The most important sources for French tragic theatre in the Renaissance were the example of Seneca and the precepts of Horace and Aristotle and contemporary commentaries by Julius Caesar Scaliger and Lodovico Castelvetroalthough plots were taken from classical authors such as PlutarchSuetoniusetc.
Mode Spectacle Aristotle lists spectacle last in order of importance, pointing out that the power of tragedy is not fully dependent upon its performance we can read a tragedy and still appreciate its messageand that the art of the spectacle really belongs to the set designer and not to the poet.
Aristotle talks about the five points in drama: In a perfect tragedy, the character will support the plot, which means personal motivations and traits will somehow connect parts of the cause-and-effect chain of actions producing pity and fear.
These and suffering or violence are used to evoke the tragic emotions. The characters must be four things: However, epic poetry can be longer than tragedy, and because it is not performed, it can deal with more fantastic action with a much wider scope.
Preliminary discourse on tragedy, epic poetry, and comedy, as the chief forms of imitative poetry. It should be an integral part of the whole, and share in the action. Moreover, the plot requires a single central theme in which all the elements are logically related to demonstrate the change in the protagonist's fortunes, with emphasis on the dramatic causation and probability of the events.
The tragic imitation requires less space for the attainment of its end. These are the six constituent parts of tragedy.
The influence of Seneca was particularly strong in its humanist tragedy. Normally the plot is divided into five acts, and each Act is further divided into several scenes. Tragedy has everything that the epic has, even the epic meter being admissible.
Protagonists often face a tragic death. While Greek tragic heroes exhibited hubris, the renaissance heroes were more prone to hamartia. Shakespearean tragedies do not follow the unity of plot; Shakespeare interweaved many subplots into the play to make the plot more complicated and realistic.
There is less unity in the imitation of the epic poets plurality of actions and this is proved by the fact that an epic poem can supply enough material for several tragedies. In fact, he heaped upon himself damnation by repeating his error over and over.
In this case it would be good to explain such change, otherwise the audience may be confused.Aristotle's Poetics (Greek: Περὶ ποιητικῆς; Latin: De Poetica; c. BC) is the earliest surviving work of dramatic theory and first extant philosophical treatise to focus on literary theory in the West.
In The Death of Tragedy () George Steiner outlined the characteristics of Greek tragedy and the traditions that developed from that period.
In the Foreword () to a new edition of his book Steiner concluded that ‘the dramas of Shakespeare are not a renascence of or a humanistic variant of the absolute tragic model.
Aristotle regards the plot as the soul of a tragedy. Tragedy imitates “actions” and the plot consists of a sequence of events logical and inevitable. The action is as a whole. Tragic hero as defined by Aristotle Characteristics Aristotle once said that "A man doesn't become a hero until he can see the root of his own downfall." An Aristotelian tragic hero must possess specific characteristics, five of which are below.
An Analysis of Hamlet under Aristotle’s Theory on Tragedy Aristotle, as a world famous philosopher, gives a clear definition of tragedy in his influential masterpiece Poetics, a well-known Greek technical handbook of literary criticism. Aristotle proposes to study poetry by analyzing its constitutive parts and then drawing general conclusions.
The portion of the Poetics that survives discusses mainly tragedy and epic poetry. We know that Aristotle also wrote a treatise on comedy that has been lost.Download