Edward Vodoklys | College of the Holy Cross (original) (raw)
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, •den nachdem Aristotles so oft nachc,esproohen hat; es sei der Zweck des Trauerspiels die Leide... more , •den nachdem Aristotles so oft nachc,esproohen hat; es sei der Zweck des Trauerspiels die Leidenschaften zu reinigen oder die Sitte zu bilden, Er iat;i wo nlcht falsch, dooh wenigstens nicht allgemein 1 und Schuld daran, daB Viele deutsche Trauersplele so Schlecht sind. Ich setze also den Zwack des Trauerspiels in die Erregung der Leidenache.ften und sage: de.s best~;~ Tz•auerspiel ist das, welches die Le.idenschaften~ am~b:efj;.f.gsirens erregt, nicht das, welches geschickt 1st, die Leidenschaften zu reinigen. 11 7 Nicolai obviously takes a more mundane approach to tragic 8. drama than does Aristotle. The purpose of trag¢dy is not as eso• teric as a pergation of existing emotions or as noble as proper formation of mot•als; it is SiiJ1PlY the strong arousal of these emo• tions which occur in everyday life. The value of tragic drama lies in its ability to depict life in as "true 11 or "natural" a sta:t;e as possible, while elevating it to a high level of emotional intensity and abstract reflection. Following Ar1stotles1 outline, !Ueolai further develops the concept of arousal of emotions in the light of dramatic action! one of the three unities. He considers action a crucial instrUir,ent for exciting the proper emotion at the right time. Three essential qualities of dramatic action which are necessary for arousal are ttGr8sse, die Fortdauer und die Einfalt". Nicolai, in his epistle to Lessing elaborates further on these three aspects of action. First; he says, actions are great and tragic not because they are performed by great people, but because they arouse deep emotion; secondly 1 dramatic action has "Fortdauern (continuity) if it is not interrupted by another action; and finally, it possesses slmplicity if it is never complicated by incidental actions which divert the attention 8 of the audience. The unity of action, as described in continuity and simplicity by Nicolai, is a quality pertaining to the whole drama. :o OtherWise, emotions will be aroused but. never sustained long enough to ach~.eve the desired effect. Nicolai also categorizes aiff'erent traged.ies according to their action and the emotions• they evoke in the same ws:y as Aristotle. First, there is the "ri1hrende 11 or "moving" tragedy "t1ttieh excites the audience with f'r:i.ght and compassion, 11 Schrecken und Mitleid 11 • Next is the 11 heroiscb.e" di>ama in which i'l•ight and compassion help to evoke admiration. The third or 11 mb:ed" type • of tragedy occUJ:>s wben admiration, f'right ana•• compassion are of" equal importance. A fourth type of tragedy is one in which ad-• • • o'l•:miration is aroused w:'l.thout the help of' the usual fright or compassion assion. NicoJ.ai observes that this type of' tragedy is not practical because the hero 11 :l.m Unglil.ck, die gr8Bte Bewunderung, aber aueh zugleieh Metleiden el'!'ege~ 11 9 Ntcolai seelllS to ha1re been rather, indif:rarent to the moral and pedagogical aspects of tragedy whicP. ' Aristotle recognized~ Re attdbutes the downfall of the tragic 1 hero to a "mistake" which he ool1llllits as a result of frailty. Th~s :t>esults in a conflict between the hero's desires and the objective oJiaer which cannot be reconciled. Thus; regarding Oedipus: • '• so 1st z.B. in des Soghokles Oedipus der Fehler des : Oedipus nicht der l"iord des Laios, weloher auBer Handlung(ist • sondern die Neugier, .w.s l4'elcher die Aufl8sung i flieBt. 10 • Uioolai feels that • within the limits of the play's action, the ~• tragedy of Oedipus arises out of his curiosity-his longing f'or r ;.;. self-identity, For Nicolai it is this unfortunate emotional urgJ, and not the guilt incurl'ed from the murde1• of his fatb.er which \ supplies the impetus for the Oedipus 1 s eventual tragedy. Thus, j ,, the moral and pedagogical elements of the tragedy are di:ffused ~~ 11. t:ra~~o char&chl". fib pt>S.-d• .and &.-t&l'lilt1rutti.<Hl ewb t~d:Lngt: <>f ¥Ul.VJ nt;ho.l" than r,>i'llyo !n. tSmr.tdn.g u:p the O@t.iot!~ ~J.$iiltl!lll c.nu$ed b:y pity u'l'U.U~!d" 1 I.e:tdn!t tJ&f8 s. ~P1e .a:r,iltl:~ 4ev 'ff'f,.~tillJ.t~ itl d.i~#>IH ~!e. aoll urus~e-. !"ittl tt!.t:~1 h ll'l:lt:.
El trabajo aún en curso que aquí osamos presentar se inició por nuestra convicción de la necesida... more El trabajo aún en curso que aquí osamos presentar se inició por nuestra convicción de la necesidad -percibida desde la vertiente de la investigación literariade contar con un índice iconográfico de los libros de emblemas españoles. Hasta fechas muy próximas la emblemática española, ciertamente abundante y original, ha permanecido casi ignorada fuera de la Península Ibérica. Ello, entre otras causas, se ha debido a su inaccesibilidad: los pocos textos que cuentan con ediciones facsímiles o modernas son difíciles de encontrar al distribuirse por circuitos de limitado alcance y en reducidas tiradas; el corpus de la emblemática española ha adolecido, igualmente, de indefinición hasta el oportuno trabajo globalizador de Pedro Campa1• Otro factor a tener en cuenta es que la emblemática española ha sido invisible desde fuera de España por motivos lingüísticos. Lamentablemente, es un hecho que muy pocos expertos en el campo de la emblemática en la comunidad internacional dominan el castella...
Literatura Emblematica Hispanica Actas Del I Simposio Internacional 1996 Isbn 84 88301 03 0 Pags 415 428, 1996
, •den nachdem Aristotles so oft nachc,esproohen hat; es sei der Zweck des Trauerspiels die Leide... more , •den nachdem Aristotles so oft nachc,esproohen hat; es sei der Zweck des Trauerspiels die Leidenschaften zu reinigen oder die Sitte zu bilden, Er iat;i wo nlcht falsch, dooh wenigstens nicht allgemein 1 und Schuld daran, daB Viele deutsche Trauersplele so Schlecht sind. Ich setze also den Zwack des Trauerspiels in die Erregung der Leidenache.ften und sage: de.s best~;~ Tz•auerspiel ist das, welches die Le.idenschaften~ am~b:efj;.f.gsirens erregt, nicht das, welches geschickt 1st, die Leidenschaften zu reinigen. 11 7 Nicolai obviously takes a more mundane approach to tragic 8. drama than does Aristotle. The purpose of trag¢dy is not as eso• teric as a pergation of existing emotions or as noble as proper formation of mot•als; it is SiiJ1PlY the strong arousal of these emo• tions which occur in everyday life. The value of tragic drama lies in its ability to depict life in as "true 11 or "natural" a sta:t;e as possible, while elevating it to a high level of emotional intensity and abstract reflection. Following Ar1stotles1 outline, !Ueolai further develops the concept of arousal of emotions in the light of dramatic action! one of the three unities. He considers action a crucial instrUir,ent for exciting the proper emotion at the right time. Three essential qualities of dramatic action which are necessary for arousal are ttGr8sse, die Fortdauer und die Einfalt". Nicolai, in his epistle to Lessing elaborates further on these three aspects of action. First; he says, actions are great and tragic not because they are performed by great people, but because they arouse deep emotion; secondly 1 dramatic action has "Fortdauern (continuity) if it is not interrupted by another action; and finally, it possesses slmplicity if it is never complicated by incidental actions which divert the attention 8 of the audience. The unity of action, as described in continuity and simplicity by Nicolai, is a quality pertaining to the whole drama. :o OtherWise, emotions will be aroused but. never sustained long enough to ach~.eve the desired effect. Nicolai also categorizes aiff'erent traged.ies according to their action and the emotions• they evoke in the same ws:y as Aristotle. First, there is the "ri1hrende 11 or "moving" tragedy "t1ttieh excites the audience with f'r:i.ght and compassion, 11 Schrecken und Mitleid 11 • Next is the 11 heroiscb.e" di>ama in which i'l•ight and compassion help to evoke admiration. The third or 11 mb:ed" type • of tragedy occUJ:>s wben admiration, f'right ana•• compassion are of" equal importance. A fourth type of tragedy is one in which ad-• • • o'l•:miration is aroused w:'l.thout the help of' the usual fright or compassion assion. NicoJ.ai observes that this type of' tragedy is not practical because the hero 11 :l.m Unglil.ck, die gr8Bte Bewunderung, aber aueh zugleieh Metleiden el'!'ege~ 11 9 Ntcolai seelllS to ha1re been rather, indif:rarent to the moral and pedagogical aspects of tragedy whicP. ' Aristotle recognized~ Re attdbutes the downfall of the tragic 1 hero to a "mistake" which he ool1llllits as a result of frailty. Th~s :t>esults in a conflict between the hero's desires and the objective oJiaer which cannot be reconciled. Thus; regarding Oedipus: • '• so 1st z.B. in des Soghokles Oedipus der Fehler des : Oedipus nicht der l"iord des Laios, weloher auBer Handlung(ist • sondern die Neugier, .w.s l4'elcher die Aufl8sung i flieBt. 10 • Uioolai feels that • within the limits of the play's action, the ~• tragedy of Oedipus arises out of his curiosity-his longing f'or r ;.;. self-identity, For Nicolai it is this unfortunate emotional urgJ, and not the guilt incurl'ed from the murde1• of his fatb.er which \ supplies the impetus for the Oedipus 1 s eventual tragedy. Thus, j ,, the moral and pedagogical elements of the tragedy are di:ffused ~~ 11. t:ra~~o char&chl". fib pt>S.-d• .and &.-t&l'lilt1rutti.<Hl ewb t~d:Lngt: <>f ¥Ul.VJ nt;ho.l" than r,>i'llyo !n. tSmr.tdn.g u:p the O@t.iot!~ ~J.$iiltl!lll c.nu$ed b:y pity u'l'U.U~!d" 1 I.e:tdn!t tJ&f8 s. ~P1e .a:r,iltl:~ 4ev 'ff'f,.~tillJ.t~ itl d.i~#>IH ~!e. aoll urus~e-. !"ittl tt!.t:~1 h ll'l:lt:.
El trabajo aún en curso que aquí osamos presentar se inició por nuestra convicción de la necesida... more El trabajo aún en curso que aquí osamos presentar se inició por nuestra convicción de la necesidad -percibida desde la vertiente de la investigación literariade contar con un índice iconográfico de los libros de emblemas españoles. Hasta fechas muy próximas la emblemática española, ciertamente abundante y original, ha permanecido casi ignorada fuera de la Península Ibérica. Ello, entre otras causas, se ha debido a su inaccesibilidad: los pocos textos que cuentan con ediciones facsímiles o modernas son difíciles de encontrar al distribuirse por circuitos de limitado alcance y en reducidas tiradas; el corpus de la emblemática española ha adolecido, igualmente, de indefinición hasta el oportuno trabajo globalizador de Pedro Campa1• Otro factor a tener en cuenta es que la emblemática española ha sido invisible desde fuera de España por motivos lingüísticos. Lamentablemente, es un hecho que muy pocos expertos en el campo de la emblemática en la comunidad internacional dominan el castella...
Literatura Emblematica Hispanica Actas Del I Simposio Internacional 1996 Isbn 84 88301 03 0 Pags 415 428, 1996