“Definition of Tragedy” by Aristotle: An Extract from Poetics

Introduction: “Definition of Tragedy” by Aristotle

“Definition of Tragedy” by Aristotle is an extract from his seminal work Poetics published circa 335 BC. Aristotle defines tragedy as “the 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; through pity and fear effecting the proper purgation of these emotions.” This definition, translated by S. H. Butcher in 1895, has maintained its relevance over time due to its comprehensive nature. Aristotle’s focus on the emotional impact of tragedy, specifically the arousal of pity and fear leading to catharsis, resonates even today. Moreover, his emphasis on the structural elements of plot, character, and language provides a framework for analyzing and understanding dramatic works across cultures and eras. While interpretations and applications may have evolved, the core principles articulated by Aristotle continue to serve as a cornerstone in the study and appreciation of tragic literature

Summary of “Definition of Tragedy” by Aristotle

Literary Terms in “Definition of Tragedy” by Aristotle

Literary Term	Aristotle’s Definition	Explanation
Imitation (Mimesis)	The act of creating a representation of reality.	Tragedy is an imitation of a serious action, meaning it portrays human experiences and emotions in a heightened and dramatic way.
Action (Praxis)	A sequence of events with a beginning, middle, and end.	The plot of a tragedy revolves around a significant action or series of actions that drive the narrative and lead to a resolution.
Serious	Dealing with weighty and meaningful themes.	Tragedy explores profound human experiences, moral dilemmas, and the consequences of choices, often leading to suffering or downfall.
Complete	Having a clear beginning, middle, and end.	A tragedy follows a unified plot structure with a clear arc of events, leading to a logical conclusion.
Magnitude	Possessing a certain importance and grandeur.	The actions and consequences in a tragedy are significant and impactful, often involving characters of high social standing or dealing with universal themes.
Plot (Mythos)	The arrangement of incidents in a narrative.	The plot is the backbone of a tragedy, determining the sequence of events, the conflicts that arise, and the ultimate resolution.
Character (Ethos)	The moral and ethical qualities of a person.	The characters in a tragedy are defined by their personalities, motivations, and choices, which shape the events of the play.
Thought (Dianoia)	The ideas and reasoning behind a character’s actions.	Thought refers to the intellectual and philosophical aspects of a tragedy, including the characters’ motivations and the underlying themes explored in the play.
Diction (Lexis)	The choice and arrangement of words in language.	Diction encompasses the poetic language, dialogue, and imagery used in a tragedy to convey meaning and evoke emotions.
Song (Melos)	The musical element of a play, including choral odes and lyrical passages.	Song adds an emotional and rhythmic dimension to tragedy, often commenting on the action or expressing the characters’ inner feelings.
Spectacle (Opsis)	The visual aspects of a play, including costumes, scenery, and stage effects.	Spectacle enhances the visual appeal of a tragedy, creating atmosphere and contributing to the overall impact of the performance.

Literary Theory and “Definition of Tragedy” by Aristotle

• Formalism: Aristotle’s “Poetics” aligns with Formalism due to its emphasis on the structural elements of tragedy. He meticulously dissects plot, character, diction, thought, song, and spectacle, highlighting their individual contributions and interconnectedness within the whole. His analysis prioritizes the internal workings of the text itself, examining how these elements create the desired emotional and intellectual impact on the audience. This focus on form and structure resonates with Formalist principles, which prioritize the analysis of literary techniques and devices over external factors like authorial intent or historical context.
• Reader-Response Criticism: While Aristotle’s primary focus is on the objective qualities of tragedy, his definition also inadvertently invites reader-response interpretations. His emphasis on the evocation of pity and fear, leading to catharsis, acknowledges the emotional experience of the audience. This emotional response is subjective and varies from individual to individual, aligning with reader-response criticism’s emphasis on the reader’s personal interpretation and engagement with the text. Thus, while Aristotle’s definition provides a framework for understanding tragedy, it also leaves room for individual readers to connect with the work on a personal level, contributing to the ongoing relevance and multifaceted interpretations of his theories.

Examples of Critiques: “Definition of Tragedy” by Aristotle

Literary Work	Plot	Character	Thought	Spectacle
“Oedipus Rex”	– Exemplifies Aristotle’s ideal plot structure with tight, logical progression.	– Oedipus’s tragic flaw (hubris) leads to his downfall.	– Explores fate versus free will and the nature of truth.	– Uses minimal spectacle, focusing more on dialogue and plot.
	– Reference: “The plot is the first principle, and, as it were, the soul of a tragedy.”	– Reference: “Character holds the second place.”	– Reference: “Thought is the faculty of saying what is possible and pertinent in given circumstances.”	– Reference: “The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic.”
“Hamlet”	– Features a complex plot with elements of revenge and internal conflict.	– Hamlet’s indecision and contemplative nature are crucial to his characterization.	– Philosophical musings on life, death, and morality.	– The ghost of King Hamlet adds a supernatural element, enhancing the spectacle.
	– Reference: “The incidents and the plot are the end of a tragedy; and the end is the chief thing of all.”	– Reference: “Character comes in as subsidiary to the actions.”	– Reference: “Thought is found where something is proved to be, or not to be, or a general maxim is enunciated.”	– Reference: “The production of spectacular effects depends more on the art of the stage machinist than on that of the poet.”
“Macbeth”	– Follows a clear rise and fall structure, driven by ambition and power.	– Macbeth’s moral decline is a pivotal aspect of the tragedy.	– Themes of ambition, fate, and guilt are central to the play’s thought.	– The witches and the dramatic final battle provide strong visual elements.
	– Reference: “For Tragedy is an imitation, not of men, but of an action and of life.”	– Reference: “It is by their actions that they are happy or the reverse.”	– Reference: “Every Tragedy, therefore, must have six parts, which parts determine its quality—namely, Plot, Character, Diction, Thought, Spectacle, Song.”	– Reference: “The Spectacle has, indeed, an emotional attraction of its own.”
“Death of a Salesman”	– Structure mirrors the disintegration of Willy Loman’s mind and life.	– Willy Loman is a tragic figure whose flaws and illusions lead to his downfall.	– Critiques the American Dream and explores themes of identity and reality.	– Relies more on emotional depth and character interactions than on visual spectacle.
	– Reference: “The Plot, then, is the first principle, and, as it were, the soul of a tragedy.”	– Reference: “Character reveals moral purpose, showing what kind of things a man chooses or avoids.”	– Reference: “Thought, on the other hand, is found where something is proved to be, or not to be, or a general maxim is enunciated.”	– Reference: “The power of Tragedy, we may be sure, is felt even apart from representation and actors.”

Criticism Against “Definition of Tragedy” by Aristotle

• The Narrowness of Aristotle’s Definition: Some critics argue that Aristotle’s definition is too restrictive, primarily focusing on Greek tragedies and not accounting for the diverse forms that tragedy can take across cultures and time periods.
• The Question of Catharsis: The concept of catharsis, a purging of emotions through pity and fear, has been debated and reinterpreted. Some theorists question its validity and propose alternative understandings of the emotional impact of tragedy.
• The Emphasis on Plot Over Character: Aristotle prioritizes plot as the “soul” of tragedy, which some critics argue neglects the importance of character development and psychological complexity in tragic works.
• The Exclusion of Other Genres: Aristotle’s focus on tragedy excludes other dramatic genres like comedy and melodrama, limiting the scope of his theory and its applicability to a wider range of dramatic literature.

Specific Theorists and Their Works:

• Bertolt Brecht (“Brecht on Theatre”): Brecht, a prominent playwright and theorist, challenged Aristotle’s emphasis on emotional catharsis. He advocated for a more critical and intellectually engaging form of theatre that would prompt social action rather than emotional release.
• August Wilhelm Schlegel (“Lectures on Dramatic Art and Literature”): Schlegel, a German Romantic critic, questioned Aristotle’s rigid adherence to the three unities (time, place, and action) and advocated for a more flexible approach to dramatic structure.

Suggested Readings: “Definition of Tragedy” by Aristotle

1. Else, Gerald F. Aristotle’s Poetics: The Argument. Harvard UP, 1967.
2. Halliwell, Stephen. Aristotle’s Poetics. U of Chicago P, 1998.
3. Heath, Malcolm. Aristotle’s Poetics. Penguin, 1996.
4. Lear, Jonathan. “Katharsis.” Phronesis 33.3 (1988): 297-326.
5. Battin, M. Pabst. “Aristotle’s Definition of Tragedy in the Poetics.” The Journal of Aesthetics and Art Criticism, vol. 33, no. 3, 1975, pp. 293–302. JSTOR, https://doi.org/10.2307/428355. Accessed 28 July 2024.
6. Grube, G. M. A. “A Note on Aristotle’s Definition of Tragedy.” Phoenix, vol. 12, no. 1, 1958, pp. 26–30. JSTOR, https://doi.org/10.2307/1086783. Accessed 28 July 2024.
7. Battin, M. Pabst. “Aristotle’s Definition of Tragedy in the Poetics.” The Journal of Aesthetics and Art Criticism, vol. 33, no. 2, 1974, pp. 155–70. JSTOR, https://doi.org/10.2307/429084. Accessed 28 July 2024.
8. Finkelberg, Margalit. “Aristotle and Episodic Tragedy.” Greece & Rome, vol. 53, no. 1, 2006, pp. 60–72. JSTOR, http://www.jstor.org/stable/4122460. Accessed 28 July 2024.
9. Golden, Leon. “Aristotle, Frye, and the Theory of Tragedy.” Comparative Literature, vol. 27, no. 1, 1975, pp. 47–58. JSTOR, https://doi.org/10.2307/1769727. Accessed 28 July 2024.
10. Else, Gerald Frank. “Aristotle on the Beauty of Tragedy.” Harvard Studies in Classical Philology, vol. 49, 1938, pp. 179–204. JSTOR, https://doi.org/10.2307/310703. Accessed 28 July 2024.
11. Noyes, Atherton. “Katharsis in Literature and in Life.” The Sewanee Review, vol. 29, no. 4, 1921, pp. 433–48. JSTOR, http://www.jstor.org/stable/27533471. Accessed 28 July 2024.
12. Golden, Leon. “Aristotle and the Audience for Tragedy.” Mnemosyne, vol. 29, no. 4, 1976, pp. 351–59. JSTOR, http://www.jstor.org/stable/4430628. Accessed 28 July 2024.

Extracts with Explanation from “Definition of Tragedy” by Aristotle

Extract	Explanation	Context	Theoretical Perspective
“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.”	Aristotle defines tragedy as a serious and complete action of significant magnitude, using language enhanced by various artistic forms.	This forms the basis of Aristotle’s definition of tragedy in his work “Poetics.”	Highlights the importance of seriousness, completeness, and artistic language in tragedy, emphasizing the role of the plot and artistic elements.
“The Plot is the imitation of the action: for by plot I here mean the arrangement of the incidents.”	The plot is central to tragedy, representing the structured arrangement of events that form the narrative.	Aristotle discusses the six elements of tragedy, with plot being the most crucial.	Emphasizes the importance of a well-structured plot as the core of a tragedy, which drives the action and evokes emotional responses.
“By ‘language embellished,’ I mean language into which rhythm, ‘harmony,’ and song enter.”	Embellished language includes rhythm, harmony, and song, which enhance the artistic quality of the tragedy.	Aristotle elaborates on the elements that contribute to the language of a tragedy.	Focuses on the stylistic and aesthetic aspects of tragedy, highlighting how artistic language contributes to the overall impact of the play.
“Character holds the second place. A similar fact is seen in painting. The most beautiful colours, laid on confusedly, will not give as much pleasure as the chalk outline of a portrait.”	Character is secondary to the plot, and its purpose is to support the actions. Characters should be well-defined but are not as crucial as the plot.	Aristotle compares the role of character in tragedy to colors in painting, emphasizing clarity and structure.	Illustrates the supportive role of character in enhancing the plot, likening it to the outline in painting, which provides structure and clarity to the artwork.
“The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry.”	While spectacle can enhance the emotional experience, it is the least important and least connected to the essence of poetry and tragedy.	Aristotle places spectacle at the bottom of the hierarchy of tragic elements.	Emphasizes the primacy of plot, character, and thought over visual spectacle, suggesting that true tragedy relies more on narrative and thematic elements than on visual effects.