s, pity arises out of the way that Lizzie is treated by her parents and by the way her life turns out after the murders. The reader recognizes that he or she could encounter the same circumstance. Lizzie was fairly stable and snapped into a murderous rage with no prior warning. The fact that she gains no reward for her actions adds to the tragedy of the plot but strays from Aristotle's stipulation that a villainous character must not fall into bad luck from good (13). Lizzie's loss of her family ultimately drives her into a life of loneliness and misery. Furthermore, on the subject of pity and fear, Aristotle professes that truly pitiable occurrences take place between close relations. Parent-child relationships are about the closest relationships that there are.
             There is no choral section. Therefore, there is no episode. The entire play could be referred to as a complete exode, that is, one "complete section of a tragedy after which there is no song of the chorus" (12). This can be accounted to the changes in dramatic trends due to Stanislavsky among others. The constant switch between the dream state and present reality can be compared to a chorus in that the characters in the dream sequences tell the stories of the events prior to the murders. These dream characters dominate a good portion of the play, whereas the chorus is an occasional part in classic tragedy.
             Blood Relations contains only seven characters, all of which are essential to the plot. None of the events in the plot are irrelevant. All characters and events have an "evident effect" on the outcome of the play; they are all "part of the whole" (8). In terms of length, this play is compact. There is no needless banter. It is easy, therefore to comprehend. The reading of such a play will not have the same effect as it will on the stage. It does display the same emotion but not the same intensity as the stage ...