Aristotle's Poetics is considered the earliest surviving work of dramatic theory and first systematic treatise on literary criticism. In it, Aristotle defines poetry as a means of mimesis or imitation through language, rhythm, and harmony. He discusses different types of poetry like tragedy, comedy, and epic poetry. For tragedy specifically, Aristotle says the objects imitated are serious actions, the manner is dramatic rather than narrative, and the medium is verse spoken in dialogue. He provides key terms used in tragedy like hamartia, anagnorisis, peripeteia, and katharsis. Aristotle also outlines critical elements of plot and structure for a successful tragedy, including unity of action, completeness, magnitude, and eliciting
Aristotle's Poetics (Greek: Περὶ ποιητικῆς, Latin: De Poetica;[1] c. 335 BCE[2]) is the earliest surviving work of dramatic theory and the first extant philosophical treatise to focus on literary theory.[3]
In it, Aristotle offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama—comedy, tragedy, and the satyr play—as well as lyric poetry and epic poetry).
Aristotle's Poetics c. 335 BCE is the earliest surviving work of dramatic theory and the first extant philosophical treatise to focus on literary theory
Plato's Objection to Poetry and Aristotle's DefenceDilip Barad
This presentation deals with Greek philosopher Plato's objections to poetry and Aristotle's clarification on the confusion created by Plato. It is said that Plato confused study of morals/ethics with that of aesthetics. Aristotle removed this confusion.
Sidney's "Apology for Poetry" argues that poetry is a divine and socially useful art form. It summarizes Sidney's main points that poetry: (1) is the first form of education and instruction for humanity; (2) acts as a channel for divine inspiration; and (3) can teach virtue while delighting readers more effectively than history or philosophy. The work refutes claims that poetry is a lie, unprofitable, or leads to sin by asserting poetry's noble aim to inspire readers rather than corrupt them.
Samuel Taylor Coleridge was an English poet, critic, and philosopher who was a leader of Romantic poetry. He divided imagination into primary and secondary forms. Primary imagination is a creative faculty possessed by all, while secondary imagination is the conscious, creative power of poets. Coleridge believed the purpose of poetry was to give pleasure, and defined a poem as having organic unity and seeking to produce immediate pleasure in readers through the willing suspension of disbelief. He saw imagination as the key distinguishing factor of a true poet.
The Preface to the Lyrical Ballads is an essay, composed by William Wordsworth, for the second edition of the poetry collection Lyrical Ballads, and then greatly expanded in the third edition of 1802. It has come to be seen as a de facto manifesto of the Romantic movement.
This document provides a summary of Samuel Taylor Coleridge's 1817 work Biographia Literaria. It discusses that the work is a critical text divided into 24 chapters where Coleridge presents his views on the nature and functions of poetry. Specifically, it examines Coleridge's definition of a poem as an "organic whole" and his distinction between imagination and fancy. It also analyzes Coleridge's concept of primary imagination as the living power that mimics divine creation and shapes perception, as well as his description of the imagination's "esemplastic" ability to shape disparate ideas into one coherent whole.
Aristotle's Poetics (Greek: Περὶ ποιητικῆς, Latin: De Poetica;[1] c. 335 BCE[2]) is the earliest surviving work of dramatic theory and the first extant philosophical treatise to focus on literary theory.[3]
In it, Aristotle offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama—comedy, tragedy, and the satyr play—as well as lyric poetry and epic poetry).
Aristotle's Poetics c. 335 BCE is the earliest surviving work of dramatic theory and the first extant philosophical treatise to focus on literary theory
Plato's Objection to Poetry and Aristotle's DefenceDilip Barad
This presentation deals with Greek philosopher Plato's objections to poetry and Aristotle's clarification on the confusion created by Plato. It is said that Plato confused study of morals/ethics with that of aesthetics. Aristotle removed this confusion.
Sidney's "Apology for Poetry" argues that poetry is a divine and socially useful art form. It summarizes Sidney's main points that poetry: (1) is the first form of education and instruction for humanity; (2) acts as a channel for divine inspiration; and (3) can teach virtue while delighting readers more effectively than history or philosophy. The work refutes claims that poetry is a lie, unprofitable, or leads to sin by asserting poetry's noble aim to inspire readers rather than corrupt them.
Samuel Taylor Coleridge was an English poet, critic, and philosopher who was a leader of Romantic poetry. He divided imagination into primary and secondary forms. Primary imagination is a creative faculty possessed by all, while secondary imagination is the conscious, creative power of poets. Coleridge believed the purpose of poetry was to give pleasure, and defined a poem as having organic unity and seeking to produce immediate pleasure in readers through the willing suspension of disbelief. He saw imagination as the key distinguishing factor of a true poet.
The Preface to the Lyrical Ballads is an essay, composed by William Wordsworth, for the second edition of the poetry collection Lyrical Ballads, and then greatly expanded in the third edition of 1802. It has come to be seen as a de facto manifesto of the Romantic movement.
This document provides a summary of Samuel Taylor Coleridge's 1817 work Biographia Literaria. It discusses that the work is a critical text divided into 24 chapters where Coleridge presents his views on the nature and functions of poetry. Specifically, it examines Coleridge's definition of a poem as an "organic whole" and his distinction between imagination and fancy. It also analyzes Coleridge's concept of primary imagination as the living power that mimics divine creation and shapes perception, as well as his description of the imagination's "esemplastic" ability to shape disparate ideas into one coherent whole.
This document summarizes Aristotle's six elements of tragedy: plot, character, thought, diction, song, and spectacle. It explains that plot is the most important element and soul of tragedy, involving events arranged in a complex manner. It describes Aristotle's views on each element and how they contribute to an effective tragedy, such as realistic characters and appropriate language. The document concludes that Aristotle's theory provides a framework for analyzing fine art.
The document summarizes Aristotle's views on tragic heroes and the elements of tragedy. According to Aristotle, the ideal tragic hero is of high birth and essentially good, but makes an error in judgment that leads to their downfall, arousing pity and fear in the audience. The hero must also be appropriate to their station, true to life, and act consistently in character. Aristotle's views provided guidelines for later playwrights, though some elements like the hero's morality have been challenged.
This is my presentation for my MA English class. You are free to modify, share, redistribute and add to it in any way you like.
*I do not own the images used in the presentation. They are the property of their respective owners.
This document summarizes T.S. Eliot's essay "Tradition and the Individual Talent". The essay is divided into three parts: Eliot's concept of tradition, his theory of the impersonality of poetry, and a conclusion. Eliot argues that a poet must be steeped in tradition through painstaking study in order to create new works of art. A poet surrenders their personality and emotions to tradition, acting as a medium for their fusion. Their work is then judged based on how it compares and contributes to the ongoing tradition, rather than as an expression of personal feelings or experiences.
The concept of imagination in biographia literariaDayamani Surya
Coleridge's Biographia Literaria discusses his concepts of imagination and fancy. He divides the mind into two faculties: primary imagination, which is a creative power that mimics the divine principle of creation; and secondary imagination, which relies on the will to recreate primary imagination. Coleridge coined the term "esemplastic" to describe imagination's ability to shape multiple ideas into a unified whole. In contrast, fancy is a mechanical, passive faculty that accumulates facts but cannot create anything new. Coleridge viewed imagination as the primary creative force in writing.
1) T.S. Eliot's 1919 essay "Tradition and the Individual Talent" discusses his view of the relationship between poets and the literary tradition that preceded them.
2) Eliot argues that a poet's mind acts as a catalyst that synthesizes feelings and emotions into an artistic creation, emerging from the process unaffected. For Eliot, successful poetry achieves an impersonal form of expression that exists independently of its poet.
3) According to Eliot, a poet must be conscious of both the present and past literary traditions in order to create new works that alter how the past is understood, representing a fusion of different time periods. The progress of the artist involves a continual self-sacrif
The document provides an analysis of T.S. Eliot's modernist poem "The Waste Land" in 3 parts:
1. It summarizes the poem's structure consisting of 5 sections that use collages of images and allusions to myths.
2. It analyzes major themes of spiritual/cultural malaise in the modern world and the universality of the themes of life/death.
3. It discusses how characters like Tiresias and the use of mythical techniques give unity and provide cultural context for the poem's fragmented images.
An Apology for Poetry was written by the Elizabethan writer Philip Sidney in his defence of poetry from the accusation that was made by Stephen Gosson in his work "School of Abuse".
Romanticism and William Wordsworth by Romance Group Monir Hossen
William Wordsworth was a prominent English Romantic poet known for his love of nature and emphasis on nature as a moral teacher. This presentation provides biographical information about Wordsworth and discusses key aspects of his work, including his views that nature has a healing power, a living personality, and that it can provide profound thoughts. It also summarizes his poem "I Wandered Lonely as a Cloud", highlighting how the beauty of daffodils overcomes the poet's loneliness and provides a strong sense of joy through their lively movement.
Matthew Arnold viewed poetry as the "criticism of life" that is governed by poetic truth and beauty. He believed the best poetry has seriousness of substance combined with superior style and diction. Arnold analyzed poets using his "touchstone method" of comparison and advocated for disinterested criticism. However, critics argue he did not always practice disinterested criticism and overemphasized morality. Overall, Arnold made significant contributions to literary criticism through his analysis of poets and emphasis on poetry's relationship to interpreting life.
This document summarizes Aristotle's concept of tragedy based on his definition and analysis of its key elements. The most important elements are plot, character, and hamartia (tragic flaw). A good plot involves a change in fortune from happiness to misery for a protagonist who is neither perfectly good nor bad. It also includes a peripety (reversal) or discovery. The plot aims to arouse emotions of pity and fear in the audience through the hero's downfall, culminating in a catharsis or release of these emotions. Character and hamartia relate to creating a believable yet imperfect hero. Other elements like language, spectacle, and thought/diction are less crucial but should still be done well.
According to Aristotle, there are six essential parts that make up a tragedy: the plot, which is considered the soul of tragedy; characters, with the hero being most important; thought, which proves particular points and teaches truth; diction, or writing skill; song or melody, with the chorus integrated into the play; and spectacle, related to stage performance but should not create a sense of the monstrous.
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
An Essay of Dramatic Poesy -John drydenMilindBedse
The document summarizes John Dryden's essay "An Essay of Dramatic Poesy". The essay is structured as a dialogue between four friends - Eugenius, Crites, Lisideius, and Neander - discussing theories of drama. Crites argues that Greek/Roman literature should be the model and praised the ancients' adherence to the three unities. Eugenius agrees with imitating the ancients but thinks English dramatists have improved on them. Lisideius claims French dramatists are now better than the English due to their simpler plots. However, Neander disagrees, defending English dramatists' use of subplots and mixing of comedy and tragedy.
This document outlines Plato's views on art and his criticism of poetry. It discusses his theory that ideas are the ultimate reality, and copies of ideas are one step removed from reality. It then examines Plato's three main attacks on poetry: that poetic inspiration is not rational, that it appeals to emotions over intellect, and its lack of moral character by depicting both virtue and vice. The document also discusses Plato's views that the function of poetry should be teaching morality and his criticisms of drama for appealing to base instincts and impersonation.
This document provides an overview of Matthew Arnold's philosophical work "Culture and Anarchy". It discusses how Arnold defines culture as the internal pursuit of social and moral perfection. He categorizes English society into Barbarians, Philistines, and the Populace. Arnold believes culture and anarchy are different, with culture representing an ongoing process of cultivation, while anarchy means a society without government. The document also examines Arnold's views on Hellenism and Hebraism, and how they relate to different approaches to knowledge, faith, and conduct.
The document discusses key elements of Elizabethan drama including characters, plot, and characterization where good is pitted against bad. It focuses on these core components that define dramas from this period.
This document summarizes Longinus's treatise "On the Sublime", which analyzes the concept of sublimity in language and its ability to elevate discourse. It defines sublimity as consisting of lofty language that sways readers through grandeur of thought, treatment of passions, figures of speech and thought, dignified expression through word choice and metaphor, and majestic structure. While sublimity cannot be innate, it can be developed through instruction and reason. The document outlines Longinus's influential views on sublimity that shaped Romantic literature and criticism.
The document provides an overview of Aristotle's Poetics, one of the earliest surviving works of dramatic theory from 330 BCE. It defines poetry as imitation and describes Aristotle's analysis of different genres of poetry including tragedy, comedy, and epic. Aristotle analyzed various elements of poetry including plot, character, thought, diction, music, and spectacle. He described the purposes of poetry and its cathartic effects. The Poetics also addressed the ideal structures for different types of poems and genres.
I.A. Richards was an influential 20th century British literary critic who helped pioneer New Criticism. He emphasized close textual analysis and believed criticism should be empirical and focus solely on what is in the text rather than external factors. Richards developed techniques for analyzing how words, metaphors, rhythm and context contribute to a work's meaning and emotional effects. He also explored literature's psychological impacts and believed it could provide readers with emotional balance and organization. Richards' works and experiments analyzing anonymous poems without context helped establish Practical Criticism as a new approach to literary study.
Aristotle was a Greek philosopher from around 335 BCE who wrote extensively on literary aesthetics and poetics. He categorized literary works into tragedy, comedy, and epic, and discussed the concepts of mimesis and catharsis. Although his works were thought to be lost after the Roman period, they were preserved by Muslim scholars and formed the basis of philosophical thought in the Islamic world, greatly influencing philosophers like Al-Farabi, Ibn Sina, and Ibn Rushd. Ibn Rushd's commentaries on Aristotle then spread Aristotelian ideas in Europe and helped spur the Neoclassical movement.
Tragedy and epic both involve mimesis but differ in key ways. Tragedy depicts a single dramatic action that unfolds over the course of a day through dialogues and songs, eliciting pity and fear. It focuses on serious men and avoids unnecessary parts. Epic can cover a random period of time through narration and has more room for the illogical. Both involve universal themes but tragedy shows what could happen while epic depicts actual events.
This document summarizes Aristotle's six elements of tragedy: plot, character, thought, diction, song, and spectacle. It explains that plot is the most important element and soul of tragedy, involving events arranged in a complex manner. It describes Aristotle's views on each element and how they contribute to an effective tragedy, such as realistic characters and appropriate language. The document concludes that Aristotle's theory provides a framework for analyzing fine art.
The document summarizes Aristotle's views on tragic heroes and the elements of tragedy. According to Aristotle, the ideal tragic hero is of high birth and essentially good, but makes an error in judgment that leads to their downfall, arousing pity and fear in the audience. The hero must also be appropriate to their station, true to life, and act consistently in character. Aristotle's views provided guidelines for later playwrights, though some elements like the hero's morality have been challenged.
This is my presentation for my MA English class. You are free to modify, share, redistribute and add to it in any way you like.
*I do not own the images used in the presentation. They are the property of their respective owners.
This document summarizes T.S. Eliot's essay "Tradition and the Individual Talent". The essay is divided into three parts: Eliot's concept of tradition, his theory of the impersonality of poetry, and a conclusion. Eliot argues that a poet must be steeped in tradition through painstaking study in order to create new works of art. A poet surrenders their personality and emotions to tradition, acting as a medium for their fusion. Their work is then judged based on how it compares and contributes to the ongoing tradition, rather than as an expression of personal feelings or experiences.
The concept of imagination in biographia literariaDayamani Surya
Coleridge's Biographia Literaria discusses his concepts of imagination and fancy. He divides the mind into two faculties: primary imagination, which is a creative power that mimics the divine principle of creation; and secondary imagination, which relies on the will to recreate primary imagination. Coleridge coined the term "esemplastic" to describe imagination's ability to shape multiple ideas into a unified whole. In contrast, fancy is a mechanical, passive faculty that accumulates facts but cannot create anything new. Coleridge viewed imagination as the primary creative force in writing.
1) T.S. Eliot's 1919 essay "Tradition and the Individual Talent" discusses his view of the relationship between poets and the literary tradition that preceded them.
2) Eliot argues that a poet's mind acts as a catalyst that synthesizes feelings and emotions into an artistic creation, emerging from the process unaffected. For Eliot, successful poetry achieves an impersonal form of expression that exists independently of its poet.
3) According to Eliot, a poet must be conscious of both the present and past literary traditions in order to create new works that alter how the past is understood, representing a fusion of different time periods. The progress of the artist involves a continual self-sacrif
The document provides an analysis of T.S. Eliot's modernist poem "The Waste Land" in 3 parts:
1. It summarizes the poem's structure consisting of 5 sections that use collages of images and allusions to myths.
2. It analyzes major themes of spiritual/cultural malaise in the modern world and the universality of the themes of life/death.
3. It discusses how characters like Tiresias and the use of mythical techniques give unity and provide cultural context for the poem's fragmented images.
An Apology for Poetry was written by the Elizabethan writer Philip Sidney in his defence of poetry from the accusation that was made by Stephen Gosson in his work "School of Abuse".
Romanticism and William Wordsworth by Romance Group Monir Hossen
William Wordsworth was a prominent English Romantic poet known for his love of nature and emphasis on nature as a moral teacher. This presentation provides biographical information about Wordsworth and discusses key aspects of his work, including his views that nature has a healing power, a living personality, and that it can provide profound thoughts. It also summarizes his poem "I Wandered Lonely as a Cloud", highlighting how the beauty of daffodils overcomes the poet's loneliness and provides a strong sense of joy through their lively movement.
Matthew Arnold viewed poetry as the "criticism of life" that is governed by poetic truth and beauty. He believed the best poetry has seriousness of substance combined with superior style and diction. Arnold analyzed poets using his "touchstone method" of comparison and advocated for disinterested criticism. However, critics argue he did not always practice disinterested criticism and overemphasized morality. Overall, Arnold made significant contributions to literary criticism through his analysis of poets and emphasis on poetry's relationship to interpreting life.
This document summarizes Aristotle's concept of tragedy based on his definition and analysis of its key elements. The most important elements are plot, character, and hamartia (tragic flaw). A good plot involves a change in fortune from happiness to misery for a protagonist who is neither perfectly good nor bad. It also includes a peripety (reversal) or discovery. The plot aims to arouse emotions of pity and fear in the audience through the hero's downfall, culminating in a catharsis or release of these emotions. Character and hamartia relate to creating a believable yet imperfect hero. Other elements like language, spectacle, and thought/diction are less crucial but should still be done well.
According to Aristotle, there are six essential parts that make up a tragedy: the plot, which is considered the soul of tragedy; characters, with the hero being most important; thought, which proves particular points and teaches truth; diction, or writing skill; song or melody, with the chorus integrated into the play; and spectacle, related to stage performance but should not create a sense of the monstrous.
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
An Essay of Dramatic Poesy -John drydenMilindBedse
The document summarizes John Dryden's essay "An Essay of Dramatic Poesy". The essay is structured as a dialogue between four friends - Eugenius, Crites, Lisideius, and Neander - discussing theories of drama. Crites argues that Greek/Roman literature should be the model and praised the ancients' adherence to the three unities. Eugenius agrees with imitating the ancients but thinks English dramatists have improved on them. Lisideius claims French dramatists are now better than the English due to their simpler plots. However, Neander disagrees, defending English dramatists' use of subplots and mixing of comedy and tragedy.
This document outlines Plato's views on art and his criticism of poetry. It discusses his theory that ideas are the ultimate reality, and copies of ideas are one step removed from reality. It then examines Plato's three main attacks on poetry: that poetic inspiration is not rational, that it appeals to emotions over intellect, and its lack of moral character by depicting both virtue and vice. The document also discusses Plato's views that the function of poetry should be teaching morality and his criticisms of drama for appealing to base instincts and impersonation.
This document provides an overview of Matthew Arnold's philosophical work "Culture and Anarchy". It discusses how Arnold defines culture as the internal pursuit of social and moral perfection. He categorizes English society into Barbarians, Philistines, and the Populace. Arnold believes culture and anarchy are different, with culture representing an ongoing process of cultivation, while anarchy means a society without government. The document also examines Arnold's views on Hellenism and Hebraism, and how they relate to different approaches to knowledge, faith, and conduct.
The document discusses key elements of Elizabethan drama including characters, plot, and characterization where good is pitted against bad. It focuses on these core components that define dramas from this period.
This document summarizes Longinus's treatise "On the Sublime", which analyzes the concept of sublimity in language and its ability to elevate discourse. It defines sublimity as consisting of lofty language that sways readers through grandeur of thought, treatment of passions, figures of speech and thought, dignified expression through word choice and metaphor, and majestic structure. While sublimity cannot be innate, it can be developed through instruction and reason. The document outlines Longinus's influential views on sublimity that shaped Romantic literature and criticism.
The document provides an overview of Aristotle's Poetics, one of the earliest surviving works of dramatic theory from 330 BCE. It defines poetry as imitation and describes Aristotle's analysis of different genres of poetry including tragedy, comedy, and epic. Aristotle analyzed various elements of poetry including plot, character, thought, diction, music, and spectacle. He described the purposes of poetry and its cathartic effects. The Poetics also addressed the ideal structures for different types of poems and genres.
I.A. Richards was an influential 20th century British literary critic who helped pioneer New Criticism. He emphasized close textual analysis and believed criticism should be empirical and focus solely on what is in the text rather than external factors. Richards developed techniques for analyzing how words, metaphors, rhythm and context contribute to a work's meaning and emotional effects. He also explored literature's psychological impacts and believed it could provide readers with emotional balance and organization. Richards' works and experiments analyzing anonymous poems without context helped establish Practical Criticism as a new approach to literary study.
Aristotle was a Greek philosopher from around 335 BCE who wrote extensively on literary aesthetics and poetics. He categorized literary works into tragedy, comedy, and epic, and discussed the concepts of mimesis and catharsis. Although his works were thought to be lost after the Roman period, they were preserved by Muslim scholars and formed the basis of philosophical thought in the Islamic world, greatly influencing philosophers like Al-Farabi, Ibn Sina, and Ibn Rushd. Ibn Rushd's commentaries on Aristotle then spread Aristotelian ideas in Europe and helped spur the Neoclassical movement.
Tragedy and epic both involve mimesis but differ in key ways. Tragedy depicts a single dramatic action that unfolds over the course of a day through dialogues and songs, eliciting pity and fear. It focuses on serious men and avoids unnecessary parts. Epic can cover a random period of time through narration and has more room for the illogical. Both involve universal themes but tragedy shows what could happen while epic depicts actual events.
Aristotle analyzed tragedy in his work "Poetics". He defined tragedy as an imitation of events that are serious, complete with magnitude, and use embellished language to elicit pity and fear, resulting in catharsis. The key elements of tragedy include plot, character, thought, spectacle, melody, and language. A good plot should have magnitude, unity, and a beginning, middle and end. It involves reversal and recognition, and the hero should fall due to a hamartia, or tragic flaw. Tragedy should represent terrible yet piteous events and have a realistic ending without deus ex machina. The chorus should be part of the whole work.
The document outlines the Audio-Lingual method of foreign language teaching. It was developed in the US during World War 2 to train military personnel. It is based on behaviorist psychology and the idea that language is acquired through habit formation and imitation. Teachers use drills and repetition of dialogues to help students master the target language system. While it was effective for its time, the method was later criticized for its lack of creativity and focus on memorization over understanding.
Aristotle's Poetics is considered the earliest surviving work of dramatic theory. In it, Aristotle analyzes the components of drama and epic poetry, including plot, character, thought, diction, and other elements. He discusses the purposes of tragedy and comedy and defines important concepts like catharsis and reversal. While influential, Aristotle's analysis in Poetics has also received some criticism for being too categorical and scientific in its approach to the arts.
The Audio-Lingual Method was developed during WWII to rapidly teach soldiers foreign languages. It focused on habit formation through repetition and drills without error. The teacher strictly modeled the target language, and students mimicked through dialog memorization and pattern practice drills. The goal was automatic language use by overcoming native language interference. Grammar was induced, not explicitly taught.
The Audio Lingual Method is a language teaching method from the 1940s that was introduced in the US and later spread to other countries like Indonesia in the 1960s. It focuses on teaching speaking skills through repetition drills and behaviorist techniques to help students learn the target language automatically. Teachers present dialogs for students to repeat together and individually. Variations include expansion drills, chain drills, and substitution drills. While it engages students actively, the method does not explain grammar rules and focuses only on speaking practice.
This document summarizes Aristotle's work "The Poetics" and its key ideas. It begins by providing background on the author and work. The main points then compare Aristotle and Plato's differing views on poetry and imitation. Key definitions from Aristotle are outlined, such as his definition of tragedy. Other major concepts from "The Poetics" are briefly explained, like catharsis, types of plots, characteristics, and the dramatic unities of time and place. The document concludes by acknowledging room for improvement in the summary but hopes it provided a high-level overview of Aristotle's influential work.
The document summarizes the Audio-lingual Method, a foreign language teaching method developed in the 1940s in the US. It emphasizes speaking and listening over reading and writing, uses dialogues and drills for practice, and discourages using students' native language. The method was influenced by behaviorist psychology and aimed to develop conversational proficiency through repetition and imitation. While it had advantages like systematic techniques, it also had disadvantages like weak theory and learner boredom.
Aristotle's Poetics provides the first systematic analysis of drama and poetry. In it, Aristotle defines tragedy, explores its effects, and analyzes its key elements like plot, character, thought, diction, song, and spectacle. He compares tragedy to epic poetry, addresses their differences, and argues that tragedy is a superior form. The Poetics outlines Aristotle's view of mimesis in art and establishes foundational concepts for literary criticism.
1. Aristotle was an ancient Greek philosopher and scientist born in Stagira, Macedonia in 384 BC who studied under Plato and established his own school called the Lyceum.
2. Aristotle defines poetry as a form of art that seeks to imitate or represent life through character, emotion, action, or objects using rhythm, language, and harmony. The main types of poetry he identifies are epic, tragedy, comedy, and music.
3. In his analysis of tragedy, Aristotle identifies the six main elements as plot, character, thought, diction, melody, and spectacle, with plot being the most important element. He also discusses the dramatic unities of action, time, and place that were influential in
Aristotle was one of the most influential philosophers in Western philosophy. He wrote on virtually every topic in philosophy and is cited more than any other philosopher. While little is known about his life, the document provides details on Aristotle's biography, including that he was born in Greece in 384 BCE, studied under Plato for 20 years, tutored Alexander the Great, and established his own school called the Lyceum. The document also discusses Aristotle's views on poetry and dramaturgy, including his definition of tragedy according to its characteristics and components.
This document provides an overview of literary theory and criticism from classical times to modern eras. It begins with definitions of literary theory and criticism, noting that theory provides conceptual frameworks for studying literature while criticism is the practical application and evaluation of works. Major figures from classical antiquity discussed include Plato, Aristotle, Longinus, and Horace, along with their contributions to early understandings of genres, imitation, and literature's functions. The document then outlines developments from the Renaissance through the Victorian era, highlighting influential critics such as Sidney, Jonson, and Dryden. It concludes by listing various modern critical theories and theorists that reflect the expansion of literary study in the 20th century.
Greek tragedy originated from the dithyramb, a hymn to Dionysus. There are various hypotheses about the origins of the term "tragedy" including that it comes from the Greek words for goat and song. Aristotle defined key concepts of tragedy including imitation, catharsis, hamartia, and the tragic hero. Tragedies were performed as part of religious festivals, usually featuring three playwrights each presenting three tragedies and a satyr play over three days.
Aristotle analyzed poetry and drama, distinguishing tragedy from epic. He defined tragedy as an imitation of action that is serious, complete and evokes emotions of fear and pity. It uses language and various artistic elements. The plot must be whole with reversal of fortune and discovery. Characters must be good and consistent. Tragedy has six elements - plot, character, thought, diction, song and spectacle. It aims to produce catharsis of emotions through the reversal and suffering of the protagonist who has a tragic flaw. Aristotle contrasted tragedy and epic as forms of dramatic versus narrative poetry.
Literary terms and their meanings.
Literary terms, such as, allegory, alliteration, consonance, conceit, tragicomedy, tragedy, comedy, etc all are explained.
Aristotle was a Greek philosopher from the 4th century BC who made seminal contributions to many fields including metaphysics, logic, ethics, politics, and literary criticism. He wrote Poetics, considered the first work of literary theory, which analyzed Greek tragedy and established principles for understanding dramatic art. In Poetics, Aristotle defines tragedy as an imitation of action that arouses pity and fear through catharsis. He identifies six elements of tragedy - plot, character, diction, thought, melody, and spectacle - and describes how they work together to achieve the desired emotional effect. Aristotle's analysis of tragedy set the standard for dramatic criticism for centuries.
Literature is any form of writing that deals with significant human experiences through language and imagination. It comes in two major forms - written and oral. There are two main genres of literature - prose and poetry. Prose includes genres like novels, short stories, drama, while poetry relies more on elements like rhythm, rhyme, symbolism and imagery. Both prose and poetry explore themes related to human society, emotions and existence through characters and narratives.
This document provides definitions and examples of different types of literature including poetry and prose. It discusses various forms of poetry such as sonnets, ballads, epics, lyrics and more. It also covers different types of prose like novels, short stories, biographies, plays, legends and more. Examples are given for many literary forms. The document is aimed at educating the reader about the various kinds of literature that exist.
Aristotle's theory of imitation argues that imitation leads to truth and should be learned by all. In contrast to Plato, who viewed imitation as twice removed from reality, Aristotle saw imitation as a creative process that can uplift morality. Aristotle defined three ways of imitation: medium, which is the means of creation; object, such as whether tragedy depicts humans as better than reality; and manner, like whether narration is used.
This document provides definitions and descriptions of different types of literature and poetry. It begins by defining literature as any written material, including works of artistic merit. It then describes the main types of literature as poetry, prose, plays, and novels. For poetry, it lists various forms such as sonnets, ballads, epics, and odes. It provides the characteristics and examples of these poetic forms. The document comprehensively summarizes different genres and styles of literature.
Aristotle was a Greek philosopher who studied under Plato for 20 years and taught Alexander the Great. He wrote about many subjects including physics, politics, and aesthetics, and was one of the first writers of literary criticism. In his work Poetics, he analyzed tragedy, comedy, and epic poetry. Aristotle believed poetry tries to express universal truths about human nature, and that it originated from human instincts like imitation and finding pleasure in rhythm and harmony. He argued the function of poetry is to provide pleasure, and that the emotional appeal of poetry through catharsis is not harmful but rather health-giving and artistically satisfying, contradicting Plato's view that poetry stirs dangerous emotions.
According to Aristotle, tragedy has six key elements: plot, character, thought, diction, song, and spectacle. Plot is the most important element, involving a change of fortune or reversal of intention and recognition. Character comes secondary to plot and the hero is most important. Thought involves proving or disproving points. Diction is the language and expression of characters' thoughts and feelings. Song refers to lyrical elements like choruses that distinguish tragedy from epics. Spectacle involves scenic effects but should not be the focus. Catharsis remains ambiguous but seems to mean purification or clarification of emotions like pity and fear.
This document provides an overview of the different types of literature, including prose, poetry, and their subcategories. It discusses 10 types of prose such as novels, short stories, plays, legends, and essays. It also examines 3 types of poetry: narrative poetry, dramatic poetry, and lyric poetry. Narrative poetry includes epics, metrical tales, and ballads. Dramatic poetry contains comedy, melodrama, tragedy, and farce. Lyric poetry comprises folksongs, sonnets, elegies, odes, psalms, awit, and corridos. The document aims to classify and define the various forms of written artistic works.
This document summarizes Aristotle's work "The Poetics" and its key ideas. It discusses how Aristotle's views on poetry and tragedy differed from his teacher Plato's, defining tragedy as "an imitation of an action, serious, complete and of a certain magnitude." It examines Aristotle's analysis of the six elements of tragedy - plot, character, thought, diction, song and spectacle. It also describes Aristotle's concepts of the ideal tragic hero and the dramatic unities of time, place and action. The document was prepared by Ashish Trivedi for a class at Bhavnagar University.
MOLDING MINDS, SHAPING HEARTS Role of Character Formation in School SuccessMann Rentoy
MOLDING MINDS, SHAPING HEARTS: The Crucial Role of Character Formation in School Success
by Emmanuel Mann Rentoy
Presented by FilPass and CATALYST PDS
Key Highlights:
Insights for Success: Learn why character formation is the linchpin of academic triumph and personal growth.
Teacher Training Revolution: Discover innovative strategies to empower your educators in fostering character development within the classroom.
Real-world Impact: Understand how schools can become incubators for future leaders, instilling values that extend far beyond textbooks.
Don't miss this opportunity to revolutionize your school's approach to education. Elevate your institution, empower your teachers, and shape a future generation of leaders through the power of character-driven teaching.
This document discusses the importance of character and professionalism in the workplace. It identifies several challenges to developing empathy like parental unavailability, gadget addiction, and narcissism. It also outlines tips for maintaining integrity like respecting others, effective communication, having a positive attitude, and being truthful. The document encourages developing good character through diligent work, focusing on self-improvement, and setting a good example for others.
CLASSROOM MANAGEMENT 100+ STRATEGIES by Emmanuel Mann Rentoy
Email us at catalystpds@gmail.com
www.characterconferences.com
View the Recorded Presentations here: https://www.youtube.com/@characterformation
https://www.youtube.com/c/TEACHERTRAINING
This document defines and provides examples of common Latin terms used in writing. It discusses terms such as:
- Sic - Used in brackets to indicate a direct quotation contains a spelling or grammatical error.
- Id est and i.e. - Mean "that is" and are used to provide an example or explanation of a statement.
- Deus ex machina - Refers to an artificial or improbable plot resolution, originally referring to ancient plays resolving plots via a machine lowering in God.
- Exempli gratia and e.g. - Mean "for the sake of example" and introduce examples that follow.
Session 2 of Mann Rentoy's live show from New York begins at 8PM Manila time. The document includes prayers, pronunciations of Latin letters and letter combinations, numbers in Latin, common Latin phrases, Latin declensions including the second declension of nouns and examples of Latin sentences. It concludes with the prayer Ave Maria.
The document summarizes Session 1 of a Latin course, covering 3 main lessons - pronunciation, vocabulary building, and Roman history. It provides an overview of Ecclesiastical pronunciation rules and examples. Vocabulary lists in Latin include numbers, verbs, nouns, and religious terms. Excerpts from the Latin Bible and information about Roman architecture, columns, games, and daily life are also presented. The course details include 20 live sessions, learning resources, tutorials, and an opportunity to connect with other Latin scholars internationally. Early enrollment discounts are provided.
The Bureau of Jail Management and Penology (BJMP) celebrated the Values Restoration
Week and Anniversary of the Chaplaincy Service Office on September 26-29, 2023. During
the week-long celebration, the Chaplaincy Service Office (CSO) conducted various talks
and seminars for the integration of values to the Jail Bureau. This was the talk for the 2nd day of the week-long celebration on September 27, 2023 at 800am via zoom platform.
The target theme for the 2nd day is “Buidling Values – Character Community.” The
participants were Officers of the Jail Bureau composed of Uniformed personnel.
RAISING MEN OF CHARACTER IN A WIRED WORLDMann Rentoy
This document discusses the challenges of raising children of character in today's wired world. It notes the insatiable craving for constant online connection and validation, and the "fast food" thinking this can promote. However, it also outlines some positive uses of technology and provides tips for parents on monitoring children's technology use, enforcing consequences, and leading by example in developing balance and wisdom around screens. The overall message is that conscious parenting and guidance are needed now more than ever to help children navigate the digital landscape.
This document provides information about classroom jobs and roles that students can take on in a classroom. It describes various jobs like banker, janitor, grader, messenger, police officer, video monitor, recycler, attendance monitor, clerk, and librarian. It assigns a monetary payment level to each job ranging from $475 to $1,000. It also discusses procedures for seat rentals, ways students can earn bonus money, and fines for misbehaviors. The overall purpose is to outline an elaborate system of classroom roles, payments, and incentives/penalties to engage students and manage classroom operations.
DEVELOPING GRIT, RESILIENCE & EMPATHY: 3 Essential Virtues for the Digital Generation
by Emmanuel Mann Rentoy
2022 International Champion for Character of Character.Org
Presented in Colombo, Sri Lanka on November 26, 2022
KIND AND CARING CLASSROOM
Presented by Emmanuel Mann Rentoy in Colombo, Sri Lanka on November 19, 2022
Educational and Social Initiatives
www.characterconferences.com
mannrentoy@gmail.com
PRESENTED BY Emmanuel Mann Rentoy in Colombo, Sri Lanka on November 19, 2022
Educational and Social Initiatives
mannrentoy@gmail.com
www.characterconferences.com
TEACHERS AS AGENTS OF CHARACTER FORMATION Mann Rentoy
The document welcomes attendees to an event starting at 9:30am. It then provides biographies of the speaker, Emmanuel Mann Rentoy, highlighting his educational background and experience founding schools and character education programs. The bulk of the document consists of the speaker's presentation, covering topics like the role of teachers in character formation, focusing on serving students through a sense of mission rather than just a job. It provides quotes on the importance and impact of teaching, and frames teaching as progressing through stages from fantasy to survival to mastery to impact. The presentation aims to inspire teachers and emphasize their role in shaping students' futures.
WOODROSE: My Role in Making Woodrose a School of Character.pptxMann Rentoy
This document discusses the Character Education Partnership's (CEP) National Schools of Character program, which offers Philippine K-12 schools a path to improvement through high-quality character education. The program helps schools: 1) bring stakeholders together around shared values and purpose, 2) undergo self-assessment to identify strengths and growth areas, and 3) receive feedback and suggestions to strengthen their character education initiatives. It outlines CEP's 11 Principles for effective character education and the scoring rubric used to evaluate schools' implementation of the principles.
JULY 19 Teaching Catholic Students Etiquette and Social RefinementsMann Rentoy
The document discusses etiquette and social refinements for Catholic students. It addresses proper behavior in church, including arriving on time, dressing appropriately, silencing phones, participating respectfully in prayers and songs, and leaving quietly. It emphasizes showing respect for others and the sacred space of the church. Good etiquette is presented as a way to foster kindness, charity and bring peace. Students are encouraged to fight self-centeredness and cultivate humility through their conduct and refinement.
WESTBRIDGE Seminar for Teachers: May 19 & 22Mann Rentoy
This document discusses the importance of character formation for students, especially in the digital age. It begins by noting that students are increasingly exposed to highly sexualized culture through various media. The document then outlines some principles for teaching character, including that every teacher is a character formator and that the best way to teach character is through personal example. It provides tips for building character in students, such as establishing classroom rules and expectations, insisting on respect, building community, and emphasizing volunteerism. The document argues that character formation must continue, even in online schooling. It closes by emphasizing the nobility of the teaching profession and calling teachers to model excellent character.
www.characterconferences.com
About Mann Rentoy
A lecturer from the University of Asia and the Pacific (UA&P), he has taught for more than 30 years.
He is a graduate of the University of Santo Tomas (UST) where he earned a double-degree in AB Journalism and AB Literature, an MA in Creative Writing, and a PhD in Literature.
He was the Founding Executive Director of Westbridge School in Iloilo City. He was in the first batch of graduates of PAREF Southridge School, where he also taught for 15 years, occupying various posts including Principal of Intermediate School, Vice-Principal of High School and Department Head of Religion. As Moderator of “The Ridge”, the official publication of Southridge, he won 9 trophies from the Catholic Mass Media Awards including the first ever Hall of Fame for Student Publication, for winning as the best campus paper in the country for four consecutive years.
He is the Founding Executive Director of “Character Education Partnership Philippines”, or CEP Philippines, an international affiliate of CEP in Washington, DC, USA. As Founder of CEP Philippines, he has been invited to speak all over the country, as well as in Washington D.C., San Diego, California, USA, Colombo, Sri Lanka, and Kuala Lumpur, Malaysia. He also serves as the Founding President of Center for 4th and 5th Rs (Respect & Responsibility) Asia, otherwise known as the Thomas Lickona Institute for Asia. He is probably the most visible advocate of character formation in the country, having spoken to hundreds of schools and universities around the Philippines.
Email us at catalystpds@gmail.com
www.characterconferences.com
SELF MASTERY: How to Help Our Kids Keep It Together by Dr. Michele BorbaMann Rentoy
SELF MASTERY: How to Help Our Kids Keep It Together by Dr. Michele Borba
An International Conference organized by PAREF WOODROSE SCHOOL and CATALYST for Professional Development Services
JANUARY 29, 2022
www.characterconferences.com
About Mann Rentoy
A lecturer from the University of Asia and the Pacific (UA&P), he has taught for more than 30 years.
He is a graduate of the University of Santo Tomas (UST) where he earned a double-degree in AB Journalism and AB Literature, an MA in Creative Writing, and a PhD in Literature.
He was the Founding Executive Director of Westbridge School in Iloilo City. He was in the first batch of graduates of PAREF Southridge School, where he also taught for 15 years, occupying various posts including Principal of Intermediate School, Vice-Principal of High School and Department Head of Religion. As Moderator of “The Ridge”, the official publication of Southridge, he won 9 trophies from the Catholic Mass Media Awards including the first ever Hall of Fame for Student Publication, for winning as the best campus paper in the country for four consecutive years.
He is the Founding Executive Director of “Character Education Partnership Philippines”, or CEP Philippines, an international affiliate of CEP in Washington, DC, USA. As Founder of CEP Philippines, he has been invited to speak all over the country, as well as in Washington D.C., San Diego, California, USA, Colombo, Sri Lanka, and Kuala Lumpur, Malaysia. He also serves as the Founding President of Center for 4th and 5th Rs (Respect & Responsibility) Asia, otherwise known as the Thomas Lickona Institute for Asia. He is probably the most visible advocate of character formation in the country, having spoken to hundreds of schools and universities around the Philippines.
Email us at catalystpds@gmail.com
www.characterconferences.com
Beauty of Art as a Powerful Tool to Teach the Catholic FaithMann Rentoy
Presented by Emmanuel Rentoy
January 28, 2022
Series of Seminars for Teachers of Catholic Schools
About Mann Rentoy
A lecturer from the University of Asia and the Pacific (UA&P), he has taught for more than 30 years.
He is a graduate of the University of Santo Tomas (UST) where he earned a double-degree in AB Journalism and AB Literature, an MA in Creative Writing, and a PhD in Literature.
He was the Founding Executive Director of Westbridge School in Iloilo City. He was in the first batch of graduates of PAREF Southridge School, where he also taught for 15 years, occupying various posts including Principal of Intermediate School, Vice-Principal of High School and Department Head of Religion. As Moderator of “The Ridge”, the official publication of Southridge, he won 9 trophies from the Catholic Mass Media Awards including the first ever Hall of Fame for Student Publication, for winning as the best campus paper in the country for four consecutive years.
He is the Founding Executive Director of “Character Education Partnership Philippines”, or CEP Philippines, an international affiliate of CEP in Washington, DC, USA. As Founder of CEP Philippines, he has been invited to speak all over the country, as well as in Washington D.C., San Diego, California, USA, Colombo, Sri Lanka, and Kuala Lumpur, Malaysia. He also serves as the Founding President of Center for 4th and 5th Rs (Respect & Responsibility) Asia, otherwise known as the Thomas Lickona Institute for Asia. He is probably the most visible advocate of character formation in the country, having spoken to hundreds of schools and universities around the Philippines.
Email us at catalystpds@gmail.com
www.characterconferences.com
Beyond Degrees - Empowering the Workforce in the Context of Skills-First.pptxEduSkills OECD
Iván Bornacelly, Policy Analyst at the OECD Centre for Skills, OECD, presents at the webinar 'Tackling job market gaps with a skills-first approach' on 12 June 2024
Leveraging Generative AI to Drive Nonprofit InnovationTechSoup
In this webinar, participants learned how to utilize Generative AI to streamline operations and elevate member engagement. Amazon Web Service experts provided a customer specific use cases and dived into low/no-code tools that are quick and easy to deploy through Amazon Web Service (AWS.)
How to Make a Field Mandatory in Odoo 17Celine George
In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
The chapter Lifelines of National Economy in Class 10 Geography focuses on the various modes of transportation and communication that play a vital role in the economic development of a country. These lifelines are crucial for the movement of goods, services, and people, thereby connecting different regions and promoting economic activities.
Level 3 NCEA - NZ: A Nation In the Making 1872 - 1900 SML.pptHenry Hollis
The History of NZ 1870-1900.
Making of a Nation.
From the NZ Wars to Liberals,
Richard Seddon, George Grey,
Social Laboratory, New Zealand,
Confiscations, Kotahitanga, Kingitanga, Parliament, Suffrage, Repudiation, Economic Change, Agriculture, Gold Mining, Timber, Flax, Sheep, Dairying,
Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
This presentation was provided by Racquel Jemison, Ph.D., Christina MacLaughlin, Ph.D., and Paulomi Majumder. Ph.D., all of the American Chemical Society, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
6. Aristotle (c. 384-322 B.C.E. )
• Founder of literary criticism
• Dante called him “the master of those who
know”
• Plato referred to Aristotle as “the mind’’
12. *Introductory remarks on poetry
and its classification.
*Tragedy.
*Poetic diction.
*Narrative poetry and Tragedy .
*Epic is compared with Tragedy.
*Objections are answered.
6 Parts of “Poetics”
13. Twenty-six
chapters.
a kind of covert
reply to his great
master.
a systematic
exposition of the
theory and
practice of
poetry.
18. Differences between Aristotle and Plato
— Poetry presents a copy of
nature as it is. Poetry is
twice removed from reality
and it’s a ‘shadow of
shadows’.
— Plato takes up the cudgel
on behalf of philosophy
and shows that philosophy
is superior to poetry.
— Poetry may imitate men as
they are, or better and
worse. Poetry gives us
idealized version of reality.
— He takes up the cudgels
on behalf of poetry and
effectively brings out its
superiority.
36. Lusis - Literally "untying," the
lusis is all the action in a tragedy
from the climax onward. All the
plot threads that have been woven
together in the desis are slowly
unraveled until the conclusion.
44. first kind of distinction is the
means or medium they
employ. Just as a painter
employs paint and a sculptor
employs stone, the poet
employs language, rhythm, and
harmony, either singly or in
combinations.
45. The second distinction is the
objects that are imitated. All
poetry represents actions with
agents who are either better
than us, worse than us, or quite
like us.
46. tragedy and epic poetry:
characters are better than us
comedy and parody:
characters are worse than us.
47. The third distinction is with the
manner of representation: the
poet either speaks directly in
narrative or assumes the
characters of people in the
narrative and speaks through
them.
49. We are by nature imitative creatures
that learn and excel by imitating
others, and we naturally take delight
in works of imitation.
Evidence: fascinated by
representations of dead bodies or
disgusting animals even though the
things themselves would repel us.
52. Four innovations in the
development from improvised
dithyrambs toward the tragedies
of his day.
53. Dithyrambs were sung in honor of
Dionysus, god of wine, by a chorus
of around fifty men and boys,
often accompanied by a narrator.
54. 1st Innovation:
Aeschylus reduced the number of
the chorus and introduced a
second actor on stage, which made
dialogue the central focus of the
poem
56. 3rd Innovation:
Tragedy developed an air of
seriousness, and the meter
changed from a trochaic rhythm,
which is more suitable for dancing,
to an iambic rhythm, which is
closer to the natural rhythms of
conversational speech.
58. tragedy and epic poetry:
characters are better than us
comedy and parody:
characters are worse than us.
59. comedy deals with the ridiculous
which he defines as a kind of
ugliness that does no harm to
anybody else.
very sketchy account of the origins of
comedy, because it was not generally
treated with the same respect as
tragedy and so there are fewer
records of the innovations that led to
its present form.
60. Tragedy and epic poetry deal with
lofty subjects in a grand style of
verse
Three significant differences:
First, tragedy is told in a
dramatic, rather than narrative, form,
and employs several different kinds
of verse while epic poetry employs
only one.
61. Second, the action of a
tragedy is usually confined to a
single day, and so the tragedy
itself is usually much shorter
than an epic poem.
62. Third, while tragedy has all
the elements that are
characteristic of epic poetry, it
also has some additional
elements that are unique to it
alone.
63. Aristotle now narrows his
focus to examine tragedy
exclusively. In order to do so,
he provides a definition of
tragedy that we can break up
into seven parts
64. (1) it involves mimesis;
(2) it is serious;
(3) the action is complete and
with magnitude;
(4) it is made up of language
with the "pleasurable
accessories" of rhythm and
harmony;
65. (5) these "pleasurable
accessories" are not used
uniformly throughout, but are
introduced in separate parts of
the work, so that, for instance,
some bits are spoken in verse
and other bits are sung;
66. (6) it is performed rather than
narrated; and
(7) it arouses the emotions of
pity and fear and accomplishes
a katharsis (purification or
purgation) of these emotions.
70. Unity of Action:(Probability and
Necessity)
There must be a
causal connection
between the
various events and
incidents.
They must follow
each other
naturally and
inevitably.
No incident or
character should be
superfluous.
The events
introduced must be
such as are probable
under the
circumstances.
Aristotle emphasizes Unity of Action ; he is against plurality of action
as it weakens the final effect of Tragedy.
73. Diction and Style
Diction is the choice and arrangement of words and
images in a literary composition.
Six types of words
• Current or ordinary words
• Foreign terms borrowed or dialects
• Metaphors
• Ornamental periphrasis
• Invented words
• Not invented, but made new lengthening
or shortening
74. Songs is the pleasurable addition to a
play. In a tragedy, song is provided by
the Chorus. The quantitative sections of
tragedy are ;
vPrologue
vChoric song
vEpisode
vExode
SONGS OR MELODY
75. About Catharsis:-
#In the Poetics, while defining tragedy,
Aristotle writes that the function of
tragedy is to arouse the emotions of pity
and fear, and in this way to affect the
Katharsis of these emotion.
#Further the Greek word Katharsis
has three meanings:-
Purgation purification clarification
All agree that Tragedy arouses fear and pity, but there are sharp differences
as to the process, the way, by which the rousing of these emotions gives
pleasure.
77. Two kinds of Plots: simple and complex
— Simple:
— Plot is simple when the
change in the fortunes of
the hero takes place
without peripety and
discovery.
— Complex:
— The plot is complex
when it involves one or
the other or both. The
Peripety is the change in
the fortunes of the hero
and the Discovery is a
change from ignorance
to knowledge.
Aristotle prefers complex plot, for it startles and
captures attention.
78. Complex plots are those which have Peripety
and Anagnorisis or Discovery or Recognition
— Peripeteia :
— Peripeteia means that
human actions produce
results exactly opposite
to what was intended: it
is working in blindness
to one’s own defeat.
— It is a false step taken in
the dark.(e.g., Macbeth)
— Anagnorisis:
— Anagnorisis or
recognition is the
realization of truth, the
opening of the eyes, the
sudden lightning-flash
in the darkness.
79. Characterization:-
Showing a perfectly
good man passing
from happiness to
misery
Such kind of plot
will not inspire pity
and fear it will be
simply odious or
horrible
Showing a bad
man rising
from misery to
happiness
It is not
tragic at all
Showing an
extremely bad
man falling from
happiness to
misery
It will move us
neither to pity nor
fear.
“A man who is not eminently good and just yet whose misfortune is not
brought by vice or depravity but by some error of frailty”.
80. Further Traits of Characters:-
The
characters
must be good
They must be
appropriate
They must
have likeness
They must
have
consistency
Aristotle means that they must be true to type, slave
should behave as slaves are generally known to behave.
There must be no sudden and unaccountable change in
character.
81. The Ideal Tragic Hero:-
He should neither be
perfectly good not
utterly bad .
He should be a man
neither of a blameless
character nor a
depraved villain.
He is a man of ordinary
weaknesses and virtues,
like our selves, leaning
more to the side of
good than of evil.
Suffering, not because of some deliberate villainy but
because of some error of judgment.
82. “Hamartia”
Ignorance Hasty or careless
view
Decision taken
voluntarily
Oedipus Othello Hamlet
It may be accompanied by normal imperfection, but it is not itself a moral
imperfection, and in the purest tragic situation the suffering hero is not morally to
blame.
83. The Dramatic Unities
Unity of Time
#Comparing the Epic and the
Tragedy:-
“Tragedy tries as far as
possible, to live within a
single revolution of the
sun, or only slightly to
exceed it, whereas the epic
observes no limits in its
time of action”.
About the Unity of Time he merely says in the Poetics that tragedy
should confine itself, “as far as possible”, to a single revolution of the
sun.
84. Unity of Place
Aristotle only mentions
when comparing the epic
and the tragedy, that the
epic can narrate a number
of actions going on
simultaneously in different
parts, while in drama such
simultaneous actions
cannot be represented, for
the stage is one part and not
several parts, or places.
86. * Unity of plot in epic.
* Contrast between epic and tragedy.
* Superiority of tragedy over epic.
* Tragedy is possible without character but not
without plot.
* Epic is of four types : simple and complex, epic
of character, epic of suffering.
* Tragedy is of four types : The complex tragedy,
the tragedy of suffering, the tragedy of
character, the tragedy of spectacle.
EPIC AND TRAGEDY
87. Types of Tragedy
• Complex tragedy
It consists of reversal and recognition of truth.
• Tragedy of suffering
Tragedy depicts suffering.
• Tragedy of character
Character more involved than plot.
• Tragedy of spectacle
It depends upon the sensational effects
produced by the actors, the costume designers and
other mechanical and artificial devices.
88. Types of Recognition
Anagnorisis (discovery or recognition of truth)
• Signs or objects, symbols
• Author tells himself
• Discovery from memory
• Process of reasoning
• Discovery arising from the false reasoning
89. Superiority of Tragedy over Epic
• It has all the elements of an epic and has also
spectacle and song which the epic lacks.
• Unity of action only in a tragedy not in an epic.
• Simply reading the play without performing it is
already very potent.
• Tragedy is shorter that is more compact concentrated
effect.