According to Belifiore, of the six combinations, Aristotle considers that "the best tragedy according to [the principles of] craft" is when "An in-between person changes from good to bad fortune, because of hamartia, 'error.'
" Additionally, according to Belifiore, Aristotle states that the combination in which "An evil person changes from bad to good fortune ... is the most untragic of all, for it is not philanthropic, pitiable, or fearful.
[10] Aristotle’s Poetics is concerned specifically with Ancient Greek Tragedy, and that modern theorizing about plot includes other forms – for example films, novels, short stories, and so on.
[14] Regarding his view that emphasizes plot above character, Aristotle notes, "Tragedy is imitation not of human beings, but of actions and of a life.
[17][18] According to Meir Sternberg, Aristotle's model "restricts the well-made epic or play to a 'whole' (holos) action, with 'beginning, middle, and end' linked throughout by necessary or probable sequence, so that nothing will follow its cutoff point.
She points out that Vladimir Propp "reverses Aristotle's theory that 'tragedy is imitation not of human beings but of actions,' by writing that stories are about characters who act".