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1453b]
[1]
Fear and pity sometimes result
from the spectacle and are sometimes aroused by the actual arrangement of the
incidents, which is preferable and the mark of a better poet. The plot should be so constructed that even without
seeing the play anyone hearing of the incidents happening thrills with fear and pity
as a result of what occurs. So would anyone feel who heard the story of Oedipus.
To produce this effect by means of
an appeal to the eye is inartistic and needs adventitious aid, while those who by such means produce an effect which
is not fearful but merely monstrous have nothing in common with tragedy.
1 For one should not seek from tragedy all kinds of pleasure but
that which is peculiar to tragedy, and
since the poet must by "representation" produce the pleasure which comes from
feeling pity and fear, obviously this quality must be embodied in the
incidents.
We must now decide what incidents seem dreadful or rather
pitiable. Such must necessarily be the actions of friends to each other or of
enemies or of people that are neither.
Now if an enemy does it to an enemy, there is nothing pitiable either in the deed or
the intention, except so far as the
actual calamity goes. Nor would there
be if they were neither friends nor enemies. But when these calamities happen among
friends,
[20]
when for instance brother
kills brother, or son father, or mother son, or son mother—either kills or
intends to kill, or does something of the kind, that is what we must look
for.
Now it is not right to break up the traditional stories, I mean, for instance,
Clytaemnestra being killed by Orestes and Eriphyle by Alcmaeon, but the poet must show invention and make a skilful
use of the tradition.
But we must state more clearly
what is meant by "skilful." The
action may happen in the way in which the old dramatists made their characters
act—consciously and knowing the facts, as Euripides
2 also
made his Medea kill her children. Or
they may do the deed but without realizing the horror of it and then discover the
relationship afterwards, like Oedipus in Sophocles. That indeed lies outside the
play,
3 but an example of this in the tragedy itself is
the
Alcmaeon of Astydamas
4 or Telegonus in the
Wounded
Odysseus. A third
alternative is to intend to do some irremediable action in ignorance and to discover
the truth before doing it. Besides
these there is no other way, for they must either do the deed or not, either knowing
or unknowing. The worst of these is
to intend the action with full knowledge and not to perform it. That outrages the
feelings and is not tragic, for there is no calamity.