Poetics

​What one should aim at and what one should avoid in constructing plots, and how the specific function of tragedy is to be produced, should be discussed next in order after what has just been said.

​Since, therefore, the structure of the finest tragedy should be not simple but complex, and since it must represent actions that excite fear and pity (for this is the distinctive feature of this kind of representation), first of all it is clear that decent men must not be seen passing from prosperity to adversity, for this is neither fearful nor pitiable, but simply shocking.

​Nor, again, should wicked men be seen passing from adversity to prosperity, for this is the most untragic of all; it has none of the necessary requirements, since it is neither morally satisfying nor pitiable nor fearful.

​Nor, on the other hand, should an extremely bad man fall from prosperity to adversity. Such a plot structure might satisfy our moral sense, but it would inspire neither pity nor fear; for pity is aroused by unmerited misfortune, and fear by the misfortune of one like ourselves—pity, that is, for the man who does not deserve his misfortune, and fear for the man who is like us—so that the outcome will be neither pitiable nor fearful.

​There remains, then, the character between these. This is a person who is neither outstanding in virtue and justice, nor falls into misfortune through wickedness and vice, but because of some error, being one of those in great prestige and prosperity, like Oedipus and Thyestes and the illustrious men of such families.

​A well-constructed plot, therefore, must be single rather than double (as some say), and must change not from adversity to prosperity, but on the contrary from prosperity to adversity, not through wickedness but through some great error on the part of a character such as has been described, or one better rather than worse.

​What has actually happened in practice is evidence of this. At first, poets used to recount any plots that came to hand, but now the finest tragedies are constructed around a few families, for example, around Alcmeon, Oedipus, Orestes, Meleager, Thyestes, Telephus, and all others who have chanced to suffer or commit terrible deeds.

​The tragedy which is finest according to the rules of the art is, therefore, of this structure.

​Hence, those who censure Euripides are making the same mistake, because he does this in his tragedies, and many of his plays end in misfortune. For this, as has been said, is correct.

​And here is the greatest proof: on the stage and in the dramatic contests, such plays, if they are well performed, appear the most tragic; and Euripides, even if he does not manage other details well, is still felt to be the most tragic of poets.

​Second in order is the structure which some rank first, having a double plot like the Odyssey, and ending in opposite ways for the better and the worse characters.

​It is thought to be first only because of the weakness of the audiences; for the poets follow the spectators, writing to suit their wishes.

​But this pleasure is not that of tragedy, but rather belongs to comedy; for there, those who in the plot are the bitterest enemies, like Orestes and Aegisthus, go off at the end as friends, and no one is killed by anyone.