Some poetic forms include a blending of all materials; for example, Greek tragic drama included a singing chorus, and so music and language were all part of the performance. The Roman comedies of Plautus c. As sophisticated audiences grew interested more in causes rather than in effects, the great European playwrights of the turn of the century mixed their realism increasingly with symbolism.
In the West, religious questioning, spiritual disunity, and a belief in the individual vision combined finally with commercial pressures to produce comparatively rapid changes. The Easter liturgythe climax of the Christian calendarexplains much of the form of medieval drama as it developed into the giant mystery cycles.
Aristotles written thesis on tragedy plots are without the pain of reality, and his characters never descend from the ideal: By means of signals of style, the audience may be led to expect that the play will follow known paths, and the pattern of the play will regularly echo the rhythm of response in the auditorium.
Tragedy and epic poetry have many common qualities, most notably the unity of plot and similar subject matter. This extreme theatricality lent to artists and audiences an imaginative freedom upon which great theatre could thrive.
The drama of Japan, with its exquisite artistry of gesture and mime and its symbolism of setting and costume, took two major directions. If character changes opinion a lot it should be clear he is a character who has this trait, not a real life person - this is also to avoid confusion thought dianoia —spoken usually reasoning of human characters can explain the characters or story background diction lexis Lexis is better translated according to some as "speech" or "language.
Their masks stylized the whole play and allowed the spectator freedom to laugh at the unreality of the action. The other influence controlling their form and style was their manner of performance.
This ritual aspect was lost when the Romans assimilated Greek tragedy and comedy. By contrast, Western drama during and after the Renaissance has offered increasing realism, not only in decor and costume but also in the treatment of character and situation.
It is generally thought that Asian drama, like that of the West, had its beginnings in religious festivals. A play, therefore, tells its tale by the imitation of human behaviour. Is the audience sitting in one place for the duration of performance, or is it moving from one pageant stage to the next, as in some medieval festivals?
The texts of plays indicate the different functions they served at different times. In a more sophisticated philosophical sense though, the hero's fate, despite its immediate cause in his finite act, comes about because of the nature of the cosmic moral order and the role played by chance or destiny in human affairs.
Recent work, though, argues that translating rhuthmos here as "rhythm" is absurd: The portion of the Poetics that survives discusses mainly tragedy and epic poetry. Now character determines men's qualities, but it is their action that makes them happy or wretched. 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.
Threats can be resolved best last by being done in knowledge, done in ignorance and then discovered, almost be done in ignorance but be discovered in the last moment. The reason is that Aristotle says three times in the treatise that the protagonist can go from fortune to misfortune or misfortune to fortune; also in Chapter 14 the best type of tragoidos is that which ends happily, like Cresphontes and Iphigenia presumably "in Tauris"!
If it has more concentrated effect, it is more pleasurable than one with a large admixture of time to dilute it. Dithyrambs were sung by a large choir, sometimes featuring a narrator. The Edwin Mellen Press, What is always missing in Asian drama is that restlessness for change characteristic of modern Western drama.
Actions should be follow logically from the situation created by what has happened before, and from the character of the agent. Some argue that action is the primary factor in drama, and that character cannot emerge without it.
Nevertheless, the moral is at stake here and morals are important to make people happy people can, for example, see tragedy because they want to release their anger appropriate—if a character is supposed to be wise, it is unlikely he is young supposing wisdom is gained with age consistent—if a person is a soldier, he is unlikely to be scared of blood if this soldier is scared of blood it must be explained and play some role in the story to avoid confusing the audience ; it is also "good" if a character doesn't change opinion "that much" if the play is not "driven" by who characters are, but by what they do audience is confused in case of unexpected shifts in behaviour [and its reasons and morals] of characters "consistently inconsistent"—if a character always behaves foolishly it is strange if he suddenly becomes smart.Poetics Summary.
Aristotle proposes to study poetry by analyzing its constitutive parts and then drawing general conclusions. The portion of the Poetics that survives discusses mainly tragedy and epic poetry.
We know that Aristotle also wrote a treatise on comedy that has been lost. Download thesis statement on Aristotle's Poetics in our database or order an original thesis paper that will be written by one of our staff writers and delivered according to the deadline.
Dramatic literature: Dramatic literature, the texts of plays that can be read, as distinct from being seen and heard in performance. The term dramatic literature implies a contradiction in that literature originally meant something written and drama meant something performed.
Most of the problems, and much of the. Disease Control Priorities In Developing Countries: T+ 18 MB: The Model Preacher: Comprised In A Series Of Letters Illustrating The Best Mode Of Preaching The Gos.
In his Poetics, Aristotle outlined the ingredients necessary for a good tragedy, and based his formula on what he considered to be the perfect tragedy, Sophocles's Oedipus the King. According to Aristotle, a tragedy must be an imitation of life in the form of a serious story that is complete in itself; in other words, the story must be realistic and narrow in focus.
That book of course is Aristotle's Ethics, written in the fourth century before Christ. Aristotle was a student of Plato. Plato had founded the Academy of Athens, which was the .Download