Aristotle's thought of imitating human action. In fact, this is the highlight of his tragic view.

Verb (abbreviation of verb) conclusion

In a word, tragedy plays an indispensable role in Aristotle's literary thought and even the whole system. He emphasized that poets should imitate the realization activities promoted by people in their actions according to the laws of possibility and inevitability. Compared with Plato, "man" is placed at the center of literature and art, but this transcendence can only be a warm humanistic trend of thought, because the dialectical characteristics of Aristotle's system can only partially take into account human existence. This is of certain significance for us to understand the evolution of ancient Greek literary thought more comprehensively.

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