 The second type of requirement involves the content of the plot. Generally speaking, a plot is constituted by all the events making up, as we say, the “dramatic action”. But what counts primarily among such events are three features. First, the reversal of circumstances which “is a volte-face change in the sequence of events” (11, 1452a22–23). This must happen “in all likelihood or out of necessity” as Aristotle insists, otherwise they would not achieve their aim, which is to provoke strong emotional reactions in the public. Emotional reaction is also created by recognitions: after, or just before, something important happens to a character, he or she is recognized as having such and such relation towards his or her protagonist (1452a36–b3). And, last but not least: audience members respond to sufferings (pathê), or rather what Aristotle determines as “an action conducive either to death or great pain” (1452b11–12), thus an act of violence that causes great suffering. This action is best conducted when it involves kin: it is much more powerful, emotionally speaking, to watch a scene in which, e.g., a mother is going to kill her son, or a daughter her father (14, 1453b19–22). In such tragic scenes, involving unexpected yet plausible changes of fortune, startling recognitions, and acts of violence, managing them in the right way is absolutely key if one wants to elicit the tragic emotions. These are pity and fear, which are the two moments, or aspects, of the same emotional experience, where fear concerns primarily the moment when a character is about to commit the irreparable towards his kin, while pity comes about at the sufferings and deep misfortunes of the involved parties.