Umělecky nejkrásnější tragédie tedy vzniká z takového uspořádání látky: […] děj má obsahovat změnu nikoli z neštěstí ke štěstí, ale naopak ze štěstí v neštěstí, a to ne pro špatnost [charakteru] hrdiny, ale pro určité jeho pochybení. Aristoteles: Poetika Původ tragédie Tragoidia → tragos + oidé HÉRODOTOS: Sikyon → Athény (Kleisthenes), cca 550 BC ARISTOTELES: [Tragedy] coming from an origin in improvisation – and also comedy, the former from those who led off (exarchonton) the dithyrambs, and the latter from those [who led off] the phallic performances, which still even today remain a custom in many cities – grew little by little as they developed whatever they noticed in it, and after undergoing many changes it stopped [growing] when it had attained its own form. → spojitost s dithyrambem a Dionýsem [Chorus:] King of sacred Athens, lord of the luxuriously-living Ionians, why has the bronze-belled trumpet just now sounded a war song? [5] Does some enemy of our land beset our borders, leading an army? Or are evil-plotting robbers, against the will of the shepherds, [10] rustling our flocks of sheep by force? What is it that tears your heart? Speak; for I think that you of all mortals have the aid of valiant young men at your disposal, [15] son of Pandion and Creusa. [Aegeus:] Just now a herald arrived, having come by foot on the long road from the Isthmus. He tells of the indescribable deeds of a mighty man. That man killed overweening. [20] Sinis, who was the greatest of mortals in strength; he is the son of Lytaeus the Earthshaker, son of Cronus. And he has slain the man-killing boar in the valleys of Cremmyon, and reckless [25] Sciron. He has closed the wrestling school of Cercyon; Procoptes has met a better man and dropped the powerful hammer of Polypemon. [30] I fear how this will end. [Chorus:] Who is the man said to be, and from where? How is he equipped? Is he leading a great army with weapons of war? [35] Or does he come alone with only his attendants, like a traveller wandering among foreign people, this man who is so strong, valiant, and bold, who has overcome the powerful strength [40] of such great men? Indeed a god impels him, so that he can bring justice down on the unjust; for it is not easy to accomplish deed after deed and not meet with evil. [45] In the long course of time all things come to an end. Bakchylides 18 (Theseus) Původ tragédie – záchytné body •sborové písně a tance •homérské eposy •spojení s rituálem (kozel, Dionýsos) •neattická tradice •vydělení herce → dramatický dialog (Thespis? 535/4 BC) •502/1 BC: institucionalizace Tragedy is the representation [mimesis] of a serious and complete set of events [praxis], having a certain size, with embellished language used distinctly in the various parts of the play, the representation being accomplished by people performing and not by narration, and through pity and fear achieving the katharsis of such emotions. Aristoteles An Attic tragedy is a self-contained piece of heroic legend, poetically reworked in elevated style for dramatic presentation by a chorus of Attic citizens and two or three actors as part of public worship in the sanctuary of Dionysus. Wilamowitz-Moellendorff First of all it is clear that one must not portray admirable men undergoing a change from good fortune to bad, as this is not pitiful or fearful but just dreadful. Nor [should one portray] evil men going from bad to good fortune, as this is the most non-tragic of all; it has nothing of what it should, it is neither pitiful nor fearful nor does it satisfy our human sensibilities. Nor [should one portray] a thoroughly bad person falling out of good fortune into bad, as such a situation might satisfy our human sensibilities but would not furnish pity or fear . . . What is left lies in between these: the situation will involve a person who is not outstanding in either virtue or just behavior, who falls into bad fortune not through vice or wickedness, but through some mistake [hamartia], one of those who enjoys great reputation and prosperity. Aristoteles: Poetika Aeschylus' Suppliants, in the ancient theatre of Delphi during the Delphic festival of 1930 ANAGNORIZE Sofokles: Oidipus král Aischylos: Oresteia (Oběť na hrobě) Nejdůležitější z nich [složek tragédie] je způsob seřazení činů (dějových komponentů): neboť tragédie je nikoli napodobením lidí samotných, nýbrž jejich činů a života a štěstí a neštěstí. Štěstí a neštěstí však vychází z činů (děje) a cílem [tragédie] je tedy zobrazení činů, nikoli vlastností. [… Dramatičtí] básníci neusilují napodobovat povahy, nýbrž v činech zahrnují zároveň povahy, takže cílem tragédie jsou činy a děj. Aristoteles: Poetika He knows how to arrange the action with such a sense of timing that he creates a character out of a mere half-line or a single expression. This is the essential thing in poetry: to delineate character or feelings. Život Sofokleův Struktura tragédie ARISTOTELES: epeisodion x stasimon TYPOLOGICKY •prolog – řeč •episoda – řeč •kommos – zpěv •melé – zpěv •monodie – zpěv STICHOMYTHIE KREON To vidíš jen ty sama z Thébanů! ANTIGONA I ti to zří, však mlčí před tebou. KREON A nestydíš se od nich lišiti? ANTIGONA Ctít bratra netřeba se styděti. KREON A ten, jejž zabil, není bratr tvůj? ANTIGONA Je bratr můj, z týchž rodičů jak já! KREON Proč tedy prvého ctíš bezbožně? ANTIGONA V tom za pravdu ti nedá nebožtík! KREON Když jej jak bezbožníka stejně ctíš! ANTIGONA Ne otrok, nýbrž bratr zahynul! Sofokles: Antigona Autoři tragédií Aischylos Frinychos Pratinas Choirilus Sofokles Ion Achaios Agathon Achaios Dochování textů AISCHYLOS SOFOKLÉS EURÍPIDÉS (82–90 her) (92 her) (123 her podle Súdy) Dochováno 7 Dochováno 7 Dochováno 17 + jedna sporná + satyrské drama Kyklóps Známo 46 jmen dalších tragiků, kteří dohromady napsali kolem 600 her. Zachovaný fragment představuje tedy přibližně 3,5 % někdejšího celku. Aischylos Scan0007 Beneath this stone lies Aeschylus, son of Euphorion, the Athenian, who perished in the wheat-bearing land of Gela; of his noble prowess the grove of Marathon can speak, and the long-haired Persian knows it well. 525/524–456/455 TRILOGIE: Laios + Oidipus + Sedm proti Thébám + Sfinx Oresteia: Agamemnon + Oběť na hrobě + Usmířené lítice + Próteus Sofoklés Scan0009 496–406 BC Napsal 123 her Dochováno 7 + fragment satyrské hry Slídiči Euripidés 485/480–406 BC Napsal 92 Dochováno 17 + jedna sporná + satyrská hra Kyklóps