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Oedipus, a figure commonly considered a tragic hero. A tragic hero (or 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.
In Lessing's view, Aristotle meant that it is simply always better for tragedy to end in misfortune. [ 55 ] [ 56 ] [ 57 ] Lessing's own solution is that in chapter 13 Aristotle establishes the best plot structure, and in 14 the best treatment of pathos, or scene of suffering.
Aristotle's work on aesthetics consists of the Poetics, Politics (Bk VIII), and Rhetoric. [8] The Poetics was lost to the Western world for a long time. The text was restored to the West in the Middle Ages and early Renaissance only through a Latin translation of an Arabic version written by Averroes. [9]
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 ...
Aristotelianism (/ ˌ ær ɪ s t ə ˈ t iː l i ə n ɪ z əm / ARR-i-stə-TEE-lee-ə-niz-əm) is a philosophical tradition inspired by the work of Aristotle, usually characterized by deductive logic and an analytic inductive method in the study of natural philosophy and metaphysics.
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 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 ...
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.