Aristophanes was a famous Greek playwright who lived from the 440s to 380s BC and wrote 44 comedies, 11 of which still exist. He specialized in a genre known as Old Comedy, which used exaggerated characters, improbable plots, and slapstick humor to comment on important political and social issues of his time, such as the Peloponnesian War. Old Comedy followed a structure including a Prologue, Parode, Agon, Parabasis, Episodes, and Exode and blended ridiculous elements with serious themes, characters, and language.
self explanatory material about Characteristics and structure of comedy. it contains definition of comedy and history and its basis sections into which it is divided. Old comedy , middle comedy. new comedy.
Drama its origin: growth & development by Suhail Ahmed SolangiSohail Ahmed Solangi
An effort to search the exact history of drama along with its development. This work also includes all the eras of English Literature with its link to Drama.
However, one presentation couldn't define a complete history of drama.
Thanks
self explanatory material about Characteristics and structure of comedy. it contains definition of comedy and history and its basis sections into which it is divided. Old comedy , middle comedy. new comedy.
Drama its origin: growth & development by Suhail Ahmed SolangiSohail Ahmed Solangi
An effort to search the exact history of drama along with its development. This work also includes all the eras of English Literature with its link to Drama.
However, one presentation couldn't define a complete history of drama.
Thanks
Dr. Faustus is a Renaissance tragedy written by the Cambridge scholar Christopher Marlowe.
The full title of the play is “The Tragical History of the Life and Death of Doctor Faustus”.
It was adopted from a German story ‘Faust’ translated in English as The English Faust Book.
The name Faustus is a reference to the Latin word for "favoured" or "auspicious“.
The play is in blank Verse and prose in thirteen scenes (1604) or twenty scenes (1616).
Blank verse is largely reserved for the main scenes while prose is used in the comic scenes.
Chapter 8 THEATER We sit in the darkened theater with many str.docxspoonerneddy
Chapter 8 THEATER
We sit in the darkened theater with many strangers. We sense an air of anticipation, an awareness of excitement. People cough, rustle about, then suddenly become still. Slowly the lights on the stage begin to come up, and we see actors moving before us, apparently unaware of our presence. They are in rooms or spaces similar to those that we may be in ourselves at the end of the evening. Eventually they begin speaking to one another much the way we might ourselves, sometimes saying things so intimate that we are uneasy. They move about the stage, conducting their lives in total disregard for us, only hinting occasionally that we might be there in the same space with them. At first we feel that despite our being in the same building with the actors, we are in a different world. Then slowly the distance between us and the actors begins to diminish until, in a good play, our participation erases the distance. We thrill with the actors, but we also suffer with them. We witness the illusion of an action that has an emotional impact for us and changes the way we think about our own lives. Great plays such as Hamlet, Othello, The Misanthrope, Death of a Salesman, A Streetcar Named Desire, and Long Day’s Journey into Night can have the power to transform our awareness of ourselves and our circumstances. It is a mystery common to much art: that the illusion of reality can affect the reality of our own lives.
Aristotle and the Elements of Drama
Drama is a collaborative art that represents events and situations, either realistic and/or symbolic, that we witness happening through the actions of actors in a play on a stage in front of a live audience. According to the greatest dramatic critic, Aristotle (384–322 BCE), the elements of drama are as follows:
1. Plot: a series of events leading to disaster for the main characters who undergo reversals in fortune and understanding but usually ending with a form of enlightenment—sometimes of the characters, sometimes of the audience, and sometimes of both
2. Character: the presentation of a person or persons whose actions and the reason for them are more or less revealed to the audience
3. Diction: the language of the drama, which should be appropriate to the action
4. Thought: the ideas that underlie the plot of the drama, expressed in terms of dialogue and soliloquy
5. Spectacle: the places of the action, the costumes, set designs, and visual elements in the play
6. Music: in Greek drama, the dialogue was sometimes sung or chanted by a chorus, and often this music was of considerable emotional importance; in modern drama, music is rarely used in serious plays, but it is of first importance in the musical theater
Aristotle conceived his theories in the great age of Greek tragedy, and therefore much of what he has to say applies to tragedies by such dramatists as Aeschylus (ca. 525–456 BCE), especially his trilogy, Agamemnon, The Libation Bearers, and The Eumenides. Sophocles (ca. 496–406 B.
Dr. Faustus is a Renaissance tragedy written by the Cambridge scholar Christopher Marlowe.
The full title of the play is “The Tragical History of the Life and Death of Doctor Faustus”.
It was adopted from a German story ‘Faust’ translated in English as The English Faust Book.
The name Faustus is a reference to the Latin word for "favoured" or "auspicious“.
The play is in blank Verse and prose in thirteen scenes (1604) or twenty scenes (1616).
Blank verse is largely reserved for the main scenes while prose is used in the comic scenes.
Chapter 8 THEATER We sit in the darkened theater with many str.docxspoonerneddy
Chapter 8 THEATER
We sit in the darkened theater with many strangers. We sense an air of anticipation, an awareness of excitement. People cough, rustle about, then suddenly become still. Slowly the lights on the stage begin to come up, and we see actors moving before us, apparently unaware of our presence. They are in rooms or spaces similar to those that we may be in ourselves at the end of the evening. Eventually they begin speaking to one another much the way we might ourselves, sometimes saying things so intimate that we are uneasy. They move about the stage, conducting their lives in total disregard for us, only hinting occasionally that we might be there in the same space with them. At first we feel that despite our being in the same building with the actors, we are in a different world. Then slowly the distance between us and the actors begins to diminish until, in a good play, our participation erases the distance. We thrill with the actors, but we also suffer with them. We witness the illusion of an action that has an emotional impact for us and changes the way we think about our own lives. Great plays such as Hamlet, Othello, The Misanthrope, Death of a Salesman, A Streetcar Named Desire, and Long Day’s Journey into Night can have the power to transform our awareness of ourselves and our circumstances. It is a mystery common to much art: that the illusion of reality can affect the reality of our own lives.
Aristotle and the Elements of Drama
Drama is a collaborative art that represents events and situations, either realistic and/or symbolic, that we witness happening through the actions of actors in a play on a stage in front of a live audience. According to the greatest dramatic critic, Aristotle (384–322 BCE), the elements of drama are as follows:
1. Plot: a series of events leading to disaster for the main characters who undergo reversals in fortune and understanding but usually ending with a form of enlightenment—sometimes of the characters, sometimes of the audience, and sometimes of both
2. Character: the presentation of a person or persons whose actions and the reason for them are more or less revealed to the audience
3. Diction: the language of the drama, which should be appropriate to the action
4. Thought: the ideas that underlie the plot of the drama, expressed in terms of dialogue and soliloquy
5. Spectacle: the places of the action, the costumes, set designs, and visual elements in the play
6. Music: in Greek drama, the dialogue was sometimes sung or chanted by a chorus, and often this music was of considerable emotional importance; in modern drama, music is rarely used in serious plays, but it is of first importance in the musical theater
Aristotle conceived his theories in the great age of Greek tragedy, and therefore much of what he has to say applies to tragedies by such dramatists as Aeschylus (ca. 525–456 BCE), especially his trilogy, Agamemnon, The Libation Bearers, and The Eumenides. Sophocles (ca. 496–406 B.
ONE OF THE GREATEST THINGS DRAMA CAN DO, AT ITS BEST, IS TO REDEFINE THE WORDS WE USE EVERY DAY SUCH AS LOVE, HOME, FAMILY, LOYALTY AND ENVY. TRAGEDY NEED NOT BE A DOWNER.
William Shakespeare (1564-1616) is beyond doubt the greatest dramatist of all time. He occupies a position unique in world literature. Other poets, such as Homer and Dante, and novelists, such as, Leo Tolstoy and Charles Dickens, have transcended national barriers; but no writers living reputation can compare to that of Shakespeare.1 His plays, sonnets and two long narrative poems earned him an international acclaim and acceptance as the best writer in the history of English literature. His play, The Tempest, is thought by many critics to be the last play that Shakespeare wrote alone. In this play Shakespeare artistically blends aspects of both tragic and comic forms2: a sorrowful scene is immediately followed by an amusing scene and vice versa. On one hand, the play has enough comic elements to lighten the tragic elements and on the other hand it has enough tragic elements to intensify the comic elements. The paper aims to study The Tempest as a tragicomedy by highlighting Shakespeares artistic technique of blending tragic and comic elements in the play. Ishfaq Hussain Bhat"Shakespeares The Tempest as a Tragicomedy" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-2 | Issue-1 , December 2017, URL: http://www.ijtsrd.com/papers/ijtsrd5955.pdf http://www.ijtsrd.com/humanities-and-the-arts/english/5955/shakespeares-the-tempest-as-a-tragicomedy/ishfaq-hussain-bhat
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The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
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6. •Most famous Greek comedian
•Born in the 440s b.c.
•Lived through Peloponnesian War (431 to
404)
•Many of his plays comment on the long war
•Produced his first play in 427.
•By the time he died (380s) he had written
44 comedies (11 remain)
7. Old Comedy
His plays were Old Comedies, or “farce: that is, his
plays involve action more often than character,
fantasy more often than realism, ridicule and
slapstick more often than irony. But they differ from
later farce in a crucial way: they contain, as an
essential and integral feature of their style, serious
themes, serious characters and serious language,
all of which are combined with hilarity and slapstick
in a manner characteristic of no other writer” (The
Theatre of Aristophanes, Taplinger: 1980. p. 14).
9. A light dramatic work in which highly
improbable plot situations, exaggerated
characters, and often slapstick elements are
used for humorous effect.
FARCE
11. Old Comedy
His plays were Old Comedy, or “farce: that is, his
plays involve action more often than character,
fantasy more often than realism, ridicule and
slapstick more often than irony. But they differ
from later farce in a crucial way: they contain, as
an essential and integral feature of their style,
serious themes, serious characters and serious
language, all of which are combined with hilarity
and slapstick in a manner characteristic of no other
writer” (The Theatre of Aristophanes, Taplinger:
1980. p. 14).
12. So it’s not just funny. It has a
deeper meaning. A purpose.
In the movie, Anchorman 2, Will
Farrell’s antics as Ron Burgundy are
not just about the ridiculous, slapstick
consequences of being a famous news
anchor.
More importantly, it is about an
arrogant man’s fall and restoration as
a husband and father whose focus is
no longer on himself.
That’s FARCE with a purpose.
13. Six Parts of a Comedy
Prologue, Parode, Agon, Parabasis, Episode, Exode
14. Prologue
A monologue or dialogue
preceding the entry of the
chorus, which presents the
comedy's topic.
Sometimes called, “The
Happy Idea”
This “Happy Idea” is usually
extravagantly imaginative or
absurdly impractical
But, the main character
thinks it will fix the problem.
15. Parode
Parode (Entrance Ode): The
entry chant of the chorus.
Generally, they remain on
stage throughout the
remainder of the play.
Although they wear masks,
their dancing is expressive, as
conveyed by the hands, arms
and body.
Aristophanes used 24 instead
of 12 chorus members.
16. Agon
Two speakers debate the issue, and the first speaker loses.
Debate in which “happy idea” is opposed, or defended.
Opposition to “happy idea” is always defeated.
17. Parabasis
The chorus members remove their masks and step out of character to
address the audience. They express the poet’s thoughts; state the play’s
theme; discuss the implications of play.
This is the idea in theater of “Breaking the Fourth Wall”
18. Episode
• Happy idea put into practice
• Consequences; happy idea affects people
• Not usually sequential or connected
• Episodes tend to rise to emotional climax
19. Exode
An exit song. A mood of celebration and possibly with a riotous revel, joyous
marriage, or both.
20. So what are these comedies
about?
CURRENT EVENTS:
Politics
Education
Long war with Sparta
[Valuable source of information about the daily life and politics of classical Athens.]
ALSO:
Critique of literature, particularly tragedy:
Parodies Aeschylus, Sophocles, and Euripides.
[Aristophanes add enormously to our knowledge of plays and playwrights we’ve no
other record of.]
21. Much like The Daily Show
John doesn’t REALLY want to create a Wipeout course for
illegal aliens, but border control IS a legitimate issue of
concern that requires some kind of answer.
22. So let’s review:
Aristophanes was the most famous writer of Old
Comedy.
Old Comedy was made up of six parts: Prologue,
Parode, Agon, Parabisis, Episodes, and Exode.
Old Comedy was a silly way to say something
important.
