Different but Similar Both Homers’ epic, the Odyssey, and Aeschylus’ tragic trilogy, the Oresteia, tell the story of Agamemnon and what led to his doomed death. Both the poem and the play are similar in their plots except for few differences in their significance, presentation and details. This shows how flexible ancient myth is and how it can adapt to suit a particular author and audience. Agamemnons’ death in the Odyssey is a very good example of how people can be, through their own foolishness, bring destruction upon themselves. It also serves as an example of an epic hero failing to return home, which is known as nostos, thus for Odysseus, the epic hero, it delivers a foil for the successful voyage back to his home, Ithaca.
In Shakespearean Tragedy, Shakespeare uses a hero to start off his tragic story which is influenced by the actions of men. Shakespeare uses the supernatural usually near the tragic character and allows ‘chance’ or ‘accident’ to happen. Moreover, through the play the character’s thoughts are transformed by suffering and readers don’t think of the actions and sufferings as unreasonable because suffering that leads to tragedy is never good. These things make Shakespearean Tragedy unique from other works of William Shakespeare. While Macbeth appears to fit many of the above
The fate of the hero typically affects the welfare of the whole state or empire and the story of his fall points to the omnipotence of Fortune or Fate - in a way that a story of an ordinary person would not be able to. The calamites in Shakespeare 's tragedies do not simply happen but are the consequence of the actions of men. In tragedy we see characters reacting to certain conditions and their reactions lead to other actions and this chain of actions leads
Dionysian is far more redemptive where we experiences the collapse of our self, so we need to re-establish the union with Dionysian as it is lost in tragedies for ages. Dionysian overpowers the Apollonian element when the tragedy ends with a sound which could never emanate from the other. And the Apollonian is therefore the careful veiling of the intrinsically Dionysian effect during the performance. This effect is so powerful that it forces Apollonian drama to speak with Dionysian wisdom. The highest goal of tragedy is attained through this fraternal union of the two deities in tragedy; when both speak the language of others.
Hamlet Analyzed in terms of Aristotle’s Poetics Hamlet is analyzed as Aristotle’s Poetics because it considered as a well written and effective tragedy. In Aristotle’s opinion, the most important element of the tragedy is plot and followed by others such as character, diction, thought etc. Aristotle defines tragedy as, ‘an imitation of an action that is serious, complete, possessing and magnitude”. Aristotle tragedy is not a narrative and but a purgation of pity and fear which causes catharsis of emotions. Hamlet follows this definition of effective tragedy.
In fact it has been said that: “[Coriolanus] does not merely stand at the center of the tragedy; he is the tragedy. He brings no one with him in his fall, and his character is entirely sufficient to explain his fall.” However, we must then ask what exactly it is in his character which causes his downfall? As with all of Shakespeare’s plays there is a vast amount of research concerning Coriolanus, however, much of this concerns the politics of the play rather than its protagonist. Therefore it is an interesting matter to explore further. The following analysis will investigate the dispositional factors which lead to the downfall of the protagonist Caius Marcius Coriolanus.
According to the Poetics, plot is “the arrangement of the incidents.”(Aristotle, trans. Butcher, I:VI) A successful plot should only explain what is happening in the time frame of when the play begins and should end by resolving any unanswered questions in the story that the audience might be left with. Aristotle also states “Tragedy is an imitation of an action that is complete, and whole, and of a certain magnitude; for there may be a whole that is wanting in magnitude. A whole is that which has a beginning, a middle, and an end.” In Our Town, the plot begins in the town of Grover’s Corners, New Hampshire which is just like any other small, American town at the beginning of the 20th century. Mothers are bustling around, children are getting ready for school, fathers are reading the paper, the milkman and paperboy are making their morning rounds.
Art and morality are intrinsically related and go hand in hand in shaping and influencing our society and their complexity has been argued and discussed upon since their origin. In his Republic , Plato saw the function of the actor as bogus, presenting a dangerous illusion of reality, and masking the truth of existence by the pretense of acting. Aristotle, in The Poetics, saw the role of the actor somewhat differently, suggesting that by witnessing pity and fear (in his view the essence of tragedy) on stage, an audience could experience a catharsis of the emotions associated with real tragic events, without having to experience them as first-hand participants. Since then, the 'stand-off ' between those who have seen art as having a direct impact on morality, and those who have asserted its independence, has persisted.  Art broadens our horizon, gives birth to revolutionary ideas and innovations.
Aristotle once said that a perfect tragedy must be an imitation of life in the form of a serious story that is completed in itself. Basically, the story must be relatable and realistic. Shakespeare created what is seen by most as the perfect tragedy; but what makes a story a ‘perfect tragedy’? What about Romeo and Juliet is so tragic? Why do people continue to read and watch Romeo and Juliet if it’s so tragic?
The satyr was used as a comic relief to the seriousness portrayed in the tragedies. Classical Greek tragedy is viewed as method that allows humans to “understand their limitations” (Steiner, 1980). Tragedy can be said to be “a dimension of a divine paradigm” (1980). Aristotle was one of the greatest philosophers of Ancient Greece. His interest in tragedy led him to analysis the formula for a tragedy.