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Hey there. I'm Mike Rugnetta, this is Crash Course Theater, and today is going to be a tragedy.
嘿大家好，我是迈克·鲁格内塔，这里是“戏剧速成课堂”，今天我们来讲“悲剧”。
A Greek tragedy. Which is a lot like a regular tragedy, only older and with more stuffed grape leaves.
希腊悲剧，和一般的悲剧区别不大，只不过年代更久远，填充的葡萄叶更多。
We'll be exploring Aristotle's theories on this artform, written more than a century after the golden age of Athenian drama.
我们来探讨一下亚里士多德关于这一艺术形式（希腊悲剧）的理论，这个理论是在雅典戏剧黄金时代之后的一个多世纪被写出来的。
Then we'll apply them retrospectively to the only surviving tragic trilogy we have, the "Oresteia" of Aeschylus.
然后，我们带着怀旧的情怀来把这个理论运用到现今仅存的悲剧三部曲——埃斯库罗斯的《俄瑞斯忒亚》中。
Get ready for some husband-killing, some mother-killing and, maybe unsurprisingly, the invention of the jury trial!
做好观看“杀夫杀母”的准备。不出所料的话本集会涉及到有关“陪审团审判的发明”的内容！
Meet Aristotle. Just Aristotle. No last name.
来见见亚里士多德，他就叫亚里士多德，没有姓。
Like Cher! But older.
像“雪儿”！只不过更老一些。
Also believes in life after love, though!
不过他也相信爱情之后的生活！
He was born in 384 BCE and lived in Greece and Macedonia.
他出生于公元前384年，居住在希腊和马其顿（巴尔干半岛一古国）。
He spent many years studying with Plato, a philosopher who wasn't a big fan of drama or poetry.
他花了很多年的时间去研究柏拉图——一个不太喜欢戏剧和诗歌的哲学家。
Plato wrote that poets encourage a false vision of reality and should all be excluded from the ideal state.
柏拉图写过这么一句话：诗人鼓励对现实的错误幻想，所有人都应该被排除在理想状态之外。
Wow. Harsh, dude. Luckily for us his pupil Aristotle was more open-minded.
哇哦！太苛刻了，伙计。幸运的是他的学生亚里士多德思想比较开放。
In 335 BCE, a little while after he'd finished tutoring Alexander the Great, Aristotle sat down to write The Poetics, the first substantial work of literary criticism.
公元前335年，亚里士多德在辅导完亚历山大大帝的不久后便开始着手写《诗学》，这是文学批评领域里的第一部实质性著作。
Originally The Poetics was in two parts, a section on tragedy and a section on comedy, but only the tragedy part survives.
《诗学》最初分为两部分：悲剧部分和喜剧部分，但幸存下来的只有悲剧部分。
Aristotle was writing 200 years after the City Dionysia really got going and 150 years after the beginning of the golden age of Greek drama.
亚里斯多德是在酒神城邦真正兴起的200年后，也就是希腊戏剧黄金时代开始的150年后才开始着手写作。
So the Poetics isn't really about analyzing contemporary work, it's about looking at the work that came before Aristotle, deciding what's great about it, and providing a handbook for future playwrights and audiences.
所以《诗学》并不是在分析当代作品，而是在研究在亚里士多德之前的作品，鉴定作品的伟大之处并为未来的剧作家和观众提供一本鉴定手册。
Aristotle was trying to stick it to Plato by proving poetry (and theatre) could be useful to society.
亚里士多德试图证明诗歌(和戏剧)可能对社会有益并以此来支撑柏拉图的观点。
He was a big fan of Sophocles and the rules Aristotle set out apply most closely to Sophocles's own "Oedipus Rex", which you might remember from Crash Course Literature.
他是索福克勒斯(古希腊悲剧诗人)的超级粉丝，而亚里士多德设定的规则也最适用于索福克勒斯的作品《俄狄浦斯王》，你可能在“速成文学课堂”上听过。
Club foot, murder, incest, stabbing out the eyes—it's memorable stuff. But Aristotle's theories apply, in many ways, to all of the works of Greek tragedy.
畸形脚、谋杀、乱伦、刺瞎眼睛——这些比较让人印象深刻。但亚里士多德的理论，在很多方面，适用于所有的希腊悲剧作品。
And often, we can gain a lot of insight through how ancient plays do or do not tick the boxes that Aristotle set up.
通常我们通过研究这些古代戏剧作品对亚里士多德设立的标准的符合程度便更找到共鸣。
And in fact, Aristotle's theories continue to influence how we write and think about modern plays.
事实上，亚里士多德的理论仍在继续影响着我们对现代戏剧的写作和思考。
First off, the tragedy portion of Aristotle's Poetics considers several forms of poetry, including the tragedy, and the epic, which is different in that it's mostly descriptive, rather than imitative.
首先，亚里士多德《诗学》中的悲剧部分包含几种诗歌形式，其中包括悲剧和史诗，史诗的不同之处在于它主要是描述性的，而不是模仿性的。
It tells rather than shows, like the dithyrambs we discussed last episode.
它是“讲述”而不是“表演”，就像我们上一集讨论的“赞美酒神的颂歌”。
But! We're here to talk tragedy which, Aristotle defines as: "An imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions."
但是！我们今天要讨论的悲剧，亚里士多德将其定义为：“严肃的、完整的、具有一定重要性的模仿性动作；语言上有许多的艺术性，一部戏剧里会出现几种单独的艺术形式；以“动作”的形式而不是“叙述”的形式；通过怜悯和恐惧来净化这些情绪”
So, Okay, a lot of this language is ambiguous, but there are some conclusions we can draw.
所以，好吧，这里面有很多表达是模棱两可的，但是我们可以得出一些结论。
We're gonna go bit by bit: What does serious mean?
我们来一点点分析：“serious(严肃)”的含义是什么？
Well, there probably aren't a lot of satyrs and phalluses.
好吧，可能没有那么多的色情狂和“棒子”。
Complete? Each play in a tragedy has to stand independent from other works in its trilogy.
衣着暴露吗？悲剧里的每个剧本都必须独立于三部曲中的其他作品之外。
That's lucky for us because as we discussed last time, invading hordes have a bad habit of burning libraries and we've lost a lot of plays. Of a certain magnitude?
这对我们来说是幸运的，因为正如我们上次所讨论的，入侵的部落有烧图书馆的坏习惯，所以我们失去了很多戏剧作品，有一定规模的作品？
That's trickier, but if you read Greek tragedies you'll notice they deal with legendary heroes or royal families, characters whose lives will have a sizable impact.
问题很严重。但是如果你读过希腊悲剧，你就会发现戏剧里面的传奇英雄和皇室家族的生活会产生巨大的影响。
Also their difficulties are not minor—these are stories about murder, vengeance, betrayal… again: memorable stuff! By language embellished, Aristotle means not only poetry, but also song.
当然他们遭遇的困境也不少——都是些有关谋杀、复仇、背叛的故事……同样让人印象深刻！亚里士多德所说的“语言修饰”不仅仅指诗歌，还包括歌曲。
In the form of action, not of narrative, means showing rather than telling.
动作的形式，而不是叙述的形式，意味着是表演而不是讲述。
And through pity and fear effecting the proper purgation of those emotions - that's catharsis, and as we suggested last episode, it's kept scholars fearful and pitious for centuries.
通过怜悯和恐惧对这些情绪进行适当的净化，这是一种净化，正如我们在上一集中提到的，它让学者们几个世纪以来一直抱有恐惧和敏感。
We offered one explanation last time, that plays help make people better citizens by purging them of emotions unhelpful to the city-state—you have a good cry at the theater so that you're not crying when it comes to making political decisions.
上一集中我们提供了一种解释，即戏剧通过净化对城邦无益的情绪来帮助人们成为更好的公民——在剧院里你可以好好地哭一场，这样的话你在做政治决定时就会更理智些(不会那么情绪化)。
But scholars have argued that this catharsis is actually supposed to happen for the characters onstage; there's been a lot of debate about whether the goal of catharsis is an emotional purgation or an intellectual clarification.
但是学者们认为，这种净化实际上应该发生在舞台上的人物身上；关于净化的目的是情感上的净化还是理智上的净化有很多争论。
Is catharsis supposed to awaken your emotions, or trigger some deeply rational thoughts?
净化应该唤醒情绪？还是应该触发一些深层次的理性思考？
Shockingly: EXPERTS DISAGREE. Aristotle also said tragedy is composed of six parts: Plot, Character, Diction, Thought, Spectacle, and Song. They're important pretty much in that order, although he says that song matters more than spectacle.
令人惊讶地是：专家们不认同。亚里士多德还说过，悲剧由六个部分组成：情节、人物、语言、思想、场景和歌曲，这个顺序非常重要，尽管他还说过歌曲比场景更重要的话。
Take that, projection designers. Wait… I've designed projections!
把这些字移走，投影设计师们。等等，我做了投影！
You don't want too much spectacle he says, because that's cheap and tragedy should be enjoyable, but not, like, too enjoyable.
别想着能有多壮观，他说，因为那很俗气，悲剧应该是让人赏心悦目的，但是不能太过分。
And Aristotle argues that even though it's characters we care about, it's actually the plot—the tragic action—that's most important.
亚里士多德认为，尽管我们关心的是人物，但实际上最重要的是情节，即悲剧性的动作。
You could have a character just like Oedipus, for instance, who doesn't kill his father or marry his mother, but … well, that's not really much of a tragedy.
你可以塑造一个像俄狄浦斯(希腊神话人物)一样的角色，比如，他不会杀死自己的父亲，也不会娶自己的母亲，但是，嗯，这样就不算是悲剧了。
Aristotle believes that in order for a tragedy to really work, it needs to focus on a mostly good character who–through the tragic action–is then brought low.
亚里士多德认为，为了让悲剧真正发挥它的作用，需要把重点放在一个品行尚好的角色上，但是这个角色会通过其悲剧的行为而反转。
If you have a mostly bad character brought low: Big whoop, they had it coming, no tragedy.
如果是一个品行偏坏的角色变得更坏：啊，是他们自食其果，这就不是悲剧了。
Same goes for a mostly good character who stays good: No pity, no fear, no catharsis.
同样的道理，如果那些品行良好的人一直保持着品行良好：那么没有怜悯，没有恐惧，也没有净化。
An unimpeachably good character brought low doesn't work either, because the tragic action has to be their fault, at least a little.
一个完美的好品行之人单纯地反转也没用，因为悲剧性行为的发生必须是他们造成的，至少有一点点关联。
