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Æpytus, the son, to facilitate his reception, represents himself as a messenger charged to bring the news of his own death; and Merope, hearing this and believing the messenger to be also the assassin, obtains access to the chamber where he is resting after his journey, and is about to murder her own sleeping son when he is saved by the inevitable anagnorisis.
B sit innocently nursing their illusions and their symbolical flitches. The situation holds plenty of comedy, and the main motive begins to explain itself. Now then for anagnorisis, comic peripeteia, division into acts, and the rest of the wallet! I smoked another two cigarettes and flung away a third in despair. Useless! The plaguey thing refused to take shape.
The theme is old, and though not "classical" in place, is thoroughly so in its nature, being the story of a combat between a father and a son, who know not each other till too late, of the generosity of the son, of the final triumph of the father, of the anagnorisis, with the resignation of the vanquished and the victor's despair.
There is still not very much plot the parody did not necessitate and indeed rather discouraged that, and what there is is arrived at chiefly by the old and seldom very satisfactory system of anagnorisis the long-lost-child business. But, under the three other heads, Joseph distances his sister hopelessly and can afford her much more than weight for sex.
It was often associated with the anagnorisis or recognition. Mr. Gilbert Murray has recently shown cause for believing that both these dramatic "forms" descended from the ritual in which Greek drama took its origin the ritual celebrating the death and resurrection of the season of "mellow fruitfulness."
No completer case of anagnorisis and peripeteia could well be conceived whatever we may have to say of the means by which it is led up to. Has the conception of the peripety, as an almost obligatory element in drama, any significance for the modern playwright?
One can see the effect of the tradition also in his treatment of the terms Anagnorisis and Peripeteia, which Professor Bywater translates as 'Discovery and Peripety' and Professor Butcher as 'Recognition and Reversal of Fortune'. Aristotle assumes that these two elements are normally present in any tragedy, except those which he calls 'simple'; we may say, roughly, in any tragedy that really has a plot.
But as there is no reversal of fortune for the character in whom we are chiefly interested, it scarcely ranks as a scene of peripety. Before leaving this subject, we may note that a favourite effect of romantic drama is an upward reversal of fortune through the recognition the anagnorisis of some great personage in disguise.
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