{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"351c895b-b657-4a7e-b455-777b70961fc0","title":"贺麟全集 精神现象学(下)","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787208116030","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"351c895b-b657-4a7e-b455-777b70961fc0","id":"351c895b-b657-4a7e-b455-777b70961fc0","uuid":"351c895b-b657-4a7e-b455-777b70961fc0","title":"贺麟全集 精神现象学(下)","normalized_title":"贺麟全集精神现象学下","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787208116030","isbns":["9787208116030"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":309,"navigation_url":"https://workshop.closeclaw.top/ai/book/351c895b-b657-4a7e-b455-777b70961fc0","title_url":"https://workshop.closeclaw.top/ai/title/%E8%B4%BA%E9%BA%9F%E5%85%A8%E9%9B%86%20%E7%B2%BE%E7%A5%9E%E7%8E%B0%E8%B1%A1%E5%AD%A6(%E4%B8%8B)","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/351c895b-b657-4a7e-b455-777b70961fc0/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/351c895b-b657-4a7e-b455-777b70961fc0/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/351c895b-b657-4a7e-b455-777b70961fc0","page_url":"https://workshop.closeclaw.top/api/ai/books/351c895b-b657-4a7e-b455-777b70961fc0/page","search_url":"https://workshop.closeclaw.top/api/ai/books/351c895b-b657-4a7e-b455-777b70961fc0/search"},"page":{"printed_page":221,"pdf_page":228,"physical_index":228,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"62e69138bf5c58569a9e97edb09f5bc284562278868343bb71a157f2eb3cef2c"},"chapter":"第七章 宗教","content":"[ⅡI.悲剧]\n\n这种较高的语言——悲剧——就把本质的、行动的世界中分裂了或分散了的环节更密切地结合起来。神圣的东西的实体按照概念的本性分化成它的各个形态，而这些形态的运动也同样是依照概念进行的。就形式来看，悲剧的语言不复是〔史诗式的〕叙说故事，这由于它已进入了内容，正如悲剧的内容已不复是一种想象的东西了。英雄本人是自己的代言人，而悲剧的表演所表现给听众（而听众同时又是观众）看的乃是些有自我意识的人，这些人知道他们的权利和目的，即他们的权力和意志的规定性，并且知道如何把这些东西说出来。他们是艺术家，他们的语言不同于伴随着现实生活里的通常行为的语言，他们不是不自觉地、自然地、朴素地说出他们开始在作和决定要作的东西的外表方面，反之，他们乃是要表达出支配着他们的“思想感情”(Pathos)，摆脱偶然的情况和关涉个人的特殊小节，而突出地表达出这些思想感情的普遍的个体性。最后，具体体现在这些悲剧里的英雄人物的乃是现实的人，这些人扮演悲剧英雄，正如人们的双手塑造对雕像来说是主要的，同样，演员对于他的假面具来说也是王要的。从艺术观点看来，演员并不是一个可以抽掉的外在的条件；或者说，如果演员的作用可以从艺术中抽掉的话，那末我们可以说，这艺术还没有在它里面包含着真正的固有的自我或主体。\n\n第七章 宗教\n\n221","previous_page":220,"next_page":222}