LITERARY TERMS

B. A. II ENO

Drama, Myth of Dionysus, Liturgical Drama, Miracle Plays, Mystery Plays, Interlude,
Mimesis, Catharsis, Tragic Hero, Organic Unity, Revenge Tragedy, Poetic Drama, Verse
Drama, Myth & Drama, Ritual & Drama, Yaksgana, Theory, Indian Theory of Drama,
Puppetry, Ardhnarishwra.

1. TRAGIC HERO:

According to Aristotle, tragic hero is a protagonist of tragedy. He will be evoke pity both pity
and terror, he is neither fully good nor bad but is a mixture of both. Tragic hero evokes better
tragic effect if the hero is “better than we are,” and he is of higher than ordinary moral worth.
Tragic hero turns his fortune from happiness to misery because of his wrong choice of an action
such as mistake of judgment due to 'hamartia' i.e. “pride” or overweening self-confidence
which leads a protagonist to catastrophic end.

For example: The tragic hero, like Oedipus moves us to pity because, since he is not an evil
man, his misfortune is greater than he deserves; but he moves us also to fear because we
recognize similar possibilities of error in our own fallible selves.

2. CATHARSIS:

Catharsis was a term used by Aristotle in his book Poetics to describe the effects of on the
audiences. The term comes from Greek word katharsis which means purgation or purity.
Aristotle states that the purpose of tragedy is to arouse “terror and pity” and thereby effect the
catharsis of these emotions in the spectators. By catharsis of emotions, the spectator’s own
anxieties are directed outward through identification with the tragic hero. Thus through
catharsis tragedy has a healthful and humanizing effect on the spectator or the reader.

For example: The tragedies like Romeo and Juliet, Hamlet and Oedipus the King are high-
stakes and emotionally powerful enough to leave the audience feeling purged of those emotions
by the end of the play.

3. ORGANIC UNITY:

The term was first used by Plato in his book The Republic, later it was described by Aristotle
also. It talks about the structure of the art work or writings, which means that the structure of
the art work or literary writings must be internally consistent and compared it to biological
growth. According to his Poetics, the action of a narrative or drama must be presented as “a
complete whole, with its several incidents so closely connected that the transposal or
withdrawal of any one of them will disjoin and dislocate the whole.”

For example:

An example of organic unity in literature is John Donne's poem "The Canonization", which
Cleanth Brooks used to illustrate the importance of a work's ability to maintain a theme and
flow from beginning to end.

4. LITURGICAL DRAMA:

The liturgical drama, in the Middle Ages, referred to a type of play acted within or near the
church and was related to the stories from the Bible and of lives of the saints. The language of
the liturgical dramas' was Latin. The earliest traces of the liturgical drama are found in
manuscripts dating from the 10th century. The liturgical drama gradually increased in both
length and sophistication and flourished particularly during the 12th and 13th centuries. The
most popular themes were derived from colourful biblical tales (Daniel in the lion’s den, the
foolish virgins, the story of the Passion and death of Jesus, etc.) as well as from the stories of
the saints (as the Virgin Mary and St. Nicholas).

For example: The Play of Herod, Quem quaeritis

5. Miracle Plays:

The Miracle plays were based on the lives of the Saints, pious legends, stories from the
Apocryphal Gospels etc., and were used to teach historical truths and about the Catholic Faith.
Miracle Plays, also called Saint’s Plays, were plays dedicated to the lives of various saints,
rather than Biblical events. Just like Mystery Plays the Miracle play originated to enhance the
liturgical services, and were later separated from the church. They were switched to the English
language, became less and less religious, and were performed in town festivals in the thirteenth
century. Most Miracle plays are performed about either St. Nicholas or the Virgin Mary.

For Example: Le Jeu de Saint Nicolas, St. John the Hairy

6. Mystery Plays:

Mystery plays were dramatizations of both the Old and New Testament miracles. Another
popular topic was Christ and his crucifixion and resurrection. In the beginning of the popularity
of Mystery plays the parts in the performance were played by clergymen and other members
of the church. During their peak, Mystery plays were moved out of the church and performed
on wagons and moved about the different towns. The plays did not attempt to achieve unity of
time, place, and action, and therefore they could represent any number of different geographic
locations and climates.

For example: The Chester Cycle , The Second Shepherd's Pageant, Noah's Arc

7. Interlude:

The word comes from a Latin word interludium, which means "between a play. Generally, In
theatre especially drams a short dramatic piece or musical composition that is inserted between
parts of a longer work is called interlude. However, if we talk about early form of English
drama , interlude is considered to be the transition between medieval morality plays and Tudor
dramas. Interludes were performed at court or at “great houses” by professional minstrels or
amateurs at intervals between some other entertainment, such as a banquet, or preceding or
following a play, or between acts. Although most interludes were sketches of a nonreligious
nature, some plays were called interludes that are today classed as morality plays.

For example: John Heywood's The Play of the Wether (1533)

8. Mimesis:

The word is Greek and means “imitation”. The concept of mimesis has its roots in ancient
Greek philosophy, particularly in the works of Plato and Aristotle. Plato, in his dialogues,
criticized art and poetry as mere imitation of an imperfect world, while Aristotle saw mimesis
as a fundamental aspect of art and literature. According to Aristotle, the purpose of mimesis is
to create a cathartic experience for the audience, allowing them to purge their emotions through
the imitation of tragic events.
Overall, the concept of mimesis serves as a mode of analysis in critical literary theory, enabling
scholars and readers to explore how literature represents, imitates, and engages with the world
around us. It provides a framework for understanding the complex relationship between art,
reality, and the act of reading.

For Example: The Catcher in the Rye is an example of mimesis in literature since it portrays
the confusing, rebellious, and turbulent teenage life in real and authentic voices

9. Revenge Tragedy:

Revenge tragedy, is drama in which the dominant motive is revenge for a real or imagined
injury; it was a favourite form of English tragedy in the Elizabethan and Jacobean
eras. Historical periods in England during the 16th and early 17th centuries. These periods are
known for their flourishing of dramatic literature, including the popularization of revenge
tragedies. The revenge drama derived originally from the Roman tragedies of dramatist Seneca
but was established on the English stage by Thomas Kyd with The Spanish Tragedy
(performed c. 1587). Most revenge tragedies end with a scene of carnage that disposes of the
avenger as well as his victims.

For Example: Euripides' 'Medea' , Seneca's 'Thyestes'

10. Drama:
Drama as a standalone concept and within the realm of literature, holds significant importance
as artistic expression. It is a genre that presents a narrative through the enactment of characters
on a stage, often involving dialogue, actions, and conflicts that unfold in front of an audience.
In the domain of literature, drama often refers to written works intended for performance,
encompassing plays and theatrical scripts that are designed to be enacted by actors on a stage.
Characters are the heart of any dramatic work. They drive the plot, convey themes, and engage
the audience emotionally. Characters can be protagonists, antagonists, foils, or supporting
roles. Each character has distinct traits, motivations, and relationships that shape their
interactions and influence the story’s development.

For Example: Shakespeare’s comedy “Much Ado About Nothing”, Tennessee Williams’ “A
Streetcar Named Desire”

11. Poetic Drama:

Poetic drama is a form of drama that emphasizes the use of poetic language and imagery to
convey the emotional and thematic elements of the play. Unlike traditional drama, which often
relies on straightforward dialogue and action, poetic drama uses verse, meter, and other literary
devices to create a more lyrical and symbolic experience for the audience. Poetic drama is a
powerful and evocative form of storytelling that uses the beauty and rhythm of language to
create a deeply emotional and immersive experience for the audience. In modern times, poets
such as T.S. Eliot and W.B. Yeats have also experimented with poetic drama, blending the
techniques of poetry with the conventions of traditional theatre to create unique and innovative
works of art.

For Example: Murder in the Cathedral by T.S. Eliot

12. Verse Drama: Verse drama is any drama written significantly in verse. (that is: with line
endings) to be performed by an actor before an audience. Although verse drama does not need
to be primarily in verse to be considered verse drama, significant portions of the play should
be in verse to qualify.
For a very long period, verse drama was the dominant form of drama in Europe. In most of
Europe, verse drama has remained a prominent art form, while at least popularly, it has been
tied almost exclusively to Shakespeare in the English tradition.

For Example: Goethe's Faust.

13. Myth of Dionysus: The myths of Dionysus have inspired many works of art, literature, and
theatre, and have left a lasting mark on Western culture. Dionysus, in Greco-Roman religion,
is a nature god of fruitfulness and vegetation, especially known as a god of wine and ecstasy.
A son of Zeus and (according to the standard tradition) Semele, he was brought up by the
maenads, or bacchantes. Dionysus had the power to inspire and to create ecstasy, and his cult
had special importance for art and literature.

14. Yaksgana, Theory:

Yakshagana is dance-drama of South India and is associated most strongly with the state
of Karnataka. Elaborate and colourful costumes, makeup, and masks are some of the most-
striking features of the art form. Traditionally, yakshagana was performed in the open air by
all-male troupes sponsored by various Hindu temples. Since the mid-20th century, however,
many performances have been held on indoor stages, and women began to train in the tradition
in the 1970s It has roots in Sanskrit literature and thetre yakshagana emerged as a form of
dance-drama in the 16th century. Yakshagana in its present form is believed to have been
strongly influenced by the Vaishnava Bhakti movement.

15. Puppetry: Puppetry is a type of theatrical art form that involves the manipulation of
inanimate figures by human handlers. Much like other theatrical genres, the type of puppets
used and the themes of the shows vary widely. There are five primary types of puppets, though
in contemporary puppet theatre, there are many variations on these types. The six primary
classifications of puppets include rod puppets, marionettes, hand puppets, shadow puppets, and
Bunraku-style puppets. A puppet is a figure—human, animal, or abstract in form—that is
moved by human, and not mechanical, aid. Puppet shows seem to have existed in almost all
civilizations and in almost all periods. Musical accompaniment is an important feature of many
puppet shows. Lighting effects can also play an important part in a puppet production. The
puppet theatre in the contemporary world faces great difficulties and great opportunities. The
audiences for the traditional folk theatres have almost disappeared.

16. Ardhanarishva: is a form of the Hindu deity Shiva combined with Parvati. Ardhanarishvara
is depicted as half-male and half-female, equally split down the middle. Ardhanarishvara
represents the synthesis of masculine and feminine energies of the universe and illustrates
how Shakti the female principle of God, is inseparable from (or the same as, according to some
interpretations) Shiva, the male principle of God, and vice versa. The union of these principles
is exalted as the root and womb of all creation. Another view is that Ardhanarishvara is a
symbol of Shiva's all-pervasive nature. The right half is usually the male Shiva, illustrating his
traditional attributes.