Critique Of Aristotle 's Poetics

One element of the author’s style that I noticed and enjoyed about this novel is how the author properly characterizes each member of the story interestingly, and successfully manages to make the story more appealing due to his use of multiple literary elements. One opening property in this novel is the use of characterization. Aristotle, the protagonist and narrator of this story, is considered a dynamic character. Through the beginning of this novel, Aristotle was very shy, and had a limited amount of friends; moreover, he portrayed himself as timid, antisocial, and basic compared to other of his “peers.” This all changed, however, shortly into the novel, when Aristotle stumbled into a new individual. The book continues by letting the reader understand that Aristotle likes feeling sorry for himself. A passage in the book to support this claim goes as follows,”Feeling sorry for myself was an art. I think a part of me liked doing that.” (Saenz, 13) We also discover that Aristotle’s dad seems far away to him regardless of living in the same house. Moreover, we get some small backstory of Aristotle’s father, and we understand that his father feels distant to him because of the Vietnam war; a war in which Aristotle’s dad was a part of. A line

Shakespeare's play, “Othello, the Moor of Venice,” is a powerful example of a tragedy and it’s main character, Othello, is an excellent illustration of what Aristotle constitutes as a tragic hero. The play imitates life through basic human emotions such as jealousy and rage. In addition, Othello is far from being a perfect character - another quality that meets Aristotle's requirements. Othello also matches Aristotle's ideas of tragic hero because our Othello realizes the error of his ways, causing us to feel sympathy for him. If we carefully examine the third scene in the third act, we can see how Othello fits into Aristotle's definition of tragic hero. This passage reveals how much Othello has deteriorated as far as his ability to reason

     With the possible exception of Plato, Aristotle is the most influential philosopher in the history of logical thought. Logic into this century was basically Aristotelian logic. Aristotle dominated the study of the natural sciences until modern times. Aristotle, in some aspect, was the founder of biology; Charles Darwin considered him as the most important contributor to the subject. Aristotle’s Poetic, the first work of literary notice, had a string influence on the theory and practice of modern drama. Aristotle’s great influence is due to the fact that he seemed to offer a system, which although lacked in certain respects, was as a whole matchless in its extent.

The Odyssey by Homer is a literary classic that presents many themes about the natures of both man and god. Although the characters of the book display characteristics relatable to those of the people today, one of the most prevalent differences between the two eras and their people is the intense violence that takes place throughout the entirety of the epic. This violence serves several functions in the work as a whole. The violence that is enacted upon the characters of The Odyssey serve as a device to convey the Greek cultural value of reverence of the gods and as a method for the author to create nuances to his characters.

In Poetics' by Aristotle, the author talks about what he feels are the conventions of any successful tragic play. With that in mind perhaps the greatest tragedy from his time period if not ever is Oedipus the King by Sophocles. It fits almost perfectly the majority of the criteria Aristotle sets and so has been considered by some scholars as the perfect tragedy.

Excellence is a function which renders excellent the thing of which it is a function is Plato’s definition of virtue. What does this definition really mean though? Plato and Aristotle both had their own unique arguments devoted to the topic at hand, and their own ways of describing what virtue really is. Defining virtue may seem to be an easy taste, but to truly understand the arguments behind the definition can prove to be very challenging.

Throughout Virgil’s Aeneid, there are characters such as Anchises, Creusa, and Dido, whose deaths are relatable to the deaths of heroes in works the audience would be familiar with such as the Odyssey, the Iliad, and The Oresteia. However, Priam’s death differs as being relatable to the deaths of other heroes and by Virgil’s over-dramatization of Priam’s death through incorporating a snake metaphor as well as with the excessive abuse Priam faced on his way to the altar. In other ancient literary works such as the Odyssey, the Iliad, and The Oresteia, the use of a snake references serves to indicate important plot elements. Analyzing the use of the snake metaphor surrounding Priam’s death suggests that comparing the snakes between book two and book five highlight the change of fortune for the Trojans and Aeneas, on their journey to Italy.

Homer’s epic poem The Odyssey follows Odysseus on his long journey home. The Epic also includes the stories of Odysseus’ family left behind: the travels of his son, Telemachus, and how plenty, of what we would now call “home wreckers”, suitors pressured his wife, Penelope, into marrying one of them. The characters are beautifully crafted and the story is truly epic. All the elements presented can bring in any reader from any century, the Cyclops, the Gods, the trickery of Penelope, and the disguises of Odysseus, are all legendary literary hooks . There are many things to learn—about writing, about the world around us, the world ahead of us, and the past behind us—from The Odyssey. (26) It is undeniably evident that this ancient text has

In the Poetics, Aristotle provides an outline of how the artist is to portray or represent the perfect Tragedy. A Tragedy, of course, was nothing more than a drama, in which the characters appeared "better" than in real life (in a comedy, they appeared "worse," according to Aristotle). Aristotle's Poetics makes several references to other dramatic works to illustrate his points, but he most commonly calls upon The Odyssey to support his argument for how a dramatic structure should be designed. However, along with the Odyssey, Aristotle extensively references Sophocles' Oedipus Rex. Both poetic works were enormously popular in their time (the former had been passed down orally for generations, and the latter won the top prizes at the dramatic festivals). Therefore, Aristotle is comfortable using both to support his viewpoint concerning Tragedy and the Tragic Hero. This paper will analyze the standards that Aristotle sets out concerning the definition of the Tragic Hero and show how Sophocles' Oedipus exemplifies Aristotle's definition of a Tragic Hero.

Aristotle, a philosopher, scientist, spiritualist and passionate critic of the arts, spent many years studying human nature and its relevance to the stage. His rules of tragedy in fact made a deep imprint on the writing of tragic works, while he influenced the structure of theatre, with his analysis of human nature. Euripides 'Medea', a Greek tragedy written with partial adherence to the Aristotelian rules, explores the continuation of the ancient Greek tales surrounding the mythology of Medea, Princess of Colchis, and granddaughter of Helios, the sun god, with heartlessness to rival the infamous Circe. While the structure of this play undoubtedly perpetuates many of the Aristotelian rules, there are some dramatic structures which

In Metaphysics XII, Aristotle elaborates on a need for a “first mover that initiates motion without being moved” (Met. 12.7, 1072a26). This primary, or unmoved mover, he believes is the source of all motion in the universe. In this essay, I will explain his conception of such a mover. I will then elaborate on how this unmoved mover initiates motion. Finally, I will explain his rationale for believing there is such a mover.

In Aristotle’s Rhetoric, Aristotle argues that rhetoric should be used to portray the truth and to persuade people to follow the truth, not to manipulate the audience. According to Aristotle, rhetoric is both a natural method of persuasion and something that can be learned. Aristotle says, “ordinary people do this either at random or through practice and from acquired habit” (Rhetoric). There are three modes of persuasion, logos, ethos, and pathos, each used in a unique way. “The modes of persuasion are the only true constituents of the art: everything else is merely accessory,” according to Aristotle (Ibid). For rhetoric to be effective each mode of persuasion must be used correctly - ethos to exhibit ethics, logos

In the popular sitcom TV series Friends (1994- 2010), has displayed all of Aristotle's six important elements throughout the show that were required for the drama. The main plot of the show is revolving around six best friends living together in Manhattan, and following up with their everyday personal and professional lives. Throughout the show, all six elements of drama are being taken place in the modern series showing that regardless of small changes here and there, there are still connections back to Aristotle’s view.

In order to compare these great philosophers, it is important that we first of all view their history from an individual perspective.

Aristotle believed that the goal of all human life is to achieve ultimate happiness. Happiness is the final Utopia or the end of “a life worth living.” Human instinct is characterized by achieving personal fulfillment, thus leading to happiness. Aristotle warns against going astray and “preferring a life suitable to beasts” by assuming happiness and pleasure are equal. Living a life preferred by beasts incapacitates a person from achieving the end Utopia. Even though Aristotle does not equate the two, he does stress that minimal pleasure is required to achieve happiness. Someone lacking in vital necessities such as food, clothing, and shelter are not capable of achieving happiness due to their lack of pleasure.