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The soul of tragedy, as Aristotle famously says, is the plot. This would seem to be one of the most important ideas in the Poetics, and it seems relatively straightforward and clear. But what sort of thing, exactly, is a plot that it should count as the soul in this way? What sort of metaphor is this (if it is a metaphor), and what is the evidence for it? Aristotle’s explicit pronouncement about plot is matched by an equally significant reliance on evidence as he attempts to bring to the surface the basic principles that are implicit in his favourite plays, drawing his examples from the rich heritage of Greek theatre and from the wider context of Greek literature in general, as well as from the vast storehouse of myth and legend. It is important to note that he works from a multitude of examples and not simply from one paradigm. The plot thickens. Two of his favourite examples will serve to illustrate some of the complexities and tensions. Oedipus Rex, by Sophocles, is a play that ends in disaster. The discovery that Oedipus has killed his father, Laios, and married his mother, Jocasta, results in his self-blinding and the death of his wife and mother by her own hand. Oedipus, newly widowed (and orphaned) and blinded, is now exiled. Iphigeneia in Tauris, by Euripides, is a play that ends in harmony. Orestes, driven mad by the furies who have pursued him since he murdered his mother,

The Soul of Tragedy: Some Basic Principles in Aristotle’s <i>Poetics</i>