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Peripeteia
Peripeteia ( el, περιπέτεια) is a reversal of circumstances, or turning point. The term is primarily used with reference to works of literature; its anglicized form is peripety. Aristotle's view Aristotle, in his ''Poetics'', defines peripeteia as "a change by which the action veers round to its opposite, subject always to our rule of probability or necessity." According to Aristotle, peripeteia, along with discovery, is the most effective when it comes to drama, particularly in a tragedy. He wrote that "The finest form of Discovery is one attended by Peripeteia, like that which goes with the Discovery in Oedipus...". Aristotle says that peripeteia is the most powerful part of a plot in a tragedy along with discovery. A peripety is the change of the kind described from one state of things within the play to its opposite, and that too in the way we are saying, in the probable or necessary sequence of events. There is often no element like Peripeteia; it can bring forth ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Plot Twist
A plot twist is a literary technique that introduces a radical change in the direction or expected outcome of the plot in a work of fiction. When it happens near the end of a story, it is known as a twist or surprise ending. It may change the audience's perception of the preceding events, or introduce a new conflict that places it in a different context. A plot twist may be foreshadowed, to prepare the audience to accept it. There are a variety of methods used to execute a plot twist, such as withholding information from the audience or misleading it with ambiguous or false information. Revealing a plot twist to readers or viewers in advance is commonly regarded as a "spoiler", since the effectiveness of a plot twist usually relies on the audience's not having expected it. Even revealing the fact that a work contains plot twists – especially at the ending – can also be controversial, as it changes the audience's expectations. However, at least one study suggests that this doe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Poetics (Aristotle)
Aristotle's ''Poetics'' ( grc-gre, Περὶ ποιητικῆς ''Peri poietikês''; la, De Poetica; c. 335 BCDukore (1974, 31).) is the earliest surviving work of Greek dramatic theory and 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 (to include comedy, tragedy, and the satyr play), 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. The surviving book of ''Poetics'' is primarily concerned with drama, and the analysis of tragedy constitutes t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tragedy
Tragedy (from the grc-gre, τραγῳδία, ''tragōidia'', ''tragōidia'') 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 hatawakens 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. From its origins in the theatre of ancient Greece 2500 years ago, from which there survives only a fra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Character Arc
A character arc is the transformation or inner journey of a character over the course of a story. If a story has a character arc, the character begins as one sort of person and gradually transforms into a different sort of person in response to changing developments in the story. Since the change is often substantive and leading from one personality trait to a diametrically opposite trait (for example, from greed to benevolence), the geometric term '' arc'' is often used to describe the sweeping change. In most stories, lead characters and protagonists are the characters most likely to experience character arcs, although lesser characters often change as well. A driving element of the plots of many stories is that the main character seems initially unable to overcome opposing forces, possibly because they lack skills or knowledge or resources or friends. To overcome such obstacles, the main character must change, possibly by learning new skills, to arrive at a higher sense of self-a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anagnorisis
Anagnorisis (; grc, ἀναγνώρισις) is a moment in a play or other work when a character makes a critical discovery. Anagnorisis originally meant recognition in its Greek context, not only of a person but also of what that person stood for. Anagnorisis was the hero's sudden awareness of a real situation, the realisation of things as they stood, and finally, the hero's insight into a relationship with an often antagonistic character in Aristotelian tragedy. Tragedy In his ''Poetics'', as part of his discussion of peripeteia, Aristotle defined anagnorisis as "a change from ignorance to knowledge, producing love or hate between the persons destined by the poet for good or bad fortune" (1452a). It is often discussed along with Aristotle's concept of catharsis. In the Aristotelian definition of tragedy, it was the discovery of one's own identity or true character (e.g. Cordelia, Edgar, Edmund, etc. in Shakespeare's ''King Lear'') or of someone else's identity or true natu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anagnorisis
Anagnorisis (; grc, ἀναγνώρισις) is a moment in a play or other work when a character makes a critical discovery. Anagnorisis originally meant recognition in its Greek context, not only of a person but also of what that person stood for. Anagnorisis was the hero's sudden awareness of a real situation, the realisation of things as they stood, and finally, the hero's insight into a relationship with an often antagonistic character in Aristotelian tragedy. Tragedy In his ''Poetics'', as part of his discussion of peripeteia, Aristotle defined anagnorisis as "a change from ignorance to knowledge, producing love or hate between the persons destined by the poet for good or bad fortune" (1452a). It is often discussed along with Aristotle's concept of catharsis. In the Aristotelian definition of tragedy, it was the discovery of one's own identity or true character (e.g. Cordelia, Edgar, Edmund, etc. in Shakespeare's ''King Lear'') or of someone else's identity or true natu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Deus Ex Machina
''Deus ex machina'' ( , ; plural: ''dei ex machina''; English "god out of the machine") is a plot device whereby a seemingly unsolvable problem in a story is suddenly and 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. Origin of the expression ''Deus ex machina'' is a Latin calque . The term was coined from the conventions of ancient Greek theater, where actors who were playing gods were brought onto stage using a machine. The machine could be either a crane (''mechane'') used to lower actors from above or a riser that brought them up through a trapdoor. Aeschylus introduced the idea, and it was used often to resolve the conflict and conclude the drama. The device is associated mostly with Greek tragedy, although it also appeared in comedies. Ancient examples Aeschylus used the device in his '' Eume ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aristotle
Aristotle (; grc-gre, Ἀριστοτέλης ''Aristotélēs'', ; 384–322 BC) was a Greek philosopher and polymath during the Classical period in Ancient Greece. Taught by Plato, he was the founder of the Peripatetic school of philosophy within the Lyceum and the wider Aristotelian tradition. His writings cover many subjects including physics, biology, zoology, metaphysics, logic, ethics, aesthetics, poetry, theatre, music, rhetoric, psychology, linguistics, economics, politics, meteorology, geology, and government. Aristotle provided a complex synthesis of the various philosophies existing prior to him. It was above all from his teachings that the West inherited its intellectual lexicon, as well as problems and methods of inquiry. As a result, his philosophy has exerted a unique influence on almost every form of knowledge in the West and it continues to be a subject of contemporary philosophical discussion. Little is known about his life. Aristotle was born in th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ja'far Ibn Yahya
Jafar ibn Yahya Barmaki, Jafar al-Barmaki ( fa, جعفر بن یحیی برمکی, ar, جعفر بن يحيى, Jafar bin yaḥyā) (767–803) also called Aba-Fadl, was a Persian vizier of the Abbasid caliph Harun al-Rashid, succeeding his father (Yahya ibn Khalid) in that position. He was a member of the influential Barmakid family, formerly Buddhist leaders of the Nava Vihara monastery. Along with the rest of the Barmakids, he was executed in 803 at the orders of Harun al-Rashid. He had a reputation as a patron of the sciences, and did much to introduce Indian science into Baghdad. He was credited with convincing the caliph to open a paper mill in Baghdad, the secret of papermaking having been obtained from Tang Chinese prisoners at the Battle of Talas (in present-day Kyrgyzstan) in 751. In fiction Jafar also appears (under the name of Giafar in most translations) along with Harun al-Rashid in several '' Arabian Nights'' tales, often acting as a protagonist. In "The Three A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harun Al-Rashid
Abu Ja'far Harun ibn Muhammad al-Mahdi ( ar , أبو جعفر هارون ابن محمد المهدي) or Harun ibn al-Mahdi (; or 766 – 24 March 809), famously known as Harun al-Rashid ( ar, هَارُون الرَشِيد, translit=Hārūn al-Rashīd) was the fifth Abbasid caliph of the Abbasid Caliphate, reigning from September 786 until his death. His reign is traditionally regarded to be the beginning of the Islamic Golden Age. His epithet "al-Rashid" translates to "the Orthodox", "the Just", "the Upright", or "the Rightly-Guided". Harun established the legendary library Bayt al-Hikma ("House of Wisdom") in Baghdad in present-day Iraq, and during his rule Baghdad began to flourish as a world center of knowledge, culture and trade. During his rule, the family of Barmakids, which played a deciding role in establishing the Abbasid Caliphate, declined gradually. In 796, he moved his court and government to Raqqa in present-day Syria. A Frankish mission came to offer H ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tricky Slave
The tricky slave is a stock character. He is a clever, Social_class#Lower_class, lower-class person who brings about the happy ending of a comedy for the Lovers (character), lovers. He is more clever than the upper class, upper-class people about him, both the lovers and the characters who block their love, and typically also looking out for his own interests. In the New Comedy, the tricky slave or ''dolosus servus'' aimed to get his freedom by assisting his young master in love.Northrop Frye, ''Anatomy of Criticism'', p 173, Besides the actual slaves of classical theater, he also appears as the scheming valet in Renaissance comedy, called the ''gracioso'' in Spanish. The zanni of Commedia dell'arte are often tricky slaves, as are Puss-in-Boots in Charles Perrault, Perrault's fairy tale, Jeeves in P. G. Wodehouse's work and Figaro (character in operas and plays), Figaro. In fairy tales, the same function is often fulfilled by fairy godmothers, talking animals, and like donor (f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Fagles
Robert Fagles (; September 11, 1933 – March 26, 2008) was an American professor, poet, and academic, best known for his many translations of ancient Greek and Roman classics, especially his acclaimed translations of the epic poems of Homer. He taught English and comparative literature for many years at Princeton University. Life Fagles was born in Philadelphia, Pennsylvania, the son of Charles Fagles, a lawyer, and Vera Voynow Fagles, an architect. He attended Amherst College, graduating in 1955 with a Bachelor of Arts degree. The following year, he received his master's degree from Yale University. On June 17, 1956, he married Marilyn (Lynne) Duchovnay, a teacher, and they adopted two children. In 1959, Fagles received his Ph.D in English from Yale and for the next year taught English there. From 1960 to 1962, Fagles was an English instructor at Princeton University. In 1962 he was promoted to assistant professor, and in 1965 became an associate professor of English and co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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