Rabiul Hasan

একটা মরমন ফেমেলির মেয়ের পড়াশোনা নিয়ে বইটি। তার ভাই সন দুইটা এক্সিডেন্ট করে প্রায় মরতে মরতে বেঁচে উঠে। তার মা ছিল ধাত্রী। টায়লর ভাই ছিল. তার মা কার এক্সিডেন করে। তার বাবা থার্ড ডিগ্রি বার্নের শিকার হয়। টারা ক্যাম্ব্রিজ পড়তে যায়। তার হোমস্কুলিং হয়। পরে পিএইচডি করে। অড্রি তার বোন।
কিওয়ার্ড
- অপ্রেশন
- ফেমিনিজম
- কনফ্লিক্ট
- এডুকেশন
- রিলিজিয়ন
- বিলিফ
- ফেমেলি

Aristotle's Poetics offers a comprehensive framework for understanding and analyzing literary works, especially tragedy.
1. Mimesis (Imitation)
- Aristotle begins with the concept of mimesis or imitation, arguing that art is fundamentally an imitation of life. He posits that humans have a natural inclination towards imitation and that learning through imitation is enjoyable. In the context of literature, this imitation involves representing human actions, characters, and emotions.

2. Catharsis
- A central concept in Aristotle's theory is catharsis, the emotional cleansing or purging that the audience experiences through the emotions of pity and fear. According to Aristotle, experiencing these emotions through drama allows the audience to achieve a state of emotional balance or purification.

3. The Components of Tragedy
- Aristotle breaks down tragedy into six components, listed in order of importance:
1. Plot (Mythos): The sequence of events in the narrative. Aristotle emphasizes the unity of plot, meaning a tragedy should have a beginning, middle, and end, forming a complete and coherent story that follows logically.
2. Character (Ethos): Characters should be well-developed, consistent in their actions, and behave in ways that are appropriate for their roles.
3. Thought (Dianoia): The expression of the themes, ideas, and worldview of the play, often conveyed through the dialogue.
4. Diction (Lexis): The choice of words, which should be fitting for the characters and the style of the work.
5. Melody (Melos): The musical elements of the play, which in the context of Greek drama, included the use of the chorus.
6. Spectacle (Opsis): The visual elements of the production, including scenery, costumes, and special effects. Although Aristotle acknowledges its appeal, he considers spectacle the least important element, as it relies more on the production's budget than on the playwright's skill.

4. The Unity of Plot
- Aristotle argues for the unity of action in a play, asserting that all parts of the plot should be tightly interconnected and relevant to the main storyline. Subplots and extraneous details that do not contribute to the central action or theme should be avoided, as they can dilute the dramatic effect and emotional impact.

5. Complex Plots: Reversal and Recognition
- Aristotle distinguishes between simple and complex plots. A complex plot includes reversal (peripeteia), where the action turns in an unexpected direction, and recognition (anagnorisis), a moment of critical discovery or realization by the protagonist. These elements are crucial for evoking pity and fear, leading to catharsis.

6. Tragic Flaw (Hamartia)
- The concept of hamartia, often translated as a tragic flaw, refers to a mistake or error in judgment made by the protagonist. This flaw leads to the character's downfall, emphasizing the theme of human fallibility and the impact of fate or destiny.

7. Proper Magnitude and Style
- Aristotle also touches on the importance of proper magnitude, suggesting that the story should be comprehensive enough to be understood and remembered, but not so complex that it becomes convoluted. The style of writing should be elevated, using metaphor and sophisticated language appropriate to tragedy.
Aristotle's Poetics is foundational for the analysis of literary works, especially tragedies. By dissecting a work into its components and understanding how they contribute to the overall effect on the audience, Aristotle provides a systematic approach to literary criticism. His emphasis on plot, character development, thematic expression, and the emotional experience of the audience remains relevant in contemporary literary analysis.