1 Essential Questions What is tragedy?What can the great tragic heroes teach us about ourselves? How is the conflict between fate and free will influenced by time, place, and other cultural factors. How does tragedy reflect the concerns of specific cultures and communities while still remaining a universal concept? How do people balance obligations to their own moral integrity, to their family, and to their citizenship within a community?

2 Poetics Goals: Objective: Learning Outcome:Actively listen to and engage in meaningful conversations about a text, demonstrating an ability to analyze and synthesize ideas and positions, as well as evaluate the accuracy of an argument. Objective: Discuss main questions and content theme / ideas for module. Discuss prior knowledge and present background knowledge on Aristotle. Introduce Aristotelian Poetics and begin to discuss how it is applied to drama. Learning Outcome: Students will analyze Aristotle’s Poetics by close examination of Poetics and be able to complete a guided practice annotation worksheet related to Poetics to determine students understanding of the close reading process.

3 Be prepared to discuss! Are movies art?

4 Hook, Line, and Sinker!

5 Poetics By: Aristotle

6 Who was Aristotle? Aristotle was born at Stagirus, Greece, near Macedonia. His parents died while he was young. He, his brother, and his sister were cared for by a guardian, named Proxenus. Aristotle studied at the Academy under Plato, who was a student of Socrates. These three men were known as “Great Philosophers.”

7 Who was Aristotle? A philosopher looks for ideals, forms, and tries to explain the nature of reality. Aristotle was also known in Science as the “Great Taxonomer,” he developed the Theory of Classification. He helped invent the Theory of Logic. His knowledge base was remarkably great in extent, size, and degree. Aristotle also helped formalized the education and university system we know today.

8 Who was Aristotle? We must understand that Aristotle did not invent drama or dramatization. The Poetics of Aristotle is not about poetry, but drama of the theater. Aristotle was trying to classify the greatest plays of all time. He uses Oedipus Rex, by Sophocles, which he believed was the greatest play of all time. Poetics can be downloaded from:

9 What is the “Poetics” of Aristotle?The Poetics give evidence of Aristotle’s differing beliefs from those of Plato’s work For Aristotle all literature is an art of imitation. As artist imitated life to produce their literature, audiences would be inspired to imitate in some fashion what they read, heard, or saw on stage. The Greek word for imitate is mimesis, related to the word “mime”.

10 What is the “Poetics” of Aristotle?But was does imitative poetry such as tragedy imitate? The actors are pretending to be people other than themselves. They are trying to create the illusion of – they are imitating – persons not themselves. Aristotle’s Poetics set guidelines for a systematic account of its subject and features classification. Aristotle sought to anchor his definition of literary genres in works of authors as set forth in Poetics. “A tragedy is a representation of an action that is whole and complete and of certain magnitude. A whole is what has a beginning and middle and end.” Aristotle

11 What defines a Greek Tragedy?Greeks believed tragedy was the highest form of drama. Dramatization = the acting out Real drama happens in the audience, while the audience watched the play on stage. The audience sees reflected their own ideals in the actions that happens on stage.

12 The “Definition” “A tragedy is the imitation of an action that is serious and also, as having magnitude, complete in itself; in appropriated and pleasurable language;…in a dramatic rather than narrative form; with incidents arousing pity and fear, wherewith to accomplish a catharsis of these emotions.”

13 Aristotle’s Definition – the Breakdownthe plot is a complete, coherent whole, lasting long enough to represent adequately the reversal of the hero's fortune; the language in which a tragedy is composed employs tropes and other heightened or unusual uses of speech and a mixture of different poetic meters; the mode of imitation in a tragedy is drama as opposed to narrative; the tragedy arouses pity and fear in the viewer and brings about catharsis. "Aristotle: Poetics." Aristotle: Poetics. University of Hawai‘i at Mānoa, n.d. Web. 07 Aug .

14 Drama In the poetics, drama is contrasted with narrative in the distinction between the epic and the tragedy. Through the speech and gestures of actors, drama represents actions by placing them before the audience's eyes.

15 Trope A trope is any departure from "ordinary" language in a literary text. "Trope" means "turn"; the term implies a turning away from conventional uses of words. Tropes include metaphors, similes, repetitions, and other figures of speech. "Aristotle: Poetics." Aristotle: Poetics. University of Hawai‘i at Mānoa, n.d. Web. 07 Aug .

16 Mode The mode of imitation is one of the fundamental elements of mimesis in poetry; the other two are the medium and object of imitation. Mode describes the manner in which the poetry is conveyed to its audience. The mode of the epic is narration, while the mode of the tragedy is drama. Among the components of tragedy, spectacle occupies the category of mode. "Aristotle: Poetics." Aristotle: Poetics. University of Hawai‘i at Mānoa, n.d. Web. 07 Aug .

17 Catharsis Catharsis is most often defined as the "purging" of the emotions of pity and fear that occurs when we watch a tragedy.

18 Aristotle’s Definition – the BreakdownFor Aristotle, all literature is an art of imitation (Mimesis, “mime” A good tragedy deals with a very serious issue Usually deals with someone’s death or demise A good tragedy must have unity The test of unity of a plot is that no part can be removed without changing and distorting the meaning of the whole A tragedy evokes two kinds of emotions: pity and fear Pity and fear are used to help cleanse the mind of dangerous, but natural human tendencies, especially overgrown pride. Aristotle believed that catharsis was the ultimate end of a tragic artistic work and marked its quality

19 The Six Elements of Tragedy Plot Character Thought Diction MelodySpectacle

20 Plot (Mythos) Aristotle said plot was the most important of these six elements The plot should have a beginning, middle, and end (arrangement of incidents) The plot must contain unity of form and time The plot may be simple or complex

21 Character (Ethe’) Aristotle said character is the second most important element of tragedy The moral purpose of each character must be clear to the audience Aristotle determined characters must have four main qualities Goodness Maintain gender and social mores Believable Consistency

22 Aristotle determined characters must have four main qualitiesGoodness (morally good or have a good purpose) Propriety Maintain gender and social mores (respectability) Conformed to accepted standards of behavior Man was manly in ancient Greece, It wasn’t respectable in those times for a woman to act manly or do manly deeds. True to life Believable / Realistic Consistency Same throughout

23 Characteristics of a Tragic Herohttps://www.youtube.com/watch?v=Tz5qaTeDC6s

24 Thought is what is being saidThought (Dianoia) Thought is what is being said Thought is one of the objects of tragedy – the representation of the rational process of the characters and of the values and ideas articulated in the play "Aristotle: Poetics." Aristotle: Poetics. University of Hawai‘i at Mānoa, n.d. Web. 07 Aug .

25 Diction is how the lines were said or recitedDiction (Lexis) Diction is how the lines were said or recited Diction is one of the six components of tragedy and has to do with the way the language of the play is delivered by the actors. Aristotle gives little attention to diction in Book XIX, suggesting that experts in the art of oratory and the actors themselves are more responsible for the success of this dimension of tragedy than the poet. "Aristotle: Poetics." Aristotle: Poetics. University of Hawai‘i at Mānoa, n.d. Web. 07 Aug .

26 Melody / Music (Melopea)Song or vocal composition Musical accompaniment

27 Spectacle (Opis) The least important element The staging of the playCostumes Scenery How actors enter and leave the stage All visual aspects of drama Tragedies use spectacle to move the audience’s emotions and lead the audience to sympathize with the protagonist (tragic hero)

28 Aristotle’s Definition – the BreakdownA good tragedy must have unity The test of unity of a plot is that no part can be removed without changing and distorting the meaning of the whole

29 Aristotle Aristotle said a poets job differs from a historian, “a historian must related what happened, the poet may relate what happened (or may have) happened.”

30 Simple vs. Complex PlotsThe simple plot represents a change of fortune which does not come about through a reversal of the situation and does not involve recognition on the part of the hero. In the complex plot, the change of fortune emerges of necessity from the events preceding it. It is brought about through a reversal of the situation (peripetieia) or recognition (anagnorisis), or both

31 Peripeteia One of the components of the complex plot, the reversal of the situation, is an event that occurs contrary to our expectations and that is therefore surprising, but that nonetheless appears as a necessary outcome. The Greek term for this reversal is peripeteia "Aristotle: Poetics." Aristotle: Poetics. University of Hawai‘i at Mānoa, n.d. Web. 07 Aug .

32 Anagnorisis Anagnorisis is the Greek term for "recognition," another component of the complex plot, and describes the often sudden revelation (such as Oedipus's discovery that he has, despite his efforts to avoid it, fulfilled the prophecy) that propels a tragedy to its conclusion. "Aristotle: Poetics." Aristotle: Poetics. University of Hawai‘i at Mānoa, n.d. Web. 07 Aug .

33 Pathos Pathos , the scene of suffering, describes the powerful emotions of pity and fear aroused in the audience of a tragedy. Aristotle names pathos as one of the components of the tragic plot, along with anagnorisis and peripeteia. "Aristotle: Poetics." Aristotle: Poetics. University of Hawai‘i at Mānoa, n.d. Web. 07 Aug .

34 Catharsis Catharsis is most often defined as the "purging" of the emotions of pity and fear that occurs when we watch a tragedy.

35 Hamartia Hamartia conveys the sense of "overshooting the mark," or "overreaching," and does not indicate some predisposition to a particular crime. Usually translated to tragic mistake or tragic flaw In order for a character's fate to fill us with pity and fear, we must recognize that we ourselves might commit a similar error in judgment were we in a similar situation. Hubris (exaggerated self pride or self confidence) more often than not the cause of the downfall "Aristotle: Poetics." Aristotle: Poetics. University of Hawai‘i at Mānoa, n.d. Web. 07 Aug .

36 Denouement In the trajectory of a tragic plot, the denouement follows the complication, beginning with an including the moment of peripeteia and/or anagnorisis–the turning point of the plot–and extending to the conclusion of the play. "Aristotle: Poetics." Aristotle: Poetics. University of Hawai‘i at Mānoa, n.d. Web. 07 Aug .

37 Plot Diagram (causes and effects are stressed) Peripeteia AnagnorisisComplication Denouement Incentive Moment (causes are stressed, effects are downplayed) (causes downplayed, effects are stressed) "Aristotle: Poetics." Aristotle: Poetics. University of Hawai‘i at Mānoa, n.d. Web. 07 Aug .

38 Aristotle said there are three forms of plat that should be avoidedA totally good man must not pass from happiness to misery A bad man must not pass from misery to happiness A bad man cannot pass from happiness to misery True tragic heroes cannot be too good or to bad, bust must end up in misery

39 Aristotle said a good tragedy…Must focus on a good man who changes from happiness to misery because of some great error The plot of a tragedy should also involve some horrible deed Should contain an ironic twist of fate

40 Four ways that Aristotle says the action of a tragedy may be doneSomeone is about to do an irreparable deed through ignorance, and makes the discovery before it is done. Must happen between persons who are either friend or enemies, or indifferent to one another, or near and dear To be about to act with knowledge of the person, and then not act Action may be done consciously and with knowledge of the other person

41 “Deus ex Machina” “God from Machine” Is a plot device used when a unsolvable problem is suddenly resolved by an unexpected intervention, usually the intervention of a god. Used to move the story forward to avoid a dead end plot. Aristotle deemed this undesirable and a poet should aim for the necessary or probable action and sequence. Let the characters choices dictate the outcome whether it be happy or tragic.

42 Painter Poet Poets vs. PaintersMaintains the quality of life and likeness of the original Make it look better than it is without changing how the person looks Photoshop out the zits Poet Maintains the quality of the verse and sequence Exaggerate story line and add special effects, but they don’t change the overall story or ending Remain believable and realistic

43 Types of Recognition Recognition by signs or tokens(least artistic) Recognition invented at will of the poet Recognition which depends on the sight of some object awakening the memory Process or reasoning

44 The History of Greek Theater

45 The History of Greek TheaterFifth and sixth centuries saw the beginnings of: History Political theory Philosophical theory Invention and perfections of theater The development of theater took place in Greece, which is located in the eastern Mediterranean.

46 The History of Greek TheaterGreece provided extravagant festivals The most famous and well-known festival was the Dionysan (the celebration of the god Dionysus)

47 Dionysus Dionysus, god of wine and ecstasy, was worshipped in festivals called Dionysia. He is the half mortal, half god son of Zeus The cult of Dionysos celebrated the cycle of death and rebirth; they believed he inspired poets and artists to divine creativity "Aristotle: Poetics." Aristotle: Poetics. University of Hawai‘i at Mānoa, n.d. Web. 07 Aug .

48 The History of Greek TheaterThe festival was held during the spring Consisted of performances in poetry, tragedies, and comedies to honor the gods The festival lasted four days and all were invited to attend the festival The performances consisted of actors, spectators, and the performance These performances were known as drama

49 The History of Greek TheaterDrama started with one actor and the chorus; it eventually would include three actors, because of Sophocles The addition of this third actor allowed for development of relationships between actors Like much of Greek life, the Dionysus festival became a contest Three dramatists presented their plays on three consecutive days Prizes and glory were awarded to the winner of the festival

50 CLA77, Andrew Scholtz

51 The Structure of Greek TheaterOrchestra Literally the “dancing space” Usually circular and level with the stage Used as the place where the chorus would dance, sing, and interact with the actors on the stage Theatron The viewing place where spectators sat 13-Sep-11 Csapo

52 The Structure of Greek TheaterSkene Means tent Building directly behind the stage Had one set of doors for actors to enter and exit Roof access used for playing gods Pardos Passageways by which the actors and actresses moved 13-Sep-11 Csapo

53 The Structure of Greek TheaterPrologue Spoken by one or two characters before the chorus appears; usually gives the mythological background for the audience to understand the play Parados Song sung by the chorus as it first enters the orchestra 13-Sep-11 Csapo

54 The Structure of Greek TheaterThe Chorus Is central to interpreting the play Gives advice, questions, takes part in the play Reacts as playwright hoped audience would Adds movement, spectacle, song and dance Helps pause and pace the action so the audience can reflect 13-Sep-11 Csapo

55 Theater of Dionysus, Athens (from East)13-Sep-11 Csapo

56 Greek Masks Actors were typically all men and only 3 on stage at a time Therefore masks were necessary to let actors play various roles – particularly female roles Small number of actors could play a number of roles

57 Greek Masks In a large open-air theater the masks were thought to act like megaphones Masks were thought to bring the characters closer to the audience, since they had over exaggerated features and expressions

58 Greek Mythology The tragedies were performed first; these tragedies were based on myths What is a myth?

59 Greek Mythology Myths retold the history of Greece; they were sacred tales of past generations Myths were fictional, narrative stories that attempt to explain the actions of gods or the causes of natural phenomena. Helped explain the unknown and sometimes teach a lesson. Myths described the Greek’s lives and interactions with the gods and goddesses. They were often accepted as facts Greeks were the first to put human in the center of the universe, and the gods in human form with human characteristics Drinking, feasting, philandering and jealousy (unpredictable and revengeful)

60 Greek Mythology Greek mythology continues to impact modern society.Helped drive democracy and philosophy

61 Sophocles Born in 496 BC Well known in his time; won several Dionysian competitions Responsible for the Theban trilogy Antigone Oedipus the King Oedipus at Colonus

62 The Oedipus Myth This story was familiar to audiences, Sophocles retold from his own perspective Oedipus was abandoned at birth because the Oracle had prophesized he would murder his father and marry his mother Oedipus, as an infant, was left for dead, but was saved by a servant who gave him to a childless couple Oedipus runs away from home after being told his fate, only to eventually kill his father, become a hero in Thebes, marry his mother, and then realize his true identity Oedipus blinded and exiled himself

63 Greek Mythology & “Oedipus the King” The Oracle at DelphiPlays a major role in Oedipus the King The Oracle at Delphi was extremely famous and sought after for its knowledge regarding fate.

64 Greek Mythology & “Oedipus the King”In many tragedies, the Oracle, is at the beginning, and a character’s fate is revealed The character tries to change his fate, only to suffer from the fate because he chose to try and change his fate The Oracle at Delphi reveals to King Laius the prophecy that has been bestowed on him, his wife, and his son The Oracle never tells Oedipus or Laius, how to avoid the outcome, the Oracle only states what their fate will be.

65 Greek Mythology & “Oedipus the King” The Sphinx is a beastHead of a woman and the body of a winged lion This creature is terrorizing Thebes Oedipus is able to destroy the Sphinx Solves the riddle “What is the creature that walks on four legs in the morning, two legs at noon and three in the evening?” Why is it ironic that Oedipus solves the riddle?

66 Anagnorisis Anagnorisis is the Greek term for "recognition," another component of the complex plot, and describes the often sudden revelation (such as Oedipus's discovery that he has, despite his efforts to avoid it, fulfilled the prophecy) that propels a tragedy to its conclusion. "Aristotle: Poetics." Aristotle: Poetics. University of Hawai‘i at Mānoa, n.d. Web. 07 Aug .

67 Types of Recognition Recognition by signs or tokens(least artistic) Recognition invented at will of the poet Recognition which depends on the sight of some object awakening the memory Process or reasoning

68 Socratic Circle Ancient form of discourse developed by Socrates.Socrates valued the knowledge and information people contained. Socrates believed students could use this knowledge to improve their reasoning skills. Discourse is an form of written or spoken debate. Socrates valued the knowledge and information people contained. And felt this knowledge could potentially be beneficial in advancing their understanding.

69 Why We Use Socratic CirclesEngages students with interpretive or evaluative questions. These questions are not intended to create judgment, but help you examine: Attitudes Beliefs Knowledge Logic The goal is to help you process information and engage in deeper understanding of topics discussed in class. It is meant to be a collaborative and opened minded discussion.

70 Socratic Circle ProcessInner Circle Examines and discusses the text, based on questions developed prior to the Socratic Circle. Outer Circle Comments and tracks the quality of the discussion Brief discussion / coaching period. The inner and outer circles switch places and repeat the process.

71 What You Need to Do Come prepared with your questions!!!Listen carefully Speak clearly – one person at a time Participate openly Value others opinions, but refer to the text when defending your position. Avoid side conversations Give others your respect – accept answers without judgment