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Having examined briefly the field of "poetry" in general, Aristotle proceeds to his definition of tragedy: Tragedy is a representation of a serious, complete action which has magnitude, in embellished speech, with each of its elements [used] separately in the [various] parts [of the play] and [represented] by people acting and not by narration ...
Aristotle considers length or time in a distinction between the epic and tragedy: Well then, epic poetry followed in the wake of tragedy up to the point of being a (1) good-sized (2) imitation (3) in verse (4) of people who are to be taken seriously; but in its having its verse unmixed with any other and being narrative in character, there they ...
Aristotle says that peripeteia is the most powerful part of a plot in a tragedy along with discovery. A peripety is the change of the kind described from one state of things within the play to its opposite, and that too in the way we are saying, in the probable or necessary sequence of events.
Oedipus, a figure commonly considered a tragic hero. A tragic hero (or sometimes tragic heroine if they are female) is the protagonist of a tragedy.In his Poetics, Aristotle records the descriptions of the tragic hero to the playwright and strictly defines the place that the tragic hero must play and the kind of man he must be.
The origin of the word tragedy has been a matter of discussion from ancient times. The primary source of knowledge on the question is the Poetics of Aristotle. Aristotle was able to gather first-hand documentation from theater performance in Attica, which is inaccessible to scholars today. His work is therefore invaluable for the study of ...
Mythos [from Ancient Greek μῦθος mûthos] is the term used by Aristotle in his Poetics (c. 335 BCE) to mean an Athenian tragedy's plot as a "representation of an action" [1] or "the arrangement of the incidents" [2] that "represents the action". [3]
He recognizes four subclasses: a. "definition by formal elements" (for instance the supposed "three unities"); b. "definition by situation" (where one defines tragedy for instance as "exhibiting the fall of a good man"); c. "definition by ethical direction" (where the critic is concerned with the meaning, with the "intellectual and moral effect ...
Murnaghan argues that, instead of a problem to be solved, Aristotle's contradiction expresses the ambivalence of many observers toward tragedy's violence. She finds that the death-avoiding incident Aristotle prefers reflects the essence of theater, since both allow us to confront death safely. [ 84 ]