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    Lec 7 Aristotles Poetics

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    Malik Yousaf
    Aristotle argues that poetry, specifically tragedy, is a valid form of imitation that is removed from but represents reality. He believes tragedy imitates life through the use of plot, character, language, thought, and other elements to elicit emotions of pity and fear from audiences. For Aristotle, the best tragedies feature complex plots where a character moves from good to bad circumstances due to a significant mistake, allowing for catharsis. Recognition, reversal of fortune, and plausibility are also important components of high-quality tragedy according to Aristotle's Poetics.

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    Lec 7 Aristotles Poetics

    Uploaded by

    Malik Yousaf
    162 views5 pages
    Aristotle argues that poetry, specifically tragedy, is a valid form of imitation that is removed from but represents reality. He believes tragedy imitates life through the use of plot, character, language, thought, and other elements to elicit emotions of pity and fear from audiences. For Aristotle, the best tragedies feature complex plots where a character moves from good to bad circumstances due to a significant mistake, allowing for catharsis. Recognition, reversal of fortune, and plausibility are also important components of high-quality tragedy according to Aristotle's Poetics.

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    Aristotle poetics

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    Aristotle argues that poetry, specifically tragedy, is a valid form of imitation that is removed from but represents reality. He believes tragedy imitates life through the use of plot, character, language, thought, and other elements to elicit emotions of pity and fear from audiences. For Aristotle, the best tragedies feature complex plots where a character moves from good to bad circumstances due to a significant mistake, allowing for catharsis. Recognition, reversal of fortune, and plausibility are also important components of high-quality tragedy according to Aristotle's Poetics.

    Copyright:

    © All Rights Reserved
    Download as PPT, PDF, TXT or read online from Scribd
    Download as ppt, pdf, or txt
    162 views5 pages

    Lec 7 Aristotles Poetics

    Uploaded by

    Malik Yousaf
    Aristotle argues that poetry, specifically tragedy, is a valid form of imitation that is removed from but represents reality. He believes tragedy imitates life through the use of plot, character, language, thought, and other elements to elicit emotions of pity and fear from audiences. For Aristotle, the best tragedies feature complex plots where a character moves from good to bad circumstances due to a significant mistake, allowing for catharsis. Recognition, reversal of fortune, and plausibility are also important components of high-quality tragedy according to Aristotle's Poetics.

    Copyright:

    © All Rights Reserved
    Download as PPT, PDF, TXT or read online from Scribd
    Download as ppt, pdf, or txt
    of 5

    Aristotle’s Poetics

    Plato loved poetry but felt that because of Socrates teachings, that
    poets were imitators without access to reality or truth. Imitation was
    a self-defeating and sterile activity. Poetry is twice removed from
    reality and caters to emotions and UN-reality.

    Aristotle then argues for poetry. He defends it, although not


    perfectly, from Plato’s attack.

    Aristotle believes poets imitate the way things are/were, or the way
    people see them, or the way they ought to be. The image ought to
    out-do the originals; therefore, imitation is OK.
    Origin of poetry
    • Men take pleasure in imitation, and it comes naturally.
    There are things we see with pain, but whose images we
    view with pleasure.

    • Comedy is an imitation of inferior persons but not full


    villains - it is the imitation of the ugly and ludicrous.

    • Tragedy is imitation with serious implications through a


    course of pity and fear, language made sensuously
    attractive (rhythm and melody), and structure - plot.
    – Tragedy is imitation of life and action but not men because a
    tragedy can exist without characters, but it must have a plot.
    Tragedy part 1
    • Tragedies must have a beginning, middle and
    end. It doesn’t include everything in the life of
    one character, just those events which further
    the plot.
    • Tragedies have 6 elements - plot, character,
    verbal expression (poetic language like
    metaphor), thought, adornment, and song.
    • The best tragedies have complex plots, fearful
    and pitiable happenings, and should be good
    moving to bad. It doesn’t make us feel the same
    when bad moves to good - not tragedy.
    Tragedy part 2
    • Plot and transformation – a character moves from good
    circumstances to bad through a mistake of great weight
    and consequence [Hamartia (tragic/fatal flaw often
    hubris or great pride)].
    • Pity and fear [Catharsis] may be engaged by performing
    an act knowing and wittingly (murder), by refraining from
    performing the deed (not saving someone), or by
    performing a fearful act unwittingly and then see the
    blood relationship (murder in Oedipus).
    • Tragic characters must be a good, appropriate,
    likeness to human nature, and consistent. One
    must strive for the necessary or probable -- it is
    necessary or probable that a person do a thing.
    Tragedy part 3
    • There is often a reversal of events (going from king to villain)– again
    must be necessary and probable, match the character and plot
    • Recognition of a disguised character or action in plays may be
    handled differently.
    – By token - lowest form (Odysseus scar), or the poet adds a device such
    as a letter to identify a character
    – Recollection (seeing or hearing something reminds a character)
    – better is Recognition based on reasoning A=B, B=C therefore A=C. The
    best recognition arises from events themselves.
    • Tragedy is superior to epic because it attains
    its goals better than epic does. It is better to
    have impossible but plausible evens than
    possible but implausible ones.
    – Thus Aristotle would consider the play
    Agamemnon to be a higher form than
    the Epic of Odysseus.

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