The Greek conception of the term "Tragedy " It is necessary at the very outset, to remember that the Greek

conception of Tragedy was different from ours. In the modern age, tragedy means a drama (sometimes story) with an unhappy ending, and disastrous enough to have a `tragic' effect but the origin of the term `tragedy ' is not too clear. Dante said that an unhappy tale was called a "tragedy " or "goat-song " because goats are noisome. The real source is still under dispute. However, the Greek conception of tragedy was that it was a serious drama not necessarily with an unhappy ending. The essence of tragedy was that it handled serious actions of serious characters, whereas comedy dealt unattractively with repulsive characters. This is clear from Aristotle's classification of four possible tragic plots, which include two plots which represented a change from misery to happiness-a contention which seems unacceptable in the modern times. Aristotle's famous definition of tragedy says: " Tragedy, then, is an imitation of an action that is serious, complete and of certain magnitude , in language embellished with ;each kind of artistic ornament, the several kinds being found in separate parts of the play, in the form of action not of narrative, through 'pity and , fear effecting t h e p r o p e r p u r g a t i o n o f these e m o t i o n s .

Explaining the nature of tra gedy, Aristotle first discuses the object of imitation in tragedy i.e .," serious actions". It is opposed to comedy, which deals with "grotesque actions". Imitation should be creative not slavish copy of things. In the manner of imitation it is represented in dramatic form which is distinguished from the narrative form of the epic. F u r t h e r t r a g e d y includes certain beauties of expression a n d d e c o r a t i o n s o f style. It uses verse for d i a l o g u e s a n d s o n g f o r t h e chorus.

Aristotle then, enumerates the constituent elements of tragedy. The first and the foremost among them is the plot. To Aristotle, plot is the life and soul of tragedy. Plot is conceived and organized into a series of episodes or incidents that follow a logical and inevitable s e q u e n c e . This sequenced ordering of these incidents is called plot. Aristotle emphasizes that plot must be complete i.e., it must have a beginning , middle and end all connected with another. As far as the size of the plot is concerned it should be such as to allow the human memory to en compass the whole of it. It includes all relevant incidents, change of fortune catastrophe and reversal etc, occurring in the life of the central figure in tragedy.

According to Aristotle, it is the well-constructed plot, which leads to powerful tragic effect. Therefore there is no scope, whatsoever of irrelevant and superfluous incident in plot. As a matter of preference, Aristotle favors complex plots as opposed to Simple ones. In simple plots action moves in single direction showing no rise and fall in fortunes of the

central figure . In case of complex plots, there are violent changes in the circumstances of the hero. These changes are governed by two concepts; " Peripety" or reversal or change in the fortune of hero and Anagnorisis" or recognition / discovery or change from ignorance to knowledge. These changes contribute in enhancing the tragic effect. However, all such changes should follow a logical and intelligible pattern. Plot should follow the law of probability and necessity . Further the constructive plot must satisfy our interest and moral sense. Action should not show a perfectly good man passing from happiness to misery. Nor should it take up a bad man passing happiness to misery or a bad man passing from misery to happiness.

Saying about character, Aristotle had in his mind, the qualities of the dramatic figures represented in tragedy. To him men included in the action must have two qualities or forms of behaviour, moral (ethos) and intellectual (dianoia) . It is basically the deeds of men under moral and intellectual impulses that provide the material for tragic action . About the central figure of t ragedy , Aristotle says that he should not be perfectly good or utterly deprived. He should rather be a mixture of virtue and human frailty. Ideally he should fall from higher position of fortune and this downfall should be triggered a certain error of judgment on his part and which does not match with his overall behaviour and character. This weakness or erroneous judgment is called " Hamartia. It is necessary that the central figure apart from this error should be quite balanced. Overall, characterization should show goodness, appropriateness , reality end consistency about men. Diction , Spectacle and Song and the other three elements of tragedy. Diction and Song deal with the medium of tragic imitation whereas Spectacle is concerned with the manner of imitation. These three elements are of technical nature and not given much importance by Aristotle. Aristotle does not favour poetic justice necessary for tragedy. He also rules out the plurality of action.

The function of tragedy is to arouse pity and fear and accomplish its catharsis of such emotions through painful and horrific incidents; tragedy purges human minds of the effect of these sights and experiences. Its function is to restore balance in the human psyche by providing ventilation to disturbance caused by fate of the hero and other episodes in the tragedy. If taken in the s e n s e of purification, catharsis means disposal of morbid and distressing impact of tragic sights in which the relation between the particular and the universal is brought about. It means that evil should be punished and virtue should be rewarded. Tragedy, through its structure and form also satisfies our instinctive response to beautiful imitation and harmony and gives us pleasure. The clarity about life and men also gives us sense of fulfillment and pleasure.

Considering the quality of critical thinking in his age, Aristotle seems to surpass all traditional views about tragedy. Although he ignores important issues like, religious origin

of tragedy, conflict inner and outer in its role in plot and the role of outside, inexplicable forces in human life. He also s e e m s over obsessed with plot as main success of a good tragedy. Despite these shortcomings the truth remains that he initiated a highly useful debate about all aspects of tragedy and gave certain concepts about tragedy, which remain valid to date.