Mimesis - Aristotle's concept of mimesis is a central idea in his work *Poetics*, where he explores the
nature of art, particularly poetry and drama. The term "mimesis" comes from the Greek word for "imitation."
In simple terms, Aristotle believed that art imitates life. This means that when artists create stories,
paintings, or performances, they are reflecting or representing the world around us.
Aristotle argued that mimesis is not just a straightforward copying of reality.
Instead, it involves a deeper interpretation of human experiences, emotions,
and actions. For example, when a playwright writes a play about love,
betrayal, or ambition, they are not merely recreating real-life events. Instead,
they are capturing the essence of those experiences and presenting them in
a way that resonates with audiences. Through mimesis, artists can convey
complex ideas and emotions that might be difficult to express in everyday
life.
One of the significant aspects of mimesis is that it allows audiences to
engage with the artwork on an emotional level. When we watch a tragedy
unfold on stage, we might feel sadness or empathy for the characters. This
emotional response is a key part of what makes art powerful. Aristotle
believed that through mimesis, art can evoke feelings in people and help
them understand their own lives better. It serves as a mirror reflecting
human nature, allowing us to see ourselves and our experiences from a
different perspective.
Moreover, Aristotle distinguished between different types of mimesis based
on how closely they imitate reality. He suggested that while some forms of
art strive for realism, others might take creative liberties to convey deeper
truths about life. For instance, a comedy might exaggerate certain traits for
humorous effect, while a tragedy might focus on profound moral dilemmas.
Both forms of mimesis serve important purposes in helping us explore
various aspects of human existence.
In summary, Aristotle's concept of mimesis emphasizes the relationship
between art and life. It highlights how artists interpret and represent the
world around them through imitation. By engaging with mimesis, audiences
can experience a range of emotions and gain insights into their own lives.
Ultimately, this idea underscores the importance of art as a means of
understanding and reflecting upon the human experience.
Cathersis - In Poetics, Aristotle discusses catharsis as one of the central purposes of tragedy. To
understand catharsis, we need to explore what Aristotle thought tragedy was meant to do for its audience.
He believed that watching a tragic play could evoke deep emotions in people, especially feelings of pity and
fear. However, the purpose of this emotional experience wasn’t to make people feel upset. Instead, it was to
provide a kind of emotional cleansing or relief, which is what catharsis means.
The term "catharsis" comes from the Greek word "katharsis," which means cleansing or purification. For
Aristotle, a tragedy is successful when it leads the audience to experience catharsis. When we watch a
tragedy, we see characters going through intense suffering, facing terrible situations, and sometimes
dealing with tragic flaws within themselves. These characters often struggle with difficult choices, and,
through no fault of their own or because of fate, they experience tragic outcomes. This creates strong
feelings in the viewers—pity for the character’s undeserved suffering and fear for the idea that similar
tragedies could happen to anyone.
Aristotle believed that by experiencing these emotions intensely within the safe space of the theater, the
audience could "release" or process these feelings in a healthy way. Instead of carrying feelings of pity and
fear around in everyday life, where they could be harmful or overwhelming, the tragedy allows these
emotions to be experienced, understood, and ultimately let go. This release, or purification, leaves the
audience feeling more balanced and emotionally calm.
To illustrate, think of how you might feel after watching a powerful, sad movie or reading a touching story.
You might cry, feel deeply moved, and empathize with the characters. But by the end, after having gone
through those emotions, you might feel oddly refreshed, as though you’ve released something from within
yourself. That is similar to what Aristotle described with catharsis—tragedy doesn’t just bring sadness; it
gives the audience a valuable emotional experience and leaves them feeling more purified or "cleansed."
Aristotle’s idea of catharsis has been very influential in literature, theater, and even psychology. Modern
thinkers have adapted it to explain why people are drawn to tragic or sad stories and why these can be
helpful for dealing with emotions. While Aristotle didn’t clearly explain every detail of how catharsis works,
his concept remains important in understanding the emotional power of tragic stories.
Six elements of tragedy - According to Aristotle Tragedy could be defined as:
“A tragedy, then, is the imitation of an action that is serious and also, as having magnitude, complete in
itself; in language with pleasurable accessories, each kind brought in separately in the parts of the work; in
a dramatic, not in a narrative form; with incidents arousing pity and fear, wherewith to accomplish its
catharsis of such emotions.”
In Poetics, Aristotle outlines the six essential elements of tragedy, which he believed were necessary for
creating a powerful and effective tragic drama. These elements help a play convey emotions like pity and
fear and lead the audience toward a sense of catharsis, or emotional cleansing. Aristotle’s six elements of
tragedy are: plot, character, thought, diction, melody, and spectacle. Each one contributes to the overall
impact of the tragedy, but Aristotle considered some more important than others.
1. Plot (Mythos): The
plot is the most important element of tragedy, according to
Aristotle. It refers to the structure of events in the play—the sequence of
actions and incidents that form the story. Aristotle believed that a good plot
should have a clear beginning, middle, and end, and should follow a logical
order where events are connected by cause and effect. The plot needs to be
unified, meaning that all parts of the story must contribute to the overall
action, with nothing irrelevant included. Aristotle also emphasized that the
best plots include a reversal of fortune (peripeteia), where a character’s
situation changes dramatically, and recognition (anagnorisis), where the
character realizes a crucial truth, often too late to prevent tragedy.
For example, in Oedipus Rex, the plot revolves around King Oedipus's search for the truth about his origins,
leading to the discovery that he has unknowingly fulfilled a prophecy by killing his father and marrying his
mother. This plot contains both reversal and recognition, making it a strong example of a tragic structure.
2. Character (Ethos) : The
second most important element is the characters in the
play, especially the protagonist, or tragic hero. Aristotle believed that the
characters should be well-developed and believable, and that the audience
should be able to relate to their virtues and flaws. The tragic hero, in
particular, should be a person of high status and noble character, but they
should also have a tragic flaw (hamartia)—a weakness or error in judgment
that leads to their downfall. This flaw makes the hero's fate seem inevitable
yet tragic, as it arises from their own actions.
For instance, Oedipus is a noble king with good intentions, but his tragic flaw is his pride and stubbornness,
which blind him to the truth until it’s too late.
Thought refers to the ideas and themes that the play
3. Thought (Dianoia):
conveys. It is the reasoning behind the characters’ actions and the
messages that the play communicates to the audience. This could include
moral lessons, reflections on human nature, or philosophical questions.
Aristotle believed that a good tragedy should provoke the audience to think
deeply about important issues, like fate, free will, justice, or the
consequences of human choices.
In Oedipus Rex, one of the main themes is the inevitability of fate, and how humans cannot escape their
destiny, no matter how hard they try. This theme raises questions about the limits of human control and the
power of the gods or fate.
Diction refers to the language used in the play, including the
4. Diction (Lexis):
choice of words, style of speech, and the way the characters express
themselves. Aristotle believed that the language in a tragedy should be
appropriate to the characters and the situation. It should be elevated, poetic,
and serious, as tragedy deals with serious themes. The way characters
speak can also reveal their personality, status, and emotions, adding depth
to their portrayal.
For instance, in Greek tragedies, the language often includes powerful metaphors, vivid imagery, and formal
speeches that heighten the emotional impact of the play. The diction should not only be beautiful but also
clear and effective in conveying the meaning.
Melody refers to the musical elements of a tragedy, including
5. Melody (Melos):
the chorus, which was a key part of ancient Greek plays. The chorus would
often sing or chant parts of the play, adding to the emotional atmosphere
and commenting on the action. Aristotle considered melody important
because it adds rhythm and emotional power to the performance, helping to
move the audience and enhance their emotional response. While modern
dramas may not use a chorus in the same way, music or sound can still play
a vital role in setting the tone or mood of a production.
In classical tragedies, the chorus’s songs and chants helped the audience reflect on the events and feel the
emotions of the characters more deeply.
Spectacle refers to the visual elements of a play, such as the
6. Spectacle (Opsis):
scenery, costumes, and special effects. This is the least important element
for Aristotle, as he believed that the power of a tragedy comes from the plot
and characters rather than from visual tricks or stunning effects. However,
he acknowledged that a well-done spectacle can still enhance the
experience of the audience by creating a vivid and engaging performance. In
ancient Greek theater, this might include elaborate costumes, masks, and
stage machinery to represent gods or dramatic scenes.
While Aristotle placed spectacle last in importance, he recognized that the visual presentation could still
help make the story more impactful, even if it should not be relied on alone to make a tragedy successful.
Conclusion: -In
conclusion, Aristotle’s six elements of tragedy—plot, character,
thought, diction, melody, and spectacle—are all essential to creating an
effective tragic drama. He believed that the most important elements were
the plot and the characters, as they drive the emotional and intellectual
impact of the play. Through the careful combination of these elements, a
tragedy can move its audience, provoke deep thought, and ultimately provide
catharsis, making it a powerful and meaningful form of art.
Peripetia - Aristotle defines it as "a change by which the action veers round
to its opposite, subject always to our rule of probability or necessity."
In Aristotle's Poetics, the term "peripeteia" describes a sudden, often
surprising reversal of circumstances that dramatically changes the course of
a story, particularly in tragic plays. This moment of reversal happens when
the main character's situation flips entirely, usually taking them from good
fortune to a sudden downfall or, in some cases, the reverse. Aristotle
believed that peripeteia was crucial in creating powerful, emotionally
impactful storytelling because it both surprises and deeply engages the
audience. Peripeteia doesn’t come out of nowhere—it’s typically tied to the
character’s own choices or actions, or sometimes to an unavoidable twist of
fate, which makes it feel natural yet shocking.
