Introduction to Aristotle’s Tragedy and John Dryden’s Play
In the world of theater, there are two distinct kinds of genres that have been around for centuries. Aristotle's tragedy and John Dryden's play are some of the most popular and influential forms in this field. Each has its own definition, structure, and impact on audience members. By comparing the two forms, we can gain a better understanding of how they differ and how they each shape theater as an art form. Aristotle's tragedy is the oldest form of theater still practiced today. is typically used to tell stories about characters who are confronted with difficult decisions and whose actions have lasting consequences for other characters in the story. A classic example of Aristotle's tragedy is his famous play, Oedipus Rex. This tragedy focuses on the titular character's struggle to come to terms with his own identity when he discovers he has unknowingly married his own mother. John Dryden's play, on the other hand, is a much more modern take on theater that emphasizes comedy as a way to entertain audiences without having them confront difficult moral questions like Aristotle's tragedies do. The main goal is usually just to amuse through a variety of clever jokes or amusing situations. A great example of this type of comedy would be Dryden's popular play 'The Way Of The World'. This comedic play tells the story of two lovers who must find ways to reunite while avoiding their parents' attempts at keeping them apart due to their different social classes. Despite their many differences between Aristotle’s tragedy and John Dryden’s plays, both forms share several similarities as well. For instance, both forms focus on powerful characters in stories that often incorporate elements such as fate or destiny into their arcs.
Examining the Definition of Aristotle's Tragedy and John Dryden's Play
Aristotle tragedy is a form of drama that has been around for centuries. Tragedies typically involve some kind of suffering or conflict, often involving a powerful character whose downfall is caused by his own flaws. It is this suffering and conflict that creates catharsis, or a release of emotion for the audience. John Dryden's play, All for Love, is an example of a tragedy written in the 17th century. The play follows Antony and Cleopatra as they struggle against society's expectations and their romantic love for one another. The definition of tragedy has changed over time, but there are still common elements that have carried through from Aristotle to modern interpretations. In Aristotle’s Poetics, he defines tragedy as an imitation of an action that is “serious, complete, and of a certain magnitude” with “incidents arousing pity and fear" being the main components. He also states that the purpose of tragedy is to provide catharsis to the audience through pity and fear generated by these incidents. John Dryden’s interpretation of tragedy differs in some ways from Aristotle’s original definition.
Dryden believed that tragedy should tell stories about characters who experience suffering due to their own actions or choices rather than because of conflicts between two opposing forces as seen in classical Greek tragedies. He also argued that emotions such as pity and fear were necessary components for achieving catharsis but were not enough on their own—there needed to be resolution at the end which provided closure for the audience. When comparing Aristotle's Tragedy with John Dryden's play All for Love we can see how both definitions have impacted modern day interpretations of tragic events and stories. While Aristotle focused on external conflicts between opposing forces, Dryden placed more emphasis on internal struggles within individuals which have become much more commonplace in modern stories.
Analyzing the Impact of Aristotle's Tragedy and John Dryden's Play
Aristotle tragedy and John Dryden's play have had a long-lasting impact on literature, defining how tragedies and plays are written and performed. In order to understand the impact that these works have had on modern literature, it is necessary to firstly analyze the definitions of each work. Aristotle's tragedy is defined as a dramatic composition in which the protagonist, usually a man of noble stature, suffers an unhappy or destructive fate. His tragedies typically focus on the human condition, and often end with a moral or lesson for the audience to take away from the experience. John Dryden's play, on the other hand, is defined as a comedic piece of theater often involving musical interludes. It focuses more on entertainment than tragedy, although it still contains elements such as mistaken identity and mistaken intentions that can lead to undesirable outcomes. Despite their differences in definition, both Aristotle's tragedy and John Dryden's play share one key element: they both center around protagonists who must make decisions in difficult situations in order to survive or succeed. This central theme allows audiences to relate to characters more easily and recognize their own experiences in similar circumstances. Furthermore, both works share similar plot structures by providing a narrative arc which builds tension until its climax.
Summary of Key Differences between Aristotle's Tragedy and John Dryden's Play
Aristotle's tragedy and John Dryden's play have a great many differences, some of which are essential for defining the genre. While Aristotle’s definition focused mainly on the tragic hero, Dryden's concept was more concerned with the impact that the tragedy had on its audience. To understand both Aristotle’s tragedy and John Dryden's play, one must examine their respective definitions of the genre as well as their impact upon the audience. On a fundamental level, Aristotle defined tragedy as “the imitation of an action that is serious, complete, and of certain magnitude.” This means that a tragedy should tell a story within certain parameters in which there is both a beginning and an end.
he story should also focus on characters who are constantly learning or discovering something about themselves or about life in general. Moreover, this story should be serious in nature with consequences for any wrong decisions made by characters within it. In stark contrast to this is John Dryden’s definition of a play: “A just and lively image of human nature represented on the stage; wherein variety of passions joy and grief, love and hatred rage alternately in just measure; so as may stir up noble sentiments in the minds of the spectators." This definition emphasizes how tragedy affects its audience instead of focusing on its story structure. It states that if a play is to be successful it must be able to evoke strong emotions from its viewers such as joy or grief, love or hatred. This shows how much more important emotional impact was to Dryden than Aristotelian structure when considering what makes up a successful play or tragedy. Another key difference between Aristotle’s concept and Dryden’s play is their respective styles.
Dryden : Father of English critisism
John Dryden is often regarded as one of the key figures in the development of English literary criticism during the late 17th century. While it might be a bit of an overstatement to label him the sole "Father of English Criticism," he did make significant contributions to the field. Dryden's critical works, such as "An Essay of Dramatic Poesy" (1668) and his prefaces to various plays, played a crucial role in shaping the way literature was analyzed and evaluated in English literature. He advocated for clarity, unity, and decorum in literary works and introduced many concepts that later critics would build upon. So, while he may not be the sole "father," he certainly had a profound influence on the development of English literary criticism.
Certainly, here are a few more points about John Dryden's contributions to English criticism:
1. Neoclassical Principles: Dryden was a proponent of neoclassical literary principles, which were based on the ideas of ancient Greek and Roman literature. He emphasized the importance of adherence to classical rules of structure, unity, and decorum in literary works.
2. Clarity and Elegance: Dryden advocated for clarity and elegance in writing. He believed that a literary work should be easily understood by its audience and should use refined language.
3. Role as a Literary Arbiter: Dryden's position as the Poet Laureate and his influential role in the literary circles of his time made him a literary arbiter. His opinions carried weight, and his critiques often influenced the work of other writers.
4. Essay of Dramatic Poesy: This essay, also known as "Of Dramatic Poesie, An Essay," is one of Dryden's most famous critical works. In it, he defends English drama against French dramatic theories and discusses various aspects of dramatic writing.
5. Prefaces and Critiques: Dryden's prefaces to his own plays and translations often contained critical insights and reflections on the art of writing. These prefaces provided guidance to other playwrights and poets of his era.
While Dryden's contributions to English criticism are significant, it's important to note that he was part of a broader movement of neoclassical criticism that included other notable figures like Samuel Johnson and Alexander Pope. Collectively, they helped shape the critical landscape of English literature in the 17th and 18th centuries.
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