On the sublime beauty of Ke Leoline Nast
Zhou Xiangyun
Abstract: The aesthetic characteristics of sublime beauty, a tragic art, are not only revealed by classical theorists, but also reflected by countless brilliant works of art at home and abroad. Let's analyze the sublime beauty contained in Shakespeare's The Lion Line nast.
Keywords: tragedy; Sublime; Aesthetics; Live at the National Theatre: Ko Leoline Nas
Literature and art are the concentrated expression of beauty, which is created by artists according to certain aesthetic ideals and laws of beauty. Sublime, as an important aesthetic category, is bound to become an important object of expression of literature and art. Among many art forms, tragic art is the most powerful art form to express sublimity. Tragedy has been a sublime art since ancient times, and sublimity is the most basic and socially significant aesthetic feature of tragic art.
First of all, let's look at the proposition and development of the sublime beauty of tragedy.
Kant is a pioneer of western modern aesthetics, and his aesthetic theory, especially the analysis of the sublime, has an important influence on the development of tragedy theory. He linked the sublime with the pain, thinking that the sublime is indirect happiness transformed from the pain, and he also realized that the pain is directly proportional to the sublime, which laid a theoretical foundation for the sublime of tragic art. Later, German poet and playwright Schiller inherited Kant's viewpoint and applied it to the art of tragedy. He believes that although tragedy expresses pain and horror, it makes the audience feel pain and aesthetic pleasure at the same time-that is, the aesthetic feeling produced by artistic appreciation, which in turn will make the artist's lofty feeling in his works communicate with the audience's moral concepts. That is, Schiller organically linked the sublimity of tragic art with pain and beauty, which promoted people's understanding of the value of sublime beauty of tragic art. Hegel is the only philosopher who has made an original and in-depth discussion on tragedy since Aristotle. He first revealed the inevitability and universality of tragic conflict with profound dialectics. He linked tragic conflict with ethics, sublimated the essence of tragic conflict into eternal contradiction between justice and injustice, universal ethics and non-ethics, and finally ended in the victory of eternal justice and universal ethics, thus achieving the purpose of purification and inspiration. His aesthetic view has profound enlightenment for later generations to study the sublime beauty of tragic art, and his dialectics has methodological significance for later generations' theoretical research. Belinsky and Chernyshevski, Russian literary theorists, are people who directly associate sublimity with tragedy. Belinsky clearly pointed out that tragedy is a lofty art, and his views contain more social contents than those of his predecessors. He pointed out that tragic art expresses the lofty thoughts and feelings of human beings. He believes that tragic figures in real life, whether heroes or small people, have a "noble nature"-sublime, and tragic art condenses the sublime in real life in the form of artistic beauty, thus revealing the inevitable relationship between tragic art and sublime. Later, Chernyshevski affirmed the objectivity of nature and the sublimity of society from the standpoint of materialism, and the tragic art of reappearing life naturally contains sublimity. He also believes that sublimity is the essential attribute of tragedy, and tragedy is sublimity. He said, "in one thing, it not only embodies the sublimity of nature, but also embodies the sublimity of people." This combination is called sublime. " Clearly affirmed the lofty connotation of tragedy, profoundly revealed the essence of tragedy, and was closer to Marxist historical materialism in the relationship between art and life.
However, from the height of dialectical materialism, it is Marx and Engels who make a scientific summary of the sublimity of tragic art. They reveal the sublime beauty of tragedy more scientifically and strictly, that is, tragedy is the contradiction and conflict between beauty and ugliness, good and evil, right and evil, regeneration and decay, progress and conservatism. The reasonable ideal and justice principle embodied by the former can not be realized for a while because of the temporary ravages of the latter, which leads to the destruction and strangulation of the former's practical subject. But it is in this fierce conflict between truth, goodness, beauty and falsehood, evil and ugliness that light and hope are foreshadowed, and the final victory of justice and truth is displayed, thus giving people a thrilling sense of sublimity. Moreover, the practical subject of truth, goodness and beauty, that is, the tragic hero, whether he is a hero or a nobody, has waged an indomitable and arduous struggle with falsehood, ugliness and ugliness in order to realize his own ideals. They exchanged their blood and life for the great spirit of light, justice and truth, and showed the sublime beauty of shocking personality.
The aesthetic characteristics of sublime beauty, a tragic art, are not only revealed by classical theorists, but also reflected by countless fine works of art at all times and in all countries. Let's analyze the sublime beauty contained in Shakespeare's The Lion Line nast.
(A) the tragic conflict of tragic art embodies lofty beauty.
The first pair of contradictions and conflicts comes from the city-state war between Rome and Voltaire, which is related to two high-value contradictions. The first is their respective obligations, and the second is their own life ethics. The conflict between the two also comes from the conflict with the city-state and their unyielding character. What makes the whole drama a tragedy is not the cruelty of the opponent, nor the despicable quality of both sides. The development of this contradiction is carried out on a lofty carrier. The second contradiction is the contradiction between Marshall and the people. The people are against Matthews. They affirmed Matthews' contribution, but they thought his pride belittled his contribution. For Matthews, there is a lack of communication with the people, and his obligations are essentially different from those of the people: he is in a very rich interpersonal and moral relationship. And the people are at the bottom. They can't understand Matthews' obligation and morality. People think that only by fulfilling their personal obligations can they be good citizens. They don't care about or participate in politics, and they can't understand. So in the end, it is easy for them to blame all their misfortunes on Matthews' pride. So Matthews himself is an individual full of tragedy, and this tragedy is caused by a noble beauty. He not only won the admiration of noble pharaohs and opponents, but also suffered from the expulsion of the people.
Judging from the contradictions between the above two teams, it is the conflict and development of these contradictions that led to Matisse's final death. However, we can't attribute the cause of the tragedy to one person or one side, because each of them or each side of the contradiction has its own value behind it, so when the curtain of the drama is pulled down, we don't know who should be responsible for the tragedy and who should bear it. Therefore, in this process, people have expected and yearned for beautiful things. Give people a lofty aesthetic expectation and experience of the tragedy of the characters.
(2) The center of tragic art-tragic characters embody lofty beauty.
Judging from the personality and sentiment of the tragic hero of excellent tragic works of art, both heroes and small people show an incomparable firmness of enduring suffering and perseverance in sharp confrontation and conflict, and a fortitude of indomitable struggle against difficulties, which makes the human body realize the heroic beauty and lofty beauty of its personality.
In the play, Coe Leoline Nas betrayed twice. Once, he betrayed Rome, and after being expelled from Rome, he took refuge in Wolesi. The second time, on the contrary, he betrayed Wolesi and gave up attacking Rome at an important moment when he helped Wolesi attack Rome. These two betrayals made him resentful by the Romans and unacceptable to Wolesi. Home is a utopia for him. But in the war, both sides are full of cunning and intrigue, which is not the place where the brave and upright Cleo Lin Nasi should stay. "I hate the place where Walter grew up," said Leorine. He needs a hero to fight in the hero's world. He wants to prove that he is a hero among heroes, but he also wants to be morally independent. But in reality, he relies on the city-state, which is not the embodiment of morality, but a synthesis full of conflicts between good and evil. The glory that mainly depends on the polis is flawed, which is what Leolinne nast pursues but doesn't want. It is his truth, goodness and beauty that reflect the ignorance of the people and the cunning of those in power. Leorine's betrayal should not bring him a moral stain, but further illustrate Leorine's transcendence of the secular. As Minerva said, "His nature is too expensive for this world."
It is through the fierce conflict with the false, the evil and the ugly that we show the firmness and tenacity of keeping calm in the face of danger and being meticulous in the face of difficulties, the fortitude of defeating evil until death, and their great personality pursuit, excellent emotional integrity and efforts to transcend the mediocre life realm that we can see an indestructible courage from them and realize the true value and purpose pursuit of life. The unity of knowing and doing is the most meaningful image of a capitalized person, which makes the aesthetic subject send out the psychological desire of inspiring spirit, facing difficulties, forging ahead, surpassing self, subliming self and tending to lofty.
In a word, although the tragic art is characterized by sadness and has a sad and frightening side, its real aesthetic significance lies in expressing affirmation of beauty and eternal praise of beautiful things through "sadness", giving people the enlightenment of truth, making people turn tears into courage, coagulation into torches and grief into motivation. That is, tragic art is full of lofty beauty, tragic, tragic, sad, carefree, inspirational and positive. It is this aesthetic feature that makes the tragic art exude charming and permanent charm.
Bibliography:
Zhu Shenghao Shakespeare Plays Shanghai Ancient Books Publishing House 2002.
Introduction to Aesthetics in Wang Chaowen People's Publishing House 1980.
Appreciation of Wang Zhiyuan's World Famous Works China Ancient Books Publishing House 1993
Zhu Liyuan Aesthetics Higher Education Press 200 1
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