Aristotle's Concept of Tragedy

Aristotle’s Concept of Tragedy in Poetics

Aristotle (384–322 BCE) was a Greek philosopher and polymath whose works have profoundly influenced Western thought. A student of Plato and tutor to Alexander the Great, Aristotle made significant contributions to numerous fields, including logic, ethics, politics, metaphysics, and literary theory.

Tragedy is the central focus of Aristotle’s Poetics and remains one of the most debated subjects in literary theory. While Plato viewed tragedy as harmful to the soul—arguing that it indulges emotions and passions that weaken reason—Aristotle saw it as beneficial. According to Aristotle, the emotions aroused by tragedy serve a purgative function, cleansing the soul through catharsis. Unlike Plato, who dismissed tragedy as insignificant, Aristotle considered it the highest and most legitimate form of dramatic art.

Aristotle’s Definition of Tragedy

Aristotle defines tragedy as:

“Tragedy is an imitation of an action that is serious, complete, and of a certain magnitude; in embellished language... arousing pity and fear, effecting the proper catharsis of these emotions.” (Poetics, Aristotle)

This definition highlights several key characteristics of tragedy:

1. Imitation (Mimesis) – Aristotle asserts that a poet does not merely copy the external world but represents reality in a meaningful way. For him, imitation is not mere replication but a creative act that reveals deeper truths.

2. Seriousness of Action – Tragedy should depict actions of moral, psychological, and social significance, capable of evoking strong emotions like pity and fear.

3. Magnitude and Coherence – A tragedy must have a structured beginning, middle, and end. It should not be a random sequence of events but a well-constructed narrative where each action leads naturally to the next. The poet selects only those elements that contribute to an eternal truth.

4. Embellishment – Aristotle emphasizes the use of verse and song, with dialogue often expressed in metrical form, particularly in monologues and soliloquies, while songs are reserved for the Chorus. This enhances the beauty and refinement of the tragedy.

5. Dramatic Action Over Narration – Aristotle prefers tragedy over epic poetry because it relies on performance and staging rather than mere narration.

6. Catharsis – The ultimate purpose of tragedy is to arouse pity and fear in the audience and then purify these emotions and lead to a deeper understanding of human nature.

The Six Elements of Tragedy

According to Aristotle, six components determine the quality of a tragedy:

1. Plot (Mythos) – The plot is “the arrangement of incidents” and must be cohesive, self-contained, and complete. Each action should follow logically from the previous one without external interference. Aristotle emphasizes the importance of a well-structured plot with a clear beginning, middle, and end. The plot should also have a certain magnitude, meaning it must be long enough to develop its themes but not excessively lengthy.

Aristotle distinguishes between two types of plots:

1. • Simple plots involve a straightforward change of fortune (e.g., a poor person becoming rich).

   • Complex plots involve peripeteia (reversal of fortune) and anagnorisis (recognition or discovery). A perfect tragedy, according to Aristotle, seamlessly integrates both, forming a cause-and-effect chain leading to catastrophe.

2. Character (Ethos) – In an ideal tragedy, characters serve the plot. The protagonist should be noble and distinguished and undergo a downfall due to a flaw (hamartia), not sheer wickedness. This tragic flaw, often a moral weakness or misjudgment, leads to their destruction.

3. Thought (Dianoia) – Although Aristotle does not elaborate much on this, thought refers to the ideas expressed through the characters' dialogue. It relates to how well the speeches reveal character and advance the themes of the play.

4. Diction (Lexis) – Diction refers to the choice of words and their artistic arrangement. Aristotle highlights the importance of style and  the use of metaphors in elevating the expression of meaning in a tragedy.

5. Melody (Melos) – This pertains to the rhythmic and musical aspects, particularly the Chorus. Aristotle insists that the Chorus should be integral to the tragedy and guide the audience’s understanding and provide insight into the unfolding events.

6. Spectacle (Opsis) – Spectacle includes visual elements such as costumes, scenery, and special effects. Although Aristotle acknowledges its appeal, he considers it the least important aspect and  argue that true tragedy should evoke pity and fear through its plot and characters rather than mere visual grandeur.

In an ideal tragedy, all elements—plot, character, thought, diction, melody, and spectacle—must work together to create a unified artistic experience. The ultimate goal is to evoke pity and fear and lead to catharsis in the audience. For Aristotle, tragedy is not just a form of entertainment but a profound exploration of human nature and the consequences of fate, choice, and moral weakness.