Aristotle's definition and component of tragedy
Introduction
Aristotle's theory of tragedy is completely based on induction. The ample examples of citations that Aristotle uses in his text from the tragedies of Sophocles, Aeschylus and Euripides, make the idea clear that his theory of this literary genre comes from his extensive reading of their tragedies, and the ideas are mere generalization of the commonalities in their tragedies.
Thus it is interesting to see a theory that followed the genre for which it is actually theorized. But in modern times this theory has lost its importance with the development of different sorts of tragic plots ending with catastrophe. Now its significance is limited to the level of differentiating Aristotelian mode of tragedy from Non- Aristotelian mode.
Aristotle defines tragedy as "the imitation of an action that is serious, complete, and of a certain magnitude, in a language beautified in different parts with different kinds of embellishment, through action and not narration, and through scenes of pity and fear bringing about the catharsis of these and such like emotions". And undeniable factors associated with this cathartic effect is that tragic representation of suffering and terrific defeat leaves and audience, not depressed but relieved or even exalted. This distinctive effect on the reader, "the pleasure of pity and fear", is a basic way to distinguish it from comic and other forms of dramatic representation. Moreover, Aristotle makes the pleasure of pity and fear a rule that governs the organisation of the tragic plot and choice of tragic hero and sees that a dramatist's aim should always be how to achieve this end in his drama.
There are six major components in tragedy according to Aristotle. They are-
a. Plot
b. Character
c. Thought
d. Diction
e. Song
f. Spectacle
a. Plot
Aristotle defines plot as the soul of tragedy and emphasizes much on its unity. He treats it as a unified artistic whole directed toward the intended effect, that is, pleasure of pity and fear and catharsis of such human emotions. Being a unified whole, a plot should have proper beginning, a middle and an end in which every part supports the whole and none of the parts are non functional. And being an imitation of an action, the plot should imitate single action. The inclusion of a series of actions simply because they happen to a single character does not make an artistic whole.
In the plot, the events develop through complication to catastrophe. The "hamartia" or a severe tragic flaw of the protagonist leads to the complication and a sudden revelation, or "anagnorisis", of this flaw intensifies the complication and it in turn anticipates the tragic end of the character, that is, " peripetia". In this way, the plot moves from hamartia through anagnorisis and peripetiea to catastrophe. This shows that Aristotle favours the complex plot as opposed to the simple pot in which reversal of the situation is almost impossible.
b. Character
As regards characterization in general, Aristotle lays down for essential qualities. First, the characters must be good, secondly they must be appropriate, thirdly, they must have likeness, and fourthly, they must have consistency. The characters should be good but not too good or perfect. Wicked characters may be introduced, if required by the plot; Aristotle is only against the wanton introduction of evil and wickedness. Thus a woman must be womanly, and a slave should behave as slaves are generally known to behave. Aristotle's views are based on the practice of Greek dramatists who used only traditional plots and traditional characters. Hence in a tragedy dealing with the life of Oedipus, the character of Oedipus must have likeness to the traditional conception of his character. The character must show a consistent development; if there is an inconsistent character, he must be represented as inconsistent throughout. The actual action of the tragedy should have nothing irrational or improbable about it; the use of the irrational or the supernatural should we strictly limited to events lying outside the tragedy.
c. Thought
The thought of the characters is expressed through their speeches, and hence the intimate relation between thought and diction. Diction is the objectification of thought, the vehicle through which thought find expression. There are three ways in which thought- the intellectual elements - expresses itself: 1. Proof and Refutation; 2. Production of emotional effects; 3. Indication of the importance or significance of anything.
1. Proof and Refutation
Thought expresses itself in the arguments which the characters use to prove or disprove something.
2. Production of emotional effects
Today we tend to separate thought and emotion, but for the classics, emotion was a mode of persuasion and hence could be considered as a variety of thought.
3. Indications of importance or significance of anything.
Thought is also expressed in speeches which are intended to exaggerate or diminish the importance of anything. Through their speeches the characters may make something look more nobel and significant, or more trivial and base than it really is. The thought or intellectual element of a tragedy can best be understood by those who have a knowledge of the art and so Aristotle himself refers his readers to his Rhetoric.
d. Diction
Diction is the choice and arrangement of words and images in a literary composition. It refers to the expression of meaning in words, or it is a primary mode of imitating the action. Words are medium of representation, and bearer of tragic meaning and effect. Now the poet style, Aristotle proceeds, should fulfill, above all, two conditions: "it must be clear and it must not be mean". Compounded words, he thinks, are best for the dithyamb, rare words suit epic; whereas metaphorical diction is best suited to the iambic verse of drama. Aristotle's treatment of metaphor is clear, concise and inspired.
e. Song
Song is taken to be chief among the embellishments used in a tragedy. It particularly refers to the song sung by a group of people known as chorus. Or, in other words, it refers to what is generally known as choric commentary in tragrdy. It includes analysis of the major events of past, present and what will happen in the future that intensify the dramatic effects. It narrates the major events that are not shown on stage.
f. Spectacles
It means the scenes used in drama for the sake of emotional attraction of the audience. It heightens the emotional significance of an event in the drama. But this is the sole work of a stage machinist or manager to set the scene as described by the dramatist.
This theory of tragedy later developed through Castlevetro to neo-classical theorist like Cornellie in 16th and 17th centuries. But when Aristotle is descriptive in his own right, the neoclassical theorists developed it as a rule of tragedy with an addition to make up three unities of drama assimilating Aristotle's emphasis upon the umity of action.
Thus it is interesting to see a theory that followed the genre for which it is actually theorized. But in modern times this theory has lost its importance with the development of different sorts of tragic plots ending with catastrophe. Now its significance is limited to the level of differentiating Aristotelian mode of tragedy from Non- Aristotelian mode.
Aristotle defines tragedy as "the imitation of an action that is serious, complete, and of a certain magnitude, in a language beautified in different parts with different kinds of embellishment, through action and not narration, and through scenes of pity and fear bringing about the catharsis of these and such like emotions". And undeniable factors associated with this cathartic effect is that tragic representation of suffering and terrific defeat leaves and audience, not depressed but relieved or even exalted. This distinctive effect on the reader, "the pleasure of pity and fear", is a basic way to distinguish it from comic and other forms of dramatic representation. Moreover, Aristotle makes the pleasure of pity and fear a rule that governs the organisation of the tragic plot and choice of tragic hero and sees that a dramatist's aim should always be how to achieve this end in his drama.
There are six major components in tragedy according to Aristotle. They are-
a. Plot
b. Character
c. Thought
d. Diction
e. Song
f. Spectacle
a. Plot
Aristotle defines plot as the soul of tragedy and emphasizes much on its unity. He treats it as a unified artistic whole directed toward the intended effect, that is, pleasure of pity and fear and catharsis of such human emotions. Being a unified whole, a plot should have proper beginning, a middle and an end in which every part supports the whole and none of the parts are non functional. And being an imitation of an action, the plot should imitate single action. The inclusion of a series of actions simply because they happen to a single character does not make an artistic whole.
In the plot, the events develop through complication to catastrophe. The "hamartia" or a severe tragic flaw of the protagonist leads to the complication and a sudden revelation, or "anagnorisis", of this flaw intensifies the complication and it in turn anticipates the tragic end of the character, that is, " peripetia". In this way, the plot moves from hamartia through anagnorisis and peripetiea to catastrophe. This shows that Aristotle favours the complex plot as opposed to the simple pot in which reversal of the situation is almost impossible.
b. Character
As regards characterization in general, Aristotle lays down for essential qualities. First, the characters must be good, secondly they must be appropriate, thirdly, they must have likeness, and fourthly, they must have consistency. The characters should be good but not too good or perfect. Wicked characters may be introduced, if required by the plot; Aristotle is only against the wanton introduction of evil and wickedness. Thus a woman must be womanly, and a slave should behave as slaves are generally known to behave. Aristotle's views are based on the practice of Greek dramatists who used only traditional plots and traditional characters. Hence in a tragedy dealing with the life of Oedipus, the character of Oedipus must have likeness to the traditional conception of his character. The character must show a consistent development; if there is an inconsistent character, he must be represented as inconsistent throughout. The actual action of the tragedy should have nothing irrational or improbable about it; the use of the irrational or the supernatural should we strictly limited to events lying outside the tragedy.
c. Thought
The thought of the characters is expressed through their speeches, and hence the intimate relation between thought and diction. Diction is the objectification of thought, the vehicle through which thought find expression. There are three ways in which thought- the intellectual elements - expresses itself: 1. Proof and Refutation; 2. Production of emotional effects; 3. Indication of the importance or significance of anything.
1. Proof and Refutation
Thought expresses itself in the arguments which the characters use to prove or disprove something.
2. Production of emotional effects
Today we tend to separate thought and emotion, but for the classics, emotion was a mode of persuasion and hence could be considered as a variety of thought.
3. Indications of importance or significance of anything.
Thought is also expressed in speeches which are intended to exaggerate or diminish the importance of anything. Through their speeches the characters may make something look more nobel and significant, or more trivial and base than it really is. The thought or intellectual element of a tragedy can best be understood by those who have a knowledge of the art and so Aristotle himself refers his readers to his Rhetoric.
d. Diction
Diction is the choice and arrangement of words and images in a literary composition. It refers to the expression of meaning in words, or it is a primary mode of imitating the action. Words are medium of representation, and bearer of tragic meaning and effect. Now the poet style, Aristotle proceeds, should fulfill, above all, two conditions: "it must be clear and it must not be mean". Compounded words, he thinks, are best for the dithyamb, rare words suit epic; whereas metaphorical diction is best suited to the iambic verse of drama. Aristotle's treatment of metaphor is clear, concise and inspired.
e. Song
Song is taken to be chief among the embellishments used in a tragedy. It particularly refers to the song sung by a group of people known as chorus. Or, in other words, it refers to what is generally known as choric commentary in tragrdy. It includes analysis of the major events of past, present and what will happen in the future that intensify the dramatic effects. It narrates the major events that are not shown on stage.
f. Spectacles
It means the scenes used in drama for the sake of emotional attraction of the audience. It heightens the emotional significance of an event in the drama. But this is the sole work of a stage machinist or manager to set the scene as described by the dramatist.
This theory of tragedy later developed through Castlevetro to neo-classical theorist like Cornellie in 16th and 17th centuries. But when Aristotle is descriptive in his own right, the neoclassical theorists developed it as a rule of tragedy with an addition to make up three unities of drama assimilating Aristotle's emphasis upon the umity of action.
Comments
Post a Comment