Q. Define tragedy in Aristotelian terms and enumerate the elements of tragedy and its primary purpose.
Aristotle lived during the Classical period of Ancient Greece, a time marked by immense cultural and intellectual growth. This era, particularly between the 4th and 5th centuries BC, was fertile ground for developing arts, philosophy, and sciences.
It provides a backdrop for Aristotle’s extensive contributions to various fields, including his profound impact on the concept of tragedy. In Aristotle’s own words, tragedy is defined in his seminal work “Poetics” as follows:
Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions.
(Poetics)
Tragedy is known to evoke emotions of pity and fear among its audience. This emotional response leads to a catharsis, or emotional release, central to the drama experience.
The Elements of Tragedy
Aristotle, a famous philosopher from ancient Greece, studied drama and defined what makes a tragedy successful. In his work Poetics, he laid out six key elements that every tragedy should have.
- Plot (Mythos)
- Character (Ethos)
- Thought (Dianoia)
- Diction (Lexis)
- Melody (Melos)
- Spectacle (Opsis)
Each element plays a specific role in creating a tragedy that impacts the audience. Below, we will look at each of these elements in detail.
1. Plot (Mythos)
The plot is the most important part of a tragedy. It is the sequence of events that happen in the story. A strong plot follows a clear path from the beginning to the end, and all the events should be connected.
Aristotle said that a plot should have a beginning, middle, and end. Each event in the plot should lead to the next one in a logical way.
In a tragedy, the plot often shows a hero who starts in a good position, like a king or leader. Over time, the hero faces a problem or makes a mistake that causes their downfall.
This mistake is called the “tragic flaw.” The hero’s downfall causes suffering, not just for them but often for others around them. The plot must be unified, meaning that every part of it is necessary for the story and nothing is added without reason.
A good tragic plot also includes a “reversal” and a “recognition.” The reversal is when the hero’s situation changes from good to bad.
The recognition happens when the hero realizes that their own actions or decisions led to their downfall. These two moments make the story more engaging and emotional for the audience.
2. Character (Ethos)
Character is the second most important element of a tragedy. The main character in a tragedy is usually a person of high status, like a king or a hero.
The audience should be able to relate to this character, even though they are in a higher position. The hero in a tragedy is not perfect. They have a weakness or flaw in their character, which is called the “tragic flaw.” This flaw is usually what causes their downfall.
For example, the hero might be too proud, stubborn, or trusting. Because of this flaw, they make a decision that leads to a bad outcome.
Even though the hero’s actions lead to their fall, the audience still feels sympathy for them because they recognize that the hero is not entirely at fault.
The tragic life is lived by characters of a certain magnitude (Poetics).
A well-developed character in a tragedy should act in ways that fit their role. The audience should understand why the hero behaves in certain ways and why they make the decisions they do. The characters should be believable, and their actions should make sense within the world of the play.
3. Thought (Dianoia)
Thought refers to the ideas and reasoning presented in the tragedy. It is the way the characters express their thoughts and beliefs.
Through their words and actions, the characters show their values and how they think about the situation they are in. Thought helps the audience understand the characters’ motivations and the play’s message.
In a tragedy, the thought often revolves around serious themes like fate, justice, or morality. The way characters talk about these themes gives the audience a better understanding of the deeper issues the story is presenting.
The thought of a tragedy can be seen in the characters’ speeches, where they explain their thinking and justify their actions.
4. Diction (Lexis)
Diction is the use of language in the tragedy. It refers to the choice of words and how the characters speak. Good diction ensures that the language used in the play is appropriate for the characters and the situation. The words should be clear, powerful, and fit the story’s tone.
In a tragedy, the language is often formal and serious. The words should reflect the characters’ emotions and the events’ gravity.
For example, when a hero faces their downfall, their words should show their inner struggle and pain. The way characters speak also helps the audience understand their personalities and emotions.
Aristotle said that diction should be both clear and expressive. The language should communicate the characters’ thoughts and feelings in a way that the audience can understand while also fitting the serious tone of the tragedy.
5. Melody (Melos)
Melody refers to the musical elements of a tragedy. In ancient Greek plays, music and song were often used to accompany the action on stage. The chorus, a group of performers, would sing or chant parts of the play, helping to set the mood and emphasize key moments in the story.
The melody in a tragedy should match the emotions of the scenes. For example, the music should reflect the characters’ sadness in moments of great sorrow.
While modern tragedies may not include music in the same way, the rhythm and flow of the dialogue can still create a musical effect. The sound of the words and the pacing of the speech help create an emotional experience for the audience.
6. Spectacle (Opsis)
Spectacle refers to the visual aspects of a tragedy, such as the scenery, costumes, and special effects. While Aristotle considered spectacle to be the least important element, it still plays a role in enhancing the audience’s experience. How the play looks can add to the story’s emotional impact.
In ancient Greek theater, spectacle included the use of masks, costumes, and props to help tell the story. The appearance of the actors and the stage helped create the world of the play and made the story more real for the audience.
However, Aristotle believed that a tragedy should be able to move the audience with its plot and characters, even without elaborate visual effects.
The spectacle should support the story, but it should not be the main focus. If a tragedy relies too much on spectacle, it may lose the depth of the story.
Purposes of Tragedy
Provide Catharsis
The first main purpose of tragedy is to provide this catharsis. By watching the tragic hero’s journey and his ultimate misfortune, the audience experiences a release of built-up emotions.
They pity the hero’s suffering and fear because they realize similar fates could happen to them. Aristotle believed that this emotional cleansing was beneficial for the audience’s well-being.
Moral Insight
Through the protagonist’s downfall, tragedy offers moral lessons. It reflects on human flaws like excessive pride or hubris. Aristotle emphasizes that the tragic hero’s fate is self-inflicted and influenced by higher powers.
Human Vulnerability
Finally, tragedy shows how uncertain and fragile human life can be. It reminds us that misfortune can strike anyone, no matter how powerful or good they are. This helps the audience learn humility and develop compassion for others.
Examples of Aristotelian Tragedy
Oedipus Rex by Sophocles
Oedipus’ downfall is caused by his decisions and actions. It illustrates the concept of hamartia or tragic flaw. This fundamental element of Aristotelian tragedy emphasizes how a character’s inherent flaws can lead to their ultimate demise.
The moment Oedipus realizes his true relationship with his parents is a powerful instance of recognition and reversal. Such moments fulfill Aristotle’s criteria for a potent tragedy.
Antigone by Sophocles
The tragic hero, Antigone, defies the king’s decree to honour her brother with a proper burial, leading to her eventual imprisonment and death.
Her stubborn loyalty and respect for family and divine law exemplify hamartia, as her virtues lead to her tragic end. The play portrays catharsis through the audience’s emotional response to Antigone’s unyielding determination and tragic fate.
Medea by Euripides
This play centers on Medea, who, in revenge against her husband Jason’s betrayal, commits a series of horrific acts, including the murder of their children.
Medea’s intense emotions and drastic decisions are her hamartia and the catalyst for the play’s tragic events. The play’s conclusion, where Medea confronts Jason with the bodies of their children, serves as a moment of devastating recognition and reversal.
Agamemnon by Aeschylus
Agamemnon,” part of the Oresteia trilogy by Aeschylus, details the tragic return of King Agamemnon from the Trojan War. When he returns, Clytemnestra brutally murders him.
This act of vengeance stems from Agamemnon’s earlier decision to sacrifice their daughter, which sets off a devastating cycle of retribution within his family.
Agamemnon’s tragic flaw lies in his earlier decision to sacrifice his daughter, which sets off the cycle of vengeance within his family.
The play explores themes of justice and revenge, driving towards a catharsis intertwined with the grim consequences of familial betrayal.
