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Aristotle's View of Tragedy
In his Poetics, Aristotle claims that comedy shows man to be worse than what he is in real life. In tragedy, however, man is represented as better than he is in actual life. He defines tragedy as "an imitation of an action that is serious, complete, and of a certain magnitude; in a language embellished with each kind of artistic ornament . . . in the form of action, not narrative; with incidents arousing pity and fear, and has as its goal a catharsis of emotions." Thus, he identifies six major features of tragic drama: Plot, Character, Diction, Thought, Spectacle, and Melody.
For Aristotle the most important part of tragedy is the Plot or Action, which is the structure of the incidents. Plot is the very life- blood of tragic drama. Without action, there can be no tragedy, though it is sometimes possible to have a tragedy without character. Any tragic drama must be long enough to depict a reversal, or a change from good fortune to bad in the central figure. It must be so constituted that all its parts combine to form a unified and organic whole.
The tragic dramatist must choose suitably heroic characters and place them in a well-constructed plot which aims at the imitation of such actions as will excite pity and fear in the audience. These twin emotions are the distinctive effects that tragedy aims to invoke. The downfall of a noble, well-renowned, prosperous, and basically good person naturally evokes pity "for his/her misfortune;" it also evokes terror or fear that such misfortunes can easily overtake any human. This leads to an effect of catharsis or purging of the very emotions of pity and terror evoked by tragedy. Because of this catharsis, tragedy has a psychological, as well as a social, dimension since it provides an outlet for undesirable emotions.
Aristotle also draws a distinction between simple and complex plots. He states that more profound tragedy ensues when the playwright skillfully manipulates the actions in a complex plot. Complex action achieves its greatest impact through surprises and astounding revelations. The two devices that give tremendous power to the plot are what the Greeks called "peripeteia" and "anagnorisis". Peripeteia is often wrongly translated as a "reversal of fortune". More correctly, it refers to a reversal of the situation, where the action turns towards a direction just the opposite of its original course. Anagnorisis refers to recognition of a person/situation. It is a change from a state of ignorance to one of knowledge, which produces hate among the characters and the final downfall of the central character. Such changes shown through "Peripeteia/Anagnorisis" must be within the limits of probability and produce the effect of dramatic irony.
Finally, the element of noble Thought gives to tragedy its proper intellectual point of reference. Diction is the playwright's choice of appropriate phraseology for effective communication or maximum effect. Melody and Spectacle are useful embellishments in a tragic play and can be quite entertaining for the audience, though sometimes these, especially the element of spectacle, constitute a distraction from the essence of drama. Aristotle's theories must not be interpreted as rigid rules since they were merely observations about contemporary Greek drama. Taken too literally, strict adherence to the Unities has often resulted in a stilted, artificial, and rigid drama that Aristotle would hardly have advocated.