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Pity and fear are effected through reversal and recognition; and these "most powerful elements of emotional interest in Tragedy-Peripeteia or Reversal of the Situation, and recognition scenes-are parts of the plot (1450a 32). has the shift of the tragic protagonist's fortune from good to bad, which is essential to the plot of a tragedy.
Anagnorisis originally meant recognition in its Greek context, not only of a person but also of what that person stood for. Anagnorisis was the hero 's sudden awareness of a real situation, the realisation of things as they stood, and finally, the hero's insight into a relationship with an often antagonistic character in Aristotelian tragedy .
In chap. 13 Aristotle was thinking only of the emotional effect of tragedy as produced by the most obvious means; he comes to see that the same effect may be produced in a finer form without their aid. It is his somewhat tardy recognition of the necessity of avoiding τὸ μιαρόν that has caused this change of view. [72]
Aristotle referred to the reversal of direction as peripeteia or peripety, which depends frequently on a recognition or discovery by the protagonist. Aristotle called this discovery an anagnorisis—a change from "ignorance to knowledge" involving "matters which bear on prosperity or adversity". [90]
Aristotle's work on aesthetics consists of the Poetics, Politics (Bk VIII), and Rhetoric. [8] The Poetics was lost to the Western world for a long time. The text was restored to the West in the Middle Ages and early Renaissance only through a Latin translation of an Arabic version written by Averroes. [9]
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Aristotle wrote in his work Poetics that tragedy is characterised by seriousness and involves a great person who experiences a reversal of fortune . Aristotle's definition can include a change of fortune from bad to good as in the Eumenides , but he says that the change from good to bad as in Oedipus Rex is preferable because this induces pity ...