There are four kinds of tragedy: those involving reversal and discovery like plays about Ajax or Ixion, morality tragedies like Women of Phthia and Peleus, and those set in the underworld like Daughters of Phorcys and Prometheus. Ideally a tragedy should include all four kinds but at least the most important kinds, especially given modern criticism of poets. When comparing tragedies, the focus should be on how well the story's complication and explication match each other, as some poets complicate the story well but explain it poorly.
There are four kinds of tragedy: those involving reversal and discovery like plays about Ajax or Ixion, morality tragedies like Women of Phthia and Peleus, and those set in the underworld like Daughters of Phorcys and Prometheus. Ideally a tragedy should include all four kinds but at least the most important kinds, especially given modern criticism of poets. When comparing tragedies, the focus should be on how well the story's complication and explication match each other, as some poets complicate the story well but explain it poorly.
There are four kinds of tragedy: those involving reversal and discovery like plays about Ajax or Ixion, morality tragedies like Women of Phthia and Peleus, and those set in the underworld like Daughters of Phorcys and Prometheus. Ideally a tragedy should include all four kinds but at least the most important kinds, especially given modern criticism of poets. When comparing tragedies, the focus should be on how well the story's complication and explication match each other, as some poets complicate the story well but explain it poorly.
There are four kinds of tragedy—the same number as that
of the component parts mentioned. There is the complex kind, constituted by reversal and discovery (for example, 1456a plays about Ajax or Ixion); there is the morality tragedy (for example, Women of Phthia and Peleus); finally there is […] (e.g. Daughters of Phorcys, Prometheus, and plays set in the underworld).* Preferably one should try to have all four, but if not all then the most important and as many as possible, especially given the way people criticize poets these days. Because in the past there have been good poets in each genre, people expect a present-day poet to surpass each of them in his own particular excellence. 5 If we are to compare and contrast tragedies, we must do so principally in respect of the story, that is, whether they share the same complication and explication. Many poets complicate well but explicate badly, but the two need to be matched to each other.