Aristotle's Poetics and Oedipus
The POETICS of Aristotle represents the first major work of literary criticism in western thought. Reacting against Plato's (somewhat) serious charge that the poet is father of lies--three times removed from the truth, he offered ideas that have been applied (somewhat inaccurately) to most plays written since his time. His favorite play and the one he used as a model for the POETICS is OEDIPUS, so the following should apply:
1) "Tragedy is an imitation of an action that is serious, complete, and possessing magnitude.. .in the mode of action; not narrated; and effecting pity and fear [what we call) catharsis of such emotions."
2) The imitation of the action is the plot. Tragedy is not an imitation of men but of actions and life. It is in action that happiness and unhappiness are found, and the end which we aim at is a kind of activity... It is for the sake of their actions that [agents] take on the characters they have. Thus, what happens--that is, the plot--is the end for which a tragedy exists, and the end or purpose is the most important thing of all.. it is whole, [having] a beginning, middle and end.
3) Dramatic poetry's function is.. not to report things that have happened, but rather to tell of such things that might happen.. .to express the universal."
4) Aristotle speaks of the need for mature tragedy to have a complex action by which he meant that reversal and recognition result logically from a change in fortune: reversal: is a change from one state of affairs to its exact opposite." recognition: a change from ignorance to knowledge.. on the part of those who are marked for good fortune or bad."
5) .. Good men ought not to be shown passing from prosperity to misfortune, for this does not inspire either inspire pity or fear, but only revulsion; nor evil men rising from ill fortune to prosperity.. neither should a wicked man be seen falling from prosperity into misfortune.. We are left with the man whose place is between these extremes. Such is the man who on the one hand is not preeminent in virtue and justice, and yet on the other hand does not fall into misfortune through vice or depravity. He falls because of some mistake:'[often mistranslated as a tragic (moral) flaw].
ANALYSIS:
Critic Len Mozzi suggests six key questions ought to be asked:
1. WHO is talking and to whom?
2. WHAT does this character want?
3. WHERE is the character-how does he/she feel about being there?
4. WHEN does the character want what be/she wants? Why insistent? What is at stake?
5. WHY Why cannot the character get what he/she wants? Obstacles?
How is the character going to achieve goals? What actions are taken? This last one is at the heart of Aristotle's criticism. Consider the following plot elements--recalling the triangle diagram;--exposition, inciting force, rising action, climax, falling action, denouement.
Note also: characterization (static/dynamic); setting; dialogue; types of conflict; stage directions; soliloquies--recall separate notes on soliloquy; what characters say/do to others.