Aristotle and Oedipus the King, Research Paper Example

Background

Aristotle was the son of a physician and a student of Plato until the death of his mentor in 347 B.C.E. His works were published works of lecture notes and fragmented works of others. “Richard Janko even argued that much of Aristotle’s works came from his teachings of Plato.” (“Aristotle”). Many of these works were influenced by the German dramatist and critic G.E. Lessing of the purgation theory which influenced fear of pathological states that eventually led to emotions of virtue and morals in the purification sense. “It is only when we turn to the cognitive interpretation of katharsis that we find explicit supporting evidence in the Poetics. (“Aristotle”). Aristotle states specifically that mimesis “is by part a nature of human experience of childhood on that is the basis of our first learning experience and all humans derive ultimate pleasure from it.” (“Aristotle”).

Aristotle views as an imitation of action that is tragic in itself and parts of that tragedy having fallacies of pity and fear of all which bring some form of exciting pleasure to a person. (Imgram Bywater: 35). There is a combination of distinct beauties that is unknown to man and unadvertised. Excepting the famous concepts of “unit of time” (or length of tragedy) and “character’s flaw” (or hamartia), probably there’s not other concept or part in Aristotle’s Poetics as puzzling and celebrated as the famous definition of tragedy. In fact, from the thirty-five words used by Aristotle in his definition, ten (especially mimesis, spoudaios, catharsis and phobos) are as confusing today as they were almost a hundred years ago when the “most popular and generally influential” translation of Aristotle’s Poetics appeared in English: S. H. Butcher’s Aristotle’s Theory of Poetry and Fine Arts (1895) (Gilbert: 66).[1]

Analysis

Hamilton Fyfe (1940) does not necessarily disagree with Aristotle’s meaning of belonging to the civilization but he does disagree with Aristotle’s individual interpretation of it. He further agrees “with the interpretation as serious and incomplete.” (Argument: 221).  In Plato’s and Aristotle’s interpretation they view creative imagination as an extreme source of power therefore confusion adds to that source of fallible power to them. With the century we are still quite confused by what Aristotle meant by the definition and conception of the work menesis. The pleasure of menesis is derived from non-constraint and the ability to take pleasure in objects that are imitated and find some sort of solace in either enjoying them or reproducing them. Learning from inference is a part of cognitive learning and part of inference as depicted from Aristotle. In order to live by the concept of minesis one must accept true pleasure, true tragedy and evocation of intellectual pleasure. So why do people decide to live by the principles of minesis? Aristotle believes there is a relation between tragedy and fear and with that said a relationship of cosmic relationship can be formed with you and between people. There is another work for this and it is called “righteous indignation”. “This is another way of saying pain is deserved at the cost of undeserved good fortune.” (“Aristotle”). In part these new contributions continue interpretive disagreements that have existed for centuries, but recent scholarship has also been moving toward the resolution of some longstanding controversies and the deeper illumination of others. (“Aristotle”).

Mimesis touches on our existence in the world and the true meaning according to sacrifice and noble character which depicts the true meaning of human character by which man can be judged. “In tragedy people are tested by great suffering and must face decisions of ultimate consequence. Some meet the challenge with deeds of despicable cruelty, while others demonstrate their ability to confront and surpass adversity, winning our admiration and proving the greatness of human potential.” (Brown 2005).

Aristotle claimed that plays were remade from combined totalitarians of Aeschylus and Sophocles. There was a blending of political Greek satire and Greek symmetry. “Tragedy has been enhanced according to Aristotle.”

Mimesis for the Greek culture is the beginning of the word culture and from which art and poetry derives. It forms the basis symmetry of the arts and the culture of plays and opera/arts. Plato argues the mimetic arts are corrupted but the Greeks argue they are legendary and bring together and audience in good faith.

Part of the mimesis was understanding the cross dressing and the trans-dressing in those days. The gender system in Athens was much under looked in order to appreciate the art work. Many heroes were made feminism in order to express the artwork and expression during those days. Trans-dressing was much more understood than homosexuality during those days of Aristotle and Plato. Women controlled the language of the films and plays but this was misunderstood as depicted in Hippolytus and Iphigenia.

There was much argument of mimesis for a part-time relationship with politics rather than a permanent fixture in art and plays. Political be seemed to be much more important to philosophical at this point in time. There was much mourning for the loss of the war but there was not much empathy given for those with such agonizing loss. Old Comedy came very common which was common for a quick turnover of fast scenes in playwright.

Aristotle views “tragedy as superior because it is heightened and can be ultimately controlled.” (“Aristotle”). Aristotle states that mimesis is a fictional world of reality in which there can be no ascertainable mediated or achieved reality. The words of another or actions of another or imitated therefore there are no true decisions of another of his own. I disagree with Aristotle’s concept because it has been proven that if a person directs his energy and follows the behaviors of a positive person they can live a righteous and good life. People tend to gain innate pleasure in tragic mimesis and people should not fall into that pattern of life for it is evil and non-conducive to a positive way of life. It is much more philosophical and important to events in history to show expressions of love and representations of objectivity rather than subjectivity when make decisions. Plato feels that “derogation of art is inferior to the appeal of human emotions and should be considered with great value.” (“Aristotle”).

Plato and Aristotle contrasted different views of mimesis with their different views of a non-mediated relationship of reality. Mimesis is a fictional world in which there is distortion and no possible way to have any sort of reality according to Aristotle. “According to Aristotle art is an imitation of removing the truth about something, representing the truth falsely and can undermine the stability of even the best of humans.” (“Plato and Aristotle on Art as Imitation”). People learn from imitations just as tragedies are simply imitations but we should not follow negative imitations as guiding forces in our lives. There should not be any form of purification based on pity and fear because this is based on untrue reality and devotion to control rather than reality of knowing one’s self and a relationship with God.

Works Cited

Aristotle (1997) Retrieved February 15, 2010 from, ,http://comptalk.fiu.edu/aristotle.htm

Brown, L. (2005) Aristotle on Greek Tragedy Retrieved February 15, 2010 from, http://larryavisbrown.homestead.com/Aristotle_Tragedy.html

Plato and Aristotle on Art as Imitation Retrieved February 17, 2010 from, http://www.uh.edu/~cfreelan/courses/1361/tragedy.html