Aristotelian Tragedy

1. Aristotelian Tragedy from The Poetics

2. DEFINITION OF TRAGEDY • “Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions. . . . Every Tragedy, therefore, must have six parts, which parts determine its quality—namely, Plot, Characters, Diction, Thought, Spectacle, Melody.” • The treatise we call the Poetics was composed at least 50 years after the death of Sophocles. Aristotle was a great admirer of Sophocles’ Oedipus the King, considering it the perfect tragedy, and not surprisingly, his analysis fits that play most perfectly. I shall therefore use this play to illustrate the following major parts of Aristotle's analysis of tragedy as a literary genre.

3. Definition Continued • Tragedy is “The imitation of an action” (mimesis) according to “the law of Probability or necessity.” • Tragedy “shows” rather than “tells” • Tragedy more important and philosophical than history because history relates what has happened while tragedy dramatizes what may happen, according to the law of Probability or necessity. • Tragedy is rooted in the fundamental order of the universe

4. Aristotle’s Definition of Tragedy Tragedy depicts the downfall of a basically good person through some fatal error or misjudgment, producing suffering and insight on the part of the protagonist and arousing pity and fear on the part of the audience.

5. Aristotle’s Definition of Tragedy A true tragedy should evoke pity and fear on the part of the audience. Pity and fear are the natural human responses to spectacles of pain and suffering – especially to the sort of pain and suffering that can strike anyone at any time. The effect is that we feel relief in the end through catharsis, and are purged of these feelings.

6. Aristotle’s Definition of Tragedy The tragic hero must be essentially admirable and good. The fall of a scoundrel or villain evokes applause rather than pity. Audiences cheer when the bad guy goes down. We feel compassion for someone we admire when that character is in a difficult situation. The nobler and more admirable the person is, the greater our anxiety or grief at his or her downfall.

7. Aristotle’s Definition of Tragedy In a true tragedy, the hero’s demise must come as a result of some personal error or decision. There is no such thing as an innocent victim in tragedy, nor can a genuinely tragic downfall every be purely a matter of blind accident or bad luck. The tragic hero must always bear at least some responsibility for his own doom.

8. Aristotle’s Definition of Tragedy ANAGORISIS Tragic recognition or insight. A moment of clairvoyant insight or understanding in the mind of the tragic hero as he suddenly comprehends the web of fate in which he is entangled.

9. Aristotle’s Definition of Tragedy HAMARTIA Tragic error. A fatal error or simple mistake on the part of the protagonist that eventually leads to the final catastrophe. A metaphor from archery, hamartia literally refers to a shot that misses the bullseye.

10. Aristotle’s Definition of Tragedy HUBRIS Violent transgression. Hubris is the sort of insolent daring that gets a person in deep trouble. Sometimes translated as ‘false pride’, hubris is a daring overstepping of cultural codes or ethical boundaries.

11. Aristotle’s Definition of Tragedy NEMESIS Retribution. The inevitable payback or cosmic punishment for acts of hubris.

12. Aristotle’s Definition of Tragedy PERIPATEIA Plot reversal. A pivotal or crucial action on the part of the protagonist that changes the situation from seemingly secure to vulnerable.

13. Aristotle’s Definition of Tragedy CATHARSIS Transformation through transaction. A feeling of emotional purging on the part of the audience during a tragedy. The audience feels pity and fear at first, only to feel relief and exhilaration at the end through catharsis.

14. Principles of ImportanceIn Tragedy,According to Aristotle • 1. PLOT • 2. Character • 3. THOUGHT • 4. Diction • 5. SONG or MELODY • 6. Spectacle

15. PLOT • “The arrangement of incidents” • Not the Story itself but the way incidents are presented to the audience. • Tragedies where the outcome depends on a tightly constructed cause-and-effect chain of actions are superior to those that depend primarily on the character and personality of the protagonist.

16. Character • Character will support the plot i.e. personal motivations will be intricately connected parts of the cause-and-effect chain of actions producing pity and fear in the audience. • “Good or fine” • “True to type” • “True to Life” • “Consistent” • “Necessary or probable”

17. Thought • Found “where something is proved to be or not to be, or a general maxim is enunciated.” • Speeches should reveal character • Themes of the play

18. Diction • “expression of the meaning in words” which are proper and appropriate to the plot, characters, and the end of the tragedy. Aristotle is greatly concerned with metaphors “It is the mark of genius, for to make good metaphors implies an eye for resemblances”

19. SONG or MELODY • Musical Element of the Chorus (Narration in Modern storytelling) • Chorus should be fully integrated into the play like an actor, choral odes should not be “mere interludes,” but should contribute to the unity of the plot.

20. SPECTACLE • *Least connected with literature • “The production of spectacular effects depends more on the art of the stage machinist than on that of the poet.” • Deus ex machina “God of the machine”