Aristotle's Ideas on Plot, Aristotle's Poetics

 ARISTOTLE’S ‘POETICS’

Aristotle’s Ideas on Plot

INTRODUCTION:

Extolling the genius of Aristotle, Saintsbury remarks:

“He is the very Alexander of criticism, and his conquest in this field, unlike those of his pupils, remains practically undestroyed, though not unexpended to the present day.”

 ‘The Poetics’ by Aristotle is the most amazing, inspiring and the most influential classical critical document on poetry. ‘The Poetics’, in the words of Atkins is a “miracle because it contains so much that is of permanent and universal interest.”

This magnanimous work has been hailed as “the world book” in which Aristotle explores the field of tragedy which was hitherto unexplored. 

In ‘Poetics’ Aristotle has discussed the nature, structure and constituent elements of tragedy. He lists six formative elements of tragedy as under:

1. Plot

2. Character

3. Thought

4. Song

5. Diction

6. Spectacle

DEFINITION OF PLOT:

Among all these six, Aristotle assigns the first place to plot. According to him, plot is the most important part and it is “the life and soul of tragedy.” He defines plot:

“Plot is the logical arrangement of these incidents and events.”

Tragedy deals with the serious actions taken from life. Aristotle says that the dramatist must imitate only serious actions from life because tragedy has to be noble, serious and elevated. Here man is depicted better than he is. 

CHARACTERISTICS OF AN IDEAL PLOT:

Regarding the ideal tragic plot, Aristotle states three important characteristics:

1. Completeness

2. Magnitude

3. Unity

1. COMPLETENESS:

Aristotle says that the tragic plot must be complete in itself. By “completeness” he means that the plot must have a good beginning, a good middle and a good end. The tragedy must begin from the beginning; it must not flow out from any previous actions which are unknown to the audience. Humphrey House says in this regard,

“An effective beginning is the sure test of the dramatist’s skill.”

A good beginning leads to the middle. It initiates new actions and raises problems and doubts in the life of a tragic hero in the middle part of the play. The middle presents the climax of tragedy. The climax then leads to the falling action and denouement (end) of the play. A good end comes with all resolutions and answers to the problems presented in the play. When the play ends, let not the audience ask, “What happens next?” In short, there must be proper organic unity in the work of art.

2. MAGNITUDE:

The “completeness of action” is directly linked with “magnitude”. By “completeness”, Aristotle means “organic unity”. The organic unity is immediately linked with the size of the work of art. If the tragedy does not have appropriate limit or size, it loses its symmetry. The tragedy should “neither be too long like an island, nor be too short like an eye of a fly.” Tragedy must be finished within a single revolution of the sun.

In ‘The Poetics’, Aristotle writes that the tragedy…

“…should center upon a single action, whole and complete, and having a beginning, middle and an end.”

3. UNITY: 

Aristotle emphasizes on the unity of action. In tragedy, every incident must have logical connection with the next incident. No event should be irrelevant. All events must be weaved together in such a manner that if any one event is deleted from the play, the whole cathartic effect is disturbed. Regarding the unity of time, Aristotle says that the tragedy should be finished within a single revolution of the sun.

THREE TYPES OF PLOT: 

1. Simple Plot: A plot without any sub-plots.

2. Complex Plot: A plot with one main plot and one or more sub-plots.

3. Episodic Plot: A complex plot without any rationality or probability.

THREE REQUISITES OF PLOT:

believes that an ideal tragic plot is one which has these three elements:

“Hamartia, peripetia and anagnorisis – all hang together in the ideal schematization of the tragic action.”

1.  HAMARTIA:   Hamartia is the fatal flaw of the character. The focus is on the hero in whose life a sudden change or calamity occurs. This change from prosperity to adversity is brought not by fate, but by the tragic hero’s own mistake or miscalculation or by the actions of those who “wish them well”.

2. PERIPETIA:  Peripetia is the fatal working or the adverse result of the actions of the tragic hero. It is the reversal of situation. It means the change from prosperity to adversity, from happiness to sorrow. The sudden decline or downfall in the hero’s life is called peripetia.

3.  ANAGNORISIS:  Anagnorisis means the recognition or realization of truth. It is a change from “ignorance to knowledge.” Towards the end of the tragedy, the hero realizes his own mistakes and suffers and finds himself helpless and he repents, which is called anagnorisis. 

CONCLUSION: 

Aristotle’s ideas on plot found in ‘The Poetics’ is the most contemplated and accepted by the scholars with owe and respect. He gives much importance to plot construction in tragedy and discusses the important elements and types of plot. His ideas on plot bear the weight of great significance. His ‘Poetics’ is indeed, a marvelous contribution to literary criticism. Aristotle is the true milestone in the field of literary criticism. His ‘Poetics’ in the words of Atkins, is:

“A miracle because it contains so much that is of permanent and universal interest.” 

McGraw Hall also rightly says:

“As a philosopher, a scientist, logician and literary critic, Aristotle probably did much to shape western culture.”

Atkins considers him as “the law giver and absolute monarch to the poets and critics.”

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