Search results
Results from the WOW.Com Content Network
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]
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 ...
Mythos [from Ancient Greek μῦθος mûthos] is the term used by Aristotle in his Poetics (c. 335 BCE) to mean an Athenian tragedy's plot as a "representation of an action" [1] or "the arrangement of the incidents" [2] that "represents the action". [3]
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 ...
In 1570 the unities were codified and given new definition by Lodovico Castelvetro (c. 1505 – 1571) in his influential translation and interpretation of Aristotle's Poetics, Poetica d'Aristotele vulgarizzata e sposta ("The Poetics of Aristotle translated in the Vulgar Language and commented on"). Though Castelvetro's translations are ...
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 ...
Macbeth was a favourite of the seventeenth-century diarist Samuel Pepys, who saw the play on 5 November 1664 ("admirably acted"), 28 December 1666 ("most excellently acted"), ten days later on 7 January 1667 ("though I saw it lately, yet [it] appears a most excellent play in all respects"), on 19 April 1667 ("one of the best plays for a stage ...
Filmmaker Joel Coen wanted “The Tragedy of Macbeth,” his adaptation of the Shakespearean staple about the ambitious Scottish king, to be rooted in theatricality but to avoid looking like a ...