Tragedy And Drama
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This presentation introduces students to the classical definition of tragedy. After the presentation--and after reading Macbeth--the students prepare a debate on whether Macbeth is really a tragedy by the classical definition.
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Greek tragedy introduction
Greek tragedy originated from Aristotle's definition in his work Poetics from 330 BCE. Aristotle defined tragedy as an imitation of a serious action using poetic language that arouses pity and fear in the audience and results in a catharsis or release of emotions. According to Aristotle, the six elements of tragedy are plot, character, thought, diction, spectacle, and melody. The plot involves the arrangement of incidents, characters are the people who act, and thought, diction, spectacle, and melody refer to insights, dialogue, visuals, and sounds respectively. Tragedies also follow the three unities of time, place, and action and have a standard structure of a prologue, parodos, episodes, stasimon,
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According to Aristotle, there are six essential parts that make up a tragedy: the plot, which is considered the soul of tragedy; characters, with the hero being most important; thought, which proves particular points and teaches truth; diction, or writing skill; song or melody, with the chorus integrated into the play; and spectacle, related to stage performance but should not create a sense of the monstrous.
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Six parts of tragedy
According to Aristotle, tragedy has six key elements: plot, character, thought, diction, song, and spectacle. Plot is the most important element, involving a change of fortune or reversal of intention and recognition. Character comes secondary to plot and the hero is most important. Thought involves proving or disproving points. Diction is the language and expression of characters' thoughts and feelings. Song refers to lyrical elements like choruses that distinguish tragedy from epics. Spectacle involves scenic effects but should not be the focus. Catharsis remains ambiguous but seems to mean purification or clarification of emotions like pity and fear.
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According to Aristotle, the ideal tragic hero is neither perfectly virtuous nor entirely wicked. He is generally a good person of high status who makes an error in judgment or has a character flaw that ultimately leads to his downfall. This downfall causes both pity and fear in the audience. The hero's demise is a result of human frailty rather than deliberate vice. Examples given are Oedipus, whose downfall stems from multiple errors including ignorance, passion, and character defects, and Othello, whose jealousy arises from an avoidable error of judgment. Aristotle argues this type of hero and plot best provokes the intended emotional response from viewers.
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According to Aristotle, tragedy depicts the downfall of a good person through some mistake. This evokes pity and fear in the audience, which is the natural human response to suffering that could happen to anyone. For Aristotle, a true tragedy arouses and then purges emotions. The demise of the tragic hero must result from their own flawed action, not just bad luck, and a nobler hero will elicit more grief at their downfall. The hero must be good but also bear responsibility for their fate through some choice or decision.
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This document provides an overview of Greek tragedy and the play Medea. It discusses key features of Greek theaters including the orchestra, skene, and theatron spaces. It outlines conventions like the use of masks and all-male casts. The document also summarizes information about famous playwrights like Euripides and Aeschylus and the origins of annual theatrical competitions held in Athens to honor Dionysus. It concludes with details about specific elements that make Medea, written by Euripides, a unique tragedy, like its use of the mechane device and Medea's deliberate murder of her children.
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Aristotle's Poetics
Aristotle's Poetics provides the first systematic analysis of drama and poetry. In it, Aristotle defines tragedy, explores its effects, and analyzes its key elements like plot, character, thought, diction, song, and spectacle. He compares tragedy to epic poetry, addresses their differences, and argues that tragedy is a superior form. The Poetics outlines Aristotle's view of mimesis in art and establishes foundational concepts for literary criticism.
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An ode dejection
Dejection: An Ode" was originally written as a letter to Sara Hutchinson, the woman Coleridge loved. The much longer original version contained references to Sara and William Wordsworth that were removed. Coleridge revised the poem significantly, shortening it and making it less personal. The poem describes Coleridge's inability to write poetry and living in a state of paralysis due to his unrequited love for Hutchinson.
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Aristotle analyzed poetry and defined its key elements and functions. He argued that tragedy is the highest form of poetry. According to Aristotle, a good tragedy uses reversal and recognition to provoke catharsis, or purification, in the audience. It elicits feelings of pity and fear that result in a pleasurable release of emotions. Aristotle also emphasized the importance of plot and character development in tragedy, and defined its purpose as imitating life in a way that arouses catharsis.
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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.
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Aristotle defines tragedy as an imitation of an action that is serious, complete, and of a certain magnitude. It uses language and spectacle to arouse emotions of pity and fear in order to bring about a catharsis or purification of such emotions. For Aristotle, the most important element of tragedy is the plot, which must be complex, have unity of action, and involve a reversal of fortune brought about by the protagonist's hamartia or tragic flaw. Tragedy also requires realistic yet noble characters, appropriate language, integrated music, and reasonably integrated spectacle, all in service of arousing the emotions of pity and fear.
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Aristotle defines tragedy as the imitation of a serious action that arouses pity and fear and effects a catharsis of such emotions. He maintains that tragedy should be a complete and coherent whole with serious consequences represented through elevated characters. The language and dramatic presentation incorporate incidents that arouse pity and fear in order to accomplish the cathartic effect on audiences.
Criticism
1) Aristotle defines tragedy as the imitation of an action that is serious, complete, and of a certain magnitude, which provokes emotions of pity and fear and accomplishes a catharsis or purification of such emotions.
2) Tragedy has six elements - plot, character, thought, diction, melody, and spectacle. The most important is plot, which must be complex and have unity, a beginning, middle and end, and follow the law of probability or necessity.
3) Character is also important and should support the plot. The protagonist brings about their own downfall not through vice but through an error or frailty known as hamartia.
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This document summarizes Aristotle's concept of tragedy based on his definition and analysis of its key elements. The most important elements are plot, character, and hamartia (tragic flaw). A good plot involves a change in fortune from happiness to misery for a protagonist who is neither perfectly good nor bad. It also includes a peripety (reversal) or discovery. The plot aims to arouse emotions of pity and fear in the audience through the hero's downfall, culminating in a catharsis or release of these emotions. Character and hamartia relate to creating a believable yet imperfect hero. Other elements like language, spectacle, and thought/diction are less crucial but should still be done well.
Elit 17 class 12n othello
This document provides an agenda and information for an English class discussing Shakespeare's tragedy Othello. The agenda includes a recitation, lecture on essay formatting, and a lecture and discussion on Othello. It also provides guidance on how to write a response to literature, including selecting evidence, refining one's thesis, organizing evidence, and interpreting evidence. Key terms related to tragedy like hamartia and catharsis are defined. Finally, it provides an overview of Othello, noting it is one of Shakespeare's great tragedies unlike others which involve affairs of state.
Elit 17 class 11 othello
Based on what we learn about Iago in Act 1, he seems jealous and resentful. He tells Roderigo he hates Othello for promoting Cassio over him, but his reasons seem shallow and self-serving. Iago manipulates Roderigo by playing on his feelings for Desdemona, but ultimately seems to be using Roderigo for his own malicious purposes. Iago's relationship with Roderigo appears to be based on deception and taking advantage of Roderigo's vulnerabilities for Iago's own gain. The motivations Iago gives for his actions do not seem to fully explain his intense hatred and desire to destroy Othello. Iago seems untrustworthy and his true motives remain unclear at this point in
Aristotle's "The Poetics"
Aristotle analyzed tragedy in his work "Poetics". He defined tragedy as an imitation of events that are serious, complete with magnitude, and use embellished language to elicit pity and fear, resulting in catharsis. The key elements of tragedy include plot, character, thought, spectacle, melody, and language. A good plot should have magnitude, unity, and a beginning, middle and end. It involves reversal and recognition, and the hero should fall due to a hamartia, or tragic flaw. Tragedy should represent terrible yet piteous events and have a realistic ending without deus ex machina. The chorus should be part of the whole work.
Elit 17 class 12n othello
Based on what we see in Act 1:
- Iago is cunning, manipulative, and deceitful. He lies to Roderigo about his intentions to help him win Desdemona.
- Iago's reasons for hating Othello (not being chosen as lieutenant) seem petty and self-serving. There is no evidence he is actually wronged by Othello.
- Iago manipulates and uses Roderigo for his own ends. Roderigo is besotted with Desdemona and easily led by Iago.
- Iago's relationship with Roderigo is one of exploiting Roderigo's feelings for personal gain rather than genuine friendship.
- I
Elit 17 class 12n othello
This document provides an agenda and information for an English literature class. The agenda includes a recitation on MLA format, a lecture on Shakespeare's play Othello, and discussions of Othello. It also provides guidance on how to write a response to literature, including selecting evidence, refining one's thesis, organizing evidence, and interpreting evidence. Key terms related to tragedy such as hamartia and catharsis are defined. Finally, it summarizes that Othello is a tragedy about a noble man who experiences a reversal of fortune and fall from grace due to a character flaw that is exploited by his enemy Iago.
about Classical Tragedy by jahangir.pptx
This document outlines the key elements of Greek tragedy according to Aristotle. It defines tragedy as the downfall of a basically good protagonist through some error or misjudgment. The three principles are that tragedy should evoke pity and fear in the audience, the tragic hero must be good, and the hero's demise comes from personal error. Other elements are plot, characters (the tragic hero), thought (theme), diction (literary devices), song (chorus), and spectacle (least important). The plot must have beginning, middle, end, and cause-effect chain leading to climax and resolution. The tragic hero's flaw and hubris often lead to nemesis or downfall.
Paper 1 Oedipus the King (worth 75 points)Please consider a.docx
Paper 1: Oedipus the King (worth 75 points)
Please consider all portions of the prompt in your essay. Your paper should be at least 1100 words. Please use a readable font and double-space your paper. You must submit it via your account on Turnitin.com (make sure you are correctly registered on the site WELL BEFORE you attempt to submit your paper - see the Syllabus for information).
Do not use outside sources; stick to the text of the play, the film assigned for class, and the other readings assigned so far in this course (if they apply). Remember to cite these sources if you quote them, borrow turns of phrase from them, or appropriate ideas directly from them. Limit direct quotations to 2 lines or less per quote.
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 experi.
A brief introduction to drama
Drama originated in ancient Greece, where formal competitions between playwrights began around 530 BC. Greek plays were performed outdoors for audiences of up to 15,000 people. They featured a chorus that sang and danced, and actors who wore masks and performed on an elevated stage. While plots have evolved over time, Aristotle defined drama's core elements like protagonists, antagonists, and a dramatic structure involving exposition, rising action, climax, and resolution. Tragedies traditionally featured a flawed heroic protagonist destroyed by their own character flaws, though modern plays have explored more ordinary protagonists facing social and environmental conflicts.
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 ...
Aristotle's concept of Tragic hero
The document summarizes Aristotle's views on tragic heroes and the elements of tragedy. According to Aristotle, the ideal tragic hero is of high birth and essentially good, but makes an error in judgment that leads to their downfall, arousing pity and fear in the audience. The hero must also be appropriate to their station, true to life, and act consistently in character. Aristotle's views provided guidelines for later playwrights, though some elements like the hero's morality have been challenged.
Aristotle's poetics
This document summarizes Aristotle's work "The Poetics" and its key ideas. It begins by providing background on the author and work. The main points then compare Aristotle and Plato's differing views on poetry and imitation. Key definitions from Aristotle are outlined, such as his definition of tragedy. Other major concepts from "The Poetics" are briefly explained, like catharsis, types of plots, characteristics, and the dramatic unities of time and place. The document concludes by acknowledging room for improvement in the summary but hopes it provided a high-level overview of Aristotle's influential work.
Presentation1
This document summarizes Aristotle's work "The Poetics" and its key ideas. It discusses how Aristotle's views on poetry and tragedy differed from his teacher Plato's, defining tragedy as "an imitation of an action, serious, complete and of a certain magnitude." It examines Aristotle's analysis of the six elements of tragedy - plot, character, thought, diction, song and spectacle. It also describes Aristotle's concepts of the ideal tragic hero and the dramatic unities of time, place and action. The document was prepared by Ashish Trivedi for a class at Bhavnagar University.
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