Читать книгу A History of Literary Criticism in the Renaissance - Joel Elias Spingarn - Страница 20

Tragedy is the imitation of a serious action, that is, an action both grave and great, or, as the sixteenth century translated the word, illustrious. Now, what constitutes a serious action, and what actions are not suited to the dignified character of tragedy? Daniello (1536) distinguishes tragedy from comedy in that the comic poets "deal with the most familiar and domestic, not to say base and vile operations; the tragic poets, with the deaths of high kings and the ruins of great empires."[110] Whichever of these matters the poet selects should be treated without admixture of any other form; if he resolves to treat of grave matters, mere loveliness should be excluded; if of themes of loveliness, he should exclude all grave themes. Here, at the very beginning of dramatic discussion, the strict separation of themes or genres is advocated in as formal a manner as ever during the period of classicism; and this was never deviated from, at least in theory, by any of the writers of the sixteenth century. Moreover, according to Daniello, the dignified character of tragedy demands that all unseemly, cruel, impossible, or ignoble incidents should be excluded from the stage; while even comedy should not attempt to represent any lascivious act.[111] This was merely a deduction from Senecan tragedy and the general practice of the classics.

There is, in Daniello's theory of tragedy, no single Aristotelian element, and it was not until about a decade later that Aristotle's theory of tragedy played any considerable part in the literary criticism of the sixteenth century. In 1543, however, the Poetics had already become a part of university study, for Giraldi Cintio, in his Discorso sulle Comedie e sulle Tragedie, written in that year, says that it was a regular academic exercise to compare some Greek tragedy, such as the Œdipus of Sophocles, with a tragedy of Seneca on the same subject, using the Poetics of Aristotle as a dramatic text-book.[112] Giraldi distinguishes tragedy from comedy on somewhat the same grounds as Daniello. "Tragedy and comedy," he says, "agree in that they are both imitations of an action, but they differ in that the former imitates the illustrious and royal, the latter the popular and civil. Hence Aristotle says that comedy imitates the worse sort of actions, not that they are vicious and criminal, but that, as regards nobility, they are worse when compared with royal actions." Giraldi's position is made clear by his further statement that the actions of tragedy are called illustrious, not because they are virtuous or vicious, but merely because they are the actions of people of the highest rank.[113]

This conception of the serious action of tragedy, which makes its dignity the result of the rank of those who are its actors, and thus regards rank as the real distinguishing mark between comedy and tragedy, was not only common throughout the Renaissance, but even throughout the whole period of classicism, and had an extraordinary effect on the modern drama, especially in France. Thus Dacier (1692) says that it is not necessary that the action be illustrious and important in itself: "On the contrary, it may be very ordinary or common; but it must be so by the quality of the persons who act. … The greatness of these eminent men renders the action great, and their reputation makes it credible and possible."[114]

Again, Robortelli (1548) maintains that tragedy deals only with the greater sort of men (præstantiores), because the fall of men of such rank into misery and disgrace produces greater commiseration (which is, as will be seen, one of the functions of tragedy) than the fall of men of merely ordinary rank. Another commentator on the Poetics, Maggi (1550), gives a slightly different explanation of Aristotle's meaning. Maggi asserts that Aristotle,[115] in saying that comedy deals with the worse and tragedy with the better sort of men, means to distinguish between those whose rank is lower or higher than that of ordinary men; comedy dealing with slaves, tradesmen, maidservants, buffoons, and other low people, tragedy with kings and heroes.[116] This explanation is defended on grounds similar to those given by Robortelli, that is, the change from felicity to infelicity is greater and more noticeable in the greatest men.[117]

This conception of the rank of the characters as the distinguishing mark between tragedy and comedy is, it need not be said, entirely un-Aristotelian. "Aristotle does undoubtedly hold," says Professor Butcher, "that actors in tragedy ought to be illustrious by birth and position. The narrow and trivial life of obscure persons cannot give scope for a great and significant action, one of tragic consequence. But nowhere does he make outward rank the distinguishing feature of tragic as opposed to comic representation. Moral nobility is what he demands; and this—on the French stage, or at least with French critics—is transformed into an inflated dignity, a courtly etiquette and decorum, which seemed proper to high rank. The instance is one of many in which literary critics have wholly confounded the teaching of Aristotle."[118] This distinction, then, though common up to the end of the eighteenth century, is not to be found in Aristotle; but the fact is, that a similar distinction can be traced, throughout the Middle Ages, throughout classical antiquity, back almost to the time of Aristotle himself.

The grammarian, Diomedes, has preserved the definition of tragedy formulated by Theophrastus, Aristotle's successor as head of the Peripatetic school. According to this definition, tragedy is "a change in the fortune of a hero."[119] A Greek definition of comedy preserved by Diomedes, and ascribed to Theophrastus also,[120] speaks of comedy as dealing with private and civil fortunes, without the element of danger. This seems to have been the accepted Roman notion of comedy. In the treatise of Euanthius-Donatus, comedy is said to deal with the common fortunes of men, to begin turbulently, but to end tranquilly and happily; tragedy, on the other hand, has only mighty personages, and ends terribly; its subject is often historical, while that of comedy is always invented by the poet.[121] The third book of Diomedes's Ars Grammatica, based on Suetonius's tractate De Poetis (written in the second century A.D.), distinguishes tragedy from comedy in that only heroes, great leaders, and kings are introduced in tragedy, while in comedy the characters are humble and private persons; in the former, lamentations, exiles, bloodshed predominate, in the latter, love affairs and seductions.[122] Isidore of Seville, in the seventh century, says very much the same thing: "Comic poets treat of the acts of private men, while tragic poets treat of public matters and the histories of kings; tragic themes are based on sorrowful affairs, comic themes on joyful ones."[123] In another place he speaks of tragedy as dealing with the ancient deeds and misdeeds of infamous kings, and of comedy as dealing with the actions of private men, and with the defilement of maidens and the love affairs of strumpets.[124] In the Catholicon of Johannes Januensis de Balbis (1286) tragedy and comedy are distinguished on similar grounds: tragedy deals only with kings and princes, comedy with private citizens; the style of the former is elevated, that of the latter humble; comedy begins sorrowfully and ends joyfully, tragedy begins joyfully and ends miserably and terribly.[125] For Dante, any poem written in an elevated and sublime style, beginning happily and ending in misery and terror, is a tragedy; his own great vision, written as it is in the vernacular, and beginning in hell and ending gloriously in paradise, he calls a comedy.[126]

It appears, therefore, that during the post-classic period and throughout the Middle Ages, comedy and tragedy were distinguished on any or all of the following grounds:—

i. The characters in tragedy are kings, princes, or great leaders; those in comedy, humble persons and private citizens.

ii. Tragedy deals with great and terrible actions; comedy with familiar and domestic actions.

iii. Tragedy begins happily and ends terribly; comedy begins rather turbulently and ends joyfully.

iv. The style and diction of tragedy are elevated and sublime; while those of comedy are humble and colloquial.

v. The subjects of tragedy are generally historical; those of comedy are always invented by the poet.

vi. Comedy deals largely with love and seduction; tragedy with exile and bloodshed.

This, then, was the tradition that shaped the un-Aristotelian conception of the distinctions between comedy and tragedy, which persisted throughout and even beyond the Renaissance. Giraldi Cintio has followed most of these traditional distinctions, but he is in closer accord with Aristotle[127] when he asserts that the tragic as well as the comic plot may be purely imaginary and invented by the poet.[128] He explains the traditional conception that the tragic fable should be historical, on the ground that as tragedy deals with the deeds of kings and illustrious men, it would not be probable that remarkable actions of such great personages should be left unrecorded in history, whereas the private events treated in comedy could hardly be known to all. Giraldi, however, asserts that it does not matter whether the tragic poet invents his story or not, so long as it follows the law of probability. The poet should choose an action that is probable and dignified, that does not need the intervention of a god in the unravelling of the plot, that does not occupy much more than the space of a day, and that can be represented on the stage in three or four hours.[129] In respect to the dénouement of tragedy, it may be happy or unhappy, but in either case it must arouse pity and terror; and as for the classic notion that no deaths should be represented on the stage, Giraldi declares that those which are not excessively painful may be represented, for they are represented not for the sake of commiseration but of justice. The argument here centres about Aristotle's phrase ἐν τῷ φανερῷ θάνατοι,[130] but the common practice of classicism was based on Horace's express prohibition:—