Aristotle's Poetics
This blog is a part of Bridge course on Aristotle's Poetics where Dr. and Prof. Dilip Barad has given us 6 points from which I can mention any one topic and more than one as per my research epistimology and understanding of Aristotle.
1. To what extent do you agree with Plato's objection to the freedom of expression and artistic liberty enjoyed by creative writers? Identify texts (novels, plays, poems, movies, TV soaps, etc.) that can be justifiably objected to and banned based on Plato's objections.
2. Referring to the literary texts you studied during your B.A. program, write a brief note on the texts that followed the Aristotelian literary tradition (i.e., his concepts of tragedy, catharsis, tragic hero with hamartia, etc.).
3. Referring to the literary texts you studied during your B.A. program, write a brief note on the texts that did not follow the Aristotelian literary tradition (i.e., his concepts of tragedy, catharsis, tragic hero with hamartia, etc.).
4. Have you studied any tragedies during your B.A. program? Who was/were the tragic protagonist(s) in those tragedies? What was their 'hamartia'?
5. Did the plots of those tragedies follow the necessary rules and regulations proposed by Aristotle? (e.g., chain of cause and effect, principle of probability and necessity, harmonious arrangement of incidents, complete, certain magnitude, unity of action, etc.)
6. Discuss a recent controversy in literature, film, or the arts that echoes Plato's objections to artistic freedom. What is your stance on this controversy? Provide an example of one such controversy.
Aristotle- Introduction
The most brilliant student at Plato's Academy was Aristotle, who had come to Athens in 367 from his native Stageria in Macedonia to study with Plato. Aristotle's enormous contribution to the history of thought spans several areas:
- Metaphysics
- Logic
- Ethics
- Politics
- Literary Criticism
- Various branches of Natural Science
Aristotle was the son of Nicomachus, court physician to Amtantas II , father of Philip of Macedon. Nicomachus died when Aristotle was young, but it is said that he taught his son some anatomy, an early training which may have contributed to Aristotle’s eventual philosophical outlook. Indeed, Aristotle was more interested than Plato in empirical observation of natural phenomena, especially in biology, a difference which helps account for the fundamentally differing outlooks of the two thinkers. In 343 King Philip of Macedon invited Aristotle to serve as tutor to his son Alexander at his court in Pella. Aristotle attended for four years to the education of the future king and conqueror, after which he was commissioned by Philip to oversee the restoration of Stageira, now devastated by war, and to establish a legal code for the city. Having completed this project successfully, Aristotle returned to Athens to open his own school of rhetoric and philosophy. The school was called the Lyceum (it was dedicated to Apollo Lyceus, god of shepherds) and housed a large library, a natural history museum, and a zoological garden. Unlike Plato’s Academy, whose students came mostly from the aristocracy, the Lyceum drew largely from middle-class citizens, and a rivalry developed between the two schools. Indeed, this rivalry effectively continued, in the works of subsequent thinkers and schools, for many centuries. The Academy placed emphasis on mathematics, metaphysics, and politics, while at the Lyceum natural science predominated, its curriculum including botany, music, mathematics, medicine, the constitutions of the Greek cities, zoology, and the customs of the so-called barbarians.
It is recorded that Aristotle wrote twenty-seven dialogues; it was by these, not the works handed down to us, that he was known in the ancient world. Unfortunately, none of them has survived. What we now have of Aristotle’s works, which represent only one-quarter of his actual output, are Aristotle’s lecture notes, composed by himself and his students, largely in the last twelve years of his life. These were published by Andronicus of Rhodes in the first century BC. When Alexander of Macedon died in 323, Athens was the seat of much ill-feeling toward the Macedonians (who, under Philip, had conquered them) and it was expedient for Aristotle to leave. In fact, he was charged, like Socrates, with impiety; unlike Socrates, who freely faced his death sentence, Aristotle chose to avoid letting the Athenians “sin twice against philosophy” and moved to Chalcis in Macedonia.
He considers and feels that poets are inspired by or are possesed by some events to write a lyric or so.
In Plato's Ion, he gives an example of Bacchae Maenads who drew milk and honey from the rivers under the influence of Dionysus but not when they are in the right mind so he says that poets are not in their right mind when they compose great work.
Plato describes it as an inspiration which comes under the power of God.
He further states that poet is not like the bees, poet does not sing by art but by the power of divine. He further claims that God takes away the poet's mind. Poem is not a work of man but of God he says.
Aristotle's Defense of Poetry and Catharsis:
Aristotle, as an "able disciple" of Plato, counter-argued his guru's views on poets and poetry, offering a different interpretation of mimesis and the function of poetry.
• Redefining Mimesis as 'Making':
Aristotle reinterprets mimesis, arguing that poetry is not merely copying.
Instead, mimesis is understood as 'making'. The word "poet" itself comes from the Greek root "poen," meaning "to make".
This act of "making" (mimesis) leads to mathesis, which signifies understanding or knowing. It's akin to the modern concept of "learning by doing," where engaging in creation (like making blocks or playing games) leads to understanding the world and passing that knowledge to others.
While Plato might accuse poets of negative and wrong representation, Aristotle counters that poetry can equally represent the positive.
Poetry can depict people in good action and individuals worthy of emulation. It addresses themes of good men, gods, and doing good, highlighting worthy actions that can be emulated.
Aristotle distinguishes poetry from history based on their scope. History records "what has been" or "what is". Poetry, however, explores "what should be, what might be, what ought to be," thus transcending "the spatio-temporal barrier". This suggests poetry deals with universal truths and possibilities rather than specific events.
• The Concept of Catharsis:
Aristotle, whose father was a doctor, introduced the significant term catharsis in relation to tragedy (a form of poetry). Catharsis does not mean the exclusion of negative emotions. Instead, it signifies an inclusive process where negative emotions are contained, controlled, and checked. Through this process, these emotions are overcome by being purified. This concept suggests a beneficial, purifying effect of experiencing strong emotions through art.
Difference between plato's views and aristotle's views on freedom of expression and artistic liberty enjoyed by creative writers:
1. Plato’s View
Plato was largely critical of artistic expression, particularly poetry and drama. His main objections are found in "The Republic", where he argues that:
Art is imitation (mimesis): Artists merely imitate appearances, which are imitations of ideal forms. Therefore, art is twice removed from truth.
Emotional manipulation: Art appeals to emotions rather than reason, which can undermine rational thought and moral discipline.
Moral danger: Poets, especially tragedians like Homer, depict the gods and heroes engaging in immoral behavior. Plato believed this corrupts the soul and misguides citizens, especially the youth.
Plato advocates strict censorship. In his ideal state, poets would be banned or strictly regulated unless they promote virtue and truth. Freedom of expression is subordinated to the moral and political good.
2. Aristotle’s View
Aristotle, in contrast, valued artistic expression, especially in his "Poetics", where he provides a defense of poetry and tragedy:
Art as catharsis: Tragedy purges emotions like pity and fear in a controlled way, which can be psychologically and ethically beneficial.
Mimesis as natural and educational: Humans are naturally drawn to imitation, and through it, they learn and understand the world.
Art reflects universal truths: Unlike history, which recounts specific events, poetry reveals universal human experiences and truths.
Aristotle doesn’t call for censorship. While he believed art should aim at moral and intellectual enrichment, he allowed for greater artistic freedom than Plato. Freedom of expression is respected as long as it promotes understanding and emotional balance.
According to me, Plato’s objections to freedom of expression and artistic liberty, especially in the realm of creative writing, are rooted in a concern for the moral and intellectual well-being of society. While I don’t fully agree with his call for censorship, I do think there’s some merit in his concerns—especially when we look at how powerful media and literature can be in shaping people’s values, beliefs, and even behaviors. Not all creative expression uplifts or enlightens. Some content is deliberately sensational, glorifying violence, objectifying people, spreading misinformation, or reinforcing harmful stereotypes. In that sense, Plato’s fear that art can corrupt the soul or mislead the masses isn’t entirely far-fetched. I don’t agree with outright banning creative works just because they’re emotionally charged or morally complex. Art has always been a space where society questions itself, even uncomfortably.
Literature like:
1984 by George Orwell
The Handmaid’s Tale by Margaret Atwood
Fight Club by Chuck Palahniuk
All deal with dark or disturbing themes, but they spark critical thinking rather than simply corrupt. Plato would have probably wanted these banned, but many of us would argue they’re essential for understanding power, addiction, identity, or social control.
Plato’s concerns aren’t baseless. Art does influence behavior and values, especially when consumed uncritically. But where he went too far was in trying to control or suppress that freedom. In a modern, pluralistic society, we need more education, media literacy, and open conversation, not bans but to navigate complex artistic expressions responsibly.
The text following the Aristotelian literary tradition which i studied in my B.A :
Equus by Peter Shafer
Peter Shaffer’s Equus (1973) is a modern psychological drama that draws heavily though not slavishly from Aristotelian concepts of tragedy. While the play is contemporary in form and style, it deeply explores classical tragic structures through character, conflict, and emotional impact.
1. Tragedy (Peripeteia and Recognition)
In Equus, the action is “serious and complete”
The central “action” is the psychological unraveling of Alan Strang, a 17-year-old boy who blinds six horses. The play seeks to uncover why he did this.
The reversal (peripeteia) is not one of plot events but of perception—both for the characters and the audience.
As Alan’s motivations are explored, we begin to understand that his violence emerges not from evil but from a deeply personal, mythic, and religious passion.
2. Catharsis (Pity and Fear)
Pity arises as we learn about Alan’s upbringing: a home torn between religious moralism (his mother) and atheistic repression (his father), leaving him psychologically fragmented.
Fear emerges from the disturbing power of Alan’s private religion—his worship of the god Equus, and the terrifying intensity with which he experiences faith, passion, and guilt.
3. The Tragic Hero
In Equus, Alan Strang is the clear tragic figure:
He is neither wholly good nor wholly evil. His act of violence is appalling, yet he is also a victim.
His hamartia lies in his misguided spiritual ecstasy. Alan creates a personal theology that fuses sex, shame, and religious awe—ultimately leading to madness and destruction.
4. Hamartia (Tragic Flaw)
Hamartia in Equus is multi-layered:
- Alan’s hamartia: He equates horses with a godlike presence (Equus) and projects sexual, religious, and moral fervor onto them. This fusion leads to psychosis when his desires conflict with his beliefs, culminating in the blinding of the horses.
- Dysart’s hamartia: His role as a "healer" becomes problematic. In attempting to make Alan “normal,” he questions whether he is, in fact, robbing Alan of his sacred pain—the very passion that gives life meaning.
Conclusion:
Peter Shaffer’s Equus is a modern tragedy in Aristotelian tradition, though reinterpreted through 20th-century psychology, existentialism. It retains the emotional core and structural elements of classical tragedy—especially through Alan and Dysart’s tragic flaws, moral dilemmas, and the powerful evocation of pity and fear.
It asks not just why a boy committed a horrifying act—but whether curing such a person is truly healing, or the destruction of something divine and unique. That’s the tragedy.
Maganbhai's Glue by Bhupen Khakar
Bhupen Khakhar’s short story Maganbhai’s Glue is a witty, ironic, and distinctly modern Indian tale that deliberately deviates from the Aristotelian literary tradition. It aligns more with postmodern realism, satire, and absurdist tone, rejecting classical notions of tragedy, moral grandeur, and emotional catharsis.
1. Lack of Tragic Structure
“Maganbhai’s Glue” is not serious in tone or scope. It is built around the mundane life of a small-town glue manufacturer whose accidental invention of a superior glue leads to temporary fame, only to dissolve back into ordinariness.
There is no grand moral conflict or metaphysical stakes only the banality and absurdity of everyday life in middle class India.
2. No Tragic Hero or Hamartia
Maganbhai s an ordinary Gujarati businessman, rooted in middle-class aspirations.
Has no hamartia in the Aristotelian sense. His decline is not due to a moral flaw or internal error, but to the external forces of consumer capitalism, random chance, and personal apathy.
He is more of an anti-hero who is passive, unheroic, and representative of modern disillusionment rather than tragic downfall.
3. Absence of Catharsis
It does not aim to evoke pity or fear but it evokes amusement, irony, and melancholy detachment.
The ending provides no emotional resolution—Maganbhai simply fades back into obscurity, symbolizing the impermanence of success and identity.
Conclusion
Khakhar uses irony, absurdity, and everyday detail to critique modern Indian society, rejecting the idealistic and moralizing framework of classical tragedy. Maganbhai’s Glue belongs more to the tradition of postcolonial realism and absurdist literature than to Aristotelian drama.
Tragedy Of Gorboduc by Thomas Norton and Thomas Sackville
It is the first English tragedy written in blank verse and heavily inspired by Aristotelian models of tragedy.
The play dramatizes the breakdown of political order following King Gorboduc’s decision to divide his kingdom between his two sons, Ferrex and Porrex, while still alive.
Who Are the Tragic Protagonists and their Hamartia?
1. King Gorboduc – The Central Tragic Protagonist
- Poor judgment and political naïveté.
- He underestimates the ambition and rivalry between his sons and disregards wise counsel
2. Ferrex and Porrex – Tragic Victims of Flawed Leadership (and Each Other)
- Fraternal distrust and ambition, stoked by their father's lack of clear succession planning.
- Their rivalry turns to violence, a direct result of the flawed decision made by Gorboduc.
3. Queen Videna – A Tragic Agent of Revenge
- After Porrex kills Ferrex, Queen Videna kills Porrex in revenge.
- Her actions continue the cycle of violence and destroy the royal family entirely.
- Her maternal passion overrides reason, echoing tragic flaws seen in classical figures.
Did the plot of this tragedy follow the necessary rules and regulations proposed by Aristotle?
Gorboduc follows the structural rules of Aristotelian tragedy more than emotional or psychological ones.
It is a political tragedy of order and succession, not a deeply human or internal tragedy like Hamlet.
The Color Purple by Alice Walker
The film faced backlash for its depiction of a Black queer relationship, critique of patriarchy, and religious themes.
Conservative critics called it morally corrupt, “anti-family,” or divisive, sparking boycott calls.
Plato’s Objections Echoed
Plato believed art could corrupt morals, mislead the audience, and destabilize social order.
Critics of the film made similar arguments, saying it undermines traditional values and evokes dangerous emotions.
Conclusion
The film is necessary and valid for giving voice to marginalized experiences.
Where Plato saw threat, modern audiences can see healing and empowerment through truth-telling art.
The videos in references primarily discuss the contrasting views of Plato and Aristotle on poetry and tragedy, highlighting their foundational contributions to Western critical thought.
Plato's Charges Against Poetry and Poets:
• Plato views poetry as inspirational and not rational, asserting that poets create in a state of frenzy, which is outside reason and leads to the arousal of inappropriate emotions.
• He finds poetry ethically and morally inappropriate, citing harmful depictions, such as gods being shown in a derogatory manner.
• Plato believes poets are dangerous to follow because they spread inaccuracies and corrupt the soul of the people.
• Poets are seen as mere imitators (copiers), immoral, and liars. They falsely represent gods as human-like or evil, and they depict a changing, mortal world, which goes against Plato's belief in an unchanging ultimate reality. He was shocked that poets could "bring about a change in the unchanging world".
Aristotle's Counterarguments and Contributions:
• Aristotle, an "able disciple" of Plato, offers a different interpretation of mimesis (imitation), defining it as "making" (poein) rather than just copying. This "making" leads to understanding or knowing (mathesis).
• He argues that poetry represents reality in a useful way, depicting people in good action and worthy of emulation, in contrast to Plato's focus on negative influences.
• Aristotle distinguishes poetry from history, stating that history records "what has been," while poetry says "what should be, what might be, what ought to be," thus leaping "beyond the spatio-temporal barrier" to deal with universal truths.
• A key concept in Aristotle's defense of tragedy is catharsis, which involves the purification and checking of negative emotions (pity and fear) within the audience, leading to a healthy, salutary effect.
• Unlike Plato, who was biased by moral disposition, Aristotle is credited with putting literature on a proper aesthetic pedestal, allowing it to be judged by aesthetic criteria. Aristotle justifies imitation as representation, where the poet applies their insight to recreate reality, adding their perception without lying, thereby "helping truth".
Aristotle's Poetics and the Elements of Tragedy:
• Aristotle defines tragedy as "an imitation of an action that is serious, complete and of a certain magnitude, embellished with each kind of artistic ornament... in the form of action not of narrative, through pity and fear affecting the proper purgation (catharsis) of these emotions".
• Key elements of tragedy include plot, character, thought, diction, spectacle, and melody.
• Aristotle emphasizes the preeminence of plot over character, stating that "plot is the soul of tragedy". He defines plot as the "ordering of action" in a logical manner, which leads to the unity of action. Plot captures "men in action," affirming that "our actions carry forward our Identity or what we are".
• Important plot devices include peripeteia (reversal of fortune) and anagnorisis (recognition or discovery).
• The tragic hero is a "midling sort," neither perfectly virtuous nor utterly wicked. This hero commits an error or "native inbuilt weakness" called hamartia, which can be an error of judgment, miscalculation, technical mistake, or moral maladjustment. Hubris (excessive ego or self-confidence) is often associated with the tragic hero's downfall. The tragic hero must be admirable for the audience to experience pity and fear and identify with their suffering.
References:
Prof. Dilip Barad Aristotle Research Gate
Aristotle: Plato's charges on Poetry & Poets
Aristotle - Reply to Plato's charges
Modern Literary Criticism and History by M.A.R Habib
some references: chatgpt
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