(4) There is a further point to be borne in mind. Every tragedy is in part Complication and in part Denouement; the incidents before the opening scene, and often certain also of those within the play, forming the Complication; and the rest the Denouement. By Complication I mean all from the beginning of the story to the point just before the change in the hero’s fortunes; by Denouement, all from the beginning of the change to the end. In the Lynceus of Theodectes, for instance, the Complication includes, together with the presupposed incidents, the seizure of the child and that in turn of the parents; and the Denouement all from the indictment for the murder to the end. Now it is right, when one speaks of a tragedy as the same or not the same as another, to do so on the ground before all else of their Plot, i.e. as having the same or not the same Complication and Denouement. Yet there are many dramatists who, after a good Complication, fail in the Denouement. But it is necessary for both points of construction to be always duly mastered. (5) There are four distinct species of Tragedy—that being the number of the constituents also that have been mentioned: first, the complex Tragedy, which is all Peripety and Discovery; second, the Tragedy of suffering, e.g. the Ajaxes and Ixions; third, the Tragedy of character, e.g. The Phthiotides and Peleus. The fourth constituent is that of ‘Spectacle’, exemplified in The Phorcides, in Prometheus, and in all plays with the scene laid in the nether world. The poet’s aim, then, should be to combine every element of interest, if possible, or else the more important and the major part of them. This is now especially necessary owing to the unfair criticism to which the poet is subjected in these days. Just because there have been poets before him strong in the several species of tragedy, the critics now expect the one man to surpass that which was the strong point of each one of his predecessors. (6) One should also remember what has been said more than once, and not write a tragedy on an epic body of incident (i.e. one with a plurality of stories in it), by attempting to dramatize, for instance, the entire story of the Iliad. In the epic owing to its scale every part is treated at proper length; with a drama, however, on the same story the result is very disappointing. This is shown by the fact that all who have dramatized the fall of Ilium in its entirety, and not part by part, like Euripides, or the whole of the Niobe story, instead of a portion, like Aeschylus, either fail utterly or have but ill success on the stage; for that and that alone was enough to ruin a play by Agathon. Yet in their Peripeties, as also in their simple plots, the poets I mean show wonderful skill in aiming at the kind of effect they desire—a tragic situation that arouses the human feeling in one, like the clever villain (e.g. Sisyphus) deceived, or the brave wrongdoer worsted. This is probable, however, only in Agathon’s sense, when he speaks of the probability of even improbabilities coming to pass. (7) The Chorus too should be regarded as one of the actors; it should be an integral part of the whole, and take a share in the action—that which it has in Sophocles rather than in Euripides. With the later poets, however, the songs in a play of theirs have no more to do with the Plot of that than of any other tragedy. Hence it is that they are now singing intercalary pieces, a practice first introduced by Agathon. And yet what real difference is there between singing such intercalary pieces, and attempting to fit in a speech, or even a whole act, from one play into another?
Poetics
