Fictional Aspect And Complex Plot Of Tragedies example essay topic

Aristotle's Philosophy On Why People Enjoy ViewingAristotle's Philosophy On Why People Enjoy Viewing Tragedies Aristotle's Philosophy regarding why People enjoy viewing Tragedies. The word Tragedy can be applied to a genre of literature. It can mean any serious and dignified drama that describes a conflict between the hero (protagonist) and a superior force (destiny, chance, society, god) and reaches a sorrowful conclusion that arouses pity or fear in the audience. From this genre comes the concept of tragedy, a concept which is based on the possibility that a person may be destroyed precisely because of attempting to be good and is much better than most people, but not perfect. Tragedy implies a conflict between human goodness and reality. Of course a possible variation of the tragic concept would allow a character to have a fault which leads to consequences far more dire than he deserves.

But tragic literature is not intended to make people sad. It may arouse pity and fear for the suffering protagonist, or for all humanity, especially ourselves. But usually it also is intended to inspire admiration for the central character, and by analogy for all mankind. In the century after Sophocles, the philosopher Aristotle analyzed tragedy.

His viewpoint defined Tragedy as an imitation of an action that is serious, complete, and of a certain magnitude. In a language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play Oedipus Rex, Tragedy must occur in the form of action, not of narrative; and a purgation or catharsis of the build up of emotions (hubris) throughout the literary work must take place. According to Aristotle, the central character of a tragedy must not be so virtuous that instead of feeling pity or fear at his or her downfall, we are simply outraged. Furthermore, the character cannot be so evil that for the sake of justice we desire his or her misfortune. Instead, "best is someone who is neither outstanding in virtue and righteousness; nor is it through badness or villainy of his own that he falls into misfortune, but rather through some flaw' (Dean, 51). One can therefore assume that the lead hero must be someone prosperous, famous and possess an attribute of integrity.

An example could easily be King Oedipus, whose credentials clearly matched the above criteria. Perhaps the primary reason for the admiration and relish Tragedies receive from audiences is because of the fictional aspect and complex plot of tragedies. Complex plots are better than simple plots. Complex plots have Recognitions and Reversals.

A recognition is a change from ignorance to knowledge, especially when the new knowledge identifies some unknown relative or dear one whom the hero should cherish but was about to harm or has just harmed. ' Recognition' is now commonly applied to any self-knowledge the hero gains as well as to insight to the whole nature or condition of mankind, provided that that knowledge is associated, as Aristotle said it should be, with the hero's ' reversal of fortune'. A Reversal is a change of a situation to its opposite. A clear example is Oedipus's itu ation at the beginning and at the end when Oedipus is King. Another example in the play was when a man comes to free Oedipus of his fear about his mother, but actually does the opposite. Recognitions are also supposed to be clearly connected with all the rest of the action of the plot.

Tragedies represent complicated dilemmas that could occur to any human being. However, because they are fictional, they spark an interest amongst the audience in discerning the conclusion of the literary work. The involvement of supernatural power further adds to savor up the intricate plot and add a spice of adventure. An interesting and key ingredient of Tragedies is the fact that Tragedies are not episodic. The events that occur in one part or episode of a Tragedy tie in very easily to the next part of the Tragedy. The episodes in the plot have a clearly probable or inevitable connection with each other.

This connection is best when it is believable but unexpected. Although the characters are fictional, the heroes and heroines are usually human, and contain the personality and characteristics that the audience both admires and associates with. The lead heroes act as a model symbolizing the fictitious ideals that the society dreams of acquiring. Their actions are closely analyzed and their behavior assessed carefully.

These characters hold the work together. It is because of the fact that the audience can identify with these characters, which attracts the attention and involvement of the audience. Aristotle's Tragedy must have a build up and a release of emotions. This single factor also proves to be a significant element regarding the enjoyment of Tragedies.

History affirms human nature's need and desire for experience. Humans love experience. Experience renders an air of superiority. Perhaps the most desired form of experience is the need to experience our vast array of emotions. And because Tragedies produce a bursting of a number of emotions, humans are attracted to them. Tragedies have been a crucial and symbolic component in shaping the world's literature.

Their involvement of emotions, intricate language and complex plots has verified men's limitlessness of intelligence. Their involvement of human heroes and heroines that make human mistakes interests attracts the attention of the audience. Their extremely emotional conclusion only adds to emphasizing the radical point of view of the author. Aristotle's philosophy on Tragedies is both fascinating and accurate.

His key points: the intricacy of tragedies, and the build up and release of emotions have proven to be and apparently will always be enticing constituents of audiences worldwide. 380.