根据戏剧《口袋文集》，亚里士多德对一部戏剧的主题几乎没有什么发言权，根本就没有“任何人物的思想都能被他们的语言所影响”。因为他对悲剧的情感方面的关注程度如此之大，这是对怜悯和恐惧的模拟，他似乎不太重视戏剧作为讨论思想的严肃论坛的作用，把他的读者介绍到他的另一部作品中。主题是戏剧讨论的中心思想或观点，在希腊悲剧和后来的戏剧史中非常重要。（坎贝尔，2004:13）。因此，这意味着游戏的主题可以看到人物的语言。主题是从戏剧尤其是希腊悲剧在剧院。主题以后的历史重要的是一个共同的基础，是文学作品中包含的文本的语义结构和相关方程的思想差异（Hartoko在Nurgiyantoro，2002：68）。这一主题从决定事件、冲突和某些情况的相关工作的动机中转移过来。包括其他内在元素，出于这些原因，它应该支持清晰的主题被传达。主题成为整个故事发展的基础，所以它有生命的整个故事的一部分。主题的共同推广，更广泛的和抽象的。
澳洲犯罪学论文代写:口袋文集
According to Drama A Pocket Anthology that Aristotle has relatively little to say about the theme of a play, simply nothing that “Thought of the personages is shown in everything to be effected by their language. Because he focuses to such a large degree on the emotional side of the tragedy-its simulation of pity and fear-he seems to give less importance to the role of drama as a serious forum for the discussion of ideas, referring his readers to another of his works. Theme, the central idea or ideas that a play discusses, is important in Greek tragedy and in the subsequent history of the theatre. (Campbell, 2004:13). Thus, it means that the theme of a play can be seen in personages language. The theme is the important thing to be discussesed in a play especially in Greek tragedy and in subsequent history of theatre.the theme is the idea of a common base that sustains a literary work contained in the text semantic structure and related equations or the differences (Hartoko in Nurgiyantoro, 2002: 68). The theme is shifted from the motives in the relevant work that determines the events, conflicts, and certain situations. Including the other intrinsic elements, for those reason it should be supporting the clarity theme to be conveyed. The theme became the basis of the development of the whole story, so it animates the whole part of the story. The theme has a common generalization, wider and abstract.
