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An epilogue or epilog (from Greek ἐπίλογος epílogos, "conclusion" from ἐπί epi, "in addition" and λόγος logos, "word") is a piece of writing at the end of a work of literature, usually used to bring closure to the work. [1] It is presented from the perspective of within the story.
A tragedy is a genre of drama based on human suffering and, mainly, the terrible or sorrowful events that befall a main character or cast of characters. [1] Traditionally, the intention of tragedy is to invoke an accompanying catharsis, or a "pain [that] awakens pleasure,” for the audience.
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 ...
At the end of the last play, a satyr play was staged to revive the spirits of the public, possibly depressed by the events of the tragedy. [ note 1 ] In the work of Aeschylus, comparing the first tragedies with those of subsequent years, there is an evolution and enrichment of the proper elements of tragic drama: dialogue, contrasts, and ...
If you live in L.A., you spend so much time in your car that it becomes somewhere significant memories are made. It becomes a supporting character in your story.
The eucatastrophe is a classical catastrophe with an unexpected positive outcome for the protagonist. This term was coined to distance itself from the vernacular use of the word 'catastrophe' to signify disaster (which gave the term negative connotations in everyday usage).
They share some elements of tragedy, insofar as they feature a high-status central character, but they end happily like Shakespearean comedies. Almost three centuries after Shakespeare's death, the scholar F. S. Boas also coined a fifth category, the " problem play ," for plays that do not fit neatly into a single classification because of ...
Metatheatrical devices may include: direct address to the audience (especially in soliloquies, asides, prologues, and epilogues); expression of an awareness of the presence of the audience (whether they are addressed directly or not); an acknowledgement of the fact that the people performing are actors (and not actually the characters they are ...