西蒙·戈德西尔：《奥瑞斯提亚》读书笔记

第一章 戏剧与雅典城邦

四个方面的背景：polis，民主制、节庆和戏剧。在戈德西尔看来，“希腊悲剧不应单纯被理解为审美的、情感的或仪式性的体验（尽管它包含了此三者）。它同样是一个事件，将迅速发展中的政治文化体系间的张力与含混性都放诸公共领域来讨论。更重要的是，《奥瑞斯提亚》不像其他现存的悲剧，它的终结就是在雅典民主polis的中心，即法庭。这部剧是在向polis说话。《奥瑞斯提亚》是彻头彻尾的政治戏剧，它等待着你——我们——的判决”【24】 Greek tragedy should not be viewed simplyas an aesthetic, emotional or ritual experience (although it is all three of these). It is also an event that places the tensions and ambiguities of a rapidly developing political and cultural system in the public domain to be contested. What is more, the Oresteia itself ends, unlike all other extant tragedies, in the centre of the democratic polis of Athens, its law-court. The play speaks to the polis. The Oresteia is in the full sense of the term a political drama; and awaits your – our – verdict. p.19.

第二章 《奥瑞斯提亚》

在简要回顾了三部曲的情节。叙事结构策略‘’复仇和反转。【32】以《阿伽门农》为例，“如果阿伽门农要对帕里斯的僭越复仇，那么他自己就必须有所僭越。这便是复仇与反转叙事的逻辑。”【33】阿伽门农之死是多个不同的复仇与反转及家庭惨案造成的【35】“作恶者授课”这一不断重复的悲剧行动的范式构建了“奥瑞斯提亚”的叙事。双重悖论【36】（The doer suffers’, then, is a repeated pattern of tragic action that structures the narrative of the Oresteia. In punishing a wrong, Agamemnon, Clytemnestra, Orestes, each commits a wrong, and thus becomes the hunter hunted, the sacrificer sacrificed, the punisher punished. Each, too, recognizes the tragic dilemma that leads to such inevitable transgression. The paradox of the double bind is central to the plotting of the Oresteia. p.28.）复仇与发展逐渐转向法庭，这一叙事在dike的语言中被表现，主流解读，“奥瑞斯提亚”追溯了作为复仇的dike向作为法律正义的dike转变的过程，从周而复始的血亲家族复仇转向polis的秩序世界及其制度，因此“奥瑞斯提亚”提供了法律制度的起源神话，这是城邦的宪章【37-8】（A charter for the city p.29.）援引H. D. F. Kitto的观点。马克思主义与女权主义的批评，作品的正义是向国家权力制度的进化或向强化父权权威的进化，而非理性文明的生灵；不过这样的解读同样认为奥瑞斯提亚描写了向法律正义秩序的转变【39】在戈德西尔看来，这种理解存在三个困难，一是审判，雅典娜的劝说而非审判导致叙事的终结和最后的庆典，此剧的结束并非法律正义解决问题，而是女神的劝说与polis的赞颂；二是主要冲突是相互竞争的义务的冲突；【40】三与悲剧时刻相关联，dike的预压更复杂、更模糊【41】埃斯库罗斯并没有展现dike问题如何被解决，而是在这一词汇本身蕴含的含混与困境中展现这些问题如何保持固有的活力【42-3】dike的语言（社会秩序、正义）被分裂和碎片化【43】“一方面，它把复仇与反转的别具叙事中的人类行动者戏剧化了，其中每个事件都与其他事件混杂，每个行动都涉及义务冲突的双重困境。另一方面，叙事得以理解的社会秩序的语言自身显露出完全不可消解的张力与含混性。因此复仇的故事被用于考察社会秩序的形成与僭越。正是以此方式，《奥瑞斯提亚》首先就与polis对话了。”【43-4】（On the one hand, it dramatizes human agents engaged in a tragic narrative of revenge and reversal, where each event is intricately connected with every other, and each action involves a double bind of conflicting obligations. On the other hand, the language of social order, in which the narrative is to be understood, is itself shown to be full of unresolved tensions and ambiguities. The story of revenge, then, is used to explore the formation and transgression of social order. It is in this way, first of all, that the Oresteia speaks to the polis. p.33.）性别方面，将暴力犯罪、政治与性别相结合。为此，进一步考察与荷马《奥德赛》的关系。“只有在荷马的优先范例的背景下，埃斯库罗斯才能得到最好的理解”【56】注意《奥德赛》对家庭内部恰当行为的关注。【57】“奥瑞斯提亚”对荷马的改写，并非文学的互动，而是搬上了城邦的舞台。【62】对城邦宪章的疑问。【63】叙事方法，包括：一，语言的运用，人类存在的不稳定性与语言的不稳定性紧密相连【72】（the trilogy moves from the signal of the beacons to the process of law: the Oresteia charts the social functioning of language in the polis. This theme of the use of language is an important element in placing man within the social frame I discussed earlier. Language, when used rightly in prayer, blessing, curse and naming, can have a directive and binding effect. In law it provides the institutional means of mediating the conflicts of violence. Yet the fear of them isuse of language remains in direct proportion to its power. Persuasion – manipulative rhetoric – can be used to forward the disruption and disorder that repeatedly racks the house of Agamemnon. Persuasion is central to the Assembly and law-courts of democratic Athens. Aeschylus in the democratic institution of the theatre dramatizes the dangers of persuasion at work, and shows how the corruption of the processes of communication leads to violence and disorder – and is a sign of violence and disorder. The instability of a word like dike, then, must also be seen as part of the incertitude of human communication. It is basic to Aeschylus’ tragic vision of things that the precariousness of human existence is necessarily tied to the precariousness of language. pp.54-5.）对预言的恐惧。Throughout the Oresteia, then, the passage of events creates fear and a sense of doubt as the shifting patterns of cause and effect eludeman’s attempts at mastery. It is a central and tragic tension of the Oresteia that as the narrative moves towards the celebration of the polis, the picture of individual humans’ lives, mired in ignorance, caught in familial narratives, and punished by a silent, unremitting and inexplicable doom, remains constant. p.60. 秩序的意象，即祭祀。诸神体系。第三部分考察的是诗歌的运作。戈德西尔最后指出，《奥瑞斯提亚》的政治话语勾勒出的是一个交战的场所，而不是一个简单的教诲场景【115】（the political discourse of the Oresteia maps out a site of engagement, not a scene of straight-forward didacticism. p.84.）

第三章 《奥瑞斯提亚》的影响

戈德西尔选择了三个关键时刻进行讨论：与欧里庇得斯与索福克勒斯的关系；十九世纪德国浪漫主义文化中的希腊研究；性别议题。