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Aristotle devotes great attention to the nature, structure and basic elements of the ideal tragic plot.
Tragedy is the depiction of action consisting of incidents and events. Plot is the arrangement of these
incident and events. It contains the kernel of the action. Aristotle says that plot is the first principle, the
soul of tragedy. He lists six formative elements of a tragedy Plot, character, thought, melody,
diction, spectacle and gives the first place to plot.
The Greek word for poet means a maker, and the poet is a maker, not because he makes verses
but he makes plots. Aristotle differentiates between story and plot. The poet need not make his
story. Stories from history, mythology, or legend are to be preferred, for they are familiar and
understandable. Having chosen or invented the story, it must be put to artistic selection and order.
The incidents chosen must be serious, and not trivial, as tragedy is an imitation of a serious action
that arouse pity and fear.
Aristotle says that the tragic plot must be a complete whole. It must have a beginning, a middle and
an end. It must have a beginning, i.e. it must not flow out of some prior situation. The beginning must
be clear and intelligible. It must not provoke to ask why and how. A middle is consequent upon a
situation gone before. The middle is followed logically by the end. And end is consequent upon a
given situation, but is not followed by any further incident. Thus artistic wholeness implies logical linkup of the various incidents, events and situations that form the plot.
The plot must have a certain magnitude or length. Magnitude here means size. It should be neither
too small nor too large. It should be long enough to allow the process of change from happiness to
misery but not too long to be forgotten before the end. If it is too small, its different parts will not be
clearly distinguishable from each other. Magnitude also implies order and proportion and they depend
upon the magnitude. The different parts must be properly related to each other and to the whole. Thus
magnitude implies that the plot must have order, logic symmetry and perspicuity.
Aristotle considers the tragic plot to be an organic whole, and also having organic unity in its action.
An action is a change from happiness to misery or vice versa and tragedy must depict one such
action. The incidents impart variety and unity results by arranging the incidents so that they all tend to
the same catastrophe. There might be episodes for they impart variety and lengthen the plot but they
must be properly combined with the main action following each other inevitably. It must not be
possible to remove or to invert them without injuring the plot. Otherwise, episodic plots are the worst
of all.
'Organic unity' cannot be provided only by the presence of the tragic hero, for many incidents in heros
life cannot be brought into relation with the rest. So there should be proper shifting and ordering of
material.
Aristotle joins organic unity of plot with probability and necessity. The plot is not tied to what has
actually happened but it deals with what may probably or necessarily happen. Probability and
necessity imply that there should be no unrelated events and incidents. Words and actions must be in
character. Thus probability and necessity imply unity and order and are vital for artistic unity and
wholeness.
'Probability' implies that the tragic action must be convincing. If the poet deals with something
improbable, he must make it convincing and credible. He dramatist must procure, willing suspension
of disbelief. Thus a convincing impossibility is to be preferred to an unconvincing possibility.
Aristotle rules out plurality of action. He emphasizes the Unity of Action but has little to say about the
Unity of Time and the Unity of Place. About the Unity of Time he merely says that tragedy should
confine itself to a single revolution of the sun. As regards the Unity of Place, Aristotle said that epic
can narrate a number of actions going on all together in different parts, while in a drama simultaneous
actions cannot be represented, for the stage is one part and not several parts or places.
Tragedy is an imitation of a serious action which arouses pity and fear. Serious means important,
weighty. The plot of a tragedy essentially deals with great moral issues. Tragedy is a tale of suffering
with an unhappy ending. This means that the plot of a tragedy must be a fatal one. Aristotle rules out
fortunate plots for tragedy, for such plot does not arouse tragic emotions. A tragic plot must show the
hero passing from happiness to misery and not from misery to happiness. The suffering of the hero
may be caused by an enemy or a stranger but it would be most piteous when it is by chance caused
by friends and relatives who are his well-wishers.
According to Aristotle, Tragic plots may be of three kinds, (a) Simple, (b) Complex and (c) Plots based
on or depicting incidents of suffering. A Simple plot is without any Peripety and Anagnorisis but the
action moves forward uniformly without any violent or sudden change. Aristotle prefers Complex plots.
It must have Peripeteia, i.e. reversal of intention and Anagnorisis, i.e. recognition of truth. While
Peripeteia is ignorance of truth, Anagnorisis is the insight of truth forced upon the hero by some signs
or chance or by the logic events. In ideal plot Anagnorisis follows or coincides with Peripeteia.
'Recognition' in the sense is closely akin to reversal. Recognition and reversal can be caused by
separate incidents. Often it is difficult to separate the two. Complex plots are the best, for recognition
and reversal add the element of surprise and the pitiable and fearful incidents are made more so by
the shock of surprise.
As regards the third kind of plot, Aristotle rates it very low. It derives its effect from the depiction of
torture, murder, maiming, death etc. and tragic effect must be created naturally and not with artificial
and theatrical aids. Such plots indicate a deficiency in the art of the poet.
In making plots, the poets should make their denouements, effective and successful. Unraveling of
the plot should be done naturally and logically, and not by arbitrary devices, like chance or
supernatural devices. Aristotle does not consider Poetic Justice necessary for Tragedy. He rules out
plots with a double end i.e. plots in which there is happiness for one, and misery for others. Such plots
weaken the tragic effect. It is more proper to Comedy. Thus Aristotle is against Tragi-comedy.
Aristotle's concept of tragedy
The Poetics is chiefly about Tragedy which is regarded as the highest poetic form.
Abercrombie says:
But the theory of Tragedy is worked out with such insight and comprehensions
and it becomes the type of the theory of literature.
Aristotle reveals that imitation is the common basis of all the fine arts which differ from
each other in their medium of imitation, objects of imitation and manner of imitation.
Poetry differs from music in its medium of imitation. Epic poetry and dramatic poetry
differs on the basis of manner of imitation. Dramatic poetry itself is divisible in Tragic or
Comic on the basis of objects of imitation. Tragedy imitates men as better and comedy
as worse then they are. Thus, Aristotle establishes the unique nature of Tragedy.
Aristotle traces the origin and development of poetry. Earlier, poetry was of two kinds.
There were Iambs or Invectives, on one hand, which developed into satiric poetry, and
hymns on the gods or panegyrics on the great, on the other, which developed into Epic
or heroic poetry. Out of Heroic poetry developed Tragedy, and out of satiric came the
Comedy. Both Epic and Tragedy imitate serious subjects in a grand kind of verse but
they differ as Epic imitates only in one kind of verse both for Choral odes and dialogue.
The Epic is long and varied but the Tragedy has greater concentration and effectiveness.
The Epic lacks music, spectacle, reality of presentation and unity of action which the
Tragedy has.
All the parts of an epic are included in Tragedy; but those of Tragedy are not
all of them to be found in the Epic.
Aristotle comes to a consideration of the nature and function of tragedy. He defines
tragedy as:
Secondly, they must be appropriate. They must have the traits of the profession or class
to which they belong. Thirdly, they must have likeness. By likeness he means that the
characters must be life-like. Fourthly, they must have consistency in development. There
should be no sudden and strange change in character.
Aristotle lays down that an ideal tragic hero should not be perfectly good or utterly bad.
He is a man of ordinary weakness and virtues, like us, leaning more to the side of good
than of evil, occupying a position of eminence, and falling into ruin from that eminence,
not because of any deliberate sin, but because of some error of judgment of his part,
bringing about a Catharsis of the emotion of pity and fear.
The plot should arouse the emotions of pity and fear which is the function of tragedy. A
tragic plot must avoid showing (a) a perfectly good man passing from happiness to
misery (b) a bad man rising from misery to happiness (c) an extremely bad man falling
from happiness to misery.
While comparing the importance of Plot and Character, Aristotle is quite definite that Plot
is more important than Character. He goes to the extent of saying that there can be a
tragedy without character but none without plot.
Aristotle emphasizes only one of the three unities, the Unity of Action; he is against
plurality of action as it weakens the tragic effect. There might be numerous incidents but
they must be related with each other, and they must all be conducive to one effect. As
regards the Unity of Time, Aristotle only once mentions it in relation to dramatic Action.
Comparing the epic and the Tragedy, he writes:
Tragedy tries, as far as possible, to live within a single revolution of the sun,
or only slightly to exceed it, whereas the epic observes no limits in its time of
action.
According to Aristotle, the end of poetry is to give pleasure, and tragedy has its own
pleasure beside. Proper aesthetic pleasure can be possible only when the requirements
of morality are satisfied. Verse and rhyme enhance the pleasure of poetry. Peripeteia
and Anagnorisis heighten the seductive power of the action. Pure pleasure results from
the exercise of our emotions and thoughts on the tragic action.
Such are the main features of Aristotle's theory of Tragedy. Aristotle knew only Greek
Tragedy. His conclusions are based entirely on the drama with which he was familiar and
often his views are not of universal application. His view might have been challenged but
their history is the history of Tragedy.
Aristotle's theory of imitation
Aristotle did not invent the term imitation. Plato was the first to use the word in
relation with poetry, but Aristotle breathed into it a new definite meaning. So poetic
imitation is no longer considered mimicry, but is regarded as an act of imaginative
creation by which the poet, drawing his material from the phenomenal world, makes
something new out of it.
In Aristotle's view, principle of imitation unites poetry with other fine arts and is the
common basis of all the fine arts. It thus differentiates the fine arts from the other
category of arts. While Plato equated poetry with painting, Aristotle equates it with
music. It is no longer a servile depiction of the appearance of things, but it becomes a
representation of the passions and emotions of men which are also imitated by music.
Thus Aristotle by his theory enlarged the scope of imitation. The poet imitates not the
surface of things but the reality embedded within. In the very first chapter of the Poetic,
Aristotle says:
Epic poetry and Tragedy, Comedy also and Dithyrambic poetry, as also the
music of the flute and the lyre in most of their forms, are in their general
conception modes of imitation. They differ however, from one another in three
respects their medium, the objects and the manner or mode of imitation,
being in each case distinct.
The medium of the poet and the painter are different. One imitates through form and
colour, and the other through language, rhythm and harmony. The musician imitates
through rhythm and harmony. Thus, poetry is more akin to music. Further, the manner
of a poet may be purely narrative, as in the Epic, or depiction through action, as in
drama. Even dramatic poetry is differentiated into tragedy and comedy accordingly as it
imitates man as better or worse.
Aristotle says that the objects of poetic imitation are men in action. The poet
represents men as worse than they are. He can represent men better than in real life
based on material supplied by history and legend rather than by any living figure. The
poet selects and orders his material and recreates reality. He brings order out of Chaos.
The irrational or accidental is removed and attention is focused on the lasting and the
significant. Thus he gives a truth of an ideal kind. His mind is not tied to reality:
It is not the function of the poet to relate what has happened but what may
happen according to the laws of probability or necessity.
History tells us what actually happened; poetry what may happen. Poetry tends to
express the universal, history the particular. In this way, he exhibits the superiority of
poetry over history. The poet freed from the tyranny of facts, takes a larger or general
view of things, represents the universal in the particular and so shares the philosophers
quest for ultimate truth. He thus equates poetry with philosophy and shows that both
are means to a higher truth. By the word universal Aristotle signifies:
How a person of a certain nature or type will, on a particular occasion, speak
or act, according to the law of probability or necessity.
The poet constantly rises from the particular to the general. He studies the particular
and devises principles of general application. He exceeds the limits of life without
violating the essential laws of human nature.
Elsewhere Aristotle says, Art imitates Nature. By Nature he does not mean the outer
world of created things but the creative force, the productive principle of the universe.
Art reproduce mainly an inward process, a physical energy working outwards, deeds,
incidents, situation, being included under it so far as these spring from an inward, act of
will, or draw some activity of thought or feeling. He renders men, as they ought to be.
The poet imitates the creative process of nature, but the objects are men in action.
Now the action may be external or internal. It may be the action within the soul
caused by all that befalls a man. Thus, he brings human experiences, emotions and
passions within the scope of poetic imitation. According to Aristotle's theory, moral
qualities, characteristics, the permanent temper of the mind, the temporary emotions
and feelings, are all action and so objects of poetic imitation.
Poetry may imitate men as better or worse than they are in real life or imitate as they
really are. Tragedy and epic represent men on a heroic scale, better than they are, and
comedy represents men of a lower type, worse than they are. Aristotle does not discuss
the third possibility. It means that poetry does not aim at photographic realism. In this
connection R. A. Scott-James points out that:
No passage in The Poetics with the exception of the Catharsis phrase has attracted so
much critical attention as his ideal of the tragic hero.
The function of a tragedy is to arouse the emotions of pity and fear and Aristotle
deduces the qualities of his hero from this function. He should be good, but not perfect,
for the fall of a perfect man from happiness into misery, would be unfair and repellent
and will not arouse pity. Similarly, an utterly wicked person passing from happiness to
misery may satisfy our moral sense, but will lack proper tragic qualities. His fall will be
well-deserved and according to justice. It excites neither pity nor fear. Thus entirely
good and utterly wicked persons are not suitable to be tragic heroes.