Poetics

Aristotle’s Poetics discussed, critiqued, and analyzed several aspects of literary drama, with an emphasis on the genre of tragedy. In his famous work, Aristotle specifically outlined the six distinct characteristics that he attributed to tragic heroes: nobility and greatness, imperfection, presence of hamartia due to hubris, sentenced to punishment that exceeds crime committed, fall is not pure loss, and catharsis at the conclusion of the plot. Elements of Aristotle’s definition of a tragic hero

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 no exception to the magnificent

society, Aristotle believes that it can be an instrument of learning and an outlet for the emotions felt by all men. Aristotle finds the tragic dramas true purpose or nature as “the natural later development of a human religious activity.” (80) In the Poetics, Aristotle defends the tragic drama completely and proves that it is useful. He

tragedies to be the highest form of poetic literature. In his book, The Poetics, Aristotle defines a tragedy as “ The imitation of an action that is heroic, complete, and of a certain size, in language embellished with all kinds of ornament, each used separately in the different parts of the play, in dramatic, not narrative form and accomplishing with pity and fear the catharsis of these emotions (Battin, 1975).” “Aristotle devoted sizable portions of the Poetics to details about plot. He covered

Comedy and Tragedy | |       Comedy     According to Aristotle (who speculates on the matter in his Poetics), ancient comedy originated with the komos, a curious and improbable spectacle in which a company of festive males apparently sang, danced, and cavorted rollickingly around the image of a large phallus.  (If this theory is true, by the way, it gives a whole new meaning to the phrase "stand-up routine.")     Accurate or not, the linking of the origins of comedy to some sort of phallic

The Theban Plays is a tragedy, written by Sophocles as a 3-play saga: Antigone, Oedipus at Colonus and the subject of this essay, King Oedipus. Human greatness is said to be the focus of the play, and what a fascinating topic, because it can be perceived in many ways. As well as discussing various angles on Oedipus, it will also be determined what human greatness is and is Oedipus great. The statement says that King Oedipus is a play about human greatness, but via Oedipus’ inner strength and endurance

hero this is because a tragic hero has three main characteristics which are: having a fatal flaw, tragic end , and lastly being doomed from the start. Greek philosopher Aristotle had some of his own definitions of what makes a tragic hero in his poetics and these three were also from what he had defined a tragic hero. The play Macbeth written by William Shakespeare and the first play recorded play of Macbeth was performed in April 1611. The play Macbeth is about a man who lives his normal life but

Aristotle’s theory for storytelling is that there is a precise formula for how to make a proper tragedy. In his in-depth piece about the subject “Poetics” Aristotle details the specifics of what makes a good tragic story. However, before explaining what makes a good tragedy, Aristotle provides context as to why we are so drawn to these tragic stories and why they are so important. He claims that imitation is important because we as humans are drawn to it because we spend a lot of our lives imitating

“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

In Poetics, Aristotle argues that tragedy must revolve around a protagonist who exhibits certain characteristics that lead to their downfall. Hamartia, often associated with Greek tragedy, includes a moment of anagnorisis, which generally arouses fear and empathy amongst the audience, making it a cathartic moment in a play. Hamlet, A Doll’s House and Wuthering Heights are texts that explore the tensions and complexities of tragic narrative. To fully understand if the women in these texts are tragic