Part C · Broad Questions — Poetics (Chapters 1–14, 24, 26)

Aristotle defines tragedy in chapter 6. In the Butcher translation, he says:
"Tragedy 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 purification of these emotions."
The first part says tragedy is an imitation of an action. Imitation means mimesis. It is not a plain copy of life. The poet shows life in a new and artistic way. Action is the main thing here. Tragedy shows men in action, not only their nature. So plot becomes the heart of tragedy.

Aristotle says the action must be serious. This means it must be important and noble. A tragedy does not deal with small or silly matters. It deals with great suffering, fall and death. This is why tragedy is higher than comedy. Comedy imitates worse men and funny faults. Tragedy imitates better men and serious deeds. Oedipus is a good example. He is a king, and his fate affects the whole city of Thebes. His story makes us think about life and fate. So seriousness gives tragedy its dignity and depth.

Aristotle says the action must be complete. In chapter 7, he explains that a whole has a beginning, a middle and an end. The beginning does not need anything before it. The middle follows from the beginning. The end follows from the middle and needs nothing after it. Tragedy must also have a certain magnitude. It must not be too short or too long. It should be long enough to show a change from good fortune to bad fortune. It should be short enough for the mind to remember it easily. This gives the play unity and order.

The definition says the language must be embellished. Aristotle explains this as language with rhythm, harmony and song. The tragic poet uses verse and music to make the speech beautiful. He says the several kinds are found in separate parts of the play. For example, the dialogue is in verse. The choral parts are in song. Chapter 6 also names six parts of tragedy: plot, character, thought, diction, song and spectacle. Diction means the words used by the poet. Good words make the play more pleasing. But Aristotle does not rate language above plot. It is only a means of imitation.

Aristotle says tragedy has the form of action, not of narrative. This marks the difference between tragedy and epic. In epic, the poet tells the story as a narrator. In tragedy, the characters act and speak before us. We see events happen on the stage. This makes the effect stronger and more direct. Aristotle later says tragedy is better than epic because it is more compact and more vivid. It also reaches its goal in a shorter time. So this part of the definition shows that tragedy is a dramatic art. It is made for the stage.

The last part says tragedy works through pity and fear. Pity is the feeling we have for a person who suffers without deserving it. Fear is the feeling we have when we see that the sufferer is like us. In chapter 13, Aristotle explains how to raise these feelings. The hero should be neither perfect nor wicked. He should be a good man who falls because of a mistake. This mistake is called hamartia. Oedipus kills his father and marries his mother without knowing the truth. We pity him because his pain is too great. We fear because the same could happen to us.

The definition ends with catharsis. Aristotle says pity and fear bring the proper purification of these emotions. The Greek word catharsis means cleansing or purging. Critics explain it in different ways. Some say it is a medical release of feelings. Some say it is a moral purification. Others say it is a clearing of the mind that gives understanding. Aristotle does not explain it fully in the Poetics. But the main idea is clear. After watching a tragedy, the audience feels calm and relieved. They feel better, not worse. So tragedy gives pleasure and a healthy effect together. This answers Plato's charge that poetry spoils the emotions.

Aristotle's definition is strong, but it has limits. Its strength is that it covers the form, the matter, the language and the effect of tragedy. It is clear and complete. It also answers Plato and defends poetry. It has shaped drama criticism for ages. Still, some critics say it fits Greek tragedy best. Shakespeare's plays mix comic and tragic scenes, so they do not fit it fully. Dr. Johnson defends such mixed plays in his Preface to Shakespeare. Aristotle also gives little attention to the moral and religious side of tragedy. Critics still argue about the meaning of catharsis and hamartia. Even so, the definition remains the base of tragic theory.