People speak of watching football, or boxing, as a catharsis of violent urges, or call a shouting match with a friend a useful catharsis of buried resentment. Aristotle says that being an imitation of an action, plot should imitate one action unity of action. The poet represents men as worse than they are. In his capacity to be moved by the wonder of a suffering fellow human, we wonder at him. Plato is a stern moralist who believes imitation perpetuates immorality.
Episodic plots are bad because there is no necessity to the sequence of events. Thus he gives a truth of an ideal kind. The poet selects and orders his material and recreates reality. Even scientific and medical treatises may be written in verses. Although his time at the academy was productive, Aristotle opposed some of Plato's teachings and may have challenged the Master openly.
It may be the action within the soul caused by all that befalls a man. But are there really no wonders that are ugly? Artistic imitation: A process of ordering and arranging. As the painter's eye teaches us how to look and shows us what we never saw, the dramatist presents things that never existed until he imagined them, and makes us experience worlds we could never have found the way to on our own. Aristotle's writings were the first to create a comprehensive system of Western philosophy, encompassing morality, aesthetics, logic, science, politics, andmetaphysics. The painter imitates through form and colour. They see the beauty in two men who have lost almost everything. In his fear of himself, on Priam's behalf, we fear for him, that he might lose his new-won humanity.
Poet does not represent the outward appearance but represents deeper reality. Poetry and painting are imitations, but the medium of poet and painter are different. Some people turn to poetry to find delicious and exquisite new ways to feel old feelings, and consider themselves to enter in that way into a purified state. History tells us what actually happened; poetry what may happen. The fear is relieved in vengeance, and we feel a satisfaction that we might be inclined to call justice. The Tempest is a beautiful play, suffused with wonder as well as with reflections on wonder, but it holds the intensity of the tragic experience at a distance.
Next in Section three, I will. Aristotle does understand tragedy as a development out of the child's mimicry of animal noises, but that is in the same way that he understands philosophy as a development out of our enjoyment of sight-seeing Metaphysics I, 1. Tragic Catharsis First of all, the tragic catharsis might be a purgation. Tragedy is about central and indispensable human attributes, disclosed to us by the pity that draws us toward them and the fear that makes us recoil from what threatens them. The circumstances or history behind the work are also insignificant during the assessment of its artistic value.
He studies the particular and devises principles of general application. It is obvious that the authors in our examples are not just putting things in front of us to make us cry or shiver or gasp. Term imitation was taken from Plato and Aristotle gave it wider and deeper significance. Aristotle is Ideas on Ethics are still wildly used in colleges today and his approach is still the springboard for resolving ethical problems and further Teleology. That suggests that the theater is just an arena for the manipulation of passions in ways that are pleasant in the short run and at least reckless to pursue repeatedly. He also brings in the element of universality by asking the poet to rise constantly from the particular to the general.
The tragic pleasure is a paradox. At the request of , he returned to Macedonia in 338 B. Oedipus or Antigone or Lear or Othello is somehow every one of us, only more so. But Stephano is not like the holiday fools who pay to see monstrosities like two-headed calves or exotic sights like wild men of Borneo. An example of this difference is the , created by Plato. This significance is there for the original author and audience, but also moves its reproduction and reception in and through time. Aristotle has not mentioned the third form of poetry.
Tragedy is never about flaws, and it is only the silliest of mistranslations that puts that claim in Aristotle's mouth. He likes to read books. Those who take the trouble to look at the Poetics closely will find, I think, a book that treats its topic appropriately and naturally, and contains the reflections of a good reader and characteristically powerful thinker. Thus, he brings human experiences, emotions and passions within the scope of poetic imitation. We can see that from his book The Republic.
Tragedy and epic represent men on a heroic scale, better than they are, and comedy represents men of a lower type, worse than they are. How do I know that Aristotle intends the imitation of action to be understood in this way? What is the effect on us of this recognition? In the best kind of plot, one character narrowly avoids killing a family member unwittingly thanks to an anagnorisis that reveals the family connection. Meaning a virtues person will act or do the right thing for the right reason, because doing the right thing makes us feel good. But how does the Iliad accomplish this? No affair art is perfect in its imitative procedure or art is flawed. A poet, when writes poetry, imitates nature in shape of poetry and makes copy of a copy, therefore, it becomes twice away from reality. Idealization is achieved by divesting the real of all that is accidental, transient and particular. If no one had the power to imitate action, life might just wash over us without leaving any trace.