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Unit 2: Aristotle: The Poetics: Introduction, Tragedy

rules, but only making a statement of general practice. He is fully aware of the fact that in the Notes
beginning the tragedy, like the epic, had no fixed limit of time.
In the end, Aristotle asserts the superiority of the epic over the tragedy. All the elements of an epic
are found in tragedy, but all the elements of tragedy are not found in the epic. Thus ‘spectacle’ and
‘melody’ are parts of tragedy, but they are not the parts of epic.
Ch VI: Definition of Tragedy; Its Formative Parts
This chapter is the core of the Poetics. In his famous definition of tragedy, Aristotle summarises
what has been said already and devotes almost all the following chapters to explaining it further.
Having shown that the arts differ from one another in the objects ‘imitated’, in the medium
employed, and in the mode or manner of imitation. Aristotle now shows
1. that the ‘object imitated’ by tragedy is an action or piece of life of serious interest, complete in
itself and having magnitude, i.e. long enough to direct the change in the fortunes of the tragic
hero and serious enough to be more than trivial;
2. that the medium employed is language embellished by all the available decorations, such as
melody and poetic diction; and
3. that the manner of imitation is dramatic, i.e. the story is told not by narration but by essential
characters acting it out. This representation excites in the auditors pity and fear, and by providing
an outlet for these and similar emotions produces a sense of pleasurable relief (catharsis).
It should be noted that Plato, who was more emotional than Aristotle, held that the effect of art on
human nature might be a dangerous excitement of emotions which ought, in the interest of public
morality, to be discouraged. Aristotle, realizing the risks of inhibition or repression replies that
this effect is not only pleasurable but also beneficial. Tragedy is a sort of nervous specific which
provides a ‘catharsis’ we might say, ‘a good clearance’ of emotions which might otherwise break
out inconveniently. It saves us from psychical distress by providing an emotional outlet.
A passage in Plato may help to explain this view: ‘When babies are restless, you don’t prescribe
quiet for them; you sing to them and rock them to and fro.’ In such cases, the external agitation,
getting the better of the internal agitation, produces peace and calm. The babies go to sleep. That
agrees with Aristotle’s view. The excitement of tragedy provides for our feeling a pleasurable
relief. A ‘good cry’ acts as an emotional aperient (or purgative). We feel all the better for it and
leave the theatre, ‘in peace of mind, all passion spent’.
Tragedy is next analysed into six formative parts. Of these, three are concerned with the objects
imitated,
1. a plot, or piece of life (human actions or experiences);
2. the characters of the dramatis personae;
3. the Thoughts which they express (intellectual qualities). Two of the elements, ‘diction’ and ‘melody’
or song, are the means of imitation employed. The sixth ‘spectacle’, is the mode of imitation by
which the story is presented on a stage before an audience.
Of these constituent parts Aristotle regards the Plot as by far the most important—’the life and
soul tragedy’. No amount of psychological ingenuity in drawing character, no degree of poetic or
theatrical brilliance, can make a successful tragedy, because tragedy is in essence a story. In the
same way, you can have no picture without some sort of shape or design. Through the whole of
the Poetics runs this insistence on the primary importance of plot, which is the main subject of
discussion—with one brief digression—up to the end of Chapter XVIII.
Many of the terms used by Aristotle in this chapter have been the subject of hot controversy
among critics. For example, words like ‘’serious’, ‘magnitude’, ‘Katharsis’, etc., have been differently
interpreted by different critics. Similarly, his view of the comparative significance of ‘Plots’ and
‘character’ has also excited much discussion.
It should also be noted that ‘thought’, in the sense of the Greek word which Aristotle has used for
it, means all that is expressed by the use of words. Indeed, a knowledge of Greek language and
usage is unavoidable for precise understanding of the Poetics.

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