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I should have given this book a different title, one closer to its theme and content. The book, after all, is intended to point out the peculiarities of the ancient literary image and then to pose the question of the aesthetic significance of the ancient concept, or, to be more precise, of those features that make it a literary form. But I have avoided pretentious titles, choosing instead to explain separately everything I wanted to put into the title. The most important thing I have to say is that this work is an experiment in historical aesthetics.
Out of the , at this moment At this moment of the appearance of the of their contradictory symbiosis, that is, in the cognition of the abstract through the sensual, at this moment the literary image was born as well; it would be more precise to say that ancient concepts appeared in the categories of literary images. But what does it mean that ancient concepts came into being as images with an abstract function? I have in mind the metaphor and its figurative meanings. Ancient concepts took shape in the form of metaphors—as figurative, abstract meanings of concrete meanings.
What the messenger speaks about is death. But the dead are also “shown” and “watched” as concrete spectacle: the eccyclema is wheeled in or the doors opened to show the dead body. Also useful is Freidenberg’s analysis of the distinction between melic, the choral songs in tragedy, and iambic, the solo parts in the episodes. Melic is archaic in thought, language, and syntax because it is built on pre-conceptual, pre-logical mythologicalimage thought. The songs of the chorus are “à propos”—thematically linked to the plot, but they do not move the action forward.