Aristotles Favorite Tragedy
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The Poetics is considered the foundation of Western dramatic and literary theory, and readers interpret Aristotle on the basis of Chapter 13 to claim that Oedipus, with its pity, fear and horrible ending, is the finest type of tragedy. Some specialists, however, discuss Aristotle also stating in Chapter 14 that the happily-ending plays like Cresphontes are the finest, with the type of plays like Oedipus, which involve an agent killing or committing great suffering to a family member and only recognizing the family connection afterwards, being second-best. This passage obviously creates a dilemma. No commentator has ever been able to resolve it to the satisfaction of the profession, and as a result Oedipus maintains its stature. Indeed, the specialist Elizabeth Belfiore recently published (“The Elements of Tragedy,” in A Companion to Aristotle, ed. Georgios Anagnostopoulos, 2009) a defense of Oedipus as the best play for Aristotle in spite of the explicit ranking of Chapter 14.Gregory Scott here demonstrates instead that Aristotle actually means what he says in Chapter 14: Tragoidos, originally “goat-song” or the like, and typically translated misleadingly as “tragedy,” really involves for him serious drama primarily about good people, and Aristotle says three times in the book that it can end in misfortune or in fortune. Scott, building on his ground-breaking work from 2003, “Purging the Poetics” (Oxford Studies in Ancient Philosophy) that is reprinted in his Aristotle on Dramatic Musical Composition: The Real Role of Literature, Catharsis, Music and Dance in the POETICS (2nd ed., 2018), resolves the dilemma between Chapters 13 and 14 once and for all, showing that the latter half of Chapter 14 is about tragoidos in general while the earlier text is only about one or two (or a mixture) of the subclasses of tragoidos as given in Chapter 18 and rarely discussed by commentators: “t
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