House of Notes

Aristotle's theory of imitation Aristotle did not invent the term “imitation”. Plato was the first to use the word in relation with poetry, but Aristotle breathed into it a new definite meaning. So poetic imitation is no longer considered mimicry, but is regarded as an act of imaginative creation by which the poet, drawing his material from the phenomenal world, makes something new out of it. In Aristotle's view, principle of imitation unites poetry with other fine arts and is the common basis of all the fine arts. It thus differentiates the fine arts from the other category of arts. While Plato equated poetry with painting, Aristotle equates it with music. It is no longer a servile depiction of the appearance of things, but it becomes a representation of the passions and emotions of men which are also imitated by music. Thus Aristotle by his theory enlarged the scope of imitation. The poet imitates not the surface of things but the reality embedded within. In t

Aristotle's plot Aristotle devotes great attention to the nature, structure and basic elements of the ideal tragic plot. Tragedy is the depiction of action consisting of incidents and events. Plot is the arrangement of these incident and events. It contains the kernel of the action. Aristotle says that plot is the first principle, the soul of tragedy. He lists six formative elements of a tragedy – Plot, character, thought, melody, diction, spectacle and gives the first place to plot. The Greek word for ‘poet’ means a ‘maker’, and the poet is a ‘maker’, not because he makes verses but he makes plots. Aristotle differentiates between ‘story’ and ‘plot’. The poet need not make his story. Stories from history, mythology, or legend are to be preferred, for they are familiar and understandable. Having chosen or invented the story, it must be put to artistic selection and order. The incidents chosen must be ‘serious’, and not ‘trivial’, as tragedy is an imitation of a seri

Aristotle's concept of ideal tragic hero: Hamartia No passage in “The Poetics” with the exception of the Catharsis phrase has attracted so much critical attention as his ideal of the tragic hero. The function of a tragedy is to arouse the emotions of pity and fear and Aristotle deduces the qualities of his hero from this function. He should be good, but not perfect, for the fall of a perfect man from happiness into misery, would be unfair and repellent and will not arouse pity. Similarly, an utterly wicked person passing from happiness to misery may satisfy our moral sense, but will lack proper tragic qualities. His fall will be well-deserved and according to ‘justice’. It excites neither pity nor fear. Thus entirely good and utterly wicked persons are not suitable to be tragic heroes. Similarly, according to Aristotelian law, a saint would be unsuitable as a tragic hero. He is on the side of the moral order and hence his fall shocks and repels. Besides, his marty

Aristotle's concept of tragedy “The Poetics” is chiefly about Tragedy which is regarded as the highest poetic form. Abercrombie says: “But the theory of Tragedy is worked out with such insight and comprehensions and it becomes the type of the theory of literature.” Aristotle reveals that imitation is the common basis of all the fine arts which differ from each other in their medium of imitation, objects of imitation and manner of imitation. Poetry differs from music in its medium of imitation. Epic poetry and dramatic poetry differs on the basis of manner of imitation. Dramatic poetry itself is divisible in Tragic or Comic on the basis of objects of imitation. Tragedy imitates men as better and comedy as worse then they are. Thus, Aristotle establishes the unique nature of Tragedy. Aristotle traces the origin and development of poetry. Earlier, poetry was of two kinds. There were ‘Iambs’ or ‘Invectives’, on one hand, which developed into satiric poetry, and ‘hym