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.

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.

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.

Catharsis in Tragedy

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.

The Role of Language and Clarity

Aristotle’s Poetics explores poetry in general and its specific types, focusing on how poetry affects readers and how to craft impactful poetic stories.

Introduction to Aristotle’s Poetics

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.

Poetry, therefore, is more philosophical and higher thing than history; for poetry tends to express universal, history the particular.

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.

Ending

He begins with the rules of verse, which he considers natural, and then discusses various types of poetry, such as epic, tragedy, comedy, dithyramb, and music played on instruments like the pipe or lyre. Aristotle argues that all poetry is a type of imitation, differing only in three ways: the medium, the object, and the mode of imitation. The medium of imitation varies depending on the art form; for example, painters or sculptors use color or shape, while poets use rhythm, language, and music.

Types of Poetry and Imitation

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 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.

The Distinction Between Comedy and Tragedy

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.

The Six Components of Tragedy

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 Nature of Imitation and Human Enjoyment

'What is poetry, how many kinds of it are there, and what are their specific effects?' Aristotle's Poetics is the most influential book on poetry ever written. A founding text of European aesthetics and literary criticism, from it stems much of our modern understanding of the creation and impact of imaginative writing, including poetry, drama, and fiction. For Aristotle, the art of representation conveys universal truths which we can appreciate more easily than the lessons of history or philosophy. In his short treatise Aristotle discusses the origins of poetry and its early development, the nature of tragedy and plot, and offers practical advice to playwrights. This new translation by Anthony Kenny is accompanied by associated material from Plato and a range of responses from more modern literary practitioners: Sir Philip Sidney, P. B. Shelley, and Dorothy L. Sayers. The book includes a wide-ranging introduction and notes, making this the most accessible and attractive modern edition. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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