Paper III: Classical Theory -Plato and Aristotle

For Section II of Paper III, I have chosen Literary Theory and Criticism as my elective subject. While browsing through the previous years' question papers, I came across a few questions from the Classical theory section:
June-2007: What does Aristotle mean by Hamartia?

Dec-2008: Principles of Sublime as envisaged by Longinus.

June 2008: Concept of the poet in ‘the Republic’
Dec 2010: Evaluate the salient features of the debate on the theory of mimesis between Plato and Aristotle.

 I will try to cover some of the important concepts of Plato, Aristotle, Longinus and Horace while avoiding some 'unnecessary' detail.:).Trust me, the actual texts have a lot of not-so-important examples which are best left alone.

1.      Concepts in Plato’s poetics

In his ‘Ion’, Plato uses the Socratic method of dialogues to point out that poetry is not a vehicle of learning but of inspiration. Plato drew a distinction in Ion between the charioteer’s first -hand knowledge of chariot driving and the poet’s second- hand knowledge of the same. Therefore, he concludes that literature/ poetry is only an imitation of the real thing. He further illustrates in his ‘Republic’ that poetry is twice removed from reality, for the real thing to Plato is the Idea of the real thing. We are continually defining objects as beautiful or acts as just by reference to standards of perfect beauty or perfect justice. Therefore, all that exists around us is only a representation of what is perfect and eternal. The poet’s representation or imitation of our world is therefore a representation of what itself is an inadequate representation of the eternal reality.

Plato then draws a distinction between the philosopher and the poet. The philosopher tries to discern through the world of phenomena that reality of which those phenomena are the reflection. The poet, on the other hand, by his imitation of the world of phenomena, moves in the opposite direction further removed from reality. For Plato, truth is to be discovered not by fictive representation of our world, but by insights into what our world itself mirrors and reduplicates.

Plato’s attack on poetry and poets

a.      Poetry and drama are not conducive to social morality as poets pander to popular taste and narrate tales of men’s vices. This has a demoralizing effect.

b.      Poets ‘tell lies about gods’. They are represented as corrupt, immoral and dishonest, subject to vices of common humanity. The poets thus deprave public taste and morality. As regards the allegorical interpretation of poetry, Plato argues that the hidden meaning, if there is any, is certainly beyond the reach of the young. Therefore poetry cannot be a suitable medium of instruction, instead philosophy can lead the way.

c.       Drama is worse. Judgment in dramatic matters is left to many and the result is lawlessness and licence, both in theme and expression. Poets and dramatists appeal to the baser instincts of men, their love for the sensational and the melodramatic.

d.      The poets are divinely inspired and do not have any knowledge. The inspiration may cease at any moment and hence their pronouncements are unreliable. The poets with their emotional frenzies and lack of moral restraint can afford no safe guidance to people.

e.       Epic, tragedy and comedy are imitative, wholly or partially. In imitative poetry, the poet, audience, and readers identify themselves with a fictitious character and this enfeebles character and personality.

f.       Poetry leads to loss of reason, as it appeals to the emotions.

g.      According to Plato, emotions of pity and grief should be controlled, but tragedy gives uncontrolled expression to these emotions.

h.      The poet stands the lowest for the poet neither uses art, or makes art, he merely imitates. Poetry serves no practical purpose and hence should not be a part of school curriculum.