Program Development: Aesthetics through the Classic Masterpiece Module 2 Module 1: Authors and works reviewed Module 2 Even

during the 19th century, University and/or tutored students learned of classical principles defined by Aristotle, such as the following, which are important to consider. Aristotle had described the Tragedy, which was improvised originally in terms of the Cyclopes popular during those times, as an attempt to convey individuals in a manner which is better than they are currently. On the other hand, comedy attempted to convey those individuals in a manner which is worse than they are currently. The Dorians were dramas (drontasindividuals in action), and their reveling (komazein) in villages (kumai) evoked activities that the poet and/or playwright would record and share with all intention on a scale as grandly constructed as the work itself. Of further relevance is the Elegythe elegiac poet, which referred also to the epic poet, significant characteristics of the dithyramb of the original amphitheater. Does the work evoke transcendence? Does a protagonist begin and complete a course of action that unites instances of reversal and recognition so as to compel katharsis or moments of katharsis? Does chaotic evidence exist of emotions to compel the pity and fear that inhibit the orderly course of action? Do you detect taxonomic principlescomponents of plot, denouement, resolution or antiresolution in a conflicting manner; components of tragedy and dramatic tragedy and mimetic impulse? Do you detect any reversal of fortune (periipeteia)? Does the protagonist experience recognition (anagnorisis) of his/her fate in that reversal of fortune? Aristotle had described the importance of metaphor. Are any metaphors evident in the work? Is any denouement evident as typical and universal consequence or solution to the conflict? Does the diction follow a metrical patternare the strong rhyme and rhythm flowing as music (melopoeia)? Consider evidence of fablecontexture of incidents or plot. Explain. Does the work consist of all of the six components that identify tragedy? Does the work consist of all of the six components that identify tragedy (contexture of incidents or plot), manner, diction, sentiments, decoration, and music? Explain. Is hope evident to transcend or to sense transcendencean escape to resolve problems in the physical world through vision? Does evidence exist of surrealist lyrical qualities that evoke the supernatural? Module 3 Dichotomy: the active real world versus the visionary evoked through reading, outlets of current physical movement and properties, both influencing transcendence of the immediate environment, as prevalent themes of tragedians, for example. Even though some independent writers have varied their meter, rhyme schemes, and style to deviate from classical conventions of epic, tragedy, and comedy, for example, their work nonetheless does follow significantly a varying range of those conventions. Melancholy may vary in intensity from light to revolutionary and nihilistic. The fundamental tragic vision,

however, is basically the samethe spectacle of a highly respected individual whose idealisms, respect, and courage conflict with his/her restricting nature that must hopelessly struggle in an indifferent or rivaling universe. Traditionally, the classic tragic hero was a hero or individual of significant prestige or honor whose significance is undone through a personal flaw (hubris), by the will of a supernatural dimension or through relentless support of a value or desire. Modern tragedy developed from the struggle against fate, or the force of hubris, to the conflict with genealogical, social, psychological, environmental, and semantically idiosyncratic forces. Original tragic plays of Sophocles, Euripedes, and Aeschylus dramatically compelled the audience and reader to pity, fear, sometimes compassion; thereby generating the simultaneous consequence for a katharsis of those emotions. Among the first tragedians, Euripedes innovation of Andromache did convey the message about the unsupportable and needless sinister suffering and inhumane behaviors that prompted and sustained war. The components of tragedy that reveal the mortal struggle against fate or the force of hubris indicate the caustic criticism and subtle analysis of psychological motives through Euripedes characterization, for example. Euripedes even challenged the common Athenian attitude about the subordination of women in his tragedy Alcestis; and, the spiteful Athenian attitude for foreign women in Medea. Furthermore, Euripedes attacked the prevalent attitude and inhumane treatment of illegitimate children in Hippolytus. These tragic plays were introduced by a choral ode, also composed by the tragedian. The other two original tragedians, Sophocles and Aeschyles, also sought to search for effective revelations and insightthe truth and introspective understanding to correct the current brutality of the moral order, which abounded in the massacre and annihilation of entire communities. Through impressive grandeur of language and prolific works, Sophocles and Aeschylus magnificently portrayed and deciphered the conflicts between historic heroes in The Persians and in mythology in Agamemnon, scrutinizing between old and new policy and law in Eumenides, and between supernatural and mortal beings in Prometheus Bound. Another critical issue about the ancient playwrights involves the elaborate and intricate costumery in which the tragedians did clad their characters. Through the scrutiny of these playwrights, innovated through the original Academy and Poetics of Aristotle who began to derive variations of style, the Comedy did evolve through these same tragedians. Thus, a dichotomy of forces prevails in the apocalypse suggested by a physical or communicative property of highest artistic quality. One must observe from his/her real surroundings the work that influences a visionary escape through summaries, dialogues, colors, imagery, and attitudes. One must grasp the components that suggest the mortal dilemma that may be surmounted by transcendence, the process of concepts, conceptualization, progression, socialization, and behaviors. Dating to the first tragedians of ancient times, the first tragedians, Shakespeares Romeo and Juliet is perhaps the most known tragedy today. Family feuding results in misunderstandings and the unnecessary mortality of young lovers, for example. First published in 1562 as a poem by Englishman Arthur Brooke, who had translated Masuccio Salernitanos original version of Il Novellino in 1476, the play had also been treated by Luigi da Porto in approximately 1530 before Shakespeare adapted it to his inkhorn. Beginning with the chorus typical of the ancient tragedy, which introduces the abounding reveling of the Verona households, Montecchi and Capeletti in the Da Porto version; the Montagues and the Capulets in the Shakespeare version, Shakespeare did name the character who advocates for good will

Benito. Benito was an invention that is accredited to the Bard that sought for the reconciliation of family differences that existed between the Montagnes and the Capulets. Hence, one detects that tragedians throughout time have studied the psyche of protagonists and antagonists as they attempt to reveal to their audiences the pitiful mortal conditions that could be resolved conscientiously and diplomatically, rather than through bloodshed and further preventable fatality. Furthermore, the apocalypse and transcendence that the ancients and the inkhorn compel through their treatment of tragic conditions that could be corrected are a part of the aesthetic quality of literary masterpieces. The recounting of the following works is important to understanding Hugo, for example, whose innovations vary to some degree but not considerably from the original ancient poetsplaywrights. They are so important to Hugo, for example, that he refers to them in his work. Even James Joyces Ulysses is an introspective search through his stream-of-consciousness style into the human faculty to generate a solution to the mortal dilemma, and I suggest a review into the psyche of the protagonists and antagonists of these works which present bounding conflicts. Prometheus Bound, The Persians, Hippolytus (which includes Electra, to whom Hugo refers in his Les Annes Funeste), Medea, Trojan Women, Andromache, Helen, and Electra. These introduce us to psychological conditions that influential tragedians attempted to address even during ancient times, from the original Greek Academy. Do these conflicts resolve themselves? That is the foremost question. Pertinent titles that address these issues which one will note in classic masterpieces, such as Hugos Annes Funeste, for example are as follows: Appelbaum, S. (Gen Ed.) & Koss, R. (1997). Aristotle poetics. Mineola, NY: Dover Publications. Aristotle & Butcher, S. H. (2011). The poetics of Aristotle. Martino Fine Books. Eastford, CT: Martino Fine Books. Aristotle, Butcher, S. H. (Translator), & Fergusson, F. (Introduction). (1961). Aristotles poetics (dramabook). NY: Hill and Wang. Asimov, Isaac (1970). Asimovs guide to Shakespeare. NY: Random House Publishing. Dunn, A., & Singer, A. (2000). Literary aesthetics: a reader. Oxford UK: Blackwell Publishers Ltd. Hammond, N. G. L. (2001). Aristotle poetics. University of Copenhagen: Museum Tusculanum Press. Sachs, J. (2001; 2005). Aristotle: poetics. Internet Encycopedia of Philosophy. Retrieved from http://www.iep.utm.edu/aris-poe/