經典翻譯有其一定的技術成規，如版本校勤、註詮釋、詞目及專有名詞索引等:我國翻譯西方文化經典之作有年，而少見有人就此加以討論。本文以亞理斯多德«詩學»一九八O年法譯本為例說明一部經典之作的翻譯及其這註的程序與技術成規。從«詩學»第六章對悲劇所下的意義為出發點，本文討論«詩學»古希臘文新校勘本之產生的原由、相應新譯本(英文、法文、中文本)、簧註、論辯、詞目及專名索引系統、相關書目等«詩學»傳譯的基本問題:1.模擬Representation取代Imi tation 2.動作 Action (本意為轉變、主動的變動)3.情緒 Passions含憤怒、平靜、恐懼、哀憐等等...... (複數)4.淨游 Catharsis '詩學只出現一次，卻為詩之目的性的核心。悲劇六要素中，思想與言詞與悲劇的目的關係最為密切，前者合情節、性格而為戲劇的要素，後者合聲音系統與體動系統而為劇場的要素，悲劇之編寫與演出皆可就言詞與思想之互為表里的理論層次予以檢討。最後就國內«詩學»中譯現況說明﹒一、我們需要系統譯經的基本的技術成規，二、我們期待«詩學»中譯的新文本，以及三、如何開拓«詩學»研究的新境界。

The translation of classical texts has its proper technical conventions ，such as the collating of different versions， interpretations and exegeses， and editing the index systems of terms and proper names. Inthis paper， the auther takes the text of a French translation (1980) by Roselyne Dupont-Roc and Jean Allotas an example to explain aspects in the process and technical conventions related to the translating and the giving of exegesis in classic works. The auther quotes a paragraph on the defInition of tragedy in his analysis， and explains why we need a new version of translation of the Poetics.In the exposition， he quotes several texts of that paragraph in English， French， and Chinese. Then he swnmarizes some points of exegesis， such as “spectacle."One can indeed differentiate important theorectical nuances with the help of index of terms and proper names such as REPRESENTATION， ACTION， EMOTIONS， AND PURIFICATION. Inconclusion， the author proposes that (1) we need the basic technical conventions in translating the classics; (2) we await a new version of the Poetics in Chinese; (3) we must ask how to expand the horizons for our study of Poetics?