Greek Tragedy Modern Essays In Criticism Halimbawa Ng Thesis Sa Filipino 2 Kabanata 2
In the Aristotle used the same analytical methods that he had successfully applied in studies of politics, ethics, and the natural sciences in order to determine tragedy's fundamental principles of composition and content.
This approach is not completely suited to a literary study and is sometimes too artificial or formula-prone in its conclusions.
The plot is intended to illustrate matters of cosmic rather than individual significance, and the protagonist is viewed primarily as the character who experiences the changes that take place.
This stress placed by the Greek tragedians on the development of plot and action at the expense of character, and their general lack of interest in exploring psychological motivation, is one of the major differences between ancient and modern drama.
Particularly significant is his statement that the plot is the most important element of tragedy: Tragedy is an imitation, not of men, but of action and life, of happiness and misery.
And life consists of action, and its end is a mode of activity, not a quality.
Moreover, the plot requires a single central theme in which all the elements are logically related to demonstrate the change in the protagonist's fortunes, with emphasis on the dramatic causation and probability of the events.
The purpose of action in the tragedy, therefore, is not the representation of character: character comes in as contributing to the action. The plot, then, is the first principle, and, as it were, the soul of a tragedy: character holds the second place.Most of the is devoted to analysis of the scope and proper use of these elements, with illustrative examples selected from many tragic dramas, especially those of Sophocles, although Aeschylus, Euripides, and some playwrights whose works no longer survive are also cited.Several of Aristotle's main points are of great value for an understanding of Greek tragic drama.Aristotle wrote the nearly a century after the greatest Greek tragedians had already died, in a period when there had been radical transformations in nearly all aspects of Athenian society and culture.The tragic drama of his day was not the same as that of the fifth century, and to a certain extent his work must be construed as a historical study of a genre that no longer existed rather than as a description of a living art form.
Since the aim of a tragedy is to arouse pity and fear through an alteration in the status of the central character, he must be a figure with whom the audience can identify and whose fate can trigger these emotions. a man who is highly renowned and prosperous, but one who is not pre-eminently virtuous and just, whose misfortune, however, is brought upon him not by vice or depravity but by some error of judgment or frailty; a personage like Oedipus.