Theory Of Poetic Imitation

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Aristotle’s defence of Poetry Aristotle (384 B.C.-322 B.C.) was a philosopher, psychologist, biologist, logician, moralist, political thinker and the founder of literary criticism. He was the great disciple of Plato, and it was he who took up the challenge of Plato at the end of Republic X to show that poetry was, ‘not only pleasant but also useful, for man and society’. Aristotle’s Poetics is to be judged against this background in which he has defended poetry on intellectual, emotional, moral and utilitarian grounds. He has also proposed his own theory of poetic imitation. Aristotle has made a systematic inquiry into poetry and dramas’ nature and peculiar influence upon human mind and character. Like Francis Bacon, he has taken the whole world of knowledge as his province of study. His contrastive arguments against Plato are as follows: 1. It was from Plato that Aristotle inherited the word mimesis or imitation. Plato has regarded all fine arts as an imitation of the real objects of life. However, he has called it a passive and futile copy-making that does not possess any hint of intellectualism. Aristotle has used the word imitation in a creative sense which is a creative process as the poet transforms the image of real object into something new and much higher with the help of his imitation. He states in Poetics: “The object the imitator represents are actions, with agents who are necessarily either good men or bad, the diversities of human character being nearly always derivative from this primary distinction”. 2. Plato has made an analogy between poetry and painting; Aristotle has linked it to music. Plato has claimed that the poets are away from the Truth and Reality as they merely imitate what they see. This can be a mere surface appearance or the illusion, and that is why they are thrice away from reality. Aristotle here defends poetry by

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