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Tuesday 24 November 2020

1 TO 10 രാമചരിതം ചോദ്യം ഉത്തരം

1) രാമചരിതം ഒരു വിമർശനാത്മക പഠനം എഴുതിയതാര്? ANSWER
2) മലയാളവും തമിഴും തമ്മിലുള്ള സങ്കലനത്തിൽ നിന്ന് രൂപമെടുത്ത കവന രൂപം ? ANSWER
3) ലീലാതിലകം ഒരു ഭാഷാ .............................. ഗ്രന്ഥമാണ്? ANSWER
4) എട്ട് ശിൽപമുള്ള ലീലാതിലകത്തിൽ എത്രാമത്തെ ശിൽപത്തിലാണ് പാട്ടിന്റെ ലക്ഷണം കുറിക്കപ്പെട്ടിരിക്കുന്നത്?? ANSWER
5)പാട്ടു പ്രസ്ഥാനത്തിലെ പ്രഥമ കാവ്യം ? ANSWER
6) രാമചരിതത്തിന്റെ കർത്താവ്? ANSWER
7)എത് വാക്കിന്റെ തത്ഭവമാണ് ചീരാമൻ ? ANSWER
8) രാമചരിതകാരൻ ആദിത്യവർമ്മ മഹാരാജാവാണ് എന്ന് അഭിപ്രായപ്പെട്ടത്?? ANSWER
9)ചീരാമൻ ശിവരാമനാണെന്നഭിപ്രായപ്പെട്ടത്? ? ANSWER
10) ശ്രീവീര രാമവർമ്മയാണ് രാമചരിതകാരനെന്ന് അഭിപ്രായപ്പെട്ടത്? ANSWER

Monday 16 November 2020

KITE VICTERS STD 06 Social science (First Bell-ഫസ്റ്റ് ബെല്‍) ഒരുമിച്ച് കാണാം ഇതുവരെ

 STD 6 -സോഷ്യല്‍ സയന്‍സ് ക്ലാസ്സ്‌ ക്രമത്തില്‍ നല്‍കിയിരിക്കുന്നു. കുട്ടികള്‍ക്കും അധ്യാപകര്‍ക്കും ക്ലാസുകള്‍ എളുപ്പത്തില്‍ കണ്ടുപിടിക്കാം 

  1. യുണിറ്റ് 1: മധ്യകാല ഇന്ത്യ : അധികാര കേന്ദ്രങ്ങള്‍ (ഡല്‍ഹിയുടെ ഭുമി ശാസ്ത്രത്തിലൂടെ)
  2. യുണിറ്റ് 1: മധ്യകാല ഇന്ത്യ : അധികാര കേന്ദ്രങ്ങള്‍ (ഡല്‍ഹി അധികാര കേന്ദ്രം )
  3. യുണിറ്റ് 1: മധ്യകാല ഇന്ത്യ : അധികാര കേന്ദ്രങ്ങള്‍ (ദക്ഷിണേന്ത്യ-പശ്ചമേന്ത്യ അധികാര കേന്ദ്രങ്ങള്‍ 
  4. യുണിറ്റ് 2 . മധ്യകാല ഇന്ത്യ: സമൂഹം, വിഭവം, വിനിമയം (കൃഷിയും കൈത്തൊഴിലും)
  5. യുണിറ്റ് 2 . മധ്യകാല ഇന്ത്യ: സമൂഹം, വിഭവം, വിനിമയം 
  6. യുണിറ്റ് 3: കേരളം :മണ്ണും മഴയും മനുഷ്യനും(ആമുഖം,അയല്‍നടുമായൊരു താരതമ്യം )
  7. യുണിറ്റ് 3: കേരളം :മണ്ണും മഴയും മനുഷ്യനും (കേരളത്തിന്‍റെ ഭുപ്രകൃതി വൈവിധ്യവും കൃഷിയും )Sep 14, 2020
  8. യുണിറ്റ് 3: കേരളം :മണ്ണും മഴയും മനുഷ്യനും (കേരളത്തിന്‍റെ ഭുപ്രകൃതി വൈവിധ്യവും കൃഷിയും )Sep 14, 2020
  9. യുണിറ്റ് 3: കേരളം :മണ്ണും മഴയും മനുഷ്യനും (മാറുന്ന ജീവിത ക്രമം )
  10. യുണിറ്റ് 4:ഉല്പ്പാദന പ്രക്രിയയിലൂടെ (ആമുഖം, എന്താണ് ഉല്പാദനം)
  11. യുണിറ്റ് 4:ഉല്പ്പാദന പ്രക്രിയയിലൂടെ (ഭുമി ,തൊഴില്‍ )
  12. യുണിറ്റ് 4:ഉല്പ്പാദന പ്രക്രിയയിലൂടെ (മൂലധനം ,സംഘാടനം) 
  13. യുണിറ്റ് 5 : ഭുമി കഥയും കാര്യവും (ഭുമിയുടെ ആകൃതി )
  14. യുണിറ്റ് 5: ഭുമി കഥയും കാര്യവും -(അക്ഷാംശം,രേഖാംശരേഖകള്‍)
  15. യുണിറ്റ് 5: ഭുമി കഥയും കാര്യവും (രേഖാംശരേഖകള്‍..)Nov 17, 2020
  16. യുണിറ്റ് 5 :ഭുമി കഥയും കാര്യവും (രാവും പകലും 
  17. യുണിറ്റ് 6 : വൈവിധ്യങ്ങളുടെ ലോകം (മഴയൊഴിയാത്ത ഉഷ്ണഭൂമികള്‍ )
  18. യുണിറ്റ് 6 : വൈവിധ്യങ്ങളുടെ ലോകം(മഴയെത്താത്ത മണല്‍പ്പരപ്പുകള്‍ )
  19. യുണിറ്റ് 6 : വൈവിധ്യങ്ങളുടെ ലോകം (മഞ്ഞുരുകാത്ത നാട്ടില്‍ )
  20. യുണിറ്റ് 7 : മധ്യകാല ഇന്ത്യ: കലയും സാഹിത്യവും (ക്ഷേത്രനിര്‍മ്മാണ രീതി)
  21. യുണിറ്റ് 7 : മധ്യകാല ഇന്ത്യ : കലയും സാഹിത്യവും ( ഇന്‍ഡോ ഇസ്ലാമിക്‌ വാസ്തുവിദ്യ ശൈലി,ഗോഥിക് ശൈലി , )
  22. യുണിറ്റ് 7 : മധ്യകാല ഇന്ത്യ : കലയും സാഹിത്യവും(സംഗീതം,ചിത്രകല,സാഹിത്യം )
  23. യുണിറ്റ് 8 : മധ്യകാല ലോകം :മധ്യകാല യുറോപ്പിലെ സാമൂഹിക അവസ്ഥ )
  24. യുണിറ്റ് 8 : മധ്യകാല ലോകം :
  25. യുണിറ്റ് 9 : മധ്യകാല കേരളം  :പേജ്  133-136 
  26. യുണിറ്റ് 9 : മധ്യകാല കേരളം  : പേജ് 137 മുതല്‍  
  27. യുണിറ്റ് 10 : ജനാധിപത്യവും അവകാശങ്ങളും  : പേജ് 145 മുതല്‍
  28. യുണിറ്റ് 10 : ജനാധിപത്യവും അവകാശങ്ങളും  : പേജ് 150 മുതല്‍
  29. യുണിറ്റ് 11 : സാമൂഹിക ജീവിതത്തിലെ വൈവിധ്യം   : പേജ് 159 മുതല്‍
  30. യുണിറ്റ് 11 : സാമൂഹിക ജീവിതത്തിലെ വൈവിധ്യം   : പേജ് 163 മുതല്‍
  31. യുണിറ്റ് 12 : പ്രകൃതിയുടെ വരദാനം  : പേജ് 173 മുതല്‍

നിറങ്ങള്‍ പഠിക്കാം

വര്‍ണ്ണം              + വര്‍ണ്ണം  =        വര്‍ണ്ണം

ചുവപ്പ്

പച്ച

മഞ്ഞ

ചുവപ്പ്

നീല

മജന്ത 

നീല

പച്ച

സിയാന്‍

കണ്ണിന്റെ ദൃഷ്ടിപടലത്തിൽ പതിക്കുന്ന പ്രകാശരശ്മിയുടെ തരംഗദൈർഘ്യത്തിനനുസരിച്ച് ലഭിക്കുന്ന അനുഭവമാണ്‌ നിറം. അതാര്യവസ്തു പ്രതിഫലിപ്പിക്കുന്നതോ വിസരണം ചെയ്യുന്നതോ ആയ ഘടകപ്രകാശത്തേയും സുതാര്യവസ്തു കടത്തിവിടുന്ന ഘടകപ്രകാശത്തേയും പ്രകാശം പൊഴിക്കുന്ന വസ്തു ഉത്സർജ്ജിക്കുന്ന പ്രകാശത്തേയും അതിന്റെ നിറം എന്നു പറയുന്നു. വിദ്യുത് കാന്തിക വർണ്ണരാജിയിലെ ചെറിയൊരു ഭാഗം മാത്രമേ മനുഷ്യനു നഗ്നനേത്രമുപയോഗിച്ച് കാണാൻ കഴിയുകയുള്ളുവെങ്കിലും അതിനുള്ളിൽ തരംഗദൈർഘ്യത്തിന്റെ ഏറ്റക്കുറച്ചിലനുസരിച്ച് ദശലക്ഷക്കണക്കിനു വ്യത്യസ്തനിറങ്ങൾ മനുഷ്യനു കാണാൻ കഴിവുണ്ട്. ദൃശ്യപ്രകാശത്തിലെ എല്ലാ ഘടകവർണ്ണങ്ങളും പ്രതിഫലിപ്പിക്കുന്ന വസ്തു വെളുപ്പ് നിറത്തിലായിരിക്കും കാണുക. അതുപോലെ ഒരു ഘടകവർണ്ണത്തേയും പ്രതിഫലിപ്പിക്കാത്ത പ്രതലം കറുപ്പുനിറത്തിലും കാണുന്നതായിരിക്കും. 
 
 
                               മനുഷ്യൻ നിറങ്ങളെ വ്യത്യസ്തങ്ങളായി കാണുന്നത് വ്യത്യസ്ത തരംഗദൈർഘ്യത്തിലുള്ള പ്രകാശരശ്മികളെ തിരിച്ചറിയാനുള്ള കണ്ണിലെ ദൃഷ്ടിപടലത്തിന്റെ കഴിവുകൊണ്ടാണ്‌. നിറങ്ങൾ കാണാനായി കണ്ണ് അതിന്റെ ദൃഷ്ടിപടലത്തിലെ കോൺ കോശങ്ങളെ ഉപയോഗിക്കുന്നു. മൂന്നു തരത്തിലുള്ള കോൺ കോശങ്ങളാണ്‌ കണ്ണിലുള്ളത്, തരംഗദൈർഘ്യം തീരെ കുറഞ്ഞവയെ തിരിച്ചറിയാൻ കഴിയുന്നവ അഥവാ എസ് കോൺ കോശങ്ങൾ, ഇടത്തരം തരംഗദൈർഘ്യമുള്ളവയെ തിരിച്ചറിയാൻ കഴിയുന്നവ അഥവാ എം കോൺ കോശങ്ങൾ, കൂടിയ തരംഗദൈർഘ്യമുള്ളവയെ തിരിച്ചറിയാൻ കഴിയുന്നവ അഥവാ എൽ കോൺ കോശങ്ങൾ എന്നിവയാണവ. ഇവയിലോരോ ഇനം മാത്രമാണ്‌ ഉദ്ദീപിക്കപ്പെടുന്നതെങ്കിൽ യഥാക്രമം നീല, പച്ച, ചുവപ്പ് എന്നീ നിറങ്ങൾ കാണുന്നു. തരംഗദൈർഘ്യം വ്യത്യാസപ്പെടുന്നതിനനുസരിച്ച് പ്രകാശരശ്മിയിലെ ഊർജ്ജം വ്യത്യാസപ്പെടുന്നുണ്ട്. ഈ ഊർജ്ജവ്യത്യാസത്താൽ വ്യത്യസ്ത കോശങ്ങൾ വ്യത്യസ്ത അളവിൽ ഉദ്ദീപിക്കപ്പെടുന്നു. ഉദാഹരണമായി 535 നാനോമീറ്റർ തരംഗദൈർഘ്യമുള്ള പ്രകാശരശ്മി കണ്ണിൽ പതിക്കുമ്പോൾ എം കോൺ കോശങ്ങൾ മാത്രമേ ഉദ്ദീപിക്കപ്പെടുന്നുള്ളു, 
 
                                            തത്ഫലമായി നമ്മൾ പച്ചനിറം മാത്രം കാണുന്നു. നിറം തിരിച്ചറിയുന്നതിനായി തലച്ചോർ വ്യത്യസ്ത കോശദ്വയങ്ങൾ (എസ്-എം അഥവാ നീല-പച്ച, എസ്-എൽ അഥവാ നീല-ചുവപ്പ്, എം-എൽ അഥവാ പച്ച-ചുവപ്പ്) നൽകുന്ന വിവരങ്ങൾക്കു പുറമേ കണ്ണിലെ റോഡ് കോശങ്ങൾ നൽകുന്ന കറുപ്പ്-വെളുപ്പ് ദൃശ്യത്തിന്റെ വിവരങ്ങളും സ്വീകരിക്കുന്നുണ്ട്. അതുകൊണ്ട് പ്രകാശം ഉള്ള അവസ്ഥയിലും പ്രകാശം കുറവുള്ള അവസ്ഥയിലും ഒരേ നിറം വ്യത്യസ്തമായി കാണാനിടയുണ്ട്. പ്രകാശം വളരെ കുറവുള്ള അവസ്ഥയിൽ തലച്ചോർ കോൺ കോശങ്ങൾ നൽകുന്ന വിവരങ്ങളെ കണക്കിലെടുക്കാതെ അരണ്ട വെളിച്ചത്തിൽ കൂടുതൽ ക്ഷമതയുള്ള റോഡ് കോശങ്ങൾ നൽകുന്ന വിവരങ്ങളാണ് ദൃശ്യം നിർമ്മിക്കാൻ ഉപയോഗിക്കുക. അതിനാൽ അത്തരം അവസ്ഥയിൽ ദൃശ്യം കറുപ്പും വെളുപ്പുമായിട്ടാവും കാണുക. നീല, പച്ച, ചുവപ്പ് എന്നീ നിറങ്ങളെ പ്രാഥമിക വർണ്ണങ്ങൾ എന്നു വിളിക്കുന്നു.ഒരു സമന്വിത പ്രകാശം വളരെയധികം വർണ്ണങ്ങൾ ചേർന്നതാണെങ്കിലും കണ്ണ് അതിനെ തിരിച്ചറിയുന്നത് ഈ മൂന്നു നിറങ്ങൾ ഉപയോഗിച്ചാണ്‌. തിരിച്ചറിയപ്പെടുന്ന നിറങ്ങൾ ഓരോന്നും ഈ നിറങ്ങളുടെ വ്യത്യസ്ത അളവിലുള്ള സം‌യോജനങ്ങളുടെ ഫലമായിട്ടാണ്‌ ഉണ്ടാകുന്നത്. 
 
                                    കോശങ്ങൾ ഉദ്ദീപിക്കപ്പെടുന്നതിന്റെ അളവിന്റെ വ്യത്യാസമനുസരിച്ചാണ്‌ ഇങ്ങനെ വിവിധ സം‌യോജനങ്ങളുണ്ടാകുന്നത്. പ്രാഥമിക വർണ്ണങ്ങൾ ചേർന്ന് ദ്വിതീയ വർണ്ണങ്ങളായ സിയൻ (നീല-പച്ച), മഞ്ഞ (ചുവപ്പ്-പച്ച), മജന്ത (ചുവപ്പ്-നീല) എന്നീ നിറങ്ങൾ ഉണ്ടാകുന്നു. ദ്വിതീയ വർണ്ണങ്ങൾ തമ്മിലുള്ളതോ, ദ്വിതീയ വർണ്ണങ്ങളും പ്രാഥമിക വർണ്ണങ്ങളും തമ്മിലുള്ളതോ ആയ സംയോജനഫലമായി നിരവധി അനവധി വർണ്ണങ്ങൾ കാണാൻ കഴിയുന്നു. വ്യത്യസ്ത തീവ്രതയിലുള്ള പ്രാഥമിക വർണ്ണങ്ങൾ ചേരുമ്പോഴും വ്യത്യസ്തങ്ങളായ നിരവധി വർണ്ണങ്ങൾ കാണാൻ കഴിയുന്നതാണ്. ടെലിവിഷൻ തുടങ്ങിയ ഉപകരണങ്ങൾ കണ്ണിന്റെ ഈ പ്രത്യേകതയെ അടിസ്ഥാനമാക്കിയാണ് വർണ്ണദൃശ്യങ്ങൾ കാട്ടിത്തരുന്നത്. കണ്ണിലെ ഏതെങ്കിലും വിധത്തിലുള്ള കോൺ‌കോശങ്ങൾക്ക് എന്തെങ്കിലും തകരാറുണ്ടെങ്കിൽ അതും അതിന്റെ സംയോജനത്താലുണ്ടാകുന്ന നിറങ്ങളും കാണുന്നതിൽ ബുദ്ധിമുട്ട് നേരിടുന്നതാണ്, ഈ അവസ്ഥയ്ക്ക് വർണ്ണാന്ധത എന്നുപറയുന്നു.

Saturday 14 November 2020

ARISTOTLE'S -CATHARSIS- A MEDICAL METAPHOR, IT MEANS:

 CATHARSIS "The immense controversy carried on in books, pamphlets and articles, mostly Getman, as to what is that Aristotle really meant by the famous words in the sixth chapter of the Poetics,about tragedy accomplishing the purification of our moods of pity and sympathetic fear is one of the disgraces of the human intelligence, a grostesque monument of sterility". John Morley, quoted in F'L' Lucas, Tragedy. 

CATHARSIS IS A MEDICAL METAPHOR, IT MEANS: 

l. Purgation in the older sense means removal of impure blood from the system by means of bloodletting 

2.ltmeansalsoapartialrernovalofexcess"humours"based on the theory ofthe old school ofhippocrates that on a dye balance of these humours depended the health of the body and the mind alike. 

3. In the modern sense purgation means complete evacuation of waste products, a clearing of the bowelsystem' 

4. Purification in the religious sense' 

5. In Creek medicine any organism could be purged of any undesirableproductbyadministration,injudiciousdoses, ofsomethingsimilar."similiasimilibuscurantur"or"like cures like" as in HomeoPathY' 

6. Itroculation as a method of preventing illnesses' 

7. Excess of anything is unwholesome' The excess has to be tevelled down. Catharsis is a means for it' In this sense Catharsi is a dilution of the tragic feelings' I g. catharsis is rnltaphor in the religious sense also. In that sense it means purifiction. Emotions aroused by the spectacle of evil in ife, moral evil, evil og destruction, wastp and misfortune are deprived of their evil effect and even made beneficial. Themagnitude of evil witnesses prompts us to give up our own, evil tendincies. g. In the purificatory role catharsis creates a situation in which ' the spectators and readers forget themselves and become other centered in relation to the tragic characters' 

10'Psychologicallyitprovidesasafetyvalvefordisturbing feeling accumulated in the mind' 

11. Catharsis means correctio.n of our crude feelings, refinem6nt of passions and sublimation of our psyche' Tragedy effects purgation of prty and fear by its administration of these very emotions, either because they are unwholesome or tend to be excess. This is confirmed by Aristotle's remark elsewhere. ..Exciting music calms those who are already excited". The process is accompanied by feelings of pleasure' Milton supports the ideas in his preface to Samson Agonistes' "To purge the mind of these and similar emotions, to temper and reducethemtojustmeasurewithakindofdelight,stirredupby reading or seeing those passions well imitated; for in physic' things of melancholic quality are used against melansholia". Pity and fear are the doses by which the tragedian homeopathically purges his audience into emotional health' Catharsisisthefunctionoftragedyresrrlting.fromthe essential nature of tragedy. This is his answer to Plaio's charge that poetry hhd a radically vicious efect. 

The idea of catharsis was so familiar to hirn and his pupils that he never stopped t' explain it' Let us see how pU is aroused' A virtuous rnan brought fircm prosperity to adversity does not excite pity' tt merely shocks'A bad man hecorning prosperous is ,ot tragic, does not satisfy lhe morar sense, does not excite pity or I'ear. The lall ol'the villain, on [he other hand. merely satisfies our moral sense. Pity is aroused by seeing unmerited or undeserved misfbrtune; f'ear, seeing the misfbrtune of a man rike us. The tragic hero arouses our emotions by making us admire him when he endures mislbrtune witliout compraining. "The whole effect of tragedy tends to the de_ bility of its spirit, reason releases its hold on conduct, emotion takes charge." Aristotle agrees that it is characteristic of tragedy to arouse emotions which in themserves are dangerous and unwholesome. yet we know that tragedy produces rove and admiration which ue as important as pity and fbar in tragedy. 

Aristotre answers plato by saying that tragedy not onry rouses these emotions but by the way it rouses them, effects a catharsis of them a purgation of them. At one level ofperception the medical anarogy fails. For, tragedy, in order to be curative, must f*st produce the disease ,o ,urr. irugedy produces emotions which in rear life wourd be unpleasant and perhaps dangerously disturbing. According to some scholars, "catharsis of such passions does not mean that they are purified and ennobled or that men are purged of their passions; it means that the passions themselves ur, ,.Ju..d to u healthy, balanced proportion. pythagoreans practised catharsis of the body by medicine, of the soul by music. The pity that tragedy produces is of3 kinds; useful pity, useless pity and rc11'-piry

ARISTOTLE'S -PLOT CONSTRUCTION

 In constructing the plot the poet should place the scene before his eyes. Thus more vividness is achieved. Inconsistencies should be avoided. The poet should work out the play with appropriate gestures. He must emotionalize the incidents and his impgination, must identify himself with the characters. So it becomes more convincing as life-like reality. Poetry implies a frenry or madness, lifting himself out of his self. The story, whether his or not, should be sketched in outline first and then episodes filled in and details amplified. Episodes must be relevant to the action. In drama episodes are short. But these give extension to epic. The story of Odysiiy'is brief; the rest is episode. 

Epic poetry should have as its subject a single action; whole and completb, with a beginning, a middle and an end. It will thus resemble a living'organism. History presents not a single action but a single period and all that happened within that period without any connection. Here lies the excellence of Homer who never attempted to make the whole war of Troy the subject of his poem. He detaches a single portion and admits episodes. For this reason the Illiad and the Odyssey furnish the subject of one tragedy or two. Tragedy depends on h istrionics, demands gesture.

Therefore, it appeals to an inferior audience. It is lower than the epic. But it produces its effect without action even in reading. Tragedy has all epic qualities. Even the epic metre. It attains its end within narrower limits for its concentrated effect is more pleasurable than the diluted and watery effect of epic' Tragedy produces pleasure proper to it, it is the higher art' attaining its end more PerfectlY'

ARISTOTLE'S - PLOT VERSUS CHARACTER

 Aristotle holds the plot to be the most important constituent while character'maintains the second place. By plot be means the structure of incidents or the action that is imitated. He defines tragedy highlighting the significance of the plot. Tragedy is an imitation not of men but of an action of life. Action in Aristotle is not purely external act, but an inward process, a man's rational personality. He agrees that "it is their characters indeed that make men what they are, but it is by reason of their action that they are huppy or otherwise".

 "Happiness or unhappiness is boud up with action not with character". There could not be tragedy without action but there could be one withour character". In the drama the characters are not described, they enact their own story and so reveal themelves. To be deamatic action'is thus an absolute must. The plot, then, is the life blood of the sction. [t emb.races not only ihe deeds, the incidents and situations but also the mental processes€nd motives which underlie the outward events which result from thiiii, _ __- r:,::{--.-, .. ._ Characterconsists of two elements;-Ethos is the moral element in character. It reveals a certain state or direction of will. It is an expression of moral purpose, of the permanent disposition an dtendencies, the tore and sentiment of the individual.

 Dianoeia is the intellectual element which is implied in all rational conduct through which alone ethos can find outward expression. It is separable from ethos only by a process of arbitration. The most important of all the elements of tragedy is the plot or the arrangement of incidents. "Tragedy is an imitation not of men. But of an action and of life, and life consists in action. aristotle says: "Without action there cannot be atragedy; there may be without character". The plot is the first principle and as it were, the soul of tragedy. 

A character by himself cannot produce atragedy. Dramatic action is not aimed at the representation of character Character comes in asa subsidiary to the action. The plot contains the Kernel or the nucleus of that action which is the chief end of tragedy to represent. Plot and character grow harder to separate as the plot takes place more and more inside the character, pnd the crisis of the drama withdraws into the theatre of the soull

ARISTOTLE'S-THE IMPORTANCE OF PLOT

 Plot is the whole situation and a good plot is a significant situation, so arranged that its significance is wrung out of it to the uttermost.... a situation in which characters are caught, tried, perplexed, harassed and put to the test by circumstances. This is whatAeschylus and Sophocles did. Hardy and George Eliot did it. For Shakespeare character is an instrument for creating situations. The characters are thrown up stark against the human skyline under the urge of circumstances. Elemenls of Aristotlean plot have to be chosen and put together as the elements of a picture are composed. It should be accompanied hy constructive imagiiration which pounces upon something significaurt and interesting in life. The plot should have unity-a beginning, a middle and an end.

 The beginning must have something to fbllow, the middle naturally follows, precedes something else, the end is that something else. In spite of diversions and details the piecc should unfoki the author's conception of an individual reacting to certain social tbrces. Mere realism does not meet fuistotle's deniand. He is not concerned with historian,s truth or the analyst's truth. It should be aesthetically revealing. The poet is not concelxed with whal has happehed but. what may happen. So it is universal and philosophic. The poet must have the capacily to discern what is universal, see truth poetically and communicate it.

 A thing is true Ior the poet if it is true for the milieu in which his characters are placed. The poet should prel'er probahle impossibilities to improbable possibilities. The tragic action must be ol'a certain magnitude or size. "Beauty depends'on nragnirucie ind oidei.'i:fhe'ibiioii oi the tragedy may be limited to one day or slightly more, according to Aristotle. The action must be large enough to admit a change from evil to good or from good to evil, large enough to display good and evil adequately. A complex action is better than a simple action. A complex action is one which includes a perpetual or a sudden unexpected turn ofevenls or reversal of the fortunes of the hero. This is accompanied by an anagnorisis or recognition of this turn. A simple plot is to be avoided. Because in it the change of fortune comes about withoutperipeteia or anagnorisis. Peripeteia or reversal of fortune occurs when a course of action intended to produce a particular result, produces the reverse of it. 

Thirs the messenger from Corinth tries to cheer up Oedipus and dispel his fear of marrying his mother, but by revealing who he is, he produces exactly the opposite result. [n the peripeteia, rightly understood, is implied a whole tragic philosophy of life. For the deepest tragedy is not when men are struck down by the flow of change or fate like Job in the Bible, but when their destruction is the work of their own umvitting hands. For it is the perpetual tragic irony of lif'e that again and again men do thus laboriously contrive their ou,n annihilation, or kill the thing they love. 

Thus Oedipus runs headlong into the jaws of the very destiny from which he flies; or Shylock is caught in his own trap; when Othello at last sees himself as one who has flung away like an ignorant savage, the priceless iewel of his own happiness; when King Lear delivers himself into the hands ol'two daughters that despise him and foolishly rejects the only one that loves. All these are peripeteia in the true sense ol'Aristotle. The most poignant tragedy o1'humm life is the rvork of'human blindnecs--thc tragcdy of crrors. Pcripcteia, in short, is thc rvorking in blindness tt) one's dcl'eat. Anagnorisis (recognition) is the rcalization o1'tlie truth, tlie opcning o1 the eyes, the sudden lighting flaslr in the darkness.

 The llasir-o1 revelation may appear, as Aristotle poinrs out, either befbre it is too latc or aftcr... { tcr the catastrophe, scrving only to reveal it, as when I Oedipus disc/' :rs his guilt, or Rustom recognizes the dying son he has himself sll".n. Peripeteia or reversal is a change from one state of afTairs to its opposite, from good fortune to bad. Anagnorisis is a change from ignorance to knowledge. It is best when coincident with peripetia. Both combined will produce pity and fear which are the typical tragic f'eelings. Reversal and recognition are inevitably followed by a scene of sufl'ering or calamity. It involves a destructive or painful action as death on the stage, bodily agony, wounds and the like. Recognition or discovery is of 5 kinds. 

The first type is by means of signs. The signs are of dillerent kinds. (a) congenital marks like warts and moles (b) marks acquired after birth, namely, scars (as in the case of Odysseus) (c) token or necklaces. To use them for express proof is not artistic. The second type is recognition invented by the poet at will, purposively. It lacks eut. An example is Orestes revealing himself to Iphigenia. In eff'ect il is like giving a token. The third type depends on memory when the sight of some obiecs awakens a feeling. For example Odysseus hearing the minstrel play the lyre. The lburth type is by process of reasoning. "Somsone resembling me has come, no onc resembles me but Orcstes; thercfbi'e, Orestr:s has come. Thc last is that which arisc-s li'om the incidents thcmselves rvhr-rc discovcry is ,nadc by nittural Incans. Such are Oedipus arl,l Iplrirrcnia l'hc scr:oltl ircst is hrr t'ciisoning.

ARISTOTLE'S DEFTNITION OF TRAGEDY

 The Poetics of Aristotle constitutes mostly a study of the fundamentals of the art of tragedy leaving comedy out for a variety of reasons of which the most important is that he wanted to take it up in a separate work. The orientation of the Poetics towards tragedy is such that F.L. Lucas's celehrated commentary on it is titled Tragedy. "Tragedy has six constituents. They are plot, character, diction, thought, song and spectacle. Of these, according to Aristotle, the most important is plot. By plot is meant the sequential order or structure of the incidents or the action that is imitated. He defines tragedy in the special context of the overall significance of the plor Tragedy is an imitation not of men, but of an action and of life which consists of action.

 Action in Aristotle is not purely extemal act but an actldeed that makes men what they are, but it is by reason of their actions that they are happy or otherwise. Further more, he holds that,,there could not be a tragedy without plot, but there could be one without charac- !sr." The plot is the first principle and the soul of tragedy, iust as the outline of a portrait is more appealing than the flourish of corours. Life consists in action and not qpalities. Character is the sum toul of all the characteristics of dramatic personal. Thecharacters in the play remain distinguished because of this. 

Yet their qualities and marks of distinction are subordinate to and less important than their actions which make up plot. Diction is the expression ol'meaning through words or arrangements of verses, modes of utterance or art of delivery. Thought comes out in what the characters say proving a point or giving an opinion, pertaining to the given circumstimces. It is the efl'ect produced by speech Song implies the musical presentation of the story. Spectacle is the totality of whatever things presented on the stage with a visual orientation. Plot, character and thought make up the matter of a tragedy. Diction and song are the media. Spectacle implies the manner of the art of dramaturgy. These elements demand integration for the unity and reality of the play. A play like "Oedipus" not only presents a unified and significant image or reality but in itself a form of reality.

ARISTOTLE― THE POETICS-IMITATION

 The concept of imitation or representation is the very foundation ofAristotle's theory of art. Though originally propounded by Plateo, his master, Aristotle gave it an entirely new meaning. According to Plato ideas are the ultimate reality. Things are conceived as ideas before they take shape as things. Atree is thus a concrete embodiment of its image in idea. The idea of everything, therefore, is its originl, and the thing itself is its copy. As the copy ever falls short of the original, it is once removed -from reality. Now art reproduces things. 

SO it copies a copy; it is twice removed from reality. According to Plate, art takes man away from reality rather than towrds it. So the production or art helped neither to mould character not to promote the well being of the state the two things by which Plato judged all human activities. Plato admitted that arthad special charm of its ownand could attract people very powerfully. According to him this made art all the more dangerous to society. 

Unfortunately he was not aware of its potentialities for good, for inspiring people to do noble things to civilize and instruct individuals in their millions. But, according to Aristotle, imitation is neither mechanical nor degrading. It is a creative process owing to the use of imagination. In fact art is n imaginative recreation of life with all objects, beings, actions, thoughts and feelings within its purview. Plato's view of poetry is part of his moral perceptions. But Aritotle views poetry as an independent form of mental activity. I has the purely aesthetic function resulting in the creation of beauty. According to him a work of art is a thing of beauty and it affords pleasure. To be beautiful is part of the essence of a work of art. When we say that a poem is good we say that it is beautiful. Order, proportion.and organic unity all go into the making of the beautiful. 

The moral goodness or evil does not disturb Aristotle much even though he has the well being of society at heart. The process of imitation is such that it brings into existence a new artifact which never existed earlier. All fine arts remain distinguished from other human activities owing to the composite application of experience, imagination, ideals and values with a bearing upon life in general unlike routine acts of every day life. According to Aristotle, the media or means of imitation are rhythm, harmony and language with varying degrees of importance according to the kind of work involved in the creation of art. The object of imitatioq are men in action.

 Divine or semivivine personages and even animals are included. Men in action would mean men in mentaland physicalaction within theircharacteristics, passions and experiences. Poetic imitation is an imitation of inner human action, symbolozed by anger, gentleness, courage etc. The manner or style of imitation varies as the objects are portrayed as better than they are, or worse, or as they really are..In tragedy the representation is as better and in comedy it is as worse. The serious poets generally irritated noble actions while the more trivial wrote about the meaner sort of people. While one type wrote hymns and panegyrics othets wrote satirical pieces. The subdivisions of the three manners or styles mentioned above are such that they speak often as they ought to be or as they are thought to be or as they are said to be. In some cases poetry offers images ofthe ideal, better than that of nature, thus excelling nature. Things or persons as they ought to be need be taken more inan aesthetic sense than in the moral one. The origins of imitation are many. For one thing, the instinct for imitation is inherent in humaq nature. It is man's inalienable right as it were. Secondly the process of imitaion brings man a lot happiness. Thirdly, it satisfies the human craving for finding likenesses or similarities.

 Aristotle's theory of mimesis treats of the perceptive, intuitive imaginative faculty of man. Thus imitation is ofthe essence of man. The act of imitation is beautiful, and it results in beauty. It deals with and deals in beauty. It gives pleasure to people at large. Being persuasive and convincing it q presents as idealised treafinent oflife, takes us nearer to an ideal vision of life. Though it deals with individuals, it aims at universal truth. Since it appeals to our emotions, its appeal is strong. I Imitation, which meant for Plato removal from reality or? distortion of reality, is manipulated by Aristotle to mearr' something apparently better than reality. 

While imitating natural art gives a boost to nature in seeking her goal. Every art ort educational discipline aims at filling "rr.;;;; ,;,r"i r""""..[ undone. Art finishes the job where and when nature fails, or. supplies the missing parts. Art, in having aims, and working by a1 plan or idea, parallels the work of nature. When nature makes a)* horse, an artist makes a poem, an artisan makes a chair, each one,; complementing and supplementing the others. l Aristotle's theory is based not on unrealized ideal but upon the models before him Homer's epics, the dramas ofAeschylus, Sophocles and Euripides. Though he has written only about Greek literature his ideas are of immense signilicance to modern students of riterature.

ARISTOTLE― THE POETICS-Introduction

 By Common consent, Aristotle the great philosopher of fourth c.entury B.C. is considered the father of literary criricism, even thqugh criticism of various kinds existed in fragments before him. . In fdct, his most significant literary pronouncements as preserved in "Th6 Poetics" are replies to his own master's views on fine arts in ggneral and poetry in particular .

 Plato's objections to poetry are to be found in the second, third and tenth books of his celebrazted utopian work, "The Republic". A'triart of his idealised vision of life, with emphasis on , political and moral protection; he fibds poetry more of a hindrance Ithan a help,.in the moulding of an ideal society. Using the word . "mimqsii" whichis loosely translated as imitation, he attempts to prove.that poetry by which was meantthe whole of literature those days is an illusion. For this purpose he makes good use of his lowridEory of ideas or Universals.

 Ideas, according to Plato, are the ultimate reality. Every object is a concentrated form of an idea ror it is an idea incarnate. Therefore, it is once removed from' ,r-eality or and is a copy. Slnce art deals with objects, including the living ones, it is twice rernoved from truth or it copies a copy. : Plqto unfortunately does not find in art anything that can mould . charaiter or promote the welfare'of the state. So he denounces all art as initiative, and thereforl ur,.u", and as immoral since it breeds bad examples set before people in the form of narratives about crime and wicked acts. 

Aristotle's magnumopus, The Poetics, is a fitting reply to Plato's charges against art, especially the art of literature. Since it is in the form of loosely structured lecture notes which he used for his lectures ar Lyceum,. his own school, it lacks in clarity and comprehensiveness. It is an acrobatic book a book to be understood with the help of other books. Though Piato andl . istotle have basically the same approach to Poetry (for L;rerature) as something to be evaluated in terms of its relevance to the whole human living, Aristotle believes that poetry has to be admired and judged as a thing having its own unique character and independent existence.