Comedy and Tragedy According to Aristotle

Comedy and Tragedy | | Comedy According to Aristotle (who speculates on the matter in his Poetics), ancient comedy originated with the komos, a curious and improbable spectacle in which a company of festive males apparently sang, danced, and cavorted rollickingly around the image of a large phallus. (If this theory is true, by the way, it gives a whole new meaning to the phrase "stand-up routine.") Accurate or not, the linking of the origins of comedy to some sort of phallic ritual or festival of mirth seems both plausible and appropriate, since for most of its history--from Aristophanes to Seinfeld--comedy has involved a high-spirited celebration of human sexuality and the triumph of eros. As a rule, tragedies occur on the battlefield or in a palace 's great hall; a more likely setting for comedy is the bedroom or bathroom. On the other hand, it 's not true that a film or literary work must involve sexual humor or even be funny in order to qualify as a comedy. A happy ending is all that 's required. In fact, since at least as far back as Aristotle, the basic formula for comedy has had more to do with conventions and expectations of plot and character than with a requirement for lewd jokes or cartoonish pratfalls. In essence: A comedy is a story of the rise in fortune of a sympathetic central character. The comic hero Of course this definition doesn 't mean that the main character in a comedy has to be a spotless hero in the classic sense. It only means that she (or he) must display at least the minimal level of personal charm or worth of character it takes to win the audience 's basic approval and support. The rise of a completely worthless person or the triumph of an utter villain is not comical; it 's the stuff of gothic fable or dark satire. On the other hand, judging from the qualities displayed by many of literature 's most popular comic heroes (e.g., Falstaff, Huck Finn) audiences have no trouble at all pulling for a