Poetics

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

Sophocles' Oedipus is a standout amongst the most surely understood grievous legends ever. His bizarre destiny drives him to terrible destruction that leaves both the peruser and the gathering of people feeling candidly influenced. As indicated by the meaning of the Greek thinker, Aristotle, Oedipus' troublesome story qualifies him as a sad legend. Oedipus is the epitome of Aristotle's portrayal of a shocking saint through his capacity to safeguard his excellence and intelligence, in spite of his

was both a renowned and prolific playwright, look back a few hundred years to find Aristotle, one of the most famous scholars and philosophers of all time. In his treatise titled Poetics, he defends poetry against criticism as well as sets standards for tragedies in "The Nature of Tragedy," a section of the Poetics. Is Macbeth fit to be included in the tragedy genre according to the standards set by Aristotle? According to Aristotle, a tragedy is "an imitation of an action

Aristotle wrote his Poetics, or “makings”, in 350 B.C. It was a reaction to Plato’s Republic, which was his version of Utopia. Aristotle’s Poetics described what he thought were major characteristics of a tragedy and tragic hero. In Sophocles’ tragedy Antigone, Antigone’s two brothers Eteocles and and Polynices have been killed in battle. Creon has ruled that Polynices not be given a proper burial because he thinks he is a traitor. Antigone disobeys his wishes and buries him, so Creon orders

An Analysis of Oedipus and Aristotle's Definition of the Tragic Hero Introduction 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

the misfortune of a man.” He also defines a tragic hero as one who is highly famous, financially successful, “not eminently good and just, yet whose misfortune is brought about not by vice or depravity, but by some error or frailty” (Aristotle: Poetics, n.d.). William Shakespeare’s Othello, The Moor of Venice should be labeled as an Aristotelian tragedy due to his portrayal of Othello as a tragic hero. Shakespeare organizes Othello in such a way that it first, centers around a serious topic which

downfall. One of Antigone's tragic flaws is her loyalty to the gods. Her disloyalty to King Creon is also one her tragic flaws. Antigone can be considered a tragic heroine because she possesses the following defining traits as set by Aristotle's Poetics: 1. The tragic hero possesses an error

once was believed to mean “goat-song” it had a connection to the Greek god Dionysus (“Tragedy”). Tragedies have evolved throughout the centuries and there is myriads of definitions for tragedies many of which refute the others, however, Aristotle’s Poetics gives its own definition as well as lots of insight. While there is no universal agreement of how a tragedy exactly should be concocted there are many reoccurring themes in tragedies which are present in Antigone such as the law of men against the

as a tragic hero, and tragic plot were evident throughout the play. Also, the feeling of catharsis at the end-which is proper of tragedy, was clearly identifiable. I. Fences fits into the tragic genre based on the points given by Aristotle. In Poetics, he defines tragedy as "the imitation of an action that is serious and also as having magnitude, complete in itself." • Aristotle’s idea is that the plot has a beginning middle and end and all parts follow each other in concise fashion. o In the

Aristotle’s Model: The Play as a Whole In Aristotle’s Poetics, Aristotle emphasizes three major elements of a good play: plot, character, and thought. To be more specific, in an Aristotelian play, thought sets the cause of action with character as emotion developer based on plot as the basic form. Besides these three main factors, the idea that a play should be a complete whole is also the basis of the Poetics (Aristotle 61). Therefore, when comparing the choices Lobby Hero by Kenneth Lonergan and