This PPT is prepared for classroom presentations of MA Semester 2, presented at the Department of English, MKBU. This presentation contains the discussion on a comparative study of Bharata's Natyashastra and Aristotle's Poetics.
Aristotle's Poetics c. 335 BCE is the earliest surviving work of dramatic theory and the first extant philosophical treatise to focus on literary theory
Here is my Presentation as a part of my Academic activities of Sem-1 M.A . Submitted to Pro.Dr Dilip Barad , Department of English MK Bhavnagar University.
Comparison of natyashastra and western poeticsHinaChauhan6
This document compares the theories of dramaturgy put forth by Aristotle in Western poetics and Bharata Muni in the ancient Indian text Natyashastra. Both were early proponents of drama in Greece and India respectively. Some key similarities and differences discussed include: Aristotle focused on tragedy, while Natyashastra is based on karma; Sanskrit plays have a Sutradhara character to begin, while Greek plays use a Chorus; both saw plot as important but Natyashastra viewed rasa as the soul of drama; and both classified characters but Natyashastra provided more detail on heroines and minor roles. The concepts of catharsis and rasa realization are also compared.
The chorus originated in ancient Greek festivals honoring Dionysus, where groups would compete in singing and dancing. These choral competitions eventually became part of Greek plays. The chorus remained an important part of Greek dramas as it provided commentary, exposition, and engaged with characters. Composed of trained singers and dancers, the chorus had its own scenes between acts and participated throughout the entire play through song, dance, and dialogue.
According to Aristotle, tragedy depicts the downfall of a good person through some mistake. This evokes pity and fear in the audience, which is the natural human response to suffering that could happen to anyone. For Aristotle, a true tragedy arouses and then purges emotions. The demise of the tragic hero must result from their own flawed action, not just bad luck, and a nobler hero will elicit more grief at their downfall. The hero must be good but also bear responsibility for their fate through some choice or decision.
Conrad’s Pessimistic Approach in the Heart of DarknessWater Birds (Ali)
Conrad's novel Heart of Darkness reveals his pessimistic view of humanity. Through the story, Conrad shows how colonialism in Congo led to violence, corruption, and a darkness in human nature. The novel highlights the cruelty and misfortunes that afflict human life, as seen in the treatment of native Congolese and the death of the helmsman. While Conrad acknowledges virtues in people, the novel emphasizes the evil and mysterious aspects of fate that trouble humanity.
This document provides biographical information about the Australian poet A.D. Hope. It states that he was born in 1907 in New South Wales, Australia where his father was a Presbyterian minister. Hope was educated in Tasmania and New South Wales before graduating with degrees from the University of Sydney and University College Oxford. He later worked as a lecturer at Sydney Teachers' College and the University of Melbourne before becoming a Professor of English at the Australian National University. The document outlines Hope's publications which included two poetry collections that received praise and literary awards. It notes he received high honors for his contributions to literature before passing away in 2000.
This document summarizes Aristotle's six elements of tragedy: plot, character, thought, diction, song, and spectacle. It explains that plot is the most important element and soul of tragedy, involving events arranged in a complex manner. It describes Aristotle's views on each element and how they contribute to an effective tragedy, such as realistic characters and appropriate language. The document concludes that Aristotle's theory provides a framework for analyzing fine art.
Aristotle's Poetics c. 335 BCE is the earliest surviving work of dramatic theory and the first extant philosophical treatise to focus on literary theory
Here is my Presentation as a part of my Academic activities of Sem-1 M.A . Submitted to Pro.Dr Dilip Barad , Department of English MK Bhavnagar University.
Comparison of natyashastra and western poeticsHinaChauhan6
This document compares the theories of dramaturgy put forth by Aristotle in Western poetics and Bharata Muni in the ancient Indian text Natyashastra. Both were early proponents of drama in Greece and India respectively. Some key similarities and differences discussed include: Aristotle focused on tragedy, while Natyashastra is based on karma; Sanskrit plays have a Sutradhara character to begin, while Greek plays use a Chorus; both saw plot as important but Natyashastra viewed rasa as the soul of drama; and both classified characters but Natyashastra provided more detail on heroines and minor roles. The concepts of catharsis and rasa realization are also compared.
The chorus originated in ancient Greek festivals honoring Dionysus, where groups would compete in singing and dancing. These choral competitions eventually became part of Greek plays. The chorus remained an important part of Greek dramas as it provided commentary, exposition, and engaged with characters. Composed of trained singers and dancers, the chorus had its own scenes between acts and participated throughout the entire play through song, dance, and dialogue.
According to Aristotle, tragedy depicts the downfall of a good person through some mistake. This evokes pity and fear in the audience, which is the natural human response to suffering that could happen to anyone. For Aristotle, a true tragedy arouses and then purges emotions. The demise of the tragic hero must result from their own flawed action, not just bad luck, and a nobler hero will elicit more grief at their downfall. The hero must be good but also bear responsibility for their fate through some choice or decision.
Conrad’s Pessimistic Approach in the Heart of DarknessWater Birds (Ali)
Conrad's novel Heart of Darkness reveals his pessimistic view of humanity. Through the story, Conrad shows how colonialism in Congo led to violence, corruption, and a darkness in human nature. The novel highlights the cruelty and misfortunes that afflict human life, as seen in the treatment of native Congolese and the death of the helmsman. While Conrad acknowledges virtues in people, the novel emphasizes the evil and mysterious aspects of fate that trouble humanity.
This document provides biographical information about the Australian poet A.D. Hope. It states that he was born in 1907 in New South Wales, Australia where his father was a Presbyterian minister. Hope was educated in Tasmania and New South Wales before graduating with degrees from the University of Sydney and University College Oxford. He later worked as a lecturer at Sydney Teachers' College and the University of Melbourne before becoming a Professor of English at the Australian National University. The document outlines Hope's publications which included two poetry collections that received praise and literary awards. It notes he received high honors for his contributions to literature before passing away in 2000.
This document summarizes Aristotle's six elements of tragedy: plot, character, thought, diction, song, and spectacle. It explains that plot is the most important element and soul of tragedy, involving events arranged in a complex manner. It describes Aristotle's views on each element and how they contribute to an effective tragedy, such as realistic characters and appropriate language. The document concludes that Aristotle's theory provides a framework for analyzing fine art.
This document is a student paper submitted to Dr. Dilip Barad of the Department of English at M.K University Bhavnagar for a literary theory and criticism course. The paper discusses Aristotle's view that plot is the soul of tragedy, and explores the definition and elements of plot, including its role as the cause and effect chain of events in a tragedy. It also examines the different types of plot structures and the three unities of time, place, and action in tragic plots.
Aristotle's Poetics (Greek: Περὶ ποιητικῆς, Latin: De Poetica;[1] c. 335 BCE[2]) is the earliest surviving work of dramatic theory and the first extant philosophical treatise to focus on literary theory.[3]
In it, Aristotle offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama—comedy, tragedy, and the satyr play—as well as lyric poetry and epic poetry).
Aristotle Poetics concepts of Tragedy and PlotAleeenaFarooq
Aristotle analyzed Greek tragedies and developed a theory about the ideal form of tragedy. He believed tragedy should involve a serious action that evokes pity and fear in the audience. The main character, or tragic hero, should be generally good but make a significant error that leads to their downfall. This allows the audience to feel pity for the character. Well-written tragedies also have unity of plot, a reversal of fortune for the main character, and use language and drama to purge the emotions of pity and fear in the audience. Aristotle's analysis set standards for plot, character, and language that influenced playwrights for centuries.
Tradition and the individual talent neoMohammad Raza
The document discusses T.S. Eliot's essay "Tradition and the Individual Talent". It provides an overview of the essay's publication history and analyzes its key ideas in three parts: [1] Eliot's concept of tradition, [2] his theory of the impersonality of poetry, and [3] a conclusion summing up the discussion. The document examines Eliot's views on acquiring and utilizing tradition through a historical sense and a dynamic conception of the relationship between past and present works. It also addresses criticisms of Eliot's theory and defends the value of tradition for poets.
The poem The Waste Land by T.S. Eliot documents the spiritual and intellectual decline of post-WWI Europe. It uses fragmentation in form and allusions to depict a fragmented society. The poem references works like Dante's Divine Comedy and myths to critique modern life's lack of meaning and connection to tradition. Though initially met with hostility for its unconventional style, it came to influence other modernist works and be seen as a reflection of its lost era.
The concept of Ideal hero and Hamartia.AleeenaFarooq
According to Aristotle, the ideal tragic hero is neither perfectly virtuous nor entirely wicked. He is generally a good person of high status who makes an error in judgment or has a character flaw that ultimately leads to his downfall. This downfall causes both pity and fear in the audience. The hero's demise is a result of human frailty rather than deliberate vice. Examples given are Oedipus, whose downfall stems from multiple errors including ignorance, passion, and character defects, and Othello, whose jealousy arises from an avoidable error of judgment. Aristotle argues this type of hero and plot best provokes the intended emotional response from viewers.
This document provides biographical information about John Donne and summarizes his treatment of love in poetry. It discusses three main strands: 1) A cynical, anti-woman attitude 2) Poems about happy married life and mutual love 3) Regarding the supremacy of love from a philosophical perspective. Examples are provided for each strand, such as "Go and Catch a Falling Star" showing contempt for women, "The Anniversary" praising conjugal love, and "The Good Morrow" elevating spiritual love above physical.
The document provides an overview of the ancient Sanskrit play Mrichchakatika (The Little Clay Cart) in three parts. It discusses the plot, characters, setting, and themes of the play. The play has a complex plot involving the love between Charudutta, an impoverished Brahmin, and Vasantsena, a courtesan. It is set in 5th century Ujjayini and follows their relationship against the backdrop of political intrigue between King Palaka and the rebel Aryaka over 10 acts.
Termed the “Satanist controversy,” one of the great questions of the text is whether Satan is in fact a hero, like those found in the great Greek epics (Achilles, Odysseus, etc.) or a villain. I personally presented this paper and fielded questions at the Sigma Tau Delta National Research Conference.
This document compares and contrasts the key differences between tragedies and epics. It notes that tragedies aim to elicit emotions of pity and fear through serious and complete actions of a certain magnitude, using embellished language. Epics are long narrative poems that represent characters of heroic stature in adventures of great historical, legendary, or religious significance. Some key differences are that epics have a longer length, a more episodic plot covering many stories, use the heroic meter of hexameter, and deal with the fortunes of people rather than an individual. Tragedies adhere more to the classical unities of time, place and action.
Definition Of Tragedy And Play By Aristotle And DrydenPritiba Gohil
This document summarizes Aristotle and John Dryden's definitions of tragedy and play. It provides Aristotle's definition of tragedy as the imitation of an action that is serious, complete, and uses language to arouse pity and fear, culminating in a catharsis. It then discusses Dryden's definition of play as a just and lively representation of human nature and the changes in people's fortunes that delights and instructs mankind. The document also provides biographical context on Aristotle and Dryden and compares French and English drama in relation to the unities of time, place and action.
Aristotle's Poetics provides the first systematic analysis of drama and poetry. In it, Aristotle defines tragedy, explores its effects, and analyzes its key elements like plot, character, thought, diction, song, and spectacle. He compares tragedy to epic poetry, addresses their differences, and argues that tragedy is a superior form. The Poetics outlines Aristotle's view of mimesis in art and establishes foundational concepts for literary criticism.
Longinus was a Greek rhetorician and philosopher in the 3rd century AD known for his literary criticism. He taught rhetoric in Athens and later advised Queen Zenobia of Palmyra before being executed as a traitor by the Romans. Longinus made important contributions as one of the first comparative critics, focusing on individual elements of texts and defining what makes a work a literary classic. His work "On the Sublime" analyzed what creates grandeur in literature and argued that great works not only please or instruct but also move and elevate readers. Longinus believed that a work becomes excellent when it has the power to sublime the reader through qualities like strength, vehemence or inspiration.
Aristotle's Poetics discusses the principles of tragedy and epic poetry. It defines tragedy as the imitation of an action that is serious, complete, and of a certain magnitude, which through pity and fear brings about the catharsis or purification of such emotions. Aristotle analyzes the key elements of tragedy including plot, character, thought, diction, song and spectacle. He describes the ideal tragic hero and provides guidance on plot construction and the proper use of dramatic techniques like peripety and anagnorisis in tragedy.
This document discusses the concept of imitation in literature according to Plato and Aristotle. Plato viewed imitation as being twice removed from reality and saw poetry as a dangerous rival to morality. In contrast, Aristotle gave imitation new significance and saw poetry as one of the fine arts that involves creative vision rather than mere copying. The document also notes that while all art involves imitation, the medium of imitation differs between forms like poetry and painting. It concludes by stating that poetic imitation focuses on portraying people in action that may be better or worse than real life.
Plato was a Greek philosopher who lived from 427 BC to 348 BC. He was a student of Socrates and wrote philosophical dialogues. In his works, Plato was highly critical of poetry and art. He believed that art was merely an imitation of reality and therefore further removed from truth. Plato also criticized poetry for appealing to emotion over reason and for its lack of moral instruction. He felt that poetry could corrupt individuals and society. While Plato condemned most poetry, he acknowledged that forms focused on virtue and morality could be of benefit. Plato's criticisms provided some of the earliest philosophical analysis of poetry and helped establish standards for evaluating artistic works.
Function of Criticism by T.S Eliot, Why Criticism in Literature?, Four Parts of the essay “Function of Criticism”, Tradition and the Individual Talent, I Part: Eliot’s views on critic and critical work of art, II Part: John Middleton Murry’s Essay and Eliot’s Contradiction, III Part: Eliot’s criticism of Murry and function of criticism, IV Part: Relation of Criticism with creative work of art
Vladimir and Estragon have a close relationship in Waiting for Godot, with Vladimir representing the intellectual, stable "soul" and Estragon representing the forgetful, dependent "body". Vladimir protects and cares for the weaker Estragon. Though different in personality, they need each other to pass the time as they wait endlessly for Mr. Godot to arrive. Their relationship explores the interconnection between body and mind.
This document provides context and summaries for Christopher Marlowe's play "Doctor Faustus". It includes a list of characters, a synopsis of the play's plot in 4 acts, and introduces teaching strategies and activities for reading and analyzing the play. The synopsis outlines Faustus' bargain with the devil in exchange for power and knowledge, his doubts and interactions with angels, his conjuring feats, and his eventual downfall when his 24 years come to an end.
Matthew Arnold was a 19th century English poet and critic. In his famous work "The Study of Poetry", Arnold argues that poetry has a higher purpose to interpret life, provide consolation, and sustain humanity as science and philosophy prove unstable. He believes poetry will increasingly be turned to for its spiritual and intellectual benefits. Arnold advocates for a high standard and strict judgment of poetry, assessing it based on the seriousness of its subject matter and excellence of style. He promotes looking to classical poets like Homer and Milton as the best models of poetry's "grand style".
This document discusses Aristotle's six elements of tragedy according to his work Poetics. It provides details on each element: plot, which Aristotle called the "soul of tragedy"; characters, which must be lifelike and true to human nature; song, which was an important part of Greek drama; diction, or choice of words and metaphors; thought, shown through what characters say; and spectacle, the overall visual appearance and effects on stage. The document provides examples for each element and notes they contribute to the overall tragedy based on Aristotle's theories.
Natyasastra: Dramatic Mode in light of the Western Concept of DramaAuswyn Winter
This document provides an overview of the conceptual differences between Western/Aristotelian drama and Indian drama as described in Bharata's Natyasastra.
[1] Western drama focuses on action and human psychology, following Aristotle's emphasis on plot, character development, and realistic portrayal of life. In contrast, Natyasastra drama prioritizes dance, music, emotion, and depicting various modes of being without strict time/place boundaries.
[2] Aristotelian drama imitates human actions and behavior, while Natyasastra drama imitates the power behind forms in a dynamic representation of the three worlds. It emphasizes emotional states over plot unfolding.
[3]
This document is a student paper submitted to Dr. Dilip Barad of the Department of English at M.K University Bhavnagar for a literary theory and criticism course. The paper discusses Aristotle's view that plot is the soul of tragedy, and explores the definition and elements of plot, including its role as the cause and effect chain of events in a tragedy. It also examines the different types of plot structures and the three unities of time, place, and action in tragic plots.
Aristotle's Poetics (Greek: Περὶ ποιητικῆς, Latin: De Poetica;[1] c. 335 BCE[2]) is the earliest surviving work of dramatic theory and the first extant philosophical treatise to focus on literary theory.[3]
In it, Aristotle offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama—comedy, tragedy, and the satyr play—as well as lyric poetry and epic poetry).
Aristotle Poetics concepts of Tragedy and PlotAleeenaFarooq
Aristotle analyzed Greek tragedies and developed a theory about the ideal form of tragedy. He believed tragedy should involve a serious action that evokes pity and fear in the audience. The main character, or tragic hero, should be generally good but make a significant error that leads to their downfall. This allows the audience to feel pity for the character. Well-written tragedies also have unity of plot, a reversal of fortune for the main character, and use language and drama to purge the emotions of pity and fear in the audience. Aristotle's analysis set standards for plot, character, and language that influenced playwrights for centuries.
Tradition and the individual talent neoMohammad Raza
The document discusses T.S. Eliot's essay "Tradition and the Individual Talent". It provides an overview of the essay's publication history and analyzes its key ideas in three parts: [1] Eliot's concept of tradition, [2] his theory of the impersonality of poetry, and [3] a conclusion summing up the discussion. The document examines Eliot's views on acquiring and utilizing tradition through a historical sense and a dynamic conception of the relationship between past and present works. It also addresses criticisms of Eliot's theory and defends the value of tradition for poets.
The poem The Waste Land by T.S. Eliot documents the spiritual and intellectual decline of post-WWI Europe. It uses fragmentation in form and allusions to depict a fragmented society. The poem references works like Dante's Divine Comedy and myths to critique modern life's lack of meaning and connection to tradition. Though initially met with hostility for its unconventional style, it came to influence other modernist works and be seen as a reflection of its lost era.
The concept of Ideal hero and Hamartia.AleeenaFarooq
According to Aristotle, the ideal tragic hero is neither perfectly virtuous nor entirely wicked. He is generally a good person of high status who makes an error in judgment or has a character flaw that ultimately leads to his downfall. This downfall causes both pity and fear in the audience. The hero's demise is a result of human frailty rather than deliberate vice. Examples given are Oedipus, whose downfall stems from multiple errors including ignorance, passion, and character defects, and Othello, whose jealousy arises from an avoidable error of judgment. Aristotle argues this type of hero and plot best provokes the intended emotional response from viewers.
This document provides biographical information about John Donne and summarizes his treatment of love in poetry. It discusses three main strands: 1) A cynical, anti-woman attitude 2) Poems about happy married life and mutual love 3) Regarding the supremacy of love from a philosophical perspective. Examples are provided for each strand, such as "Go and Catch a Falling Star" showing contempt for women, "The Anniversary" praising conjugal love, and "The Good Morrow" elevating spiritual love above physical.
The document provides an overview of the ancient Sanskrit play Mrichchakatika (The Little Clay Cart) in three parts. It discusses the plot, characters, setting, and themes of the play. The play has a complex plot involving the love between Charudutta, an impoverished Brahmin, and Vasantsena, a courtesan. It is set in 5th century Ujjayini and follows their relationship against the backdrop of political intrigue between King Palaka and the rebel Aryaka over 10 acts.
Termed the “Satanist controversy,” one of the great questions of the text is whether Satan is in fact a hero, like those found in the great Greek epics (Achilles, Odysseus, etc.) or a villain. I personally presented this paper and fielded questions at the Sigma Tau Delta National Research Conference.
This document compares and contrasts the key differences between tragedies and epics. It notes that tragedies aim to elicit emotions of pity and fear through serious and complete actions of a certain magnitude, using embellished language. Epics are long narrative poems that represent characters of heroic stature in adventures of great historical, legendary, or religious significance. Some key differences are that epics have a longer length, a more episodic plot covering many stories, use the heroic meter of hexameter, and deal with the fortunes of people rather than an individual. Tragedies adhere more to the classical unities of time, place and action.
Definition Of Tragedy And Play By Aristotle And DrydenPritiba Gohil
This document summarizes Aristotle and John Dryden's definitions of tragedy and play. It provides Aristotle's definition of tragedy as the imitation of an action that is serious, complete, and uses language to arouse pity and fear, culminating in a catharsis. It then discusses Dryden's definition of play as a just and lively representation of human nature and the changes in people's fortunes that delights and instructs mankind. The document also provides biographical context on Aristotle and Dryden and compares French and English drama in relation to the unities of time, place and action.
Aristotle's Poetics provides the first systematic analysis of drama and poetry. In it, Aristotle defines tragedy, explores its effects, and analyzes its key elements like plot, character, thought, diction, song, and spectacle. He compares tragedy to epic poetry, addresses their differences, and argues that tragedy is a superior form. The Poetics outlines Aristotle's view of mimesis in art and establishes foundational concepts for literary criticism.
Longinus was a Greek rhetorician and philosopher in the 3rd century AD known for his literary criticism. He taught rhetoric in Athens and later advised Queen Zenobia of Palmyra before being executed as a traitor by the Romans. Longinus made important contributions as one of the first comparative critics, focusing on individual elements of texts and defining what makes a work a literary classic. His work "On the Sublime" analyzed what creates grandeur in literature and argued that great works not only please or instruct but also move and elevate readers. Longinus believed that a work becomes excellent when it has the power to sublime the reader through qualities like strength, vehemence or inspiration.
Aristotle's Poetics discusses the principles of tragedy and epic poetry. It defines tragedy as the imitation of an action that is serious, complete, and of a certain magnitude, which through pity and fear brings about the catharsis or purification of such emotions. Aristotle analyzes the key elements of tragedy including plot, character, thought, diction, song and spectacle. He describes the ideal tragic hero and provides guidance on plot construction and the proper use of dramatic techniques like peripety and anagnorisis in tragedy.
This document discusses the concept of imitation in literature according to Plato and Aristotle. Plato viewed imitation as being twice removed from reality and saw poetry as a dangerous rival to morality. In contrast, Aristotle gave imitation new significance and saw poetry as one of the fine arts that involves creative vision rather than mere copying. The document also notes that while all art involves imitation, the medium of imitation differs between forms like poetry and painting. It concludes by stating that poetic imitation focuses on portraying people in action that may be better or worse than real life.
Plato was a Greek philosopher who lived from 427 BC to 348 BC. He was a student of Socrates and wrote philosophical dialogues. In his works, Plato was highly critical of poetry and art. He believed that art was merely an imitation of reality and therefore further removed from truth. Plato also criticized poetry for appealing to emotion over reason and for its lack of moral instruction. He felt that poetry could corrupt individuals and society. While Plato condemned most poetry, he acknowledged that forms focused on virtue and morality could be of benefit. Plato's criticisms provided some of the earliest philosophical analysis of poetry and helped establish standards for evaluating artistic works.
Function of Criticism by T.S Eliot, Why Criticism in Literature?, Four Parts of the essay “Function of Criticism”, Tradition and the Individual Talent, I Part: Eliot’s views on critic and critical work of art, II Part: John Middleton Murry’s Essay and Eliot’s Contradiction, III Part: Eliot’s criticism of Murry and function of criticism, IV Part: Relation of Criticism with creative work of art
Vladimir and Estragon have a close relationship in Waiting for Godot, with Vladimir representing the intellectual, stable "soul" and Estragon representing the forgetful, dependent "body". Vladimir protects and cares for the weaker Estragon. Though different in personality, they need each other to pass the time as they wait endlessly for Mr. Godot to arrive. Their relationship explores the interconnection between body and mind.
This document provides context and summaries for Christopher Marlowe's play "Doctor Faustus". It includes a list of characters, a synopsis of the play's plot in 4 acts, and introduces teaching strategies and activities for reading and analyzing the play. The synopsis outlines Faustus' bargain with the devil in exchange for power and knowledge, his doubts and interactions with angels, his conjuring feats, and his eventual downfall when his 24 years come to an end.
Matthew Arnold was a 19th century English poet and critic. In his famous work "The Study of Poetry", Arnold argues that poetry has a higher purpose to interpret life, provide consolation, and sustain humanity as science and philosophy prove unstable. He believes poetry will increasingly be turned to for its spiritual and intellectual benefits. Arnold advocates for a high standard and strict judgment of poetry, assessing it based on the seriousness of its subject matter and excellence of style. He promotes looking to classical poets like Homer and Milton as the best models of poetry's "grand style".
This document discusses Aristotle's six elements of tragedy according to his work Poetics. It provides details on each element: plot, which Aristotle called the "soul of tragedy"; characters, which must be lifelike and true to human nature; song, which was an important part of Greek drama; diction, or choice of words and metaphors; thought, shown through what characters say; and spectacle, the overall visual appearance and effects on stage. The document provides examples for each element and notes they contribute to the overall tragedy based on Aristotle's theories.
Natyasastra: Dramatic Mode in light of the Western Concept of DramaAuswyn Winter
This document provides an overview of the conceptual differences between Western/Aristotelian drama and Indian drama as described in Bharata's Natyasastra.
[1] Western drama focuses on action and human psychology, following Aristotle's emphasis on plot, character development, and realistic portrayal of life. In contrast, Natyasastra drama prioritizes dance, music, emotion, and depicting various modes of being without strict time/place boundaries.
[2] Aristotelian drama imitates human actions and behavior, while Natyasastra drama imitates the power behind forms in a dynamic representation of the three worlds. It emphasizes emotional states over plot unfolding.
[3]
This document discusses ancient literary critics Plato and Aristotle. It summarizes Plato's view that literature is merely an imitation of reality and lacks truth, leading him to banish poets from his Republic. It then discusses Aristotle's Poetics, noting he emphasized literary form over subject matter. Aristotle defined tragedy as imitating noble actions, featuring a tragic hero with a flaw. He saw tragedy and comedy as different types of imitation that provide catharsis. Both critics had significant influence on the development of literary theory.
According to Aristotle, tragedy has six key elements: plot, character, thought, diction, song, and spectacle. Plot is the most important element, involving a change of fortune or reversal of intention and recognition. Character comes secondary to plot and the hero is most important. Thought involves proving or disproving points. Diction is the language and expression of characters' thoughts and feelings. Song refers to lyrical elements like choruses that distinguish tragedy from epics. Spectacle involves scenic effects but should not be the focus. Catharsis remains ambiguous but seems to mean purification or clarification of emotions like pity and fear.
The document provides an overview of Aristotle's Poetics, one of the earliest surviving works of dramatic theory from 330 BCE. It defines poetry as imitation and describes Aristotle's analysis of different genres of poetry including tragedy, comedy, and epic. Aristotle analyzed various elements of poetry including plot, character, thought, diction, music, and spectacle. He described the purposes of poetry and its cathartic effects. The Poetics also addressed the ideal structures for different types of poems and genres.
Literary theory and schools of criticismJohn Hosea
Literary theory provides different lenses or perspectives for analyzing and discussing literature and culture. Some of the major schools of literary theory mentioned in the document include formalism, psychoanalytic criticism, Marxist criticism, reader-response criticism, structuralism, post-structuralism, new historicism, post-colonial criticism, feminist criticism, and critical race theory. The document provides a brief overview of some of the key thinkers and concepts within these different schools of literary theory.
AN ECLECTIC OVERVIEW OF LITERATURE AS AN ACT OF LANGUAGE AND THE LANGUAGE OF ARTDustin Pytko
This document provides an overview of different perspectives on the relationship between literature and language, including Plato's idealism, Aristotle's realism, and post-structuralist thought. It discusses how Plato viewed literature as an imitation of ideal forms and criticized representations that lacked accurate likenesses. It also explains how Aristotle viewed language as matter that is given actuality and distinction through its form. The document uses axiomatic semantics to diagram how different art forms relate to their defining features, with literature defined by its use of language alone.
This document is a paper on the topic of Auchitya, which refers to propriety or appropriateness in poetry. It discusses Kshemendra, the 11th century Sanskrit poet who was a major proponent of the Auchitya school of Indian poetics. It defines Auchitya and explains its relationship to rasa. It also outlines Kshemendra's 28 classifications of Auchitya and provides examples of poetic works that demonstrate Auchitya, such as the Bhagavad Gita. Finally, it compares Auchitya to modern aesthetic perspectives.
Three difference suggested by Aristotle in 'poetics'hitaxidave19
Aristotle suggests there are three differences between art forms according to his work Poetics.
1) Means - the medium used such as language in literature or instruments in music.
2) Objects - the characters depicted which can be better or worse than real people.
3) Manner of imitation - how the story is communicated such as simple narration, narration through a character, or dramatic representation of events. Aristotle emphasizes tragedy should provoke pity and fear in the audience.
This document provides an overview of literary theory and criticism from classical times to modern eras. It begins with definitions of literary theory and criticism, noting that theory provides conceptual frameworks for studying literature while criticism is the practical application and evaluation of works. Major figures from classical antiquity discussed include Plato, Aristotle, Longinus, and Horace, along with their contributions to early understandings of genres, imitation, and literature's functions. The document then outlines developments from the Renaissance through the Victorian era, highlighting influential critics such as Sidney, Jonson, and Dryden. It concludes by listing various modern critical theories and theorists that reflect the expansion of literary study in the 20th century.
Aristotle's Poetics is considered the earliest surviving work of dramatic theory. In it, Aristotle analyzes the components of drama and epic poetry, including plot, character, thought, diction, and other elements. He discusses the purposes of tragedy and comedy and defines important concepts like catharsis and reversal. While influential, Aristotle's analysis in Poetics has also received some criticism for being too categorical and scientific in its approach to the arts.
This document discusses Aristotle's six parts of tragedy according to his work Poetics. The six parts are plot, character, thought, diction, song or melody, and spectacles. Plot is considered the most important part as it is the soul of tragedy and refers to the harmonious arrangement of all incidents. Character focuses on the hero in tragedies. Thought proves particular points and teaches truth. Diction is the expression of meaning in words. Song or melody refers to the role of the chorus. Spectacles involve stage performance but should not create a sense of the monstrous.
The document discusses Aristotle's definition of tragedy. It notes that Aristotle was a philosopher who analyzed tragic dramas and his definition of tragedy as "the imitation of an action that is serious and also, as having magnitude, complete in itself; in appropriate and pleasurable language; in a dramatic rather than narrative form; with incidents arousing pity and fear, wherewith to accomplish a catharsis of these emotions" became a guideline for later playwrights. The definition is then broken down and explained further.
This document provides an analysis of the tragedy form based on Aristotle's theory of tragedy. It discusses Aristotle's definition of tragedy as an imitation of an action that is serious, complete, and of sufficient magnitude, which elicits feelings of pity and fear and results in a catharsis. It outlines the six elements of tragedy according to Aristotle as plot, character, thought, diction, song, and spectacle. It also discusses the three unities of tragedy and provides examples of different types of tragedies and elements of Shakespearean tragedy.
ppt HORACE’S THEORY OF LITERATURE in English.pptxLuliDwiNirmala
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Aristotle was a Greek philosopher who studied under Plato for 20 years and taught Alexander the Great. He wrote about many subjects including physics, politics, and aesthetics, and was one of the first writers of literary criticism. In his work Poetics, he analyzed tragedy, comedy, and epic poetry. Aristotle believed poetry tries to express universal truths about human nature, and that it originated from human instincts like imitation and finding pleasure in rhythm and harmony. He argued the function of poetry is to provide pleasure, and that the emotional appeal of poetry through catharsis is not harmful but rather health-giving and artistically satisfying, contradicting Plato's view that poetry stirs dangerous emotions.
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2. Prepared by Trushali Dodiya
Roll no:- 19
Enrollment no:- 4069206420220011
Sem:- 2(M. A.) Batch:- 2022-24
Paper no. :-109 Paper Code:- 22402
Paper name:- Literary Theory & Criticism and Indian
Aesthetics
Submitted to:- Smt. S. B. Gardi Department of English,
MKBU
Dated on:- 14/03/2023
Email:- trushalidodiya84@gmail.com
3. ❖ Introduction
❖ ‘Natyashastra’ by Bharata Muni and ‘The
Poetics’ by Aristotle
❖ Comparative Study
❖ Rasa Theory and Catharsis
❖ Response generated by ChatGPT
❖ Conclusion
Table of
Content
4. ● Indian Literary criticism has always been rich in
its tradition- Natyashastra as one of the
examples
● “Natya” means play or drama- Theatrical Art
● Bharata Muni- The Father of Indian Performative
art- in ‘Natyashastra’ explores the fields related
to the performing art in ‘Natyashastra’(Bharata)
● Aristotle, a Greek Philosopher also tries to
explore his ideas related to play in his work ‘The
Poetics’ around 335 BC.(Aristotle)
Introduction
5. ● Principal work of
Performance art theory,
encompassing dance and
music
● 37 Adhyayas(Bharata)
● Classical Indian concept of
the drama, including dance,
music, poetics, and general
aesthetics
● Origin of Poetics, Definition
of Drama, Prosody, Rasas,
Bhavas
Natyashastra
● Work of Greek
dramatic theory
● The series of notes
that Aristotle would
have used when he
lectured
● Forms of Poetry -
Comedy, Tragedy
and Epic
The Poetics
6. ● First treatise in Sanskrit
literature (World Literature) on
Drama(Natya)
● Origin of the Dramatic
techniques Deals with the overall
form of Drama- Performative Art
● Anukarana- Imitation
● Harmony
● Rasas(Bharata)
Comparative Study
● First treatise in Greek
literature on Poetics
● Poetics
● Mimesis- Imitation
● Katharsis- Purgation
● Harmony
Natyashastra Poetics
“The most striking similarity in Poetics and Natyashastra is,
when both the authors try to derive the effect of drama on the
audience.”(Sharma)
7. ● In chapter 6 of Natyashastra, Bharata talks
about Rasa theory
● Reader’s total emotional response to the
text-Dominant emotion of the work
● “A work of art is artistic only when it evokes
the experience of Rasa.”(Lal)
● 8 main Rasas
शृङ्गाराद्धि भवेिास्यो रौद्राच्च करुणो रसः ।
वीराच्चैवाद् भुतोत्पत्तिर्बीभत्साच्च भयानकः ॥ ३९॥(Bharata.
Chapter 6)
त्तवभावानुभावव्यत्तभचाररसंयोगाद्ररस त्तनष्पत्ति:।(Bharata. Chapter 6)
● Exposition of same emotion between the Reader
and the Character
● Imitation of the emotion
Rasa Theory and Catharsis
8. ● Aristotle talks about comic and tragic
emotions
● Comedy an imitation of characters of a lower
type…… the comic mask is ugly and distorted,
but does not imply pain.(Aristotle)
● Katharsis- purification or purgation of the
emotions (such as pity and fear) primarily
through art
● "Tragedy is an imitation of an action that is
serious, complete, and of a certain
magnitude……through pity and fear
affecting the proper purgation of these
emotions”.(Aristotle)
Continue..
9. Bharata's Natyashastra and Aristotle's Poetics are two seminal works in the
field of dramatic theory and criticism. Both works were written over two
thousand years ago and are still studied and debated by scholars today.
While the Natyashastra was written in ancient India and Poetics in ancient
Greece, they both offer insights into the nature of drama, the role of the
artist, and the relationship between art and society.
Here are some of the key similarities and differences between the two works:
Similarities:
1. Both works define the purpose of drama as being to imitate human
action.
2. Both works discuss the importance of plot, character, and language in
drama.
3. Both works emphasize the role of the artist in creating and shaping the
drama.
4. Both works touch on the relationship between drama and society.
Response Generated by ChatGPT
10. Differences:
1. The Natyashastra is focused primarily on dance and drama, while Poetics
deals specifically with tragedy.
2. The Natyashastra places a greater emphasis on the spiritual and religious
aspects of drama, while Poetics is more concerned with the aesthetics of
tragedy.
3. The Natyashastra has a more elaborate system for categorizing
characters and emotions, while Poetics focuses more on the cathartic
effect of tragedy.
4. The Natyashastra has a more detailed discussion of the technical aspects
of performance, while Poetics is more focused on the literary and
philosophical aspects of drama.
Despite these differences, both works share a common goal of understanding
and appreciating the power of drama as an art form. They offer insights into
the human condition and the ways in which art can help us to understand
ourselves and our place in the world. As such, they continue to be studied and
debated by scholars and artists alike, and remain important works in the field
of dramatic theory and criticism. (https://chat.openai.com , Prompt: Can you elaborate “A
Comparative Study of Bharata's Natyashastra Aristotle’s Poetics”)
11. ● Lots of similarities as well as differences
● Bharata’s Natyashastra remains rich in overall
performative art, whereas Aristotle gives keen
observation to Imitation and Tragedy
● Main goal - Understanding and appreciation of
performative art
Conclusion
12. Work Cited
Aristotle. Poetics. Translated by S. H. Butcher, ReadHowYouWant.com, Limited, 2006.
Bharata. “Natyashastra.” Sanskrit Documents,
https://sanskritdocuments.org/sanskrit/natyashastra/. Accessed 13 March 2023.
Bharata. “Natyashastra Chapter 6.” Sanskrit Documents,
https://sanskritdocuments.org/doc_z_misc_major_works/natya06.html. Accessed 14
March 2023.
Lal, Vinay, and Edward C. Dimock. “Indian Poetics and Western Literary Criticism.” Indian
Literature, vol. 35, no. 1 (147), 1992, pp. 101–07. JSTOR,
http://www.jstor.org/stable/44292333. Accessed 13 Mar. 2023.
Sharma, Sapna. “Feelings 'N Fiction: An Analysis Of Aristotle's Poetics And Bharat Muni's
Natyasastra With Special Focus On Impact On Audi.” International Journal Of
Research Culture Society (IJRCS), 31 May 2020, https://ijrcs.org/wp-
content/uploads/IJRCS202005025.pdf. Accessed 14 March 2023.