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Gowher Ahmad Naik, Lovely Professional University Unit 3: Aristotle: The Poetics-Catharsis and Hamartia

Unit 3: Aristotle: The Poetics-Catharsis and Hamartia Notes

CONTENTS
Objectives
Introduction
3.1 Aristotle’s Poetics: Basic Concepts
3.2 Aristotle Theory of Catharsis
3.3 Hamartia
3.4 Major Themes
3.5 Summary
3.6 Key-Words
3.7 Review Questions
3.8 Further Readings

Objectives

After reading this Unit students will be able to:
• Know the basics concepts of the Poetics.
• Discuss Aristotle’s theory of Catharsis.
• Understand the concept of Hamartia.

Introduction
According to Aristotle, the central character of a tragedy must not be so virtuous that we are
outraged, instead of feeling pity or fear at his or her downfall . Also the character cannot be so evil
that for the sake of justice we desire his or her misfortune. Instead, best is someone "who is neither
outstanding in virtue and righteousness; nor is it through badness or villainy of his own that he
falls into misfortune, but rather through some flaw [hamartia]". The character should be famous or
prosperous, like Oedipus or Medea.
Hamartia, the character's fatal flaw, may consist of the following:
1. A hamartia may be simply an intellectual mistake or an error in judgement. For example when
a character has the facts wrong or doesn't know when to stop trying to get dangerous
information.
2. Hamartia may be a moral weakness, especially hubris, as when a character is moral in every
way except for being prideful enough to insult a god.
Of course you are free to decide that the tragic hero of any play, ancient or modern, does not have
a hamartia at all. The terms hamartia and hubris should become basic tools of your critical apparatus.

3.1 Aristotle's Poetics: Basic Concepts

1. Tragedies should not be episodic. That is, the episodes in the plot must have a clearly probable
or inevitable connection with each other. This connection is best when it is believable but
unexpected.
2. Complex plots are better than simple plots. Complex plots have recognitions and reversals.
A recognition is a change from ignorance to knowledge, especially when the new knowledge
identifies some unknown relative or dear one whom the hero should cherish but was about to
harm or has just harmed. 'Recognition' (anagnorisis) is now commonly applied to any self-
knowledge the hero gains as well as to insight to the whole nature or condition of mankind,

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