Περὶ ποιητικῆς

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2 Since then the structure of the best tragedy should be not simple but complexSee chapter 10. and one that represents incidents arousing fear and pity—for that is peculiar to this form of art—it is obvious to begin with that one should not show worthy men passing from good fortune to bad. That does not arouse fear or pity but shocks our feelings.

3 Nor again wicked people passing from bad fortune to good. That is the most untragic of all, having none of the requisite qualities, since it does not satisfy our feelingsi.e., our preference for poetic justice. or arouse pity or fear.

4 Nor again the passing of a thoroughly bad man from good fortune to bad fortune. Such a structure might satisfy our feelings but it arouses neither pity nor fear, the one being for the man who does not deserve his misfortune and the other for the man who is like ourselves—pity for the undeserved misfortune, fear for the man like ourselves—so that the result will arouse neither pity nor fear.

5 There remains then the mean between these. This is the sort of man who is not pre-eminently virtous and just, and yet it is through no badness or villainy of his own that he falls into the fortune, but rather through some flaw in him,Whether Aristotle regards the “flaw” as intellectual or moral has been hotly discussed. It may cover both senses. The hero must not deserve his misfortune, but he must cause it by making a fatal mistake, an error of judgement, which may well involve some imperfection of character but not such as to make us regard him as “morally responsible” for the disasters although they are nevertheless the consequences of the flaw in him, and his wrong decision at a crisis is the inevitable outcome of his character(cf. Aristot. Poet. 6.24.). he being one of those who are in high station and good fortune, like Oedipus and Thyestes and the famous men of such families as those.

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