6 Reserving hexameter poetry and Comedy for consideration hereafter,2 (20) let us proceed now to the discussion of Tragedy; before doing so, however, we must gather up the definition resulting from what has been said. A tragedy, then, is the imitation of an action that is serious and also, (25) as having magnitude, complete in itself; in language with pleasurable accessories, each kind brought in separately in the parts of the work; in a dramatic, not in a narrative form; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions. Here by ‘language with pleasurable accessories’ I mean that with rhythm and harmony or song superadded; and by ‘the kinds separately’ I mean that some portions are worked out with verse only, (30) and others in turn with song.
I. As they act the stories, it follows that in the first place the Spectacle (or stage-appearance of the actors) must be some part of the whole; and in the second Melody and Diction, these two being the means of their imitation. Here by ‘Diction’ I mean merely this, (35) the composition of the verses; and by ‘Melody’, what is too completely understood to require explanation. But further: the subject represented also is an action; and the action involves agents, who must necessarily have their distinctive qualities both of character and thought, since it is from these that we ascribe certain qualities to their actions. [1450a] There are in the natural order of things, therefore, two causes, Thought and Character, of their actions, and consequently of their success or failure in their lives. Now the action (that which was done) is represented in the play by the Fable or Plot. The Fable, in our present sense of the term, is simply this, the combination of the incidents, or things done in the story; whereas Character is what makes us ascribe certain moral qualities to the agents; and Thought is shown in all they say when proving a particular point or, (5) it may be, enunciating a general truth. There are six parts consequently of every tragedy, as a whole (that is) of such or such quality, viz. a Fable or Plot, Characters, Diction, Thought, Spectacle, and Melody; two of them arising from the means, one from the manner, (10) and three from the objects of the dramatic imitation; and there is nothing else besides these six. Of these, its formative elements, then, not a few of the dramatists have made due use, as every play, one may say, admits of Spectacle, Character, Fable, Diction, Melody, and Thought.
II. The most important of the six is the combination of the incidents of the story. (15) Tragedy is essentially an imitation not of persons but of action and life, of happiness and misery. All human happiness or misery takes the form of action; the end for which we live is a certain kind of activity, not a quality. Character gives us qualities, but it is in our actions—what we do—that we are happy or the reverse. In a play accordingly they do not act in order to portray the Characters; they include the Characters for the sake of the action. (20) So that it is the action in it, i. e. its Fable or Plot, that is the end and purpose of the tragedy; and the end is everywhere the chief thing. Besides this, a tragedy is impossible without action, but there may be one without Character. The tragedies of most of the moderns are characterless—a defect common among poets of all kinds, (25) and with its counterpart in painting in Zeuxis as compared with Polygnotus; for whereas the latter is strong in character, the work of Zeuxis is devoid of it. And again: one may string together a series of characteristic speeches of the utmost finish as regards Diction and Thought, and yet fail to produce the true tragic effect; but one will have much better success with a tragedy which, (30) however inferior in these respects, has a Plot, a combination of incidents, in it. And again: the most powerful elements of attraction in Tragedy, the Peripeties and Discoveries, are parts of the Plot. A further proof is in the fact that beginners succeed earlier with the Diction and Characters than with the construction of a story; and the same may be said of nearly all the early dramatists. (35) We maintain, therefore, that the first essential, the life and soul, so to speak, of Tragedy is the Plot; and that the Characters come second—compare the parallel in painting, where the most beautiful colours laid on without order will not give one the same pleasure as a simple black-and-white sketch of a portrait. [1450b] We maintain that Tragedy is primarily an imitation of action, and that it is mainly for the sake of the action that it imitates the personal agents. Third comes the element of Thought, (5) i. e. the power of saying whatever can be said, or what is appropriate to the occasion. This is what, in the speeches in Tragedy, falls under the arts of Politics and Rhetoric; for the older poets make their personages discourse like statesmen, and the modern like rhetoricians. One must not confuse it with Character. Character in a play is that which reveals the moral purpose of the agents, i. e. the sort of thing they seek or avoid, where that is not obvious—hence there is no room for Character in a speech on a purely indifferent subject. Thought, (10) on the other hand, is shown in all they say when proving or disproving some particular point, or enunciating some universal proposition. Fourth among the literary elements is the Diction of the personages, i. e., as before explained,3 the expression of their thoughts in words, (15) which is practically the same thing with verse as with prose. As for the two remaining parts, the Melody is the greatest of the pleasurable accessories of Tragedy. The Spectacle, though an attraction, is the least artistic of all the parts, and has least to do with the art of poetry. The tragic effect is quite possible without a public performance and actors; and besides, the getting-up of the Spectacle is more a matter for the costumier than the poet. (20)
7 Having thus distinguished the parts, let us now consider the proper construction of the Fable or Plot, as that is at once the first and the most important thing in Tragedy. We have laid it down that a tragedy is an imitation of an action that is complete in itself, (25) as a whole of some magnitude; for a whole may be of no magnitude to speak of. Now a whole is that which has beginning, middle, and end. A beginning is that which is not itself necessarily after anything else, and which has naturally something else after it; an end is that which is naturally after something itself, (30) either as its necessary or usual consequent, and with nothing else after it; and a middle, that which is by nature after one thing and has also another after it. A well-constructed Plot, therefore, cannot either begin or end at any point one likes; beginning and end in it must be of the forms just described. Again: to be beautiful, a living creature, and every whole made up of parts, (35) must not only present a certain order in its arrangement of parts, but also be of a certain definite magnitude. Beauty is a matter of size and order, and therefore impossible either (1) in a very minute creature, since our perception becomes indistinct as it approaches instantaneity; or (2) in a creature of vast size—one, say, 1,000 miles long—as in that case, instead of the object being seen all at once, the unity and wholeness of it is lost to the beholder. [1451a] Just in the same way, then, as a beautiful whole made up of parts, or a beautiful living creature, must be of some size, but a size to be taken in by the eye, so a story or Plot must be of some length, (5) but of a length to be taken in by the memory. As for the limit of its length, so far as that is relative to public performances and spectators, it does not fall within the theory of poetry. If they had to perform a hundred tragedies, they would be timed by water-clocks, as they are said to have been at one period. The limit, however, set by the actual nature of the thing is this: the longer the story, (10) consistently with its being comprehensible as a whole, the finer it is by reason of its magnitude. As a rough general formula, ‘a length which allows of the hero passing by a series of probable or necessary stages from misfortune to happiness, or from happiness to misfortune’, may suffice as a limit for the magnitude of the story. (15)
8 The Unity of a Plot does not consist, as some suppose, in its having one man as its subject. An infinity of things befall that one man, some of which it is impossible to reduce to unity; and in like manner there are many actions of one man which cannot be made to form one action. One sees, therefore, the mistake of all the poets who have written a Heracleid, (20) a Theseid, or similar poems; they suppose that, because
Heracles was one man, the story also of Heracles must be one story. Homer, however, evidently understood this point quite well, whether by art or instinct, just in the same way as he excels the rest in every other respect. In writing an Odyssey, he did not make the poem cover all that ever befell his hero—it befell him, for instance, (25) to get wounded on Parnassus and also to feign madness at the time of the call to arms, but the two incidents had no necessary or probable connexion with one another—instead of doing that, he took as the subject of the Odyssey, as also of the Iliad, an action with a Unity of the kind we are describing. The truth is that, just as in the other imitative arts one imitation is always of one thing, (30) so in poetry the story, as an imitation of action, must represent one action, a complete whole, with its several incidents so closely connected that the transposal or withdrawal of any one of them will disjoin and dislocate the whole. For that which makes no perceptible difference by its presence or absence is no real part of the whole. (35)
9 From what we have said it will be seen that the poet’s function is to describe, not the thing that has happened, but a kind of thing that might happen, i. e. what is possible as being probable or necessary. The distinction between historian and poet is not in the one writing prose and the other verse—you might put the work of Herodotus into verse, and it would still be a species of history; it consists really in this, that the one describes the thing that has been, and the other a kind of thing that might be. [1451b] Hence poetry is something more philosophic and of graver import than history, since its statements are of the nature rather of universals, whereas those of history are singulars. (5) By a universal statement I mean one as to what such or such a kind of man will probably or necessarily say or do—which is the aim of poetry, though it affixes proper names to the characters; by a singular statement, (10) one as to what, say, Alcibiades did or had done to him. In Comedy this has become clear by this time; it is only when their plot is already made up of probable incidents that they give it a basis of proper names, choosing for the purpose any names that may occur to them, instead of writing like the old iambic poets about particular persons. (15) In Tragedy, however, they still adhere to the historic names; and for this reason: what convinces is the possible; now whereas we are not yet sure as to the possibility of that which has not happened, that which has happened is manifestly possible, else it would not have come to pass. Nevertheless even in Tragedy there are some plays with but one or two known names in them, (20) the rest being inventions; and there are some without a single known name, e. g. Agathon’s Antheus, in which both incidents and names are of the poet’s invention; and it is no less delightful on that account. So that one must not aim at a rigid adherence to the traditional stories on which tragedies are based. (25) It would be absurd, in fact, to do so, as even the known stories are only known to a few, though they are a delight none the less to all.
It is evident from the above that the poet must be more the poet of his stories or Plots than of his verses, inasmuch as he is a poet by virtue of the imitative element in his work, and it is actions that he imitates. And if he should come to take a subject from actual history, (30) he is none the less a poet for that; since some historic occurrences may very well be in the probable and possible order of things; and it is in that aspect of them that he is their poet.
Of simple Plots and actions the episodic are the worst. I call a Plot episodic when there is neither probability nor necessity in the sequence of its episodes. (35) Actions of this sort bad poets construct through their own fault, and good ones on account of the players. His work being for public performance, a good poet often stretches out a Plot beyond its capabilities, and is thus obliged to twist the sequence of incident.
[1452a] Tragedy, however, is an imitation not only of a complete action, but also of incidents arousing pity and fear. Such incidents have the very greatest effect on the mind when they occur unexpectedly and at the same time in consequence of one another; there is more of the marvellous in them then than if they happened of themselves or by mere chance. (5) Even matters of chance seem most marvellous if there is an appearance of design as it were in them; as for instance the statue of Mitys at Argos killed the author of Mitys’ death by falling down on him when a looker-on at a public spectacle; for incidents like that we think to be not without a meaning. A Plot, therefore, (10) of this sort is necessarily finer than others.
10 Plots are either simple or complex, since the actions they represent are naturally of this twofold description. The action, proceeding in the way defined, as one continuous whole, I call simple, (15) when the change in the hero’s fortunes takes place without Peripety or Discovery; and complex, when it involves one or the other, or both. These should each of them arise out of the structure of the Plot itself, so as to be the consequence, necessary or probable, of the antecedents. There is a great difference between a thing happening propter hoc and post hoc. (20)
11 A Peripety is the change of the kind described from one state of things within the play to its opposite, and that too in the way we are saying, in the probable or necessary sequence of events; as it is for instance in Oedipus: here the opposite state of things is produced by the Messenger, (25) who, coming to gladden Oedipus and to remove his fears as to his mother, reveals the secret of his birth.4 And in Lynceus:5 just as he is being led off for execution, with Danaus at his side to put him to death, the incidents preceding this bring it about that he is saved and Danaus put to death. A Discovery is, (30) as the very word implies, a change from ignorance to knowledge, and thus to either love or hate, in the personages marked for good or evil fortune. The finest form of Discovery is one attended by Peripeties, like that which goes with the Discovery in Oedipus. There are no doubt other forms of it; what we have said may happen in a way in reference to inanimate things, even things of a very casual kind; and it is also possible to discover whether some one has done or not done something. (35) But the form most directly connected with the Plot and the action of the piece is the first-mentioned. [1452b] This, with a Peripety, will arouse either pity or fear—actions of that nature being what Tragedy is assumed to represent; and it will also serve to bring about the happy or unhappy ending. The Discovery, then, being of persons, it may be that of one party only to the other, the latter being already known; or both the parties may have to discover themselves. (5) Iphigenia, for instance, was discovered to Orestes by sending the letter;6 and another Discovery was required to reveal him to Iphigenia.
Two parts of the Plot, then, Peripety and Discovery, are on matters of this sort. (10) A third part is Suffering; which we may define as an action of a destructive or painful nature, such as murders on the stage, tortures, woundings, and the like. The other two have been already explained.
12 The parts of Tragedy to be treated as formative elements in the whole were mentioned in a previous Chapter.7 (15) From the point of view, however, of its quantity, i. e. the separate sections into which it is divided, a tragedy has the following parts: Prologue, Episode, Exode, and a choral portion, distinguished into Parode and Stasimon; these two are common to all tragedies, whereas songs from the stage and Commoe are only found in some. (20) The Prologue is all that precedes the Parode of the chorus; an Episode all that comes in between two whole choral songs; the Exode all that follows after the last choral song. In the choral portion the Parode is the whole first statement of the chorus; a Stasimon, a song of the chorus without anapaests or trochees; a Commos, a lamentation sung by chorus and actor in concert. (25) The parts of Tragedy to be used as formative elements in the whole we have already mentioned; the above are its parts from the point of view of its quantity, or the separate sections into which it is divided.
13 The next points after what we have said above will be these: (1) What is the poet to aim at, and what is he to avoid, in constructing his Plots? and (2) What are the conditions on which the tragic effect depends?
We assume that, (30) for the finest form of Tragedy, the Plot must be not simple but complex; and furth
er, that it must imitate actions arousing fear and pity, since that is the distinctive function of this kind of imitation. It follows, therefore, that there are three forms of Plot to be avoided. (1) A good man must not be seen passing from happiness to misery, or (2) a bad man from misery to happiness. (35) The first situation is not fear-inspiring or piteous, but simply odious to us. The second is the most untragic that can be; it has no one of the requisites of Tragedy; it does not appeal either to the human feeling in us, or to our pity, or to our fears. [1453a] Nor, on the other hand, should (3) an extremely bad man be seen falling from happiness into misery. Such a story may arouse the human feeling in us, but it will not move us to either pity or fear; pity is occasioned by undeserved misfortune, (5) and fear by that of one like ourselves; so that there will be nothing either piteous or fear-inspiring in the situation. There remains, then, the intermediate kind of personage, a man not preeminently virtuous and just, whose misfortune, however, is brought upon him not by vice and depravity but by some error of judgement, of the number of those in the enjoyment of great reputation and prosperity; e. g. Oedipus, Thyestes, and the men of note of similar families. (10) The perfect Plot, accordingly, must have a single, and not (as some tell us) a double issue; the change in the hero’s fortunes must be not from misery to happiness, but on the contrary from happiness to misery; and the cause of it must lie not in any depravity, (15) but in some great error on his part; the man himself being either such as we have described, or better, not worse, than that. Fact also confirms our theory. Though the poets began by accepting any tragic story that came to hand, in these days the finest tragedies are always on the story of some few houses, on that of Alcmeon, Oedipus, Orestes, (20) Meleager, Thyestes, Telephus, or any others that may have been involved, as either agents or sufferers, in some deed of horror. The theoretically best tragedy, then, has a Plot of this description. The critics, therefore, are wrong who blame Euripides for taking this line in his tragedies, and giving many of them an unhappy ending. It is, (25) as we have said, the right line to take. The best proof is this: on the stage, and in the public performances, such plays, properly worked out, are seen to be the most truly tragic; and Euripides, even if his execution be faulty in every other point, is seen to be nevertheless the most tragic certainly of the dramatists. After this comes the construction of Plot which some rank first, (30) one with a double story (like the Odyssey) and an opposite issue for the good and the bad personages. It is ranked as first only through the weakness of the audiences; the poets merely follow their public, writing as its wishes dictate. (35) But the pleasure here is not that of Tragedy. It belongs rather to Comedy, where the bitterest enemies in the piece (e. g. Orestes and Aegisthus) walk off good friends at the end, with no slaying of any one by any one.
The Basic Works of Aristotle (Modern Library Classics) Page 203
