Presentation on Aristotle's Poetics - A classical treatise on Epic and Tragedy

1. Presentation on
Aristotle’s Poetics
335BCE
By
Ms. A. Rajina Banu
1

2. About the AuthorAbout the Author
• Aristotle (384 BC at Stagirus – 322 BC atAristotle (384 BC at Stagirus – 322 BC at
Chalcis)Chalcis)
• S/O. Nichomachus, Court Physician to theS/O. Nichomachus, Court Physician to the
Macedonian KingMacedonian King
• Sent to Athens (age 17) for Higher Studies –Sent to Athens (age 17) for Higher Studies –
joined Plato’s Academyjoined Plato’s Academy
• Master of diverse disciplines (biology,Master of diverse disciplines (biology,
Politics, Metaphysics, agriculture, literature,Politics, Metaphysics, agriculture, literature,
botany, medicine, mathematics, ethics, logic,botany, medicine, mathematics, ethics, logic,
drama and theatre….drama and theatre….
22

3. • Athens: 347BCE as the apprentice of Plato, andAthens: 347BCE as the apprentice of Plato, and
left Athens when Plato’s nephew was chosen as theleft Athens when Plato’s nephew was chosen as the
successor at the death of Platosuccessor at the death of Plato
• Macedonia: 343/335BCE the tutor of Alexander theMacedonia: 343/335BCE the tutor of Alexander the
Great returned to Athens when the latter becameGreat returned to Athens when the latter became
the Kingthe King
• Lyceum (Athens): 323BCE established his ownLyceum (Athens): 323BCE established his own
school: Lyceum; peripotetics (to walk about) againstschool: Lyceum; peripotetics (to walk about) against
Platonic SchoolPlatonic School
• Lectures: Humanities and Advanced Studies. At theLectures: Humanities and Advanced Studies. At the
death of Alexander, Pro-Macedonian Govt. in Athensdeath of Alexander, Pro-Macedonian Govt. in Athens
was overthrown, and a general reaction occurredwas overthrown, and a general reaction occurred
against anything Macedonian.against anything Macedonian.
• Chalcis 322BCE “to prevent the Athenians fromChalcis 322BCE “to prevent the Athenians from
sinning twice against philosophy”sinning twice against philosophy”
3

4. Introduction
• The Poetics is chiefly concerned with TragedyThe Poetics is chiefly concerned with Tragedy
which is regarded as the highest poetic form.which is regarded as the highest poetic form.
• Epic, Poetry, Drama (Tragedy and Comedy),Epic, Poetry, Drama (Tragedy and Comedy),
Dithyrambic (Lyric Poetry), Music and all such fineDithyrambic (Lyric Poetry), Music and all such fine
arts and liberal arts are viewed as a whole, as effectarts and liberal arts are viewed as a whole, as effect
of imitationof imitation
• Poetics is a short treatise on Dramaturgy andPoetics is a short treatise on Dramaturgy and
Theatricals of 26 chaptersTheatricals of 26 chapters
• Classified into 6 parts (1 – 5, 6 – 19, 20 – 22, 23,Classified into 6 parts (1 – 5, 6 – 19, 20 – 22, 23,
24 & 26, 25)24 & 26, 25)
4

5. 5
Chapter Subject
11 Theory of ImitationTheory of Imitation
22 Objects of Imitation: Tragedy andObjects of Imitation: Tragedy and
ComedyComedy
33
Manner of Imitation: Epic andManner of Imitation: Epic and
TragedyTragedy
44 Origin and Development of PoetryOrigin and Development of Poetry

6. 6
5 Definition of the Ridiculous: Epic and Tragedy
6 Definition of Tragedy: Its formative parts
7 and 8
Plot Construction ; Unity of Plot
9 The nature of Poetic Truth: Poetry and History
10 Kinds of Plot: Simple and Complex
11 Peripery, Anagnorisis, and Suffering
12 Quantitative Parts of Tragedy

7. 7
13 The Structure of a Perfect Tragedy: Ideal Tragic Hero
14 Comparative Study of Spectacle and Plot as Source of Tragic
Emotions
15 and 16 Character and its Four Essentials; Recognition: Its Kinds
17 and 18 Some Practical Rules for the Guidance of Poets and Dramatists:
Kinds of Tragedy
19 Thought in Tragedy

8. 8
20 to 22 Diction and Style: Clear but not mean; Metaphor
23 to 26 Epic Vs. Tragedy
25 Poetry: Objections of Critics and Aristotle’s Defense

9. imitationimitation
• Imitation is natural to man fromImitation is natural to man from
childhoodchildhood
““either by a difference of kind in theireither by a difference of kind in their
means (of imitation) or by differencesmeans (of imitation) or by differences
in the objects (of imitation) or in thein the objects (of imitation) or in the
manner of their imitationmanner of their imitation
99

10. MeansMeans
The medium, the vehicle or the materialThe medium, the vehicle or the material
through which the artist imitatesthrough which the artist imitates
Kinds of means: form, color, SoundKinds of means: form, color, Sound
(melody, rhythm, language, harmony)(melody, rhythm, language, harmony)
1010

11. Objects (Tragedy and comedy)Objects (Tragedy and comedy)
• The imitator represents actions.The imitator represents actions.
• Since the objects of imitation areSince the objects of imitation are men inmen in
actionaction, and these men must be either of a, and these men must be either of a
higher or a lower typehigher or a lower type
• The character should be either good orThe character should be either good or
bad. Since the line between virtue and vicebad. Since the line between virtue and vice
is one dividing the whole of mankind.is one dividing the whole of mankind.
1111

12. MannersManners (Epic and(Epic and
Tragedy)Tragedy)
simple narration (The dithyramb)simple narration (The dithyramb)
the poet everywhere appears andthe poet everywhere appears and
never conceals himselfnever conceals himself
imitationimitation ((The tragedy and comedyThe tragedy and comedy ))
he assimilation of himself to another,he assimilation of himself to another,
either by the use of voice or gestureeither by the use of voice or gesture
a union of the two (The epic, othera union of the two (The epic, other
styles of poetrystyles of poetry ))
1212

13. Imitation,Imitation,
then, is one instinct of ourthen, is one instinct of our
nature.nature.
• Next, there is the instinct for 'harmony'Next, there is the instinct for 'harmony'
and rhythm, meters being manifestlyand rhythm, meters being manifestly
sections of rhythm.sections of rhythm.
• Persons, therefore, starting with thisPersons, therefore, starting with this
natural gift developed by degrees theirnatural gift developed by degrees their
special aptitudes, till their rudespecial aptitudes, till their rude
improvisations gave birth to Poetry.improvisations gave birth to Poetry.
13

14. Origin of Poetry
• Four human instincts: The natural humanFour human instincts: The natural human
instinct to imitate thingsinstinct to imitate things
• The natural pleasure we get from a goodThe natural pleasure we get from a good
work of imitationwork of imitation
• Learning to knowing, something newLearning to knowing, something new
• Our instinctive pleasure in harmony andOur instinctive pleasure in harmony and
rhythmrhythm 14

15. Development of PoetryDevelopment of Poetry
• Heroic and Iambic PoetryHeroic and Iambic Poetry
• Homer’s Margites (Comedy or Ridiculous –Homer’s Margites (Comedy or Ridiculous –
comic epic)comic epic)
• Homer’s Iliad and Odessye or Tragedy –Homer’s Iliad and Odessye or Tragedy –
Serious epic)Serious epic)
• Iamps – ComedyIamps – Comedy
• Epic – TragedyEpic – Tragedy 1515

16. Limitations…
16
EpicEpic TragedyTragedy
NarrativeNarrative DramaticDramatic
Uses single Metre ‘the heroic’Uses single Metre ‘the heroic’ Uses different metres inUses different metres in
different parts (Verse fordifferent parts (Verse for
dialogue, Songs for chorus)dialogue, Songs for chorus)
Not limited by time, place orNot limited by time, place or
actionaction
Have to follow three unities,Have to follow three unities,
Tragedy should be within aTragedy should be within a
single circuit of the sunsingle circuit of the sun
All those parts of an epic are
included in Tragedy
but those of Tragedy are not
all of them to be found in the
Epic.

17. Comedy
Representation of Characters of a lower type or
worse (but not necessarily be morally bad)
It is the a species of the ugly but does not cause
any pain or harm to others; rather, provokes
laughter
17

18. • Aristotle defines: Tragedy is theAristotle defines: Tragedy is the
imitation of an action, serious,imitation of an action, serious,
complete, / and of a certaincomplete, / and of a certain
magnitude, in language embellishedmagnitude, in language embellished
with each kind of artistic ornament, /with each kind of artistic ornament, /
the several kinds being found inthe several kinds being found in
separate parts of the play in the formseparate parts of the play in the form
of action, not of narration, / throughof action, not of narration, / through
pity and fear effecting the properpity and fear effecting the proper
purgation.purgation.
1818

19. Six Formative Parts
• Plot or piece of lifePlot or piece of life
• Characters or dramatis PersonaeCharacters or dramatis Personae
• Thoughts (situation)Thoughts (situation)
• Dialogue (diction)Dialogue (diction)
• Song (chorus)Song (chorus)
• SpectacleSpectacle
19

20. Plot Construction
• Beginning must be self-explanatoryBeginning must be self-explanatory
• Must not provoke audience to ask ‘Why’Must not provoke audience to ask ‘Why’
and ‘how’and ‘how’
• No knowledge of antecedentNo knowledge of antecedent
circumstances should be necessary forcircumstances should be necessary for
understandingunderstanding
• Middle must follow naturally andMiddle must follow naturally and
inevitably upon the beginning and logicallyinevitably upon the beginning and logically
lead to the end or catastrophelead to the end or catastrophe
20

21. Contd…
• Formal unity cannot be imparted to the plotFormal unity cannot be imparted to the plot
merely by the story of a single hero’s life.merely by the story of a single hero’s life.
Infinitely varied things may happen to theInfinitely varied things may happen to the
hero, the dramatist must make a properhero, the dramatist must make a proper
selection out of these numerous incidentsselection out of these numerous incidents
and introduce all of them.and introduce all of them.
• Plots are either simple (Change in the hero’sPlots are either simple (Change in the hero’s
fortunes takes place without peripety orfortunes takes place without peripety or
discovery) or complex (when it involves onediscovery) or complex (when it involves one
or the other or both)or the other or both)
21

22. Contd…
• Formative elements: Peripety, anagnorisisFormative elements: Peripety, anagnorisis
(discovery), and suffering(discovery), and suffering
• Quantitative Parts of Tragedy: Prologue, Episode,Quantitative Parts of Tragedy: Prologue, Episode,
Exode (farcical), choric Song (divided into Parode orExode (farcical), choric Song (divided into Parode or
entry song, Stasimon or choric ode and Commos orentry song, Stasimon or choric ode and Commos or
interval)interval)
• It is only such organic unity of action whichIt is only such organic unity of action which
Aristotle considers essential; he has not much toAristotle considers essential; he has not much to
say about the so-called unities of Time and Placesay about the so-called unities of Time and Place
which were derived from him by later criticswhich were derived from him by later critics
22

23. Ideal Tragic Hero
• Not a perfectly good man who passes from happinessNot a perfectly good man who passes from happiness
to miseryto misery
• Not an extremely bad man who falls from happinessNot an extremely bad man who falls from happiness
to miseryto misery
• Not an average manNot an average man
• A good man but with ordinary human weaknessesA good man but with ordinary human weaknesses
and frailties (hamartia)and frailties (hamartia)
• A man who enjoys prosperity, name and fame; highlyA man who enjoys prosperity, name and fame; highly
placed in society, belong to some noble family, andplaced in society, belong to some noble family, and
loses everything because of a ‘trivial mistake’ that heloses everything because of a ‘trivial mistake’ that he
commits.commits.
23

24. Contd…
• Likeness
• Appropriateness
• True to life
• Consistent
• The actions of the character must be necessary
and probable outcome of his nature
24

25. Thoughts – Diction – Song
• The thought is expressed through their
speeches and dialogues.
• Thought: Proof of refutation, production of
emotional effects, indications of the
importance of anything
• Diction is the medium of language or
expression through which the characters
reveal their thoughts and feelings.
• The diction should be ‘embellished with
each kind of artistic element’. The song is
one of these embellishments.
25

26. Contd…
• To put the actual scenes as far as possible beforeTo put the actual scenes as far as possible before
his eyes.his eyes.
• The poet or dramatist should even act his storyThe poet or dramatist should even act his story
with the very gestures of his personagewith the very gestures of his personage
• The story, whether already made or of his ownThe story, whether already made or of his own
making, he should first simplify and reduce to amaking, he should first simplify and reduce to a
universal form, before proceeding to lengthen ituniversal form, before proceeding to lengthen it
out by the insertion of episodes….out by the insertion of episodes….
• After the proper names have been fixed as a basisAfter the proper names have been fixed as a basis
for the story, is to work in episodes arefor the story, is to work in episodes are
appropriate, like the fit of madness in Orestes,appropriate, like the fit of madness in Orestes,
which led to his arrest, and the purifying, whichwhich led to his arrest, and the purifying, which
brought his salvationbrought his salvation
26

27. Spectacle
• The tragic fear and pity may be evoked by theThe tragic fear and pity may be evoked by the
spectaclespectacle
• The decoration of the stage is the major part of theThe decoration of the stage is the major part of the
spectacle.spectacle.
• Aroused by the theatrical effect presented on theAroused by the theatrical effect presented on the
stage.stage.
• It also includes scenes of physical torture, loudIt also includes scenes of physical torture, loud
lamentations, dances, colourful garments of thelamentations, dances, colourful garments of the
main characters, and the beggarly or jocularmain characters, and the beggarly or jocular
appearance of the subordinate characters or of theappearance of the subordinate characters or of the
fool on the stage.fool on the stage.
27

28. Miscellaneous
• Ideal plot must have a single issue – depict the
misfortunes of the hero
• Tragedy with double issue – Rewarding the virtues
and Punishing the vices.
• Every tragedy is in part complication and in part
denouement
• Complications can be resolved and proper
denouement could be achieved by recognition
• Recognition: brought by signs and marks (birth,
scars, or things such as bangle, necklace, dress etc.),
manipulatively created by the dramatist, memory
(remembering the past incident and recognizing the
present problem)
28

29. Contd…
• The discovery may arise from false reasoningThe discovery may arise from false reasoning
on the side of the other partyon the side of the other party
• Best and the most artistic kind of discoveryBest and the most artistic kind of discovery
is the one which grows out of the actionis the one which grows out of the action
itselfitself
• Thought and diction should be rhetorical asThought and diction should be rhetorical as
well as poetic.well as poetic.
29

30. Contd…
• Kinds of Tragedy: Complex (with reversals),
Suffering (Painful events, deaths etc),
spectacle (depends upon sensational
effects produced by actors, costume, stage
props, and other mechanical and artificial
devices) and Character (Aristotle regards it
as an inferior kind)
• Diction: the Letter, the Syllable, the
conjunctio, the article, the noun, the verb,
the case, and the speech, words (simple,
double, pun, metaphor, ornamental, etc. 30

31. Poetry: Objections and answers
ChargesCharges AnswersAnswers
ImpossibilityImpossibility Poetic TruthPoetic Truth
IrrationalityIrrationality Poetic licensePoetic license
ImmoralityImmorality
Ex. Killing is immoral;Ex. Killing is immoral;
but killing an assasinbut killing an assasin
in order to preventin order to prevent
him from killing ahim from killing a
good person is moralgood person is moral
31

32. Contd…
Lack of Correctness:
Poets use strange words
or metaphors
Use devices of their own
will
Not using them in
accordance with the
classical norms
Use ambiguous language
It can be resolved by
changing the accent
Syntax may be difficult but
changing the punctuation
will help
Adds aesthetic beauty
Contradiction Consider the alternatives
32

33. Compare: Epic and Tragedy
• Epic does not rely on spectacle–visually appealing
sets, dance, the antics of the actors–to convey its
message to its audience. In a sense, this argument
accuses tragedy of "dumbing-down" its message to
reach a wider, "popular" audience.
• Tragedy contains all the elements of the epic, but
manages to present its story in a much shorter span
of time and with a greater degree of unity. The
concentration of the tragic plot heightens its impact
on the audience.
33

34. Conclusion
• Different genres produce different kinds ofDifferent genres produce different kinds of
pleasurepleasure
• The pleasure of the epic lies in its episodic,The pleasure of the epic lies in its episodic,
diverting story, while the more intense–anddiverting story, while the more intense–and
"higher" in terms of social value"higher" in terms of social value
• The pleasure produced by the tragedy liesThe pleasure produced by the tragedy lies
in cathartic effect , the mysterious purging"in cathartic effect , the mysterious purging"
of our emotions of pity and fear andof our emotions of pity and fear and
humanising mankindhumanising mankind
34

35. 35