ARISTOTLE’S THEORY OF TRAGEDY IN THE POETICS BY ALEX MILSOM 1 alexmilsom.co.uk/classnotes.

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ARISTOTLE’S THEORY OF TRAGEDY IN THE POETICS BY ALEX MILSOM 1 alexmilsom.co.uk/classnotes

WHAT IS TRAGEDY ? imitation of an action serious complete of a certain magnitude in form of action, not narrative incidents arousing pity and fear accomplish its catharsis of such emotions six parts which determine its quality alexmilsom.co.uk/classnotes 2

THE SIX NECESSITIES plot character thoughts diction melody spectacle alexmilsom.co.uk/classnotes 3

WHAT IS TRAGEDY? imitation of an action law of probability or necessity shows rather than tells drama is better than history drama dramatizes what may happen history covers the very particular part of a clear cause and effect train reveals what may happen at any time arouses not only pity but fear tragedies are logical audience can envision themselves somewhere along the line of cause-and-effect alexmilsom.co.uk/classnotes 4

SECTIONS OF A GOOD TRAGEDY alexmilsom.co.uk/classnotes 5

PLOT AND ITS SIGNIFICANCE IN TRAGEDY most important feature “the arrangement” of incidents cause-and-effect chain should create the outcome not the character alexmilsom.co.uk/classnotes 6

FREYTAG’S PYRAMID (AND WHAT IT TELLS US ABOUT ARISTOTLE’S IDEA OF PLOT) encompasses Aristotle’s ideal plot form must be whole must have beginning, middle and end beginning starts the cause-and-effect chain must lie within the scope of the play Hamlet’s incentive moment could be the murder of King Hamlet or could be sighting of King Hamlet middle must depend on beginning and causes denouement in Hamlet this could be the death of Polonius alexmilsom.co.uk/classnotes 7

FREYTAG’S PYRAMID (AND WHAT IT TELLS US ABOUT ARISTOTLE’S IDEA OF PLOT) the end is responsible for the “tying-up” from exposition to falling action causes unravelling must lie within the scope of the play Hamlet’s lusis is during the final duel five acts = five sections plot must be complete, no external factors plot must also not be ‘episodic’ alexmilsom.co.uk/classnotes 8

OTHER PLOT POINTS “certain magnitude” bringing together organically realistic universal significance complex is better peripetia anagnorsis alexmilsom.co.uk/classnotes 9

SIGNIFICANCE OF CHARACTER second in importance character supports plot hamartia or tragic flaw own downfall from own mistake in blindness or due to a lack of knowledge alexmilsom.co.uk/classnotes 10

TRAGEDY’S OTHER ELEMENTS thought proved to be or not to be must reveal layers of a character diction “the greatest thing is by far to have a command of metaphor” “mark of genius” (explaining Mr. Taylor’s inability to use a metaphor) song or melody arouses not only pity but fear tragedies are logical audience can envision themselves somewhere along the line of cause-and-effect alexmilsom.co.uk/classnotes 11

THE CATHARSIS purging of tragic emotions medical metaphor purge excess of pity and fear healthy balance alexmilsom.co.uk/classnotes 12

I’ve uploaded this presentation, some good sources, and my notes, to alexmilsom.co.uk/classnotes Thanks for listening. alexmilsom.co.uk/classnotes 13