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Aristotelian description of tragedy
Aristotelian description of tragedy
Aristotelian description of tragedy
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In ancient Greece citizens hoped to go unnoticed by the Gods. The Gods played a huge role on what occurred in a citizen’s life. If a prophecy was decided by a God, then there was no altering it. Aristotle believes that this is what makes up a true tragedy. He suggests that tragedy is plot driven, and if the plot is set then there is no way around it. In Oedipus Rex by Sophocles, Oedipus is paying for the sins of his father King Laios. Laios was given horrible future by the Gods for angering them when he rapes another man. He was given a prediction that his son would murder him, and would marry his mother, Queen Jocaste. To prevent the prediction from happening Laios sent his shepherd to kill Oedipus, but gave him to a messenger from a different kingdom for another royal family to call their own. After many years the prophecy came true with Oedipus killing Laios and marrying Jocaste, without anyone knowing who Oedipus really was. Aristotle states, “Thus the structure of events, the plot, is the goal of tragedy, and the goal is the greatest thing of all” (2196). He puts tragedy into two categories: simple and complex. In a simple tragedy the drama comes without a peripety or recognition, and it is continuous through the tragedy. Aristotle’s definition of a complex tragedy is when it has a peripety and recognition within the drama. Peripety is where the character feels confident that happiness is near, but then realizes that the main plot was complete but was not a pleasant one. In Oedipus, he experiences the peripety when the messenger comes to tell him he is the king of yet another kingdom. After the good news the messenger and the shepherd inform Oedipus of what happened when he was an infant, which gives Oedipus enough facts to... ... middle of paper ... ...hough readers get both different definitions in Death of a Salesman, readers still get an Aristotelian tragic hero. One answer to the question could be that a tragedy can be plot-driven, and also character-driven/plot-driven. But it would be hard to have a tragedy just character-driven in a drama. Works Cited Aristotle. “On Tragedy.” Literature: Reading Fiction, Poetry, and Drama. Robert DiYanni. 6th Ed. New York, 2007. 2196-2198. Print. Miller, Author. “Death of a Salesman.” Literature: Reading Fiction, Poetry, and Drama. Robert DiYanni. 6th Ed. New York, 2007. 1777-1847. Print. Miller, Author. “Tragedy and the Common Man.” Literature: Reading Fiction, Poetry, and Drama. Robert DiYanni. 6th Ed. New York, 2007. 2216-2218. Print. Sophocles. “Oedipus Rex.” Literature: Reading Fiction, Poetry, and Drama. Robert DiYanni. 6th Ed. New York, 2007. 1307-1347. Print.
“I believe that the common man is as apt a subject for tragedy in its highest sense as kings were” ( Tragedy and the Common Man). Arthur Miller follows his Millerian conventions of tragedy in the writing of The Crucible. Often literature uses tragedy to display a depressing theme represented by the tragic hero.
...ods come for the free drugs that he offers. Johnny is a man for whom we feel pride, shame and pity all at once but such a contradictory character would be unstable and unpredictable. Aristotle defines tragedy according to seven characteristics. These are that it is characterized by mimicry, it is serious, it expresses a full story of a relevant length, it contains rhythm and harmony, the rhythm and harmony occur in different combinations in different parts of the tragedy, it is performed not narrated and that it provokes feelings of pity and fear then purges these feelings through catharsis the purging of the emotions and emotional tensions. The composition of a tragedy consists of six segments. In order of relevance, these are plot, character, thought, diction, melody, and performance. For a comedy the ending must be merry. Instead Jerusalem ends in death.
Gioia, Dana, and X.J. Kennedy. "Critical Casework: Sophocles." Literature: Introduction to Fiction, Poetry, Drama and Writing. 7th ed. N.p.: Pearson Longman., n.d. 945-48. Print.
Miller, Arthur. Death of a Salesman. Eds. Alison Booth and Kelly J. Mays. New York: W.W. Norton & Company, 2010. 2128-2193. Print.
Miller, Arthur. “Death of a Salesman”. Literature: An Introduction to Fiction, Poetry, Drama, and Writing. Ed. Dana Gioia and X.J. Kennedy.10th Ed. New York: Pearson, 2007.
Miller, Arthur. Death of a Salesman. Literature: An Introduction to Fiction, Poetry, and Drama. Seventh Edition. X.J. Kennedy, and Dana Gioia. New York: Addison Wesley Longman, Inc., 1999. 1636-1707.
Benardete, Seth. ?Sophocles? Oedipus Tyrannus.? In Sophocles: A Collection of Critical Essays, edited by Thomas Woodard. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1966.
Oedipus looses honor, and respect from many and especially his own self when he finally sees clearly. So of all of Aristotle’s ideas about tragedy, this tragic play acquires four, and they’re interconnected in the way that makes a good tragic play.
Sophocles. "Oedipus Rex." An Introduction to Literature, 11th ed. Eds. Sylvan Barnet, et al. New York: Longman, 1997.
Miller, Arthur. “Death of a Salesman.” The Norton Introduction to Literature 10. New York: W. W.
...s. "Death of a Salesman: Arthur Miller's Tragedy of an Ordinary Man." New York Times. 20, February 1949.
According to Aristotle, a tragedy must be an imitation of life in the form of a serious story that is complete in itself among many other things. Oedipus is often portrayed as the perfect example of what a tragedy should be in terms of Aristotle’s Poetics. Reason being that Oedipus seems to include correctly all of the concepts that Aristotle describes as inherent to dramatic tragedy. These elements include: the importance of plot, reversal and recognition, unity of time, the cathartic purging and evocation of pity and fear, the presence of a fatal flaw in the “hero”, and the use of law of probability.
As a concept in literature, tragedy can be referred to as a progression of unfortunate events whereby characters undergo severe misfortunes which results to a horrible disaster. The involved characters may be one or more. Tragedy in literature works should basically be in five stages in its normal structure: there should be happy times, an introduction to the problem, the problem should be seen to worsen into a dilemma, the problem should be out of control of the characters and finally the problem should end in a catastrophic or have a grave ending situation. According to Aristotle argumentation, a perfect tragedy should be realistic and having a narrow focus, provoke pity and fear to the audiences, be able to outline traits of a perfect tragic
In Aristotle’s book, Poetics, he defines tragedy as, “an imitation of an action that is serious, complete, and possessing magnitude; in embellished language, each kind of which is used separately in the different parts; in the mode of action and not narrated; and effecting through pity and fear” (Aristotle 1149). Tragedy creates a cause and effect chain of actions that clearly gives the audience ideas of possible events. The six parts to Aristotle’s elements of tragedy are: Plot, character, language, thought, spectacle, and melody. According to Aristotle, the most important element is the plot. Aristotle writes in Poetics that, “It is not for the purpose of presenting their characters that the agents engage in action, but rather it is for the sake of their actions that they take on the characters they have” (Aristotle 1150). Plots should have a beginning, middle, and end that have a unity of actions throughout the play making it complete. In addition, the plot should be complex making it an effective tragedy. The second most important element is character. Characters...
Oedipus the King by Sophocles has the ingredients necessary for a good Aristotelian tragedy. The play has the essential parts that form the plot, consisting of the peripeteia, anagnorisis and a catastrophe; which are all necessary for a good tragedy according to the Aristotelian notion. Oedipus is the perfect tragic protagonist, for his happiness changes to misery due to hamartia (an error). Oedipus also evokes both pity and fear in its audience, causing the audience to experience catharsis or a purging of emotion, which is the true test for any tragedy according to Aristotle.