ˈæɹɪstˌɑːɾəl, fɔːɹ ɛɡzˈæmpəl, pɹɪfˈɜːd ɐ ʃˈɑːkɪŋ kɐtˈæstɹəfi, ɹˈæðɚ ðˌænə hˈæpi wˌʌn; ɪn ðæt ɹᵻɡˈɑːɹd, ðə mˈuːvɪŋ ʌv tˈɛɹɚ ænd pˈɪɾi, wˌɪtʃ ɪz ðɪ ˈeɪm ʌv tɹˈædʒədi, ɪz bˈɛɾɚɹ ɪfˈɛktᵻd baɪ ðə fˈɔːɹmɚ ðɐn ðə lˈæɾɚ.
Aristotle, for example, preferred a shocking catastrophe, rather than a happy one; in that regard, the moving of terror and pity, which is the aim of tragedy, is better effected by the former than the latter.