Around 335 BC Aristotle wrote, Poetics (Περὶ ποιητικῆς) the earliest known work of the theory of drama. So comprehensive is it, that it is still used by literary theorists, writers, educators and directors of theatre of film. Aristotle’s Poetics for Screenwriters[2002, Michael Tierno] is a modern application and case in point.
Interestingly, the whole work was lost to the Western world for a long time until the Middle Ages when part of the original was discovered, through an Arabic translation of the scholar Averroes.
In the work, Aristotle defines “poetry”, a term which in Greek literally means “making” and includes treatises about drama, comedy, tragedy, satire, lyric and epic poetry.
He outlines various rules for the construction of drama, which still form the bedrock of story telling and narrative theory. These include [among others]:
Character [ethos] is the moral or ethical character in tragic play and supports the plot. Their personal motivations somehow connect parts of the cause-and-effect chain of actions producing pity and fear.
The tragic accident or crisis, is what happens to the hero because of a mistake he or she makes (hamartia). That is because the audience is more likely to be “moved” by a character driven accident than by a random occurrance. A hero may have made the mistake knowingly (in Medea) or unknowingly (Oedipus).
Discovery must occur within the plot and the poet should incorporate complication and dénouement or resolution within the story. The poet must express thought through the characters’ words and actions, while paying close attention to diction and how a character’s spoken words express a specific idea.
Catharsis, or tragic pleasure, is the experience of fear and pity produced in the spectator. According to Aristotle, tragedy arouses the emotions of pity and fear in order to release the audience and purge away their excess. Aristotle also talks about “pleasure” one gets from contemplating the pity and fear that are aroused through the play.
Aristotle defined levels of narration and audience knowledge of what is happening in the plot. His tripartite division of characters, means some are in a superiorposition (βελτίονας) to the audience, and know more than the audience. Most narrators know the full story and so are superior to the audience. Other characters are in an inferior position to the audience (χείρονας) for example a character could be lost yet we audience members know that around the corner lies the murderer waiting for them. Finally, some characters are at the same level(τοιούτους) as the audience, and as they discover truths, so does the audience.
Interestingly, Aristotle points out that the origins of tragedy stem from the dithyramb or Dionysic rites and the origins of comedy, stem from phallic processions. These pagan rituals continued throughout the classic period until they were discontinued under Christian Emperors such as Constantine. Unfortunately, drama and theatre itself along with the works of classical authors such as Aristotle were consequently lost throughout the dark or medieval ages.
However, Aristotle’s theory of Poetics, underpins the logic and structure of all epic narratives, including the ancient Jewish and Christian scriptures.
To Aristotle, tragedy is rooted in the fundamental order of the universe; it creates a cause-and-effect chain that clearly reveals what may happen at any time or place. Within the order, the characters act knowingly and unknowingly act, facing crises often by their own mistake [harmartia]. Interestingly harmartia is the same Greek word used by biblical writers for sin . Artistotle’s tragic characters experience catharsis, or the purging of emotions, through the denouement or resolution of their wound [harmatia]. This occurs through satisfying of the logic of the universe within which it is set. This satisfaction creates pleasure within the audience through the purging of emotions.
Blake Snyder was a well known American screenwriter and theorist, and his book “Save the Cat” is a leading guide to writing for screen. In it, he outlines several tricks of the story telling trade.
One strategy he outlines is for getting the audience to side with the protagonist early on. Featured in the title, Save the Cat! it describes the manner in which the screen writer introduces the hero in an early scene doing something nice, for example, saving a cat. This creates a bond of empathy between them and the audience.
According to Snyder, the inspiration for this particular example, was the movie Alien, in which Ripley [Sigourney Weaver] saves a cat named Jones.
The contrast can be as powerful. For example, the opening montage of the TV series, House of Cards, features the protagonist Frank Underwood, [Kevin Spacey] finding an injured and whimpering dog.
He considers for a second, before strangling the dog and then calmly states:
Moments like this require someone who will act, do the unpleasant thing, the necessary thing.
This scene chillingly sets up his character and the whole trajectory of the TV series with its exploration of the intricasies of political ambition and power.
Saving the cat, killing the dog,: such simple motifs connect the audience viscerally to characters through emotions of empathy or distrust.
The Giver  is a Newbery Medal winning novel by Lois Lowry set in a utopian society in which all pain and uncertainty have been removed. The novel follows a boy named Jonas from the age of 11 to 12, the year of his coming of age.
In Jonas’ world, society has eliminated pain and strife by removing personal choice and unpredictability. The Community is structured around routines; work detail and family units are delegated rather than chosen. Normal human desires and impulses are repressed to maintain social harmony. Children are conceived artificially and given to family units in an ordered manner. Firm rules of etiquette control daily life.
As the story progresses , the society is revealed to be far less ideal than first implied. Jonas’ world lacks any color, the people have no memory or history, they experience a controlled climate and known nothing beyond the limits of their own community with its ordered terrain. While the community has created structure, order, and a true sense of equality beyond personal individuality, in the process, they also have eradicated all emotional depth from their lives.
The year all the children are given their work delegation, Jonas is selected to inherit the position of Receiver of Memory, the person who stores all the past memories of the Community history. He is the one the Community must draw upon to access the wisdom of history to aid the Community’s decision making.
Jonas struggles with all the new memories and emotions introduced to him, from snowflakes to sunsets, to war, suffering and pain. For the first time he is exposed to questions of good, evil, in-between, and whether it is even possible to have one without the other.
Like other great utopian/ dystopian novels such as 1984 and Hunger Games, The Giverexplores the boundaries of human freedom, the necessity of pain and emotion to the human experience and the insidious claims of government which would claim to be acting in the best interest of the people while limiting their freedoms.
Many of the things we wished we didn’t have to deal with in fact define and refine our lives. Maybe a utopia without chaos or pain is not what we want or need.
Unpredictability, our passions, our memories. They all give us the greatest of pains and the greatest of joys but they also bestow us with the wisdom and memories, to truly live.