Transcript Aristotle’s Poetics

Aristotle’s Poetics
Plato loved poetry but felt that because of Socrates teachings, that
poets were imitators without access to reality or truth. Imitation was
a self-defeating and sterile activity. Poetry is twice removed from
reality and caters to emotions and UN-reality.
Aristotle then argues for poetry. He defends it, although not
perfectly, from Plato’s attack.
Aristotle believes poets imitate the way things are/were, or the way
people see them, or the way they ought to be. The image ought to
out-do the originals; therefore, imitation is OK.
Origin of poetry
• Men take pleasure in imitation, and it comes naturally.
There are things we see with pain, but whose images we
view with pleasure.
• Comedy is an imitation of inferior persons but not full
villains - it is the imitation of the ugly and ludicrous.
• Tragedy is imitation with serious implications through a
course of pity and fear, language made sensuously
attractive (rhythm and melody), and structure - plot.
– Tragedy is imitation of life and action but not men because a
tragedy can exist without characters, but it must have a plot.
Tragedy part 1
• Tragedies must have a beginning, middle and
end. It doesn’t include everything in the life of
one character, just those events which further
the plot.
• Tragedies have 6 elements - plot, character,
verbal expression (poetic language like
metaphor), thought, adornment, and song.
• The best tragedies have complex plots, fearful
and pitiable happenings, and should be good
moving to bad. It doesn’t make us feel the same
when bad moves to good - not tragedy.
Tragedy part 2
• Plot and transformation – a character moves from good
circumstances to bad through a mistake of great weight
and consequence [Hamartia (tragic/fatal flaw often
hubris or great pride)].
• Pity and fear [Catharsis] may be engaged by performing
an act knowing and wittingly (murder), by refraining from
performing the deed (not saving someone), or by
performing a fearful act unwittingly and then see the
blood relationship (murder in Oedipus).
• Tragic characters must be a good, appropriate,
likeness to human nature, and consistent. One
must strive for the necessary or probable -- it is
necessary or probable that a person do a thing.
Tragedy part 3
• There is often a reversal of events (going from king to villain)– again
must be necessary and probable, match the character and plot
• Recognition of a disguised character or action in plays may be
handled differently.
– By token - lowest form (Odysseus scar), or the poet adds a device such
as a letter to identify a character
– Recollection (seeing or hearing something reminds a character)
– better is Recognition based on reasoning A=B, B=C therefore A=C. The
best recognition arises from events themselves.
• Tragedy is superior to epic because it attains
its goals better than epic does. It is better to
have impossible but plausible evens than
possible but implausible ones.
– Thus Aristotle would consider the play
Agamemnon to be a higher form than
the Epic of Odysseus.