NAME – APURBAA ROY BARMAN

ENROLLMENT NO: A91610324023

INSTITUTIONS: AMITY INSTITUTE OF ENGLISH STUDIES

AND RESEARCH, KOLKATA

PROGRAMME: M.A. ENGLISH

COURSE: LITERARY CRITICISM

COURSE CODE: ENGL701

COURSE FACULTY: Dr. AMRITA BHATTACHARYYA.

BATCH: 2024-2026
SEMESTER 3

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 Aristotle’s Concept of Tragedy and Its Relevance Today

Introduction:
Aristotle is frequently the first name that springs to mind when we consider
drama, theatre, or even contemporary movies. This Greek philosopher penned
the little but incredibly influential book Poetics almost two millennia ago. It
became one of the most significant works in literary criticism in spite of its brief
length. Aristotle attempted to explain in Poetics why people are driven to drama,
why we like seeing characters go through hardships or make blunders, and what
makes a play effective in affecting an audience. The first comprehensive theory
of tragedy, a type of drama that depicts grave human acts and culminates in
sorrow or downfall was born out of his observations. Aristotle lived in ancient
Greece, but his theories are still very applicable today. Aristotle's ideas are
frequently reflected in contemporary plays, movies, and online series. Tragedy
was a well-known art form in Athens prior to Aristotle. The public enjoyed the
plays penned by great writers such as Aeschylus, Sophocles, and Euripides,
which were presented at festivals. Aristotle examined these plays, particularly
Sophocles' Oedipus Rex, and attempted to determine what made them so potent.
Aristotle considered tragedy to have philosophical and instructional significance
in addition to being purely amusing. He thought that tragedy might teach
individuals about morals, human nature, and the effects of decisions. "An
imitation of an action that is serious, complete, and of a certain magnitude; in
language embellished with every kind of artistic ornament, in the form of
action, not of narrative, through pity and fear effecting the proper purgation of
these emotions," is how Aristotle defined tragedy. Despite its initial difficulty,
this definition encompasses all the fundamental elements of what tragedy is
meant to be. Aristotle believed that tragedy was more than merely displaying
violence or melancholy; it was about mimicking real human behaviours in a
way that would evoke strong feelings in the audience and then lead to catharsis,
or the purification of emotions. Because human emotions and experiences have
not altered much over the ages, Aristotle's idea of tragedy is still relevant today.
Fear, sympathy, rage, love, ambition, and sorrow are still felt by people.
Humans continue to make errors, battle with moral decisions, and suffer the
repercussions of their deeds.
Tragic tales, such as Shakespeare's Hamlet, Arthur Miller's Death of a
Salesman, or contemporary movies like The Joker or television shows like
Breaking Bad, are therefore still popular with viewers. Tragic characters'

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emotional journeys mirror the hardships and conundrums of human existence at
any age.
One of the greatest Greek philosophers, Aristotle, was born in Stagira around
384 BCE. He spent almost two decades studying in Plato's Academy before
coming up with his own unique concepts. Aristotle concentrated on seeing the
actual world, whereas Plato stressed abstract ideals. His views on politics,
science, ethics, and literature were influenced by this pragmatic attitude. He
eventually established the Lyceum, a school in Athens where he taught and
wrote a great deal. Poetics is the earliest systematic work of literary criticism in
Western tradition, among his many other works. Although incomplete, it
remains highly influential. In Poetics, Aristotle primarily examined tragedy,
analysing why it appealed so strongly to audiences and what principles made it
effective. His approach was not to invent rules but to study successful Greek
tragedies, especially those of Sophocles and Euripides, and identify their
common features.
A key concept in Poetics is mimesis, or imitation. Plato had criticized art for
being an imitation of reality and therefore less valuable than philosophy.
Aristotle, however, argued that imitation is natural to humans. We learn by
imitating, and drama imitates human actions in a meaningful way. By imitating
life, tragedy reveals universal truths through particular stories. For example,
Sophocles’ Oedipus Rex is not merely about one king’s downfall but about
universal themes like fate, guilt, and self-knowledge.
Another central idea in Poetics is catharsis. Aristotle explained that tragedy
arouses pity and fear in the audience, but instead of leaving them disturbed, it
purges or purifies these emotions. This process of catharsis allows the audience
to experience deep feelings in a safe and structured way, leading to both
pleasure and moral insight. Thus, tragedy is not only entertaining but also
educational and therapeutic.
Aristotle also highlighted the importance of structure. For him, the plot
(mythos) was the soul of tragedy. A tragedy must have a beginning, middle, and
end, and all parts should be logically connected. He admired Oedipus Rex
because it combines peripeteia (reversal) and anagnorisis (recognition) within a
tightly unified plot. This structural unity, he believed, makes tragedy powerful
and emotionally satisfying.
Even though Aristotle wrote about Greek tragedies more than two thousand
years ago, Poetics continues to influence drama, literature, and even modern

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cinema. His method of analysing works based on their structure, themes, and
emotional impact remains a foundation for literary criticism.
In short, Poetics shows Aristotle’s unique ability to combine observation,
philosophy, and analysis. He studied tragedy not as mere entertainment but as a
serious art form that reflects human life and emotions. His ideas on imitation,
catharsis, and plot structure continue to shape the way we understand stories in
all forms, from classical plays to modern films.

The Six Elements of Tragedy:

Aristotle identified six essential components of tragedy, listed in order of
importance:
Plot (Mythos): The most important element. A good plot should be unified,
coherent, and follow a logical sequence of cause and effect. Subplots or
unnecessary episodes weaken a tragedy.
Character (Ethos): Characters must be consistent, believable, and morally
appropriate. The tragic hero should be neither completely good nor entirely evil
but a mix, making their downfall relatable.
Thought (Dianoia): This refers to the themes, ideas, and reasoning expressed in
the play. It shows the moral lessons or intellectual depth of the work.
Diction (Lexis): The language of the play must be appropriate, elevated, and
artistic. Dialogue, metaphors, and poetic devices all contribute to the power of
diction.
Melody (Melos): Music and rhythm were integral to Greek tragedy, adding
emotional intensity and atmosphere.
Spectacle (Opsis): Visual elements such as stage design, costumes, and effects.
Though important for entertainment, Aristotle ranked it lowest because the
emotional power of tragedy comes mainly from plot and character, not visual
display.
By analysing these six elements, Aristotle showed how tragedy works as a
combination of story, character, language, and performance.

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Key Concepts in Aristotle’s Tragedy:
Hamartia: Often called the tragic flaw, this is the mistake or error in judgment
that leads to the hero’s downfall. It is not pure evil but a human weakness, such
as pride (hubris) or ambition.

Peripeteia: A reversal of fortune, where the hero’s situation changes from good
to bad. This sudden shift heightens the tragic effect.
Anagnorisis: A moment of recognition or discovery when the hero realizes the
truth, often too late to avoid disaster.
Catharsis: The purging or cleansing of emotions of pity and fear, providing
relief and insight for the audience.
Unity of Action, Time, and Place: Aristotle stressed unity of action—every
event should contribute to the main plot. Later critics extended this to unity of
time (events within 24 hours) and place (one setting), though Aristotle himself
emphasized only action.
Together, these concepts create the powerful emotional and moral impact of
tragedy.

Relevance in Modern Literature and Theatre:

Aristotle’s ideas remain deeply relevant in modern drama. Plays such as Henrik
Ibsen’s A Doll’s House, Tennessee Williams’ A Streetcar Named Desire, and
Arthur Miller’s Death of a Salesman reflect Aristotle’s principles of character,
plot, and catharsis. They present flawed but relatable individuals whose
personal weaknesses and social pressures lead to downfall.
Even in non-Western contexts, tragedy resonates. Indian theatre, Japanese Noh
plays, and modern African drama all reflect themes of fate, moral choice, and
suffering. Aristotle’s framework helps us analyse and appreciate these works.

Relevance in Modern Cinema and OTT:

Cinema is perhaps the most powerful modern form of tragedy. Films like Joker,
Requiem for a Dream, Manchester by the Sea, and Black Swan follow
Aristotle’s tragic pattern: a flawed protagonist, reversal of fortune, recognition,
and emotional catharsis for the audience.

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Popular web series such as Breaking Bad or Game of Thrones also demonstrate
the timelessness of Aristotle’s tragedy. Walter White’s ambition and pride
(hamartia) lead to his downfall (peripeteia) and recognition (anagnorisis), while
the audience experiences catharsis. Similarly, characters like Ned Stark or
Daenerys Targaryen reflect the structure of classical tragedy.
The strongest evidence of Aristotle’s relevance today lies in modern films.
Cinema, being a visual and narrative medium, naturally follows dramatic
principles. Movie like The Godfather, contain Aristotelian elements.
For instance, Walter White in Breaking Bad and Michael Corleone in The
Godfather are modern tragic heroes: initially sympathetic characters whose
flaws—ambition, pride, or desire for power—bring about their downfall. The
audience feels pity and fear as they watch these characters spiral toward
destruction, experiencing catharsis in the process.

Philosophical and Psychological Relevance:

Tragedy remains relevant not only as art but as a way of processing human
emotions. Watching or reading tragedies allows audiences to confront fear, pity,
and grief in a controlled way.
This psychological process helps people understand themselves and others. In
times of crisis, tragedy can provide healing by giving meaning to suffering.
Philosophically, tragedy reflects the complexity of human life. It shows that
good intentions can lead to bad outcomes, that fate and choice are intertwined,
and that human beings are vulnerable but noble in their struggle. Social and
Philosophical Relevance
Tragedy continues to reflect society’s moral dilemmas and existential questions.
In a world facing crises like inequality, war, and climate change, tragic stories
resonate with audiences because they highlight the vulnerability of human life.
They remind us that even the most powerful individuals are not beyond error,
fate, or downfall. This lesson is as relevant today as it was in ancient Greece.
Furthermore, Aristotle’s insistence that tragedy presents universal truths through
imitation is crucial in the age of global storytelling.
Stories from different cultures—Japanese anime like Attack on Titan, Indian
cinema like Mother India, or African plays like Soyinka’s Death and the King’s
Horseman—all contain tragic elements.

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Despite cultural differences, audiences connect to them because tragedy touches
the core of human experience. Aristotle’s concept of tragedy remains relevant
today because it addresses universal human emotions, moral conflicts, and the
consequences of human flaws. Whether in ancient Greek theatre, Renaissance
drama, modern plays, blockbuster films, or streaming series, the structure of
tragedy continues to shape storytelling. More importantly, catharsis—the
cleansing of pity and fear—remains a vital human need, as people seek to
understand and process their own struggles through art.

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 CONCLUSION:

The earliest systematic theory of tragedy was presented in Aristotle's Poetics,

which defined it as a sombre copy of human behaviour that inspires fear and
sympathy and results in catharsis. He demonstrated how tragedy acquires
emotional and moral significance by dissecting its components: story, character,
thinking, diction, music, and spectacle. Our understanding of play is still
influenced by his concepts of hamartia, peripeteia, anagnorisis, and catharsis.
Aristotle's tragic framework is still present in books, plays, movies, and web
series today. Audiences are still moved by tales of flawed heroes and their
demise, demonstrating the timeless character of human emotions and nature.
His theory's fundamental discoveries into the connection between art and human
emotion remain eternal, despite its modifications and criticisms. As a result,
Aristotle's idea of tragedy is a living framework rather than just an antiquated
theory. It goes on to explain why we are attracted to tales of pain and why,
ironically, they provide us with joy, insight, and emotional relief. Through the
mirror of tragedy, Aristotle continues to help us understand ourselves almost
two millennia later.

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 CITATION:

1. Aristotle defines tragedy as “an imitation of an action that is serious,

complete, and of a certain magnitude…” (Poetics 6).
2. Aristotle. Poetics. Translated by S. H. Butcher, Macmillan, 1895.
3. Else, Gerald F. Aristotle’s Poetics: The Argument. Harvard UP, 1957.
4. Golden, Leon. Aristotle on Tragic and Comic Mimesis. University of
South Florida Press, 1992.
5. Halliwell, Stephen. The Poetics of Aristotle: Translation and
Commentary. University of North Carolina Press, 1986.

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