Kyo 's Key Ideas from Poetics
by Aristotle

These elements can be used alone or together to achieve specific results. In art, imitation involves copying people, events, or things, which can be either morally good or bad.

Aristotle elaborates on the style of imitation, noting that an epic poem tells a story to imitate an object, while a tragedy uses actors on stage. He explains that humans are naturally inclined to copy others because they learn by imitation from a young age. Additionally, people enjoy viewing distressing scenes from a safe distance, such as a stage.

The pleasure derived from seeing a copy lies in recognizing and understanding what it represents. Aristotle suggests that humans are naturally drawn to rhythm and melody, which explains their affinity for poetic forms combining language with rhythm and tune. He notes that dithyrambic poetry, which mixes poetry and dance, led to the development of tragedy, evolving over time to reach its natural state.

In comedy, weak characters are portrayed humorously, yet they are not inherently weak, and the errors they make do not evoke negative emotions in the audience. Unlike comedy, which avoids painful themes, tragedy and epic poetry focus on good characters. However, epics lack songs and are often narrated from a single perspective. Aristotle observes that while tragedies typically cover a single day’s events, epics can span extended periods. Those knowledgeable about tragedy will also understand epic poetry, as all elements of epic are present in tragedy.

However, tragedy includes more than an epic does, embodying a unified and significant action that elicits fear and pity in the audience, a process Aristotle calls catharsis.

Aristotle identifies six components that make up a tragedy: plot, characters, language, reasoning, spectacle, and lyric poetry, with the plot being the most essential. Tragedy imitates actions, focusing on events in the story. The most effective tragedies create catharsis through unexpected events, with a change in fortune serving as the emotional pivot, sometimes leading to recognition or reversal. A reversal entails an action's change to its opposite, dictated by necessity or probability based on the preceding narrative.

Recognition, on the other hand, involves a shift from ignorance to knowledge, revealing relationships or animosities. Aristotle praises plots that combine recognition and reversal, citing Oedipus Rex by Sophocles as an example where these elements occur simultaneously, evoking fear and pity.

For Aristotle, catharsis can also arise from tragedies depicting human suffering, such as war. The best tragedies feature complex plots and avoid characters who are overly virtuous or wicked; instead, they depict a shift from good to bad fortune. This twist heightens fear and sympathy, particularly when tragic acts occur between close relationships, like family members. Aristotle then turns to character, listing four traits essential for characters in tragedy: goodness, suitability, likeness, and consistency.

Characters should act decently and fittingly, maintaining consistency or, if inconsistent, consistently so. He encourages poets to visualize stories to avoid errors or inconsistencies. Each tragedy requires a problem and a well-crafted resolution.

In language, clarity is vital, yet it should not compromise dignity. Everyday words contribute to clear diction, but solely using them lacks creativity. Effective poetry balances common language with exotic expressions, including metaphors and uncommon words. Aristotle addresses common critiques of poetry, such as claims of impossibility, illogic, or contradiction, suggesting that many improbable or contradictory elements may be plausible within the narrative context.

Finally, he considers whether tragedy surpasses epic, concluding that tragedy is superior due to its concentrated effect, enhanced by lyric poetry and spectacle, and its brevity compared to epics. For Aristotle, the concentrated intensity of tragedy, exemplified by works like Oedipus Rex, achieves greater emotional power than the extended form of an epic. Tragedy’s ability to evoke terror and pity, resulting in catharsis, ultimately makes it superior to epic poetry.