Aristotle's Theory of Tradegy (the Plot)

Mimesis
According to Aristotle Mimesis is the "imitation of action" which is shown in the characters according to the "law of probability or necessity". This means that tradegy revovles around drama and dramatising what could or may happen according to probability etc, rather than what has happened. Aristotle pointed out that tradegy is more relatable as it deals with the universal (rather than history which deals with particulars) and therefore the audience feels tradegy is more relevant to them and their situation. Tradegy may happen at any time and in any place as Aristotle notes it is "fundamentally embedded in the universe". As a result tradegy makes people fearful, as they can see it happening to themselves.

The Incentive Movement
Aristotle insisted the plot of a tradegy much be "whole", with a beginning, middle and end. In modern terms the Incentive movement is the beginning of the plot, which starts of a cause-and-effect chain of events. The Incentive movement's effects are stressed as they are then the cause of the middle part of the plot. In the Incentive movement a problem is created which will usually be resolved in the resolution, or end, of the play.

The Dénouement
The dénouement is the what Aristotle described as "the rapid cause and effect chain" between the climax (middle) and the resolution (end) (the unravelling).

The Deus ex Machina
Aristotle describes the deus ex machina as outside intervention into the plot which then solves a problem in the play abruptly and quickly, therefore causing a surprising resolution to the plot.

The complexity of the plot
Aristotle said the plot may be either simple or complex, although complex is better. Simple plots have only a “change of fortune” (catastrophe). Complex plots have both “reversal of intention” (peripeteia) and “recognition” (anagnorisis) connected with the catastrophe.  Aristotle explains that a peripeteia occurs when a character produces an effect opposite to that which he intended to produce, while an anagnorisis “is a change from ignorance to knowledge, producing love or hate between the persons destined for good or bad fortune.” He argues that the best plots combine these two as part of their cause-and-effect chain (i.e., the peripeteia leads directly to the anagnorisis); this in turns creates the catastrophe, leading to the final “scene of suffering”.