Aristotle's Theory of Tragedy m
Aristotle's "Poetics" was the first attempt to define the characteristics of Tragedy and its effects upon the spectator. His theory is based on Sophoclean Drama because he regarded this as the mature form of tragedy.
Aristotle defined Tragedy as "an 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."
The Five Basic Elements of Tragedy
1. Plot
The plot is an imitation (mimesis) of action and life, happiness and misery; plot is the soul of tragedy. The sequence of events should adhere to the following pattern: a) reversal (peripeteia)-a change in the fortune of the tragic hero from good to bad. The first reversal is called the crisis.
b) recognition (anagnorisis)-the hero gains some insight or truth about himself or others c) suffering-the hero's downfall from a high place d) catharsis-the purging or letting out of the emotions of pity and fear (pathos) at the time of the suffering of the hero. Pity is what we feel at a misfortune that is out of all proportion to the faults of the person. Fear is what we feel when misfortune comes upon one like ourselves. We can picture ourselves in the same situation so we experience fear. In having these emotions aroused by the suffering of another, we need not undergo the same suffering to understand such an experience in life.
2. Character
Character is not as important as the action or plot. He is merely the agent of the action.
The tragic hero has to be drawn from the great families or gods so that the tragedy is not confined only to the individual or to the family but affects the entire nation. The tragic hero will most effectively arouse pity and fear if he/she is neither thoroughly good or evil, but a person like any of us; the tragic effect will be stronger if he/she is rather better than most of us and if he/she faces his/her destiny with courage.
Misfortune is not brought about by vice or depravity, but by some error due to his/her tragic flaw or error of judgement (hamartia). Often, this tragic flaw is one of overweening pride (hubris).
The ancient Greeks also questioned the role of fate (moira) in the hero's downfall. Ultimately,