Criticism and Theory

Criticism and TheoryPart ABefore Twentieth Century Western theatre originated in Athens and its drama has had a significant and sustained impact on Western culture as a whole.

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City-State of Athens 550-220 B. C.Athens, which became a significant cultural, political and military power during this period, institutionalized theatre as part of a festival called the Dionysia, which honoured the god Dionysus.Tragedy (late 6th cen BC), Comedy, and the satyr play were the three dramatic genres which emerged in Athens and was exported to its numerous colonies and allies in order to promote a common cultural identity.Panoramic view of the Hellenic theatre at Epidaurus.

Aeschylus (c. 524/525 BC c. 455/456 BC)

Sophocles (c.497-406 B.C.)

Euripides(c.480-406 B.C.)

AristophanesAristotle (384-322 B.C.) PoeticsAristotle the biologistDiscusses poetryAll Art is MimesisHow is poetry different from other genres which imitate? Based on MediaObject, and ModeMedium of ImitationThose which do not use speechHarmony and rhythm- instrumental musicRhythm alone -danceThose which do use speechProse mimes and Socratic dialogues

Object of Imitationmimesis of people doing thingsBetter than are found in the world, eg. Painting - Polygnotus , Literature Homer, Tragedy in generalWorse than they are found in the world eg. Painting Pauson, Literature Hegemon of Thasos (inventor of parodies), (Nicochares (author of Deiliad), Comedy in generalAs they are eg. Painting Dionysius, Literature - Cleophon

Mode of ImitationSometimes in narration and sometimes becoming someone elseSpeaking in ones own person without changeActually doing things (dramatically)Thus Species of poetry differentiated from other arts which rely on imitationThrough-MediaObject, andMode Further divisions within the speciesRepresentations based on object eg. People as good- Homer and Sophocles can be said to belong to same class, since both represent people as goodRepresentations based on mode Sophocles and Aristophanes, since both represent people doing things

Origins of Poetry1. Two natural causes:Mimesis Human beings have an innate love to imitateAnd to delight in works of imitationWe also enjoy understanding new things2. Harmony & rhythm are natural to usDevelopment of Pre-dramatic PoetryMore serious poets represented noble actions of noble men (praises of gods & men, eg. Illiad & Odyssey in heroic metre)Less serious poets represented actions low-class people (invectives eg. Homers Margites in iambic verse [iambizein meaning, to lampoon])Development of TragedyComedy from phallic songsTragedy from dithyramb (a wild choral hymn of ancient Greece, esp. one dedicated to Dionysius)Evolution of TragedyPlaywrights1. Aeschylus raised actors from one to two Gave importance to speechMade choral part less important

2. Sophocles added a third actorIntroduced screen paintingEvolution of TragedyII. AmplitudeAs tragedy developed from satyr-style, its plots were at first slight and expression comical.Took a long time to acquire dignity.Evolution of TragedyIII. MetreTrochaic tetrameterchanged to trimeter (esp. in dancing sessions)In speech iambic came to be usedEvolution of TragedyIV. Number of episodes as plays evolved episodes increased in numberDev. Of ComedyMimesis of people worse than normalwhat we find funny is a blunder that does no serious damageComedy was not taken seriously, so clear history obscureChorus for comedy not officially provided by the Archon for a long time. So, volunteers acted as chorus in comediesDev. Of ComedyMaking of comic plots must have acc. to Aristotle first come from SicilyIst Athenian to drop the lampoon form & construct generalized stories or plots - CratesEpic vs. Tragedy(both being mimesis in verse of noble persons)TragedyEpicActionMetre, harmony, rhythmFixed in time as far as possible attempting to keep to the limit of one revolution of the sunNarrationMetre alone, without musicUnfixed in timeChapter IINature of TragedyDefinition:imitation of a serious, complete action, in speech pleasurably enhanced, the different kinds of enhancement occurring in separate sections, in dramatic, not narrative form, through pity and fear effecting the purgation of these emotions.Analysis:Def. of Tragedy: Questions & Answers-What is tragedy? What does it represent?What is the manner in which it is communicated?What form does it employ?What function does it fulfill?Qualitative elements of TragedyThere are six elements of mimesis in a tragedy:

Objects of mimesis-Plot (muthos) most impCharacter (ethos) that which makes plain the nature of moral choices of personsThought (dianoia) passages in which they prove or disprove somethingMedia of mimesis-Song (melos)Diction (lexis)Means (mode) of mimesis-Spectacle (opsis) least imp

Plot(Most important acc. To Aris.)

End of human life is in doing, not just in beingThere could be no tragedy without actionIf speeches depicting character are put one after another it wont be tragedy, but tragedy with plot, even tho deficient in other aspects, would be a tragedyPeripeteiai and anagnorisis are parts of plotNovices find it most difficult to construct plot

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Characteristics of Plot-

Plot = mimesis of a whole action; so it has to have these implications of wholeness Order (beg, mid & end)Amplitude (not too big or small)Unity Probable and necessary connection (that is why poetry is at once more like philosophy & more worthwhile than history Worst plots are episodic plots- no connectionsurprise

1/2/1131Elements of PlotsPeripeteia (Reversal of action)Anagnorisis (Recognition)Pathos an act involving destruction or painTypes of plotSimple (without peripeteia and anagnorisis)

2. Complex (with peripeteia and anagnorisis)

Quantitative Divisions of TragedyPrologue complete section of a tragedy before the entrance of the chorusParode (choral part)Episode (complete section of a tragedy not followed by a choral odeKommos (lament shared by the chorus and the actors)Stasimon (choral part)ExodeChapter III Excellence in tragedy PlotWhat should be the aim in composing plots ?

What should be avoided in composing plots ?

What gives tragic effect?Chapter III Excellence in tragedy : (1) PlotWhat should be the aim in composing plots ?Arouse pity & fearSo Tragedy should not showVirtuous men passing from good to bad fortune

Bad men passing from bad to good fortune Quite wicked men passing from good to bad fortune This does not arouse pity or fear , but only a sense of outrageThis is less tragic than anythng, since it has none of the necessary requirements: it neither satisfies our human feeling nor arouses pity or fearthis would satisfy our human feeling, but would not arouse pity & fearExcellence in tragedy :Tragic heroOne who is not pre-eminent in moral virtue, who passes to bad fortune not thru vice or wickedness, but bec. of some piece of ignorance, & who is of high repute & great good fortune.Eg. Oedipus and Thyestes & the splendid men of such families2/2/1137Excellence in tragedy : Good PlotSingle line of dev., not a double oneIt should go from good fortune to bad and not vice versaThis change should be bec of ignorance, not viceBy a better, not worse manBest TragedyFrom good to bad

In comedyBitter enemies are reconciled & nobody is killed

Excellence in tragedy : Source of Tragic EffectNot from spectacle, but from plot

What effects pity & fear?Done by people closely connected with each other

Tragic ActionBest: A character abt to do a gruesome deed recognizes reality and desist from committing the deed Contradiction to Aris theory of tragedy as that which ends in sadnessSecond best: character does it in ignorance, & recognizes his victim afterwardsDoing itWorst: have knowledge & intention, yet do not do Excellence in tragedy: (2) Character (GARLIC)Good (Morally)(a woman is good and so is a slave, though one is perhaps inferior, & the other generally speaking low grade!!!)Appropriate(it is not suitable for a woman to be brave or clever in this way!!!)Real, that is, life-likeLogically constructedIdealizedConsistent

Deus ex machinaDenouement should arouse not from deus ex machina, but from the characterdeus ex machina should be used for things outside the play eg. oedipus

Digression on Various Topics of Interest to the Practising PlaywrightRecognitionLeast artistic recognition by visible signs, birthmarks etc.Next worse poet himself revealsBy means of memory Better recognition based on reasoningBest arising from actions 2. nokketha doorathu3. Sakuntala3/2/1144Digression on Various Topics of Interest to the Practising PlaywrightII. Poetic imaginationThe poet should, more than anything else, put things before his eyes.so far as possible one should also work it out with the appropriate gestures.Digression on Various Topics of Interest to the Practising PlaywrightIII. Complication & Denouement (desis & lusis)

Complication the section from the beginning to the last point before [the hero] begins to change to good or bad fortune

Denouement the part from the beginning of the change to the endDigression on Various Topics of Interest to the Practising PlaywrightIV. Species of Tragedy

Complicated tragedy depends entierely on peripeteia & anagnorisisTragedy of pathosTragedy of characterTragedy of spectacleDigression on Various Topics of Interest to the Practising PlaywrightV. Do not take a large chunk of epic matter for a tragedy

VI. Surprise satisfies our human feeling & so is tragic

VII. Chorus should be regarded as an actorExcellence in tragedy: (3) mimesis of intellectWill deal with it in Rhetoric (thank God!)3 functions of thought:To prove or disprove somethingTo arouse emotionsTo maximise or minimise the imp. of somethingExcellence in tragedy (4) verbal expression (diction)Grammatical terms Ways of classifying nounsPoetic style

Epic vs tragedyEpic:LengthMeterMore chance for improbable Answers criticism against HomerEpic & tragedy

Tragedy better, bec-Tragedy has all elements of epic + spectacle & songReality of presentation felt even while readingTragic imitation requires less spaceUnity of actionQuestons: Plato vs AristotlePlato

InstructionImitationEmotionBad effect on actorsAristotle

PleasurecatharsisShort notes PlotAriss def of tragedyHamartiaMimesisCatharsisTragic heroRelevance of Aristotle4/2/1154