 The best tragedy, as we have seen, is the one that can best produce the power typical of a tragedy, i.e., producing pity and fear, and therefore can best achieve its function or aim, which is the pleasure that comes from the experience of these emotions. What Aristotle proposes in his analysis of tragedy is highlighting the means by which the poet can implement this function, which in turn should provide theater goers with the right understanding they need to have in order to be able to judge the quality of such and such a play they may attend, or read. As Aristotle announced right at the beginning, the plot is to be considered the most important means and indeed it is given the most expansive treatment, while the other “elements” of the tragedy, such as the depiction of the characters and their expression (or what we more commonly call the style, in which their dialogues are written), come next. This focus imposes itself from the perspective of the aim or function of poetry. A tragedy typically depicts the change of fortune which includes reversal of circumstances and sufferings, and rightly so: this is of course how fear and pity for the main heroes can be produced. Thus, the actions of the heroes that lead to such an outcome must be what a tragedy should mainly depict, or represent, as well as other features that are part and parcel of that outcome. The way plots are constructed or assembled from the various deeds and words of the characters (or what Aristotle calls the “events”, pragmata) should be what constitutes “the aim” of the poet (Poetics 6, 1450a22–23). This is the aim a poet must seek if he wants to end up with a tragedy that can fulfill its aim or function properly. 