“Plot of Tragedy” by Aristotle: Extracts from Poetics

Introduction: “Plot of Tragedy” by Aristotle

“Plot of Tragedy” by Aristotle is a collection of extracts from VII to XIV from his book, Poetics. They establish foundational principles for dramatic storytelling, defining tragedy as the imitation of a complete, unified action with a clear beginning, middle, and end. This action, driven by probability or necessity, follows a character’s journey from good fortune to bad, caused not by vice, but by an error or frailty. Aristotle emphasizes that a well-constructed plot should be organically whole, with each part contributing to the overall effect. He distinguishes poetry from history, highlighting that poetry explores what could happen and aims for universal truths, while history focuses on specific events. The most effective tragedies are complex, incorporating elements of reversal and recognition, and culminating in a scene of suffering to elicit pity and fear in the audience. These timeless principles continue to resonate with storytellers and audiences alike, shaping our understanding of compelling narratives.

Summary of “Plot of Tragedy” by Aristotle

Literary Terms in “Plot of Tragedy” by Aristotle

Term	Definition by Aristotle	Explanation and Reference
Plot	The arrangement of the incidents/actions in the play.	Aristotle considers plot as the most important element of tragedy, emphasizing that it must have a beginning, middle, and end (VII).
Unity of Plot	The plot must follow a coherent and logical sequence where every part is necessary for the whole.	Aristotle argues against the unity of character dictating the plot, focusing instead on the cohesiveness of the plot’s action (VII, VIII).
Magnitude	The plot must be of a certain size that can be comprehensibly embraced in one view.	A balance is necessary; too large, and the audience can’t grasp it, too small, and it lacks impact (VII).
Reversal (Peripeteia)	A change in the direction of the plot, leading to the opposite of what was planned or foreseen by the characters.	Aristotle cites examples like Oedipus and Lynceus where sudden reversals intensify the dramatic effect (XI).
Recognition (Anagnorisis)	A shift from ignorance to knowledge, creating a turning point in the fortunes of the protagonist.	Typically coincides with or enhances the reversal, deepening the plot’s emotional impact by linking character realization with plot twists (XI).
Complex Plot	A plot that includes incidents of reversal and recognition, adding depth and intricacy.	Such plots engage the audience more deeply than simple plots by intertwining personal and circumstantial developments (X).
Scene of Suffering	A scene involving destructive or painful action, crucial in eliciting pity or fear from the audience.	Integral for creating the emotional effect that Aristotle sees as central to the impact of tragedy (XI).
Catharsis	The purgation of emotions of pity and fear which results in the renewal and restoration of the audience.	While not explicitly mentioned in this specific text, it is a fundamental concept in Aristotle’s theory, relating to the overall emotional effect of tragedy.
Simple Plot	A plot without any peripeteia or anagnorisis, straightforward and less complex than the ideal tragic plot.	Mentioned as less effective in engaging the audience compared to complex plots, as it lacks the dramatic fluctuations that enrich the narrative (X).

Literary Theory and “Plot of Tragedy” by Aristotle

1. Formalism: Formalists focus on a text’s internal structure and elements. Aristotle’s emphasis on plot as the “soul of tragedy” aligns with this theory, as it stresses the importance of a well-structured beginning, middle, and end, along with elements like reversal and recognition.
2. Structuralism: Structuralists analyze underlying patterns and systems in literature. Aristotle’s concept of a unified plot with interconnected parts that contribute to the whole resonates with structuralist ideas. Additionally, his notion of “probability or necessity” guiding the plot aligns with the structuralist search for underlying patterns.
3. Reader-Response Criticism: This theory emphasizes the reader’s role in interpreting a text. Aristotle’s focus on the emotional impact of tragedy, specifically pity and fear, anticipates reader-response criticism by acknowledging the importance of the audience’s reaction to the plot.
4. New Criticism: New Critics closely examine a text’s language and structure to derive its meaning. Aristotle’s detailed analysis of plot elements like reversal, recognition, and the scene of suffering offers a framework for New Critics to analyze a tragedy’s internal workings.
5. Psychoanalytic Criticism: This theory explores the psychological motivations of characters and authors. Aristotle’s concept of a tragic hero whose downfall is caused by a “tragic flaw” or error in judgment can be seen as a precursor to psychoanalytic interpretations of character and motivation.

Examples: “Plot of Tragedy” by Aristotle

Tragedy	How It Adheres to Aristotle’s “Plot of Tragedy”
Oedipus Rex	* Complete Action: The play follows Oedipus’s journey from revered king to exiled outcast, fulfilling the requirement of a whole action with a beginning, middle, and end.
	* Magnitude: The scope of the tragedy encompasses Oedipus’s fall from grace and the revelation of his tragic past, creating a sense of magnitude and importance.
	* Probability or Necessity: The plot unfolds through a series of interconnected events driven by both fate and Oedipus’s own actions, aligning with Aristotle’s concept of causality.
	* Reversal of Situation: The revelation of Oedipus’s true identity as the killer of his father and husband of his mother marks a dramatic reversal of his fortune and status.
	* Recognition: Oedipus’s recognition of his tragic actions and their consequences leads to the play’s devastating climax and evokes both pity and fear in the audience.
Hamlet	* Complete Action: The play follows Hamlet’s struggle to avenge his father’s murder, culminating in a final act of revenge and the restoration of order to the kingdom.
	* Magnitude: The play’s scope encompasses themes of revenge, morality, and the human condition, elevating the story beyond a personal vendetta.
	* Probability or Necessity: Hamlet’s actions and the events that unfold are a direct consequence of his father’s murder, creating a sense of interconnectedness and causality.
	* Reversal of Situation: Hamlet’s initial hesitation and internal conflict lead to a series of events that culminate in his own tragic demise, marking a reversal of his potential for good.
	* Recognition: Hamlet’s realization of his own mortality and the consequences of his inaction evokes both pity and fear in the audience as they witness his tragic downfall.
Macbeth	* Complete Action: The play chronicles Macbeth’s rise to power through murder and his subsequent descent into madness and destruction.
	* Magnitude: The play’s themes of ambition, power, and guilt elevate the story beyond a simple tale of murder.
	* Probability or Necessity: The plot unfolds as a consequence of Macbeth’s ambition and the witches’ prophecies, creating a chain of events that feels both inevitable and tragic.
	* Reversal of Situation: Macbeth’s initial victory and ascension to the throne are ultimately reversed as he succumbs to guilt and paranoia, leading to his downfall.
	* Recognition: Macbeth’s belated recognition of the consequences of his actions and the futility of his ambition evokes both pity and fear in the audience.
Othello	* Complete Action: The play narrates Othello’s journey from a respected general to a jealous murderer, driven by Iago’s manipulation.
	* Magnitude: The play’s exploration of jealousy, trust, and betrayal resonates with audiences on a deep emotional level.
	* Probability or Necessity: Iago’s machinations and Othello’s susceptibility to jealousy drive the plot forward, creating a sense of tragic inevitability.
	* Reversal of Situation: Othello’s initial love and trust for Desdemona are tragically inverted as he becomes consumed by jealousy and suspicion.
	* Recognition: Othello’s realization of his fatal error in trusting Iago comes too late, leading to his own death and Desdemona’s, evoking both pity and fear in the audience.
King Lear	* Complete Action: The play charts King Lear’s descent into madness after dividing his kingdom among his daughters, and the tragic consequences that follow.
	* Magnitude: The play’s themes of family, loyalty, and the abuse of power resonate with audiences across generations.
	* Probability or Necessity: Lear’s flawed judgment and the cruelty of his daughters Goneril and Regan set in motion a chain of events that lead to suffering and destruction.
	* Reversal of Situation: Lear’s initial position of power and authority is reversed as he is cast out and humiliated by his own children.
	* Recognition: Lear’s gradual recognition of his own mistakes and the true nature of his daughters elicits pity and fear in the audience as they witness his tragic downfall.

Criticism Against “Plot of Tragedy” by Aristotle

1. Limited Scope: Aristotle’s focus on Greek tragedy, particularly Sophocles’ Oedipus Rex, as the model for all tragedies limits the applicability of his principles to other cultures and time periods.
2. Rigid Formula: His emphasis on a specific plot structure with elements like reversal and recognition can be seen as overly prescriptive and restrictive, discouraging experimentation and innovation.
3. Narrow Definition of Character: Aristotle’s emphasis on plot over character development can lead to flat or underdeveloped characters who serve the plot rather than being complex individuals.
4. Neglect of Other Elements: While focusing on plot, Aristotle neglects other crucial elements of drama like language, staging, and visual effects, which can significantly contribute to a tragedy’s impact.
5. Moralistic Bias: His preference for a tragic hero who falls due to a “tragic flaw” rather than a villainous character might be considered overly moralistic and simplistic in its view of human nature and morality.

Suggested Readings: “Plot 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 “Plot of Tragedy” by Aristotle

Extract	Explanation
“A whole is that which has a beginning, a middle, and an end.”	This emphasizes the importance of a unified and complete plot structure. A good story must have a clear starting point, a series of events that build tension, and a satisfying conclusion.
“A well-constructed plot, therefore, must neither begin nor end at haphazard…”	This underscores the necessity of intentionality in plot construction. The beginning and end of a story should not be arbitrary; they should arise organically from the narrative’s internal logic.
“Poetry, therefore, is a more philosophical and a higher thing than history…”	Aristotle elevates poetry above history by asserting that poetry deals with universal truths and human nature, while history focuses on specific events. Poetry, he argues, has greater potential for exploring fundamental human experiences and emotions.
“The best form of recognition is coincident with a Reversal of the Situation, as in the Oedipus.”	This identifies a crucial element of effective storytelling: the combination of recognition (a character’s realization of their true identity or situation) with a reversal of fortune. This combination creates a powerful emotional impact on the audience and is exemplified in Sophocles’ Oedipus Rex.
“Of all plots and actions the episodic are the worst.”	Aristotle criticizes episodic plots, where events follow each other without a clear causal connection. He emphasizes the importance of a tightly woven plot where each event is logically linked to the next, enhancing the narrative’s coherence and impact.