Aristotle Poetics - Harvey.binghamton.edu
Aristotle Poetics - Harvey.binghamton.edu Aristotle Poetics - Harvey.binghamton.edu
Aristotle Poetics 14 sode (epeisodos) all that comes in between two whole choral songs; 68 the exodos all that follows after the last choral song. In the choral portion the parodos is the whole first statement of the chorus; a stasimon, a song of the chorus without anapests or trochees; a kommos, a lamentation sung by chorus and actor in concert. 69 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. 70 13 10 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, for the finest form of tragedy, the plot must be not simple but complex; and further, that it must imitate actions arousing pity and fear, 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 person must not be seen passing from happiness to misery, or (2) a bad person from misery to happiness. 20 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. Nor, on the other hand, should (3) an extremely bad person 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. For pity is occasioned by undeserved misfortune, 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 person not pre-eminently virtuous or just, whose misfortune, however, is brought upon him not by vice and depravity but by 67 Parodos: chorus entry number. 68 I.e., between two stasima, or choral entr’actes. 69 kommoi are the often frenzied lamentation songs (chorus plus actor[s]) at or near the end of tragedies. 70 The structure of a tragedy was typically as follows: • prologue • parodos (chorus entry number) • episode (a scene with actors) • stasimon (choral song between episodes) • additional episodes and stasima • kommos (lament) • exodos (finale, chorus exit) Solo arias and other types of choral and combined choral-solo numbers could be added to the mix.
Aristotle Poetics 15 some form of hamartia (“error”). 71 Such characters will enjoy good reputation and prosperity—for instance, Oedipus, Thyestes, 72 and the people of note of similar families. 10 20 The perfect plot, accordingly, must have a single, and not (as some tell us) a double outcome. 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, but in some extraordinary instance of hamartia on his or her part. This person will be either such as we have described or of superior station; he or she should not be of the inferior sort. Fact also confirms our theory. The poets began by accepting any tragic story that came to hand. But nowadays, the finest tragedies are always on the story of some few families—on that of Alemeon, Oedipus, Orestes, Meleager, Thyestes, Telephus, or any others that may have been involved, as either agents or sufferers, in some deed of horror. 73 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, 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, one with a double story (like the Odyssey) and an opposite issue for the good and the bad characters. 74 It is ranked as first only through the weakness of the audiences; the poets merely follow their public, writing as its wishes dictate. But the pleasure here is not that of tragedy. It belongs rather to comedy, where the bitterest enemies in the piece (for instance Orestes and Aegisthus) walk off good friends at the end, with no slaying of any one by any one. 75 14 71 hamartia. Much ink has been spilled over hamartia. The Greek is often translated “tragic flaw,” but it really means the process of “missing the mark” (literally and figuratively), of committing a “mistake” or “error,” even a “sin” or “crime.” A tragic character suffers misfortune by reason of some misstep on his or her part. A personality trait (a “flaw”) may be involved or it may not. At all events, it is the “false step,” the hamartia, that leads to misfortune for that character. One of the ironies that ancient Athenian tragedy explores is the possibility of committing a monstrous crime without possessing a monstrous personality. 72 Thyestes unwittingly ate his sons. 73 I.e., some families of myth and legend supply rich material for tragedy, some do not. The criteria: if the character has far to fall (potentially), and if that fall can result from a misstep or misdeed (hamartia) worthy of pity. 74 In the Odyssey (an epic, not tragedy per se), Odysseus comes home (happy ending), but the men trying to marry his wife all get killed (not happy for them). 75 Aristotle seems to regard as untragic—indeed, as comic—plays (including nominal tragedies) where there are “bad guys” punished in the end. Misfortune should come about via hamartia, not because of an evil or criminal nature.
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<strong>Aristotle</strong> <strong>Poetics</strong> 15<br />
some form of hamartia (“error”). 71 Such characters will enjoy good reputation and prosperity—for<br />
instance, Oedipus, Thyestes, 72 and the people of note of similar families.<br />
10<br />
20<br />
The perfect plot, accordingly, must have a single, and not (as some tell us) a double outcome.<br />
The change in the hero’s fortunes must be not from misery to happiness, but on the<br />
contrary from happiness to misery. And the cause of it must lie not in any depravity, but<br />
in some extraordinary instance of hamartia on his or her part. This person will be either<br />
such as we have described or of superior station; he or she should not be of the inferior<br />
sort. Fact also confirms our theory. The poets began by accepting any tragic story that<br />
came to hand. But nowadays, the finest tragedies are always on the story of some few<br />
families—on that of Alemeon, Oedipus, Orestes, Meleager, Thyestes, Telephus, or any<br />
others that may have been involved, as either agents or sufferers, in some deed of horror.<br />
73 The theoretically best tragedy, then, has a plot of this description. The critics, therefore,<br />
are wrong who blame Euripides for taking this line in his tragedies, and giving<br />
many of them an unhappy ending. It is, as we have said, the right line to take. The best<br />
proof is this: on the stage, and in the public performances, such plays, properly worked<br />
out, are seen to be the most truly tragic. And Euripides, even if his execution be faulty in<br />
every other point, is seen to be nevertheless the most tragic certainly of the dramatists.<br />
After this comes the construction of plot which some rank first, one with a double story<br />
(like the Odyssey) and an opposite issue for the good and the bad characters. 74 It is ranked<br />
as first only through the weakness of the audiences; the poets merely follow their public,<br />
writing as its wishes dictate. But the pleasure here is not that of tragedy. It belongs rather<br />
to comedy, where the bitterest enemies in the piece (for instance Orestes and Aegisthus)<br />
walk off good friends at the end, with no slaying of any one by any one. 75<br />
14<br />
71 hamartia. Much ink has been spilled over hamartia. The Greek is often translated<br />
“tragic flaw,” but it really means the process of “missing the mark” (literally and<br />
figuratively), of committing a “mistake” or “error,” even a “sin” or “crime.” A tragic<br />
character suffers misfortune by reason of some misstep on his or her part. A personality<br />
trait (a “flaw”) may be involved or it may not. At all events, it is the “false step,” the<br />
hamartia, that leads to misfortune for that character. One of the ironies that ancient Athenian<br />
tragedy explores is the possibility of committing a monstrous crime without possessing<br />
a monstrous personality.<br />
72 Thyestes unwittingly ate his sons.<br />
73 I.e., some families of myth and legend supply rich material for tragedy, some do<br />
not. The criteria: if the character has far to fall (potentially), and if that fall can result<br />
from a misstep or misdeed (hamartia) worthy of pity.<br />
74 In the Odyssey (an epic, not tragedy per se), Odysseus comes home (happy ending),<br />
but the men trying to marry his wife all get killed (not happy for them).<br />
75 <strong>Aristotle</strong> seems to regard as untragic—indeed, as comic—plays (including nominal<br />
tragedies) where there are “bad guys” punished in the end. Misfortune should come<br />
about via hamartia, not because of an evil or criminal nature.
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