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A research submitted to the Council of the Department of Chemistry in the College of Science
as part of Requirements for obtaining a bachelor's degree in chemistry
م0202 هـ4111
Dedication
To whom do I prefer it over myself, and why not; You sacrificed for me
We walk the paths of life, and those who control our minds remain in every path we take
His kind face, and good deeds. He did not hold back on me all his life (dear father).
To my friends, and all those who stood by me and helped me with whatever they had, in many
ways
First of all, we thank God for all the mercy to enable us to present this project in the best way
we wanted, and we would like to thank our supervisor for this project, (Dr. Bashar) for his
valuable assistance and advice to come up with this project. We thank the faculty and doctors
who gave us all the knowledge. Most of all we are all grateful to our families for their endless
love, help, support and encouragement. And to our friends for their understanding and
1.1.1 tragedy
aristotle identifies tragedy as “an imitation of an movement this is
extreme, complete, and of a certain importance; in language decorated
with each kind of artistic ornament, the several kinds being discovered in
separate components of the play; in the shape of action, not of narrative; with
incidents arousing pity and worry, wherewith to perform its catharsis of
such emotions. . . . each tragedy, therefore, ought to have six components, which
elements decide its excellent—namely, plot, characters, diction, notion,
spectacle, and melody”. (aristotle poetics, 2002, p.ninety)
aristotle keeps to speak about the shape of the perfect tragic plot and
spends numerous chapters on its requirements. he says that the plot need to be
three complete with a specific starting, middle, and cease, and should be goodbye
that the spectators can recognize with out issue each its separate parts
and its normal cohesion. furthermore, the plot calls for one critical subject in
which all factors logically related to display the alternate within the hero's
fortunes, emphasizing the dramatic causation and possibility of events.
in step with aristotle, he indicates to us an appropriate tragic hero. tilak in
his book aristotle's poetics points out "he is a person of normal weakness
and virtues, like ourselves, learning greater to the facet of exact man than
evil". (aristotle poetics, 2002, p.sixty nine) aristotle defines a tragic hero as “a
person who must evoke a experience of pity and fear within the audience. he is
taken into consideration a man of misfortune that involves him through errors of
judgment.” (ibid) a sad hero’s downfall evokes feelings of pity and fear
a number of the target audience. glaringly, we experience pity and worry on the
spectacle of a man like us, suffering now not due to a few deliberate villainy, but
because of some error of judgment the tragic hero isn't evil or vicious, however he is
likewise no longer perfect and his disaster is added upon him with the aid of his very
own fault. the greek phrase used right here is “hamartia” that means “lacking the
mark”. he falls no longer because of the act of outdoor company or evil but due to
hamartia or “miscalculation” on his element. hamartia isn't always a ethical failing and it
is unlucky that it became translated as “tragic flaw”. aristotle himself distinguishes
hamartia from ethical failing. he approach by it some mistakes or judgment. he writes
that the reason of the hero’s fall ought to lie now not in depravity, but in some mistakes
or hamartia on his part. he does no longer assert or deny something approximately the
connection of hamartia with hero’s moral failings. according to aristotle, the tragic hero
need to: first, be virtuous: inside the time of aristotle, which means the man or woman
ought to be noble. it also method. that the man or woman should be capable and strong
(i.e. "heroic"), and additionally sense answerable for the guidelines of honor and ethics
which might be guided via greek culture. these features make the hero attractive and
win the target audience's sympathy. second, be defective: even as heroic, the man or
woman need to also have a tragic flaw (additionally known as hamartia) or usually
problem to human mistakes, and the flaw must lead to man or woman's fall. on the one
hand, those flaws make the private "relatable" with whom the target audience can
become aware of. Similarly crucial, the tragic flaw makes the tragedy extra powerful as
it approach that the source of this tragedy is inner to the persona rather
than merely an outside force. in the maximum a hit tragedies, the tragic
hero's flaw isn’t only a trait similarly to their heroic traits; but it's far a
trait that stems from their heroic traits - as an example, a great pursuit of
justice or fact that leads to horrible conclusions, or hubris (the conceitedness
that often accompanies greatness). in such instances, it is as if the person is
fated to destruction via his very own nature. 0.33, suffer from the mirrored image of
fortune: the character need to suffer from a horrible mirrored image of fortune, from
top to awful. the sort of reflection
doesn’t suggest dropping money or popularity. it way that the paintings should give up
with a useless man or woman or a large struggling, and to a point that exceeds
what it looks like the character deserved. aristotle defined a sad
hero instead strictly as a man of noble birth with heroic features whose
fortunes alternate due to a sad flaw or mistake (often rising from the
individual's own heroic traits) that in the end brings approximately the tragic
hero's terrible, immoderate downfall.