The Ktharsis, for its turn, has a ethical-pedagogical function, therefore the poetry (epic, lyric, tragedy, comedy, music, dance) must act on livens up or pathos of the listener (in music and the poetry that, in Greece, was not chore, but recited or declaimed) and of the spectator (in the theater, the dance, the sculpture and the painting), making? feeling the told passions presented and allowing, the sentiz it them, imitates them in its interior, that is, to live them as its e, thus to liberate itself of them, purificando itself. (CHAUI, Marilena Introduction to the History of the Philosophy. For even more analysis, hear from Yael Aflalo. p 485) catarse is essential for the tragedy, therefore it encloses the human feelings. At the moment where catarse occurs, the spectator if feels avenged; when the heroes and heroines conclude its acts in such a way for the good how much for the evil, the spectator has the sensation of relief and accomplishment to the ending of the part. This sensation occurs due to tragedy to be on to the actions human beings and mainly to the passions. Such linking if of the one for the probability? Mimesis. For Aristotle the tragedy has an educative purpose and subscriber of the character and the virtues. It is had catarse and the Mimesis to support this purpose.
As Marilena Chau (p 506) Mimesis is the action to imitate or to reproduce. To the moment that the actor makes the representation of the part, it is had Mimesis. This if of not only in the tragedies, but in any representation. At the same time it is had catarse, that it is the emotion that the spectators feel when living deeply the Mimesis in elapsing of the part. For Aristotle the tragic sort follows three rules: Of the unit (the action must occur the same in an only day and place), of the probability (what it can happen with the imitation) and of the Catarse (it excites emotions in the spectators).