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Literary criticism accoring to aristotle
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Can it Relate?
(An Evaluation on Fault in Our Stars and how it relates to Aristotle Poetics on three categories.)
Aristotle was an opinionated man. He created an essay people would look to; when it came to drama he thought there was only one way to have a good story, which was a tragedy. There are many films that are considered to be a tragedy, but the one that has recently touched the lives of many is Fault in Our Stars. The story starts out with a young teenage girl who has terminal cancer. She is on a drug that is sustaining her life, but she is inevitably going to die. “‘All things are born to be diminished,’ the heroic city no less than the tragic hero.” (Knox) Her life was going to end. She was almost waiting for her death and not living
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There will be a moment when in Fault in Our Stars when you connect with the people in the movie. You see all the terrible things that happen to them and you can’t help, but feel fear and pity. What if that was me? What if I had cancer? There are questions that run through our head as people try to comprehend what is going on. “Tragedy manipulates the emotions of fear and pity; Revelation, primarily fear and resentment.” (Collins) The questions begin to manipulate what we think. During Fault in Our Stars there is a moment when you realize that someone will die. Throughout the movie you have an idea that someone will die, but you still are feeling extremely scared and sad for what is to come for the pair. It has to be someone we can connect to. “Since the first is felt for a person who’s misfortune is underserved and the second for someone like ourselves.” When it comes to people we have to be able to relate to the person, but still be able to separate each other. In Fault in our Stars, there are two people who you see as strong, and in your heart you know that it could be you, but you also feel as if it couldn’t be you. However, when you get the true catharsis is when you look at them and see yourself. “A person or group of people can suffer real damage, real distortion, if the people or society around them mirror back to them a confining or demeaning or contemptible picture of themselves.” (Markell) You have to be able to relate to the person in order to truly feel fear for the people and pity. We know that cancer can happen, so we tend to feel towards the two characters and hope that it won’t happen to
Aristotle states that "For Tragedy is an imitation, not of men, but of an action and of life, and life consists in action, and its end is a mode of action, not a quality. Now character determines men's qualities, but it is by their actions that they are happy or the reverse. Dramatic action, therefore, is not with a view to the representation of character: character comes in as subsidiary to the actions. Hence the incidents and the plot are the end of a tragedy; and the end is the chief thing of all.
I went to watch The Fault in our Stars and returned back with a big disappointment. Thinking all night what went wrong. The movie was nice, the characters, the story, then why didn’t I liked it? Definitely not to blame the people who made it. To blame the people who brought hallucinating thoughts and eventually made me believe all of it. Just like Percy’s essay I also couldn’t find the dogfish in the Shakespeare sonnet. I wanted to watch the movie with a curiosity. As people told me how emotional and perfection the movie was. How two people suffering with cancer fell in love and died at the end. One of the reasons are predictable. They already told me what was in the movie that kind of killed the part of enjoying
Shock, anger, numbness, denial, acceptance, and fighting for one’s life, are the general phases of grief through one’s experience with cancer (cancersurvivors.org). Although discovering about one’s cancer can be excruciating, an additional agonizing reaction to a sick person is how the others are affected and their one-on-one reaction to the person. Feeling overly pitiful to one’s illness can impair the situation for the one who is ill by emotionally making the tragedy feel additionally worse. Although the extra sympathy, empathy, and compassion Hazel Grace Lancaster is treated with in The Fault In Ours Stars are intended to comfort, these exaggerated emotions have the opposite effect, further isolating and reminding her of her limited existence, but concurrently, the reality of condolences is pivotal to Hazel’s life.
“Tragedy is an imitation of an action of high importance . . .” states Aristotle in his book Poetics (as cited in Kennedy & Gioia, 2010). Without a doubt, he observed and analyzed countless plays throughout his life and in Poetics, he writes a broad description of what a tragedy should contain (Kennedy & Gioia). Specifically, to Aristotle, tragedies require a “Tragic Hero.” What makes this literary character unique from the other heroes of literature? The most obvious and central difference is that the hero in question always experiences a disastrous reversal of fortune, which follows the recognition of a previously unknown truth (Kennedy & Gioia). He must be “a man not preeminently virtuous or just” (Poetics part XIII, trans. 1909), yet he still must be a “good person” whom the audience grows to respect and because of this, deeply pities and fears for throughout the play (Poetics part XIII). Despite being a person of high estate and influence, surprisingly, the hero in the Greek tragedy is someone we can relate to in his humanness. Furthermore, his fall “from happiness into misery” is “brought upon him not by vice or depravity but by some error of judgment” (Poetics part XIII)—his hamartia. The Oxford English Dictionary translates this Greek word as, “The fault or error, which entails the destruction of the tragic hero” (Oxford English Dictionary, 1989).
Aristotle analyzed drama to form a definition of tragedy. Aristotle considered “Oedipus the King” the perfect tragedy, so he modeled his definition after the play. He decided that there were some factors that made a tragedy: plot, character, diction, thought, spectacle, melody. The character had to have a tragic flaw that would ultimately lead to his downfall. The traits of tragedy's character defines Willy Loman as a tragic man. Also, a tragedy must have catharsis at the end, and the end of Death of a Salesman cleanses the audience.
Two lovers took their own lives to avoid the consequences, and in contrast while a man gouged his eyes out to deal with his flaw. Although Romeo and Juliet and Oedipus the King were great tragedies, Oedipus the King contains more of the tragic figures described in Aristotle’s definition. First, the protagonist endured uncommon suffering. Second, the tragic hero recognized the consequences of their actions and took responsibility for them. Third and lastly, the audience experienced catharsis. Ignorance and impulsiveness can cause one to stumble and it can ultimately lead to their fate.
Aristotle believes that the most important part of the definition of tragedy is the plot or action,
Most readers are aware of the many famous deaths or acts of death within the Shakespearean plays. And when the main characters die in Shakespeare’s plays, indeed, the readers would categorize the play as a tragedy. The problem with any tragedy definition is that most tragic plays do not define the tragedy conditions explained or outlined by Aristotle. According to Telford (1961), a tragedy is a literary work that describes the downfall of an honorable, main character who is involved on historically or socially significant events. The main character, or tragic hero, has a tragic fault, the quality that leads to his or her own destruction. In reading Aristotle’s point of view, a tragedy play is when the main character(s) are under enormous pressure and are incapable to see the dignities in human life, which Aristotle’s ideas of tragedy is based on Oedipus the King. Shakespeare had a different view of tragedy. In fact, Shakespeare believed tragedy is when the hero is simply and solely destroyed. Golden (1984) argued the structure of Shakespearean tragedy would be that individual characters revolved around some pain and misery.
Aristotle’s Poetics is a “reservoir of the themes and schemes deployed in ancient Greek tragedy and poetry” (Poetics iii). Written around 330 B.C., it was the first work of literature to make a distinction amongst the various literary genres and provide a proper analysis of them. In Poetics, Aristotle places a big emphasis on the genre of tragedy. When one hears of the word tragedy, one already assumes that something bad has occurred to an individual and an immediate emotion of sorrow occurs, but how does Aristotle see tragedy? Aristotle gives us his formal definition of tragedy on page 10: “Tragedy is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action; through pity and fear effecting the proper purgation of these emotions.” He goes on and explains all the components that make up tragedy. A tragedy must fall into two parts: complication and unraveling (also known as the denouement). Aristotle elaborates on that and speaks of four types of tragedy: “the Complex, depending entirely on Reversal of the Situation and Recognition; the Pathetic (where the motive is passion); the Ethical (where the motives are ethical). The fourth kind is the Simple.
In his classic work "Poetics" Aristotle provided a model of the tragic hero. According to Aristotle, the tragic hero is more admirable than the average person. This results in the tragic hero being admired by the audience. For the audience to accept a tragic ending as just, it is crucial that the tragic hero be responsible for their undoing. At the same time though, they must remain admired and respected. This is achieved by the tragic hero having a fatal flaw that leads to their undoing. One of literature's examples of the tragic hero is Achilles from Homer's The Iliad. However, Achilles is different from the classic tragic hero in one major way - his story does not end tragically. Unlike the usual tragic hero, Achilles is able to change, reverse his downfall, and actually prove himself as a true hero.
...n Aristotle’s view of characters. Aristotle also suggests that a tragedy should have the power to provoke audience’s emotion of pity and fear. The suffering and behavior of each character in Hamlet possess that power. The author agrees with the Aristotelian analysis of Hamlet, the story of Hamlet was perfectly based on Aristotle’s tragedy theory. However, the author thinks that the tragedy doesn’t always have to end up in misery. A tragic story can also have some hidden happiness in the suffering, misery of tragic hero(s), in which way can audience realize that there is still hopeful when your life is tragic and encourage people to strive hard to create a better life.
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
In 350 B.C.E., a great philosopher wrote out what he thought was the definition of a tragedy. As translated by S.H. Butcher, Aristotle wrote; “Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions. . . . Every Tragedy, therefore, must have six parts, which parts determine its quality—namely, Plot, Characters, Thought, Diction, Spectacle, Melody. (http://www.cnr.edu/home/bmcmanus/poetics.html)” Later in history, William Shakespeare wrote tragedies that epitomized Aristotle’s outline of a tragedy. Shakespeare’s Hamlet is one such tragedy.
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...