Literary theory and criticism
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Aristotle defined tragedy as an imitation of a serious action that is complete in itself, uses embellished language, and causes catharsis through pity and fear. Dryden defined play as a just and lively representation of human nature, passions, and changes in fortune that delights and instructs mankind. Some key differences are that Aristotle focused on tragedy being serious and ideal, while Dryden focused on plays being a realistic portrayal of human nature for delight. Both aimed to provide human delight, though they conceptualized it differently.
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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.
Aristotle's definition of tragedy
The document discusses Aristotle's definition of tragedy. It notes that Aristotle was a philosopher who analyzed tragic dramas and his definition of tragedy as "the imitation of an action that is serious and also, as having magnitude, complete in itself; in appropriate and pleasurable language; in a dramatic rather than narrative form; with incidents arousing pity and fear, wherewith to accomplish a catharsis of these emotions" became a guideline for later playwrights. The definition is then broken down and explained further.
the modernist literature study
This document contains information about a student named Praful Ghareniya who is submitting a paper on Samuel Beckett's play "Waiting for Godot" for their MA semester 3 course. It provides background on Beckett and defines the theater of the absurd as featuring meaningless plots, existential themes, and puzzling dialogue. It analyzes key elements of the theater of the absurd like lack of plot, repetition, meaningless language, and absurd endings. Symbols in "Waiting for Godot" and how the play reflects the mechanized and isolated nature of post-WWII society are also discussed.
Aristotle and Dryden's defination .pptx
This document compares Aristotle and Dryden's definitions of tragedy and play. Aristotle defines tragedy as an imitation of an elevated, complete action that uses language and enactment to accomplish a catharsis of pity and fear through its plot, character, thought, diction, melody and spectacle. Dryden defines play as a just and lively image of human nature representing its passions, humors and changes in fortune for instruction and delight. The key difference is Dryden focuses on passions and humors revealed through action, while Aristotle's observation aligns more with Greek dramas where character is in the background of the action.
Six parts of tragedy
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.
Natyasastra: Dramatic Mode in light of the Western Concept of Drama
This document provides an overview of the conceptual differences between Western/Aristotelian drama and Indian drama as described in Bharata's Natyasastra.
[1] Western drama focuses on action and human psychology, following Aristotle's emphasis on plot, character development, and realistic portrayal of life. In contrast, Natyasastra drama prioritizes dance, music, emotion, and depicting various modes of being without strict time/place boundaries.
[2] Aristotelian drama imitates human actions and behavior, while Natyasastra drama imitates the power behind forms in a dynamic representation of the three worlds. It emphasizes emotional states over plot unfolding.
[3]
Aristotle's Definition Of 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.
Literory criticism
This document discusses Aristotle's six parts of tragedy according to his definition. The six parts are: plot, which involves action; character; thought; diction; song; and spectacle. It provides Aristotle's full definition of tragedy as an imitation of a serious action that provokes pity and fear in the audience and effects a catharsis through language and dramatic structure. The document also includes basic metadata about the author and paper topic.
Absurdism_in_Literature_.pptx
Absurdism in Literature presents information about the absurdist movement in literature and theater. It defines absurdism as seeking to represent the absurdity of human existence in a meaningless universe through bizarre or fantastic means. Some key characteristics of absurdist works include a confrontation between human ideals and the universe, a sense of meaninglessness, and a breakdown of logic and communication. Examples of absurdist literature mentioned include Waiting for Godot by Samuel Beckett and The Birthday Party by Harold Pinter. Samuel Beckett's Waiting for Godot is discussed as the best example of absurdism, with its depiction of purposeless lives and lack of plot development. The presentation concludes with a discussion of how absurdism
Imitation And Instruction
This document discusses different critical approaches to defining and understanding the purpose of literature and poetry. It examines the views of Plato, Aristotle, Sidney, Dryden, Pope, and Dr. Johnson on whether poetry should imitate reality, instruct morality, or represent universal human nature. While some saw poetry as a moral instructor, others believed it illuminated recognizable aspects of human psychology and experience. The document also explores the tension between poetry providing new insights versus reflecting what is already known about human nature.
comparision between waiting for godot and swamp dwellers
The document compares the plays "The Swamp Dwellers" and "Waiting for Godot". Both plays are examples of Theatre of the Absurd, characterized by meaningless plots, stereotypical characters, and lack of resolution. In both plays, characters wait endlessly for figures that never arrive - Awuchike in "The Swamp Dwellers" and Godot in "Waiting for Godot". While the setting remains static, the plays depict the meaningless and purposeless nature of human existence through their absurd and nonsensical elements.
Common Literary Terms: The Learning Center
This document defines and provides examples of various literary terms and concepts including: character, characterization, climax, conflict, connotation, dialogue, diction, figurative language, flashback, foreshadowing, hyperbole, imagery, metaphor, personification, plot, point of view, resolution, setting, simile, style, symbol, theme, and tone. It explains what each term means and illustrates some of the terms with short excerpts from well-known literary works.
Avoid plot summary.You may use any formal method of citation, but .docx
Avoid plot summary.
You may use any formal method of citation, but stick to the same method throughout your paper.
Paper 1 Prompt Background:
Greek tragedies are plays that were intended to reinforce traditional religious values, as ancient Greek society became more and more sophisticated. In
Poetics
(which is linked from the course main page, if you want to check it out), the philosopher Aristotle discusses poetry (including epic poetry) and theatre, describing the similarities and differences in terms of format, method, and overall purpose. He provides that all artistic representations of life (which present the possibility of what could be real life, without actually describing real events) fulfill humanity's desire to experience and learn.
"Though the objects themselves may be painful to see, we delight to view the most realistic representations of them in art... The explanation is to be found in a further fact: to be learning something is the greatest of pleasures not only to the philosopher but also to the rest of mankind, however small their capacity for it; the reason of the delight... is that one is at the same time learning - gathering the meaning of things.”
Tragedy in particular should make people feel intensely and think carefully:
"A tragedy...is the imitation of an action that is serious and also, as having magnitude, complete in itself; it is in a dramatic, not narrative form; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions."
“Structure of tragedy at its best should be complex, not simple, and that it should represent actions capable of awakening fear and pity.”
It should
“appeal to our humanity, or awaken pity or fear in us...the well conceived plot will have a change in fortune from prosperity to misery, and it will be due not to depravity, but to some great error."
While Greek tragedies are not specifically meant to be character studies, the best tragedies incorporate protagonists whom audiences both respect and identify. Aristotle describes tragedy as being less about a protagonist's character than it is about the way circumstances converge to affect his life: the things that happen to him, and the consequences of the actions he takes in the course of the experience. Aristotle writes:
"Tragedy is not a representation of men but of a piece of action, of life, of happiness and unhappiness, which come under the head of action, and the end aimed at is the representation not of qualities of character but of some action; and while character makes men what they are, it's their actions and experiences that make them happy or the opposite."
In other words, you can have a full-fledged tragedy without knowing much about who a character is inside, but the more you know him, the more the events of the tragedy can make you feel for the character and understand the gravity of what is happening to him. The changes - normally bad - that occur in the tragic protagonist's life create the "pi ...
Similar to Literary theory and criticism (20)
Definition Of Tragedy And Play By Aristotle And Dryden
Definition Of Tragedy And Play By Aristotle And Dryden
Natyasastra: Dramatic Mode in light of the Western Concept of Drama
Natyasastra: Dramatic Mode in light of the Western Concept of Drama
comparision between waiting for godot and swamp dwellers
comparision between waiting for godot and swamp dwellers
Avoid plot summary.You may use any formal method of citation, but .docx
Avoid plot summary.You may use any formal method of citation, but .docx
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Literary theory and criticism
- 1. Difference between the definition of tragedy given by Aristotle and of play by Dryden Paper no.3 literary theory and criticism Name: Dharaba Rayjada M.A Sem-1 Roll no:8 Email id: dharabarayjada021@gmail.com Submitted to: Dr. Dilip Barad (head of dept) Maharaja Krishnakumarsinhji Bhavnagar University
- 2. Aristotle’s definition of tragedy "Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in the language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation-catharsis of these and similar emotions.”
- 3. Dryden’s definition of play “ The play ought to be just and lively image of human nature, representing its passion and humors and the changes of fortune to which it is subjected, for the delight and instruction of mankind”
- 4. Some visible difference Aristotle • “Tragedy” • Imitation of an action which is serious • “Catharsis” • Ideal Dryden • “The play” • Just and lively image of human nature • “Delight” • Focus on real and lively image
- 5. Let’s see difference by example • “Ghashiram kotwal” by Vijay Tendulkar – imitation of an action which is serious. • “Quality” by John Galsworthy - just and lively image of human nature. • Ghashiram kotwal has magnitude and complete in itself and also have language with pleasurable accessories. • While in the definition of play there is no mention of pleasurable language.
- 6. Continue • "Quality" represents Mr. Gessler’s passion and his changes of fortune because it is subjected to Mr. Gessler. • Another example of play which represents humor of human nature and to which it is subjected in “The Proposal” by Anton Chekhov.
- 7. Continue • In "Ghashiram kotwal" delight arousing through catharsis. • While in "Quality" delight arousing by seeing loyalty of Mr. Gessler and also give us instruction while in "The Proposal" delight arouse from happy ending of play and there is no instruction because it is not necessary element.
- 8. Conclusion The main thing I found that both write by putting human delight in center though both have different definition of delight and both presents it in their own view.