一、喜剧的命运公元前五世纪,在希腊雅典,当产生三大杰出悲剧家埃斯库罗斯、索福克勒斯和欧里庇得斯的同时,也出现了喜剧之父阿里斯托劳。悲剧和喜剧作为人类生存体验和生存智慧的两种不同的表述形式,一直是我们最重要的艺术样式和美学风格。悲剧和喜剧都揭示了人的主体意志、主观自由与客体世界、客观必然的对立和冲突,在悲剧中,这种对立、冲突是终极存在、不可调合的,客体最终否定了主体,必然否定了自由,真否定了善,因而悲剧以一种巨大的苦难展示了人的存在的有限性。表现了对世界秩序的永恒的质疑。而在喜剧中,对立和冲突则是调合 First, the fate of comedy The fifth century BC, in Athens, Greece, when the birth of the three prominent tragedies Esculus, Sophocles and Euripides, also appeared in the comedy father Aristo Lau. Tragedy and comedy, as two different expressions of human existence and living wisdom, have always been our most important artistic style and aesthetic style. Both tragedies and comedy reveal the objective and inevitable antagonisms and conflicts between man’s subjective will, subjective freedom and the world of objects. In the tragedy, this kind of opposition and conflict is the ultimate existence and can not be reconciled, and the latter negates the subject and must be rejected Freedom, really denied good, so tragedy with a huge suffering to demonstrate the limitations of human existence. It shows the eternal question about the world order. In comedies, opposition and conflict are blending