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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]
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.
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]
According to Aristotle, there are four species of tragedy: Complex, which involves Peripety and Discovery; Suffering, tragedies of such nature can be seen in the Greek mythological stories of Ajaxes and Ixions; Character, a tragedy of moral or ethical character. Tragedies of this nature can be found in Phthiotides and Peleus
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]
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 ...
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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.