A Quote by Aristotle

A tragedy is the imitation of an action that is serious and also, as having magnitude, complete in itself . . . with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions.
Tragedy is an imitation not only of a complete action, but of events inspiring fear and pity. Such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follow as cause and effect. The tragic wonder will then be great than if they happened of themselves or by accident; for even coincidences are most striking when they have an air of design.
A tragedy is a representation of an action that is whole and complete and of a certain magnitude. A whole is what has a beginning and middle and end.
When we have emotions of fear and pity toward the hero of a tragedy, we explore aspects of our own vulnerability in a safe and pleasing setting.
The arousing of prejudice, pity, anger, and similar emotions has nothing to do with the essential facts, but is merely a personal appeal to the man who is judging the case.
Tragedy is an imitation not of men but of a life, an action
I call it a comedy film, but I feel that is because 'Sholay' is a complete film. It is the best in every aspect. You see the music, the editing, dialogues, action, drama, tragedy, and the emotions of this film and you will find everything is perfect. It is a flawless film.
What can be considered human emotions? Surely not only lyricism, sadness, tragedy? Doesn't laughter also have a claim to that lofty title? I want to fight for the legitimate right of laughter in "serious" music.
Sometimes what we call tragedy, at least in the theater, are really case histories. They're based on the central figure, and things happen to that person, and they're called tragedy because they're extremely sad. But tragedy always has a glorious thing happen at the end of it. That's what the catharsis is.
Do something you fear, NOT to conquer the fear, NOT to accomplish a task, but to familiarize yourself with the processes with which fear protects itself, to demystify it.
There are only two emotions: love and fear. All positive emotions come from love, all negative emotions from fear. From love flows happiness, contentment, peace, and joy. From fear comes anger, hate, anxiety and guilt. It's true that there are only two primary emotions, love and fear. But it's more accurate to say that there is only love or fear, for we cannot feel these two emotions together, at exactly the same time. They're opposites. If we're in fear, we are not in a place of love. When we're in a place of love, we cannot be in a place of fear.
Such exceptional suffering and calamity, then, affecting the hero, and-we must now add-generally extending far and wide beyond him, so as to make the whole scene a scene of woe, are an essential ingredient in tragedy and a chief source of the tragic emotions, and especially of pity. But the proportions of this ingredient, and the direction taken by tragic pity, will naturally vary greatly.
He [Aristotle] pointed out that people who had become initiates in the various mystery religions were not required to learn any facts 'but to experience certain emotions and to be put in a certain disposition.' Hence his famous literary theory that tragedy effected a purification (katharsis) of the emotions of terror and pity that amounted to an experience of rebirth.
Death is not the greatest tragedy in life. The greatest tragedy is what dies inside us while we live. We need not fear death. We need fear only that we may exist without having sensed something of the possibilities that lie within human existence.
So the Dark did a simple thing. They showed the maker of the sword his own uncertainty and fear. Fear of having done the wrong thing--fear that having done this one great thing, he would never again be able to accomplish anything of great worth--fear of age, of insufficiency, of unmet promise. All such great fears, that are the doom of people given the gift of making, and lie always somewhere in their minds.
Gender is a kind of imitation for which there is no original; in fact, it is a kind of imitation that produces the very notion of the original as an effect and consequence of the imitation itself.
Like a great athlete, we must have a very clear vision of what we want to accomplish before we make a move. Vision, in preparation for an action, is as important as the action itself.
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