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 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.
Fancy and Imagination in Biographia LiterariaDharaba Gohil
This document summarizes Coleridge's distinction between fancy and imagination as outlined in his work Biographia Literaria. It explains that Coleridge defines fancy as a mechanical, associative faculty that merely reproduces materials, while imagination is a creative faculty. Coleridge further distinguishes between primary imagination, which is the living power of human perception, and secondary imagination, which is the artistic faculty that exists alongside the conscious will. The document provides examples from Coleridge to illustrate these concepts and their significance to his aesthetic theory.
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
An Apology for Poetry was written by the Elizabethan writer Philip Sidney in his defence of poetry from the accusation that was made by Stephen Gosson in his work "School of Abuse".
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.
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.
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.
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 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.
Fancy and Imagination in Biographia LiterariaDharaba Gohil
This document summarizes Coleridge's distinction between fancy and imagination as outlined in his work Biographia Literaria. It explains that Coleridge defines fancy as a mechanical, associative faculty that merely reproduces materials, while imagination is a creative faculty. Coleridge further distinguishes between primary imagination, which is the living power of human perception, and secondary imagination, which is the artistic faculty that exists alongside the conscious will. The document provides examples from Coleridge to illustrate these concepts and their significance to his aesthetic theory.
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
An Apology for Poetry was written by the Elizabethan writer Philip Sidney in his defence of poetry from the accusation that was made by Stephen Gosson in his work "School of Abuse".
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.
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.
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.
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.
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
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
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.
The document provides an overview of the Theatre of the Absurd and Samuel Beckett's play Waiting for Godot. It explains that Theatre of the Absurd explores the absurdity of existence in a godless universe where life has no purpose or meaning. Waiting for Godot follows two homeless men, Vladimir and Estragon, who pass the time waiting endlessly and in vain for someone named Godot to arrive. Their dialogue shows how they try to maintain their friendship and identity through memory and conversation to avoid confronting the meaninglessness of their existence.
Literary Theory and Criticism
By Belachew Weldegebriel
Jimma University
College of Social Sciences and Humanities
Department of English Language and Literature
Plot of Oedipus Rex is best tragic plot according to Aristotlefatimanoor212
Oedipus Rex fulfills Aristotle's definition of a tragedy. It has a complex plot with reversal, recognition, and change of fortune that leads to catharsis. The plot follows Aristotle's rules of unity of action, time, and space. Oedipus is a tragic hero with a tragic flaw that leads to his downfall. His investigation into the murder of Laius results in the discovery that he unknowingly killed his father and married his mother. This discovery drives him to blind himself and leave the city in misery.
The document defines epics as long narrative poems about heroic deeds and actions of great people. Characteristics include divine intervention, supernatural forces, and heroes embodying societal values. Mock-epics parody epics through trivial themes and mocking stereotypes. In the 18th century, mock-epics exposed societal follies and moral corruption. The Rape of the Lock follows epic conventions like invoking a muse but for trivial themes, making petty things more ridiculous through contrast with great things. It is considered a successful example of mock-heroic style.
The concept of imagination in biographia literariaDayamani Surya
Coleridge's Biographia Literaria discusses his concepts of imagination and fancy. He divides the mind into two faculties: primary imagination, which is a creative power that mimics the divine principle of creation; and secondary imagination, which relies on the will to recreate primary imagination. Coleridge coined the term "esemplastic" to describe imagination's ability to shape multiple ideas into a unified whole. In contrast, fancy is a mechanical, passive faculty that accumulates facts but cannot create anything new. Coleridge viewed imagination as the primary creative force in writing.
This document discusses the characteristics of metaphysical poetry. It defines metaphysical poetry as highly intellectual poetry marked by ingenious comparisons, complex imagery, and subtle thought expressed through paradox. John Donne is cited as the founder of metaphysical poetry in the early 17th century. Major metaphysical poets included Donne, Herbert, Marvell, and Cowley. Characteristics highlighted include a conscious departure from previous styles, a dramatic tone, displays of scholarship, use of satire/irony, witty comparisons, and themes of platonic love.
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.
The document provides an analysis of T.S. Eliot's modernist poem "The Waste Land" in 3 parts:
1. It summarizes the poem's structure consisting of 5 sections that use collages of images and allusions to myths.
2. It analyzes major themes of spiritual/cultural malaise in the modern world and the universality of the themes of life/death.
3. It discusses how characters like Tiresias and the use of mythical techniques give unity and provide cultural context for the poem's fragmented images.
This document summarizes William Wordsworth's preface to Lyrical Ballads published in 1800. It provides background on Wordsworth and his collaboration with Samuel Taylor Coleridge on Lyrical Ballads in 1798. The preface laid out Wordsworth's theory that poetry should be written using ordinary language to describe common sights and sounds and everyday experiences to arouse feelings of tranquility and pleasure in the reader. Wordsworth believed poetry originated from emotions recollected later and the poet acts as an interpreter of those feelings and nature for readers. The document outlines some of Wordsworth's most famous poems and ideas around the role of imagination and poetry's relationship to nature from the preface.
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.
This document summarizes I.A. Richards' views on figurative language in poetry. Richards advocated for close textual analysis of poetry to understand the four types of meanings conveyed - sense, feeling, tone, and intention. He distinguished the scientific versus emotive uses of language. Richards also discussed misunderstandings that can occur from over-literal readings or defective scholarship. The document provides examples of sense and emotive metaphors, as well as similes, and notes that figurative language can be difficult to understand but enhances the enjoyment of poetry.
Elizabethan Drama Presented by Nusrat Jahan Mim Monir Hossen
This document provides an overview of a presentation on Elizabethan drama. It introduces the presenter, Monir Hossen, and the student presenting, Nusrat Zahan Mim. The presentation covers the development of drama during the Elizabethan era, including miracle plays, the contributions of early dramatists like Marlowe and the University Wits, and genres like tragedy and comedy. It also highlights William Shakespeare as the greatest English dramatist of the period and discusses some of his most famous works.
John Dryden was an influential English poet, playwright and critic in the 17th century. As a critic, he wrote An Essay of Dramatic Poesy in 1668 to discuss issues in English drama. In the essay, Dryden argues through a dialogue between four characters with different positions on topics like the ancients vs moderns, the unities, French vs English drama, and the appropriateness of rhyme in plays. Though he favors modern English plays, Dryden does not disparage the ancients. He also favors English drama over French drama and compares Shakespeare favorably to Jonson.
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).
William Wordsworth and S.T. Coleridge published "The Lyrical Ballads" together in 1798. Wordsworth introduced the concept of poetry as the "spontaneous overflow of powerful feelings" in his preface to the collection. He argued that poetry should be written in simple language that describes common life and nature. This was in contrast to the ornate language used by 18th century neoclassical poets. Wordsworth believed poetry should express universal truths about human nature and originate from profound emotions recollected through contemplation. His preface outlined a theory of poetic language that favored simplicity over artificial conventions.
The document summarizes Alexander Pope's poem "The Rape of the Lock" in 3 sentences:
The poem satirizes a real incident where a Lord cuts a lock of hair from a woman named Belinda's head without her permission. It is written as a mock epic in five cantos using rhymed iambic pentameter and deals with the vanities of humankind in a trivial situation. The summary outlines the plot, which involves Belinda getting ready for a card game, a fight over the stolen lock breaking out, and the lock ultimately becoming a star or constellation.
Aristotle was a Greek philosopher who established his own school called the Lyceum in Athens. He wrote extensively on many topics, including physics, metaphysics, ethics, politics, and poetics. In poetics, Aristotle analyzed Greek drama and defined tragedy as serious drama with a tragic hero who has a tragic flaw leading to their downfall. He also analyzed comedy and epic poetry. Greek and Sanskrit theaters developed classical forms like tragedy, comedy, and drama influenced by Aristotle's concepts of art as imitation and the tragic hero. Major plays and playwrights established conventions in each tradition.
This document outlines Aristotle's Poetics, which analyzes different genres of poetry such as tragedy and comedy. It discusses Aristotle's views on various elements of poetry including imitation, plot structure, character, thought, diction, song, and spectacle. The key parts of tragedy according to Aristotle are the plot, character, thought, diction, song, and spectacle. He saw tragedy as superior to comedy and traced the roots of comedy to satire.
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
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
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.
The document provides an overview of the Theatre of the Absurd and Samuel Beckett's play Waiting for Godot. It explains that Theatre of the Absurd explores the absurdity of existence in a godless universe where life has no purpose or meaning. Waiting for Godot follows two homeless men, Vladimir and Estragon, who pass the time waiting endlessly and in vain for someone named Godot to arrive. Their dialogue shows how they try to maintain their friendship and identity through memory and conversation to avoid confronting the meaninglessness of their existence.
Literary Theory and Criticism
By Belachew Weldegebriel
Jimma University
College of Social Sciences and Humanities
Department of English Language and Literature
Plot of Oedipus Rex is best tragic plot according to Aristotlefatimanoor212
Oedipus Rex fulfills Aristotle's definition of a tragedy. It has a complex plot with reversal, recognition, and change of fortune that leads to catharsis. The plot follows Aristotle's rules of unity of action, time, and space. Oedipus is a tragic hero with a tragic flaw that leads to his downfall. His investigation into the murder of Laius results in the discovery that he unknowingly killed his father and married his mother. This discovery drives him to blind himself and leave the city in misery.
The document defines epics as long narrative poems about heroic deeds and actions of great people. Characteristics include divine intervention, supernatural forces, and heroes embodying societal values. Mock-epics parody epics through trivial themes and mocking stereotypes. In the 18th century, mock-epics exposed societal follies and moral corruption. The Rape of the Lock follows epic conventions like invoking a muse but for trivial themes, making petty things more ridiculous through contrast with great things. It is considered a successful example of mock-heroic style.
The concept of imagination in biographia literariaDayamani Surya
Coleridge's Biographia Literaria discusses his concepts of imagination and fancy. He divides the mind into two faculties: primary imagination, which is a creative power that mimics the divine principle of creation; and secondary imagination, which relies on the will to recreate primary imagination. Coleridge coined the term "esemplastic" to describe imagination's ability to shape multiple ideas into a unified whole. In contrast, fancy is a mechanical, passive faculty that accumulates facts but cannot create anything new. Coleridge viewed imagination as the primary creative force in writing.
This document discusses the characteristics of metaphysical poetry. It defines metaphysical poetry as highly intellectual poetry marked by ingenious comparisons, complex imagery, and subtle thought expressed through paradox. John Donne is cited as the founder of metaphysical poetry in the early 17th century. Major metaphysical poets included Donne, Herbert, Marvell, and Cowley. Characteristics highlighted include a conscious departure from previous styles, a dramatic tone, displays of scholarship, use of satire/irony, witty comparisons, and themes of platonic love.
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.
The document provides an analysis of T.S. Eliot's modernist poem "The Waste Land" in 3 parts:
1. It summarizes the poem's structure consisting of 5 sections that use collages of images and allusions to myths.
2. It analyzes major themes of spiritual/cultural malaise in the modern world and the universality of the themes of life/death.
3. It discusses how characters like Tiresias and the use of mythical techniques give unity and provide cultural context for the poem's fragmented images.
This document summarizes William Wordsworth's preface to Lyrical Ballads published in 1800. It provides background on Wordsworth and his collaboration with Samuel Taylor Coleridge on Lyrical Ballads in 1798. The preface laid out Wordsworth's theory that poetry should be written using ordinary language to describe common sights and sounds and everyday experiences to arouse feelings of tranquility and pleasure in the reader. Wordsworth believed poetry originated from emotions recollected later and the poet acts as an interpreter of those feelings and nature for readers. The document outlines some of Wordsworth's most famous poems and ideas around the role of imagination and poetry's relationship to nature from the preface.
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.
This document summarizes I.A. Richards' views on figurative language in poetry. Richards advocated for close textual analysis of poetry to understand the four types of meanings conveyed - sense, feeling, tone, and intention. He distinguished the scientific versus emotive uses of language. Richards also discussed misunderstandings that can occur from over-literal readings or defective scholarship. The document provides examples of sense and emotive metaphors, as well as similes, and notes that figurative language can be difficult to understand but enhances the enjoyment of poetry.
Elizabethan Drama Presented by Nusrat Jahan Mim Monir Hossen
This document provides an overview of a presentation on Elizabethan drama. It introduces the presenter, Monir Hossen, and the student presenting, Nusrat Zahan Mim. The presentation covers the development of drama during the Elizabethan era, including miracle plays, the contributions of early dramatists like Marlowe and the University Wits, and genres like tragedy and comedy. It also highlights William Shakespeare as the greatest English dramatist of the period and discusses some of his most famous works.
John Dryden was an influential English poet, playwright and critic in the 17th century. As a critic, he wrote An Essay of Dramatic Poesy in 1668 to discuss issues in English drama. In the essay, Dryden argues through a dialogue between four characters with different positions on topics like the ancients vs moderns, the unities, French vs English drama, and the appropriateness of rhyme in plays. Though he favors modern English plays, Dryden does not disparage the ancients. He also favors English drama over French drama and compares Shakespeare favorably to Jonson.
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).
William Wordsworth and S.T. Coleridge published "The Lyrical Ballads" together in 1798. Wordsworth introduced the concept of poetry as the "spontaneous overflow of powerful feelings" in his preface to the collection. He argued that poetry should be written in simple language that describes common life and nature. This was in contrast to the ornate language used by 18th century neoclassical poets. Wordsworth believed poetry should express universal truths about human nature and originate from profound emotions recollected through contemplation. His preface outlined a theory of poetic language that favored simplicity over artificial conventions.
The document summarizes Alexander Pope's poem "The Rape of the Lock" in 3 sentences:
The poem satirizes a real incident where a Lord cuts a lock of hair from a woman named Belinda's head without her permission. It is written as a mock epic in five cantos using rhymed iambic pentameter and deals with the vanities of humankind in a trivial situation. The summary outlines the plot, which involves Belinda getting ready for a card game, a fight over the stolen lock breaking out, and the lock ultimately becoming a star or constellation.
Aristotle was a Greek philosopher who established his own school called the Lyceum in Athens. He wrote extensively on many topics, including physics, metaphysics, ethics, politics, and poetics. In poetics, Aristotle analyzed Greek drama and defined tragedy as serious drama with a tragic hero who has a tragic flaw leading to their downfall. He also analyzed comedy and epic poetry. Greek and Sanskrit theaters developed classical forms like tragedy, comedy, and drama influenced by Aristotle's concepts of art as imitation and the tragic hero. Major plays and playwrights established conventions in each tradition.
This document outlines Aristotle's Poetics, which analyzes different genres of poetry such as tragedy and comedy. It discusses Aristotle's views on various elements of poetry including imitation, plot structure, character, thought, diction, song, and spectacle. The key parts of tragedy according to Aristotle are the plot, character, thought, diction, song, and spectacle. He saw tragedy as superior to comedy and traced the roots of comedy to satire.
This document outlines Aristotle's Poetics, which analyzes different genres of poetry such as tragedy and comedy. It discusses Aristotle's views on various elements of poetry including imitation, plot structure, character, thought, diction, melody, and spectacle. The key parts of tragedy Aristotle identifies are the plot, character, thought, diction, melody, and spectacle. He sees tragedy as superior to comedy and traces the roots of comedy to satire.
Aristotle was a Greek philosopher from the 4th century BC who made seminal contributions to many fields including metaphysics, logic, ethics, politics, and literary criticism. He wrote Poetics, considered the first work of literary theory, which analyzed Greek tragedy and established principles for understanding dramatic art. In Poetics, Aristotle defines tragedy as an imitation of action that arouses pity and fear through catharsis. He identifies six elements of tragedy - plot, character, diction, thought, melody, and spectacle - and describes how they work together to achieve the desired emotional effect. Aristotle's analysis of tragedy set the standard for dramatic criticism for centuries.
Greek drama originated from religious ceremonies honoring Dionysus, the god of wine. Over time, performances evolved from a single speaker and chorus to include multiple characters. The earliest dramas were called dithyrambs, songs and chants performed at Dionysian festivals. Major playwrights like Aeschylus, Sophocles, and Euripides competed annually with their tragedies at Athens' Festival of Dionysus. Tragedies dealt with profound themes and featured a tragic hero with a fatal flaw. Comedies and satyr plays were also performed. The theater of Dionysus in Athens could seat over 17,000 people and featured an orchestra for the chorus and masked actors.
Northrop Frye's Archetype of Literature.pptDilip Barad
This document provides an overview of Northrop Frye's theory of archetypes in literary criticism. It discusses how archetypes are recurring narrative patterns, characters, themes and images found across different works of literature as well as myths and dreams. Frye defined archetypes as symbols, usually images, that frequently recur in literature and can be recognized as elements of the overall literary experience. He developed a system mapping four genres of literature (comedy, romance, tragedy, satire) onto four seasons, with each having six recurring phases. The document gives examples to illustrate Frye's archetypes from films and literature. It explains how his theory provides a framework for understanding common patterns in diverse 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.
The document provides background information on Greek theater. It describes the Theater of Dionysus in Athens, including its semicircular design and stone seating. It details how plays featured masks, costumes and a chorus that sang and danced. Over time, innovations like additional actors and painted sets were introduced. Plays were part of religious festivals and judged in competitions. The document also provides biographical details about Sophocles and discusses Aristotle's view of tragedy involving a flawed tragic hero. Key literary terms related to Greek theater are defined.
This document provides an overview of theatrical genres throughout history. It begins by discussing the cultural contexts that influence genre and defines some key genres like comedy and tragedy. It then examines specific genres in more depth, including ancient Greek and Roman tragedy, medieval religious drama, Shakespearean tragedy, and modern absurdist works. The document traces how genres have evolved over time and been adapted to different cultures while still embodying universal human themes. It also explores how genres serve social functions like teaching moral lessons or providing comic relief.
The document discusses the history of theater from ancient Greece to the Renaissance period. It describes that theater originated as a collaborative live performance for an audience, with two main types of Greek plays being tragedies featuring a character's downfall and comedies featuring light episodes. During the Medieval period, the Catholic Church only allowed liturgical dramas based on Bible stories, along with morality plays portraying Christian teachings. Renaissance theater was more humanistic and adapted forms from ancient cultures like comedies, tragedies, pastoral plays, and masques for nobility.
The document provides an overview of Greek drama, discussing the three main types (comedy, tragedy, satyr plays), elements like hubris, fate, irony and catharsis, and the works of major dramatists like Aeschylus, Sophocles, and Euripides. It also describes Sophocles' Theban plays, including backgrounds on Oedipus Rex, Oedipus at Colonus, and Antigone.
Classical Greek drama originated as religious rituals honoring Dionysus, the god of wine. Over centuries, harvest dances evolved into theatrical productions featuring choruses and actors. The great playwrights Aeschylus, Sophocles, Euripides, and Aristophanes emerged in 5th century BC Athens, perfecting the genres of tragedy and comedy. Their plays were performed in large outdoor theaters and told mythological stories to explore human ethics and destiny through characters like tragic heroes who defy the gods and fate.
The document discusses Aristotle's theory of tragedy from his work Poetics. It outlines the six key aspects of Greek tragedy according to Aristotle: catharsis, hamartia, universality, artful diction, unity of action, and spectacle. For each aspect, the document provides explanations and examples from Greek tragedies like Oedipus Rex to illustrate Aristotle's concepts. It also discusses how these tragic elements can be connected to elements of contemporary culture.
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.
Drama is a story enacted on stage for a live audience. It involves the imitation of actions through speech and symbols to portray life. Drama deals with human emotions and experiences and requires spectators. It is a collaborative art form that influences how dramatic texts are structured differently from other literature due to its collective production and reception. Drama has been considered a genre of poetry since Aristotle contrasted it with epic and lyrical modes, with the purpose of either delighting or instructing audiences.
Drama originated in ancient Greece between 600-200 BC and was associated with religious festivals. The Greeks produced tragedies and comedies. Drama was then adopted by the Romans and spread throughout Europe and the Mediterranean world. During the Middle Ages, religious plays became popular ways to teach Christianity. The Renaissance saw a rebirth of Greek and Roman plays and the development of new secular dramas, particularly in Elizabethan England with playwrights like Shakespeare and Marlowe.
Greek dramas were religious plays performed in festivals honoring Dionysus in outdoor theaters. Common themes included myths and family curses passed down through generations, as depicted in Sophocles' Theban plays about Oedipus. The plays featured masked actors, choruses that commented on themes, and tragedies focused on the psychological and ethical attributes that led characters to their downfall through hamartia and hubris.
Here are the key details Benvolio provides about Romeo that give an impression of his character:
- He is lovesick and silent, having recently been rejected by a girl he was pursuing
- He is depressed and refuses to talk about what's troubling him
- He spends his time alone, sighing and grieving rather than joining in social activities with his friends
This paints Romeo as melancholy, moody, and privately pining after a lost love rather than engaging with others. He seems deeply affected by rejection and heartbroken.
2. How does Romeo's character develop over the course of the play? What do we learn about him through his interactions with other characters like Juliet?
This document provides an overview of the history and elements of drama. It begins with ancient Greek and Roman drama, then discusses medieval religious dramas. The Renaissance and Elizabethan eras brought new conventions like soliloquies and asides. Neoclassical drama became more refined. Victorian drama aimed for realism without music. Modern drama experiments with forms and includes multimedia. Philippine drama was influenced by Spanish and American colonizers. The document also defines elements of drama like characters, plot, dialogue and discusses genres like tragedy and comedy.
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Insight: In a landscape where traditional narrative structures are giving way to fragmented and non-linear forms of storytelling, there lies immense potential for creativity and exploration.
'Collapsing Narratives: Exploring Non-Linearity' is a micro report from Rosie Wells.
Rosie Wells is an Arts & Cultural Strategist uniquely positioned at the intersection of grassroots and mainstream storytelling.
Their work is focused on developing meaningful and lasting connections that can drive social change.
Please download this presentation to enjoy the hyperlinks!
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Carrer goals.pptx and their importance in real lifeartemacademy2
Career goals serve as a roadmap for individuals, guiding them toward achieving long-term professional aspirations and personal fulfillment. Establishing clear career goals enables professionals to focus their efforts on developing specific skills, gaining relevant experience, and making strategic decisions that align with their desired career trajectory. By setting both short-term and long-term objectives, individuals can systematically track their progress, make necessary adjustments, and stay motivated. Short-term goals often include acquiring new qualifications, mastering particular competencies, or securing a specific role, while long-term goals might encompass reaching executive positions, becoming industry experts, or launching entrepreneurial ventures.
Moreover, having well-defined career goals fosters a sense of purpose and direction, enhancing job satisfaction and overall productivity. It encourages continuous learning and adaptation, as professionals remain attuned to industry trends and evolving job market demands. Career goals also facilitate better time management and resource allocation, as individuals prioritize tasks and opportunities that advance their professional growth. In addition, articulating career goals can aid in networking and mentorship, as it allows individuals to communicate their aspirations clearly to potential mentors, colleagues, and employers, thereby opening doors to valuable guidance and support. Ultimately, career goals are integral to personal and professional development, driving individuals toward sustained success and fulfillment in their chosen fields.
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Presentation slides from XP2024 conference, Bolzano IT. The slides describe a new view to leadership and combines it with anthro-complexity (aka cynefin).
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This is a workshop about communication and collaboration. We will experience how we can analyze the reasons for resistance to change (exercise 1) and practice how to improve our conversation style and be more in control and effective in the way we communicate (exercise 2).
This session will use Dave Gray’s Empathy Mapping, Argyris’ Ladder of Inference and The Four Rs from Agile Conversations (Squirrel and Fredrick).
Abstract:
Let’s talk about powerful conversations! We all know how to lead a constructive conversation, right? Then why is it so difficult to have those conversations with people at work, especially those in powerful positions that show resistance to change?
Learning to control and direct conversations takes understanding and practice.
We can combine our innate empathy with our analytical skills to gain a deeper understanding of complex situations at work. Join this session to learn how to prepare for difficult conversations and how to improve our agile conversations in order to be more influential without power. We will use Dave Gray’s Empathy Mapping, Argyris’ Ladder of Inference and The Four Rs from Agile Conversations (Squirrel and Fredrick).
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Come learn more on how to become a real influencer!
2. About the AuthorAbout the Author
• Aristotle (384 BC at Stagirus – 322 BC atAristotle (384 BC at Stagirus – 322 BC at
Chalcis)Chalcis)
• S/O. Nichomachus, Court Physician to theS/O. Nichomachus, Court Physician to the
Macedonian KingMacedonian King
• Sent to Athens (age 17) for Higher Studies –Sent to Athens (age 17) for Higher Studies –
joined Plato’s Academyjoined Plato’s Academy
• Master of diverse disciplines (biology,Master of diverse disciplines (biology,
Politics, Metaphysics, agriculture, literature,Politics, Metaphysics, agriculture, literature,
botany, medicine, mathematics, ethics, logic,botany, medicine, mathematics, ethics, logic,
drama and theatre….drama and theatre….
22
3. • Athens: 347BCE as the apprentice of Plato, andAthens: 347BCE as the apprentice of Plato, and
left Athens when Plato’s nephew was chosen as theleft Athens when Plato’s nephew was chosen as the
successor at the death of Platosuccessor at the death of Plato
• Macedonia: 343/335BCE the tutor of Alexander theMacedonia: 343/335BCE the tutor of Alexander the
Great returned to Athens when the latter becameGreat returned to Athens when the latter became
the Kingthe King
• Lyceum (Athens): 323BCE established his ownLyceum (Athens): 323BCE established his own
school: Lyceum; peripotetics (to walk about) againstschool: Lyceum; peripotetics (to walk about) against
Platonic SchoolPlatonic School
• Lectures: Humanities and Advanced Studies. At theLectures: Humanities and Advanced Studies. At the
death of Alexander, Pro-Macedonian Govt. in Athensdeath of Alexander, Pro-Macedonian Govt. in Athens
was overthrown, and a general reaction occurredwas overthrown, and a general reaction occurred
against anything Macedonian.against anything Macedonian.
• Chalcis 322BCE “to prevent the Athenians fromChalcis 322BCE “to prevent the Athenians from
sinning twice against philosophy”sinning twice against philosophy”
3
4. Introduction
• The Poetics is chiefly concerned with TragedyThe Poetics is chiefly concerned with Tragedy
which is regarded as the highest poetic form.which is regarded as the highest poetic form.
• Epic, Poetry, Drama (Tragedy and Comedy),Epic, Poetry, Drama (Tragedy and Comedy),
Dithyrambic (Lyric Poetry), Music and all such fineDithyrambic (Lyric Poetry), Music and all such fine
arts and liberal arts are viewed as a whole, as effectarts and liberal arts are viewed as a whole, as effect
of imitationof imitation
• Poetics is a short treatise on Dramaturgy andPoetics is a short treatise on Dramaturgy and
Theatricals of 26 chaptersTheatricals of 26 chapters
• Classified into 6 parts (1 – 5, 6 – 19, 20 – 22, 23,Classified into 6 parts (1 – 5, 6 – 19, 20 – 22, 23,
24 & 26, 25)24 & 26, 25)
4
5. 5
Chapter Subject
11 Theory of ImitationTheory of Imitation
22 Objects of Imitation: Tragedy andObjects of Imitation: Tragedy and
ComedyComedy
33
Manner of Imitation: Epic andManner of Imitation: Epic and
TragedyTragedy
44 Origin and Development of PoetryOrigin and Development of Poetry
6. 6
5 Definition of the Ridiculous: Epic and Tragedy
6 Definition of Tragedy: Its formative parts
7 and 8
Plot Construction ; Unity of Plot
9 The nature of Poetic Truth: Poetry and History
10 Kinds of Plot: Simple and Complex
11 Peripery, Anagnorisis, and Suffering
12 Quantitative Parts of Tragedy
7. 7
13 The Structure of a Perfect Tragedy: Ideal Tragic Hero
14 Comparative Study of Spectacle and Plot as Source of Tragic
Emotions
15 and 16 Character and its Four Essentials; Recognition: Its Kinds
17 and 18 Some Practical Rules for the Guidance of Poets and Dramatists:
Kinds of Tragedy
19 Thought in Tragedy
8. 8
20 to 22 Diction and Style: Clear but not mean; Metaphor
23 to 26 Epic Vs. Tragedy
25 Poetry: Objections of Critics and Aristotle’s Defense
9. imitationimitation
• Imitation is natural to man fromImitation is natural to man from
childhoodchildhood
““either by a difference of kind in theireither by a difference of kind in their
means (of imitation) or by differencesmeans (of imitation) or by differences
in the objects (of imitation) or in thein the objects (of imitation) or in the
manner of their imitationmanner of their imitation
99
10. MeansMeans
The medium, the vehicle or the materialThe medium, the vehicle or the material
through which the artist imitatesthrough which the artist imitates
Kinds of means: form, color, SoundKinds of means: form, color, Sound
(melody, rhythm, language, harmony)(melody, rhythm, language, harmony)
1010
11. Objects (Tragedy and comedy)Objects (Tragedy and comedy)
• The imitator represents actions.The imitator represents actions.
• Since the objects of imitation areSince the objects of imitation are men inmen in
actionaction, and these men must be either of a, and these men must be either of a
higher or a lower typehigher or a lower type
• The character should be either good orThe character should be either good or
bad. Since the line between virtue and vicebad. Since the line between virtue and vice
is one dividing the whole of mankind.is one dividing the whole of mankind.
1111
12. MannersManners (Epic and(Epic and
Tragedy)Tragedy)
simple narration (The dithyramb)simple narration (The dithyramb)
the poet everywhere appears andthe poet everywhere appears and
never conceals himselfnever conceals himself
imitationimitation ((The tragedy and comedyThe tragedy and comedy ))
he assimilation of himself to another,he assimilation of himself to another,
either by the use of voice or gestureeither by the use of voice or gesture
a union of the two (The epic, othera union of the two (The epic, other
styles of poetrystyles of poetry ))
1212
13. Imitation,Imitation,
then, is one instinct of ourthen, is one instinct of our
nature.nature.
• Next, there is the instinct for 'harmony'Next, there is the instinct for 'harmony'
and rhythm, meters being manifestlyand rhythm, meters being manifestly
sections of rhythm.sections of rhythm.
• Persons, therefore, starting with thisPersons, therefore, starting with this
natural gift developed by degrees theirnatural gift developed by degrees their
special aptitudes, till their rudespecial aptitudes, till their rude
improvisations gave birth to Poetry.improvisations gave birth to Poetry.
13
14. Origin of Poetry
• Four human instincts: The natural humanFour human instincts: The natural human
instinct to imitate thingsinstinct to imitate things
• The natural pleasure we get from a goodThe natural pleasure we get from a good
work of imitationwork of imitation
• Learning to knowing, something newLearning to knowing, something new
• Our instinctive pleasure in harmony andOur instinctive pleasure in harmony and
rhythmrhythm 14
15. Development of PoetryDevelopment of Poetry
• Heroic and Iambic PoetryHeroic and Iambic Poetry
• Homer’s Margites (Comedy or Ridiculous –Homer’s Margites (Comedy or Ridiculous –
comic epic)comic epic)
• Homer’s Iliad and Odessye or Tragedy –Homer’s Iliad and Odessye or Tragedy –
Serious epic)Serious epic)
• Iamps – ComedyIamps – Comedy
• Epic – TragedyEpic – Tragedy 1515
16. Limitations…
16
EpicEpic TragedyTragedy
NarrativeNarrative DramaticDramatic
Uses single Metre ‘the heroic’Uses single Metre ‘the heroic’ Uses different metres inUses different metres in
different parts (Verse fordifferent parts (Verse for
dialogue, Songs for chorus)dialogue, Songs for chorus)
Not limited by time, place orNot limited by time, place or
actionaction
Have to follow three unities,Have to follow three unities,
Tragedy should be within aTragedy should be within a
single circuit of the sunsingle circuit of the sun
All those parts of an epic are
included in Tragedy
but those of Tragedy are not
all of them to be found in the
Epic.
17. Comedy
Representation of Characters of a lower type or
worse (but not necessarily be morally bad)
It is the a species of the ugly but does not cause
any pain or harm to others; rather, provokes
laughter
17
18. • Aristotle defines: Tragedy is theAristotle defines: Tragedy is the
imitation of an action, serious,imitation of an action, serious,
complete, / and of a certaincomplete, / and of a certain
magnitude, in language embellishedmagnitude, in language embellished
with each kind of artistic ornament, /with each kind of artistic ornament, /
the several kinds being found inthe several kinds being found in
separate parts of the play in the formseparate parts of the play in the form
of action, not of narration, / throughof action, not of narration, / through
pity and fear effecting the properpity and fear effecting the proper
purgation.purgation.
1818
19. Six Formative Parts
• Plot or piece of lifePlot or piece of life
• Characters or dramatis PersonaeCharacters or dramatis Personae
• Thoughts (situation)Thoughts (situation)
• Dialogue (diction)Dialogue (diction)
• Song (chorus)Song (chorus)
• SpectacleSpectacle
19
20. Plot Construction
• Beginning must be self-explanatoryBeginning must be self-explanatory
• Must not provoke audience to ask ‘Why’Must not provoke audience to ask ‘Why’
and ‘how’and ‘how’
• No knowledge of antecedentNo knowledge of antecedent
circumstances should be necessary forcircumstances should be necessary for
understandingunderstanding
• Middle must follow naturally andMiddle must follow naturally and
inevitably upon the beginning and logicallyinevitably upon the beginning and logically
lead to the end or catastrophelead to the end or catastrophe
20
21. Contd…
• Formal unity cannot be imparted to the plotFormal unity cannot be imparted to the plot
merely by the story of a single hero’s life.merely by the story of a single hero’s life.
Infinitely varied things may happen to theInfinitely varied things may happen to the
hero, the dramatist must make a properhero, the dramatist must make a proper
selection out of these numerous incidentsselection out of these numerous incidents
and introduce all of them.and introduce all of them.
• Plots are either simple (Change in the hero’sPlots are either simple (Change in the hero’s
fortunes takes place without peripety orfortunes takes place without peripety or
discovery) or complex (when it involves onediscovery) or complex (when it involves one
or the other or both)or the other or both)
21
22. Contd…
• Formative elements: Peripety, anagnorisisFormative elements: Peripety, anagnorisis
(discovery), and suffering(discovery), and suffering
• Quantitative Parts of Tragedy: Prologue, Episode,Quantitative Parts of Tragedy: Prologue, Episode,
Exode (farcical), choric Song (divided into Parode orExode (farcical), choric Song (divided into Parode or
entry song, Stasimon or choric ode and Commos orentry song, Stasimon or choric ode and Commos or
interval)interval)
• It is only such organic unity of action whichIt is only such organic unity of action which
Aristotle considers essential; he has not much toAristotle considers essential; he has not much to
say about the so-called unities of Time and Placesay about the so-called unities of Time and Place
which were derived from him by later criticswhich were derived from him by later critics
22
23. Ideal Tragic Hero
• Not a perfectly good man who passes from happinessNot a perfectly good man who passes from happiness
to miseryto misery
• Not an extremely bad man who falls from happinessNot an extremely bad man who falls from happiness
to miseryto misery
• Not an average manNot an average man
• A good man but with ordinary human weaknessesA good man but with ordinary human weaknesses
and frailties (hamartia)and frailties (hamartia)
• A man who enjoys prosperity, name and fame; highlyA man who enjoys prosperity, name and fame; highly
placed in society, belong to some noble family, andplaced in society, belong to some noble family, and
loses everything because of a ‘trivial mistake’ that heloses everything because of a ‘trivial mistake’ that he
commits.commits.
23
24. Contd…
• Likeness
• Appropriateness
• True to life
• Consistent
• The actions of the character must be necessary
and probable outcome of his nature
24
25. Thoughts – Diction – Song
• The thought is expressed through their
speeches and dialogues.
• Thought: Proof of refutation, production of
emotional effects, indications of the
importance of anything
• Diction is the medium of language or
expression through which the characters
reveal their thoughts and feelings.
• The diction should be ‘embellished with
each kind of artistic element’. The song is
one of these embellishments.
25
26. Contd…
• To put the actual scenes as far as possible beforeTo put the actual scenes as far as possible before
his eyes.his eyes.
• The poet or dramatist should even act his storyThe poet or dramatist should even act his story
with the very gestures of his personagewith the very gestures of his personage
• The story, whether already made or of his ownThe story, whether already made or of his own
making, he should first simplify and reduce to amaking, he should first simplify and reduce to a
universal form, before proceeding to lengthen ituniversal form, before proceeding to lengthen it
out by the insertion of episodes….out by the insertion of episodes….
• After the proper names have been fixed as a basisAfter the proper names have been fixed as a basis
for the story, is to work in episodes arefor the story, is to work in episodes are
appropriate, like the fit of madness in Orestes,appropriate, like the fit of madness in Orestes,
which led to his arrest, and the purifying, whichwhich led to his arrest, and the purifying, which
brought his salvationbrought his salvation
26
27. Spectacle
• The tragic fear and pity may be evoked by theThe tragic fear and pity may be evoked by the
spectaclespectacle
• The decoration of the stage is the major part of theThe decoration of the stage is the major part of the
spectacle.spectacle.
• Aroused by the theatrical effect presented on theAroused by the theatrical effect presented on the
stage.stage.
• It also includes scenes of physical torture, loudIt also includes scenes of physical torture, loud
lamentations, dances, colourful garments of thelamentations, dances, colourful garments of the
main characters, and the beggarly or jocularmain characters, and the beggarly or jocular
appearance of the subordinate characters or of theappearance of the subordinate characters or of the
fool on the stage.fool on the stage.
27
28. Miscellaneous
• Ideal plot must have a single issue – depict the
misfortunes of the hero
• Tragedy with double issue – Rewarding the virtues
and Punishing the vices.
• Every tragedy is in part complication and in part
denouement
• Complications can be resolved and proper
denouement could be achieved by recognition
• Recognition: brought by signs and marks (birth,
scars, or things such as bangle, necklace, dress etc.),
manipulatively created by the dramatist, memory
(remembering the past incident and recognizing the
present problem)
28
29. Contd…
• The discovery may arise from false reasoningThe discovery may arise from false reasoning
on the side of the other partyon the side of the other party
• Best and the most artistic kind of discoveryBest and the most artistic kind of discovery
is the one which grows out of the actionis the one which grows out of the action
itselfitself
• Thought and diction should be rhetorical asThought and diction should be rhetorical as
well as poetic.well as poetic.
29
30. Contd…
• Kinds of Tragedy: Complex (with reversals),
Suffering (Painful events, deaths etc),
spectacle (depends upon sensational
effects produced by actors, costume, stage
props, and other mechanical and artificial
devices) and Character (Aristotle regards it
as an inferior kind)
• Diction: the Letter, the Syllable, the
conjunctio, the article, the noun, the verb,
the case, and the speech, words (simple,
double, pun, metaphor, ornamental, etc. 30
31. Poetry: Objections and answers
ChargesCharges AnswersAnswers
ImpossibilityImpossibility Poetic TruthPoetic Truth
IrrationalityIrrationality Poetic licensePoetic license
ImmoralityImmorality
Ex. Killing is immoral;Ex. Killing is immoral;
but killing an assasinbut killing an assasin
in order to preventin order to prevent
him from killing ahim from killing a
good person is moralgood person is moral
31
32. Contd…
Lack of Correctness:
Poets use strange words
or metaphors
Use devices of their own
will
Not using them in
accordance with the
classical norms
Use ambiguous language
It can be resolved by
changing the accent
Syntax may be difficult but
changing the punctuation
will help
Adds aesthetic beauty
Contradiction Consider the alternatives
32
33. Compare: Epic and Tragedy
• Epic does not rely on spectacle–visually appealing
sets, dance, the antics of the actors–to convey its
message to its audience. In a sense, this argument
accuses tragedy of "dumbing-down" its message to
reach a wider, "popular" audience.
• Tragedy contains all the elements of the epic, but
manages to present its story in a much shorter span
of time and with a greater degree of unity. The
concentration of the tragic plot heightens its impact
on the audience.
33
34. Conclusion
• Different genres produce different kinds ofDifferent genres produce different kinds of
pleasurepleasure
• The pleasure of the epic lies in its episodic,The pleasure of the epic lies in its episodic,
diverting story, while the more intense–anddiverting story, while the more intense–and
"higher" in terms of social value"higher" in terms of social value
• The pleasure produced by the tragedy liesThe pleasure produced by the tragedy lies
in cathartic effect , the mysterious purging"in cathartic effect , the mysterious purging"
of our emotions of pity and fear andof our emotions of pity and fear and
humanising mankindhumanising mankind
34