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Kullervo, a tragic hero from the Karelian and Finnish Kalevala. The influence of the Aristotelian hero extends past classical Greek literary criticism.Greek theater had a direct and profound influence on Roman theater and formed the basis of Western theater, with other tragic heroes including Macbeth in William Shakespeare's The Tragedy of Macbeth, and Othello in his Othello. [4]
In the Aristotelian definition of tragedy, it was the discovery of one's own identity or true character (e.g. Cordelia, Edgar, Edmund, etc. in Shakespeare's King Lear) or of someone else's identity or true nature (e.g. Lear's children, Gloucester's children) by the tragic hero. Aristotle was the first writer to discuss the uses of anagnorisis ...
Tragedy deals with affairs of the state (wars, dynastic marriages); comedy deals with love. For a work to be tragic, it need not have a tragic ending. Although Aristotle says that catharsis (purgation of emotion) should be the goal of tragedy, this is only an ideal. In conformity with the moral codes of the period, plays should not show evil ...
Forty years earlier, a full-length book had appeared, An Essay on the Dramatic Character of Sir John Falstaff (1777), by Maurice Morgann, often taken as the beginning of that school of Shakespearean criticism which considers the characters of Shakespeare's plays as though they were real people. [63]
According to Aristotle, tragedy evolved from the satyr dithyramb, an Ancient Greek hymn, which was sung along with dancing in honor of Dionysus. The term τραγῳδία , derived from τράγος "goat" and ᾠδή "song", means "song of the goats," referring to the chorus of satyrs .
Poetic justice describes an obligation of the dramatic poet, along with philosophers and priests, to see that their work promotes moral behavior. [10] 18th-century French dramatic style honored that obligation with the use of hamartia as a vice to be punished [10] [11] Phèdre, Racine's adaptation of Euripides' Hippolytus, is an example of French Neoclassical use of hamartia as a means of ...
Aristotle finds that none of these three creates both fear and pity, and instead, the tragic hero should be ethically like the average person—not completely good or bad but a mean between the two (1453a7), and suffer a change of fortune from good to bad (1453a15). [31]
Aristotle, in his Poetics, defines peripeteia as "a change by which the action veers round to its opposite, subject always to our rule of probability or necessity." According to Aristotle, peripeteia, along with discovery, is the most effective when it comes to drama, particularly in a tragedy.