Examines the dynamic forms of catharsis and tragic flaws in William Shakespeare's plays and how they relate to Aristotle's definition of tragedy.
Written in 2004; 2,409 words; 5 sources; MLA; $ 73.95
Paper Summary:
William Shakespeare's most beloved plays are his tragedies. If one were to list his best and most popular plays, "Othello", "Romeo and Juliet", "Hamlet", "King Lear" ,and so forth, one would find the list comprised almost entirely of tragedies. The paper states, therefore, that it would not be amiss to say that much of the modern literary conception of theatrical tragedy is shaped and influenced by Shakespeare. At the same time, the paper shows that the definitions of the tragic form ,as understood at the roots of theatrical history in Greco-Roman times, continue to be part and parcel of the official comprehension of tragedy. The paper shows that many critics have sought to force Shakespeare into the mold of tragedy as defined in Aristotle's "Poetica", and many others have rightfully protested that he was not cast from that mold, and that, in fact, he owes little to it.
From the Paper:
"On the other hand, there is a startling number of criteria discusses by Aristotle that Yanni never mentions, and which Shakespeare either fulfills or denies to some degree. For example, Aristotle suggests that the proper metre for drama is "The iambic" the proof is that in talking to each other we most often use iambic lines.? (Aristotle) The majority of Shakespeare's tragedies, of course, use iambic lines. Likewise, Aristotle claims that ?Necessarily then every tragedy has six constituent parts, and on these its quality depends. These are plot, character, diction, thought, spectacle, and song.? Shakespeare is well known for his focus on diction, spectacle, and even song. In these categories one could make any number of parallels between Aristotle's dramatic suggestions and the original staged forms of Shakespeare's work."
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