Difference between revisions of "Plot"
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==Origin== | ==Origin== | ||
[https://nordan.daynal.org/wiki/index.php?title=English#ca._1100-1500_.09THE_MIDDLE_ENGLISH_PERIOD Middle English], from [https://nordan.daynal.org/wiki/index.php?title=English#ca._600-1100.09THE_OLD_ENGLISH.2C_OR_ANGLO-SAXON_PERIOD Old English] piece of [[land]], [[plan]] of an area | [https://nordan.daynal.org/wiki/index.php?title=English#ca._1100-1500_.09THE_MIDDLE_ENGLISH_PERIOD Middle English], from [https://nordan.daynal.org/wiki/index.php?title=English#ca._600-1100.09THE_OLD_ENGLISH.2C_OR_ANGLO-SAXON_PERIOD Old English] piece of [[land]], [[plan]] of an area | ||
| − | *[ | + | *[https://en.wikipedia.org/wiki/12th_century before 12th Century] |
==Definitions== | ==Definitions== | ||
*1a : a small area of planted [[ground]] <a vegetable plot> | *1a : a small area of planted [[ground]] <a vegetable plot> | ||
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*5: a graphic [[representation]] (as a chart) | *5: a graphic [[representation]] (as a chart) | ||
==Description== | ==Description== | ||
| − | '''Plot''' is a [[literary]] term defined as the [[events]] that make up a [[story]], particularly as they relate to one another in a [[pattern]], in a [[sequence]], through cause and effect, how the [[reader]] views the story, or simply by [[coincidence]]. One is generally interested in how well this pattern of events accomplishes some artistic or emotional [[effect]]. An intricate, complicated plot is called an imbroglio, but even the [[simplest]] statements of plot may include multiple inferences, as in traditional [ | + | '''Plot''' is a [[literary]] term defined as the [[events]] that make up a [[story]], particularly as they relate to one another in a [[pattern]], in a [[sequence]], through cause and effect, how the [[reader]] views the story, or simply by [[coincidence]]. One is generally interested in how well this pattern of events accomplishes some artistic or emotional [[effect]]. An intricate, complicated plot is called an imbroglio, but even the [[simplest]] statements of plot may include multiple inferences, as in traditional [https://en.wikipedia.org/wiki/Ballad ballads]. |
| − | In his [ | + | In his [https://en.wikipedia.org/wiki/Poetics_(Aristotle) Poetics], [https://en.wikipedia.org/wiki/Aristotle Aristotle] considered plot (''mythos'') the most important element of [[drama]]—more important than [[character]], for example. A plot must have, Aristotle says, a beginning, a middle, and an end, and the [[events]] of the plot must causally relate to one another as being either [[necessary]] or probable. Of the utmost importance to Aristotle is the plot's [[ability]] to arouse [[emotion]] in the psyche of the [[audience]]. In [[tragedy]], the appropriate emotions are [[fear]] and [[pity]], emotions which he considers in his [https://en.wikipedia.org/wiki/Rhetoric_(Aristotle) Rhetoric]. (Aristotle's work on comedy has not survived.) |
| − | Aristotle goes on to consider whether the tragic [[character]] [ | + | Aristotle goes on to consider whether the tragic [[character]] [https://en.wikipedia.org/wiki/Pathos suffers (pathos)], and whether the tragic character [[commits]] the [[error]] with [[knowledge]] of what he is doing. He [[illustrates]] this with the question of a tragic character who is about to kill someone in his [[family]]. |
| − | <blockquote>The worst situation [artistically] is when the personage is with full [[knowledge]] on the point of doing the deed, and leaves it undone. It is odious and also (through the [[absence]] of suffering) untragic; hence it is that no one is made to act thus except in some few instances, e.g., Haemon and Creon in [ | + | <blockquote>The worst situation [artistically] is when the personage is with full [[knowledge]] on the point of doing the deed, and leaves it undone. It is odious and also (through the [[absence]] of suffering) untragic; hence it is that no one is made to act thus except in some few instances, e.g., Haemon and Creon in [https://en.wikipedia.org/wiki/Antigone_(Sophocles) Antigone]. Next after this comes the actual perpetration of the deed meditated. A better situation than that, however, is for the deed to be done in [[ignorance]], and the [[relationship]] [[discovered]] afterwards, since there is nothing odious in it, and the discovery will serve to astound us. But the best of all is the last; what we have in [https://en.wikipedia.org/wiki/Cresphontes Cresphontes], for example, where [https://en.wikipedia.org/wiki/Merope_(wife_of_Cresphontes) Merope], on the point of [[slaying]] her son, recognizes him in time; in [https://en.wikipedia.org/wiki/Iphigenia Iphigenia], where sister and brother are in a like position; and in [https://en.wikipedia.org/wiki/Helle_(mythology) Helle], where the son recognizes his [[mother]], when on the point of giving her up to her [[enemy]].(''[https://www.authorama.com/the-poetics-15.html Poetics book 14]'') [https://en.wikipedia.org/wiki/Plot_%28narrative%29 Source]</blockquote> |
[[Category: Languages and Literature]] | [[Category: Languages and Literature]] | ||
Latest revision as of 02:36, 13 December 2020
Origin
Middle English, from Old English piece of land, plan of an area
Definitions
- 1a : a small area of planted ground <a vegetable plot>
- 2: ground plan, plat
- 3: the plan or main story (as of a movie or literary work)
- 4: perhaps back-formation from complot] : a secret plan for accomplishing a usually evil or unlawful end : intrigue
- 5: a graphic representation (as a chart)
Description
Plot is a literary term defined as the events that make up a story, particularly as they relate to one another in a pattern, in a sequence, through cause and effect, how the reader views the story, or simply by coincidence. One is generally interested in how well this pattern of events accomplishes some artistic or emotional effect. An intricate, complicated plot is called an imbroglio, but even the simplest statements of plot may include multiple inferences, as in traditional ballads.
In his Poetics, Aristotle considered plot (mythos) the most important element of drama—more important than character, for example. A plot must have, Aristotle says, a beginning, a middle, and an end, and the events of the plot must causally relate to one another as being either necessary or probable. Of the utmost importance to Aristotle is the plot's ability to arouse emotion in the psyche of the audience. In tragedy, the appropriate emotions are fear and pity, emotions which he considers in his Rhetoric. (Aristotle's work on comedy has not survived.)
Aristotle goes on to consider whether the tragic character suffers (pathos), and whether the tragic character commits the error with knowledge of what he is doing. He illustrates this with the question of a tragic character who is about to kill someone in his family.
The worst situation [artistically] is when the personage is with full knowledge on the point of doing the deed, and leaves it undone. It is odious and also (through the absence of suffering) untragic; hence it is that no one is made to act thus except in some few instances, e.g., Haemon and Creon in Antigone. Next after this comes the actual perpetration of the deed meditated. A better situation than that, however, is for the deed to be done in ignorance, and the relationship discovered afterwards, since there is nothing odious in it, and the discovery will serve to astound us. But the best of all is the last; what we have in Cresphontes, for example, where Merope, on the point of slaying her son, recognizes him in time; in Iphigenia, where sister and brother are in a like position; and in Helle, where the son recognizes his mother, when on the point of giving her up to her enemy.(Poetics book 14) Source
