Aristotle Poetics Essay

To Aristotle, Greek tragedies had a special purpose. In general, he considered poetry to be of higher importance than history, since poetry was able to convey complex ideas and philosophical thought as opposed to simply the retelling of events. For Aristotle, the most important function of tragedy is the feeling an audience gets after they see one of these plays. It is a cathartic experience that is meant to cleanse the audience of their own fears and doubts and ultimately uplifts them and attempts

In his famous "Poetics," the philosopher Aristotle laid the foundations for literary criticism of Greek tragedy. His famous connection between "pity and fear" and "catharsis" developed into one of Western philosophy's greatest questions: why is it that people are drawn to watching tragic heroes suffer horrible fates? Aristotle's ideas revolve around three crucial effects: First, the audience develops an emotional attachment to the tragic hero; second, the audience fears what may befall the hero;

Aristotle: The master of those who know The Greek philosopher, scientist and student of Plato, Aristotle made significant and long-lasting contributions to nearly every aspect of human knowledge, from logic to biology to ethics, and aesthetics. Aristotle had a vast intellectual range covering most of the sciences and many of the arts, including biology, botany, chemistry, ethics, history, logic, metaphysics, rhetoric, philosophy of mind, philosophy of science, physics, poetics, political theory,

Aristotelian Tragedy: Macbeth Aristotle is known widely for developing his ideas on tragedy. He recorded these ideas in his Poetics in which he comments on the plot, purpose, and effect that a true tragedy must have. The structure of these tragedies has been an example for many writers including Shakespeare himself. Many of Shakespeare’s plays follow Aristotelian ideas of tragedy, for instance Macbeth does a decent job in shadowing Aristotle’s model. Aristotle describes one of the most important

The Evolution of Nature: Looking at the System of Nature in Aristoteles “Poetics” Aristoteles “Poetics” appears to be a straight forward piece about what defines good and bad poetry. Throughout the work, he explains the minuet features of tragedy, epics, and representation that have naturally come to be the best. He even goes to great lengths to list out each of the features of these representations and the ways they can be implemented. Behind this seemingly simple idea, however there is the great

Antigone and Aristotle’s definition of tragedy The beauty of tragedy is its ability to capture the audience and evoke a particular emotion in it. Tragedy, as Aristotle defines it, “accomplish[es] by means of pity and fear the cleansing [katharsis] of these states of feeling” (Poetics 1449b 27-28). Aristotle claims that tragedy offers some certain value for the audience – a social and psychological value – through the empathy it sets in place for the audience. Sophocles’ tragic play, Antigone, is

What makes a tragedy a tragedy? According to Aristotle, specific criteria exist to define a well-written tragedy, and The Crucible by Arthur Miller is a quality example. In Poetics, Aristotle explains the standards to evaluate works of various authors and describes tragedy as “an imitation of an action that is complete, and whole, and of a certain magnitude” (VII). Tragedies must include a protagonist, referred to as the tragic hero, that encounters a complication and experiences a series of recognitions

Classification and definition of tragedy are among many things widely disputed in the all too equivocal realm of composition and literary studies. These erroneous concepts happen to be directly correlated in Aristotelian theory which leads us to his definition of the tragic hero. Aristotle’s conceptualization of tragedy and all that it encompasses is widely revered and accepted; setting the standard previously and contemporaneously. The interpretation of his definition of tragedy is ambiguous, but

“Its is my life: Psychoanalytical and an existentialist study of people of suicidal tendencies in modern and contemporary American suicide drama”, written by Safi Mahmoud Mahfouz, argues that Willy Loman the protagonist of “Death of a Salesman”, is no tragic hero. Going hand to hand with Safi Mahmoud Mahfouz, Willy Loman is indeed not a tragic hero, since he never accepts nor admits to his own errors, which leads him in losing his dignity and how he has no peripeteia throughout the play, which equals

typical Tragedy, his or her immediate answer would be; Hamlet, Othello, Macbeth, possibly even King Lear. This is because these plays constitute what is conventionally known as a Tragedy. They mostly follow the conventions outlined in Aristotle’s Poetics, and have characteristics recognisable of a Tragedy, for example, the tragic hero being of upper class or noble background, and the tragic hero’s actions leading to inevitable consequences. As Buchner’s Woyzeck does not solely fit into this template