The best kind of plot is tragic according to Aristotle, in that it provides the best option of delivering tragic pleasure. In his Poetics he states two different plot types: simple and complex. Aristotle says the complex plot has two other features that go along with it: reversal and recognition. It is these, which set up, and in that provides the best possibility for finding pleasure in tragedy.
Here is a definition of Aristotle’s complex action: ‘A complex action is one where the change is accompanied by such reversal or recognition or both.’ This seems to be too incomplete of a description, in the terms of peripetetia. If Peripetetia is defined as the terms of reversal in an action would thought count as part of the act also? Aristotle tells us about the change of fortune. It is either from good to bad or vice versa. The former is more trait of tragedy, but then Aristotle complicates the idea by stating that those plots where a disaster is averted by recognition are best. The change of fortune is also escorted by a difficulty of events and their resolution. Anyway, back to peripetetia, so taking in the reversal (peripetetia) we are getting reacquainted to prior expectations in view to a new end. To put more simply: peripetetia is equal to change in fortune and the pleasure we receive from it.
So if peripetetia is a characteristic of pleasure then what does the pleasure peripetetia consist of? Recognition. According to Aristotle it is the recognition of persons through tokens, artistic set-ups, memory, reasoning, and arising out of the events themselves. The grouping of peripetepia and recognition does not just influence the characters in the tragedy. The abruptness of the tragic disaster that the complex plot brings deepens our thoughts of pity as well as other related emotions.
In Chapter Fourteen in his Poetics Aristotle says, ‘the pleasure which the poet should afford is that which comes from pity and fear through imitation’. Maybe an assessment of pity and fear together with imitation can give one an improved idea of the pleasures supplementary to tragedy. Pity and fear are man's understanding for the better part of mankind in the worse part of their experiences. Pity is evoked when there is an inconsistency between the negotiator and chance, and fear when there is a likeness between the negotiator and us. Aristotle, unlike his teacher Plato, states that the emotions are good in themselves. Therefore there is should not be a need to cleanse the feelings of pity and fear. Instead a better explanation of tragic pleasure would be that associated with the proper feeling of these emotions.
Plato’s The Republic (Book X) states: ‘even the best of us enjoy it and let ourselves be carried away by our feelings; and are full of praises for the merits of the poet who can most powerfully affect us in this way.’ Even those who are temperate from themselves do not require a change of their emotional reactions to tragic situations still gain pleasure from tragedy. There is such thing as ‘pure’ pleasure and ‘incidental’, even so the former is worldwide and is accompanied by no pain and is compared to the pleasure arising out of thought.
Pleasure is exaggerated through mimesis. Aristotle says imitation is a pleasurable act and it is shown through imitation. When specifying to a particular pleasure that can be labeled as ‘tragic’ in addition to the staged form of tragedy. Both of these represent the clichéd aspects of tragedy.
When finding pleasure in tragedy the idea of pity and fear comes through imitation, as Aristotle would fittingly put. A keen sense of both (pity and fear) is exaggerated when the essential and likely events take a surprising turn. This is possible in the complex plot when associated with the reversal (peripeteia) and the recognizable. Both of these together, along with, mimesis help us understand the pleasure uncommon to tragedy.