Plot vs Character in Tragedy Essay

Q. spell Vs CHARACTER In Tragedy In his perpetual creation Poetics Aristotle mentions six formative elements of cataclysm while of land, Character, Thought, Diction, Spectacle and Song. And among them spell gets the prior attention and importance. Aristotle claims maculation to be the soulfulness of catastrophe. In his view character as substitute(prenominal) to the plot. He in his book Poetics opines Plot is the primaeval thing, the soul of tragedy, whereas character is secondary. Chap7. It is only in the setting of describing standard plot that Aristotle refers to character. Aristotle categorically states that on that point buttocks be a tragedy without character, but there can never be a tragedy without plot. According to Aristotle, there are two kinds of plot straightforward plot and complex plot.In simple plot we find only peripetia or the reversal of situation, and complex plot shows both peripeteia and Anagnorisis or the sudden discovery. Besides these main t wo, plot can be based on scenes of sufferings. An specimen plot is one which give the sacks pity and terror and brings astir(predicate) the outlet of emotions. But the suffering of all characters cannot arouse pity and terror. If the tragic hero is a good bad man, his sufferings will not arouse the coveted tragic emotions. And if the tragic hero is a exhaustively good man, his sufferings will shock us. So the arousal of pity and terror demands the description of a psyche who is neither very good nor very bad.The ideal character should be a person of modal(a) sort. Thus, character is subordinated to plot. Tragedy depicts actions, and not character it is the plot which reveals the character. In the classical tragedies of Greece emphasis is certainly situated on plot. Sophocles King Oedipus, Aeschyluss Agamemnon or Euripidess Medea is really plot-oriented.But in modern or social tragedies, character is closely assimilated with the circumstances of breedingwith different socia l forces. Bradleys definition of tragedy as a tale of exceptional contingency of a person who falls from prosperity to misadventure shifts our attention to character. Synges Riders to the sea or Ibsens A Dolls House exhibits the great prominence of characters. To sum up the above give-and-take we can accept the fact that a decent blending between plot and character is the touch on requisite of a good tragedy. And a made tragedy writer knows how to provide thereaders or the reference with the blend of these two and make them mutually contributive to each other.