A description of a tragedy in aristotles the poetics

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A description of a tragedy in aristotles the poetics

Aristotle - Wikipedia

Literature Aristotle's Poetics Although there are literally countless stories, and have been for as far back as we are able to see, we still lack any generally accepted list of rules for how they are and should be made up.

There is no standard established, with one important exception: The Poetics of Aristotle, to which the discussion returns, again and again - as it has done through history, ever since the fourth century BC, when the text of Aristotle's Poetics took form.

Aristotle's The Poetics is all about drama, plays performed by actors in the presence of an audience.

Still, Aristotle's thoughts have proven to adhere not only to the stage through the many centuries, but equally to new performing arts media such as the movie screen and the tv set.

To some limited extent, also, the dramatic principles of Aristotle's Poetics can be applied to any fictional story, whether it be told by actors or by silent pages in a book.

Aristotle defines poetry very broadly, including epic poetry, tragedy, comedy, dithyrambic poetry, and even some kinds of music. According to Aristotle, tragedy came from the efforts of poets to present men as 'nobler,' or 'better' than they are in real life. The Tragedy of Macbeth by William Shakespeare - He strives for power and to be more significant in his story. However, even though a tragic hero needs to be heroic, he also needs to be somewhat human. Aristotle: Politics. In his Nicomachean Ethics, Aristotle ( B.C.E.) describes the happy life intended for man by nature as one lived in accordance with virtue, and, in his Politics, he describes the role that politics and the political community must play in bringing about the virtuous life in the citizenry. The Politics also provides analysis of the kinds of political community that.

Myth as drama Brander Matthews, an American playwright and teacher of literature, who in at Columbia University was the first at an English-speaking university to be appointed Professor of Dramatic Literature, states in The Development of the Drama,that the principles and structure of the drama form "an unbroken chain from the crudest mythological pantomime of primitive man down to the severest problem-play of the stern Scandinavian, whose example has been so stimulating to the modern stage.

Yet, in recognition of at what Aristotle himself aimed his words in the Poetics, one should use caution in applying them to other stories than those performed on a stage - whether it is the floor of a theater or the stage of the silver screen. It cannot be automatically assumed that what goes for drama according to Aristotle's Poetics, also as readily applies to novels and short stories, or for that matter: With myth, though, it has to be decided to what extent it relates to oral tale, to written fiction and to drama.

The answer is not obvious. Myths of central and cosmological nature were most likely orally transmitted, long before they were written down, and although they may have transformed greatly in that process from mouth to pen, they were certainly given their plot and structure already well before.

As oral tales, they need to be much closer to the enacted drama than a written story must, or they would most likely have been forgotten through the generations. Also, it is commonplace in cultures past and present, to enact their central myths - if not in pantomime, so in performances with more or less of a ritual structure.

But the most firm indication of their dramatic nature is the structure of all those myths remaining with us, either in documents only, or in practice as well.

A vast majority of them have clear signs of the same drama structure as can be found in most plays of the world, as well as in Aristotle's Poetics, and other literature on the construction of the drama. Definitely, the principles of the drama are present in myths, at least to the extent that those principles are meaningful to apply to them.

Aristotle Read and Misread In the case of drama, Aristotle's words in The Poetics have set the standard, to the extent that there has in the western world not been any theory of the drama, or discussion of its structure and inner workings, without reference to Aristotle - in all periods when the Poetics was known.

His short book is somewhat the stage on which all such thoughts have been acted out.

Aristotle’s Poetics - The Science of Tragedy - Classical Wisdom Weekly

It is adequate to regard all western theory of drama as comments on Aristotle's Poetics - little more, but sometimes less, in the sense that Aristotle's thoughts are repeated without much comment at all. In the Roman empire, on the stage of the Renaissance, through to the framework according to which every Hollywood movie is constructed, the dramatic rules expressed by Aristotle's Poetics have been obeyed.

Aristotle's theories have never really been questioned, at least not dismissed, but some of the later interpretations of them have. When Aristotle and his Poetics can be doubted, this is usually because of a questionable later rephrasing of them, often in such a way that his words have been misinterpreted to be more categorical, more decisive, than they really are.

Therefore, Aristotle has been questioned mainly when his rules of the drama have been regarded as more firm than he himself would have them in his Poetics, the most significant example of which is in the doctrine of the unity of time and place - the idea that a drama should only encompass the time span it would take to enact it, and occupy only the space that would fit onto a stage.

Aristotle's Poetics doesn't state so. Aristotle with a bust of Homer, by Rembrandt Aristotle admired Homer's work - the Iliad and the Odyssey - and used them frequently as examples in his Poetics.

In its essence as well as in its details, though, the Aristotelean structure of the drama remains intact, following the principles of the Poetics. Still, the influence of Aristotle's Poetics has got its gaps - one being the fact that it was unknown to the Christian Era of European thought, with minor exceptions, until the very end of the 15th century, when in the Giorgio Valla Latin translation of Aristotle's Poetics was printed in Venice, swiftly to be followed by a number of translations and commentaries.

A description of a tragedy in aristotles the poetics

Other gaps are in the actual text, which remains with us in an incomplete form.Aristotle (/ ˈ ær ɪ ˌ s t ɒ t əl /; Greek: Ἀριστοτέλης Aristotélēs, pronounced [aristotélɛːs]; – BC) was an ancient Greek philosopher and scientist born in the city of Stagira, Chalkidiki, in the north of Classical ashio-midori.com with Plato, Aristotle is considered the "Father of Western Philosophy", which inherited almost its entire lexicon from his teachings.

For Tragedy is an imitation, not of men, but of an action and of life, and life consists in action, and its end is a mode of action, not a quality. Now character determines men's qualities, but it is by their actions that they are happy or the reverse.

In the Poetics, Aristotle's famous study of Greek dramatic art, Aristotle ( B.C.) compares tragedy to such other metrical forms as comedy and epic. He determines that tragedy, like all poetry, is a kind of imitation (mimesis), but adds that it has a serious purpose and uses direct action rather than narrative to achieve its ends.

Aristotle defines poetry very broadly, including epic poetry, tragedy, comedy, dithyrambic poetry, and even some kinds of music. According to Aristotle, tragedy came from the efforts of poets to present men as 'nobler,' or 'better' than they are in real life.

Created Date: 8/25/ PM.

A description of a tragedy in aristotles the poetics

Aristotle tried to dissect plays and the art of tragedy as if they were a pickled frog in high school biology class. He applied his consistently rational mind to a sphere of ideas which are usually assigned to the emotional and, at times, even irrational.

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