Essay about Aristotle?s Rules For Tragedy

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Aristotle’s Rules For Tragedy Laid Down In Poetics As They Apply To Blood Relations By Sharon Pollock
Aristotle could be considered the first popular literary critic. Unlike Plato, who all but condemned written verse, Aristotle breaks it down and analyses it so as to separate the good from the bad. He studies in great detail what components make a decent epic or tragedy. The main sections he comes up with are form, means and manner. For most drama and verse, Aristotle’s rules are a fairly good measure of the quality of a piece of written work. In modern day however (modern meaning within the last century), certain changes in the nature of dramatic writing have started opening a gap between Aristotelian criticism and what is actually
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Lizzie’s loss of her family ultimately drives her into a life of loneliness and misery. Furthermore, on the subject of pity and fear, Aristotle professes that truly pitiable occurrences take place between close relations. Parent-child relationships are about the closest relationships that there are.
     There is no choral section. Therefore, there is no episode. The entire play could be referred to as a complete exode, that is, one “complete section of a tragedy after which there is no song of the chorus” (12). This can be accounted to the changes in dramatic trends due to Stanislavsky among others. The constant switch between the dream state and present reality can be compared to a chorus in that the characters in the dream sequences tell the stories of the events prior to the murders. These dream characters dominate a good portion of the play, whereas the chorus is an occasional part in classic tragedy.
     Blood Relations contains only seven characters, all of which are essential to the plot. None of the events in the plot are irrelevant. All characters and events have an “evident effect” on the outcome of the play; they are all “part of the whole” (8). In terms of length, this play is compact. There is no needless banter. It is easy, therefore to comprehend. The reading of such a play will not have the same effect as it will on the stage. It does display

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