5. MAGNITUDE
► NOT SO BIG SIZE THAT
AUDIENCE FEEL
INCONVINEINCE TO HOLD
ATTENTION
► NOT SO SHORT THAT
INCIDENTS REMAIN
UNCLEAR
► AN IDEAL MAGNITUDE
6. ATTRACTIVE LANGUAGE
► TRAGEDY WAS
PRESENTED IN
VERSE FORM.
► CHORUS WAS
THERE TO SING
SONGS.
► THE VERSE
LANGUAGE
BEAUTIFIES &
7. PITY & FEAR; FUNCTION OF
TRAGEDY
► ARISTOTLE LEFT
THE TERM
UNEXPLAINED.
► MEANINGS:
PITY: FOR THE
TRAGIC
CHARACTERS.
FEAR: FOR
AUDIENCE, ITSELF.
► 3 MAJOR THEORIES
OF CATHARSIS.
8. 1- PURGATION THEORY
► A MEDICAL
INTERPRETATION.
► PASSINS & EMOTIONS ARE
REDUCED TO HEALTHY
BALANCE.
► TWO CONCEPTS OF THEORY
LIKE CURING THE LIKE.
UNLIKE CURING THE
UNLIKE.
9. I- LIKE CURING THE LIKE
► INWARD
RESTLESSNESS IS
CURED BY
OUTWARD
RESTLESSNESS.
► SAME SUBSTANCE
CURES THE SAME
THING
10. II- UNLIKE CURING THE
UNLIKE
► JUST LIKE ALLOPATHIC
TREATMENT
► A DIFFERENT
SUBSTANCE CURES
THE DIFFERENT THING
► THE FIRE OF PRIDE &
ANGER IS COOLED
DOWN BY WATERING
OF SOFT HEARTED
EMOTIONS.
11. 2- PURIFICATION THEORY
► IT MEANS MORAL
CODITIONING.
► NOT ONLY
EMOTIONAL RELIEF
BUT PURIFICATION
OF EMOTIONS.
12. 3- CLARIFICATION THEORY
► PITY & FEAR IS
CONNECTED WITH
INCIDENTS OF
TRAGEDY.
► EMOTIONS OF
AUDIENCE HAS
NOTHING TO DO
WITH CATHARSIS.
13. PLOT
► ARRANGMENTS OF
EVENTS IN LOGICAL
MANNERS.
► DEPICT A SINGLE
ACTION
► SIMPLE PLOT INVOLVES
NO VOILENT CHANGE
► COMPLEX PLOT
INVOLVES
“CHANGE OF
FORTUNE + AWARENESS OF
REALITY”.
14. PLOT
► WRITER SHOULD CUT
DOWN WHAT IS
UNNECESSARY.
► ONLY INCLUDE
NECESSARY &
PROBABLE ELEMENTS.
► NO SUPERFLOUS
DETAIL
► THIS IS ALSO CALLED
“ICE-BERG THEORY”
15. DRAMATIC UNITIES
► UNITY OF ACTION:
“ ACTION SHOULD BE LOGICAL
& COHERENT. IT MUST
LEADS TOWARDS SINGLE
END”
► UNITY OF TIME:
“ TIME SHOULD BE SINGLE
REVOLOUTION OF SUN OR
AN IDEAL, SUITABLE LIMIT”
► UNITY OF PLACE:
“ ACTIONS MUST NOT
PRESENTED ON DIFFERENT
PARTS ”
(ARISTOTLE MENTIONS ONLY
UNITY OF ACTION. LATER
BOTH ARE ASCRIBED TO
