Classical Analysis of Character
Further information: Poetics (Aristotle)In the earliest surviving work of dramatic theory, Poetics (c. 335 BCE), the Greek philosopher Aristotle deduces that character (ethos) is one of six qualitative parts of Athenian tragedy and one of the three objects that it represents (1450a12). He understands character not to denote a fictional person, but the quality of the person acting in the story and reacting to its situations (1450a5). He defines character as "that which reveals decision, of whatever sort" (1450b8). It is possible, therefore, to have tragedies that do not contain "characters" in Aristotle's sense of the word, since character makes the ethical dispositions of those performing the action of the story clear. Aristotle argues for the primacy of plot (mythos) over character (ethos). He writes:
| “ | But the most important of these is the structure of the incidents. For (i) tragedy is a representation not of human beings but of action and life. Happiness and unhappiness lie in action, and the end is a sort of action, not a quality; people are of a certain sort according to their characters, but happy or the opposite according to their actions. So do not act in order to represent the characters, but they include the characters for the sake of their actions" (1450a15-23). | ” |
In the Poetics, Aristotle also introduced the influential tripartite division of characters in superior to the audience, inferior, or at the same level. In the Tractatus coislinianus (which may or may not be by Aristotle), comedy is defined as involving three types of characters: the buffoon (bômolochus), the ironist (eirôn) and the imposter or boaster (alazôn). All three are central to Aristophanes' "Old comedy."
By the time the Roman playwright Plautus wrote his plays, the use of characters to define dramatic genres was well established. His Amphitryon begins with a prologue in which the speaker Mercury claims that since the play contains kings and gods, it cannot be a comedy and must be a tragicomedy. Like much Roman comedy, it is probably translated from an earlier Greek original, most commonly held to be Philemon's Long Night, or Rhinthon's Amphitryon, both now lost.
Read more about this topic: Animated Characters
Famous quotes containing the words classical, analysis and/or character:
“Et in Arcadia ego.
[I too am in Arcadia.]”
—Anonymous, Anonymous.
Tomb inscription, appearing in classical paintings by Guercino and Poussin, among others. The words probably mean that even the most ideal earthly lives are mortal. Arcadia, a mountainous region in the central Peloponnese, Greece, was the rustic abode of Pan, depicted in literature and art as a land of innocence and ease, and was the title of Sir Philip Sidney’s pastoral romance (1590)
“The spider-mind acquires a faculty of memory, and, with it, a singular skill of analysis and synthesis, taking apart and putting together in different relations the meshes of its trap. Man had in the beginning no power of analysis or synthesis approaching that of the spider, or even of the honey-bee; but he had acute sensibility to the higher forces.”
—Henry Brooks Adams (1838–1918)
“One never gets to know a person’s character better than by watching his behavior during decisive moments.... It is always only danger which forces the most deeply hidden strengths and abilities of a human being to come forth.”
—Stefan Zweig (18811942)