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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.
Aristotle finds that tragedy deals with serious, important, and virtuous people. Comedy, on the other hand, treats of less virtuous people and focuses on human "weaknesses and foibles". [ 15 ] Aristotle introduces here the influential tripartite division of characters : superior (βελτίονας) to the audience, inferior (χείρονας ...
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.
Nonetheless, his theory is not opposed to Aristotle but mostly to the reception thereof in the 19th century. [19] Brecht's Epic Theater is a contradiction in itself, because it epics is the opposite of drama. It makes sense for him to combine them, because he forbids to imitate the actions displayed in order to create a distance to the audience.
The Ancient Greek theorist Aristotle had argued that tragedy should concern only great individuals with great minds and souls, because their catastrophic downfall would be more emotionally powerful to the audience; only comedy should depict middle-class people. Domestic tragedy breaks with Aristotle's precepts, taking as its subjects merchants ...
In chapter 13, Aristotle argues that tragedy should consist of a change of fortune from good to bad. [17] Subsequently, he writes also in chapter 13 that, while critics have judged Euripides harshly because "many" of his plays "end in misfortune," yet "this is, as we have seen, correct," referring to the change of fortune from good to bad. [18]
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]
Trissino claimed he was following Aristotle. However, Trissino had no access to Aristotle's most significant work on the tragic form, Poetics. Trissino expanded with his own ideas on what he was able to glean from Aristotle's book, Rhetoric. In Rhetoric Aristotle considers the dramatic elements of action and time, while focusing on audience ...