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    13 vues7 pages

    Poetics Aristotle

    Transféré par

    shera48
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    Droits d'auteur :

    © All Rights Reserved
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    Poetics By Aristotle 5 mon principle between the fine arts is imitaion, . between them too. There are three differences. the means of imitation, ic. the medium through in their objects of imitaion, or in their manner of ¢ of the means of imitation are form and colour and sound. the aris mentioned by Aristo, namely, efferent Kinds of posty, art & wa ar ae sak wre aahre werat Of es ee ee aes ae Serer erat A dae gfe aw ota wat et the manner of inition poetry is anid as epic o narrative and 6 Pass ‘Books dramatic, In dramatic poetry, the dramatic personges act the story, in epic poetry, a poet like Homer narrates the story, as well as tolls it through dialogue between assumed characters, He uses both the narrative and the dramatic method. Chapter - IV ‘Aitotle now traces the orga of poctry, or more trcly of dramatic poetry. It will be noticed that it is to dramatic poetry Aristotle now largely confines himself. He considers that the origin of “poetry lay in two natural instincts. It will be noticed that he also adds poetry. Thus, we see that the orgin of poetry lay in our natural instinsts. Homer's position regarding comedy and tragedy is peculiar. He was the first to deal with the comic without indulging in personal invective, says Aristotle. He was the first to outline the general forms of comedy by producing a dramatic picture of the ridiculous. Aristotle goes on to deal with stages in the development of tragedy. Several writers made their wn contributions before tragedy attained the form it had. First came the addition of a second actor, making the spoken part take an important role. Then came the sense of magnitude and dignity; The metre changed to the iambic. Finally came the increase in the number of episodes or acts. Chapter - V Comedy acording to Aristotle is an artistic imitation of men of an inferior moral beat. They have faults which can be termed as their short-comings, and these thortcomings are ludicrous. He them defines the ludicrous, ‘as a species of the ‘ugly’. But this ugliness or defect or shortcoming is not painful or desructive. It only produces laughter. Poetics By Aristotle 7 Both epic and tragedy represent serious action of characters ‘They do so in a lofty kind of verse (grand he difference: between epic and ety re; (1) jders the epic poetry as superior to the of epic are found in tragedy, but not all the parts of tragedy are included in the epic poem. Chapter - VI purges the audience of these er ese emothions. The term catharsis ble outlet, ic. a sense of relief accomanying the outlet tf the ewotions as six coatituent elements, Of these, three are concerned is the mode of imitation, by which the siory is presented ‘on the stage before an audience, e Pass Books Aristotle considers the plot the most important of these six lements. It is the life and soul of tragedy. Character may be drawn with great phychological skill; there may be great poetic and rhetorical brilliance; but they cannot makb a tragedy. Chapter - Vil ‘The plot must be a whole ic. which has a beginning, ‘middie and end. Aristotle explains that ‘the beginning does not come after somethi 4 consequence. But it is causally related to what ‘comes should mot need the knowledge of any earlier circumstances to understand the story. Neither should it be of that ature as to make is ask why and how. The middle must follow naturally on the beginning and naturally lead to the end, or the catastrophe. The end is causally related to something that went before it but has nothing coming after it The plot should be of a certain magnitude because beauty depends on magnitude and order. Aristotle suggests the ‘golden ‘mean’ as regards the magnitude . It should be neither too small nor too large, it should not be so long that one forgets the beginnng before one reaches the end. Neither should it be so small that its beauty comnot be appreciated. Aristotle compares the plot of a tragedy to a living creature or an animal. This is significant, His concept of tragedy is/that of an ‘organic unity, something already commended by Plato, Chapter - vil! The Plot or story must have unity of form, it Whole. It is not necessary that the story of a single formal unit st be a single hero should have - A man, during his life, performs many deeds, which ight together in the form of a unified action. Therefore, hhas to select the relevant incidents appropriate to his in other arts, the artist imitates only one object, so also ‘must imitate only one action The unity of Plot should be such that the removal or (ransposition of any incident should destory its coherence, So, it is ‘only such organic unity of action that Aristotle emphasises. He docs Say much about the unities of Time and Place. Unity of ac plies Aristotle's disapproral of two actions of opposite nature, tone tragic and the other comic, being developed side by side in’ one and the same play Poetics By Aristotle 9 Chapter - 1X Poetry does not deal with ph i and effect. Thus, poetry is of great showing the chain of cause and effect. permanence than appeal is of universal character. But the range and appeal of some sort of fortune. Complex. plots iscovery, or both. Peripety and discovery should ‘ by tragic effect: is the greatest when peripety is simultancous with discovery, when discovery is accompanied by the change in fortune. 10 Pass Books ‘The third clement is the scenes of suffering. These include actions of a destructive kind, or painful nature, such as mur woundings, and the like. aa Chapter - xi This Chapter is considered to be an interpalation because it hampers the smooth flow of thought from chapter II to chapter XII Besides, the six quantitative pi to the Greek tragedy. These six qu: @ The parode @) An episode is one of parts Which intervenes between two whole choral songs of an act in our Drama. { (4) The Exode is that entire part of a tragedy which follows after ‘the last choral song, and reaches to (5) Stasimon is a song of the chorus. (6) A commos is a song of lamentation in which the chorus and fone or more actors unite. Chapter - xiit Aristotle has pointed out these forms of plot, which an ideal tragic hero should . avoid-(i) A good man must not be seen passing from happiness to misery, or (ii) A bad man from misery to happiness. In the first condition, pity and fear would not be aroused. jould be a-man man perfectly ith all buman standard, then only our fecling of pity and fear can be aroused. At this nature, he hhas used “Hamarita’ which has been interpreted by scholars as an ‘error or judgment’ of ‘miscalculati than any moral weakness ‘or depravity. Secondly, the ideal tragic hero'‘must be a person who ‘enjoys prospercity, name and fame. Poetics By Aristotle "1 ‘An ideal plot must have a single issue; it must depict the misfortunes of the hero. Aristotle thus rules out tragi-comedies, dramas which have double plots~a tragic or serious main plot, and a comic sub-plot Chapter-xIV Aristotle says that tragic effect through spectacular means is less artistic. Pity and fear may be aroused by the mere sight of disaster, what Aristotle calls the ‘spectacle’for example, the dreadlful costume attitudes of the furies or the wretched appearance jorm. Talking of specific sources of pity and fear, ‘when persons are involved it some deed of horror, ) friends, or (2) enemies, or (3) indifferent to ‘enemy, there is nothing to arouse the persons mentioned in the third effect of astounding us. Aristotle lists four types of tragic actions, These four types of , ions are derived from the inter-relation of two major port of plot, and a lack of knowiedge, , a part of character.’ (O.B. Hardison) Lack of knowledge is ‘hamarita’ Chapter XV In this chapter, Aristotle discusses the essentials of the tragic character. In characterisation, foul points are to be aimed at; (1) Goodness is one reguisite of the character. The character must juirement has caused some surprise and controversy and critics. Aristotle is totally in disfavour of it is absolutely necessary for the plot. The character of the personage shows goodness if the purpose shown by him is good. (2) Appropriateness —This, too, has been interpreted variously. According to some critics, it means that the characters should be truc to type. Aristotle creates the difficulty because he does not clarify as to what the character should be appropriate. @) Truth to Me or reality—The next essential for successful charactersation is that characters must be true to realty. This is an easily understood observation. It is closely connected with the fact that we feel pity and fear, the special tragic emotions, only for men with whom we can identify ourselves only with those men who show correspondence to actual life. () Consistency—The fourth essential is that consistency as has been universally recognised by writers, be they poets, dramatists, or novelists. Aristotle further stipulates those events which are not represented in the play. Chapter XVI In this chapter, he further discusses the point and lists six kinds of Recognition or Discovery, (3) The least artistic is the Recognition brought about by signs, or marks, These signs may be by birth, these signs or tokens may be use such signs as proofs implies reflction, and they do not grow naturally and maniputated by the poet without (3) The third kind of discovery depends upon memory. It is a discovery made by a person whose memory is awakned by something he sees of hears. He fs reminded of the past, and the recognithion t follows. (4) The fourth kind of discovery is the discovery made through ‘8 process of reasoning, Through the process of reaspmeie.“One

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