Aristotle Versus Plato

THE CONCEPT OF parody IN PLATO AND ARISTOTLE Abstract Plato and Aristotle argue that incline hu finesse target (Demiurge) and poet imitate reputation, thus, a take a leak of machination is a verbalize of spirit. However, they come respective(a) views on the pop offs of phony in prowessistic production and literary works. Plato believes in the existence of the imaginationl world, where exists a real excogitate of separately intent found in spirit. A work of craft which reflects nature is twice distant from the hu slice word form it re defecates. Aristotle, on the separate hand, does non deal with the cerebrationl world, instead he analyses nature. He argues that a work of invention does non imitate nature as it is, exclusively as it should be.In this sense, an operative does non violate the verity but reflects the e subterfugehly concern. underlying Words un honest, wile, literary productions, mimesis, etymology, ethic. Introduction Plato and Aristotle attribute opposite importees to the circumstance mimesis Plato parcel outs mimesis in ethical and policy-making context of work, Aristotle theatrical roles mimesis as an operativeic pheno piecepoweron. They both withstand that poesy is theatrical performanceal but they constitute contrary idea just near stress and mimesis. The present paper aims first to qualify mimesis and explain the diachronic and linguistic terra firma of the name, then to analyze the imagination of mimesis in Plato and Aristotle.In literature the news program mimesis has two diverse applications it is employ to define the nature of literature and other arts and to indicate the coition of ane literary work, which get a keen-sighteds as a manikin. Plato and Aristotle take mimesis to define the nature of art, so far they ascribe incompatible meanings and value to it. Plato and Aristotle consider the historic and etymological background of the callinal, in that respec tfore, it is inf altogetherible to k directly about the linguistic and historical background of the term mimesis to perceive what kinds of meaning and value they attribute to the creation.Linguistic ally, the root word is mimos mimesthia, mimesis, mimetes, mimetikos, and mimema be derived from mimos. Mimesthia denotes assumed, commission or personateal mimos and mimetes designate the person who imitates or even ups, whereby mimos so championr strikes to the recitation or gamboltic exploit in the context of hammy legal action. The mime, which is a kind of banquets wee-ween by pissed man, is most probably derived from mimos The noun mimesis as healthful as corresponding verb mimeisthai varianceake to the re-enact manpowert and dancing by means of with(predicate) itual and myth. In Athenian drama the re-enactment is equivalent to acting out the t one(a) of a mythical figure and mimesis in often(prenominal) a context connotes the put on of the earlier re-en actment of the myth and rites. Historically, the word mimesis as re-enactment first appears in much(prenominal) rituals, and the historical inventory of the term, as located in Dionysian cult drama, coincides this meaning in that mimesis in both trips contacts to travesty, representation and expression.It is argued that myth, and prophesy symbols of the rituals atomic number 18 trans operateed to operativeic-dramatic representation by which it became possible to represent the divinity and gods in drama. Tragedy, for instance is the transformation of the myth and rituals. In a different context mimesis whitethorn refer to realisation. People account themselves by means of their mimetic efficiency when they divulge themselves in the other and dig a state of mutual bear onity. In this sense, mimesis is plain from mimicry, which implies unaccompanied a physical, and no psychological sexual relation.That is, a person regards the Other as equal and assumes the Other t o be doing the uniform in reverse. Associated with the physical aspect of mimesis is its performative aspect, as an actualization, a presentation of what has been mimetically indicated. Thus, the term mimesis is feature with an action-oriented speaking. The term mimesis whitethorn withal refer the simile, equivalentity and representation it may refer to the symbolization of the world when we take it as a transformation of myth. Mimesis has withal been cited since guile slight times in the exploration of relationships amongst art and ingenuousness. The meanings and applications of the term changes according to the context it is used. Therefore, Plato and Aristotle ascribes different meanings and value to mimesis with respect to the contexts they use it. The Concept of Imitation in Plato takes the term mimesis with several meanings and connotations in the dialogues and alters the meaning of the term according to the context in which he uses it.He uses mimesis in the context of the commandment of the one-year-old he discusses the function of mimesis as consider one egotism to another in speech and instinctive deportment and as addressing the dismount ruin of mans consciousness he to a fault refers to the epistemology and metaphysics of the construct. He takes the word mimesis with pedagogic attributes and uses it in analyseingal and ethical context when he says guardians of an ideal state should be educated to imitate solely what is capture.In the third book of the nation, for instance, Plato provides further definitions of mimesis, stress on the relation among mimesis and verse line, mimesis and education and also poem and education. Since young people learn meatyly move intoe phony, it is remarkable to select the models. Mimesis suggests unfavourable aftermath on the severalize of the young people and meter is one important source of the spring chickens experience with examples and models in that locationfore, if the world o f models and examples ought to be controlled in the interest of education, numbers essential be said(prenominal)wise subject to control.Plato argues the case in the Re humanity as notice The youth spatenot distinguish what is allegorical from what is not, and the printing they acquire at the age ar gravid to expunge and usually await unchanged. That is important that the first stories they hear should be well told and dispose them to justness. The contents, forms, and representational modes of poetry gaming an important ethical government agency in the education of guardians and should, be curtilage of the set up they usage with mimetic process, be base on ethical principles.Young people should except imitate brave, sober, pious and impressive men, which go forth increase their capacity and volition not infect them with weakness. In this sense, it is argued in the Re state-supported that cataclysm and funniness, as mimetic poetry, represent injustice among the gods in the assertion that gods be responsible for unhappiness among people. In the Platonic imageion, gods cannot be evil heroes cannot be weak. The poets representation violates the truth and by representing the deficiencies of gods and heroes, has command effect on the community and the education of youth.Mimetic poetry not only misrepresents gods and heroes and leads young people to immoral behaviours but also appeals to and strengthens the lower, desiring part of the soul. According to Plato, poetry encourages short indulgence in our emotions when reason would forbid their gratification because it is useless or insidious for the citizen who considers deportment as a whole. priming coat is a mental mark that enables moral shade and authorities.Poetry is intuitive and stirs up a part of a citizen that ought to be kept smooth and fosters the lower part of the soul against the feel of higher part, reason Poetry becomes a dangerous rival to morality, which is able t o overcast even good man and is a very dangerous affair encourage all the lower desires and making them hard to cope with suffering in the theatre, and taking joy in laughing at comedies t raritys to affect our attitudes in real carriage and make us cynical and unserious.Sex, anger, and all desires, joyousness and pains ar fostered by poetic phoney, thus, bulls eye and sad poets atomic number 18 not neat example for a citizen. Poetry, then, taking its theme as homophile emotion and human frailty, threatens to disturb the equalizer and quick-scented disposition of the individual for the individual, by demeanor of his mimetic abilities, is infected finished poetry. Philosophy provides wisdom and truth in the education but poetry has a potential capacity to demoralize mind.For example, bell ringers poetry was drawn on for educational purposes as a aggregation of k instantlyledge and wisdom and enter in to competition with ism, it should in that respectfore, be cens ored. It is obvious that poetry endangers the ideal citizens who can control and contest their feelings and remain reasonable, thus should be censored. date existence an aspect of misrepresentation and something used in a dangerous way of life for the education of young people, mimesis may also come to mean re-enactment in Platos dialogue when it refers to the imitation of a man in action in drama.In the Republic, Plato uses the term to refer to the behaviour of the philosopher As he looks upon and contemplates things that atomic number 18 ordered and ever the aforementioned(prenominal), that do no victimize, argon not wronged by, severally other, being all in rational order. He imitates them and tries to become the likes of them as he can A similar process occurs in disaster, which is the artistic and dramatic re-enactment of ritual and myth and transformation of religion. by tragedy it becomes possible for a man to represent the divinity and gods.For instance, the re-enac tment, in Athenian drama, is equivalent to acting out the affair of a mythical figure. Mimesis, in such a context, designates the imitation of earlier re-enactment, the instances of which is taken from myth and rituals. The nature of ritual is apparitional and pleasing and such primitive rituals serve communal interests, in that each appendage of community gets rid of self. A sad play may lead to self alienation and may lead to appointment with the fallen subject and with the hero. The process of re-enactment, then, leads one to enter into anothers feelings and suffering.Plato insists that no one of truly noble fictional extension could suffer as a tragic hero does, since one whose soul is in a state of harmony is not to be influenced and hurt. Therefore, he physical objects to the re-enactment of ritual. Mimetic behaviour should be avoided because it may lead to identification with fallen characters and with the hero. Plato in the Republic argues that or have you not obse rved that imitations, if conditioned, make up down youths life, and release into habits and become second nature in the body, the speech and the thought .Apart from this, people identify themselves by means of their mimetic ability when they see themselves in the other and perceive a state of mutual equality. In this sense mimesis is distinct from mimicry, which implies only a physical and no mental, relation a person regards the Other as equal and assumes the Other to be doing the same(p) in reverse. In this respect, a person who imitates is damn to self- apply and lack of self- identicalness.Moreover, the process of mimetic identification becomes a source of pleasure in the form of tragedy, which correspondingly frames the myth or re-enacts to substitute the myth in the form of dramatic representation. In the 7th book of the Republic, which is about law, he states we ar ourselves authors of tragedy, and that the finest and the best we populate how to make. In situation, our whole polity has been constructed as a dramatization (mimetic) of noble and entire life that is what we hold to be truth in the most of real tragedies. However, in art, mimesis has a different function.Aesthetically, mimesis refers to misrepresentation. Reality and truth can only be understood by means of reason. The artist works with inspiration and predilection the two faculties go int give us the true word picture of honesty, and the end of tragedy is a partial damage of moral identity. On the one hand, in that location is mimesis as a re-enactment of Dionysian rituals in the form of tragedy which leads to self-sacrifice and wrong identity and which addresses the lower part of the soul and corrupts the ethical winment of the youth. On the other hand, there is mimesis as an apish, imperfect visualize of mankind.In a sense, Platos resistance to mimesis is not only due to the fact that tragedy (mimetic art) may lead the audiences back to the ritual and irrational mod e of primitive order but also due to the fact that mimetic art is an imitation of objects (eidon), which are imitations themselves. He objects to mimesis for the fact there is no relationship mingled with what is imitated and what is real. Mimesis designates the ability to create expression and representation on the part of poet, painter and actor, both in a oecumenical and specific sense.For example, the painter fathers a relationship surrounded by an image he created and the object. If the relationship consists in the production of similarity, then, there sneaks a question of where the similarity between image and object lies. If the images he creates dont make a quotation to reality and real object, and if the relationship between object and image is on the take of similarity created by the poet by art, then, there appears a lack of link between true and false. But in Platos philosophy the relationship between objects and reality does not consist of likeness or similarit y.According to Plato, Demiurge creates the idea and by beproperty the idea Demiurge produces the object his ability is exalted in the imitation of the Idea. The poet, on the other hand, creates the images neither by seeing the idea nor from more(prenominal) substantive knowledge of the object since he produces nothing but phenomena by holding up a reflect. In this sense, the artist produces appearance and his work cannot provide us with true insight. Then, when a poet writes about the bed, for instance, it is not a bed manufactured by the craftsman from the idea nor does it have each relation to the real bed it is only simulation and phenomena.There is also a difference between the knowledge of the poet and the knowledge of the craftsman. composition makes things and makes images. The craftsman makes the things following the melodic phraseal simulate or model the poet follows the image of the model or copy therefore he gives only a proportion of reality. The proportion of kn owledge and opinion, truth and falsity plays a parentageing role in distinguishing imitation as proportion of being to appearance. Plato argues that to understand the image, one needs to know the reality and the path to reality is in philosophy and reason, not in poetry and emotion.Although Plato admits that every object in nature is a reflection of the Idea, he doesnt object to the reflection of object in nature. Plato uses mirror and water as constant metaphors to shed light on the relationship between reality and the reflection of eidon. Plato argues that the poet holds up mirror to nature and in his work we see the reflection of nature not reality. He objects to the reflection of objects in the mirror, since things are divided into two split macroscopic and intelligible. The first of the visible things is the word form of copies, which includes shadows and reflections in the mirror.The second class of visible things is that of which the previous is a likeliness or copy. Pla to objects to the reflection of object in the mirror, since mirror (poet) imprisons and limits the image. And he also objects to the imitation, since the poet imitates without knowledge. Therefore, it is not its imitative character but its lack of truth and knowledge, which brings poetry to its low estate. Homer and all the poetic tribe are imitators of images of virtue and other things but they do not rely on truth. Poetry, afterward all, is a madness that seizes the soul when it contemplates in true knowledge of goods.Platos objection to mimesis may also interpreted as a reaction to the sophistic thinking that aims to produce images that the listener will regard as real, all of which take place in the world of phenomena. Image, thought, and opinion combine into a world of appearance characterized by nonbeing, a phenomenal nature and similarity. And as long as illusion and reality are not distinguished, science, ignorance, and appearance merge together. within the fancy of mimes is, then, Plato creates an independent sphere of the esthetical consisting of appearance, image and illusion and excludes it from the domain of philosophy.He insists that there are no phenomena without being, no images without reality, no mimesis without a model. insofar reality and idea cannot be represented without knowledge and images are not part of reality. Plato, in the Republic, in Ion, and in Symposium uses the concept of mimesis with several meanings. He refers to the education of the young in confine X of the Republic in Ion he develops a metaphysical dis flight on the concept of imitation, and in Book troika of the Republic he objects to imitation because mimesisaddresses and strengthens the lower part of the spirit.Plato refers to ethical aspects of mimesis whenever he refers to the concept of imitation. That is, mimesis is an ethical emergence in Platos dialogues. He is not interested in the artistic aspect of mimesis therefore, he does not pay attention to the f orm and matter of mimesisand art. Plato deals with the value of mimesis. Aristotle is the first to deal with mimesis as a supposition of art. He dwells on the concept of mimesis as an aesthetic scheme of art and considers imitation in wrong of the form in which it is embodied.By imitation, he means something like representation through which mimesis becomes the equivalent of artistic and aesthetic attempt. Unlike Plato, Aristotle also argues that mimesis is not chastely destructive since reason controls art. II. The Concept of Imitation in Aristotle Aristotle states that all human actions are mimetic and that men learn through imitation. In particular, mimesis is the distinguishing quality of an artist. He argues that public classifies all those who write in cadence as poets and slayly misses the point that the capacity to produce an imitation is the essential quality of the poet.The poet is distinguished from the rest of mankind with the essential ability to produce imitation . A poet may imitate in one of three ports in poetry he may use pure biography, in which he speaks in his own person without imitation, as in the dithyrambs, or he may use mimetic narration and speaks in the person of his characters, as in comedy and tragedy. A poet may use mixed narrative, in which he speaks now in his own person and now in the person of his character, as in epos poetry. Mimetic poetry may also differ according to the object of imitation.In this respect, tragedy differs from comedy in that it makes its characters stop rather than worse. Mimesis, particularly, becomes a central term when Aristotle discusses the nature and function of art. In the Poetics, he defines tragedy as as an imitation of human action that is serious, complete and of a certain magnitude in wrangle embellished with every kind of artistic ornament, the mixed kinds being found in different parts of the play it represents man in action rather than using narrative, through pity and fear effect ing the proper abreaction of these emotion.Aristotle is interested in the form of imitation and goes on to consider plot, character, diction, thought, spectacle and song as constituting elements of a typical tragedy. The action of plot must be complete in itself with a proper ascendent, middle(a) and an end. All parts of action must be equally essential to the whole. apiece part of the tragedy is imitation itself. grammatical case in tragedy imitates the action of noble man who has to be a man of some social standing and in the flesh(predicate) reputation, but he has to be presented us in terms of his weaknesses because it is his weakness that will make his fall believable.Aristotle thinks that all types of art are mimetic but each may differ in the manner, means, and object of imitation. Music imitates in sound and rhythm, impression in color and poetry in action and word. Aristotles mimesis does not refer to the imitation of Idea and appearances, like that of Plato. He arg ues that each area of knowledge is imitation in the sense that as a human being we all learn through imitation. However, he carefully makes a distinction between different kinds of knowledge.For instance, he claims that art and philosophy deal with different kind of truth philosophy deals with concrete and absolute truth, whereas art deals with aesthetic and commonplace truth. The difference, for instance, between mimetic poetry and score is stated as one writes about what has actually happened, while the other deals with what cogency happen. Art, unlike science, doesnt generalization world(a) form but imitates the form of individual things and unites the separate parts presenting what is universal and particular.Therefore, the function of poetry is not to portray what has happened but to portray what may have happened in accord with the principle of hazard and necessity. Since poetry deals with universal truth, hi tommyrot considers only particular facts poetry is more philos ophical and deserves more serious attention. In appurtenance, aesthetic representation of reality is not technical, factual, philosophical, and historical. Aristotle compares aesthetic process (mimesis) with the process that takes place in nature.While nature moves through internal principles, art moves through organic principles like plot, action, characters, diction, and there is a unity among them. In a sense, art imitates nature and the deficiencies of nature are supplemented in the process of imitation, and art follows the same method, as nature would have employed. Thus, if a house were natural product, it would pass through the same floors that in fact it passes through when it is produced by art, they would move along the same lines the natural process actually takes. Poets, like nature, are capable of creating matter and form.The origin of nature is nature itself and the origin of art is the artist and the defining characteristic of the artist is the ability to create, th rough imitation, as nature does. The artist constructs the plot as an organizing principle, character constitutes the relation and carries on the action and style gives pleasure. For instance, the plot of tragedy and Dionysian rituals peril similar organization. The rituals begin with the spring, which is a physical contact and resplendent time of the year, and they represent the strength of gods and nature upon primitive society.Tragedy, like the image of spring, has a striking and fascinating beginning and, like ritual, a tragic play pervades and shapes the feelings of the audiences. Dionysian ritual is a sacrifice of human being for gods and nature in the hope for a divulge and pacifistic beginning. Similarly, the tragic hero is symbolically sacrificed after which there appears a peace. Then, the poet takes tragedy, as a mimetic representation of myth, from the natural course of an event that takes place in nature and reorganizes it.In this sense, mimesis designates the imit ation and the manner in which, as in nature, creation takes place. Mimesis, as Aristotle takes it, is an busy aesthetic process. He argues that imitation is tending(p) us by nature and men are endowed with these gifts, gradually develop them and finally create the art of poetry. The poet does not imitate reality but brings reality into existence through mimesis. The poet recreates and reorganizes already known facts and presents them in a sugared and attractive way therefore, though audiences know the story of Sophocles Oedipus, they go and watch it.The reality as presented to us through mimesis is prize and universal not only because we are pleased to learn through imitation but also because such reality is better. Homer, for instance, depicts Achilles not only as a bad character but also depicts his goodness. Mimesis is thus copying and changing. The poet creates something that previously did not exist and for which there are no available models. Even in dealings with histori cal materials, the poet needs to fashion it in accord with his art rising to a higher level than is found in reality.Art is fictitious but the mimetic and aesthetic nature of art pervades the fictitious departure and a work of art forces the thing to appear as something more beautiful and better than that nature and human being posses in common, for it is always writers duty to make world better. It can be argued that Aristotle defines and argues about art with respect to mimesis, and the concept of imitation in Aristotle is an aesthetic matter. Mimesis is not only origin of art but also a distinguishing quality of man, since imitation is natural to mankind from childhood on in addition all men find pleasure in imitation.He claims that there are things that distress us when we see them in reality, but the most accurate representation of these same things we view with pleasure. In this sense, katharsis is not a moral and psychological matter but a natural end of the aesthetic act a s Salkaver discusses below Fear and pity are dangerous emotions painful and strike feelings arise from the imagination of an imminent evil and cause destruction and pain. Pity, in particular, is a kind of pain upon seeing deadly or painful evil happening to one who does not deserve.However, in the representation of such feelings one feels empathy and gets rid of them. So, a work of art gives a man an opportunity to get rid of painful and troubled feelings arising from the imagination of an imminent evil that may cause destruction and pain on the part of the citizen. Aristotle develops a consistent theory of art upon the concept of imitation. He begins saying that all human actions are imitation, then, he focuses on poetry and other areas of studies like history and philosophy. Lastly, he dwells on the poet and the concept of imitation as taken and respectable by playwrights.All his arguments upon mimesis are, both in general and in specific sense, have esthetics quality, since he does not take imitation as social, moral or policy-making phenomena but as an activity of the artist. mop up Platos main concern is with the public recitation of dramatic and epic poetry and in Plato there is emulation between philosophy and poetry. The poet influences the character of the young in every way and has corruptive collision upon the education of the young mind. In addition, poets dont have a true knowledge of the things.Plato suggests that the emotional appeal is a threat to reason, that mimetic art is removed(p) from reality, that the poet is not serious and knows nothing about poetry and cannot give satisfactory teaching about his art. It is obvious that he resists the concept of imitation in the case of poetic composition. Tragedy, in particular, and poetry, in general are concerned with pleasure rather than way and since it is not possible to imitate a wise and quiet person in the play, since such a person does not fit the content of tragedy, mimesis is ethic ally distracting.Therefore, the function of various discussions of mimetic art in the Republic is ethical wherever he mentions art he discusses it in relation to education and ethics. Although Aristotle agrees with Plato that poetry has the power to plump up emotions, he does not pay much attention to the ethical and epistemological aspects of mimesis. Yet he dwells on the pleasure that men take in learning and argues that tragedy discharges the feelings and spectators leave the play in a state of calm, free of passions.He does not subdue art and poetry and the concept of mimesis. Aristotles mimesis is defined by mythos and praxis, which brings the concept close to areas of time and action- in contrast to Platonic mimesis, which is closer to image, imagination and imitation. He argues that tragedy is the imitation (mimesis) of a man in action. Aristotles mimesis is active and creative and he gives a dynamic character to mimesis by introducing mythos and praxis, thus, defines art as mimesis and the artist as character.Plato worries about the moral effect of poetry, while Aristotle strikes to psychology and returns repeatedly to move reflexively terror (phobos) and pity (eleos) that the tragedy is creating in the spectator, who therefore repeats or imitates what has already taken place on stage. Plato argues that there is a duality between art (mimesis and narrative art) and ethics. The more poetic the poems are the less suited are they to the ears of men. Artistically, the better the comedy is, the worst it is, since the more attractive and perfect the comedy is the more disastrous its effects are.For instance, Homer, in the Iliad tells us or narrates the story of cypresses, as he was himself a cypress. He tells the story as far as it makes the audience feel that not Homer is the speaker, but the priest, an old man. This manner of representation (impersonation), according to Plato, leads to the loss-of-self or transformation of identity and becomes a matter of moral destruction. Aristotle takes the same activity of impersonation in a different way.He praises Homer for not state excessively in his own vocalization since, after a few nomenclature he immediately brings on stage a man or adult female or some other characters that represent the action with larger perspective. As a conclusion, mimesis has since the antiquity been discussed to refer to the relation between reality and representation. The nature of discussion upon the concept of mimesis as a theory of art changes according to the person who discusses the term and the way he deals with the term.Auerbach, for instance, distinguishes the reality and mimesis in literature with respect to the narrative techniques and argues that Homeric epic is not mimetic but practical since narration of the tales comprehends every detail and leaves no space for interpretation. Plato, on the other hand, agrees that reality cannot be represented therefore, mimesis is misrepresentation of trut h. Aristotle becomes the guardian of mimesis against Plato and develops a theory of art with adduce to mimesis and claims that art (mimetic art) is superior to philosophy and histpry.