He determines that tragedy, like all poetry, is a kind of imitation mimesisbut adds that it has a serious purpose and uses direct action rather than narrative to achieve its ends. The aim of tragedy, Aristotle writes, is to bring about a "catharsis" of the spectators — to arouse in them sensations of pity and fear, and to purge them of these emotions so that they leave the theater feeling cleansed and uplifted, with a heightened understanding of the ways of gods and men. This catharsis is brought about by witnessing some disastrous and moving change in the fortunes of the drama's protagonist Aristotle recognized that the change might not be disastrous, but felt this was the kind shown in the best tragedies — Oedipus at Colonus, for example, was considered a tragedy by the Greeks but does not have an unhappy ending.
He determines that tragedy, like all poetry, is a kind of imitation mimesisbut adds that it has a serious purpose and uses direct action rather than narrative to achieve its ends. The aim of tragedy, Aristotle writes, is to bring about a "catharsis" of the spectators — to arouse in them sensations of pity and fear, and to purge them of these emotions so that they leave the theater feeling cleansed and uplifted, with a heightened understanding of the ways of gods and men.
According to Aristotle, tragedy has six main elements: Most of the Poetics is devoted to analysis of the scope and proper use of these elements, with illustrative examples selected from many tragic dramas, especially those of Sophocles, although Aeschylus, Euripides, and some playwrights whose works no longer survive are also cited.
Particularly significant is his statement that the plot is the most important element of tragedy: Tragedy is an imitation, not of men, but of action and life, of happiness and misery.
And life consists of action, and its end is a mode of activity, not a quality. The purpose of action in the tragedy, therefore, is not the representation of character: Hence the incidents and the plot are the end of the tragedy; and the end is the chief thing of all.
Without action there cannot be a tragedy; there may be one without character.
The plot, then, is the first principle, and, as it were, the soul of a tragedy: Aristotle goes on to discuss the structure of the ideal tragic plot and spends several chapters on its requirements. He says that the plot must be a complete whole — with a definite beginning, middle, and end — and its length should be such that the spectators can comprehend without difficulty both its separate parts and its overall unity.
The plot is intended to illustrate matters of cosmic rather than individual significance, and the protagonist is viewed primarily as the character who experiences the changes that take place.
This stress placed by the Greek tragedians on the development of plot and action at the expense of character, and their general lack of interest in exploring psychological motivation, is one of the major differences between ancient and modern drama.
Since the aim of a tragedy is to arouse pity and fear through an alteration in the status of the central character, he must be a figure with whom the audience can identify and whose fate can trigger these emotions.
Aristotle says that "pity is aroused by unmerited misfortune, fear by the misfortune of a man like ourselves. In addition, the hero should not offend the moral sensibilities of the spectators, and as a character he must be true to type, true to life, and consistent.
However, overemphasis on a search for the decisive flaw in the protagonist as the key factor for understanding the tragedy can lead to superficial or false interpretations. It is true that the hero frequently takes a step that initiates the events of the tragedy and, owing to his own ignorance or poor judgment, acts in such a way as to bring about his own downfall.
Unless the conclusions of most tragedies are interpreted on this level, the reader is forced to credit the Greeks with the most primitive of moral systems. It is worth noting that some scholars believe the "flaw" was intended by Aristotle as a necessary corollary of his requirement that the hero should not be a completely admirable man.
The remainder of the Poetics is given over to examination of the other elements of tragedy and to discussion of various techniques, devices, and stylistic principles.
Aristotle mentions two features of the plot, both of which are related to the concept of harmartia, as crucial components of any well-made tragedy. This sudden acquisition of knowledge or insight by the hero arouses the desired intense emotional reaction in the spectators, as when Oedipus finds out his true parentage and realizes what crimes he has been responsible for.
Aristotle wrote the Poetics nearly a century after the greatest Greek tragedians had already died, in a period when there had been radical transformations in nearly all aspects of Athenian society and culture. The tragic drama of his day was not the same as that of the fifth century, and to a certain extent his work must be construed as a historical study of a genre that no longer existed rather than as a description of a living art form.
This approach is not completely suited to a literary study and is sometimes too artificial or formula-prone in its conclusions. Nonetheless, the Poetics is the only critical study of Greek drama to have been made by a near-contemporary.
It contains much valuable information about the origins, methods, and purposes of tragedy, and to a degree shows us how the Greeks themselves reacted to their theater. The ideas and principles of the Poetics are reflected in the drama of the Roman Empire and dominated the composition of tragedy in western Europe during the seventeenth, eighteenth, and nineteenth centuries.Tragedy, according to Aristotle, is an imitation.
It is not life itself; it is life imitated on a stage.
Moreover, it is an imitation of an action, not merely a revelation of character, although character is expressed through action. Thus he regards the plot, “the structure of the incidents,” as the most important part of a tragedy.
Aristotle uses the word "magnitude" to make a clear distinction between the length of a tragedy and the length of other performances that were being performed on the ancient stage at the time.
Explain the origins of Greek tragedy and the playwrights responsible for developing the dramatic art. Aristotle BC the Greek philosopher: a pupil of Plato and tutor of Alexander the Great argued that the proper effect of tragedy is catharsis or the purging of the emotions especially through some kinds of art like tragedy or music.
According to Aristotle, tragedy came from the efforts of poets to present men as 'nobler,' or 'better' than they are in real life.
This is actually a pretty detailed question for this short tranceformingnlp.comtle was an ancient Greek philosopher and scientist. These papers were written primarily by students and provide critical analysis of.
The Six Elements of a Tragedy in “Oedipus Rex” Aristotle’s “The Poetics” describes the process of a tragedy.
It is not the guide per se of writing a tragedy but is the idea’s Aristotle . Aristotle lays out six elements of tragedy: plot, character, diction, thought, spectacle, and song.
Plot is 'the soul' of tragedy, because action is paramount to the significance of a drama, and all other elements .