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.
Sidney's "Apology for Poetry" argues that poetry is a divine and socially useful art form. It summarizes Sidney's main points that poetry: (1) is the first form of education and instruction for humanity; (2) acts as a channel for divine inspiration; and (3) can teach virtue while delighting readers more effectively than history or philosophy. The work refutes claims that poetry is a lie, unprofitable, or leads to sin by asserting poetry's noble aim to inspire readers rather than corrupt them.
This document summarizes T.S. Eliot's essay "Tradition and the Individual Talent". The essay is divided into three parts: Eliot's concept of tradition, his theory of the impersonality of poetry, and a conclusion. Eliot argues that a poet must be steeped in tradition through painstaking study in order to create new works of art. A poet surrenders their personality and emotions to tradition, acting as a medium for their fusion. Their work is then judged based on how it compares and contributes to the ongoing tradition, rather than as an expression of personal feelings or experiences.
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
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.
I.A. Richards was an influential 20th century British literary critic who helped pioneer New Criticism. He emphasized close textual analysis and believed criticism should be empirical and focus solely on what is in the text rather than external factors. Richards developed techniques for analyzing how words, metaphors, rhythm and context contribute to a work's meaning and emotional effects. He also explored literature's psychological impacts and believed it could provide readers with emotional balance and organization. Richards' works and experiments analyzing anonymous poems without context helped establish Practical Criticism as a new approach to literary study.
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.
This document provides a summary of Samuel Taylor Coleridge's 1817 work Biographia Literaria. It discusses that the work is a critical text divided into 24 chapters where Coleridge presents his views on the nature and functions of poetry. Specifically, it examines Coleridge's definition of a poem as an "organic whole" and his distinction between imagination and fancy. It also analyzes Coleridge's concept of primary imagination as the living power that mimics divine creation and shapes perception, as well as his description of the imagination's "esemplastic" ability to shape disparate ideas into one coherent whole.
On the Sublime (Greek: Περì Ὕψους Perì Hýpsous; Latin: De sublimitate) is a Roman-era Greek work of literary criticism dated to the 1st century AD. Its author is unknown, but is conventionally referred to as Longinus (/lɒnˈdʒaɪnəs/; Ancient Greek: Λογγῖνος Longĩnos) or Pseudo-Longinus. It is regarded as a classic work on aesthetics and the effects of good writing. The treatise highlights examples of good and bad writing from the previous millennium, focusing particularly on what may lead to the sublime.
Sidney's "Apology for Poetry" argues that poetry is a divine and socially useful art form. It summarizes Sidney's main points that poetry: (1) is the first form of education and instruction for humanity; (2) acts as a channel for divine inspiration; and (3) can teach virtue while delighting readers more effectively than history or philosophy. The work refutes claims that poetry is a lie, unprofitable, or leads to sin by asserting poetry's noble aim to inspire readers rather than corrupt them.
This document summarizes T.S. Eliot's essay "Tradition and the Individual Talent". The essay is divided into three parts: Eliot's concept of tradition, his theory of the impersonality of poetry, and a conclusion. Eliot argues that a poet must be steeped in tradition through painstaking study in order to create new works of art. A poet surrenders their personality and emotions to tradition, acting as a medium for their fusion. Their work is then judged based on how it compares and contributes to the ongoing tradition, rather than as an expression of personal feelings or experiences.
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
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.
I.A. Richards was an influential 20th century British literary critic who helped pioneer New Criticism. He emphasized close textual analysis and believed criticism should be empirical and focus solely on what is in the text rather than external factors. Richards developed techniques for analyzing how words, metaphors, rhythm and context contribute to a work's meaning and emotional effects. He also explored literature's psychological impacts and believed it could provide readers with emotional balance and organization. Richards' works and experiments analyzing anonymous poems without context helped establish Practical Criticism as a new approach to literary study.
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.
This document provides a summary of Samuel Taylor Coleridge's 1817 work Biographia Literaria. It discusses that the work is a critical text divided into 24 chapters where Coleridge presents his views on the nature and functions of poetry. Specifically, it examines Coleridge's definition of a poem as an "organic whole" and his distinction between imagination and fancy. It also analyzes Coleridge's concept of primary imagination as the living power that mimics divine creation and shapes perception, as well as his description of the imagination's "esemplastic" ability to shape disparate ideas into one coherent whole.
On the Sublime (Greek: Περì Ὕψους Perì Hýpsous; Latin: De sublimitate) is a Roman-era Greek work of literary criticism dated to the 1st century AD. Its author is unknown, but is conventionally referred to as Longinus (/lɒnˈdʒaɪnəs/; Ancient Greek: Λογγῖνος Longĩnos) or Pseudo-Longinus. It is regarded as a classic work on aesthetics and the effects of good writing. The treatise highlights examples of good and bad writing from the previous millennium, focusing particularly on what may lead to the sublime.
Aristotle's Poetics is considered the earliest surviving work of dramatic theory and first systematic treatise on literary criticism. In it, Aristotle defines poetry as a means of mimesis or imitation through language, rhythm, and harmony. He discusses different types of poetry like tragedy, comedy, and epic poetry. For tragedy specifically, Aristotle says the objects imitated are serious actions, the manner is dramatic rather than narrative, and the medium is verse spoken in dialogue. He provides key terms used in tragedy like hamartia, anagnorisis, peripeteia, and katharsis. Aristotle also outlines critical elements of plot and structure for a successful tragedy, including unity of action, completeness, magnitude, and eliciting
Introduction of Writer, his works, essay tradition and individual talent, theory of poetry( impersonality of poetry, historical sense, poetic emotion, comparison of Wordsworth and T.S eliot theory of poetry, objective correlative, dissociation of Sensibility, unification of sensibility, meta-physical poetry, conceit , use of Conceit in John Donne’s poetry.
According to Aristotle, there are six essential parts that make up a tragedy: the plot, which is considered the soul of tragedy; characters, with the hero being most important; thought, which proves particular points and teaches truth; diction, or writing skill; song or melody, with the chorus integrated into the play; and spectacle, related to stage performance but should not create a sense of the monstrous.
An Essay of Dramatic Poesy -John drydenMilindBedse
The document summarizes John Dryden's essay "An Essay of Dramatic Poesy". The essay is structured as a dialogue between four friends - Eugenius, Crites, Lisideius, and Neander - discussing theories of drama. Crites argues that Greek/Roman literature should be the model and praised the ancients' adherence to the three unities. Eugenius agrees with imitating the ancients but thinks English dramatists have improved on them. Lisideius claims French dramatists are now better than the English due to their simpler plots. However, Neander disagrees, defending English dramatists' use of subplots and mixing of comedy and tragedy.
This document contains information about Parmar Krupa Jivabhai, a student submitting a paper to the Department of English in Bhavnagar. It then provides details about Aristotle, the Greek philosopher and scientist. It notes that Aristotle was born in 384 BCE in Stagirus and lost his father at a young age. At age 18, Aristotle joined Plato's Academy and studied there until age 37. The document goes on to discuss Aristotle's analysis of tragedy and its six elements - plot, character, thought, diction, melody, and spectacle. It provides examples and explanations of each of these elements.
The document summarizes Aristotle's views on tragic heroes and the elements of tragedy. According to Aristotle, the ideal tragic hero is of high birth and essentially good, but makes an error in judgment that leads to their downfall, arousing pity and fear in the audience. The hero must also be appropriate to their station, true to life, and act consistently in character. Aristotle's views provided guidelines for later playwrights, though some elements like the hero's morality have been challenged.
Difference from Plato's Concept of Imitation, New Dimensions, Poetry linked with Music, Medium of Poetic Imitation, Object of Imitation, Manner of Imitation, Artistic Imitation: A Process of Ordering and Arranging
Samuel Johnson wrote the preface to Shakespeare's plays in which he analyzed Shakespeare's style and characters. Johnson acknowledged Shakespeare's genius but also discussed three main faults: immoral plots, disregarding time and place unities, and loose plots. Johnson argued that critics should judge works based on their merits rather than following outdated conventions. He believed Shakespeare followed the unity of action but intentionally disregarded the unities of time and place, which was acceptable for history plays depicting events over long periods. Overall, Johnson provided a balanced analysis of Shakespeare's strengths and weaknesses through a classic critical lens.
This is my presentation for my MA English class. You are free to modify, share, redistribute and add to it in any way you like.
*I do not own the images used in the presentation. They are the property of their respective owners.
This document summarizes John Dryden's essay "Essay of Dramatic Poesy" from 1668. In the essay, Dryden has four characters - Eugenius, Crites, Lisideius, and Neander - debate five issues of dramatic poetry: ancients vs moderns, unities, French vs English drama, separation of tragedy and comedy, and the appropriateness of rhyme. Each character takes a position on the debates, with Eugenius favoring moderns, Crites favoring ancients, Lisideius favoring French drama, and Neander favoring English drama. Dryden also provides definitions of drama and compares attributes of French and English plays.
Matthew Arnold viewed poetry as the "criticism of life" that is governed by poetic truth and beauty. He believed the best poetry has seriousness of substance combined with superior style and diction. Arnold analyzed poets using his "touchstone method" of comparison and advocated for disinterested criticism. However, critics argue he did not always practice disinterested criticism and overemphasized morality. Overall, Arnold made significant contributions to literary criticism through his analysis of poets and emphasis on poetry's relationship to interpreting life.
Aristotle's theory of imitation argues that imitation leads to truth and should be learned by all. In contrast to Plato, who viewed imitation as twice removed from reality, Aristotle saw imitation as a creative process that can uplift morality. Aristotle defined three ways of imitation: medium, which is the means of creation; object, such as whether tragedy depicts humans as better than reality; and manner, like whether narration is used.
Literary Theory and Criticism
By Belachew Weldegebriel
Jimma University
College of Social Sciences and Humanities
Department of English Language and Literature
T.s eliot traditional and individual talentneelab1234
1. The document discusses T.S. Eliot's essay "Tradition and Individual Talent" which outlines his views on the relationship between tradition and an individual artist's work.
2. Eliot believes that great works of art are a combination of an individual's talent as well as their understanding of literary tradition. An artist must be aware of historical and cultural influences through studying past works.
3. The essay argues that an artist's personality and emotions should be "depersonalized" - they should act as a conduit for tradition rather than expressing individualism. A good poem incorporates all of poetry that came before it.
Aristotle analyzed tragedy in his work "Poetics". He defined tragedy as an imitation of events that are serious, complete with magnitude, and use embellished language to elicit pity and fear, resulting in catharsis. The key elements of tragedy include plot, character, thought, spectacle, melody, and language. A good plot should have magnitude, unity, and a beginning, middle and end. It involves reversal and recognition, and the hero should fall due to a hamartia, or tragic flaw. Tragedy should represent terrible yet piteous events and have a realistic ending without deus ex machina. The chorus should be part of the whole work.
Sir Philip Sidney wrote "An Apology for Poetry" in the 1580s to defend poetry against criticisms. In the summary, Sidney argues that poetry is superior to other fields as it can teach virtue and move people through charm. Poetry uses imitation, not just copying reality, but transforming it or creating new forms. It can depict both virtues and vices in a delightful manner to instruct people. Overall, Sidney establishes poetry's value and defends it as an art form.
This document outlines Plato's views on art and his criticism of poetry. It discusses his theory that ideas are the ultimate reality, and copies of ideas are one step removed from reality. It then examines Plato's three main attacks on poetry: that poetic inspiration is not rational, that it appeals to emotions over intellect, and its lack of moral character by depicting both virtue and vice. The document also discusses Plato's views that the function of poetry should be teaching morality and his criticisms of drama for appealing to base instincts and impersonation.
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.
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.
The document discusses Matthew Arnold's views on poetry criticism as presented in his essay "Three Estimates of Matthew Arnold". Arnold describes three types of estimates used to evaluate poetry: the Real Estimate, which judges a work based solely on its artistic merit; the Historic Estimate, which overvalues a work due to the poet's historical context; and the Personal Estimate, which is swayed by personal biases towards contemporary poets. Arnold advocates for his "touchstone method" to properly analyze poetry by comparing excerpts to established classics and evaluating them based on their highest poetic quality.
1. Aristotle was an ancient Greek philosopher and scientist born in Stagira, Macedonia in 384 BC who studied under Plato and established his own school called the Lyceum.
2. Aristotle defines poetry as a form of art that seeks to imitate or represent life through character, emotion, action, or objects using rhythm, language, and harmony. The main types of poetry he identifies are epic, tragedy, comedy, and music.
3. In his analysis of tragedy, Aristotle identifies the six main elements as plot, character, thought, diction, melody, and spectacle, with plot being the most important element. He also discusses the dramatic unities of action, time, and place that were influential in
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.
Aristotle's Poetics is considered the earliest surviving work of dramatic theory and first systematic treatise on literary criticism. In it, Aristotle defines poetry as a means of mimesis or imitation through language, rhythm, and harmony. He discusses different types of poetry like tragedy, comedy, and epic poetry. For tragedy specifically, Aristotle says the objects imitated are serious actions, the manner is dramatic rather than narrative, and the medium is verse spoken in dialogue. He provides key terms used in tragedy like hamartia, anagnorisis, peripeteia, and katharsis. Aristotle also outlines critical elements of plot and structure for a successful tragedy, including unity of action, completeness, magnitude, and eliciting
Introduction of Writer, his works, essay tradition and individual talent, theory of poetry( impersonality of poetry, historical sense, poetic emotion, comparison of Wordsworth and T.S eliot theory of poetry, objective correlative, dissociation of Sensibility, unification of sensibility, meta-physical poetry, conceit , use of Conceit in John Donne’s poetry.
According to Aristotle, there are six essential parts that make up a tragedy: the plot, which is considered the soul of tragedy; characters, with the hero being most important; thought, which proves particular points and teaches truth; diction, or writing skill; song or melody, with the chorus integrated into the play; and spectacle, related to stage performance but should not create a sense of the monstrous.
An Essay of Dramatic Poesy -John drydenMilindBedse
The document summarizes John Dryden's essay "An Essay of Dramatic Poesy". The essay is structured as a dialogue between four friends - Eugenius, Crites, Lisideius, and Neander - discussing theories of drama. Crites argues that Greek/Roman literature should be the model and praised the ancients' adherence to the three unities. Eugenius agrees with imitating the ancients but thinks English dramatists have improved on them. Lisideius claims French dramatists are now better than the English due to their simpler plots. However, Neander disagrees, defending English dramatists' use of subplots and mixing of comedy and tragedy.
This document contains information about Parmar Krupa Jivabhai, a student submitting a paper to the Department of English in Bhavnagar. It then provides details about Aristotle, the Greek philosopher and scientist. It notes that Aristotle was born in 384 BCE in Stagirus and lost his father at a young age. At age 18, Aristotle joined Plato's Academy and studied there until age 37. The document goes on to discuss Aristotle's analysis of tragedy and its six elements - plot, character, thought, diction, melody, and spectacle. It provides examples and explanations of each of these elements.
The document summarizes Aristotle's views on tragic heroes and the elements of tragedy. According to Aristotle, the ideal tragic hero is of high birth and essentially good, but makes an error in judgment that leads to their downfall, arousing pity and fear in the audience. The hero must also be appropriate to their station, true to life, and act consistently in character. Aristotle's views provided guidelines for later playwrights, though some elements like the hero's morality have been challenged.
Difference from Plato's Concept of Imitation, New Dimensions, Poetry linked with Music, Medium of Poetic Imitation, Object of Imitation, Manner of Imitation, Artistic Imitation: A Process of Ordering and Arranging
Samuel Johnson wrote the preface to Shakespeare's plays in which he analyzed Shakespeare's style and characters. Johnson acknowledged Shakespeare's genius but also discussed three main faults: immoral plots, disregarding time and place unities, and loose plots. Johnson argued that critics should judge works based on their merits rather than following outdated conventions. He believed Shakespeare followed the unity of action but intentionally disregarded the unities of time and place, which was acceptable for history plays depicting events over long periods. Overall, Johnson provided a balanced analysis of Shakespeare's strengths and weaknesses through a classic critical lens.
This is my presentation for my MA English class. You are free to modify, share, redistribute and add to it in any way you like.
*I do not own the images used in the presentation. They are the property of their respective owners.
This document summarizes John Dryden's essay "Essay of Dramatic Poesy" from 1668. In the essay, Dryden has four characters - Eugenius, Crites, Lisideius, and Neander - debate five issues of dramatic poetry: ancients vs moderns, unities, French vs English drama, separation of tragedy and comedy, and the appropriateness of rhyme. Each character takes a position on the debates, with Eugenius favoring moderns, Crites favoring ancients, Lisideius favoring French drama, and Neander favoring English drama. Dryden also provides definitions of drama and compares attributes of French and English plays.
Matthew Arnold viewed poetry as the "criticism of life" that is governed by poetic truth and beauty. He believed the best poetry has seriousness of substance combined with superior style and diction. Arnold analyzed poets using his "touchstone method" of comparison and advocated for disinterested criticism. However, critics argue he did not always practice disinterested criticism and overemphasized morality. Overall, Arnold made significant contributions to literary criticism through his analysis of poets and emphasis on poetry's relationship to interpreting life.
Aristotle's theory of imitation argues that imitation leads to truth and should be learned by all. In contrast to Plato, who viewed imitation as twice removed from reality, Aristotle saw imitation as a creative process that can uplift morality. Aristotle defined three ways of imitation: medium, which is the means of creation; object, such as whether tragedy depicts humans as better than reality; and manner, like whether narration is used.
Literary Theory and Criticism
By Belachew Weldegebriel
Jimma University
College of Social Sciences and Humanities
Department of English Language and Literature
T.s eliot traditional and individual talentneelab1234
1. The document discusses T.S. Eliot's essay "Tradition and Individual Talent" which outlines his views on the relationship between tradition and an individual artist's work.
2. Eliot believes that great works of art are a combination of an individual's talent as well as their understanding of literary tradition. An artist must be aware of historical and cultural influences through studying past works.
3. The essay argues that an artist's personality and emotions should be "depersonalized" - they should act as a conduit for tradition rather than expressing individualism. A good poem incorporates all of poetry that came before it.
Aristotle analyzed tragedy in his work "Poetics". He defined tragedy as an imitation of events that are serious, complete with magnitude, and use embellished language to elicit pity and fear, resulting in catharsis. The key elements of tragedy include plot, character, thought, spectacle, melody, and language. A good plot should have magnitude, unity, and a beginning, middle and end. It involves reversal and recognition, and the hero should fall due to a hamartia, or tragic flaw. Tragedy should represent terrible yet piteous events and have a realistic ending without deus ex machina. The chorus should be part of the whole work.
Sir Philip Sidney wrote "An Apology for Poetry" in the 1580s to defend poetry against criticisms. In the summary, Sidney argues that poetry is superior to other fields as it can teach virtue and move people through charm. Poetry uses imitation, not just copying reality, but transforming it or creating new forms. It can depict both virtues and vices in a delightful manner to instruct people. Overall, Sidney establishes poetry's value and defends it as an art form.
This document outlines Plato's views on art and his criticism of poetry. It discusses his theory that ideas are the ultimate reality, and copies of ideas are one step removed from reality. It then examines Plato's three main attacks on poetry: that poetic inspiration is not rational, that it appeals to emotions over intellect, and its lack of moral character by depicting both virtue and vice. The document also discusses Plato's views that the function of poetry should be teaching morality and his criticisms of drama for appealing to base instincts and impersonation.
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.
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.
The document discusses Matthew Arnold's views on poetry criticism as presented in his essay "Three Estimates of Matthew Arnold". Arnold describes three types of estimates used to evaluate poetry: the Real Estimate, which judges a work based solely on its artistic merit; the Historic Estimate, which overvalues a work due to the poet's historical context; and the Personal Estimate, which is swayed by personal biases towards contemporary poets. Arnold advocates for his "touchstone method" to properly analyze poetry by comparing excerpts to established classics and evaluating them based on their highest poetic quality.
1. Aristotle was an ancient Greek philosopher and scientist born in Stagira, Macedonia in 384 BC who studied under Plato and established his own school called the Lyceum.
2. Aristotle defines poetry as a form of art that seeks to imitate or represent life through character, emotion, action, or objects using rhythm, language, and harmony. The main types of poetry he identifies are epic, tragedy, comedy, and music.
3. In his analysis of tragedy, Aristotle identifies the six main elements as plot, character, thought, diction, melody, and spectacle, with plot being the most important element. He also discusses the dramatic unities of action, time, and place that were influential in
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.
This document summarizes Aristotle's work "The Poetics" and its key ideas. It begins by providing background on the author and work. The main points then compare Aristotle and Plato's differing views on poetry and imitation. Key definitions from Aristotle are outlined, such as his definition of tragedy. Other major concepts from "The Poetics" are briefly explained, like catharsis, types of plots, characteristics, and the dramatic unities of time and place. The document concludes by acknowledging room for improvement in the summary but hopes it provided a high-level overview of Aristotle's influential work.
This document summarizes Aristotle's work "The Poetics" and its key ideas. It discusses how Aristotle's views on poetry and tragedy differed from his teacher Plato's, defining tragedy as "an imitation of an action, serious, complete and of a certain magnitude." It examines Aristotle's analysis of the six elements of tragedy - plot, character, thought, diction, song and spectacle. It also describes Aristotle's concepts of the ideal tragic hero and the dramatic unities of time, place and action. The document was prepared by Ashish Trivedi for a class at Bhavnagar University.
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.
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
Greek tragedy originated from the dithyramb, a hymn to Dionysus. There are various hypotheses about the origins of the term "tragedy" including that it comes from the Greek words for goat and song. Aristotle defined key concepts of tragedy including imitation, catharsis, hamartia, and the tragic hero. Tragedies were performed as part of religious festivals, usually featuring three playwrights each presenting three tragedies and a satyr play over three days.
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.
Major Themes and analysis of Aristotle Poeticssaba rai
Aristotle analyzed poetry and defined its key elements and functions. He argued that tragedy is the highest form of poetry. According to Aristotle, a good tragedy uses reversal and recognition to provoke catharsis, or purification, in the audience. It elicits feelings of pity and fear that result in a pleasurable release of emotions. Aristotle also emphasized the importance of plot and character development in tragedy, and defined its purpose as imitating life in a way that arouses catharsis.
This document discusses key literary terms: the three unities, tragedy, and chorus. It provides details on each:
1) The three unities refer to Aristotle's concept of unity of action, place, and time. Later critics added the unities of place and time. While important in some traditions, English plays by Marlowe, Shakespeare, and Jonson did not strictly follow the unities.
2) Aristotle defined tragedy as imitating an action that is serious and complete, evoking pity and fear to bring catharsis. A tragic hero is neither thoroughly good nor bad, and makes an error leading to a change in fortune.
3) In Greek theater, the chorus commented on the action
Aristotle was one of the most influential philosophers in Western philosophy. He wrote on virtually every topic in philosophy and is cited more than any other philosopher. While little is known about his life, the document provides details on Aristotle's biography, including that he was born in Greece in 384 BCE, studied under Plato for 20 years, tutored Alexander the Great, and established his own school called the Lyceum. The document also discusses Aristotle's views on poetry and dramaturgy, including his definition of tragedy according to its characteristics and components.
Literary terms and their meanings.
Literary terms, such as, allegory, alliteration, consonance, conceit, tragicomedy, tragedy, comedy, etc all are explained.
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 analyzed tragedy in his work Poetics. He defined tragedy as an imitation of a serious action that elicits emotions of pity and fear and effects their purgation. Aristotle described tragedy's origin in early poetry and its distinguishing characteristics, including seriousness of theme, completeness of plot, and emotional appeal. He analyzed the constituent parts of tragedy and emphasized the central importance of plot over character in telling the story through dramatic action rather than narration.
1) Aristotle defines tragedy as the imitation of an action that is serious, complete, and of a certain magnitude, which provokes emotions of pity and fear and accomplishes a catharsis or purification of such emotions.
2) Tragedy has six elements - plot, character, thought, diction, melody, and spectacle. The most important is plot, which must be complex and have unity, a beginning, middle and end, and follow the law of probability or necessity.
3) Character is also important and should support the plot. The protagonist brings about their own downfall not through vice but through an error or frailty known as hamartia.
The document discusses the origins and evolution of drama from ancient Greek times to modern eras. It notes that drama likely grew out of ancient rituals and performances. It then outlines key developments in Greek drama including the works of playwrights like Aeschylus, Sophocles, and Euripides. It discusses Aristotle's analysis of tragedy which defined its core elements and structures. Finally, it summarizes how drama changed and experimented with form over time through medieval, Shakespearean, and modern works.
The document provides an overview of the origins and development of Greek drama. It begins with the spread of the cult of Dionysus throughout Greece in the 6th century BCE and the development of theatrical performances as part of religious festivals. It then discusses the major playwrights such as Aeschylus, Sophocles, and Euripides who established the genres of tragedy and comedy. Finally, it covers elements of Greek drama such as the use of masks, theatrical conventions, and Aristotle's analysis of tragedy in his Poetics.
The document provides an overview of the origins and development of Greek drama. It begins with the spread of the cult of Dionysus throughout Greece in the 6th century BCE and the emergence of theatrical performances involving singing, dancing, and the separation of actors from the chorus. It then discusses the major playwrights such as Aeschylus, Sophocles, and Euripides and their innovations. Key elements of Greek drama discussed include the use of masks, theatrical structures like the orchestra and skene, and Aristotle's analysis of tragedy in his Poetics.
Only Project Management Expert I need the answers.docxAASTHA76
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ENC 2135
Guided Inquiry Week Three: 1/25/18
Aristotle, Poetics
1447a, Chapter 1: Explain the relationship between poetry (14-15) and imitation. Why is it important that Aristotle considers poetry an imitative art? What are the potential philosophical considerations about poetry that result from this type of categorization?
1447a, Chapters 2-3: Aristotle lists types of poetry in lines 1.14-15 but explains that they can be differentiated from one another in three ways. What are they? To what aspects of the ‘poetic’ work do these three categories respectively apply?
1448b, Chapter 4: What is the origin of poetry? What does Aristotle’s supposition on this issue suggest more generally about the relationship between poetry and human life?
1448b, Chapter 4: According to Aristotle, can ‘imitation’ be viewed as a way of adjusting to new experiences? (i.e. learning). If you believe this to be true, explain why. If you reject it, explain your point of view.
1449b, Chapters 4-5: Explain the origin, development, and initial characteristics of Tragedy and Comedy as poetic types.
1449b, Chapter 5; 1459b, Chapters 23-24: How is epic poetry similar to tragedy? How is it different?
1449b-1450b, Chapter 6: Describe the 6 formative elements of tragedy defined by Aristotle.
1450b, Chapter 6: What are the causes of tragic action? Why are these important? How do these causes relate to the purpose or function of the tragic genre?
1450b, Chapter 6: What is the “life and soul” of tragedy? Why?
1450b; 1452a, Chapter 7: What is tragedy an imitation of?
1450b-1451a, Chapters 7-8: What is the relationship between Beauty, Plot, and Unity?
1451b, Chapter 9: What is the function of the poet? How is this function different than the historian’s?
1451b, Chapter 9: How is poetry a type of philosophy?
1452a-b, Chapters 10-11: What is the difference between simple and complex plots? How is this difference determined?
1452b, Chapters 13-14: How does the construction of the plot best influence tragic effect?
1454a, Chapter 15: What are the four desired elements of tragic Character?
1456b, Chapter 19-20: Describe the Thought and Diction of tragic characters. How do these types influence your interpretation of poetry as a type of philosophy?
1460b-1461b, Chapter 25: Describe the purpose of criticism of the poet’s art and it’s constituent elements.
1462a, Chapter 26-27: What is the highest form of imitation? Why?
Aristotle, The Art of Rhetoric
Describe the relationships between Plato’s treatise on rhetoric in Phaedrus and Aristotle’s in The Art of Rhetoric. What are the stated objectives of ‘rhetoric’ in each text? Do they both agree on the purpose and function of the art?
What makes a good speech? Why?
What is the relationship between poetry, philosophy, and rhetoric in Aristotle?
Bedford
Using what you have learned in our readings for this we.
MOLDING MINDS, SHAPING HEARTS Role of Character Formation in School SuccessMann Rentoy
MOLDING MINDS, SHAPING HEARTS: The Crucial Role of Character Formation in School Success
by Emmanuel Mann Rentoy
Presented by FilPass and CATALYST PDS
Key Highlights:
Insights for Success: Learn why character formation is the linchpin of academic triumph and personal growth.
Teacher Training Revolution: Discover innovative strategies to empower your educators in fostering character development within the classroom.
Real-world Impact: Understand how schools can become incubators for future leaders, instilling values that extend far beyond textbooks.
Don't miss this opportunity to revolutionize your school's approach to education. Elevate your institution, empower your teachers, and shape a future generation of leaders through the power of character-driven teaching.
This document discusses the importance of character and professionalism in the workplace. It identifies several challenges to developing empathy like parental unavailability, gadget addiction, and narcissism. It also outlines tips for maintaining integrity like respecting others, effective communication, having a positive attitude, and being truthful. The document encourages developing good character through diligent work, focusing on self-improvement, and setting a good example for others.
CLASSROOM MANAGEMENT 100+ STRATEGIES by Emmanuel Mann Rentoy
Email us at catalystpds@gmail.com
www.characterconferences.com
View the Recorded Presentations here: https://www.youtube.com/@characterformation
https://www.youtube.com/c/TEACHERTRAINING
This document defines and provides examples of common Latin terms used in writing. It discusses terms such as:
- Sic - Used in brackets to indicate a direct quotation contains a spelling or grammatical error.
- Id est and i.e. - Mean "that is" and are used to provide an example or explanation of a statement.
- Deus ex machina - Refers to an artificial or improbable plot resolution, originally referring to ancient plays resolving plots via a machine lowering in God.
- Exempli gratia and e.g. - Mean "for the sake of example" and introduce examples that follow.
Session 2 of Mann Rentoy's live show from New York begins at 8PM Manila time. The document includes prayers, pronunciations of Latin letters and letter combinations, numbers in Latin, common Latin phrases, Latin declensions including the second declension of nouns and examples of Latin sentences. It concludes with the prayer Ave Maria.
The document summarizes Session 1 of a Latin course, covering 3 main lessons - pronunciation, vocabulary building, and Roman history. It provides an overview of Ecclesiastical pronunciation rules and examples. Vocabulary lists in Latin include numbers, verbs, nouns, and religious terms. Excerpts from the Latin Bible and information about Roman architecture, columns, games, and daily life are also presented. The course details include 20 live sessions, learning resources, tutorials, and an opportunity to connect with other Latin scholars internationally. Early enrollment discounts are provided.
The Bureau of Jail Management and Penology (BJMP) celebrated the Values Restoration
Week and Anniversary of the Chaplaincy Service Office on September 26-29, 2023. During
the week-long celebration, the Chaplaincy Service Office (CSO) conducted various talks
and seminars for the integration of values to the Jail Bureau. This was the talk for the 2nd day of the week-long celebration on September 27, 2023 at 800am via zoom platform.
The target theme for the 2nd day is “Buidling Values – Character Community.” The
participants were Officers of the Jail Bureau composed of Uniformed personnel.
RAISING MEN OF CHARACTER IN A WIRED WORLDMann Rentoy
This document discusses the challenges of raising children of character in today's wired world. It notes the insatiable craving for constant online connection and validation, and the "fast food" thinking this can promote. However, it also outlines some positive uses of technology and provides tips for parents on monitoring children's technology use, enforcing consequences, and leading by example in developing balance and wisdom around screens. The overall message is that conscious parenting and guidance are needed now more than ever to help children navigate the digital landscape.
This document provides information about classroom jobs and roles that students can take on in a classroom. It describes various jobs like banker, janitor, grader, messenger, police officer, video monitor, recycler, attendance monitor, clerk, and librarian. It assigns a monetary payment level to each job ranging from $475 to $1,000. It also discusses procedures for seat rentals, ways students can earn bonus money, and fines for misbehaviors. The overall purpose is to outline an elaborate system of classroom roles, payments, and incentives/penalties to engage students and manage classroom operations.
DEVELOPING GRIT, RESILIENCE & EMPATHY: 3 Essential Virtues for the Digital Generation
by Emmanuel Mann Rentoy
2022 International Champion for Character of Character.Org
Presented in Colombo, Sri Lanka on November 26, 2022
KIND AND CARING CLASSROOM
Presented by Emmanuel Mann Rentoy in Colombo, Sri Lanka on November 19, 2022
Educational and Social Initiatives
www.characterconferences.com
mannrentoy@gmail.com
PRESENTED BY Emmanuel Mann Rentoy in Colombo, Sri Lanka on November 19, 2022
Educational and Social Initiatives
mannrentoy@gmail.com
www.characterconferences.com
TEACHERS AS AGENTS OF CHARACTER FORMATION Mann Rentoy
The document welcomes attendees to an event starting at 9:30am. It then provides biographies of the speaker, Emmanuel Mann Rentoy, highlighting his educational background and experience founding schools and character education programs. The bulk of the document consists of the speaker's presentation, covering topics like the role of teachers in character formation, focusing on serving students through a sense of mission rather than just a job. It provides quotes on the importance and impact of teaching, and frames teaching as progressing through stages from fantasy to survival to mastery to impact. The presentation aims to inspire teachers and emphasize their role in shaping students' futures.
WOODROSE: My Role in Making Woodrose a School of Character.pptxMann Rentoy
This document discusses the Character Education Partnership's (CEP) National Schools of Character program, which offers Philippine K-12 schools a path to improvement through high-quality character education. The program helps schools: 1) bring stakeholders together around shared values and purpose, 2) undergo self-assessment to identify strengths and growth areas, and 3) receive feedback and suggestions to strengthen their character education initiatives. It outlines CEP's 11 Principles for effective character education and the scoring rubric used to evaluate schools' implementation of the principles.
JULY 19 Teaching Catholic Students Etiquette and Social RefinementsMann Rentoy
The document discusses etiquette and social refinements for Catholic students. It addresses proper behavior in church, including arriving on time, dressing appropriately, silencing phones, participating respectfully in prayers and songs, and leaving quietly. It emphasizes showing respect for others and the sacred space of the church. Good etiquette is presented as a way to foster kindness, charity and bring peace. Students are encouraged to fight self-centeredness and cultivate humility through their conduct and refinement.
WESTBRIDGE Seminar for Teachers: May 19 & 22Mann Rentoy
This document discusses the importance of character formation for students, especially in the digital age. It begins by noting that students are increasingly exposed to highly sexualized culture through various media. The document then outlines some principles for teaching character, including that every teacher is a character formator and that the best way to teach character is through personal example. It provides tips for building character in students, such as establishing classroom rules and expectations, insisting on respect, building community, and emphasizing volunteerism. The document argues that character formation must continue, even in online schooling. It closes by emphasizing the nobility of the teaching profession and calling teachers to model excellent character.
www.characterconferences.com
About Mann Rentoy
A lecturer from the University of Asia and the Pacific (UA&P), he has taught for more than 30 years.
He is a graduate of the University of Santo Tomas (UST) where he earned a double-degree in AB Journalism and AB Literature, an MA in Creative Writing, and a PhD in Literature.
He was the Founding Executive Director of Westbridge School in Iloilo City. He was in the first batch of graduates of PAREF Southridge School, where he also taught for 15 years, occupying various posts including Principal of Intermediate School, Vice-Principal of High School and Department Head of Religion. As Moderator of “The Ridge”, the official publication of Southridge, he won 9 trophies from the Catholic Mass Media Awards including the first ever Hall of Fame for Student Publication, for winning as the best campus paper in the country for four consecutive years.
He is the Founding Executive Director of “Character Education Partnership Philippines”, or CEP Philippines, an international affiliate of CEP in Washington, DC, USA. As Founder of CEP Philippines, he has been invited to speak all over the country, as well as in Washington D.C., San Diego, California, USA, Colombo, Sri Lanka, and Kuala Lumpur, Malaysia. He also serves as the Founding President of Center for 4th and 5th Rs (Respect & Responsibility) Asia, otherwise known as the Thomas Lickona Institute for Asia. He is probably the most visible advocate of character formation in the country, having spoken to hundreds of schools and universities around the Philippines.
Email us at catalystpds@gmail.com
www.characterconferences.com
SELF MASTERY: How to Help Our Kids Keep It Together by Dr. Michele BorbaMann Rentoy
SELF MASTERY: How to Help Our Kids Keep It Together by Dr. Michele Borba
An International Conference organized by PAREF WOODROSE SCHOOL and CATALYST for Professional Development Services
JANUARY 29, 2022
www.characterconferences.com
About Mann Rentoy
A lecturer from the University of Asia and the Pacific (UA&P), he has taught for more than 30 years.
He is a graduate of the University of Santo Tomas (UST) where he earned a double-degree in AB Journalism and AB Literature, an MA in Creative Writing, and a PhD in Literature.
He was the Founding Executive Director of Westbridge School in Iloilo City. He was in the first batch of graduates of PAREF Southridge School, where he also taught for 15 years, occupying various posts including Principal of Intermediate School, Vice-Principal of High School and Department Head of Religion. As Moderator of “The Ridge”, the official publication of Southridge, he won 9 trophies from the Catholic Mass Media Awards including the first ever Hall of Fame for Student Publication, for winning as the best campus paper in the country for four consecutive years.
He is the Founding Executive Director of “Character Education Partnership Philippines”, or CEP Philippines, an international affiliate of CEP in Washington, DC, USA. As Founder of CEP Philippines, he has been invited to speak all over the country, as well as in Washington D.C., San Diego, California, USA, Colombo, Sri Lanka, and Kuala Lumpur, Malaysia. He also serves as the Founding President of Center for 4th and 5th Rs (Respect & Responsibility) Asia, otherwise known as the Thomas Lickona Institute for Asia. He is probably the most visible advocate of character formation in the country, having spoken to hundreds of schools and universities around the Philippines.
Email us at catalystpds@gmail.com
www.characterconferences.com
Beauty of Art as a Powerful Tool to Teach the Catholic FaithMann Rentoy
Presented by Emmanuel Rentoy
January 28, 2022
Series of Seminars for Teachers of Catholic Schools
About Mann Rentoy
A lecturer from the University of Asia and the Pacific (UA&P), he has taught for more than 30 years.
He is a graduate of the University of Santo Tomas (UST) where he earned a double-degree in AB Journalism and AB Literature, an MA in Creative Writing, and a PhD in Literature.
He was the Founding Executive Director of Westbridge School in Iloilo City. He was in the first batch of graduates of PAREF Southridge School, where he also taught for 15 years, occupying various posts including Principal of Intermediate School, Vice-Principal of High School and Department Head of Religion. As Moderator of “The Ridge”, the official publication of Southridge, he won 9 trophies from the Catholic Mass Media Awards including the first ever Hall of Fame for Student Publication, for winning as the best campus paper in the country for four consecutive years.
He is the Founding Executive Director of “Character Education Partnership Philippines”, or CEP Philippines, an international affiliate of CEP in Washington, DC, USA. As Founder of CEP Philippines, he has been invited to speak all over the country, as well as in Washington D.C., San Diego, California, USA, Colombo, Sri Lanka, and Kuala Lumpur, Malaysia. He also serves as the Founding President of Center for 4th and 5th Rs (Respect & Responsibility) Asia, otherwise known as the Thomas Lickona Institute for Asia. He is probably the most visible advocate of character formation in the country, having spoken to hundreds of schools and universities around the Philippines.
Email us at catalystpds@gmail.com
www.characterconferences.com
How to Fix the Import Error in the Odoo 17Celine George
An import error occurs when a program fails to import a module or library, disrupting its execution. In languages like Python, this issue arises when the specified module cannot be found or accessed, hindering the program's functionality. Resolving import errors is crucial for maintaining smooth software operation and uninterrupted development processes.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
Assessment and Planning in Educational technology.pptxKavitha Krishnan
In an education system, it is understood that assessment is only for the students, but on the other hand, the Assessment of teachers is also an important aspect of the education system that ensures teachers are providing high-quality instruction to students. The assessment process can be used to provide feedback and support for professional development, to inform decisions about teacher retention or promotion, or to evaluate teacher effectiveness for accountability purposes.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
6. Aristotle (c. 384-322 B.C.E. )
• Founder of literary criticism
• Dante called him “the master of those who
know”
• Plato referred to Aristotle as “the mind’’
12. Introductory remarks on poetry
and its classification.
Tragedy.
Poetic diction.
Narrative poetry and Tragedy .
Epic is compared with Tragedy.
Objections are answered.
6 Parts of “Poetics”
13. Twenty-six
chapters.
a kind of covert
reply to his great
master.
a systematic
exposition of the
theory and
practice of
poetry.
14.
15.
16.
17. Differences between Aristotle and
Plato
Plato considered
imitation merely
as mimicry or a
servile copy of
nature.
Plato compared
poetry to
painting.
Aristotle
interpreted it as a
creative process.
Aristotle
compared it to
music.
18. Differences between Aristotle and Plato
Poetry presents a copy of
nature as it is. Poetry is
twice removed from reality
and it’s a ‘shadow of
shadows’.
Plato takes up the cudgel
on behalf of philosophy
and shows that philosophy
is superior to poetry.
Poetry may imitate men as
they are, or better and
worse. Poetry gives us
idealized version of reality.
He takes up the cudgels
on behalf of poetry and
effectively brings out its
superiority.
30. Hamartia - the word translates almost
directly as "error," though it is often
rendered more elaborately as "tragic flaw."
Tragedy involves the downfall of a hero,
effected by some error. This error could be a
simple matter of not knowing something or
forgetting something.
31. Anagnorisis - "recognition" or
"discovery."
That moment when the hero, or some other
character, passes from ignorance to
knowledge. This could be a recognition of a
long lost friend or family member, or it could
be a sudden recognition of some fact about
oneself
32. Mythos -
usually translated as "plot," but unlike
"plot," mythos can be applied to all works of
art.
Not so much a matter of what happens and
in what order, mythos deals with how the
elements of a tragedy (or a painting,
sculpture, etc.) come together to form a
coherent and unified whole.
33. The overall message or impression that we
come away with is what is conveyed to us by
the mythosof a piece.
34. Katharsis - This word was normally
used in ancient Greece by doctors to mean
"purgation" or by priests to mean
"purification."
In tragedy, Aristotle uses it to talk about a
purgation or purification of emotions.
Presumably, this means that katharsis is a
release of built up emotional energy, much
like a good cry.
35. Peripeteia - A reversal, either from
good to bad or bad to good. Peripeteia often
occurs at the climax of a story, often
prompted by anagnorisis.
- the climax of a story: the turning point in
the action, where things begin to move
toward a conclusion.
36. Lusis - Literally "untying," the
lusis is all the action in a tragedy
from the climax onward. All the
plot threads that have been woven
together in the desis are slowly
unraveled until the conclusion.
37. Desis - Literally "tying," the desis
is all the action in a tragedy leading
up to the climax.
- threads craftily woven together to
form a more and more complex
mess.
39. “scientific study of the
constituent parts of poetry and
drawing conclusions from those
observations”
40. He lists the different
kinds of poetry: epic
poetry, tragedy, comedy,
dithyrambic poetry, and
most flute-playing and
lyre-playing
41. Next, he classifies all of
these kinds of poetry
as mimetic, or
imitative, but that there
are significant
differences between
them.
42. Mimesis
the act of creating in
someone's mind, through
artistic representation, an idea
or ideas that the person will
associate with past experience.
Roughly translatable as
"imitation,”
43. How can we differentiate the tragedy
from other poetic forms?
Manner
Of
imitation
objects
medium
44. first kind of distinction is the
means or medium they
employ. Just as a painter
employs paint and a sculptor
employs stone, the poet
employs language, rhythm, and
harmony, either singly or in
combinations.
45. The second distinction is the
objects that are imitated. All
poetry represents actions with
agents who are either better
than us, worse than us, or quite
like us.
46. tragedy and epic poetry:
characters are better than us
comedy and parody:
characters are worse than us.
47. The third distinction is with the
manner of representation: the
poet either speaks directly in
narrative or assumes the
characters of people in the
narrative and speaks through
them.
48. Objects, Manner, and Medium of
Imitation in Tragedy
Objects
Serious
action
manner
Represent
through
action
medium
Verse in
dialogue
49. We are by nature imitative
creatures that learn and excel by
imitating others, and we naturally
take delight in works of imitation.
Evidence: fascinated by
representations of dead bodies or
disgusting animals even though
the things themselves would
repel us.
50. * we learn by examining
representations and imitations of things
* learning is one of the greatest
pleasures there is
* Rhythm and harmony also come
naturally to us, so that poetry gradually
evolved out of our improvisations with
these media.
51. Tragedy and comedy are later
developments that are the
grandest representation of their
respective traditions:
** tragedy of the lofty tradition
** comedy of the mean tradition
52. Four innovations in the
development from improvised
dithyrambs toward the tragedies
of his day.
53. Dithyrambs were sung in honor of
Dionysus, god of wine, by a chorus
of around fifty men and boys,
often accompanied by a narrator.
54. 1st Innovation:
Aeschylus reduced the number of
the chorus and introduced a
second actor on stage, which made
dialogue the central focus of the
poem
56. 3rd Innovation:
Tragedy developed an air of
seriousness, and the meter
changed from a trochaic rhythm,
which is more suitable for dancing,
to an iambic rhythm, which is
closer to the natural rhythms of
conversational speech.
58. tragedy and epic poetry:
characters are better than us
comedy and parody:
characters are worse than us.
59. comedy deals with the ridiculous
which he defines as a kind of
ugliness that does no harm to
anybody else.
very sketchy account of the origins of
comedy, because it was not generally
treated with the same respect as
tragedy and so there are fewer
records of the innovations that led to
its present form.
60. Tragedy and epic poetry deal with
lofty subjects in a grand style of
verse
Three significant differences:
First, tragedy is told in a
dramatic, rather than narrative, form,
and employs several different kinds
of verse while epic poetry employs
only one.
61. Second, the action of a
tragedy is usually confined to a
single day, and so the tragedy
itself is usually much shorter
than an epic poem.
62. Third, while tragedy has all
the elements that are
characteristic of epic poetry, it
also has some additional
elements that are unique to it
alone.
63. Aristotle now narrows his
focus to examine tragedy
exclusively. In order to do so,
he provides a definition of
tragedy that we can break up
into seven parts
64. (1) it involves mimesis;
(2) it is serious;
(3) the action is complete and
with magnitude;
(4) it is made up of language
with the "pleasurable
accessories" of rhythm and
harmony;
65. (5) these "pleasurable
accessories" are not used
uniformly throughout, but are
introduced in separate parts of
the work, so that, for instance,
some bits are spoken in verse
and other bits are sung;
66. (6) it is performed rather than
narrated; and
(7) it arouses the emotions of
pity and fear and accomplishes
a katharsis (purification or
purgation) of these emotions.
70. Unity of Action:(Probability and
Necessity)
There must be a
causal connection
between the
various events and
incidents.
They must follow
each other
naturally and
inevitably.
No incident or
character should be
superfluous.
The events
introduced must be
such as are probable
under the
circumstances.
Aristotle emphasizes Unity of Action ; he is against plurality of action
as it weakens the final effect of Tragedy.
71. Imitation of an action, serious, complete
and of a certain magnitude…….
It must be long enough to permit
an orderly development of action
to a catastrophe. Too short an
action cannot be regarded as
proper and beautiful, for its
different parts will not be clearly
visible, as in the case of a very
small living creature.
It must be an ‘organic’
whole.
72. And another important word is
embellishment:-
Verse and song beautify
and decorate and give
pleasure, but Aristotle does
not regard them as
essential or indispensable
for the success of a tragedy.
73. Diction and Style
Diction is the choice and arrangement of words and
images in a literary composition.
Six types of words
• Current or ordinary words
• Foreign terms borrowed or dialects
• Metaphors
• Ornamental periphrasis
• Invented words
• Not invented, but made new lengthening
or shortening
74. Songs is the pleasurable addition to a
play. In a tragedy, song is provided by
the Chorus. The quantitative sections of
tragedy are ;
Prologue
Choric song
Episode
Exode
SONGS OR MELODY
75. About Catharsis:-
#In the Poetics, while defining tragedy,
Aristotle writes that the function of
tragedy is to arouse the emotions of pity
and fear, and in this way to affect the
Katharsis of these emotion.
#Further the Greek word Katharsis
has three meanings:-
Purgation purification clarification
All agree that Tragedy arouses fear and pity, but there are sharp differences
as to the process, the way, by which the rousing of these emotions gives
pleasure.
76. Having examined the definition, nature and function
of ‘Tragedy, Aristotle comes to its formative parts.
Six formative
elements of a
tragedy
Plot
Character
Diction Thought
Spectacle
Song
77. Two kinds of Plots: simple and complex
Simple:
Plot is simple when the
change in the fortunes of
the hero takes place
without peripety and
discovery.
Complex:
The plot is complex
when it involves one or
the other or both. The
Peripety is the change in
the fortunes of the hero
and the Discovery is a
change from ignorance
to knowledge.
Aristotle prefers complex plot, for it startles and
captures attention.
78. Complex plots are those which have Peripety
and Anagnorisis or Discovery or Recognition
Peripeteia :
Peripeteia means that
human actions produce
results exactly opposite
to what was intended: it
is working in blindness
to one’s own defeat.
It is a false step taken in
the dark.(e.g., Macbeth)
Anagnorisis:
Anagnorisis or
recognition is the
realization of truth, the
opening of the eyes, the
sudden lightning-flash
in the darkness.
79. Characterization:-
Showing a perfectly
good man passing
from happiness to
misery
Such kind of plot
will not inspire pity
and fear it will be
simply odious or
horrible
Showing a bad
man rising
from misery to
happiness
It is not
tragic at all
Showing an
extremely bad
man falling from
happiness to
misery
It will move us
neither to pity nor
fear.
“A man who is not eminently good and just yet whose misfortune is not
brought by vice or depravity but by some error of frailty”.
80. Further Traits of Characters:-
The
characters
must be good
They must be
appropriate
They must
have likeness
They must
have
consistency
Aristotle means that they must be true to type, slave
should behave as slaves are generally known to behave.
There must be no sudden and unaccountable change in
character.
81. The Ideal Tragic Hero:-
He should neither be
perfectly good not
utterly bad .
He should be a man
neither of a blameless
character nor a
depraved villain.
He is a man of ordinary
weaknesses and virtues,
like our selves, leaning
more to the side of
good than of evil.
Suffering, not because of some deliberate villainy but
because of some error of judgment.
82. “Hamartia”
Ignorance Hasty or careless
view
Decision taken
voluntarily
Oedipus Othello Hamlet
It may be accompanied by normal imperfection, but it is not itself a moral
imperfection, and in the purest tragic situation the suffering hero is not morally to
blame.
83. The Dramatic Unities
Unity of Time
#Comparing the Epic and the
Tragedy:-
“Tragedy tries as far as
possible, to live within a
single revolution of the
sun, or only slightly to
exceed it, whereas the epic
observes no limits in its
time of action”.
About the Unity of Time he merely says in the Poetics that tragedy
should confine itself, “as far as possible”, to a single revolution of the
sun.
84. Unity of Place
Aristotle only mentions
when comparing the epic
and the tragedy, that the
epic can narrate a number
of actions going on
simultaneously in different
parts, while in drama such
simultaneous actions
cannot be represented, for
the stage is one part and not
several parts, or places.
86. Unity of plot in epic.
Contrast between epic and tragedy.
Superiority of tragedy over epic.
Tragedy is possible without character but not
without plot.
Epic is of four types : simple and complex, epic
of character, epic of suffering.
Tragedy is of four types : The complex tragedy,
the tragedy of suffering, the tragedy of
character, the tragedy of spectacle.
EPIC AND TRAGEDY
87. Types of Tragedy
• Complex tragedy
It consists of reversal and recognition of truth.
• Tragedy of suffering
Tragedy depicts suffering.
• Tragedy of character
Character more involved than plot.
• Tragedy of spectacle
It depends upon the sensational effects
produced by the actors, the costume designers and
other mechanical and artificial devices.
88. Types of Recognition
Anagnorisis (discovery or recognition of truth)
• Signs or objects, symbols
• Author tells himself
• Discovery from memory
• Process of reasoning
• Discovery arising from the false reasoning
89. Superiority of Tragedy over Epic
• It has all the elements of an epic and has also
spectacle and song which the epic lacks.
• Unity of action only in a tragedy not in an epic.
• Simply reading the play without performing it is
already very potent.
• Tragedy is shorter that is more compact concentrated
effect.