Aristotle's Poetics - Revision history

Glucas at 15:08, 5 May 2005

2005-05-05T15:08:43Z

← Older revision		Revision as of 11:08, 5 May 2005
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	~~<em>~~Aristotle's ~~</em><em>~~Poetics~~</em>~~ is his description of what a tragic play consists of and how a poet should go about constructing a great play. Many times, he refers to <em>[[Oedipus]]</em> in relating examples of a great play and form of tragedy. In attept to understand Aristotle's <em>Poetics</em> here is a break down in laymen's terms.		[[Aristotle]]'s ''Poetics'' is his description of what a tragic play consists of and how a poet should go about constructing a great play. Many times, he refers to <em>[[Oedipus]]</em> in relating examples of a great play and form of tragedy. In attept to understand Aristotle's <em>Poetics</em> here is a break down in laymen's terms.

	Aristotle thought that "all men wished to know," and that the human spirit lives most fully in truth (Fergusson 10). This is exacatly what king Oedipus also was looking for - truth. In this tragic tale the characteristics of a great play unfolds.		Aristotle thought that "all men wished to know," and that the human spirit lives most fully in truth (Fergusson 10). This is exacatly what king Oedipus also was looking for - truth. In this tragic tale the characteristics of a great play unfolds.

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	Precariously enough the play that ends in an unhappy tone is just what Aristotle thought was a great tragedy. Therefore, if our own psych suffers in a way that cannot be controlled or understood and our spirit, <em>[[energia]]</em> is left unsettled then we could have experienced a tale of tragedy, leaving us shocked, thrilled, and in awe of what just took place.		Precariously enough the play that ends in an unhappy tone is just what Aristotle thought was a great tragedy. Therefore, if our own psych suffers in a way that cannot be controlled or understood and our spirit, <em>[[energia]]</em> is left unsettled then we could have experienced a tale of tragedy, leaving us shocked, thrilled, and in awe of what just took place.

			== Works Cited ==
			* Fergusson, Francis., <em>Aristotle's Poetics. </em>New York: Hill, 1961.
	Works Cited		* Fergusson, John., <em>A Companion to Greek tragedy</em>. Texas: University of Texas Press, 1972.


	Fergusson, Francis., <em>Aristotle's Poetics. </em>New York: Hill, 1961.


	Fergusson, John., <em>A~~</em> <em>~~Companion~~</em> <em>~~to~~</em> <em>~~Greek ~~</em> <em>~~tragedy</em>.Texas: University of Texas Press, 1972.

Tjackson at 14:32, 20 April 2005

2005-04-20T14:32:46Z

← Older revision		Revision as of 10:32, 20 April 2005
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	<em>Aristotle's </em><em>Poetics</em> is his description of what a tragic play consists of and how a poet should go about constructing a great play. Many times, he refers to <em>[[Oedipus]]</em> in relating examples of a great play and form of tragedy. In attept to understand Aristotle's <em>Poetics</em> here is a break down in laymen's terms.		<em>Aristotle's </em><em>Poetics</em> is his description of what a tragic play consists of and how a poet should go about constructing a great play. Many times, he refers to <em>[[Oedipus]]</em> in relating examples of a great play and form of tragedy. In attept to understand Aristotle's <em>Poetics</em> here is a break down in laymen's terms.
	Aristotle thought that "all men wished to know," and that the human spirit lives most fully in truth (Fergusson 10). This ~~brings me to~~ what king Oedipus also was looking for - truth. In this tragic tale the characteristics of a great play unfolds.		Aristotle thought that "all men wished to know," and that the human spirit lives most fully in truth (Fergusson 10). This is exacatly what king Oedipus also was looking for - truth. In this tragic tale the characteristics of a great play unfolds.

	The definition of ~~''[[~~tragedy~~]]''~~ is an imitation of action as a whole and is complete with some magnitude. However, the action Aristotle is referring to is not your regular action movie with blood and gore but three different modes of action: the <em>[[praxis]]</em>, the <em>[[poiesis]]</em>, and the <em>[[theoria]]</em>, which are Greek for doing, making, and contemplating within real-life instances/situations (Fergusson 10).		The definition of tragedy is an imitation of action as a whole and is complete with some magnitude. However, the action Aristotle is referring to is not your regular action movie with blood and gore but three different modes of action: the <em>[[praxis]]</em>, the <em>[[poiesis]]</em>, and the <em>[[theoria]]</em>, which are Greek for doing, making, and contemplating within real-life instances/situations (Fergusson 10).

	Several other characteristics of a great play are the importation of reversal and recognition, which goes hand in hand making a tragedy more complete. First the reversal, <em>[[peripetia]]</em>, is the change to the opposite whether it is a person, or circumstances where a character conforms or adapts out of necessity or probable cause (Fergusson 16). The second, recognition, takes place when there is a change frome ignorance to knowledge that leads to a possible opposite outcome (Fergusson 72 ). The use of both of these characteristics stated by Aristotle was that "the best is that which arises from the incident themselves, where the startling discovery is made by natural means" (Fergusson 17 ).		Several other characteristics of a great play are the importation of reversal and recognition, which goes hand in hand making a tragedy more complete. First the reversal, <em>[[peripetia]]</em>, is the change to the opposite whether it is a person, or circumstances where a character conforms or adapts out of necessity or probable cause (Fergusson 16). The second, recognition, takes place when there is a change frome ignorance to knowledge that leads to a possible opposite outcome (Fergusson 72 ). The use of both of these characteristics stated by Aristotle was that "the best is that which arises from the incident themselves, where the startling discovery is made by natural means" (Fergusson 17 ).

	The tragic hero, again take King Oedipus as example, he is a person in between the extremes and allowed the, <em>[[hamaritia]]</em>, error in judgment, in his case the over bearing suspicion and a constant will to action interfere with his better judgment and still highly prosperous and well thought of. On the other hand his intelligence, adaptability, and self confidence set him between the extremes, and reversed good to bad. Seneca stated that Oedipus was left as <em>notus </em><em>nimis</em><em>omnibus</em><em>,ignous</em><em>sibi</em>, "too well known to the world, unknown to self "(Fergusson J. 196).		The tragic hero, again take King Oedipus as example, he is a person in between the extremes and allowed the, <em>[[hamaritia]]</em>, error in judgment, in his case the over bearing suspicion and a constant will to action interfere with his better judgment and yet still highly prosperous and well thought of. On the other hand his intelligence, adaptability, and self confidence set him between the extremes, and reversed good to bad. Seneca stated that Oedipus was left as <em>notus </em><em>nimis</em><em>omnibus</em><em>,ignous</em><em>sibi</em>, "too well known to the world, unknown to self "(Fergusson J. 196).

	Precariously enough the play that ends in an unhappy tone is just what Aristotle thought was a great tragedy. Therefore, if our own psych suffers in a way that cannot be controlled or understood and our spirit, <em>[[energia]]</em> is left unsettled then we could have experienced a tale of tragedy, leaving us shocked, thrilled, and in awe of what just took place.		Precariously enough the play that ends in an unhappy tone is just what Aristotle thought was a great tragedy. Therefore, if our own psych suffers in a way that cannot be controlled or understood and our spirit, <em>[[energia]]</em> is left unsettled then we could have experienced a tale of tragedy, leaving us shocked, thrilled, and in awe of what just took place.

Tjackson at 18:35, 15 April 2005

2005-04-15T18:35:04Z

← Older revision		Revision as of 14:35, 15 April 2005
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	<em>Aristotle's </em><em>Poetics</em>~~, from his point of view,~~ is his description of what a tragic play consists of and how a poet should go about constructing a great play. Many times, he refers to <em>[[Oedipus]]</em> in relating examples to a great play and form of tragedy. In attept to understand Aristotle's <em>Poetics</em> ~~I have tried to~~ break it down in laymen's terms.		<em>Aristotle's </em><em>Poetics</em> is his description of what a tragic play consists of and how a poet should go about constructing a great play. Many times, he refers to <em>[[Oedipus]]</em> in relating examples of a great play and form of tragedy. In attept to understand Aristotle's <em>Poetics</em> here is a break down in laymen's terms.
	Aristotle thought that "all men wished to know," and that the human spirit lives most fully in truth (Fergusson 10). This brings me to what king Oedipus also was looking for - truth. In this tragic tale the characteristics of a great play unfolds.		Aristotle thought that "all men wished to know," and that the human spirit lives most fully in truth (Fergusson 10). This brings me to what king Oedipus also was looking for - truth. In this tragic tale the characteristics of a great play unfolds.

Tjackson at 00:37, 30 March 2005

2005-03-30T00:37:44Z

← Older revision		Revision as of 20:37, 29 March 2005
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	<em>Aristotle's </em><em>Poetics</em>, from his point of view, is his description of what a tragic play consists of and how a poet should go about constructing a great play. Many times, he refers to <em>[[~~Oedipius~~]]</em>in relating examples to a great play and form of tragedy. In attept to understand Aristotle's <em>Poetics</em> I have tried to break it down in laymen's terms.		<em>Aristotle's </em><em>Poetics</em>, from his point of view, is his description of what a tragic play consists of and how a poet should go about constructing a great play. Many times, he refers to <em>[[Oedipus]]</em> in relating examples to a great play and form of tragedy. In attept to understand Aristotle's <em>Poetics</em> I have tried to break it down in laymen's terms.
	Aristotle thought that "all men wished to know," and that the human spirit lives most fully in truth (Fergusson 10). This brings me to what king Oedipus also was looking for - truth. In this tragic tale the characteristics of a great play unfolds.		Aristotle thought that "all men wished to know," and that the human spirit lives most fully in truth (Fergusson 10). This brings me to what king Oedipus also was looking for - truth. In this tragic tale the characteristics of a great play unfolds.

	The definition of tragedy is an imitation of action as a whole and is complete with some magnitude. However, the action Aristotle is referring to is not your regular action movie with blood and gore but three different modes of action: the <em>[[praxis]]</em>, the <em>[[poiesis]]</em>, and the <em>[[theoria]]</em>, which are Greek for doing, making, and contemplating within real-life instances/situations (Fergusson 10).		The definition of ''[[tragedy]]'' is an imitation of action as a whole and is complete with some magnitude. However, the action Aristotle is referring to is not your regular action movie with blood and gore but three different modes of action: the <em>[[praxis]]</em>, the <em>[[poiesis]]</em>, and the <em>[[theoria]]</em>, which are Greek for doing, making, and contemplating within real-life instances/situations (Fergusson 10).

	Several other characteristics of a great play are the importation of reversal and recognition, which goes hand in hand making a tragedy more complete. First the reversal, <em>[[peripetia]]</em>, is the change to the opposite whether it is a person, or circumstances where a character conforms or adapts out of necessity or probable cause (Fergusson 16). The second, recognition, takes place when there is a change frome ignorance to knowledge that leads to a possible opposite outcome (Fergusson 72 ). The use of both of these characteristics stated by Aristotle was that "the best is that which arises from the incident themselves, where the startling discovery is made by natural means" (Fergusson 17 ).		Several other characteristics of a great play are the importation of reversal and recognition, which goes hand in hand making a tragedy more complete. First the reversal, <em>[[peripetia]]</em>, is the change to the opposite whether it is a person, or circumstances where a character conforms or adapts out of necessity or probable cause (Fergusson 16). The second, recognition, takes place when there is a change frome ignorance to knowledge that leads to a possible opposite outcome (Fergusson 72 ). The use of both of these characteristics stated by Aristotle was that "the best is that which arises from the incident themselves, where the startling discovery is made by natural means" (Fergusson 17 ).

	The ~~[[''~~tragic hero~~'']]~~, again take King Oedipus as example, he is a person in between the extremes and allowed the, <em>hamaritia</em>, error in judgment, in his case the over bearing suspicion and a constant will to action interfere with his better judgment and still highly prosperous and well thought of. On the other hand his intelligence, adaptability, and self confidence set him between the extremes, and reversed good to bad. Seneca stated that Oedipus was left as <em>notus </em><em>nimis</em><em>omnibus</em><em>,ignous</em><em>sibi</em>, "too well known to the world, unknown to self "(Fergusson J. 196).		The tragic hero, again take King Oedipus as example, he is a person in between the extremes and allowed the, <em>[[hamaritia]]</em>, error in judgment, in his case the over bearing suspicion and a constant will to action interfere with his better judgment and still highly prosperous and well thought of. On the other hand his intelligence, adaptability, and self confidence set him between the extremes, and reversed good to bad. Seneca stated that Oedipus was left as <em>notus </em><em>nimis</em><em>omnibus</em><em>,ignous</em><em>sibi</em>, "too well known to the world, unknown to self "(Fergusson J. 196).
	Precariously enough the play that ends in an unhappy tone is just what Aristotle thought was a great tragedy. Therefore, if our own psych suffers in a way that cannot be controlled or understood and our spirit,<em>[[energia]]</em>is left unsettled then we could have experienced a tale of tragedy, leaving us shocked, thrilled, and in awe of what just took place.
			Precariously enough the play that ends in an unhappy tone is just what Aristotle thought was a great tragedy. Therefore, if our own psych suffers in a way that cannot be controlled or understood and our spirit, <em>[[energia]]</em> is left unsettled then we could have experienced a tale of tragedy, leaving us shocked, thrilled, and in awe of what just took place.



	~~____________________________________________________________~~
	Works Cited		Works Cited
	Fergusson, Francis., <em>Aristotle's Poetics. </em>New York: Hill, 1961.
	Fergusson, John., <em>A</em><em>Companion</em><em>to</em><em>Greek </em><em>tragedy</em>.Texas: University of Texas Press, 1972.
			Fergusson, Francis., <em>Aristotle's Poetics. </em>New York: Hill, 1961.


			Fergusson, John., <em>A</em> <em>Companion</em> <em>to</em> <em>Greek </em> <em>tragedy</em>.Texas: University of Texas Press, 1972.

Tjackson at 00:26, 30 March 2005

2005-03-30T00:26:58Z

← Older revision		Revision as of 20:26, 29 March 2005
Line 1:		Line 1:
	<em>Aristotle's </em><em>Poetics</em>, from his point of view, is his description of what a tragic play consists of and how a poet should go about constructing a great play. Many times, he refers to <em>Oedipius</em>in relating examples to a great play and form of tragedy. In attept to understand Aristotle's <em>Poetics</em> I have tried to break it down in laymen's terms.		<em>Aristotle's </em><em>Poetics</em>, from his point of view, is his description of what a tragic play consists of and how a poet should go about constructing a great play. Many times, he refers to <em>[[Oedipius]]</em>in relating examples to a great play and form of tragedy. In attept to understand Aristotle's <em>Poetics</em> I have tried to break it down in laymen's terms.
	Aristotle thought that "all men wished to know," and that the human spirit lives most fully in truth (Fergusson 10). This brings me to what king Oedipus also was looking for - truth. In this tragic tale the characteristics of a great play unfolds.		Aristotle thought that "all men wished to know," and that the human spirit lives most fully in truth (Fergusson 10). This brings me to what king Oedipus also was looking for - truth. In this tragic tale the characteristics of a great play unfolds.

	The definition of tragedy is an imitation of action as a whole and is complete with some magnitude. However, the action Aristotle is referring to is not your regular action movie with blood and gore but three different modes of action: the <em>praxis</em>, the <em>poiesis</em>, and the <em>theoria</em>, which are Greek for doing, making, and contemplating within real-life instances/situations (Fergusson 10).		The definition of tragedy is an imitation of action as a whole and is complete with some magnitude. However, the action Aristotle is referring to is not your regular action movie with blood and gore but three different modes of action: the <em>[[praxis]]</em>, the <em>[[poiesis]]</em>, and the <em>[[theoria]]</em>, which are Greek for doing, making, and contemplating within real-life instances/situations (Fergusson 10).

	Several other characteristics of a great play are the importation of reversal and recognition, which goes hand in hand making a tragedy more complete. First the reversal, <em>peripetia</em>, is the change to the opposite whether it is a person, or circumstances where a character conforms or adapts out of necessity or probable cause (Fergusson 16). The second, recognition, takes place when there is a change frome ignorance to knowledge that leads to a possible opposite outcome (Fergusson 72 ). The use of both of these characteristics stated by Aristotle was that "the best is that which arises from the incident themselves, where the startling discovery is made by natural means" (Fergusson 17 ).		Several other characteristics of a great play are the importation of reversal and recognition, which goes hand in hand making a tragedy more complete. First the reversal, <em>[[peripetia]]</em>, is the change to the opposite whether it is a person, or circumstances where a character conforms or adapts out of necessity or probable cause (Fergusson 16). The second, recognition, takes place when there is a change frome ignorance to knowledge that leads to a possible opposite outcome (Fergusson 72 ). The use of both of these characteristics stated by Aristotle was that "the best is that which arises from the incident themselves, where the startling discovery is made by natural means" (Fergusson 17 ).

	The tragic hero, again take King Oedipus as example, he is a person in between the extremes and allowed the, <em>hamaritia</em>, error in judgment, in his case the over bearing suspicion and a constant will to action interfere with his better judgment and still highly prosperous and well thought of. On the other hand his intelligence, adaptability, and self confidence set him between the extremes, and reversed good to bad. Seneca stated that Oedipus was left as <em>notus </em><em>nimis</em><em>omnibus</em><em>,ignous</em><em>sibi</em>, "too well known to the world, unknown to self "(Fergusson J. 196).		The [[''tragic hero'']], again take King Oedipus as example, he is a person in between the extremes and allowed the, <em>hamaritia</em>, error in judgment, in his case the over bearing suspicion and a constant will to action interfere with his better judgment and still highly prosperous and well thought of. On the other hand his intelligence, adaptability, and self confidence set him between the extremes, and reversed good to bad. Seneca stated that Oedipus was left as <em>notus </em><em>nimis</em><em>omnibus</em><em>,ignous</em><em>sibi</em>, "too well known to the world, unknown to self "(Fergusson J. 196).
	Precariously enough the play that ends in an unhappy tone is just what Aristotle thought was a great tragedy. Therefore, if our own psych suffers in a way that cannot be controlled or understood and our spirit,<em>energia</em>is left unsettled then we could have experienced a tale of tragedy, leaving us shocked, thrilled, and in awe of what just took place.		Precariously enough the play that ends in an unhappy tone is just what Aristotle thought was a great tragedy. Therefore, if our own psych suffers in a way that cannot be controlled or understood and our spirit,<em>[[energia]]</em>is left unsettled then we could have experienced a tale of tragedy, leaving us shocked, thrilled, and in awe of what just took place.

Tjackson at 15:11, 28 March 2005

2005-03-28T15:11:09Z

← Older revision		Revision as of 11:11, 28 March 2005
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	<em>Aristotle's </em><em>Poetics</em>, from his point of view, is his description of what a tragic play consists of and how a poet should go about constructing a great play. Many times, he refers to <em>Oedipius</em>in relating examples to a great play and form of tragedy. In attept to understand Aristotle's <em>Poetics</em> I have tried to break it down in laymen's terms.		<em>Aristotle's </em><em>Poetics</em>, from his point of view, is his description of what a tragic play consists of and how a poet should go about constructing a great play. Many times, he refers to <em>Oedipius</em>in relating examples to a great play and form of tragedy. In attept to understand Aristotle's <em>Poetics</em> I have tried to break it down in laymen's terms.
	Aristotle thought that "all men wished to know," and that the human spirit lives most fully in truth (Fergusson 10). This brings me to what king Oedipus also was looking for - truth. In this tragic tale the characteristics of a great play unfolds. ~~<!--more-->~~		Aristotle thought that "all men wished to know," and that the human spirit lives most fully in truth (Fergusson 10). This brings me to what king Oedipus also was looking for - truth. In this tragic tale the characteristics of a great play unfolds.

	The definition of tragedy is an imitation of action as a whole and is complete with some magnitude. However, the action Aristotle is referring to is not your regular action movie with blood and gore but three different modes of action: the <em>praxis</em>, the <em>poiesis</em>, and the <em>theoria</em>, which are Greek for doing, making, and contemplating within real-life instances/situations (Fergusson 10).		The definition of tragedy is an imitation of action as a whole and is complete with some magnitude. However, the action Aristotle is referring to is not your regular action movie with blood and gore but three different modes of action: the <em>praxis</em>, the <em>poiesis</em>, and the <em>theoria</em>, which are Greek for doing, making, and contemplating within real-life instances/situations (Fergusson 10).
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	The tragic hero, again take King Oedipus as example, he is a person in between the extremes and allowed the, <em>hamaritia</em>, error in judgment, in his case the over bearing suspicion and a constant will to action interfere with his better judgment and still highly prosperous and well thought of. On the other hand his intelligence, adaptability, and self confidence set him between the extremes, and reversed good to bad. Seneca stated that Oedipus was left as <em>notus </em><em>nimis</em><em>omnibus</em><em>,ignous</em><em>sibi</em>, "too well known to the world, unknown to self "(Fergusson J. 196).		The tragic hero, again take King Oedipus as example, he is a person in between the extremes and allowed the, <em>hamaritia</em>, error in judgment, in his case the over bearing suspicion and a constant will to action interfere with his better judgment and still highly prosperous and well thought of. On the other hand his intelligence, adaptability, and self confidence set him between the extremes, and reversed good to bad. Seneca stated that Oedipus was left as <em>notus </em><em>nimis</em><em>omnibus</em><em>,ignous</em><em>sibi</em>, "too well known to the world, unknown to self "(Fergusson J. 196).
	Precariously enough the play that ends in an unhappy tone is just what Aristotle thought was a great tragedy. Therefore, if our own psych suffers in a way that cannot be controlled or understood and our spirit,<em>energia</em>is left unsettled then we could have experienced a tale of tragedy, leaving us shocked, thrilled, and in awe of what just took place.		Precariously enough the play that ends in an unhappy tone is just what Aristotle thought was a great tragedy. Therefore, if our own psych suffers in a way that cannot be controlled or understood and our spirit,<em>energia</em>is left unsettled then we could have experienced a tale of tragedy, leaving us shocked, thrilled, and in awe of what just took place.


	____________________________________________________________		____________________________________________________________
	Works Cited		Works Cited
	Fergusson, Francis., <em>Aristotle's Poetics. </em>New York: Hill, 1961.		Fergusson, Francis., <em>Aristotle's Poetics. </em>New York: Hill, 1961.
	Fergusson, John., <em>A</em><em>Companion</em><em>to</em><em>Greek </em><em>tragedy</em>.Texas: University of Texas Press, 1972.		Fergusson, John., <em>A</em><em>Companion</em><em>to</em><em>Greek </em><em>tragedy</em>.Texas: University of Texas Press, 1972.

Tjackson at 15:10, 28 March 2005

2005-03-28T15:10:24Z

New page

Aristotle's Poetics, from his point of view, is his description of what a tragic play consists of and how a poet should go about constructing a great play. Many times, he refers to Oedipiusin relating examples to a great play and form of tragedy. In attept to understand Aristotle's Poetics I have tried to break it down in laymen's terms.
Aristotle thought that "all men wished to know," and that the human spirit lives most fully in truth (Fergusson 10). This brings me to what king Oedipus also was looking for - truth. In this tragic tale the characteristics of a great play unfolds. 

The definition of tragedy is an imitation of action as a whole and is complete with some magnitude. However, the action Aristotle is referring to is not your regular action movie with blood and gore but three different modes of action: the praxis, the poiesis, and the theoria, which are Greek for doing, making, and contemplating within real-life instances/situations (Fergusson 10).

Several other characteristics of a great play are the importation of reversal and recognition, which goes hand in hand making a tragedy more complete. First the reversal, peripetia, is the change to the opposite whether it is a person, or circumstances where a character conforms or adapts out of necessity or probable cause (Fergusson 16). The second, recognition, takes place when there is a change frome ignorance to knowledge that leads to a possible opposite outcome (Fergusson 72 ). The use of both of these characteristics stated by Aristotle was that "the best is that which arises from the incident themselves, where the startling discovery is made by natural means" (Fergusson 17 ).

The tragic hero, again take King Oedipus as example, he is a person in between the extremes and allowed the, hamaritia, error in judgment, in his case the over bearing suspicion and a constant will to action interfere with his better judgment and still highly prosperous and well thought of. On the other hand his intelligence, adaptability, and self confidence set him between the extremes, and reversed good to bad. Seneca stated that Oedipus was left as notus nimisomnibus,ignoussibi, "too well known to the world, unknown to self "(Fergusson J. 196).
Precariously enough the play that ends in an unhappy tone is just what Aristotle thought was a great tragedy. Therefore, if our own psych suffers in a way that cannot be controlled or understood and our spirit,energiais left unsettled then we could have experienced a tale of tragedy, leaving us shocked, thrilled, and in awe of what just took place.
____________________________________________________________
Works Cited
Fergusson, Francis., Aristotle's Poetics. New York: Hill, 1961.
Fergusson, John., ACompaniontoGreek tragedy.Texas: University of Texas Press, 1972.