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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 ...
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Oedipus, a figure commonly considered a tragic hero. A tragic hero (or sometimes 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.
My high school English teacher pulled the same stunt on me (thanks, Mrs. Silber!). Also, while I used to hold a hardline position on hamartia-as-error, the sources I found plus reflection upon tragedies such as Agamemnon, Hippolytus and Antigone have led me to the conclusion that there is often a moral component to a tragic hero's hamartia.
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[4] For Else, catharsis is an Aristotelian concept which must be read alongside the literary concepts of mimesis and hamartia as well. These latter two concepts are usually paraphrased as "literary representation" and "intellectual error" in Else's appraisal of Aristotle's literary aesthetic theory.
I imagine that when you imagine a TV critic, you picture some hard-boiled, crusty, even heartless type. But I have always been a sensitive, delicate, please-leave-the-light-on sort of fellow.
The tragic imitation requires less time for the attainment of its end. If it has more concentrated effect, it is more pleasurable than one with a large admixture of time to dilute it. There is less unity in the imitation of the epic poets (plurality of actions) and this is proved by the fact that an epic poem can supply enough material for ...