Classic to Modern English Literature

Else's 1986 (p. 159) claims that most interpretations of Aristotle assert he requires some form of pity, fear, and catharsis to be produced in audiences. Because most of these interpretations do not explicitly address the question we aim to answer in this paper, there is some risk of misinterpreting most Aristotle commentators as supporting the position we oppose. However, the overall impression is so strong that we confidently refer to this view as the "common" interpretation. As an analysis of tragedy, the common interpretation is unsatisfactory. It is well-known that people's emotional reactions to the events they witness or hear about depend on their emotional states at the time. If Aristotle truly believed certain emotional responses in audiences were necessary for tragedy, or good tragedy, he would have dedicated at least some pages to preparing people so that exposure to dramatic tragedy would effectively arouse the correct emotions. This Aristotle does not do.

In defining dramatic tragedy, Aristotle appeals in part to the psychological notions of pity, fear, and catharsis. The question to be addressed in this paper is whether, in Aristotle's analysis, the production of pity, fear, and a catharsis of these emotions in audiences—readers, auditors, or viewers—is essential to works of dramatic tragedy, or at least good works of dramatic tragedy. We follow Else (1956, 1986) in holding that it is not. Topics concerning pity, fear, and especially catharsis are some of the most frequently discussed in the literature on Aristotle's analysis of tragedy. However, very rarely in this literature is it explicitly stated that the above question is the one under discussion. Fortenbaugh (1975) and Randall (1960) definitely come down on the opposite side, interpreting Aristotle as holding that the production of these psychological effects by a dramatic work is essential to its being at least a good tragedy. Many commentators, among them Brunius (1966)

‘ My Reminiscences ’ (1912) or “ Jibon Smriti ” was penned by one of India’s most cherished renaissance figures Rabindranath Tagore (1861-1941). The memoir’s  aspect is its “ reflection ”, which introduces Tagore’s life's experiences,  personal growth, offering insights into his family, education, travels as well as encounter with various individuals . During twentieth century, a time of great social and cultural change in india . When it was in British colony , and working towards social and political reforms which inspire him to compose the memoir. At the beginning of the memoir, it is remained Tagore was painting a natural ability to express the obscure feelings.  He expresses , “ Thus, when my opportunity came, did I look and was engrossed .” However, in the part of “ teaching begins ” , Tagore comes to learning preliminary lesson after crossing, “ kara, khala ” series. A member of their family, Kailash Mukherjee who used to recite very quickly for Rabi’s special plea

Robert Browning (1812-1889)was one of the most influential poets of all time. His dramatic monologue was so famous. He often used in his poetry, "Irony, Characterization, Dark Humour, and Social Commentary." However, our poem, "Porphyria's Lover" was first published in the issue of, "Monthly Repository." Browning has used his writing style, dramatic monologue.  In his monologue, he often uses voiced by eccentrics, lunatics, or people under emotional stress. In both "Porphyria's Lover" and "My Last Duchess", he shows a woman who has killed her before. He is telling us about his beloved that how postion, situation, and other, she has taken.  summary:      • THE rain set early in to-night,  ★ The poet here expresses about the rainy season's night.   • The sullen wind was soon awake, ★ He shows an intolerable storm like wind has come to them.  • It tore the elm-tops down for spite, ★He expresses that the storm has broken "e