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Lecture 2_Aristotle's Analysis of Tragedy

Dr. Christopher Kluz's lecture on Aristotle's Poetics explores the definition and components of tragedy, emphasizing that plot is the most crucial element. Aristotle defines tragedy as an imitation of admirable action that evokes pity and fear, leading to catharsis. The lecture also discusses the characteristics of an effective tragic plot, the significance of catharsis, and the moral dimensions of character in tragedy.

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12 views3 pages

Lecture 2_Aristotle's Analysis of Tragedy

Dr. Christopher Kluz's lecture on Aristotle's Poetics explores the definition and components of tragedy, emphasizing that plot is the most crucial element. Aristotle defines tragedy as an imitation of admirable action that evokes pity and fear, leading to catharsis. The lecture also discusses the characteristics of an effective tragic plot, the significance of catharsis, and the moral dimensions of character in tragedy.

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dongwuxiao
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AESTHETICS

Dr. Christopher Kluz


AND

THE PHILOSOPHY

OF ART

LECTURE 2: ARISTOTLE’S POETICS


A. ARISTOTLE’S ANALYSIS OF TRAGEDY
A. What is Tragedy? Aristotle defines tragedy as : “an imitation of an action that is
admirable, complete and possesses magnitude; in language made pleasurable, each of its
species separated in different parts; performed by actors, not through narration; effecting
through pity and fear the purification of such emotions” (49b).We see here that the
purpose or end of tragedy is a kind of emotion pleasure involving pity and fear and a
catharsis (purification). Much has been made of the use of the term ‘katharsis’ despite
this being the only mention of it in the entirety of the Poetics. We will discuss this in
greater detail delving deeper in Aristotle’s analysis. From this definition Aristotle breaks
down tragedy into six components: plot, character, reasoning, diction, lyric poetry, and
spectacle. Of these plot is by far the most important according to Aristotle and he spends
much of the poetics in the analysis of plot. Working backwards, diction and lyric poetry
is the medium of poetry, that is, the words and rhythm which convey the imitation.
Because tragedy is performed it involves spectacle or the visual presentation of the
imitation. Incidentally, Aristotle does not consider spectacle to be significant for tragedy
qua poetry since it is outside of the control of the poet and up to the director and
performers. He thinks a good tragedy should effect through pity and fear in itself,
regardless of the performance. This is one reason why plot is the primary component.
Character is the second most important component and goes along with reasoning. By
character Aristotle means the underlying moral disposition the is imitated in choice of the
agents. Aristotle thinks that the character should be good (in order to invoke pity) and
also like us (in order to invoke fear). For this reason, the character should not be
excessively virtuous (nor vicious at all). Character should also be appropriate (a woman
should act like a woman and not a philosopher) and consistent. Reasoning is coupled with
character and indicates why the choices are made given the character. The choices should
be what is necessary or probable given the character. These of course will affect the plot
which is the primary component of tragedy according to Aristotle.

B. What is plot? Plot is the soul tragedy because it is an imitation of action and life and
not merely character. Aristotle claims you can have a tragedy without character (albeit
not a good tragedy) but you cannot have a tragedy without plot because tragedy should
effect through pity and fear which involves the components of plot (reversal, recognition,
and suffering). Aristotle spends the greater bulk of his analysis of tragedy discussing plot.
Aristotle writes that plot needs to be complete, that is, a whole that has a beginning,
middle, and end. The beginning does not follow from anything while the middle follows
from the beginning and the end from the middle. There completeness therefore requires
causal connection. Second, plot has magnitude, that is, something happens. The
magnitude should not be too little or too great, but Aristotle indicates it should be the
right amount that can be absorbed in one sitting. A plot that is too long or complicates or
too short or simple is not the right magnitude. Similar to completeness, plot should have
unity and a determinate structure. This means again that the actions should be causally
connected and working as a whole. Finally and quite significantly, the plot should have
universality. This means that the poet should write about the kinds of things that would
happen, that is, what is necessary and probable. Aristotle famous writes that because of
this poetry is more philosophical than history. These are the characteristics of the plot.
The key components of the plot are astonishment through a change of fortune
(catastrophe), with reversal, recognition, and suffering. These are what provide the effect
though fear and pity which is the purpose of tragedy.

C. What is the Best Kind of Tragic Plot? Aristotle spends some time discussing the
best kind of tragic plot. The purpose of tragedy is to being pleasure through effecting
through fear and pity. Both of these are necessary. If only fear is effected than, the plot is
similar to modern day horror. If only pity is effected then the plot is similar to a modern
day sob story. Also, the character must be good and like us or otherwise the effect of fear
and pity will not come about fully. Aristotle says the best plot is complex by which he
means there is a change of fortune happens through reversal of action. This means the
actions leads to the opposite of its intention. With reversal should come recognition, that
is, the character should become aware simultaneously with the reversal. This leads to the
suffering. Probably the most representative of this kind of plot is Oedipus Tyrannus
which Aristotle indicates in his comments presents the best kind of plot.

D. What is catharsis? Perhaps the most difficult and most significant controversy in
Aristotle’s Poetics surrounds the interpretation of katharsis which Aristotle only
mentions once though it is often taken to be a key feature in his defense of tragedy
against the Platonic criticism and is taken up in the discussion of aesthetics in the early
modern period. The general idea is that tragedy provides a catharsis or purification of the
emotions of free and pity. From a medical standpoint this would affect those who have an
excess of these emotions. By being effected the excess is released thereby providing a
healthy level. But this would indicate that tragedy is only good for those who have an
excess or unhealthy levels. However, Aristotle indicates that tragedy provides pleasure
for all. Scholars have offered many ways of understanding how Aristotle might think
catharsis works. One suggestion is that the catharsis is not the goal of tragedy but merely
a good side effect for those who have too much fear and pity. In this case, the effecting of
fear and pity is the purpose of tragedy regardless of catharsis. Perhaps our capacity to pity
and fear teaches the limits and finitude of our own humanity.

Bibliography:

Aristotle, The Poetics, trans. Malcom Heath, London: Penguin Books, 1996.

Easterling, P. E., The Cambridge Companion to Greek Tragedy, Cambridge: Cambridge


University Press, 1997.
Destrée, Pierre, "Aristotle’s Aesthetics", The Stanford Encyclopedia of Philosophy
(Winter 2021 Edition), Edward N. Zalta (ed.), URL =
<https://plato.stanford.edu/archives/win2021/entries/aristotle-aesthetics/>.

Levi, Peter, “Greek Drama”, in The Oxford History of Greece and the Hellenistic World,
ed. Boardman et al. Oxford: Oxford University Press, 1988.

Sophocles, Antigone, in Sophocles I: Antigone, Oedipus the King, Oedipus at Colonus,


Chicago: University of Chicago Press, 2013.

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