Search results
Results from the WOW.Com Content Network
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]
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 ...
Hamartia is first described in the subject of literary criticism by Aristotle in his Poetics. The source of hamartia is at the juncture between character and the character's actions or behaviors as described by Aristotle. Character in a play is that which reveals the moral purpose of the agents, i.e. the sort of thing they seek or avoid. [6]
In classical rhetoric and poetic theory, decorum designates the appropriateness of style to subject. Both Aristotle (in, for example, his Poetics) and Horace (in his Ars Poetica) discussed the importance of appropriate style in epic, tragedy, comedy, etc. Horace says, for example: "A comic subject is not susceptible of treatment in a tragic style, and similarly the banquet of Thyestes cannot ...
Regarding his view that emphasizes plot above character, Aristotle notes, "Tragedy is imitation not of human beings, but of actions and of a life." [15] [16] To show the difference between plot and character, he uses a metaphor that compares a plot to a sketched outline, and character to the colors that flesh out the sketch.
The title character of “The Tragedy of Macbeth” is unequivocal: “If it were done when ’tis done, then ’twere well it was done quickly.” Director Yaël Farber begs to differ. She takes ...
Filmmaker Joel Coen wanted “The Tragedy of Macbeth,” his adaptation of the Shakespearean staple about the ambitious Scottish king, to be rooted in theatricality but to avoid looking like a ...
In chapter 13, Aristotle discusses what combination of change of fortune, or μετάβασις (metabasis) and character will create fear and pity, which turns out to involve a change of fortune from good to bad. [28] He first rules out all scenarios involving a totally good or totally bad man. [29]