The Poetic Principle

     Aristotle’s Poetics is considered the guide to a well written tragedy; his methods have been used for centuries. Aristotle defines a tragedy as “an imitation of an action that is serious, complete, and of a certain magnitude… in the form of an action, not of narrative; through pity and fear effecting the proper purgation of these emotions” (House, 82). The philosopher believes the plot to be the most vital aspect of a tragedy, thus all other parts such as character,

The Legend, Edgar Allan Poe Many authors have influenced American culture over the decades. Edgar Allan Poe, the most influential gothic writer, has shaped American literature and has created the fictional detective genre. Poe was born in Virginia and was placed into foster care as child, after the death of his mother. His traumatic childhood influenced his writings into adulthood and is known today as an American gothic writer for his poems and short stories. Edgar Allan Poe impacted the world

Sir Gawain and the Green Knight was written in the 1300’s by an unknown author. The following essay is going to compare and contrast the two stories mentioned above based on historical setting, cultural context, literary styles, and the aesthetic principles of the period in which they were written. Sir Gawain and the Green Knight were written in the late 14th century (1300’s) in Northwestern England. During this time, King Arthur was in reign. The story imitates ideology of English Chivalry and how

The journey and the development of the cinematic genre now called the ‘French Poetic Realism’, unraveled in a French film sector battling for its place in a post-war world, in competition with the American and German industries. While the sector tried to recuperate from the strike of a chaotic political and social environment, the increasing prevalence of smaller companies provided filmmakers such as Chenal, Vigo, Duvivier and Renoir with the necessary environment to experiment and produce creative

of poetic expression, he embraced three sentiments that a poem must speak to: the eye, the ear, and the heart (Frost qtd. in Newdick 298). At the apex of his assertions, Frost affirms that a poem ―runs a course of lucky events, and it ends in a clarification of life‖ (Frost qtd. in Davenport 27). On the other hand, critics thought his style of poetry ―was too much like talk‖ (Newdick 290). Frost regarded their admonition as praise; it was what he wanted to accomplish with his poetic style

In 1848, Poe delivered a lecture called the “Poetic Principle”. In this presentation, he argued that literature should not be expected to carry a moral message, which was not supported. Although his lecture did not alter people’s minds, Poe still pursued writing the way he believed stories should be written. Poe wrote two essays on poetic structure, one of them being “The Philosophy of Composition”. “The Philosophy of Composition” elucidates

new piano works at this time comprised of two poetic books of études, the Ballade in G Minor, the Fantaisie-Impromptu, and many minor pieces, among the smaller pieces were mazurkas and polonaises encouraged by Chopin’s strong nationalist

observations as he deciphers how Alpha 60 reinforces logical thinking by eliminating emotional ideas. These observations are Godard's epistemological representation of what can only be known to humans and never grasped by computers. Caution has knowledge of poetic language important in his defense against Alpha60's interrogation. He is arrested for trying to take photographs of Professor Van Braun, the computer's creator and taken to Alpha60's central

in the sense that the location does not change, the time is apparent in its constraints and every action serve as a reaction to what came previously in the text. It is difficult to give a textual example of the three unities, because the whole principle of their

The poetic voice feels no envy of the nightingale but admits his pain when observes the excess of joy that infuses the bird’s singing. Here we see the paradoxical relationship between pleasure and pain. The poet wants to escape from human anguish, gray, sadness: