Each episode is a development to a climax followed by a peripeteia.

According to Aristotle, peripeteia, along with discovery, is the most effective when it comes to drama, particularly in a tragedy.

Aristotle says that peripeteia is the most powerful part of a plot in a tragedy along with discovery.

Aristotle considered anagnorisis, leading to peripeteia, the mark of a superior tragedy.

Boiled down to one act, but keeping the good old structure: exposition peripeteia castastrophe.

Aristotle was the first writer to discuss the uses of anagnorisis, with peripeteia caused by it.

Things could not have been more appropriately aligned in a Greek tragedy for the unexpected reversal (peripeteia).

At the end of each book is a 'imaginary peripeteia' as in ancient Greek drama, a reversal showing everything from a new perspective.

When a question is answered in a way that is both unexpected and plausible, we have the effect known since as peripeteia or reversal.

The English form of peripeteia is peripety.

Unlike the deus ex machina device, peripeteia must be logical within the frame of the story.

A character who becomes rich and famous from poverty and obscurity has undergone peripeteia, even if his character remains the same.

He is brought up fatherless, but a magic dream, in which he anoints himself with the essence of the Sun, heralds the peripeteia.

The plot is characterized by an Aristotelian peripeteia (a sudden reversal of situation) or an O. Henry twist.

In narration, sentences with full parallel noun phrases often mark the beginning or end of discourse, indicate peripeteia in narrative, or introduce new information.

Aristotle wrote "The finest form of Discovery is one attended by Peripeteia, like that which goes with the Discovery in Oedipus."

When a character learns something he had been previously ignorant of, this is normally distinguished from peripeteia as anagnorisis or discovery, a distinction derived from Aristotle's work.

All are forgiven, the princes marry the princesses, and the book thus ends with a comic reversal, or peripeteia, from justice and death to reconciliation and marriage.

The summerlong battle, the dazzling peripeteia and the exquisitely postponed denouement furnished just the sort of traditional heart-stopping drama baseball fans and club owners thrive on.

In Sophocles' Oedipus Rex, the peripeteia occurs towards the end of the play when the Messenger brings Oedipus news of his parentage.

In Shakespeare's tragedy Hamlet: Prince of Denmark, the peripeteia occurs in Act 3 scene 3 when Hamlet sees King Claudius praying alone.

Aristotle considered these complex plots superior to simple plots without anagnorisis or peripeteia, such as when Medea resolves to kill her children, knowing they are her children, and does so.

He shows multiple hamartia, including hubris (pride) and ate (rashness), and these character traits do lead to his peripeteia, or reversal of fortune, and to his downfall at the end of the novel.

Good uses of Peripeteia are those that especially are parts of a complex plot, so that they are defined by their changes of fortune being accompanied by reversal, recognition, or both" (Smithson).

Martin M. Winkler says that here, peripeteia and anagnôrisis, occur at the same time "for the greatest possible impact" because Oedipus has been "struck a blow from above, as if by fate or the gods.