The pair of these aspects can be found in the play “Antigone... ... middle of paper ... ... and has minimal association with the literature. Aristotle mentioned that the emotions felt by the audience should be inspired by the literature and substance of the play writes not the staging of the set. Meaning a tragedy should be written so that even if the story is told or read it will have emotional value. These final aspects can also be identified in “Antigone”. The characters, including the chorus, consistently respond to events based on their personalities and the vocabulary is interesting and relevant to the set time period.
According to Aristotle’s definition of tragedy, the plot of a tragedy is above all the most important element, and for one to write a successful tragedy, one must have an excellent plot. In his Poetics, Aristotle lists four characteristics that a good plot must have: order, amplitude, unity, and probable and necessary connection. The plot of Oedipus Rex contained all of these. When Aristotle describes what he means by order, he states that a plot has “a beginning, a middle, and an end.” He continues by saying that by ‘beginning’, he means “that which is not necessarily the consequent of something else, but has some state or happening naturally consequent on it.” Oedipus Rex, for example, begins with Oedipus awaiting Creon’s return with the oracle’s advice on the issue of the plague overwhelming Thebes. The beginning of this play already describes why we have started this way and, as Aristotle put it, isn’t necessarily the consequence of something else.
Also, since tragedy is the place for the marvelous, epic shows the irrational, but it is very important to keep the irrational outside of the plot. The last boundary Aristotle establishes in his essay is related to the public: Epic is made for a more distinguished audience. However, at the end Aristotle says this hierarchy does not apply to the poetics of both arts, for tragedy can be more appealing to the public and therefore reach better its goal. By making this argument, Aristotle sets up a definition of poetics that still remains today: poetics as an aesthetic strategy to reach a
Aristotle defines tragedy as: "...a representation of an action that is worth serious attention, complete in itself, and of some amplitude; in language enriched by a variety of artistic devices appropriate to the several parts of the play; presented in the form of action, not narration; by means of pity and fear bringing about the purgation of such emotion. (Aristotle 38 - 9) Shakespeare uses character, plot and setting to create a mood of disgust and a theme of proper revenge, as opposed to fear and pity, hence Aristotle would have disapproved of Hamlet. It is the above mentioned elements; character, plot and setting, used in a non- Aristotelian way, that makes Hamlet work as a one of the English language's most renown tragedies. By proper revenge we refer to the Elizabethan view that revenge must be sought in certain cases, for the world to continue properly. This is the main plot of Hamlet.
In my opinion, not having a choice to die is more tragic then having a choice. Another reason why I believe Hamlet to be a more tragic play then Antigone is because Hamlet is the only character to portray tragedy without the need for plot, because of his power over the plot. The interpretations of the text can shift and change with time and place, but the underlying messages and themes remain crucial to the understanding of the play. The messages and themes prevail in Hamlet because of his strong textual integrity relating to, specifically, the plot and its connection to the tragic structure defined by Aristotle.
Since he published both Romeo and Juliet and A Midsummer’s Night Dream around the same time and chose to have the story of Pyramus and Thisbe in both, one could argue it was an intentional decision. He uses the story in Romeo and Juliet to show tragic events but also uses it in A Midsummer’s Night Dream to show how if the actors are not skilled, they are unable to effectively evoke the emotions of fear and pity in audience members, thus making it a comedic experience instead of a tragic one. The dichotomy created shows that skills are needed to be an actor and has helped to make it the respected profession that it is
According to Aristotle, Plot is considered to be “the soul of tragedy” and very important in a play. Aristotle also implies Character to be second in line when it comes to developing a successful tragedy. A well formed plot should be unified in a way, in
Aristotle’s Poetics is often considered the blueprint to a successful tragedy; his outline has been used for hundreds of years. Aristotle defines a tragedy as “an imitation of an action that is serious, complete, and of a certain magnitude… in the form of an action, not of narrative; through pity and fear effecting the proper purgation of these emotions” (House 82). Aristotle believed that the most important part of a strong tragedy was the plot, and from that, the other elements such as character, diction, etc. would emerge. Aristotle states, “the principle of tragedy – the soul, if you like – is the plot, and second to that the characters” (Whalley 27).
The six parts to Aristotle’s elements of tragedy are: Plot, character, language, thought, spectacle, and melody. According to Aristotle, the most important element is the plot. Aristotle writes in Poetics that, “It is not for the purpose of presenting their characters that the agents engage in action, but rather it is for the sake of their actions that they take on the characters they have” (Aristotle 1150). Plots should have a beginning, middle, and end that have a unity of actions throughout the play making it complete. In addition, the plot should be complex making it an effective tragedy.
In contrast, the tragedy of the heroes of Sophocles’ plays typically erupts from the decisions made and actions taken based on imperfect knowledge and conflicting claims. Although the role of the chorus remained important it was not central to Sophoclean scheme of tragic conception. Conversely, the individual characters in Sophocles’ tended to be more complex and, unlike the chorus in Aeschylus’s plays, control the rhythm of the plays. His Oedipus Rex is recognized by many as the finest tragedies ever written. For Aristotle, the play is a quintessential example of tragedy.