Aristotle

Aristotle’s Background

- Studied under Plato for 20 years.

- Tutored Alexander the Great.
- Established the Lyceum, a school of philosophy.
- His school was called "Peripatetic" because he walked while teaching.

Difference Between Plato and Aristotle

- Plato: Focused on eternal Forms; saw art as an imitation of reality and

misleading.
Aristotle: Focused on real-world experiences; believed art had value on its
own.
- Plato: Believed literature should educate and improve morals.
Aristotle: Analysed literature based on its nature, not its moral impact.
What is Poetics?
- Written around 330 BCE, possibly based on student notes.
- First major work of literary criticism.
- A response to Plato’s negative views on poetry.
- Systematically categorized different types of poetry and their features.
Aristotle’s Definition of Poetry
- Poetry is an art of mimesis (imitation/representation).
- Aristotle defines poetry as an imitation of actions and life.
- It imitates men in action — people doing or experiencing things.
Three Aspects of Poetry:

- Medium: The tools used for imitation (e.g., painter uses colors; poet uses
words).
- Objects: The kind of life or characters being represented (real or
imaginary).
- Manner: The way the imitation is presented (e.g., serious or humorous).

Classification of Poetry

- Based on characters (noble or ordinary people).

- Based on tone (serious or humorous).
- Based on presentation (narrative or dramatic).

Three Modes of Literary Representation

1. Mixed Mode – Uses both narration and dialogue (e.g., Homer’s epics).
2. Pure Narrative Mode – Poet speaks directly.
3. Dramatic Mode – Only characters speak (e.g., plays).

MIMESIS

Three Objects of Imitation:

 o The poet imitates one of the following:
 Things as they were or are (reality/past or present).
 Things as they are thought or believed to be (common
beliefs).
 Things as they ought to be (ideals).

 Imitation Is Not Unreal:

Unlike Plato, Aristotle does not see poetic imitation as false or twice
removed from reality.

He finds poetry to be universal and meaningful, contributing to the

understanding of life.

 Difference from Plato's View:

Plato viewed mimesis as a mere copy of reality.

Aristotle believed mimesis involves creative selection and meaningful

organization, not literal reproduction.

 Structure and Organization Matter:

What makes poetry valuable is how life’s events are structured, not
just that they are shown.

Art must organize life’s material with purpose, not just copy it.

 Poetry vs. History:

History tells what has happened.

Poetry tells what may happen—what is possible or probable.

Thus, poetry deals with universal truths, whereas history deals with
particular facts.

 Poetry Is Philosophical and Elevated:

Poetry is more philosophical and higher than history because it

explores deeper truths. It is not a list of facts but a means to reveal the
truth behind experiences.

 Response to Plato's Criticism:

Aristotle redefines mimesis, to counter Plato’s charge that poetry is

misleading or harmful. For Aristotle, poetry reveals truth rather than
distorts it.

Poetry and Drama as Modes of Imitation:

 Poetry and drama imitate life through intention, just like music and dance.
  They represent characters and actions that are either better or worse than
the average person.

Tragedy vs. Comedy:

 Tragedy imitates people better than ourselves.

 Comedy imitates people worse than ourselves, but only in a specific way—
through the ridiculous.

Definition of the Ridiculous:

 The ridiculous is a mistake or deformity that is:

o Not harmful or painful to others.
o Meant to evoke laughter without causing suffering.

Aesthetic Value in the Unpleasant:

 Even unpleasant things, like a rotting corpse, can have artistic value.
 This value lies in the accuracy and detail of the representation, which can
be satisfying.

Pleasure as the Aim of Poetry:

 Aristotle believes the primary goal of poetry is to give pleasure.

 This includes emotional, intellectual, and aesthetic enjoyment.

Rejection of Plato’s Didacticism:

 Unlike Plato, Aristotle does not believe poetry should teach or moralize.
 He emphasizes pleasure, not instruction, as the true purpose of poetic art.

Catharsis:

Catharsis means the purification or purgation of emotions, especially pity and

fear, through art.

Origin of the Term:

Derived from the Greek medical term "katharsis", meaning cleansing or

purging.

Purpose of Tragedy:

According to Aristotle, tragedy is meant to arouse pity and fear in the audience.

This emotional response leads to catharsis, relieving the audience of these

feelings.

Other critics view it as a moral warning, helping the audience avoid making the
tragic hero’s mistakes.
Tragedy provides a safe, controlled environment for audiences to experience
intense emotions.

By identifying with the tragic hero, spectators gain emotional release, insight,
and empathy.

Effect on the Audience:

Tragedy has a cleansing, humanizing, and psychologically beneficial

effect.

It helps spectators process their own emotions and deepen their

understanding of human nature.

Tragedy :

Seven Characteristics of Tragedy

1. Mimetic – It imitates real human actions and experiences.

2. Serious – The subject matter is grave and significant.
3. Complete – It presents a whole story with a beginning, middle, and end.
4. Possesses Rhythm and Harmony – It uses poetic language and structured
form.
5. Varied Use of Rhythm and Harmony – Different parts use rhythm and
harmony in different ways (e.g., dialogue vs. chorus).
6. Performed, Not Narrated – It is meant to be acted out on stage.
7. Arouses Pity and Fear Leading to Catharsis – The audience feels pity and
fear, which are then purged or purified.

Six Components of Tragedy

1. Plot (Mythos) – The structure of the events; the soul of tragedy.

2. Character (Ethos) – The moral and psychological makeup of the figures.
3. Thought (Dianoia) – The themes, arguments, and ideas expressed.
4. Diction (Lexis) – The choice of words and language style.
5. Melody (Melos) – The musical elements, especially in choral parts.
6. Spectacle (Opsis) – The visual elements, such as stage design and
costumes.

Aristotle on Plot in Tragedy – Key Points:

1. Plot is Central to Tragedy:

o Aristotle sees plot (mythos) as the most important element of tragedy.
o Tragedy is an imitation of actions and of life, not just characters.
2. Reversal (Peripeteia):
o A sudden shift in the protagonist’s fortune—from good to bad or vice versa.
o This twist deepens emotional engagement for the audience.
3. Recognition (Anagnorisis):
o A moment of critical discovery or self-realization by the protagonist.
o Often occurs alongside or just before the reversal, intensifying the tragic impact.
4. Complex vs. Simple Plots:
 o Simple plot: no reversal or recognition.
o Complex plot: includes both peripeteia and anagnorisis, making it more effective and tragic.
5. Unity of Plot:
o The plot must be unified with a clear beginning, middle, and end.
o All events should be logically connected, forming a coherent sequence.
6. Appropriate Length:
o The plot should be long enough to show the full course of events,
o But not so long that it causes boredom or loss of audience interest.

The Three Unities

1. Unity of Action:
o A play should focus on one central plot.
o Subplots are minimal or avoided.
o All events should be logically connected and revolve around a single theme or
conflict.
2. Unity of Time:
o The story should occur within a short, limited time frame—ideally within 24 hours.
o This creates urgency and focus, keeping the audience emotionally engaged.
3. Unity of Place:
o The action should happen in one location or in closely connected places.
o Frequent shifts in setting may distract from the plot and break the dramatic illusion.

Aristotle’s Tragic Hero – Key Features

1. Purpose of the Tragic Hero:

o Designed to evoke pity and fear in the audience.
o Leads to catharsis—the emotional release of these powerful feelings.
2. Evoking Emotions:
o Pity arises from the hero’s undeserved misfortune.
o Fear arises because the hero is like ourselves, making the fall feel possible for
anyone.
3. Traits of a Tragic Hero:
o Virtuous and Noble:
 The hero must be morally upright, honourable, and powerful.
 Must represent Greek ideals of heroism—noble birth, strength, and moral
responsibility.
o Flawed (Hamartia):
 Despite greatness, the hero has a tragic flaw or makes a critical mistake.
 The flaw often stems from the hero’s strength, such as hubris (excessive
pride) or obsession with justice.
 This internal flaw leads directly to their downfall.
o Reversal of Fortune (Peripeteia):
 The hero experiences a drastic fall from good fortune to great suffering or
death.
 The suffering feels greater than deserved, deepening the tragedy.