Aristotle’s
concept of plot is entirely based and dependent upon his concept of tragedy.
The reason being, his concept of plot is a constituent of his concept over
tragedy of which Plot is also one of the five constituent. Thus according to
Aristotle tragedy means “Imitation
of an action that is serious, complete, and of a certain magnitude, in a
language embellished with each kind of artistic ornament, the separate kinds
being found in separate parts of the play; in the form of action not of
narrative; through pity and fear affecting the proper catharsis of these
emotions.” This concept of tragedy states its six constituents viz. plot,
character, thought, diction, melody and spectacle.
So the term plot, as a constituent of
the tragedy refers to a component that determines the meaning of the play.
According to Aristotle plot means “the
arrangements of the incidents.” i.e. the ways and sequences are presented in
the story. Aristotle divided the plots into two categories viz. ‘Simple
Plot’ and ‘Complex Plot’. Of this, the simple plot he stated as an
action which is continuous and one, is called Simple Plot. Complex Plot on the
other hand was given quiet special treatment by Aristotle. According to him the
complex plot consists of either ‘Peripeteia’ or ‘the reversal of
intention’ and ‘Anagnorisis’ or ‘recognition’ connected with ‘catastrophe’. In
order to properly understand complex plot, both of these constituents are to be
given due consideration.
Peripeteia: According to Aristotle,
Peripeteia occurs when a character performs an action and this becomes the
cause of giving rise to an effect which is contrary of that effect which he
intends to produce. In other words, it is the sudden reversal or inversion of
desired effect which were supposed and expected to occur. The English form of
Peripeteia is Peripety. Aristotle defines Peripeteia as “A change by which actions veers round in its
opposite subject always to our rules of probability or necessity.” Example,
In Hamlet it occurs when Hamlet draws the sword out of avenge from Claudius
against his father’s murder but hesitates seeing him praying and believing that
he would go to heaven if he’s killed now.
The reversal of the situation or the
change of fortune form the hero should occur in the manner which is contrary of
what has been expected by the audience which is equally surprising but is still
a justifiable consequence or the effect of the preceding cause, responsible for
undergoing such effect. According to Aristotle Peripeteia along with discovery
is more effective when the reversal that occurs in drama is negative. Yet
Peripeteia is not confined to only form of being negative. It can be equally
positive as negative or vice-versa. Peripeteia consequently leads to
anagnorisis or the discovery of the true facts. Soon after Peripeteia a new
discovery or revelation (termed as anagnorisis) takes place.
The termed being a Greek one, in its Greek sense also means
recognition, not only of a person but also of what that person represented. For
instance if the protagonist who faces the situation of Peripeteia is further,
revealed of the anagnorisis or the ultimate truth after the truth that he knew
turns out to be contrary. Finally it is a perception that results in an insight
with the hero, often revealing his relation with the antagonistic character
within Aristotelian tragedy. (In Aristotelian tragedy it was the discovery of
one’s own identity or true character of someone else’s identity or true nature
by tragic hero). Thus Anagnorisis in Aristotle’s words can be concluded as a
change from ignorance to knowledge producing love or hate between the persons
destined by the poor or proper fortune. Ex. Oedipus, despite his attempt of
changing his fate of killing his father and marrying his mother, does the same
in ignorance and later on the truth is revealed to him, which turns out to be
entirely unexpected. Thus anagnorisis is caused as a result of Peripeteia.
Conclusively, both these factors or concepts of peripety
and anagnorisis being the major components of a complex plot hence declaring it
a complex situation which progresses in a very complicated manner and further
turns out to be contrary and inverse of as it should have been in actual as of
peripeteia. Thus consequently the anagnorisis occurs which reveals the true
fact (after the inversion of the situation) which was unknown and in its stead something else was known; now after
the other thing has turned out wrong the actual truth is revealed or disclosed
later and thus forming or making the plot very complex. Now at last after the
actual situation turns out to be contrary or distinct of previous situation
truth has also to be revealed which is done through anagnorisis. Thus
consequently making the plot complicated and complex. Thus, this is the concept
of the complex plot in respect of Aristotle’s concept of the complex plot.
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