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7/27/2019 Classical Criticism in English Literature

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Classical Criticism

Presentation -Prepared by-

D. Paragkumar Dave-

M.A. ( Eng.)

[email protected]

Blog:- [email protected]
mailto:[email protected]:[email protected]


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:Acknowledgements:

I am heartily thankful to all those who have rendered mehand in creation of the present Slides. And of course, I am,always owed to ICT, which has made it feasible to erect ournew perspective in pedagogy.

This is an example of Renovated Self-Study Tech, withwhich I have empirically optimized ICT. I hope this will bevaluable to all literary students, esp. Open Univ. Students(O.U.S.) who are pursuing their Higher-Degree in an OpenUniv.

Hithereto, we have been taught to learn but now, as you allare aware, the principal aim of our higher (University) Studyis to expand the frontiers of ones own thinking,comprehension power.

I thank all those great authors/professors who have createdimmortal works to enrich the English Literary Criticism.

June, 26, 2011 D.Paragkumar Dave

Place:- Surat-city M.A. English


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What do we mean by Classical Criticism?What do we mean b

y Classical Criticism?

According to the Longmans Contemporary Dict-Classical as being in accordance with ancientGreek or Roman models in literature or art or withlater systems & standard based on them.

The 8th to 4th B.C.- for its brilliance in literature,

philosophy and the visual arts, is normally knownas the classical age. According to my own opinion Classical is the

inner core, unique and pioneer force with blendingof ideas and inspirations, known-unknown, whichwe have inherited through our ancestors.Thereafter modified and peronalised accordance toour milieu and convenience. In this regard the firstinvented computer can be regarded as a Classical

Piece or antique.


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Classics are the work of fiction, likeClassics are the work of fiction, like

Shakespeare, Jane Austen, ThomasShakespeare, Jane Austen, Thomas

Hardy- that are relevant to all ages,Hardy- that are relevant to all ages,through all times and for their universalthrough all times and for their universal

appeal, regularity of form and a sense ofappeal, regularity of form and a sense of

beauty and balancebeauty and balance. Nowadays, we consider old movies songs

as the Classical Golden Melodies- .

Songs by Raffic, Lata, Kishor are classicalsongs.

They are sung and enjoyed for ever- that

is classics.


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What is Classicism? It means those qualities

which are most characteristic of the best

literature of Greece & Rome. It is in partlyidentical with Idealism. It aims to express the

inner truth or central principles of things, without

anxiety for minor details, and it is by nature

largely intellectual in quality, though not by any

means to the exclusion of emotion. In outward

form, therefore, it insists on correct structure,

restraint, careful finish and avoidance of allexcess. Paradise-Lost, Arnolds Sohrab and

Rustam, Addisons essays are modern example

of classicism spirit. (A History of Eng. Lit., Robert Huntington Flethcer)


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What is Romanticism? Romanticism, which in general prevails in

modern literature, lays most emphasis on

independence and fullness of expression andon strong emotion, and it may becomparatively careless of form.

The Classical style has well been called

Sculpturesque, the Romantic Picturesque. The dangers of the Classical are coldness

and formality, of the Romantic overluxuriance, formlessness and excess of

emotion.(A History of Eng. Lit., Robert Huntington Flethcer)


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Long before the term Literary Criticism

came into practice, literary theory existed

as far back as 4 th Cen. B.C. Plato,Aristotle.

Plato & Aristotle from Greece; and Horace

& Longinus from Rome, formed the coreof classical criticism in ancient time.

Greek civilization is older than its Roman

counterpart. Greeks influenced Romans-


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-Classical Works-

Platos Republic

Aristotles Poetics, Rhetoric Horace- Ars Poetica (Art of Poetry)

Longinus- On the Sublime

--Roman dramatist Seneca imitated theGreek Tragedies, and Virgil wasinfluenced by Homer- (from Greece).

Aristotle had influenced in the 16th

& 17th

Cent. Literature. In German, Goethe andSchiller influenced in the 18th Cen.


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Aristotles Works:- On Rhetoric, On Soul,

On Metaphysics, Analytics, Physics, DeAnima, Nichoman Ethics, Poetics,

--------------------------------------------------------

For the ancient, poets were neither made,nor born, but chosen by the gods. Poetry

was not considered to be entirely within

the control of the poet. The Poet was the

Prophetes of the Muse.


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Aristotle and Plato were the great masters of the

classical criticism.

Aristotle regarded Mimesis as a natural healthy

impulse. For him Art initiated Nature. This would

imply that the arts, like Nature work towards

the unfolding of inherent potential. Aristotle didnot consider Mimesis to be mere copying.

Whereas Plato believed poetry to be cut off from

the Universal; it being removed from the truth.

Thucydide a greek Historian said; Poetry is

concerned with universal truths, history traits of

particular facts.


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Aristotle proposed for the tragedy unity ofaction, place and time. He expanded notion of

Katharsis (Catharsis) in it. What is to be aroused is a pity that arises out offear, and that too fear with pity as opposed toself-centered fear.

Pity-Charged Fear- (Harland-p-13) Plato rejected both the poet & poetry, as he felt

their presence and their capability in arousingsuch powerful emotions would render thecitizens of the Greek city states emotional

basket-cases. Aristotle, on the other hand, believed the

evocation pity and fear to be therapeutic to theaudience, to serve as purgation or cleansing

and therefore healthy.


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Classical Criticism Vs Romanticism-

(Objective) (Subjective) Classical Criticism is fairly objective, it is

an attempt at expressing infinite ideas

and feelings in a finite form, whereasromanticism is an attempt to express a

kind of universal poetry in the creation of

which the poet made his own laws.

Romanticism is a response to classicism

in Romanticism, the individual or the

subject is more important.


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Poetry & Philosophy:-

The quarrel between poetry & Philosophywas a continuing one. The philosophers

used language to investigate into the

nature of things, while the poet, the orator

and the rhetorician were aiming at

creating an effect on the audience for

establishing emotional truth. Literary

criticism hovered in between favouring thepoets sometimes and the philosophers at

other.


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What is Myth- The word Myth is derived from

the Greek Word Mythos- which simply means

Story. Myth is the core of all Greek poetry,drama, narrative, prose and lyric. In all culture

Myths are narratives that have been preserved

in racial memories through ritual enactments on

religious days or representations in sculpture,poetry, temple walls, special seals, shields,

vases, holy objects and all other kinds of

artifacts including toys. In poetry, plays, music

they found the most explicit statements.Example:- We have a number of symbols for

our Village, City, State, Nation- Ashok-Stambh,

why? Because there is a myth behind it. Every

belief has some unknown ground of Myth.


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Chapter-1. Plato on Imitation & Art

In this chapter, I would shade light to thefollowing points.

Introduction

Platonic View of Mimesis Theory of forms

The Lower Status of Art

Platos definition of truth

Platonic Idea of Social Well-being

Conlusions


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Introduction:- The easiest thing is to imaginePlato as an enemy of art because he viewed artproducts of all kinds, whether poetry, theatre or

painting as inferior copies of the ultimate reality. Platos concern were not artistic but rather

philosophical. His views on poetry or Poesis(Making) and mimesis (imitation). Both reflect

the urge to know the truth beyond words. In his Republic , he has given us a picture of

what a perfectly governed state should be andhow that state can be created by educating

young men and women. The rulers of Platonic Utopia are not mere

statesmen, they are also sound philosophershaving a deep understanding of the true natureof things.


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Cont.- Plato advocated that there was no room for theteaching of poetry and drama as these were neither

healthy for the creation of a strong moral character needin an administrator nor did they provide knowledge ofthe world.

Most poetry of the contemporary Greek was unsuitableas it showed Gods and Heroes with moral infirmities and

something even savagery. Plato advocated for the need of heroism and

courageous spirited poetry.

For Plato, the very purpose of art, was disruptive to theunswerving concentration of a guardian or a citizen ofhis Utopia.

For Plato, art was an unfaithful representation of reality.The artist was not only imitating imperfect objects of thisworld, s/he was also pretending to know things which

s/he actually had no understanding.


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Platonic view of Mimesis:- Mimesis primarilymeans making. Plato gave a new metaphysical

and epistemological perspective to mimesis,enlarging its meaning from Making by humanhands to making by universal force. Allproduction of arts, in a general way, is mimesis.

In Greek- Mithexis Participation, Homoiosis Likeness, Paraplesia-Likeness-

which all are close to the meaning of mimesis-.

The musician imitates divine harmony, the good

man imitates the virtues, the wise legislatorimitates the Form of God, God imitates theForm in the making of this World.


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Theory Of Forms:- For every kind of

activity there must be an ideal to be

followed, and every ideal or Form must

have its Super-Form. Plato postulated

that there was a primary form, which was

the essential nature of every object oreven thought. Worldly objects are idols or

imitative images (eidola) of the ideal

Forms, and artist, picture or poeticdescriptions are images (eidola) of the

objects of this World. Thus, all art

according to Plato, remains a turning


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The Lower Status of Art:- Phantasma is afalse representation, and poets and painters;

according to Plato, are adepted at doing this.Hence, Plato gave them a lower status.

Socrates says, The sixth (class) shall befittingly given to a poet, or any other imitative

artist. They are all seducers from the truth. To conclude, Plato sees little good in art, and it

is doubtful if he would have liked to praiseCatharsis. He would have no trust on who

listened to music and were purified of theirdiseases, with the emotional relief that audiencefeel after going through an artistic experience.


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Platos definition of Truth:- Plato postulated

that there was no possibility of a category such

as artistic-truth as apart from the Truth.

There could be only one reality, that was

available to the philosopher who saw things

beyond the illusion. Plato had rejected the ideathat poetry could communicate the truth and

also rejected the traditional idea of poetry or art

being a gift (phya) from the Muse. It is all

mimetic task and artist can never break themimetic chain. The poet is making a copy of a

copy art. But for Plato, as inspiration and phya

were suspect, art was more of a deception or at

best an emotionally manipulative make belief


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As dialogue on Art runs in Book X of theRepublic:-

So the artist has neither knowledge nor

correct opinion about the goodness orbadness of the things he represents.Apparently not. So the poet too as artist willbe pretty ignorant about the subjects of hispoetry. Completely ignorant. But he will goon writing poetry, inspite of his ignorance ofall he writes about and will representanything that pleases ignorant multitude.What else can he do? Well, I conclude, we

seem to be pretty well agreed that the artistknows little or nothing about the subjects herepresents and that his art is something thathas no serious value; and that this applies toall tragic poetry, epic or dramatic. Yes,

entirely agreed,. Republic-602 (Lee).


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The form alone is real as it is unchanging.

All changing things can be a basis for

opinions but not knowledge. Virtue is

hence equivalent to knowledge. Lack of

virtue is ignorance, knowledge is

happiness. Artistic creation andenjoyment cause ignorance according to

Plato.

--------------------------------------------------------


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Platonic Idea of Social Well-being :- There is no

place for any artist in the Utopian State that

Plato envisaged in the Republic or later in hisfinal work- the Law. Just as appetite must be

controlled and kept under constant check

through resolve, reason and virtue to prepare

the soul for knowledge, so should the guardians

endowed with superior training and selective

breeding control the general population to keep

a society productive and law abiding. Plato feltthat for young students most epic poetry of

Homer and Hesiod was weak in morals as it

showed Gods and Heroes in a poor light. Plato

shows the way to most purists and moralists. In


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Unknowingly, Plato made ground for hisChristian successors like Augustive and

Justine who forbade theater, masks andacting. Plato accepted the traditionalGreek view that experiencing emotional

employment in art formed the character ofaudience and artist. Plato postulated thatpoetry has the same effect on us when itrepresents sex and anger, and the other

desires and feelings of pleasure and pain.The poet with all his fellow artist hardlydeserves to be a citizen of the perfectstate. Low degree of truth appeals to a

low element


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Conlusions :- It has been speculated that

Plato was well aware of the military

weaknesses of the Athenian State in

comparison with the disciplined army of

Spartans. He, therefore, wanted no stone

unturned in prescribing the strongestideals for Athens. Bad art and poor taste

among the art lovers were perhaps too

noticeable. Therefore, Plato was so anxious to save

society from the ravages of a decadent

politics, found in all art.


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AristotleAristotle :-( 384-322 B.C.) Aristotle was the son of a well:-( 384-322 B.C.) Aristotle was the son of a wellknown medical practitioner, Nicomachus who came fromknown medical practitioner, Nicomachus who came from

the Asklepian trading located in Macedonia. At the age ofthe Asklepian trading located in Macedonia. At the age of

seventeen, Aristotle became a student of Plato. Later inseventeen, Aristotle became a student of Plato. Later in

Athens, he established his school and research, funded byAthens, he established his school and research, funded by

Alexander, on music, botany, Zoology, medicine,Alexander, on music, botany, Zoology, medicine,

Mathematics and Logic. His cosmology, physics,Mathematics and Logic. His cosmology, physics,

astronomy and theology were complied at his academy.astronomy and theology were complied at his academy.The dialogues now lost were modeled on Platos and wereThe dialogues now lost were modeled on Platos and were

called On Rhetoric, On Soul, On Philosophy, Oncalled On Rhetoric, On Soul, On Philosophy, On

Metaphysics etc. His prominent works are Analytics,Metaphysics etc. His prominent works are Analytics,

Physics, De Aniima, Methaphysics, Nichomian Ethics,Physics, De Aniima, Methaphysics, Nichomian Ethics,

Politics, Ryheotoric and Poetics (fragment). He was reallyPolitics, Ryheotoric and Poetics (fragment). He was really


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Here, I would like to lay down the

following relevant points over Aristotle

for discussion.

1. Aristotles theory of Imitation

2. His theory of Tragedy-13. His theory of Tragedy-2

4. Criticism as Dialogue


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1. Aristotles theory of Imitation:- The poetics

opens with the statement that mimesis is a

valuable method for artistic representation. Hethen goes on to define that Rhythm, Language

and Harmony are the basic channels through

which artistic imitation is made possible.

Language, Rhythm and Harmony are

manifested as the six elements of tragedy,

namely 1. Myth or Plot, 2. Ethos or character 3.

Dianoia or Argument 4. Lexis or diction 5.Melopoii or Music and finally 6. Opsis or the

visual Spectacle These 6 elements are found

in all other form such as the comedy & Satyr.


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According to Aristotle all art and other imitation(Sculpture, Paining, poetry etc.) leads to

knowledge. The pleasure that mimesis providesis on account of this knowledge. Mimesis is defined as a pleasurable likeness.

Human beings is the most living creature and helearns his earliest all lessons through imitating

Ah, that is he. Imitation is one instinct of ournature. Artist is not liar but he leads us to Truth.

For Plato, all creation was an imitation of Forms,and for Aristotle, though the form (eidos) of

every object existed but it is nature which itselftends to attain. Art helps Nature in attaining theperfection of Form. Ars imitates Nature and theartist may imitate things as they ought to be. Ithas been argued that the inner principle of

Nature is what art imitates.


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Aristotle was clear that the purpose of

imitation in dram, was to provide proper

pleasure (hedona) by imitating action.Mimesis of men in action was mimesis of

all human life.

Dance, imitates character, emotions andaction.

The Media of Mimesis:-

A. Rhythm B. Language and C. Harmony

The imitation is produced by rhythm,

language and harmony, either singly or


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Theatre is a unifier of the Arts- Rendering

of Lexis through Rhythm and Tone-

Aristotle stated that in drama, Rhythm,language and harmony were all used

together.

According to Aristotle mimesis is basedupon a study of life as we see it and that it

is pleasant and educative. It was credited

a moral function.

Thus Aristotle imparted a metaphysical, moral

and aesthetic worth to mimesis and thus to art

which Plato had denied on all these three

counts.


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Aristotles theory of Tragedy- Here,Aristotle discusses how mimesis works in

Tragedy-(1). Introduction:-

(2). The six elements of Tragedy

1.Myth (Plot),2. Ethos (Character)

3. Dianoia thought-saying

4. Lexis (Lang.)5. Melopoiia or Music

6. Opsis or Visual Content

(3). Catharsis:-


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1.Introduction:- During the ancient time,

plays/dramas were performed in the

religious place on special religious

occasions to communicate with ancestors

and gods. The strong emotions generated

while worshipping the gods, theancestors; and this also provided an

aesthetic of emotional arousal which we

find at its core. This aesthetic value wasformulated as Catharsis (katharsis).


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The Dramatic Theory in Poetics of Aristotle canbe said to consist of four principles of the

ancient classification system. (1). The concept of Mimesis

(2).The treatment of the various genres of

poetry, namely epic, tragedy and comedy.

(3).The division of tragedy into 6 elementsnamely- 1. Plot (Muthos/myth)2.Character(ethos) 3.Language (Lexis)4. Thought (dianoia)

5. Music (Melopoiia) 6. Spectacle (Opsis)

(4) The concept of Catharsis- (Katharsis)

Thus above 1 to 4 principles are discussed in

Poetics of Aristotle.


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Now lets discuss the 6 elements of tragedy in

detail.

1. Myth (Muthos) or Plot:- For the ancientMuthos or myth simply meant the story,

commonly translated into English as Plot.

(Plot implies intricate turn of events, full of

surprise and suspense.) The stories, of only

some famous houses which came from the

collective memory of the culture are recreated

and nurtured here. Aristotle has called myth the soul of tragedy.

It was dramatic action (praxis) and was

imitation (mimesis) of an action made up of

series of dramatic events or series.


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Myth or Plot as an organic whole:- Aristotle

postulated that myth or plot must be in an

organic whole, almost like the body of structureof a living animal. It must have a definite shape

or magnitude. Aristotle defined tragedy as:-

Tragedy is an imitation of an action that iscomplete, and whole, and of certain magnitude.

A whole is that which has a beginning, a middle

and an end. It must be in a certain magnitude

for beauty depends on magnitude and order. Asin the case of animate bodies and organism a

certain magnitude is necessary. So it must be in

a certain length as to embrace easily by

memory.


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Here, Aristotle wanted to convey us that a plot(myth,muthos) of a tragedy must be in a whole withcertain magnitude (length) as to comprehend easily bythe readers/spectators.

For example, our human being bodies are in certainmagnitude as well our bodily parts i.e. nose, ears, legs,hands, head, etc. So as a whole we can have a perfect

human figure as to figure it out that this is a man orwoman or (baby) boy or girl. Hence a spectator caneasily comprehense us visually. So magnitude meansthe outer structure which is supported by the unity ofaction. Aristotle allows the poet to make changed in the

events- as poet can modify history. The wholeness andmagnitude provide a unity of action to the plot.

For Aristotle, there is only one kind of Unity, that ofAction. He does not prescribe unities of time and place.These were attirubuted to him by the Renaissance

critics.


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Two kinds of Myths- Simple and Complex:- Aristotle defines two kinds of plots, the simple

(aploi) and the complex (peplegmenoi). The simple plot or myth is without reversal of

fortune (peripetia) and recognition of a past actor identity of person (anagnorsis) .

The complex plot or myth has both- reversal offortune (peripetia) and recognition of a past actor identity of person (anagnorsis).

Anagnorisis- thats recognition of a past act oridentity of person is defined as a change from

ignorance to knowledge, producing love or hatebetween the persons destined by the poet toface good or bad fortune. In both tragic-comicperipetia and anagnorsis clearly work together.


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Pathos or Suffering:- The third part of a

Myth, that is the scene of suffering is

called pathos. Destructive and painful action, such as

death on the stage, bodily agony,

wounding etc. The best tragedies werethose in which the final destructive was

averted. It fulfills the tragic purpose of

arousing horror and pity.


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2. Ethos or Character:- Broadly

speaking, character in a tragedy had to be

a good man, and those in comedy andsatire, were, mean persons (bad man).

So all characters fall into the category of

either admirable people or ludicrous folks.

The Aristotle prescribed several qualities

of the protagonist of a tragedy. He must

have goodness, moral purpose, propriety

(reflect goodness) ,true to life andconsitency.

Aristotle has given us pattern of what the tragic


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Aristotle has given us pattern of what the tragic

hero should be like. He should be a good man

as ourselves. As he was always supposed to be

a royal house-hold. He should have moralchoices- The protagonist does not take too long

to decide- it may be Hippolytus, Antigone,

Drestes or Hecabe. He should give the reasons

for making the choice, deliberately revealing thethought process behind the choice. The

protagonist was obliged to explain his conduct to

his family, friends and the gods. The greatness

of ethos or character was judged by the couragewith which moral choices were made. A

confused procrastinator like Hamlet unable to

make a timely choice, would have been an anti-

hero to the ancient Greek.

Hamartia or the Tragic Falling: Instead of our right


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Hamartia or the Tragic Falling:- Instead of our rightchoice, we fail some time in our life. To explain the logicof failure, Aristotle has used the term hamartia- whichmeans hitting off the mark. It is an error or flaw (but

Aristotle had not made it clear whether itsintellectual flaw or moral flaw) of judgement madeinadvertently. The value of Hamartia was highly raised inChristian as well as in Modern moralists. Tragedy wherethe downfall of the hero is caused by a cardinal (basic)

sin or a serious lapse. Even by making the right choicethe hero could not avert (prevent) a calamity or suffering,because his suffering was not always caused by hisweakness. According to this theory it was not ambition ofa Macbeth, the jealousy of an Othello, or the arrogance

of a Lear not was it the inner sin that destroyed man, butinstead it was the dilemma imposed upon him by forcesfar beyond his control that caused destruction. Heresuffering comes not from within but from without.


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Aristotle postulated the terms:-

Moira and hubris. Moira literally meaning

portion or the family share, metaphoricallyindicate the misfortune allotted by the

gods.

Hubris means daring A hero madesustain efforts to avert and escape form

the tragic miss-furtune.

Moira and Hubris were concepts used byGreeks to define human behaviour.

3 Dianoia Thought/thinking/dialogue/saying/


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3. Dianoia-Thought/thinking/dialogue/saying/

argument ( Dia- round):-

Third in order is the faculty of saying what is possible

and pertinent in given circumstance.Dianoia and The Protagonist:- The inner questioning

that goes on in the mind of a character and makes him

choose one way or another is called Dianoia. The ability

to choose, the moral fibre or the courage to choose, iscalled ethos, but the ferment of thoughts that leads to

the point of choice is known as Dianoia. Aristotle insists

that dianoia be regarded as an essential element of

tragedy. The power to take a decision of a character is

also called Dianoia. A debate which has a moral or

philosophical perspective in relation to the action of the

protagonist is Dianoia.


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4.Lexis or Diction or Language:- Lexis and Melopoiia

(music) have been given very little notice in Poetics.

Lexis or Lang. in theatre can be divided into two parts:-

A. The spoken word and B. The sung words. The spokenwords in the form of a natural conversational speech was

not much used in ancient theatre. Sound was considered

to generate meaning in two ways i.e., by language and

by Music. Next, as regards Diction, one branch of theinquiry treats modes of utterance. It includes what is a

command, a prayer, a statement, a threat, a question ,an

answer, and so forth.

Kinds of Styles:- Play wrights linguistic style Aristotle

seems to recommend a balance between the clarity

produced by the usage of current words and loftiness

achieved by extraordinary usage. Loftiness was much

admired by Aristotle.


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5.Melopoiia or the Musical Element:-

Application of music in theatre- The great

playwright improved drama by not only providing

fresh scripts of high literary value, they were

composed of music and dance as well. As the

famous saying goes Phrnikos invented as

many dance steps as the waves of the sea. In Indian music we believe in the association of

certain tone colours with seasons or specific

emotional state. The Greek dramatists must

have used the same thing. The value of music was pivotal (crucial)in

tragedy.

(6) Opsis or the Visual Content:


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(6).Opsis- or the Visual Content:- The totality of Opsis:- Opsis has the last but the least place inOpsis has the last but the least place in

Aristotelian scheme. Although Opsis should beAristotelian scheme. Although Opsis should betaken to mean everything visual in theatre suchtaken to mean everything visual in theatre suchas formation of dancers in the chorus theas formation of dancers in the chorus thecostumes, movements, gestures and hand signscostumes, movements, gestures and hand signsof the actors. The totality of opsis was immenseof the actors. The totality of opsis was immense

in Greek Theatre.in Greek Theatre. Visual Parts of Tragedy:- All plays began with aVisual Parts of Tragedy:- All plays began with a

prologue, spoken by a single actor or at times byprologue, spoken by a single actor or at times bytwo. The chorus then entered often from thetwo. The chorus then entered often from the

right side singing and dancing. Then followed aright side singing and dancing. Then followed adramatic episode or an act in which the actordramatic episode or an act in which the actorspoke or sang to each other to which the chorusspoke or sang to each other to which the chorusalso reacted mostly in song.also reacted mostly in song.


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Greek Gesture & Dance:- Gestures forGreek Gesture & Dance:- Gestures for

orators was prescribed by the Greekorators was prescribed by the Greek

rhetoricians for arousing emotions andrhetoricians for arousing emotions andeffective communications Quintilian haseffective communications Quintilian has

given an account of how the head, face,given an account of how the head, face,

arms, body and feet can be made toarms, body and feet can be made toexpress joy, sorrow, humility, abhorrence,express joy, sorrow, humility, abhorrence,

wonder and many other emotions.wonder and many other emotions.

Quaintilian and Plutarch etc. indicate thatQuaintilian and Plutarch etc. indicate that

a definite choreology for the purpose ofa definite choreology for the purpose of

teaching and practicing dance exist inteaching and practicing dance exist in

GreeceGreece.


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Conclusion:-Conclusion:- Aristotle provides a frameAristotle provides a frame

work for us to see the art of tragedy in itswork for us to see the art of tragedy in its

totality and as a theatrical experience.totality and as a theatrical experience.Platos primary concern was to see thePlatos primary concern was to see the

function of tragedy in the Utopian State,function of tragedy in the Utopian State,

Aristotles aim was to analysis tragedy asAristotles aim was to analysis tragedy asit was to be found in Greek Culture.it was to be found in Greek Culture.

Aristotle described the genre of tragedy inAristotle described the genre of tragedy in

six parts as well recorded how thesesix parts as well recorded how these

diverse parts made a whole.diverse parts made a whole.


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Aristotles theory of Tragedy-2Aristotles theory of Tragedy-2

Hedone Proper Pleasure- Catharsis, EmotionalHedone Proper Pleasure- Catharsis, EmotionalArousalArousal

Aristotle has talked about the proper pleasure of tragedyAristotle has talked about the proper pleasure of tragedy(hedone) . Catharsis has been regarded as the sole aim of(hedone) . Catharsis has been regarded as the sole aim oftragedy. Pleasure which is proper only to tragedy and which istragedy. Pleasure which is proper only to tragedy and which isnot be found in comedy or any other form. Aristotle states thatnot be found in comedy or any other form. Aristotle states thattragedy cannot afford every kind of pleasure but only thattragedy cannot afford every kind of pleasure but only thatwhich is proper to it, and this comes about from pity and fearwhich is proper to it, and this comes about from pity and fear

through imitation. Pleasure is said to be derived fromthrough imitation. Pleasure is said to be derived fromcompleteness and wholeness of action in a plot. Pleasure iscompleteness and wholeness of action in a plot. Pleasure issaid to be a result of music and spectacular effects.said to be a result of music and spectacular effects.

Tragedy defined:- Tragedy, then, is an imitation of an actionTragedy defined:- Tragedy, then, is an imitation of an actionthat is serious, complete, and of a certain magnitude, inthat is serious, complete, and of a certain magnitude, in

(pleasurable) language embellished with (accessories) each(pleasurable) language embellished with (accessories) eachkind of artistic ornament, the several kinds being found inkind of artistic ornament, the several kinds being found inseparate parts of the play in the form of action (dramatic), notseparate parts of the play in the form of action (dramatic), notof narrative, through pity and fear effecting the purgation orof narrative, through pity and fear effecting the purgation orKatharsis of these emotions- (Butcher-23)Katharsis of these emotions- (Butcher-23)


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Catharsis- (Katharsis) Purgation:-

Catharsis is not only a fact of psychology or ofpathology, but a principle of art.

Clinical definition:- According to the Hippocratictheory, an imbalance among the elements of air,bile-black bile, yellow bile, melancholy, andphlegm causes each and every disease.

Musical Catharsis:- In the ancient time , there wasa practice of curing madness. The Patients weremade to listen to certain melodies which madethem fall back into their normal state, as if theyhad undergone a medical or purgative (cathartic)treatment. Catharsis yield in net result of a nobleemotional satisfaction which is an essentialfeature of it. It fulfills the aesthetic function.

Inner restoration but not the enjoyment of a


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- Inner restoration, but not the enjoyment of anew aesthetic element, can at best be thepurpose of Catharsis. The factors of enjoymentthats hedone (proper pleasure) which isdifferent.

The restorative function of catharsis may bringrelief such as a sick person feels upon recovery.

The dual concept of purity and impurity which

pervaded the physical, moral, religious andspiritual life of the Greeks was the most deepseated factor governing their dailys activities.

The duality of Pollution (Miasma) and Purgation

(Catharsis) was part of the Indo-European beliefsystem. We have in India rituals were prescribed for

purging of pollution. Thus Tragedy was adepiction of the cycle of Miasma and Catharsis.

Entertainment and ritual were intertwined


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Entertainment and ritual were intertwined

in ancient theatre. Religion, customs and

faiths were revived through the device of

re-telling the myths in the form of dramatic

enactment on festival and special

occasions. In this manner tragedy was a

reliving of the pollution and purity cycle byboth the actors and the spectators. All

underwent into catharsis. Thus catharsis is

the process of proving purity.


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As Else puts it, An unconscious intention to killa person who is a close kind i.e. without beingaware of the kinship as Oedipus did not knowthat he killed his father would therefore be pure,catharos. But purity must be proved to oursatisfaction. Catharsis would then be theprocess of proving that the act was pure in that

sense. It is by the remorse of the doers whichshows that if he had known the facts he wouldnot have done the deed. In Oedipus, the thingwhich establish this to ours satisfaction is

Oedipus self blinding. It, then, effects apurification of the tragic deed and so makesOedipus eligible to our pity-(Else-98).


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In this regard of Elses view it seems

Catharsis is purification of the tragic deed

and not of the emotions of the spectators.This goes against all other instances of

Catharsis as mentioned by Plato and

Aristotle. Aristotle is more concerned with

showing how we can feel pity for the

protagonist and not purifying the sin and

the sinner.


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Arousal Of Emotion:-

Aristotle does not state that the purpose of thedramatists art is to create emotional excitement. He

said; The pleasure proper to tragedy comes from pityand fear through imitation- (Poetics-xiv:3), In the firsteleven chapters of the second book of Rhetoric, it isshown that a orator can arouse anger, affection,friendliness, enmity, hatred, fear, shame, pity,

indignation and many other emotions. The supremeemotion on which tragedy depends most is pity-(eleos).Here Pity means Compassionate grief, sympathy forsorrow thats witnessed. Situation like the loss of a child,a father murder, the abduction of a wife, horror at unjust

sexual compulsions etc. can become tragic or providepleasure proper to tragedy.

The Other Major Tragic emotion is fear


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The Other Major Tragic emotion is fear Phobos- which seems to imply an instinct to runaway. Terror is better translation to it. The

symptoms of fear as described by rhetoriciansand dramatists are of shivering, shuddling,shrieking, hair standing on etc. prostration

Anger and hatred are the desire for revenge

when harms has been done to a dear one. Conclusion:- Aristotelian scheme of artistic

creation the sequence was as follow:- Mimesiswas the prime method that result in a powerful

emotional arousal which provided for theaudience not only a specific sort of pleasure(hedone) but also a relief or Catharsis.

-Bibliography-


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-Bibliography- Primary Texts:- Works of Aristotle, Tran. W.D. Ross. London Oxford UP, 1928 The Republic, Trans. H.D.P. Lee, Penguin-1955,

Works of Aristotle Tran. W.D. Ross. London Oxford UP, 1928 Butcher S.H. Aristotles theory of poetry and Fine Arts. Trans. And

with notes Joun Gasnner , 4 th Ed. USA: Dover Pub. Inc. 1951 Secondary Texts:- Cole, David, Theatrical Event Mythos, A Voca. Middle Town :

Weleyan U,1975.

Beardsley, Monroe C. Aesthetics from Classical Greece to thePresent: A short Histopry. Alabama U of Alabama P -1932

--- Also taken from my random search over Internet search

IGNOUs Study Materials- Prepared by Dr. Bharat Gupt, College ofVocational Studies, Delhi Univ. Delhi


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Audio-Visual Out-Put

I am soon going to publish my Audio and

Video lecture over the present Slide

shows. And I hereby invite all of you, if any

body is interested to help me with thistask.