57-Aristotle defines Tragedy is an imitation of an action that present in the form of action not narration that arousing pity and fear and accomplish its katharsis
58-who says that Every Tragedy, therefore, must have six parts, which parts determine its quality—namely, Plot, Characters, Diction, Thought, Spectacle, Melody.”
59-Aristotle defines plot as “the arrangement of the incidents.” He is not talking about the story itself but the way the incidents are presented to the audience, the structure of the play.
60-Aristotle says The plot must be “a whole,” with …………
c- a beginning, middle, and end.
• 61-The beginning, called by modern critics the …….., must start the cause-and-effect chain.
• 62-The end should therefore solve or resolve the problem created during the ……..
63-Aristotle calls the cause-and-effect chain leading from the incentive moment to the climax the “……….” (desis). In modern terminology, it’s called the complication
64-Aristotle calls the cause-and-effect chain from the climax to the resolution the “……………..”
65-Character should support the plot, i.e., personal motivations of the characters should be intricately connected parts of the cause-and-effect chain of actions that produce pity and fear in the audience.
66-one of the Characters qualities is “good or fine” and mean ……..
a-he/she should be realistic and believable
• b-the hero should be an aristocrat
67- one of the Characters qualities is “true to life” and mean ……..
a-he/she should be realistic and believable
• b-the hero should be an aristocrat
68-Aristotle says Thought is associated with how speeches should reveal character
69…………-is “the expression of the meaning in words” which are proper and appropriate to the plot, characters, and end of the tragedy:
70-……….. should contribute to the unity of the plot.
71-Aristotle argues that superior poets rely on the inner structure of the play rather than spectacle to arouse pity and fear
72-Tragedy arouses the emotions of pity and fear in order to purge away their excess, to reduce these passions to a healthy, balanced proportion. That is what Aristotle mean by ……..
73-Homer’s poetry was an oral culture that people ………….. in the street and in the market place
74-Greek culture was a “………….” that sprang from people’s everyday life. All the Greeks – old and young participated in producing this culture
75-Greek culture became books that had no connection to everyday life and to average people.
76-v In Rome, Greek culture was not a living culture anymore. It was a “…………….” culture. Some aristocrats used it to show off
a-a poet writing advice in the form of poems
b-a philosopher-critic like Plato
78-Horace’s hatred of the popular culture of his day is apparent in his “…………….”
79-as Horace advised the poem should be conceived as a form of ……… similar to a painting
80-Each one of these principles that Horace advised would become central in ………….
a- shaping European literary taste
b- shaping Greeks literary taste
81-Horace tells writers that a play should not be shorter or longer than ………… acts
82-Horace advises, that poetry should ………… and please
83-Whenever Horace talks about the laws of composition and style, his model of excellence that he wants Roman poets to ………………
84-I hate the profane crowd and keep it at a distance,” he says in his Odes
v 85- Horace shows prejudice to the culture of everyday people, but he does not know that the culture of Greece that he sees in books now was itself a popular culture.
86-Study Greek models night and day,” was Horce legendary advice in the ……..
87-Horace wants Roman authors to imitate the Greeks night and day and follow in their footsteps, but he does not want them to be ……
v 88-In the “Epistle to Maecenas” Horace complains about the slavish ……… who ape the morals and manners of their betters:
89-In the process of following and imitating the Greeks, Horace differentiates himself from those who “mimic” the ancients and slavishly attempt to reproduce them
90-In imitating the Greeks, Horace claims ……..
91-In Ars Poetica, Horace also advises the aspiring poet to make his tall……
92-Horace’s ideas about imitating the Greeks and about poetry imitating real life models were both …….
93-From 68 to 88 C.E, he was the leading teacher of rhetoric in Rome. He wrote the Institutio as a help in the training of orators
v 94-At the same time, Quintilian continues to advocate imitation, and goes on to elaborate a list of precepts to guide writers to produce “accurate” imitations.
95- ( The imitator should consider carefully whom to imitate and He should not limit himself to one model only
- He should not violate the rules of genres and species of writing, and should be attentive to his models’ use of decorum, disposition and language ) this written by
96-Latin authors never discuss poetry or literature as an imitation (mimesis); they only discuss them as …………..
a- an imitation of the Greeks
b- an imitation of the Arab
v 97- Latin authors are familiar with Plato’s and Aristotle’s analysis of poetry. The Poetics or Republic III and X do not seem to have been available to the Romans:
98-Latin authors used poetry and literature for…………..:
b- To sing the national glories of Rome and show off its culture
99-renaissance humanists was emerged in ……… and spread in the rest of Europe
100-they call themself humanist because they want to investigate important question from human prospective
101-Renaissance humanists realised that the Latin they spoke and inherited from the Middle Ages was ……. from classical Latin
v 102-language was divinely instituted, and the connection of words and things and the rules of grammar were not arbitrary this saying belong …….
103-By the 1440s, Italian humanists established the fact that meaning in language is created by ……….. and shaped by history,
104-for the lessons of Rome to be properly grasped, humanists advocated ………
a- the revival of ancient Latin
b- the revival of ancient Greeks
105-. The central tactic in the attack on the monopoly of Latin was the production of grammar books for the vernacular.
v 106-Jacques Peletier (in R. Waswo) said “What sort of nation are we, to speak perpetually with the mouth of another?” he refers to use …….
107-they developed the new European Language in imitation of Latin, by…….
a-invent new vocabulary and grammar rules
v b-appropriating the vocabulary, grammar rules and stylistic features of Latin into the vernaculars
108-“how the Latin tongue became abundant by deriving many words from the Greek this saying belong …..
109-Cicero, Horace, Quintilian and Seneca, European writers also insisted that imitation should lead to ………, at least in principle
110-………. was the champion of Latin imitation. He advised his contemporaries to heed Seneca’s advice
v 111-…………(1512) said that first “we should imitate the one who is best of all.” Then he added “we should imitate in such a way that we strive to overtake him.” Once the model is overtaken, “all our efforts should be devoted to surpassing him.”
112-……….. stressed that the imitative product should not be “the same as the ones we imitate, but to be similar to them in such a way that the similarity is scarcely recognised except by the learned.”
113-……….. started his Arte Poetica (1551) with the command: “direct your eyes, with mind intent, upon the famous examples of the ancient times.”
114-a slight variation of expression and meaning “is necessary to make one a poet.” This saying belong...
115-…………: said in his Discorsi (1554) that after patient study of “good” authors, the writer would find that “imitation [would] change into nature”, that his work would resemble the model not as a copy but “as father is to son.”
116-the terms of the imitation discussions in Italy were almost a carbon copy of Roman discussions, the terms of the French debate, with minor variations, were also almost a carbon copy of the Italian debate
117-despoil” Rome and “pillage” Greece “without conscience.” This saying belong ……
118-The humanists were not philosophers. They were a……..
a-class of professional teachers
b-class of professional writers