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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 ...
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.
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]
The Wheel of Fire is part of the Aristotelian reading of a tragedy (e.g., plays), which includes the central flaw within a character. In Shakespeare's tragedy Othello, the flaw in Othello himself is his vulnerability to jealousy and his tendency to believe Iago, who is manipulating Othello into believing his wife is unfaithful.
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]
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.
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.
Until the 20th century, many authors tried to legitimize their plays with it being in accordance with the criteria postulated by Aristotle. Even today, most dramatic theories are based on the thoughts of Aristotle. [6] Nonetheless, there are various types of drama which do not conform to Aristotle's theory nor any other dramatic theory.