AP+Theory+of+Tragedy

Theory of Tragedy 2. Aim 3. Courtney DeWein 4. From his Theory of Tragedy in Poetics, Aristotle asserts that tragedy’s true intention is to display a change of circumstance or reversal of fortune in a hero caused by some internal factor that ultimately invokes a change of perception in the hero and has a considerable emotional impact on the audience. At its core, the Theory of Tragedy’s “ most powerful elements of emotional interest in Tragedy- Peripeteia or Reversal of the Situation, and Recognition scenes- are parts of the plot” (Aristotle). This “peripeteia” is generally a change of fortune or circumstance that has an effect on the hero of the play. Aristotle’s definition of “Recognition” is a “change from ignorance to knowledge, producing love or hate between the persons destined by the poet for good or bad fortune” (Aristotle). The mentioned “change from ignorance to knowledge” results from the hero’s change of fortune and ultimately leads to catharsis, explain later. The Theory of Tragedy argues that “The structure of the best tragedy should be not simple but complex and one that represents incidents arousing fear and pity--for that is peculiar to this form of art" (Aristotle). This theory is distinct from more recent examinations of tragedy that “apply optimism” (Corrigan) and a product of “the environment” or “society” (Corrigan). Most importantly, tragedy results in catharsis for the audience, which involves a strong, cleansing, release of repressed emotions.

5. Works Cited Aristotle. Poetics. Trans. S. H. Butcher. The Internet Classics Archive. Web Atomic and Massachusetts Institute of Technology, 13 Sept. 2007. Web. 4 January 2012. Corrigan, Robert W.. Tragedy: Vision and Form. 2nd ed. New York: Harper, 1981.

1. Visual 2. Audience 3. Bethanie Butler 4. The definition of tragedy in Aristotle’s //Theory of Tragedy// is that “imitation [is] 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” (McManus). Therefore, according to Aristotle, one of the most important parts to a tragedy is the connection it has with the audience. If the audience does not connect with the tragedy, then there is “catharsis of such emotions” as “pity and fear” (McManus). That “catharsis” felt by the audience is the determining factor on whether or not a tragedy is successful. As a result, the author of a tragedy must be sure to include a character audiences can relate to, someone realistic and personal, so when the tragedy strikes, the audience feels that “pity and fear” for the character they came to love. It is that tragic event which causes that devastating feeling of catharsis that separates tragedies from other forms of literature, “The basic difference Aristotle draws between tragedy and other genres, such as comedy and the epic, is the ‘tragic pleasure of pity and fear’ the audience feel watching a tragedy” (“Greek Theory of Tragedy: Aristotle’s Poetics”). The “‘tragic pleasure of pity and fear’” felt by the audience, puts tragedies in a difference league than other genres because of the pain it inflicts (“Greek Theory of Tragedy: Aristotle’s Poetics”). That painful catharsis is the most important part of a tragedy according to Aristotle, it is that element that forces the audience to feel the pain, pity, and fear for a fictional character. 5. Works Cited “Greek Theory of Tragedy: Aristotle’s Poetics”. //Brooklyn College Web Site//. 12 March 2009. Web. 5 Jan. 2012.

McManus, Barbara. “Outline of Aristotle’s Theory of Tragedy in the POETICS”. //The College of New Rochelle//. Nov. 1999. Web. 5 Jan. 2012.

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2. Historical 3. Ashley Payne 4. Aristotle considered tragedy to be a literary genre. Aristotle admired Sophocles and 50 years after his death published //Poetics//, in which he analyzed a tragedy based on his favorite tragedy, Oedipus the King. One of the parts of a tragedy as explained by Aristotle is “katharsis.” “//Katharsis// is another Aristotelian term that has generated considerable debate. The word means “purging,” and Aristotle seems to be employing a medical metaphor.” From Sophocles’ //Oedipus the King//, Aristotle adopted this term to fit a tragedy because pleasure is fitting to a tragedy, because it is typically is action of pursuing a personal pleasure that leads to a climactic drama, such is the case in //Oedipus the King//. Several more tragic literary works were then inspired from Sophocles’ work. In Aristotle’s //Poetics//, he states, “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…” Again, Aristotle analyzes Sophocles’ tragedy to define what a tragedy is exactly. In relation to //Othello//, Aristotle’s Theory of Tragedy applies here because it contains the six parts of a tragedy.

Works Cited

Hare, John Bruno. //"IV. Definition of Tragedy."// Poetics of Aristotle. n.p., 2012. Web. 5 Jan 2012.

McManus, Barbara F. “//Outline of Aristotle's Theory of Tragedy in the POETICS.//” Cnr.edu. n.p. 1999. Web. 5 January 2011.

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2. Theory of Tragedy – Cultural

3. Sumedha Ravishankar

4. According to Aristotle in his //Theory of Tragedy//, “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 //katharsis// of such emotions” (McManus). Aristotle’s //Theory of Tragedy// impacted playwrights for years to come because he provided a definition to the concept of tragedy. Many tragedies, especially those from Greece, following the //Theory of Tragedy// were based on the foundations that the //Theory of Tragedy// set forth on the genre of tragedy. Though Shakespeare may not have known Aristotle’s work directly, he would have been accustomed to the Latin adaptations of Greek tragedies that were based directly off of Aristotle’s work. The ideas found in the Latin adaptations would have then influenced Shakespeare while writing his tragedies, such as //Othello//. Aristotle identified various types of tragedies, such as medieval, classical, and Renaissance tragedy. //Othello// is classified as a Renaissance tragedy because it deals with a “tragic flaw” where the protagonist fails due to a weakness of error (Schwartz). This base concept of a “Renaissance tragedy” was developed from Aristotle’s //Theory of Tragedy// as it set the basis for what the genre of tragedy should look like. 5. Works Cited McManus, Barbara F. “Outline of Aristotle's Theory of Tragedy in the //POETICS//.” //Cnr.edu.// n.p. 1999. Web. 4 January 2011. Schwartz, Dr. Deborah B. “Shakespeare’s Plays: Tragedies.” //cla.calpoly.edu.// California Polytechnic State University. 2005. Web. 4 January 2011.