Peripety is the climax and thus the turning point in classical drama. Peripety is the unexpected reversal in the course of action of the drama, which is why the result (good or bad) of the action is evident at this point. Thus the peripety signifies the sudden reversal of the happiness / misfortune in the fate of the agent
Term
The term can be derived from ancient Greek (περιπέτεια ~ peripeteia) and translate with sudden envelope or unexpected happiness. According to this, the translation of the word refers to the fundamental question: the sudden change in the course of a tragedy which turns the page.
The classical drama begins with an exposition, followed by the exciting moment culminating in the climax (peripetia), whereupon the action is delayed by the retarding moment and ultimately ends in disaster. This results in the typical tension curve of the drama. Building the classical drama – exposure, exciting moment, peripetia, retarding moment, disaster
This tension curve can be traced above all in the classic five-measure, whereby the peripety is quite characteristic of the tragedy and initiates the catastrophe. For the first time the term is used in the poetics of Aristotle. Later, the term is also used for other literary genres and describes a turning point in the course of the action, which initiates the resolution of the conflict.
In relation to the five-act, peripetia is therefore, in the third act, whereby the problems and confusions of the first act are gradually dissolved. In triads, this usually takes place at the end of the second or at the beginning of the third act. Aristotle points out that peripetia results from the action of the drama and should not be carried out from the outside or be supernatural.
Note: Peripetia refers to the action of the drama and can be found mainly in dramas of the closed form. Such dramas marked the literary work of antiquity. As a result many writers used the ancient poets, which is why the structure was very widespread.
Example: Peripetia in Maria Stuart
Maria Stuart, a classic drama by Friedrich Schiller, is ideally suited to the individual elements of the dramatic text because of its structure. All the components are clearly visible, and we are dealing here with a tragedy.
function content
I. Act Exposure
(exciting moment) prehistory; Situation of Mary (captivity); Justification for the death sentence, which is imminent and the consequences of it.
II Act Act of the State Council on the death sentence of Maria Stuart; the apparent appearance of Mortimer on the murder order of Elizabeth; Leicester, and Mortimer’s discussion of the liberation of Mary; Leicester encourages Elisabeth to agree to a meeting with Mary.
III. Nude highlight (peripetia) The two queens, Maria and Elisabeth, meet in the garden of Fotheringhay; Mortimer’s passionate sentiment against Maria.
IV. Act retarded moment betrayal by Leicester; Mortimer’s plan of exemption failed; Mortimer dies; The death sentence, which Leicester agrees with.
V. Act Catastrophe Death of Maria Stuart; Punishment of Elizabeth (Abandonment)
Show content for the drama Maria Stuart
In the first act (exposure), the connections are explained to us. There is an introduction on what the drama is about, what entanglements have existed so far, and why the situation is as it is. The exciting moment reveals why Mary is acting at all. Here it is the confession of Mortimer and Mary’s subsequent letter to Leicester, which is not to be without success.
The second act shows the increase. It serves to expand the dramatic conflict and is usually based on an action of the protagonist or antagonist, which has greatly influenced the further action and which was previously initiated by the exciting moment.
In the third act, the whole now rises to the climax (peripetia). There is hope that the conflict can be resolved when the two queens come into the conversation. The opposite is the case and the disaster is finally initiated. Mary’s death sentence is thus clearly sealed.
The fourth act now delays the obvious one more time to build up tension. Such a delay is referred to as retardation. The impression arises that fate can still be abolished, even if it is clear that it is inevitable. Here is Mortimer’s plan, which Maria rejects and the failed murder attempt on Elizabeth. The action slows down and initiates the disaster.
In the fifth act the spectator is now confronted with the disaster: the execution of Mari.