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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 ...
Preliminary discourse on tragedy, epic poetry, and comedy, as the chief forms of imitative poetry. Definition of a tragedy, and the rules for its construction. Definition and analysis into qualitative parts. Rules for the construction of a tragedy: Tragic pleasure, or catharsis experienced by fear and pity should be produced in the spectator ...
Notably, poetic justice does not merely require that vice be punished and virtue rewarded, but also that logic triumph. If, for example, a character is dominated by greed for most of a romance or drama, they cannot become generous. The action of a play, poem, or fiction must obey the rules of logic as well as morality.
Sidney's reverence for the poet as soldier is significant because he himself was a soldier at one time. Poetry, in Apology, becomes an art that requires the noble stirring of courage. Sidney writes An Apology for Poetry in the form of a judicial oration for the defense, and thus it is like a
The speech given by Medea in Book VII of the Metamorphoses can be considered the poem's first fully dramatic monologue. The speech is over sixty lines of text and is the longest full speech in the entire epic given by a man or a woman. [17]
Othello made the mistake of assuming that he understood the source of Desdemona's anguish. He assumed that his wife's sobs when confronted were a sign of her guilt; he didn't understand that her grief was rooted not in guilt, but in her knowledge that there was no way to convince her husband of her innocence.
Aristotle, in his Poetics, defines peripeteia as "a change by which the action veers round to its opposite, subject always to our rule of probability or necessity."." According to Aristotle, peripeteia, along with discovery, is the most effective when it comes to drama, particularly in a
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.