1.0 Objectives
1.1 Introduction
1.2 Relevance of Classical Criticism
1.3 Plato’s Theory of Mimesis and Aristotle’s Defence
1.3.1 Aristotle's Reply to Plato's Objection
1.3.2 Aristotle's Objection to the Theory of Mimesis
1.4 Aristotle’s Concept of Tragedy
1.4.1 The Definition of Tragedy
1.4.2 Six Formative Elements of Tragedy
1.4.3 Plot and Character
1.4.4 The Tragic Hero
1.5.1 Unity of Action
1.5.2 Unity of Time
1.5.3 Unity of Place
1.6.1 Why Aristotle had adopted this theory
1.6.2 The Meaning of Catharsis
1.6.3 The Relevance of the Theory of Catharsis in the Present Scenario
1.7 Let us Sum up
1.9 Reading List
The combination of incidents which are the action of the play, should be one – one story told, which is not to say it has to be about only one person, since characters are not in the centre of the tragedy, but the action itself is. He is against the plurality of action because it weakens the tragic effect. Number of incidents should be connected to each other in such a way that they must be conducive to one effect.
The Unity of Action limits the supposed action to a single set of incidents which are related as cause and effect, "having a beginning, middle, and an end." No scene is to be included that does not advance the plot directly. No subplots, no characters who do not advance the action.
This unity of action evidently contains a beginning, a middle and an end, where the beginning is what is “not posterior to another thing,” while the middle needs to have something happened before, and something to happen after it, but after the end “there is nothing else.”
The chain of events has to be of such nature as “might have happened,” either being possible in the sense of probability or necessary because of what forewent. Anything absurd can only exist outside of the drama, what is included in it must be believable, which is something achieved not by probability alone, “It is, moreover, evident from what has been said that it is not the function of the poet to relate what has happened but what may happen- what is possible according to the law of probability or necessity.”(Poetics in Critical Theory Since Plato, ed. Adams. P. 54) Aristotle even recommends things impossible but probable, before those possible but improbable. What takes place should have nothing irrational about it, but if this is unavoidable, such events should have taken place outside of the drama enacted.