Differences between Aristotle's definition of Tragedy and Dryden's definition of Play:

Differences between Aristotle's definition of Tragedy and Dryden's definition of Play:


               Tragedy, as a dramatic genre, has been explored and defined by various thinkers and literary figures throughout history. Aristotle, one of the most influential philosophers of ancient Greece, provided a seminal definition in his work "Poetics." Later, the English playwright John Dryden offered his own perspective on the nature of tragedy and its distinction from another dramatic form, the play. In this essay, we will examine the differences between Aristotle's and Dryden's definitions of tragedy, focusing on their understanding of the purpose, elements, and impact of this dramatic genre.


Introduction of Aristotle:


                                 Aristotle

               Aristotle was a famous Greek philosopher who lived a long time ago, around 384-322 BC. He was a very smart man who studied many different things, like science, math, and politics. He was also a teacher to Alexander the Great, who became a famous king. Aristotle wrote many books about his ideas, and people still study them today. He is considered one of the most important thinkers in history.


               Aristotle's definition of tragedy is centered around the concept of catharsis. He defines tragedy as "an imitation of an action that is serious, complete, and of a certain magnitude; having a beginning, middle, and end; through pity and fear effecting the purgation of these emotions." According to Aristotle, the purpose of tragedy is to evoke emotions of pity and fear in the audience, and ultimately to provide a cathartic experience, a cleansing of these emotions. He emphasizes the importance of plot, character, thought, diction, spectacle, and song as the six essential elements of tragedy. The plot, or μῦθος (mythos), is considered the most important element, as it is the arrangement of incidents that lead to the tragic outcome. The characters, or ἦθος (ethos), should be good but not perfect, so that the audience can identify with their flaws and misfortunes. Thought, or διάνοια (dianoia), refers to the intellectual content of the play, including the moral lessons or insights that can be gleaned from the tragic events. Diction, or λέξις (lexis), is the choice and use of language, which should be appropriate to the characters and the dramatic situation. Spectacle, or θέαμα (theama), refers to the visual elements of the play, including the scenery, costumes, and special effects. Finally, song, or μέλος (melos), refers to the use of music and choral elements in the play.


Introduction of Dryden:


                              John Dryden

               John Dryden was an English poet, playwright, and critic who lived from 1631 to 1700. He was one of the most important figures in English literature during the Restoration period. Dryden wrote many famous plays, poems, and essays. He was also a strong supporter of King Charles II and the monarchy. Dryden's work is known for its wit, intelligence, and strong opinions. He is considered one of the greatest English poets of his time.


               Dryden's definition of play is more inclusive than Aristotle's, as it encompasses both tragedy and comedy. Dryden defines a play as "a representation of life in action." He emphasizes the importance of plot, character, and language as the three essential elements of a play. However, Dryden's focus is on the entertainment value of the play, rather than its moral or cathartic purpose. He believes that a play should be "delightful" and "moving," and that it should teach "some useful truth." Dryden also recognizes the importance of spectacle and music, but he considers them to be secondary to the other elements of the play.


               One of the key differences between Aristotle's and Dryden's definitions of tragedy is their understanding of the purpose of the genre. Aristotle views tragedy as a means of achieving catharsis, while Dryden sees it as a form of entertainment. Aristotle emphasizes the importance of evoking emotions of pity and fear, while Dryden focuses on the delight and pleasure that the audience can derive from the play. This difference in perspective is reflected in the emphasis that each thinker places on the various elements of tragedy. Aristotle gives primacy to plot, as it is the structure that drives the tragic action and evokes the desired emotions. Dryden, on the other hand, gives equal importance to plot, character, and language, as he believes that all three elements contribute to the entertainment value of the play.


               Another important difference between Aristotle's and Dryden's definitions is their understanding of the nature of the tragic hero. Aristotle defines the tragic hero as a "good man" who suffers a fall from fortune due to a flaw in his character. This flaw, known as a hamartia, is often a tragic mistake or error in judgment. The tragic hero's downfall is both inevitable and pitiable, as it is a result of his own actions. Dryden, on the other hand, does not provide a specific definition of the tragic hero. He simply states that the hero should be "great" and "admirable," and that his downfall should be "just." Dryden's emphasis on the hero's greatness suggests that he may have had a different conception of the tragic hero than Aristotle.


Conclusion:

               Aristotle's and Dryden's definitions of tragedy differ in their understanding of the purpose, elements, and impact of this dramatic genre. Aristotle views tragedy as a means of achieving catharsis, while Dryden sees it as a form of entertainment. Aristotle emphasizes the importance of plot, character, thought, diction, spectacle, and song as the six essential elements of tragedy, while Dryden focuses on plot, character, and language. Finally, Aristotle defines the tragic hero as a good man who suffers a fall from fortune due to a flaw in his character, while Dryden simply states that the hero should be great and admirable. These differences reflect the different cultural and historical contexts in which Aristotle and Dryden were writing, as well as their own personal perspectives on the nature of drama.

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