Page 29 - DENG501_LITERARY_CRITICISM_AND_THEORIES

Unit 2: Aristotle: The Poetics: Introduction, Tragedy

Ch XIV: Comparative Study of Spectacle and Plot as Sources of Notes
Tragic Emotions
Pity and fear may be aroused by the mere sight of disaster, what Aristotle calls ‘the Spectacle’, e.g.
Oedipus with his eyes torn out. But the true, ‘proper pleasure’ of tragedy, is independent of
‘spectacle’ and is felt even when the play is read without performance, because it is produced by
the structure and sequence of the incidents. The most effective situation, Aristotle concludes, in
where one member of a family murders—or does irreparable harm to another member. This may
be done in ignorance and the kinship be discovered afterwards. More effective still is it if the
kinship is discovered just in time to avert the doing of the deed. This rather inconsistently allows the
fullest tragic effect to a play with a happy ending, which theorists of modern tragedy would not admit. But
the conditions of the Greek stage could not provide a ‘quick curtain’. The characters and the
chorus had to achieve their exit with dignity and beauty. This necessitated some relaxation of
tension after the act of murder or other disaster, and for that reason a happy ending of this sort
was more appropriate than it would be on the modern stage. We may also note as evidence in
support of Aristotle that a sudden escape at the eleventh hour serves powerfully to stimulate the
relief of tears.
In Chapters X and XI Aristotle distinguished three parts of the plot, Peripety, Discovery and Suffering.
The two former were fully discussed in Chapter XI. The present chapter explains the meaning of
Suffering i.e. the kind of disaster or misfortune which is peculiarly suited to produce, ‘the proper
pleasure of tragedy, which is the release of such emotions as pity and fear’.
It should be noted that Aristotle lists four types of sufferings or actions resulting in misfortune or
disaster proper to tragedy. “These four types of tragic actions are derived from the inter-relation
of two major factors—a tragic deed that is a part of plot and a lack of knowledge, that is, at least
in some degree, a part of Character”—(O.B. Hardison). Lack of knowledge is, ‘hamartia’, and
knowledge is ‘anagnorisis’. Disaster which arouses the emotions of pity and fear, often results from
‘hamartia’ or lack of knowledge, and it may be prevented if, ‘anagnorisis’ or knowledge comes in
time.
Ch XV: Character and Its Essentials
This chapter deals with characterisation in a tragedy. Aristotle lists four essentials of successful
characterisation:
1. The characters must be good. A character is good, if his words and actions reveal that his purpose
is good. In ancient Greece women were considered as inferior beings and slaves as worthless.
But Aristotle says that when introduced in a tragedy even women and slaves must be shown
to have some good in them. Entirely wicked characters, even when assigned minor roles are
unfit for tragedy. Wickedness or depravity is to be introduced, only when absolutely necessary
for the plot. Aristotle is against wanton introduction of wickedness. Just as a successful painter
makes his portrait be sacrificed like more beautiful than the original and still retains the likeness
to the original, in the same way the poet must represent his characters better and more dignified
and must still preserve the likeness to the original.
2. The characters must be appropriate, that is to say they must be true to ‘type’ or ‘status’. For
example, a woman must be shown as womanly and not ‘manly’, a slave must be given a
character which is appropriate to his “status’. Manliness would not be appropriate in a woman,
and dignity and nobility in a slave.
It the characters are taken from some known myth or story, say the story of King Oedipus, then
they must be true to tradition. They must behave as King Oedipus is traditionally supposed to
have behaved.
3. The third essential of successful characterisation is that characters must be true to life, i.e. they
must have the virtues and weaknesses, joys and sorrows, love and hatreds of average humanity.
Such likeness is essential, for we can feel pity only for one who is like ourselves, and only his
misfortunes can make us fear for ourselves.

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