Aristotle

“ The deed of horror may be done by the doer knowingly and consciously, as in the old poets, and in Medea’s murder of her children in Euripides. Or he may do it, but in ignorance of his relationship, and discover that afterwards, as does the Oedipus in Sophocles. Here the deed is outside the play; but it may be within it, like the act of the Alcmeon in Astydamas, or that of the Telegonus in Ulysses Wounded. A third possibility is for one meditating some deadly injury to another, in ignorance of his relationship, to make the discovery in time to draw back. ”

“ There should be nothing improbable among the actual incidents. If it be unavoidable, however, it should be outside the tragedy, like the improbability in the Oedipus of Sophocles. But to return to the Characters. As Tragedy is an imitation of personages better than the ordinary man, we in our way should follow the example of good portrait-painters, who reproduce the distinctive features of a man, and at the same time, without losing the likeness, make him handsomer than he is. ”

“ But the pleasure here is not that of Tragedy. It belongs rather to Comedy, where the bitterest enemies in the piece (e.g. Orestes and Aegisthus) walk off good friends at the end, with no slaying of any one by any one.
[XIV]
The tragic fear and pity may be aroused by the Spectacle; but they may also be aroused by the very structure and incidents of the play—which is the better way and shows the better poet. The Plot in fact should be so framed that, even without seeing the things take place, he who simply hears the account of them shall be filled with horror and pity at the incidents ”

“ A Speech is a composite significant sound, some of the parts of which have a certain significance by themselves. It may be observed that a Speech is not always made up of Noun and Verb; it may be without a Verb, like the definition of man ”

“ On the construction of the Plot, and the kind of Plot required for Tragedy, enough has now been said.
[XV]
In the Characters there are four points to aim at. First and foremost, that they shall be good. There will be an element of character in the play, if (as has been observed) what a personage says or does reveals a certain moral purpose; and a good element of character, if the purpose so revealed is good. Such goodness is possible in every type of personage, even in a woman or a slave, though the one is perhaps an inferior, and the other a wholly worthless being. ”

“ The second is the most untragic that can be; it has no one of the requisites of Tragedy; it does not appeal either to the human feeling in us, or to our pity, or to our fears. Nor, on the other hand, should (3) an extremely bad man be seen falling from happiness into misery. Such a story may arouse the human feeling in us, but it will not move us to either pity or fear; pity is occasioned by undeserved misfortune, and fear by that of one like ourselves ”

“ A Speech is said to be one in two ways, either as signifying one thing, or as a union of several Speeches made into one by conjunction. Thus the Iliad is one Speech by conjunction of several; and the definition of man is one through its signifying one thing. ”

“ This is now especially necessary owing to the unfair criticism to which the poet is subjected in these days. Just because there have been poets before him strong in the several species of tragedy, the critics now expect the one man to surpass that which was the strong point of each one of his predecessors. ”

“ Discoveries made directly by the poet; which are inartistic for that very reason; e.g. Orestes’ Discovery of himself in Iphigenia: whereas his sister reveals who she is by the letter, Orestes is made to say himself what the poet rather than the story demands. This, therefore, is not far removed from the first-mentioned fault, since he might have presented certain tokens as well. Another instance is the ’shuttle’s voice’ in the Tereus of Sophocles. (3) A third species is Discovery through memory, from a man’s consciousness being awakened by something seen or heard. ”

“ A vowel is a Letter having an audible sound without the addition of another Letter. A semivowel, one having an audible sound by the addition of another Letter; e.g. S and R. A mute, one having no sound at all by itself, but becoming audible by an addition, that of one of the Letters which have a sound of some sort of their own ”

“ The Character before us may be, say, manly; but it is not appropriate in a female Character to be manly, or clever. The third is to make them like the reality, which is not the same as their being good and appropriate, in our sense of the term. ”

“ Hence it is that poetry demands a man with special gift for it, or else one with a touch of madness in him; the, former can easily assume the required mood, and the latter may be actually beside himself with emotion. ”

“ In the epic owing to its scale every part is treated at proper length; with a drama, however, on the same story the result is very disappointing. This is shown by the fact that all who have dramatized the fall of Ilium in its entirety, and not part by part, like Euripides, or the whole of the Niobe story, instead of a portion, like Aeschylus, either fail utterly or have but ill success on the stage; for that and that alone was enough to rui.e.en a play by Agathon. ”

“ There is a further point to be borne in mind. Every tragedy is in part Complication and in part Denouement; the incidents before the opening scene, and often certain also of those within the play, forming the Complication ”