House of Notes

The Realism of Shaw in the play In Bluntschli, Shaw has presented a realistic portrait of an average soldier, who is ready to fight when he must and is gland to escape when he can. Shaw has shown that a soldier is an ordinary creature of flesh and blood, who suffers from hunger and fatigue, and who is roused to action only by danger. In short, as Sergius puts it, war is a trade like any other trade; it is the coward's art of attacking the enemy when one gets him at a disadvantage, and of avoiding to fight him on equal terms. Of course, war is to be fought when absolutely necessary, but there should be no glorification of war. War is a brutal affair, and we should not sing songs of it. The cruelty and horror of war one highlighted through the relation of the horrible death of the twelve soldiers burnt alive in a farmhouse. In this way idealistic notions of war are punctured. Both Sergius and Raina are disillusioned in their romantic or idealistic notions of war; they

Aristotle's theory of imitation Aristotle did not invent the term “imitation”. Plato was the first to use the word in relation with poetry, but Aristotle breathed into it a new definite meaning. So poetic imitation is no longer considered mimicry, but is regarded as an act of imaginative creation by which the poet, drawing his material from the phenomenal world, makes something new out of it. In Aristotle's view, principle of imitation unites poetry with other fine arts and is the common basis of all the fine arts. It thus differentiates the fine arts from the other category of arts. While Plato equated poetry with painting, Aristotle equates it with music. It is no longer a servile depiction of the appearance of things, but it becomes a representation of the passions and emotions of men which are also imitated by music. Thus Aristotle by his theory enlarged the scope of imitation. The poet imitates not the surface of things but the reality embedded within. In t

Aristotle's plot Aristotle devotes great attention to the nature, structure and basic elements of the ideal tragic plot. Tragedy is the depiction of action consisting of incidents and events. Plot is the arrangement of these incident and events. It contains the kernel of the action. Aristotle says that plot is the first principle, the soul of tragedy. He lists six formative elements of a tragedy – Plot, character, thought, melody, diction, spectacle and gives the first place to plot. The Greek word for ‘poet’ means a ‘maker’, and the poet is a ‘maker’, not because he makes verses but he makes plots. Aristotle differentiates between ‘story’ and ‘plot’. The poet need not make his story. Stories from history, mythology, or legend are to be preferred, for they are familiar and understandable. Having chosen or invented the story, it must be put to artistic selection and order. The incidents chosen must be ‘serious’, and not ‘trivial’, as tragedy is an imitation of a seri

Aristotle's concept of ideal tragic hero: Hamartia No passage in “The Poetics” with the exception of the Catharsis phrase has attracted so much critical attention as his ideal of the tragic hero. The function of a tragedy is to arouse the emotions of pity and fear and Aristotle deduces the qualities of his hero from this function. He should be good, but not perfect, for the fall of a perfect man from happiness into misery, would be unfair and repellent and will not arouse pity. Similarly, an utterly wicked person passing from happiness to misery may satisfy our moral sense, but will lack proper tragic qualities. His fall will be well-deserved and according to ‘justice’. It excites neither pity nor fear. Thus entirely good and utterly wicked persons are not suitable to be tragic heroes. Similarly, according to Aristotelian law, a saint would be unsuitable as a tragic hero. He is on the side of the moral order and hence his fall shocks and repels. Besides, his marty