kim woods

ARISTOTLE’S “POETICS” and the structure of TRAGEDY

TRAGEDY: [courageous individuals who confront powerful forces within or outside themselves with a dignty that reveals the breadth and depth of the human spirit in the face of failure, defeat, and even death—

ARISTOTLE [384-322BC]—protagonists are extraordinary people—mythic [public crisis rather than private—the fate of the community—the state—often linked with protagonist—character has HAMARTIA [a tragic flaw or “wrong act” or “mistake”]

Outside protagonist’s personality and control. HUBRIS is “fated”—important distinction

Protagonist accepts responsibility for it—displays greatness of character –accepts and transcends human limitations--and we have CATHARSIS [relief—pity and sorrow—but also fear] for them--fear because his failure reminds us of our own vulnerabilities.

During play, the protagonist’s expectations change [as do ours] called reversal or PERIPETEIA—hero’s fortunes turn in an unexpected direction—action performed by hero has opposite effect [TIRESIAS]---or MESSENGER reveals truth—character begins to see---called recognition [ANAGNORISIS]---see also DRAMATIC IRONY AND

TRAGIC IRONY [as what seems to be turns out to be radically different from what is].

GREEK TRAGEDY: 5 parts: prologue----Parados [chorus first entrance]---Episodia [episodes—debates]---Stasimon [chorus comes on stage, responds to, interrupts proceedings]---Exodus [end]

SHAKESPEARE’S TRAGEDY: follows Freytag’s “Pyramid” –a 5 act structure:

Exposition: The exposition is the portion of a story that introduces important background information to the audience; for example, information about the setting, events occurring before the main plot, characters' back stories, etc. Exposition can be conveyed through dialogues, flashbacks, character's thoughts, background details, in-universe media or the narrator telling a back-story.

Rising action: In the rising action, a series of related incidents builds toward the point of greatest interest. The rising action of a story is the series of events that begin immediately after the exposition (introduction) of the story and builds up to the climax. These events are generally the most important parts of the story since the entire plot depends on them to set up the climax, and ultimately the satisfactory resolution of the story itself.

Climax: The climax is the turning point, which changes the protagonist’s fate. If the story is a comedy, things will have gone badly for the protagonist up to this point; now, the plot will begin to unfold in his or her favor, often requiring the protagonist to draw on hidden inner strengths. If the story is a tragedy, the opposite state of affairs will ensue, with things going from good to bad for the protagonist, often revealing the protagonist's hidden weaknesses.

Falling action: During the falling action, the conflict between the protagonist and the antagonist unravels, with the protagonist winning or losing against the antagonist. The falling action may contain a moment of final suspense, in which the final outcome of the conflict is in doubt.

Dénouement, resolution, revelation or catastrophe: The dénouement comprises events from the end of the falling action to the actual ending scene of the drama or narrative. Conflicts are resolved, creating normality for the characters and a sense of catharsis , or release of tension and anxiety, for the reader. Etymologically , the French word dénouement is derived from the Old French word desnouer, "to untie", from nodus, Latin for "knot." It is the unravelling or untying of the complexities of a plot .

The comedy ends with a dénouement (a conclusion), in which the protagonist is better off than at the story's outset. The tragedy ends with a catastrophe, in which the protagonist is worse off than at the beginning of the narrative.