👉🏻👉🏻👉🏻The ESL ACADEMY..
SIRRANA..
👉🏻👉🏻🌹Aristotle’s view about Hamartia, Anagnorisis, Peripeteia and Catharsis according to Poetics
Aristotle’s Theory of Tragedy:
According to Aristotle Tragedy could be defined as:
“A tragedy, then, is the imitation of an action that is serious and also, as having magnitude, complete in itself; in language with pleasurable accessories, each kind brought in separately in the parts of the work; in a dramatic, not in a narrative form; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions.”
Following are some important terms explained by Aristotle relating tragedy in his Poetics.
Hamartia:
Aristotle discusses hamartia in Poetics not as an aspect of character but rather as an incident in the plot. What Aristotle means by hamartia might better be translated as "tragic error". Caught in a crisis situation, the protagonist makes an error in judgment or action, "missing the mark," and disaster results.
Hamartia can be further explained as the fall of a noble man caused by some excess or mistake in behavior, not because of a willful violation of the gods' laws. Hamartia is related to hubris, which was also more an action than attitude. The "mistake" of the hero has an integral place in the plot of the tragedy. The logic of the hero's descent into misfortune is determined by the nature of his or her particular kind of hamartia.
Aristotle claimed that the hamartia must bring about the reversal of fortune for the tragic hero, and that this hero must be neither completely good nor completely bad so that the audience can identify with the character’s plight. Therefore, the audience members experience a feeling of pity for the character, as well as a sense of fear that the same downfall might afflict them someday.
Hamartia, in most ancient tragedies, causes the protagonist, or main character, to break a divine or moral law, which leads to disastrous consequences. Despite the horrible events befalling the tragic hero, tragedies celebrate the human spirit, in the confrontation of difficult situations and the accountability of a character for his or her own actions.
Examples:
In The King Oedipus, a tragic situation possible was the unwitting murder of one family member by another. Mistaken identity allows Oedipus to kill his father Laius on the road to Thebes and subsequently to marry Jocasta, his mother; only later does he recognize his tragic error. However, because he commits the crime in ignorance and pays for it with remorse, self-mutilation, and exile, the plot reaches resolution or catharsis, and we pity him as a victim of ironic fate instead of accusing him of blood guilt.
Hamlet, for example, suffers from the tragic flaw of indecision. He hesitates to kill his cruel and villainous uncle, which leads to the ultimate tragedy of the play. By struggling with an inherent moral flaw, Hamlet brings about his own destruction. His hesitation, therefore, is the action to which the term hamartia is applied.
Anagnorisis:
Anagnorisis, also known as discovery, originally meant recognition in its Greek context, not only of a person but also of what that person stood for, what he or she represented; it was the hero's suddenly becoming aware of a real situation and therefore the realization of things as they stood; and finally it was a perception that resulted in an insight the hero had into his relationship with often antagonistic characters within Aristotelian tragedy.
In Aristotelian definition of tragedy it was the discovery of one's own identity or true character or of someone else's identity or true nature by the tragic hero. In his Poetics, Aristotle defined anagnorisis as "a change from ignorance to knowledge, producing love or hate between the persons destined by the poet for good or bad fortune".
Examples:
Aristotle was the first writer to discuss the uses of anagnorisis, w
SIRRANA..
👉🏻👉🏻🌹Aristotle’s view about Hamartia, Anagnorisis, Peripeteia and Catharsis according to Poetics
Aristotle’s Theory of Tragedy:
According to Aristotle Tragedy could be defined as:
“A tragedy, then, is the imitation of an action that is serious and also, as having magnitude, complete in itself; in language with pleasurable accessories, each kind brought in separately in the parts of the work; in a dramatic, not in a narrative form; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions.”
Following are some important terms explained by Aristotle relating tragedy in his Poetics.
Hamartia:
Aristotle discusses hamartia in Poetics not as an aspect of character but rather as an incident in the plot. What Aristotle means by hamartia might better be translated as "tragic error". Caught in a crisis situation, the protagonist makes an error in judgment or action, "missing the mark," and disaster results.
Hamartia can be further explained as the fall of a noble man caused by some excess or mistake in behavior, not because of a willful violation of the gods' laws. Hamartia is related to hubris, which was also more an action than attitude. The "mistake" of the hero has an integral place in the plot of the tragedy. The logic of the hero's descent into misfortune is determined by the nature of his or her particular kind of hamartia.
Aristotle claimed that the hamartia must bring about the reversal of fortune for the tragic hero, and that this hero must be neither completely good nor completely bad so that the audience can identify with the character’s plight. Therefore, the audience members experience a feeling of pity for the character, as well as a sense of fear that the same downfall might afflict them someday.
Hamartia, in most ancient tragedies, causes the protagonist, or main character, to break a divine or moral law, which leads to disastrous consequences. Despite the horrible events befalling the tragic hero, tragedies celebrate the human spirit, in the confrontation of difficult situations and the accountability of a character for his or her own actions.
Examples:
In The King Oedipus, a tragic situation possible was the unwitting murder of one family member by another. Mistaken identity allows Oedipus to kill his father Laius on the road to Thebes and subsequently to marry Jocasta, his mother; only later does he recognize his tragic error. However, because he commits the crime in ignorance and pays for it with remorse, self-mutilation, and exile, the plot reaches resolution or catharsis, and we pity him as a victim of ironic fate instead of accusing him of blood guilt.
Hamlet, for example, suffers from the tragic flaw of indecision. He hesitates to kill his cruel and villainous uncle, which leads to the ultimate tragedy of the play. By struggling with an inherent moral flaw, Hamlet brings about his own destruction. His hesitation, therefore, is the action to which the term hamartia is applied.
Anagnorisis:
Anagnorisis, also known as discovery, originally meant recognition in its Greek context, not only of a person but also of what that person stood for, what he or she represented; it was the hero's suddenly becoming aware of a real situation and therefore the realization of things as they stood; and finally it was a perception that resulted in an insight the hero had into his relationship with often antagonistic characters within Aristotelian tragedy.
In Aristotelian definition of tragedy it was the discovery of one's own identity or true character or of someone else's identity or true nature by the tragic hero. In his Poetics, Aristotle defined anagnorisis as "a change from ignorance to knowledge, producing love or hate between the persons destined by the poet for good or bad fortune".
Examples:
Aristotle was the first writer to discuss the uses of anagnorisis, w
No comments:
Post a Comment