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The classical unities, Aristotelian unities, or three unities represent a prescriptive theory of dramatic tragedy that was introduced in Italy in the 16th century and was influential for three centuries. The three unities are:
- unity of action: a tragedy should have one principal action.
- unity of time: the action in a tragedy should occur over a period of no more than 24 hours.
- unity of place: a tragedy should exist in a single physical location.
Suspension of disbelief is the avoidance—often described as willing—of critical thinking and logic in understanding something that is unreal or impossible in reality, such as something in a work of speculative fiction, in order to believe it for the sake of enjoying its narrative. Historically, the concept originates in the Greco-Roman principles of theatre, wherein the audience ignores the unreality of fiction to experience catharsis from the actions and experiences of characters. The phrase was coined and elaborated upon by the English poet and philosopher Samuel Taylor Coleridge in his 1817 work Biographia Literaria: "that willing suspension of disbelief for the moment, which constitutes poetic faith".
Benjamin Jonson was an English playwright and poet. Jonson's artistry exerted a lasting influence on English poetry and stage comedy. He popularised the comedy of humours; he is best known for the satirical plays Every Man in His Humour (1598), Volpone, or The Fox, The Alchemist (1610) and Bartholomew Fair (1614) and for his lyric and epigrammatic poetry. "He is generally regarded as the second most important English dramatist, after William Shakespeare, during the reign of James I."
Tragedy is a genre of drama based on human suffering and, mainly, the terrible or sorrowful events that befall a main character. Traditionally, the intention of tragedy is to invoke an accompanying catharsis, or a "pain [that] awakens pleasure,” for the audience. While many cultures have developed forms that provoke this paradoxical response, the term tragedy often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity—"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity," as Raymond Williams puts it.
In a literary work, film, or other narrative, the plot is the sequence of events in which each event affects the next one through the principle of cause-and-effect. The causal events of a plot can be thought of as a series of events linked by the connector "and so". Plots can vary from the simple—such as in a traditional ballad—to forming complex interwoven structures, with each part sometimes referred to as a subplot or imbroglio.
Deus ex machina is a plot device whereby a seemingly unsolvable problem in a story is suddenly or abruptly resolved by an unexpected and unlikely occurrence. Its function is generally to resolve an otherwise irresolvable plot situation, to surprise the audience, to bring the tale to a happy ending or act as a comedic device.
A tragic hero is the protagonist of a tragedy. In his Poetics, Aristotle records the descriptions of the tragic hero to the playwright and strictly defines the place that the tragic hero must play and the kind of man he must be. Aristotle based his observations on previous dramas. Many of the most famous instances of tragic heroes appear in Greek literature, most notably the works of Sophocles and Euripides.
Aristotle's Poetics is the earliest surviving work of Greek dramatic theory and the first extant philosophical treatise to focus on literary theory. In this text Aristotle offers an account of ποιητική, which refers to poetry and more literally "the poetic art," deriving from the term for "poet; author; maker," ποιητής. Aristotle divides the art of poetry into verse drama, lyric poetry, and epic. The genres all share the function of mimesis, or imitation of life, but differ in three ways that Aristotle describes:
- Differences in music rhythm, harmony, meter, and melody.
- Difference of goodness in the characters.
- Difference in how the narrative is presented: telling a story or acting it out.
John Dryden's Essay of Dramatick Poesy was likely written in 1666 during the Great Plague of London and published in 1668. Dryden's claim in this essay was that poetic drama with English and Spanish influence is a justifiable art form when compared to traditional French poetry.
Anatomy of Criticism: Four Essays is a book by Canadian literary critic and theorist Northrop Frye that attempts to formulate an overall view of the scope, theory, principles, and techniques of literary criticism derived exclusively from literature. Frye consciously omits all specific and practical criticism, instead offering classically inspired theories of modes, symbols, myths and genres, in what he termed "an interconnected group of suggestions." The literary approach proposed by Frye in Anatomy was highly influential in the decades before deconstructivist criticism and other expressions of postmodernism came to prominence in American academia circa 1980s.
In his own time, William Shakespeare (1564–1616) was rated as merely one among many talented playwrights and poets, but since the late 17th century has been considered the supreme playwright and poet of the English language.
This article is a collection of quotations and other comments on English playwright William Shakespeare and his works.
The term hamartia derives from the Greek ἁμαρτία, from ἁμαρτάνειν hamartánein, which means "to miss the mark" or "to err". It is most often associated with Greek tragedy, although it is also used in Christian theology. The term is often said to depict the flaws or defects of a character and portraying these as the reason of a potential downfall. However, other critics point to the term's derivation and say that it refers only to a tragic but random accident or mistake, with devastating consequences but with no judgment implied as to the character.
Ancient Greek comedy was one of the final three principal dramatic forms in the theatre of classical Greece. Athenian comedy is conventionally divided into three periods: Old Comedy, Middle Comedy, and New Comedy. Old Comedy survives today largely in the form of the eleven surviving plays of Aristophanes; Middle Comedy is largely lost, i.e. preserved only in relatively short fragments by authors such as Athenaeus of Naucratis; and New Comedy is known primarily from the substantial papyrus fragments of Menander.
Personification is the representation of a thing or abstraction as a person. In the arts, many things are commonly personified. These include numerous types of places, especially cities, countries, and continents, elements of the natural world such as the months or four seasons, four elements, four cardinal winds, five senses, and abstractions such as virtues, especially the four cardinal virtues and seven deadly sins, the nine Muses, or death.
This glossary of literary terms is a list of definitions of terms and concepts used in the discussion, classification, analysis, and criticism of all types of literature, such as poetry, novels, and picture books, as well as of grammar, syntax, and language techniques. For a more complete glossary of terms relating to poetry in particular, see Glossary of poetry terms.
In drama, particularly the tragedies of classical antiquity, the catastrophe is the final resolution in a poem or narrative plot, which unravels the intrigue and brings the piece to a close. In comedies, this may be a marriage between main characters; in tragedies, it may be the death of one or more main characters. It is the final part of a play, following the protasis, epitasis, and catastasis.
Characterization or characterisation is the representation of characters in narrative and dramatic works. The term character development is sometimes used as a synonym. This representation may include direct methods like the attribution of qualities in description or commentary, and indirect methods inviting readers to infer qualities from characters' actions, dialogue, or appearance. Such a personage is called a character. Character is a literary element.
In Defense of Reason is a three-volume work of literary criticisms by the American poet and literary critic Yvor Winters. First published in 1947, the book is known for its meticulous study of metrical verse and for its examples of Winters' system of ethical criticism.
References
- ↑ "Poetic Justice - Examples of Poetic Justice in Literature". 19 December 2018.
- ↑ Manuela Gertz (July 2010). Poetic Justice in William Faulkner's Absalom Absalom. GRIN Verlag. p. 4–. ISBN 978-3-640-66116-9 . Retrieved 20 May 2013.
- ↑ (See Shakespeare's reputation for more on the Shakespeare/Jonson dichotomy.)
