We know that Aristotle saw the scene with the Corinthian messenger in Oedipus as the play's reversal (ch. 11, 52a22-26).
At this point, it is vital that we recognise the distinction between reversal and change of fortune: all tragic plots, including simple plots, have a change of fortune, but only complex plots have reversal (ch. 10, 52a14-18). So the two concepts cannot be the same: even if a reversal accompanies or is somehow bound up with the change of fortune, there must be an additional element in the reversal over and above the change of fortune.
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