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Aristotle elements of a tragedy
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A tragedy’s itended purpose is to raise emotions of both pity and fear through a catharsis. The audience often feels empthatic for the protagonist, as he or she is likely described as a tragic hero. In order to be classified as a tragic hero there are specific criteria that must be met. Aristotle dissected tragedy to further understand the purpose, components, and the criterium. Through his studies, Aristotle formulated, Poetics, his very own book explaining his theory on tragedy. Aristotle defined tragedy as the “imitation of action according to the “law of probability or necessity” (“Outline of Aristotle's Theory of Tragedy."). For William Shakespeare, tragedy was a literary genre that he as an author had skillfully mastered. Shakespeare understood the complexity of tragedy which he demostrated in brilliant literary works such as Hamlet, Julius Caesar, Romeo and Juliet, and Othello. Shaksespeare was able to captivate his audiences for. Shakespeare created great literary works that enticed his audience with all the elements which Aristotle mentioned. Based on Aristotle’s definition of a tragic hero, Othello, the Moor of Venice meets the criteria to be considered an Aristotelian tragedy.
To this day, Aristotle’s theory of tragedy is used to further dissect a literary work and its components. In order to be considered a tragedy, it must include six parts; those being plot, characters, diction, thought, spectacle, and melody. Plot is considered to be the most important since it is essentially the structure of the play. In a tragedy, plot is referred to as the tragic plot and it is considered to to be both single and complex. There are three steps in a tragic plot, reversal, recognition, and suffering. Ultimately, it is the cha...
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...orrect to label Othello as a tragic hero as well as to classify Othello, The Moor of Venice an aristotelian tragedy.
Works Cited
“Are Shakespeare's tragic heroes 'fatally flawed'? Discuss”. Critical Survey, Vol. 1, No. 1 (1989): pp 53-62. Print.
"Aristotle." Aristotle. N.p., n.d. Web. 02 Mar. 2014.
"ARISTOTLE & THE ELEMENTS OF TRAGEDY: English 250." Aristotle's Tragic Terms. N.p., n.d. Web. 02 Mar. 2014.
Golden, Leon. “Othello, Hamlet, and Aristotelian Tragedy”. Shakespeare Quarterly, Vol. 35 No. 2 (Summer, 1984): pp 142-156. Print.
"Outline of Aristotle's Theory of Tragedy." Outline of Aristotle's Theory of Tragedy. N.p., n.d. Web. 02 Mar. 2014.
Shakespeare, William. “Othello, the Moor of Venice.” Literature: An Introduction to Fiction, Poetry, Drama, and Writing. Seventh Edition. X.J Kennedy & Dana Gioia. New York: Pearson, 2013. Pages 1002-1103. Print.
...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.
Tragedy is an intrinsically human concept; tragic heroes are damned by what they themselves do. Othello is not so much felled by the actions of Iago, but by a quality all people possess-- human frailty. Accordingly, Othello is not a victim of consequences, but an active participant in his downfall. He is not merely a vehicle for the machinations of Iago; he had free agency. Othello's deficiencies are: an insecure grasp of Venetian social values; lack of critical intelligence, self-knowledge, and faith in his wife; and finally, insecurity-- these are the qualities that lead to his own downfall.
Shakespeare, William. Othello, The Moor of Venice. from Literature and the Writing Process. McMahon, Day, Funk. Prentice-Hall Publishers: New Jersey, 1996. 864-947.
McManus, Barbara F. "Outline of Aristotle's Theory of Tragedy." Outline of Aristotle's Theory of Tragedy. Web. 14 Dec. 2013.
Barthelemy, Anthony G. "Introduction" Critical Essays on Shakespeare's Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 1-19)
Sophocles, one of Athens great ancient writers lived through the fifth century B. C. (496-406). In such period of time, theater was considered to be both a religious and civic event. Religious because it happened only twice a year in the honor of the god of wine and crops, Dionysus; civic because every Athenian citizen was invited to take part in the famous three days of drama. Each day, during those days, a tragic play was presented for the audience’s edification. Those plays featured some important mythical or legendary event the audience is familiar with. The main character and the overall story being acted out are also known by every spectator. With that said, the play writer had some expectations to meet and some criterias to follow. Sophocles, in Oedipus the King, had to meet the standard schematic of a tragic play. He needed the base of a traditional plague, lead with a prologue followed by a parados. Many episodes would be added to the parados, as well as many odes. He would close the play with an exodos. There are also some more meaningful details the audience is expecting to see. Those details are included in the great greek philosophe Aristotle’s concept of tragedy. In this essay I will discuss the traditional schematic of a tragic play as well as the particular facts one is expecting to encounter. With Aritstotle’s concept of tragedy, the analysis of Scodel Ruth and Michelakis Pantelis, a scholar and a cultural critique, I will draw on how Oedipus the King fits within the popular theater of the fifth century.
Shakespeare, William. "Othello". The Norton Shakespeare. Ed. Stephen Greenblatt. New York: W.W. Norton & Company, 1997.
Shakespeare, William. Othello. Ed. Philip M. Parker. [San Diego, Calif.]: ICON Classics, 2005. eBook Collection (EBSCOhost). Web. 17 Feb. 2014.
In Poetics, Aristotle defines plot as “the arrangement of the incidents” (Aristotle 12). He indicates that there are six elements in every tragic play, which are plot, character, thought, diction, melody and spectacle, among these plot is placed in the foremost positi...
Courageous and admirable with noble qualities defines a heroine. In Aristotle’s Poetics he describes a tragic hero as a character who is larger than life and through fate and a flaw they destroy themselves. Additionally, Aristotle states excessive pride is the hubris of a tragic hero. The hero is very self-involved; they are blind to their surroundings and commit a tragic action. A tragedy describes a story that evokes sadness and awe, something larger than life. Furthermore, a tragedy of a play results in the destruction of a hero, evoking catharsis and feelings of pity and fear among the audience. Aristotle states, "It should, moreover, imitate actions which excite pity and fear, this being the distinctive mark of tragic imitation." (18) For a tragedy to arouse fear, the audience believes similar fate might happen to them and the sight of the suffering of others arouses pity. A tragedy's plot includes peripeteia, anagnorisis, hamartia and catharsis. Using Aristotle’s criteria, both characters in Oedipus The King and The Medea share similar qualities that define a tragic hero such as being of noble birth, having excessive pride, and making poor choices. They both gain recognition through their downfall and the audience feels pity and fear.
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.
According to Aristotle, the importance of tragedy as a genre is to represent action. Thus unity of action purportedly has the strongest implications for the effectiveness of the work itself. Aristotle posits “a story, since it is the representation of action, should concern an action that is single and entire, with its several incidents so structured that the displacement or removal of any one of them would disturb and dislocate the whole.” (Aristotle 27) and deems this claim imperative. A good plot, and thereby an effective tragedy, does not include events, which are not connected to each other or specifically the main plot. In theory, these unconnected events are distracting from the main action and dissipate the tragic effect. With Aristotle’s definition, no sub-plot should exist in tragedy. For all events to be “necessary or [have] probable connection with each other.” (Aristotle 27) none should exist not directly related to the main action. Again, unity allows for the tragic effect to be concentrated, intending to allow for increased feelings of pity and
One may argue that the Greek playwright, Sophocles modeled his play Oedipus Rex on Aristotle's definition and analysis of tragedy. Since according to Aristotle's definition, a tragedy is an imitation of action that is serious, complete and of a certain magnitude; in language embellished artistic ornaments, the several kinds being found in separate parts of the play; in the form of action, not narrative with incidents that evokes pity and fear of a persons emotions. Also Aristotle identified the basic six parts a tragedy as being plot, character, thought, melody, diction and spectacle which he considered the least important. Therefore the controversy of Sophocles modeling his play Oedipus Rex on Aritotle's analysis of tragedy can be argued out since the play Oedipus Rex is a classic Aristotelian tragedy. However this conception is totally fallacious since it is a well known fact that Aristotle lived a century after Sophocles.
A modern tragedy of today and a tragedy of ancient Greece are two very different concepts, but ironically, both are linked by many similarities. In “Poetics”, Aristotle defines and outlines tragedy for theatre in a way that displays his genius, but raises questions and creates controversy. Aristotle’s famous definition of tragedy states:
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...