In what sense could we say / not say that (a) Euripides' "Bacchae" and (b) Williams' "Cat" stand in the Aristotelian tradition of drama? Do you think Aristotle's theory is still relevant today?
The Aristotelian tradition of drama
Aristotle presents one of the earliest philosophical dissertations on literary theory in his poetic theory. Regarded as one of the earliest extant exertions of dramatic theory, Aristotle's poetic theory presents a well-defined classification of drama as well as the rules that preside in the composition of drama such as comedy, tragedy, story play and epic poetry (Eden 4). Aristotle's poetic theory is majorly based on the analysis of plays composed in the fifth Century and during his time (Eden, 2014). Thus, he has become not only an elemental Greek dramatic critic but also one of the primary influences in the literary history. In constructing his theory, Aristotle employs various models in a tragedy such as Euripides and Sophocles. He, however, takes a meager account of Aeschylus whom he felt that did not offer sufficient evidence to be fully accommodated in his theory (Butcher, 1951). Aristotle's chief complaint was that a significant number of the poets of his time often spoiled their work through a rhetorical display. He claimed that an actor was paramount in a play and thus, characters were supposed to be displayed in a way that did not render them less potent than the giants of the former era. Moreover, Aristotle points out that a good drama is characterized by new topics and plot based on new ideas, a factor that most poets lacked.
Aristotle provides that all genres in poetry are synonymous since they are all based on imitation. However, he points out multiple factors that make them appear different from one another; music harmony, meter, and melody, characters' goodness as well as the entire presentation of a story, which can be done by either acting or telling stories. Aristotle thus presents various principles that govern tragedy. He points out that the greatness of a tragedy is based on its distinction in the management of plot and chorus, the beauty of the language as well as the overall decency of conception. Based on the various principles that he believes constitute of a good tragedy, Aristotle cites the "Helena" of Euripides as a distinctive model based on the author's skill in setting up the plot in his work. According to Aristotle, tragic dram must be true based on the fact that they are drawn from ancient mythology. The primary characters in such drama should be persons of mixed nature of great virtues and great vices with both a positive and a negative side. Aristotle argues that presenting a character in such a manner makes him seem real and thus can easily draw sympathy from the audience. Moreover, such characters make it easy to for spectators to draw compassionate emotions thus "purging" the soul through catharsis (Belfiore, 2014). In a tragic drama, crimes should be committed against family members, and that should be done out of free will. According to Aristotle, the primary reason behind this practice is that intentionally committed crimes are usually dramatic and impressive.
According to Aristotle, drama should adhere to three primary unities; unity of time, place and action. The three unities govern how a play should be done regarding time, venue and the events associated with the play. According to the time unity, a play should be limited to a specific duration of averagely a single day. The unity of place limits it into a single locality while the unity of action provides that a play should be limited to a single set of events with a close relationship in cause and effect. This means that a play must have a beginning, middle as well as an end. Aristotle provides that a distinctive drama should include imitations of renowned and perfect action by use of attractive music and dance, which comprise the matter of the poetic creation. Thus the drama should be acted and not narrated (Eden 52). The actions should be such that they are achievable and possible, and not absurd because absurdity exists only outside drama. Thus language, melody, and thyme, which may involve the playing of musical instruments, include three forms of mimesis of drama.
The Aristotelian tradition of drama in Euripides' "Bacchae" and Williams' "Cat"
In constructing his poetic theory, Aristotle considers Euripides as a distinctive model of tragic drama. Therefore, most of Euripides' work can be said to be extensively based on the Aristotelian tradition of drama. This claim can be well reaffirmed from the Euripides' play "Bacchae". This play observes various elements and principles set by Aristotle on how drama should be done. For example, music and dance are widely used in the play as the Bacchae, who are represented in the chorus of the play, constantly worship their God Dionysus through music (Segal, 1997). They are entirely female worshippers from Asia and are strongly connected to their God whom they worship throughout the play. There are other cases of use of music in the play that can be seen in the play (Williams 18). For example, On his revenge mission, Dionysus has cast a spell on his aunt and other women who had refused to worship him and to vindicate his mother and sent dancing and hunting on Mount Cithaeron. According to Aristotle, a tragic drama should be based on a myth to make it appear true to the spectators. This element is well-utilized in Euripides' play "Bacchae." The play is written based on a Greek myth of King Pentheus of Thebes alongside his mother Agave and how they were punished by the god Dionysus who is a cousin to Pentheus. The representation is of main characters is done with the set requirements of the Aristotelian tradition of drama as the main character, Dionysus, who happens to be a god is not a distant presence but a main character in the play. Moreover, the chorus is well intergraded with the plot of the play thus making it easy for the audience to understand.
Like it is the case with Euripides' "Bacchae", Williams play; "Cat on a Hot Tin Roof" is widely based on the Aristotelian tradition of drama. The play, which can be categorized as a modern day work, uses various principles set by Aristotle on tragic drama. Music plays a vital role in the drama besides the good diction that is colorful and imaginative. For example, when Maggie tells Brick in Act One “you have that rare sort of charm that usually only happens in very old or helplessly sick people the charm of the defeated- you look so cool…" (Williams 24). The various crimes committed in the play are committed by family members who make the play more dramatic and impressive. For example, Brick's family is in crisis because the members are untrue to each other, a factor that leads to them getting engaged in acts that hurt their partners. This case is well represented by Brick who a long time has not been fulfilling his wife by sleeping with her.
The two plays adhere to the three unities of dram drawn by Aristotle. According To Aristotle, the unity of time determines how long a play can be acted and it's usually a day which can be affected by insignificancy variation to help the audience remember the play. Although the two plays can be performed on stage in less than a day, the event in the play “Bacchae” are spread and take plays over a wrong period of time, not within 24hours, while in the play by Williams the event are centered on a family gathering one evening during a birthday celebration of Big Daddy Pollitt. The unity of place can also be seen in the two plays. Since a play is to be acted on stage, it should not occupy more space than what can be realistically set on the stage. Thus, drama should take place within one setting, which can be, for example, a sitting room, hall or a marketplace. The play, “Cat on a Hot Tin Roof” adheres to this principle as most of the activities take place inside the room where the family gathering is taking place. On the other hand, the events the play “Bacchae” take place in various area including the mountain, and the village.
The relevance of the Aristotelian tradition of drama today
The Aristotelian tradition of drama which focuses on the work performed in the presence of audience by the actors is still relevance today after many centuries. This is not only on stage performance but also in the modern performing art media such as the television set and the movie screen. Although limited, Aristotle's Poetry dramatic principles are applied in other works of fiction, whether narrated or acted. Aristotle's principles of drama are used in the Western culture to set the standard requirements in drama work. Hollywood, which is one of the largest film-making companies in the world, widely uses Aristotelian drama principles in their work. Despite this success, the Aristotelian tradition of drama has constantly faced much criticism since the ancient times, a factor that can be seen as a potential threat in the near future.
Works cited
Eden, Kathy. Poetic and legal fiction in the Aristotelian tradition. Vol. 480. Princeton:
Princeton University Press, 2014. Print.
Williams, Tennessee. Cat on a Hot Tin roof. London: Bloomsbury Publishing, 2014.
Butcher, Samuel Henry, and John Gassner. Aristotle's theory of poetry and fine art: with a critical text and translation of the Poetics. With a prefatory essay, Aristotelian literary criticism. Vol. 42. Courier Corporation, 1951.
Belfiore, Elizabeth S. Tragic pleasures: Aristotle on plot and emotion. Princeton university press, 2014.
Segal, Charles. Dionysiac Poetics and Euripides' Bacchae. Princeton University Press, 1997.
