ࡱ> MOL!` >bjbj\\ **>>>C........$/h...........Fn." rfEfJDR^ 0CfxnnH....... ...C....   Aristotle  "On Tragedy" [This is a selection from Aristotles book called The Poetics.] Tragedy defined: imitation of an action: he is similar to Plato in that he says it is imitation, but makes it imitation of action not of character serious: distinguishes Tragedy from Comedy complete, and of a certain magnitude: distinguishes it as beautiful enough to be a Tragedy in language embellished with each kind of artistic ornament: by which he means rhythm, harmony and song. in the form of action not of narrative: distinguishes Tragedy from Epic. The goal of tragedy is katharsis of emotions such as pity and fear. [There have been many translations of katharsis: two are ennobling and purging.] Since there are persons acting, Tragedy needs Spectacular equipment, Song and Diction. Plot: the arrangement of the incidents. Character: that in virtue of which we ascribe certain qualities to the agents. Thought: when a statement is proved or explained. Six Parts determine the quality of the tragedy: Plot, Characters, Diction, Thought, Spectacle, and Melody: every Tragedy must have each. [Is this contradicted later when at one point he says that Character may not be necessary and at another time Spectacle may not be?] Tragedy is imitation of life, which consists of action, not of men. For actions determine whether men are happy or not [and Tragedy has to do with very happy and very unhappy men and women!]. Plot comes first, then Character. The incidents of the plot are the purpose of Tragedy, and the end or purpose is the chief thing. [Aristotle always emphasizes the purpose of something, for example when he talks about the importance of Final Causes.] There may not be Tragedy without action, but there may be without character. Most modern tragedies, for example, fail in rendering character. [This is an odd comment, as Euripides was Aristotles contemporary and his characters are really great.] Among painters (by analogy), whereas Polygnotus delineates character well, Zeuxis paintings have no ethical quality. Styles that have an ethical quality, and thus delineate character, are superior. The essential tragic effect [catharsis of pity and fear] is produced best with plot. The reversal of the situation, peripeteia, [e.g. Oedipus was the King, and now he is fallen] and recognition scenes [e.g. Oedipus discovers that he has killed his father and married his mother] are the most powerful elements of emotional interest. Just as the most beautiful colors presented confusedly do not give as much pleasure as a simple outline, so too in Tragedy, Character is second to Plot. Thought: the faculty of saying what is possible and pertinent. This was related to the art of politics in the older poets and to the art of rhetoric in our time. Speeches that do not show the kinds of things a man chooses do not express character. Thought is found where something is proved or a maxim is explained. Spectacle is the least artistic element, and least connected with the art of poetry. For, the power of Tragedy is felt apart from the representation of actors. And Spectacle is more the art of the stage machinist than the poet. Proper Structure of the Plot A tragedy must have a certain magnitude. [i.e. it is a whole that has a certain size] A whole has a beginning (does not follow anything with necessity), middle, and an end (has nothing following it). A well-constructed plot, therefore, does not begin or end haphazardly. Beauty A beautiful object (any organism or any whole composed of parts) must be of a certain magnitude and order. A very small animal cannot be beautiful [if] its view is confused. [Assume no microscopes. Think of a flea moving quickly.] An animal of vast size cannot be beautiful, as the eye cannot take it in all at once, and the viewer cannot see it as a unified whole. The magnitude [i.e. the unity and size of it] must be easily embraced in one view. A Tragic plot must have a length which can easily be embraced in memory. The length of the actual performance, however, is not part of artistic theory. The length determined by the nature of drama (independently of the issue of performance): the greater the length the more beautiful the play, as long as it is clear. The size is proper if the sequence of events allows for change from bad to good fortune, or good to bad fortune, by necessity or probability. [Aristotle argues elsewhere in the book that Tragedy gives us knowledge of what people will do of necessity or with probability in a particular situation. This answers Platos claim that tragedy gives us no knowledge.] Questions (applied not only to tragedy but also to contemporary film in the drama mode) What does beauty require? Are there qualities that make some plays or films better than others? How important is spectacle? Is character less important than plot? Compare and contrast Aristotle and Plato   NY[\]nopqa q 8 9 : Q e }   , - . V W 9 = G U Y ^ c f n . 3 ` -. 56OPhhb,h h" h" 6h6h66h" h6hyDhyD6hyDjh=Uh=M   \]o$ : . W .  & Fgd  & Fgd"  & F & Fgd"  & Fgd6 & F><Efghl 1 01OXg17KS(./04=HIhF7hF7hnj6hnjh6h6hhb,6hh6hb,h=RhOL0tZmp & F & Fgd  & Fgdb, & F & FIst)7:=YZq};UW'Gmuz1]_`de:;>hXGhF7h 6hnjh h=hb,hF7Pp=>p^pgdXG & F gd;B & F(/ =!"#$% 30Dd^//`  c <AAristotle 2R/pyCY&uW[/DFS/pyCY&uWJFIFddDucky7!Adobed /@     ########## #################################################^ @!0P1A"`2pB# !1AQaq"2@BP#Rb3CrP0@p!!1AQaq @P0 B*HcHBalъ AXXլbV #B:,DD5njVcw^cj1ځj ! z.yADFJ/۷L=3e㖇BNPID5a"# P0YFsK]z3[ԆPfYNF8i1ڐ5@%V #Y};.wsjN:t ev\0<.UǓIdD 1 D d $&u5ԲU,ܸB8rM^Z65 0/Ĉ5H(E[K:d绞l3Tig6l\}WWuΦ5@ k}EȔ*%HfS/'x&nksbKL+)8u˅~|g-ߟJ}DBD1Ⱦ5qbXM3VOF:-v}.Nq(@@2k+DD%SW%_>$[sW D :NdD2c"cAddzw=]gf/?n7}]i; 4tx"  da>zz7./͚)LkG-KLuBs DC!^X:KI]WNj#6N7928VKZ@P_ @@2d2$ir}3,52E3k:]o4.ss y@@ "`1 /s5zT7-zWcb&RFĉ&1ĉKP]q{Z朧Lnzc9u|INa")q͌cY$D2P΢kҳæ4=/Ayn5ҫ}7O&f0X" b6c"*%Hk4p-]quG]ӝVu7*,}s\538)# yLf"4e$F1:[kePKNjY7^QB`81 C:nm3ؤhRHżk*K3jWfiWc95h@ B!%,W!Rk_AbHk.kIf%Y#f:F 58wTTq|kߋ}#]Fq[1 Hb 蹱$PJьSF:;ƪlYu-dXP2@ hƐJ#`:ܗ:1]f#9~zՌ@qR XȀɥ~{XitjXpD!Q@0Pc[D@HB~V=3S5J8ݎS|}~[E" `Y$V"H)C'z_Ιb6Y&̸kLܸŸߜ$Y,3X*  @8=zyͅ1+JVb$֌k&FTQ(DHTp,wk\M`CFXY 3Ǵg ׏gqEqM豧o\i2(;8pr =y#+c:e4,g %w VVVVt+韎hAt9;?_pƅYfawҿYY]P(8#Ѻe(sxDa~PA9JQx]93 (.ܻwDPXs ?k:a`"EX} ktΡEYӢ.!ewh}YavڻWbXDG)ǡc\ ht`(uϠG:Z2r>ZW giDuY2=?۹ NA4gHWM GyHsR=h=,"Vj#! p qA4豦t՝p@!>u\,p 1Cϵ,(Ha>BuǾ䆇u)X&Ѳݪb>?a2JS0rbK[ƣKZ[ cdĞ)$? ]hY= Y %y<p&F6_gbwtо'sa\v ؊CL3)-wZtP=^%l:9N;p [i-Z]1^m)8Z N=Fos-nysQ3mۓgfxVd:G|-KU{ówh.??tj[wAjj]ڮǼJKDfo-ed55)@6W6aƇ-R! '{[R#8+M#L湩M/u9rZL2Ȟ ްTZI&]H͒)^]T9f'ȣ[l `iW&c*c}|So˱bYk.?|uCH:Jw˱\mIk{Ȑ(9\YtRXjg[lX}]wR;.͋ 76ZיWKwnfAڇt}Auopz ُȯpSF](v٥uHdMUHZ׳^/B>$4,MIƍqawd-Z ҭ0Xl1Xˑ^JUKba'4.Yt沶[)]N֗^=3 CQ΃k&U;w_QKVt΃\[p?lƑ6*mwp29^jk#k8~\&XVími,PU+G ,ճ)oLu$j,"ʵVˏT6-a֭Vg&N:37_XH?hkŹ/?U? IToYm7`NXƏFԳ_,Ob71 0Pj<#O Akd)C'.;}3U|8FutacmY#rq]<ܚ5xN8`gFѥu*+|TNgFenG9D7l8nCڑ(bTlHfvwYGrT ÊyjB7x@Qx0ٱTc@[Lva]\*g9Wq>X#ݱ?2*#QBgoI1ٽ@u~es:i[JnS) EhB-Rv,P@F?7i]x>܍j6r.FtȫOᱹ#!< ~Lw$!nL@Fܴը=հj45vȈ>2?𼲕, 7&fQ0:"&yƍ# CA Vr:ޅFث_-ءgShqCYrWs}DN(dj1S322Tŕ`/$hANR0\he Ʒ PD']<__rr\]ךf:п֜w"c *W v%(YXހ3T.J,C̗L=1]L e#eИZxe"  ^h>8}+a )đo|˹##rK#Ljf[c^ԡl#_姛?՛I{h.կ+2ea"[eWu}.54mKrm+B2|Y[tHqjWytfx|U(py8d6kR ?⭑.n 6s J1!qܑh|قX R0@a"aCtIQO֌UҾc$a*KU+7& mMbO,pFʨyEUanCۈ':qrN^?OI;T[fq5j$ŕ"|ѷ炅9\ˮ2P|B ?z<2$0}.O c&ukFR BL8F1V3@jwYD12/8lYF2mM0rMB6D9UZjit\ȁ*pdHJm^.Vߘ<6]a"S:̰}O5' 0BEr|̝(GEhzb0*?;B ;8Vy`P)8v-v=+ H*L 쭞+1P&gnGJ_에m5d9@[\6ϙfo뷜K-w'HգjZIFWIUO pR7@#}z1c+J7hvmK=I z/㔸:P08/CrR f NX`mB[mR6_K D}g(IN3YM0 4_ӗ45@Bc"B}~>CE#X޿n@3޲y!s(`_]0ÇMBQfZ Ь_&;Ҧb^"oĽ#( \%Mk ei6#p (D HFŲIJ8 %Wp[9@;TyK  e0V.I}Br$q\'Pz{{ymjad3 iۃұ3.jØKSǾ ɧ+L1Fv%KO(8&z,ͫZϕr34h6o]7F!; )51@J[z3QV9.+C,\ȌC#ZE}MZhLj"ֲ6CLj!3(j{!(^v._7ض}:r-Kkrg$4J˘bp }bapdqNLsEKU,x.`.D|Zl=[bQJ̲ {={Q!Z}#(2ĒHfZ 3mE @\puʞRꢈJM cU[>Xjztmqd4n[uw 0*W :0"ve39׭.:/_ȇc~?0ǥ} ljbIH<Ũ7,^^̨JYQ2ZhЙҲaa E0lέŘ W2jSsF EY'$L6ha+UKAnTH1+Glaɔ<,T"%K}+1An 1o?5S"RۢʠL+V_4i ?-ЧPc QLofH mhyB'1bJNIR]PClx]_mΥNqZ(c6ZXOC̴-cDtx)10Q5ШmM˕LVFx`8uD`YRt0 7*@fm.&0|˥ xVVs3Eı<3fe!dB m?9RL@%6qX zm9"0bZ1 #pQ& L_:VXCyyH+p5d=. pRPRctq?k*TL/_bWFn ~n%v+\:־-t3ĨV7V`FbYPU"͉YFE m,Zcgqc 0N?WcYRUáD7";%1|$ ؃J*1%Y2#+H[cz=yaFRERJrS.h?*`igScK_JWi[^ke2D|[5LQ):85XGB?^**zCuHCbS*6'jx!ԉPWR&eb!ysCP72 Q &AJ6UY,hVE"ː 4p*xVY0ZVBp8 \VEvwqZ;AIe=_E@"8< X>˘][0Ք @brYpgU&kc}2gwyY .)V6: 4QEoDN DsBCQOWoW1 .=g|j-Q c־ *Tb-4WRe[c!SNW(Y?؍nϴH.tvY'NP5F{ŕl9)JEv۳ 6?UcF. UjAzkczf??ǡHŋ ,|7yxn8mj2ˍ㋀ 9/N@t{!KUEva0!F,Zi;oE8%:D+Dl?賞ނPF=ja_1 *{B@KaH^*TŖ_PK_@P}LQMbyqQojY!M%z|bRY8( Y Re0U+6͉RʢF1%@*\$X(B a` AʚI_بmx=:oYg=RZ+׮Ч~wFoJD5z^jɓ' 4B8S~R 9@g6o QTzV0S kYKxb~XBPpCRb[$Qv֠;bH| Ys}ȆnŵʜQDdo$su1h3/0Ժ%Y. #52z/(+Xz6 nܔXV`b-lѷ,z!aj0z@纡Mqv>1m*sayDJUk )^%NDfP1t"fJbn;=~7"ŗ.^ .1.Su^UJ1+%o^iB0i|-"HJʨۼt`G Sg󈴬bE.C.\r˃b474VMEd}L@g#3`_UVP h9M h`IA@nFZ(Ӧcƽ3(x_ekGa.˗/,X.6J %M&AEj՜ (peG\Ɂ &PdXA@l7 WFQQg= @=Ob968v?q}E}Mz( `˲n$N(`]ʈWCRIvDz kLb*/bQ o?(=ہUIUQ ``^OC@6[\eq 4:#iBH@Fa*|yjV{<69b(,ldug@!3AL7{+UYij<0.Qw_<{ (zQŢ\k2z]z 1ˠfeܹr2,XE:[qr%h@ڌPAQ +NߘB`rs Kc<00q\b˴ w:z(kc]P*v>kGƸMˮXKŠ,Qe˃V(dn+2A>Bav r0sYcq(\ u} -`z+KV6x6Yjq/v(Q`D [f-zt~,Xp!zoT~!TV[LtFn He*ךˆ_"p_'7Rg )aYA%7uT5Dnǁ)Q龛t‹=}/ˌ?A/.8bt,|M3+v ago_S.;}ٙy@O1 W$3O?1965]G: rŌcG>+apCIL&͠ӟ>J_&axYA ^rddOb`gk9sⱿU@(ͨ{Dvn/|g[,c22!]cԅUG z?\Y{x ^]/(7{#.Fъ0xrahj 4v 7G\+ޞ~ .1&edr CoeE׈0DbI丒)<;95/k#&G/h+⬮"~&X?uo}_}nz_^^&}~#NHGp?<@< NormalCJ_HmH sH tH DAD Default Paragraph FontViV  Table Normal :V 44 la (k@(No List HH rw Balloon TextCJOJQJ^JaJ>* \]o$:.W.h O L 0 t Z mp=@00000 0 0] 0] 0] 0] 0] 0] 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0  0 0O  0O  0O  0 0  0  0  0t  0t  0t  0  0  0  0  0  0  0  0  0 0 0 0 0 0 00 ]:.hO L t mp@0000 0 0 0 0 0 0K0K0K0K0K0K0K0K0K0K0K00K00K0K0K0K0K0K0K0K0I0K00I>p>>@qz} p@333333  0 1 4 = d s 7 : q } 'Gmuz""1];pp=@@W,(hh^h`)^`)88^8`)^`()^`()pp^p`()  ^ `.@ @ ^@ `.  ^ `.W,   " F7yDnjrwXG=b,6;B@@qqqq>@UnknownGz Times New Roman5Symbol3& z Arial5& zaTahoma"qhq4F6ft_ "_ "24d5562QHX(?rw2Aristotle "On Tragedy" Tom Leddy Thomas Leddy Oh+'0  < H T `lt|Aristotle "On Tragedy" Tom LeddyNormalThomas Leddy8Microsoft Office Word@{4@G @R@&fJ_՜.+,0 hp|   " 5d Aristotle "On Tragedy" Title  !"#$%&'()*+,-.0123456789:;=>?@ABCEFGHIJKNRoot Entry F`yEfJPData 301Table/+WordDocument**SummaryInformation(<DocumentSummaryInformation8DCompObjq  FMicrosoft Office Word Document MSWordDocWord.Document.89q