Trifles by Susan Glaspell

Exploration to the Text

2. What clues lead the women to conclude that Minnie Wright killed her husband?

Minnie Wright used to be a very happy girl that sang in the choir, but after her marriage      with John Wright, she became unhappy and lonely. The bird she used to have was found dead by Mrs.Hale and Mrs. Peter in a box inside Mrs.Wright sewing basket. The way the bird being killed was same as the way John Wright being murdered. This evidence led the women to conclude that Minnie Wright was the murdered.

3. How do the men differ from the women? from each other?

The men were less attentive and sensitive compared to the women. They just investigated the murder scene which was the room, and went in and out the house but avoided the kitchen where the women found out the evidence. Unlike the women, the men got no any evidence through the investigation they carried on, but the women who just kept staying in the kitchen could concluded that the murderer was Minnie Wright. The men often rejected women’s opinion as the sheriff said that “Women are used to worrying about trifles”.

4. What do the men discover? Why do they conclude “Nothing here but kitchen things”? What do the women discover?

The men discover nothing through the investigation as they walked in and out the house and the upstairs room where John Wright being killed and avoided to step in women’s in charge area like the kitchen which contain the important clues that are merely trifles for the men. This statement can be proved through the line “Nothing here but kitchen things” which obviously minimize women’s in the society. Through the kitchen that the men avoided and refused to enter, the women found out the most important evidence, the dead bird that led them to realize the murderer was Minnie Wright. 

A Research on Major Playwrights

Susan Glaspell

Susan Keating Glaspell was an American famous playwright and writer with the winning of Pulitzer Prize. She was born on 1^th July 1876 at Davenport, Iowa. She enrolled and graduated from Drake University. She then worked as a journalist in a newspaper before her works started to appear in magazines. Glaspell’s major works especially plays were focused on feminism, which dealt with the role of the women plays in society, marriage or family.

Trifles (1916)

An early feminist play by Glaspell because of its two main women characters, Mrs.Hale and Mrs.Peter. These two women were sympathized with the suspects, Mrs.Wright, who was accused for murdering her husband, Mr.Wright. This play was to claim that men are not that attentive and blind during the investigation. Unlike the women were able to sense and knew the truth that the murdered was Mrs.Wright through the evidence in the kitchen, which the men assumed that “Nothing here but kitchen things”. These two women ended up empathized with Mrs.Wright and decided to hide the evidence from the men. Glaspell wrote this play to raise the issue about the role of women in society and the solidarity of women in society as well.

Woman’s Honour (1918)

A satiric comedic play by Susan Glaspell during World War I. Glaspell wrote this play for her hometown, Iowa, in which she satirically critiqued that women at that time must maintain their reputation or honour no matter how in order to retain their social status. This play was satiric depicted a man, Gordon Wallace who was accused of murder reluctantly provide an alibi which he claimed that this alibi will destroyed a woman’s honour. However, his lawyer made known to the public about this news for he thought this was the way to save Wallace. Surprisingly, a long line-up of women willing to save him by sacrificed their honour in providing an alibi, in which the night Wallace spent with.  

Work Cited for Susan Glaspell:

Wikipedia, http://en.wikipedia.org/wiki/Susan_Glaspell .

Annenberg Foundation, http://www.learner.org/interactives/literature/notread/author.html .

Ntu.edu, http://homepage.ntu.edu.tw/~bcla/e_book/78/7808.pdf .

Wikipedia, http://en.wikipedia.org/wiki/Trifles .

Arthur Miller

Arthur Asher Miller was an American famous playwright in Twentieth century. He was born at New York City to a poverty family on 17^th October 1917. He started to write plays during his study in University of Michigan. After graduated, he continued to write plays and radio dramas. Miller tends to focus on the consequences or corruption of morality when one’s betrayed the conscience under the exerted pressure by family and society.

All My Sons (1947)

Miller wrote this play based on a true story told by his mother-in-law during World War II. This play portrayed on how the main character, Joe Keller suffered deconstruction and suicide due to his crime on shipping in a batch of cracked machine parts to the military that ended up caused the death of 21 pilots during World War II. Joe betrayed his consciousness to avoid financial ruin, however, died under his consciousness too.

ACT 1 watch from this link : http://www.youtube.com/watch?v=iqcL1XzlFhw

Death of A Salesman (1949)

A significance play by Miller to criticize the American Dream, and the competitive and materialistic in the American society. Willy Loman, an old salesman who tends to hide his failure and strives for success. He was old enough to unable to differentiate the real life and his imagination. He had had an American Dream, imagined to make a high salary by selling things and get a good salary. However, the real life was not like what he imagined, and because of his American Dream, confliction emerged between him and his son, Biff. He eventually killed himself by crashing his car after noticed that his imagination was unreal and realized his son, Biff had forgave him. This play was to satire that American Dream looks beautiful on the surface but ones should undertake the consequences in order to achieve the dream.

Work Cited for Arthur Miller:

Pearson Education, http://www.infoplease.com/encyclopedia/people/miller-arthur.html .

Wikipedia, http://en.wikipedia.org/wiki/Arthur_Miller .

Shmoop, http://www.shmoop.com/all-my-sons/ .

Shmoop, http://www.shmoop.com/death-of-a-salesman/ .

A Date with a Literary Scholar – Refaat Alareer

Mr.Refaat Alareer is a young academic and writer from Gaza, Palestine. He is also a teacher of English Literature and creative writing at the Islamic-University Gaza. He received a Master in Comparative Literature at University College London, U. of London in 2006 and graduated in 2007.

Summary of the Talk

Mr.Refaat started the talk by briefing us Palestine’s geographical understanding on how Israel occupied Palestine from time to time. The Palestinians are having a hardship during the occupation. Their movements are being controlled. For example, they are not allowed to go to Jerusalem. He stated that the poet at Palestine chose to write poetry through blog because poetry can transcend the social condition. There are a few of famous Palestinian poet that writing in Arabic, such as Mahmoud Darwish and Tamim Bargouti. He said Tamim is the one who always write about life. He is also the one who known as “Revolutionist” that inspired other poets to write poetry through blog. There are also some other poets that write in English, such as Rafeef Ziadah (We Teach Life, Sir), Susan Abulhawa (Wala!) and Remi Kanazi. These poets do not live in Palestine, and Remi Kanazi’s works are major in performance poetry. Besides, Refaat also briefed us on how to start to write a poem. There are some steps that will inspire us in writing poem. Firstly, we should read a lot of good and high quality of poetry. Secondly, we should believe ourselves that we can write good stuff, which means self-confidence. Thirdly, we ourselves must have the will to write a good poem. Next, we should always scribble our thoughts, jot down every single thoughts that come to mind, or freewriting. Then, we can also imitate but of course not to become a copy-cat and be ourselves. We can imitate the style of writing from other poets. He usually included dialogue, performance or drama and Palestine inside his poetry. He also told us about the Olive in Gaza, and olive oil is normally used to relieve the pain.

Q&A

Q: Who is your favourite poet and why?

A: My favourite poet is John Donne and other Romantic poets. I like John Donne’s from the layers of his poems. Other Romantic poets used simple language in their poetry which made it easier to comprehend and understand.

Q: What was the style of poetry before the war and how does it changes during the war?

A: The old themes still apply till now days but the war causes the Palestinian to focus more on writing about the occupation because its their way of resistant.

Q: State of education in Gaza; are women/children receiving equal rights in education?

A: Education is important to us (Palestinians). It is compulsory for us to receive education. There are a lots of female students compared to male. There are universities that offer MA programs but not PHD. The universities offer courses like engineering, religion and others.

Q: What was it like in Palestine especially Gaza before the war?

A: Basically, Palestinians had a simple life, and they depended on agriculture to support their life. Palestinians existed along during the development of Palestine even during the war on how Israel occupied Palestine.

Q: How do you relate to other people’s experiences can have the emotions shown in your writings?

A: Actually, you don’t have to be the person who suffering to understand the hardships, injustice. We need to develop to evolve in so many ways. Occupation is boring, what we can do is to be creative, create our own way in occupation. Do I have to be a mom to write about “Mom”? You don’t have to because you can see your mom or live as a mom.

Comments/Remarks of the Talk

I feel appreciate for born and grow in a country that without war. After listening to the talk by Mr.Refaat, I empathize with the Palestinians on how they survive and struggle for life everyday. They might couldn’t even sleep peacefully because of the war. We are more blessed compared to them. We should treasure for what we have now. Besides, he makes me feel that poetry actually is not that scary by looking at the way he wrote his poetry. For me, his poetry is more to straightforward form. I can easily understand the poetry for the message he wish to express. It is an enjoyable moment when he read his poetry. I can feel his emotion when he read those poetry. His poetry is beautiful and easily to understand. 

Mr.Refaat managed his own blog with plenty of photos and poetry. It is a fun and enjoyable moment to visit his blog once in a while to view and read the poetry, and enjoy the photos as well :)

http://thisisgaza.wordpress.com

Dulce et Decorum Est by Wilfred Owen

Dulce et Decorum Est

                            by Wilfred Owen

Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of disappointed shells that dropped behind.

GAS! Gas! Quick, boys!-- An ecstasy of fumbling,
Fitting the clumsy helmets just in time;
But someone still was yelling out and stumbling
And floundering like a man in fire or lime.--
Dim, through the misty panes and thick green light
As under a green sea, I saw him drowning.

In all my dreams, before my helpless sight,
He plunges at me, guttering, choking, drowning.

If in some smothering dreams you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil's sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,--
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.

 This poem took place in the battlefield of World War I. The speaker started its poem with describing how the soldiers on the battlefield suffered and struggle with death. They were all mentally and physically tortured by the war.

            In the second stanza, we knew that they were attacked by the gas shells. All of the soldiers grabbed on their gas masks in hurry to save their own lives but not all of them get on their masks on time. The speaker through the “green sea” watched them “drowning” and finally went towards death.     

            The poem moved to the time after the war in the third stanza. The images of the dying soldiers always appeared to the speaker everywhere and anytime, even in his dream. “In all my dreams, before my helpless sight, He plunges at me, guttering, choking, drowning.”

            In the final stanza, the speaker said that if only the people witness how cruel the war can be and even gone through the trauma after the war, they might change their mind to fight in the war. The speaker said that war is not something that gorgeous and honour to sacrifice in the war as what they usually thought.

            Suffering is the most suitable theme for this poem. Throughout the poem, the soldiers suffered not only physically pain, but also psychologically trauma even after the war. As for the speaker, he was attacked by the gas shells and after the war, he was caught by the images of the dying soldiers that he witnessed them to die in the gas-attack. The speaker suffered both pain from the past and present. He then argued that war is not the nice place to fight in, and is something that is so cruel and painful. 

Work Cited:

English Emory Education, http://www.english.emory.edu/LostPoets/Dulce.html .

What is Poetry? What is Drama?

What is Poetry?

Poetry is an art form in which human language is used for its aesthetic qualities in addition to, or instead of, its notional and semantic content. It consists largely of oral or literary works in which language is used in a manner that is felt by its user and audience to differ from ordinary prose.

It may use condensed or compressed form to convey emotion or ideas to the reader's or listener's mind or ear; it may also use devices such as assonance and repetition to achieve musical or incantatory effects. Poems frequently rely for their effect on imagery, word association, and the musical qualities of the language used. The interactive layering of all these effects to generate meaning is what marks poetry.

Because of its nature of emphasising linguistic form rather than using language purely for its content, poetry is notoriously difficult to translate from one language into another: a possible exception to this might be the Hebrew Psalms, where the beauty is found more in the balance of ideas than in specific vocabulary. In most poetry, it is the connotations and the "baggage" that words carry (the weight of words) that are most important. These shades and nuances of meaning can be difficult to interpret and can cause different readers to "hear" a particular piece of poetry differently. While there are reasonable interpretations, there can never be a definitive interpretation.

Types of Poetry

When studying poetry, it is useful first of all to consider the theme and the overall development of the theme in the poem. Obviously, the sort of development that takes place depends to a considerable extent on the type of poem one is dealing with. It is useful to keep two general distinctions in mind (for more detailed definitions consult Abrams 1999 and Preminger et al 1993): lyric poetry and narrative poetry.

Lyric Poetry

A lyric poem is a comparatively short, non-narrative poem in which a single speaker presents a state of mind or an emotional state. Lyric poetry retains some of the elements of song which is said to be its origin: For Greek writers the lyric was a song accompanied by the lyre.

Subcategories of the lyric are, for example elegy, ode, sonnet and dramatic monologue and most occasional poetry:

In modern usage, elegy is a formal lament for the death of a particular person (for example Tennyson’s In Memoriam A.H.H.). More broadly defined, the term elegy is also used for solemn meditations, often on questions of death, such as Gray's Elegy Written in a Country Churchyard.

Nature, Red in Tooth and Claw (In Memoriam A.H.H.)

Are God and Nature then at strife,

That Nature lends such evil dreams?

So careful of the type she seems,

So careless of the single life;

That I, considering everywhere

Her secret meaning in her deeds,

And finding that of fifty seeds

She often brings but one to bear,

I falter where I firmly trod,

And falling with my weight of cares

Upon the great world's altar-stairs

That slope thro' darkness up to God,

I stretch lame hands of faith, and grope,

And gather dust and chaff, and call

To what I feel is Lord of all,

And faintly trust the larger hope.

An ode is a long lyric poem with a serious subject written in an elevated style. Famous examples are Wordsworth’s Hymn to Duty or Keats’ Ode to a Grecian Urn.

The sonnet was originally a love poem which dealt with the lover’s sufferings and hopes. It originated in Italy and became popular in England in the Renaissance, when Thomas Wyatt and the Earl of Surrey translated and imitated the sonnets written by Petrarch (Petrarchan sonnet). From the seventeenth century onwards the sonnet was also used for other topics than love, for instance for religious experience (by Donne and Milton), reflections on art (by Keats or Shelley) or even the war experience (by Brooke or Owen). The sonnet uses a single stanza of (usually) fourteen lines and an intricate rhyme pattern (see stanza forms). Many poets wrote a series of sonnets linked by the same theme, so-called sonnet cycles (for instance Petrarch, Spenser, Shakespeare, Drayton, Barret-Browning, Meredith) which depict the various stages of a love relationship.

In a dramatic monologue a speaker, who is explicitly someone other than the author, makes a speech to a silent auditor in a specific situation and at a critical moment. Without intending to do so, the speaker reveals aspects of his temperament and character. In Browning's My Last Duchess for instance, the Duke shows the picture of his last wife to the emissary from his prospective new wife and reveals his excessive pride in his position and his jealous temperament.

Occasional poetry is written for a specific occasion: a wedding (then it is called an epithalamion, for instance Spenser’s Epithalamion), the return of a king from exile (for instance Dryden’s Annus Mirabilis) or a death (for example Milton’s Lycidas), etc.

Narrative Poetry

Narrative poetry gives a verbal representation, in verse, of a sequence of connected events, it propels characters through a plot. It is always told by a narrator. Narrative poems might tell of a love story (like Tennyson's Maud), the story of a father and son (like Wordsworth's Michael) or the deeds of a hero or heroine (like Walter Scott's Lay of the Last Minstrel).

Sub-categories of narrative poetry:

Epics usually operate on a large scale, both in length and topic, such as the founding of a nation (Virgil’s Aeneid) or the beginning of world history (Milton's Paradise Lost), they tend to use an elevated style of language and supernatural beings take part in the action.

The mock-epic makes use of epic conventions, like the elevated style and the assumption that the topic is of great importance, to deal with completely insignificant occurrences. A famous example is Pope's The Rape of the Lock, which tells the story of a young beauty whose suitor secretly cuts off a lock of her hair.

The Rape of The Lock – Alexander Pope

Canto I

What dire Offence from am'rous Causes springs,

What mighty Contests rise from trivial Things,

I sing-This verse to CARYL, Muse! is due;

This, ev'n Belinda may vouchsafe to view:

Slight is the Subject, but not so the Praise,

If She inspire, and He approve, my Lays.

Say what strange Motive, Goddess! cou'd compel

A well-bred Lord t'assault a gentle Belle?

Oh say what stranger Cause, yet unexplor'd,

Cou'd make a gentle Belle reject a Lord?

In tasks so bold, can little Men engage,

                                                                                   And in soft Bosoms, dwell such mighty Rage?

Sol through white Curtains shot a tim'rous Ray,

And ope'd those Eyes that must eclipse the Day:

Now Lap-dogs give themselves the rouzing Shake,

And sleepless Lovers, just at Twelve, awake:

Thrice rung the Bell, the Slipper knock'd the Ground,

And the press'd Watch return'd a silver sound,

Belinda still her downy Pillow prest,

Her guardian Sylph prolng'd the balmy rest.

'Twas he had summon'd to her silent Bed

The Morning Dream that hover'd o'er her Head.    The Dream (Beardsley)

A Youth more glitt'ring than a Birth-night Beau

(That ev'n in slumber caus'd her Cheek to glow)     The Dream (Du Guernier)

Seem'd to her Ear his winning Lips to lay,

And thus in Whispers said, or seemed to say.      The Dream...(Fuseli)

Fairest of Mortals, thou distinguish'd Care

Of thousand bright Inhabitants of Air!

If e'er one Vision touch'd thy infant Thought,

Of all the Nurse and all the Priest have taught,

Of airy Elves by Moonlight Shadows seen,

The silver Token, and the Circled Green,

Or Virgins visited by Angel-powers

With Golden Crowns and Wreaths of heav'nly Flow'rs;

Hear and believe! thy own Importance know,

Nor bound thy narrow Views to things below.

Some secret Truths, from Learned Pride conceal'd,

To Maids alone and Children are reveal'd:

What tho' no Credit doubting Wits may give?

The Fair and Innocent shall still believe.

Know then, unnumber'd Spirits round thee fly,

The light Militia of the lower sky:

These, tho' unseen, are ever on the Wing,

Hang o'er the Box, and hover round the Ring.

Think what an Equipage thou hast in Air,

And view with scorn Two Pages and a Chair.

As now your own, our Beings were of old,

And once inclos'd in Woman's beauteous Mold;

Thence, by a soft Transition, we repair

From earthly Vehicles to these of Air.

Think not, when Woman's transient Breath is fled,

That all her Vanities at once are dead.

Succeeding Vanities she still regards,

And tho' she plays no more, o'erlooks the Cards.

Her Joy in gilded Chariots, when alive,

And love of Ombre, after Death survive.

For when the Fair in all their Pride expire,

To their first Elements the Souls retire:

The Sprites of fiery Termagants in Flame

Mount up, and take a Salamander's name.

Soft yielding Minds to Water glide away,

And sip, with Nymphs, their elemental Tea.

The graver Prude sinks downward to a Gnome,

In search of Mischief still on Earth to roam.

The light Coquettes in Sylphs aloft repair,

And sport and flutter in the Fields of Air.

Know further yet; Whoever fair and chaste

Rejects Mankind, is by some Sylph embrac'd:

For Spirits, freed from mortal Laws, with ease

Assume what Sexes and what Shapes they please.

What guards the Purity of melting Maids,

In Courtly Balls, and Midnight Masquerades,

Safe from the treach'rous Friend, the daring Spark,

The Glance by Day, the Whisper in the Dark;

When kind Occasion prompts their warm Desires,

When Music softens, and when Dancing fires?

'Tis but their Sylph, the wise Celestials know,

Tho' Honour is the Word with Men below.

Some Nymphs there are, too conscious of their Face,

For Life predestin'd to the Gnomes' Embrace.

Who swell their Prospects and exalt their Pride,

When Offers are disdain'd, and Love deny'd.

Then gay Ideas crowd the vacant Brain,

While Peers and Dukes, and all their sweeping Train,

And Garters, Stars, and Coronets appear,

And in soft sounds, Your Grace salutes their Ear.

'Tis these that early taint the Female Soul,

Instruct the eyes of young Coquettes to roll,

Teach Infant Cheeks a bidden Blush to know,

And little Hearts to flutter at a Beau.

Oft when the World imagine Women stray,

The Sylphs through Mystic mazes guide their Way.

Thro' all the giddy Circle they pursue,

And old Impertinence expel by new.

What tender Maid but must a Victim fall

To one Man's Treat, but for another's Ball?

When Florio speaks, what Virgin could withstand,

If gentle Damon did not squeeze her Hand?

With varying Vanities, from ev'ry Part,

They shift the moving Toyshop of their Heart;

Where Wigs with Wigs, with Sword-knots Sword-knots strive,

Beaux banish Beaux, and Coaches Coaches drive.

This erring Mortals Levity may call,

Oh blind to Truth! the Sylphs contrive it all.

Of these am I, who thy Protection claim,

A watchful Sprite, and Ariel is my name.

Late, as I rang'd the crystal Wilds of Air,

In the clear Mirror of thy ruling Star

I saw, alas! some dread Event impend,

Ere to the Main this morning's Sun descend,

But Heav'n reveals not what, or how, or where:

Warn'd by thy Sylph, oh pious Maid beware!

This to disclose is all thy Guardian can.

Beware of all, but most beware of Man!

He said: when Shock, who thought she slept too long,

Leap'd up, and wak'd his Mistress with his Tongue.

'Twas then, Belinda! if Report say true,

Thy Eyes first open'd on a Billet-doux;     The Billet-doux (Beardsley)

Wounds, Charms, and Ardors, were no sooner read,

But all the Vision vanish'd from thy Head.

And now, unveil'd, the Toilet stands display'd,

Each Silver Vase in mystic Order laid.

First, rob'd in White, the Nymph intent adores

With Head uncover'd, the Cosmetic Pow'rs.

A heav'nly Image in the Glass appears,      The Toilette (Beardsley)

To that she bends, to that her Eyes she rears;

Th' inferior Priestess, at her Altar's side,

Trembling, begins the sacred Rites of Pride.

Unnumber'd Treasures ope at once, and here

The various Off'rings of the World appear;

From each she nicely culls with curious Toil,

And decks the Goddess with the glitt'ring Spoil.

This casket India's glowing Gems unlocks,

And all Arabia breathes from yonder Box.

The Tortoise here and Elephant unite,

Transform'd to Combs, the speckled and the white.

Here Files of Pins extend their shining Rows,

Puffs, Powders, Patches, Bibles, Billet-doux.

Now awful Beauty puts on all its Arms;

The Fair each moment rises in her Charms,

Repairs her Smiles, awakens ev'ry Grace,

And calls forth all the Wonders of her Face;

Sees by Degrees a purer Blush arise,

And keener Lightnings quicken in her Eyes.

The busy Sylphs surround their darling Care;

These set the Head, and those divide the Hair,

Some fold the Sleeve, whilst others plait the Gown;

And Betty's prais'd for labours not her own.

A ballad is a song, originally transmitted orally, which tells a story. It is an important form of folk poetry which was adapted for literary uses from the sixteenth century onwards. The ballad stanza is usually a four-line stanza, alternating tetrameter and trimeter.

Descriptive and Didactic Poetry

Both lyric and narrative poetry can contain lengthy and detailed descriptions (descriptive poetry) or scenes in direct speech (dramatic poetry).

The purpose of a didactic poem is primarily to teach something. This can take the form of very specific instructions, such as how to catch a fish, as in James Thomson’s The Seasons (Spring 379-442) or how to write good poetry as in Alexander Pope’s Essay on Criticism. But it can also be meant as instructive in a general way. Until the twentieth century all literature was expected to have a didactic purpose in a general sense, that is, to impart moral, theoretical or even practical knowledge; Horace famously demanded that poetry should combine prodesse (learning) and delectare (pleasure). The twentieth century was more reluctant to proclaim literature openly as a teaching tool.

What is Drama?

‘Drama’ is an Ancient Greek word meaning ‘act’ or ‘deed’. The Ancient Greek philosopher Aristotle used this term in a very influential treatise called the Poetics. In this text, Aristotle classified different forms of poetry according to basic features he thought could be commonly recognized in their composition. He used the term ‘drama’ to describe poetic compositions that were ‘acted’ in front of audiences in a theatron.

While Aristotle offered drama as a general term to describe forms of poetry that were ‘acted’, he identified different types of composition within this category, including comedy and tragedy. He regarded comedy as a form of drama because it represented acts that made audiences laugh and he considered tragedy a form of drama because it represented acts that made audiences feel pity or fear. The Roman theorist Horace introduced another view of these poetic forms when he suggested that their purpose was to either delight or instruct. Although various definitions and developments in drama must be considered in addition to Aristotle’s original assessment of dramas, many of the terms of classification he introduced are still used or debated today.

Work Cited:

Poetry.org. http://www.poetry.org/whatis.htm , 2005.

 Poetry02. http://www2.anglistik.uni-freiburg.de/intranet/englishbasics/PoetryTypes01.htm

Wikipedia. http://en.wikipedia.org/wiki/In_Memoriam_A.H.H.

Umass.edu. http://people.umass.edu/sconstan/poem1c1.html

Australia Catholic University.  http://dlibrary.acu.edu.au/faculties/learndrama/what_drama.htm . 2005