2. 职称英语
  3. According to Aristotle, the subjects of tragic drama were rightly dr

According to Aristotle, the subjects of tragic drama were rightly dr

游客2025-02-22  9
问题             According to Aristotle, the subjects of tragic drama were rightly drawn
       from ancient mythology, a source considered invariably reliable, for it was
       believed that if man had invented such strange incidents, they would have
Line     appeared impossible. Furthermore, the chief characters of a tragic action should
(5)      be persons of consequence, of exalted station, according to Aristotle, and the
       leading personage should not be a man characterized by great virtue or great
       vice, but of a mixed nature, a proclivity for errors and weaknesses that lead him
       into misfortune. Such a mixture of good and evil makes the protagonist seem
       like ourselves, thus more quickly arousing the spectator’s sympathy, saturating
(10)     him with feelings of compassion, driving out his petty personal emotions, and
       thus "purging" the soul through pity and terror. The crimes suitable for tragic
       treatment may be committed either in ignorance, or intentionally, and are
       commonly against friends or relatives, though crimes committed intentionally
       are generally the more dramatic and impressive-this in spite of the fact that
(15)     the central crime in Oedipus the King was committed in ignorance. As to
       style, a certain archaic quality of diction is needful to the dignity of tragedy.
             Another of the most famous of the Aristotelian rules were those relating to
       the so-called unities-of time, place, and action. The unity of time limits the
       supposed action to the duration of a single day, unity of place limits it to one
(20)     general locality; and unity of action limits the play to a single set of incidents
       related as cause and effect, "having a beginning, a middle, and an end."
       Concerning the unity of time, Aristotle noted that all the plays since Aeschylus,
       except two, did illustrate such unity, but he did not lay down such a precept as
       obligatory. Perhaps tacitly he assumed that the observance of the unity of place
(25)     would be the practice of good playwrights, since the chorus was present during
       the whole performance, and it would indeed be awkward always to devise an
       excuse for moving fifteen persons about from place to place.0
           A third unity, that of action, is bound up with the nature not only of Greek
       but of all drama, for Aristotle conceived the action, or plot, of a play as of far
(30)     greater importance than the characters. This conception he gained from the
       plays of the fifth century generally centered around a personified passion rather
       than around a character. Second in importance was characterization, and third
       were the sentiments aroused by the action, for Aristotle insisted very clearly
       that in tragedy the plot does not rise out of the characters, but that the plot
(35)     tests the characters through the working-out of destiny, or "blind fate". The
       main duty of the dramatist, therefore, was to first organize the action, then
       display the moral character of people suffering the blows of fate. [br] The primary purpose of the passage is to
选项 A、compare a philosopher’s system of dramatic principles with that of the author’s
B、enumerate one philosopher’s view of the principles underlying good drama
C、analyze the similarities and dissimilarities between the various dramatic principles at work in Greek drama
D、contrast one philosopher’s dramatic principles with those of the tradition that preceded him
E、demonstrate the wisdom and longevity in one philosopher’s dramatic principles
答案 B
解析
转载请注明原文地址:https://www.tihaiku.com/zcyy/3967578.html
相关试题推荐
随机试题
最新回复(0)