English Literature
A Summary of Aristotle’s Poetics
Chapter 6
It intones that tragedy is only such under the right dramatic circumstances pertaining to consequences on a large scale as well as a level of seriousness. Tragedy is imitation of action, not men, as it requires a display of character and thought. He states that character is defined by whether they are happy or not and therefore comes second to action. Tragedy is structured by plot, character, thought and diction in that order of importance. The true power of tragedy is felt without need for actors.
Chapter 7
Plot must be made up of a whole (beginning, middle and end) in order to be truly palpable with regards to tragedy. If it is whole, it provides the degree of magnitude required for tragedy. Equally, beauty also relies upon magnitude and order and must be just right for it to be enjoyed – like a poem. Tragedy must be just the right length in order for it to be truly felt and enjoyed.
Chapter 8
The unity of plot does not come down to the completion of the hero’s story but rather the action does. It is plot before character as if a character is removed, it disturbs the whole story.
Chapter 9
The poet must demonstrate an understanding of what could potentially happen as opposed to what has happened. He states that the work of the poet and the historian differ and not only in style, but in substance. However, tragedies must stick to the facts in order to better assert their tragic nature. The poet must be the creator of plots as he deals in actions. ‘Epeisodic’ plots often ruin the natural flow. Tragedy is an imitation of events which create fear and pity.
Chapter 10
A simple plot is where a change of fortune takes place without any reversal of situations or recognition – it just happens naturally. A complex plot is where these things accompany the story usually due to the plot’s structure and the implications of actions.
Chapter 11
Reversal of situation is where the plot switches direction from where the audience were expecting it to go. Recognition sees the characters and/or the audience begin to gain knowledge about proceedings. These are most effective when they happen together. Also, the Scene of Suffering is another aspect of plot and is where some form of extreme suffering is presented – death, for example.
Chapter 13
Perfect tragedy should be a complex plot, not simple due to intricacies. Tragedy must not present a good man as having fallen from grace as this only ever shocks us and, equally, so does a bad man seeing his situation improve. It must satisfy the moral sense and/or induce fear or pity. The tragic character must then be somewhere between the two states whose downfall is due to an error in judgement rather than through bad behaviour.
Chapter 14
The inner structure of the poem/play can induce fear or pity as well as by more obvious means. In this manner, the effect is far more artistic than by means of spectacle. These types of actions must take place between friends to gain the greatest level of tragedy as, between enemies or people who are indifferent to one another, these actions only ever gain pity.
Chapter 15
Character must be made up of four key things: expression (moral purpose to dictate the character’s intentions), propriety, whether they are realistic or not, and consistency – even if they are consistently inconsistent. A character must always be presented as acting in the most probable way and their actions must not demonstrate anything irrational.
