still applied, as well as structural forms like unity and harmatia as defined by Aristotle, through considering the play New York by David Rimmer and A Street Car Named Desire by Tennessee Williams.
New York by David Rimmer acts as a classic instance of the meaning of drama as defined by Aristotle. For Aristotle, reality was imitated by tragedy to purify spectators through rousing terror and pity (Whalley et al 43). While New York is fiction, it captures the real events of 9/11 that turn it into a drama. Reality is displayed via the witnesses and characters of the attack during therapy and the audience can feel the terror endured and the ways in which they are trying to cope with events. Each character raises the question why the terrorists did it and attempts to find any significance in it. The attack was followed by insecurity, distrust, disbelief, and anxiety by the American people. This aspect of reality in fiction let the audience view a wider picture of suffering portended by a need to end the nightmare and an emotional mind state.
In “Poetics”, Aristotle paid attention to plot, which occupied the main attention the soul of tragedy was a metaphor he used to express plot, as the principle that helped to shape actual tragedy from human action (Whalley et al 57). He discussed unity in “Poetics” as indicative of a good plot. New York by David Rimmer adheres to all three unity principles; unity of action, unity of time, and unity of place. The main action in the play is in a therapist’s office and it all occurs in a single day, which adheres to unity of place and time respectively. In addition, all characters tell a personal story related to 9/11 and how it affects their lives, which adheres to the unity of action. A Street Car Named Desire adheres to two rules of unity; unity of place and action. The activity in the play exposes the play’s main theme with each scene having a story that grows apprehension and builds up the story’s tension, adhering