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The clarification theory of catharsis would be fully consistent, as other interpretations are not, with Aristotle's argument in chapter 4 of the Poetics (1448b4-17) that the essential pleasure of mimesis is the intellectual pleasure of "learning and inference".
Aristotle's work on aesthetics consists of the Poetics, Politics (Bk VIII), and Rhetoric. [8] The Poetics was lost to the Western world for a long time. The text was restored to the West in the Middle Ages and early Renaissance only through a Latin translation of an Arabic version written by Averroes. [9]
In chapter 14, Aristotle considers the most "dreadful or rather pitiable" deed, "when for instance brother kills brother, or son father, or mother son, or son mother—either kills or intends to kill, or does something of the kind, that is what we must look for" (1453b20-21). [34] Aristotle notes four ways this incident may be treated.
For instance, Aristotle stated that Tragedy is an imitation, "not of persons but of action and life, of happiness and misery." [5] An aspect Aristotle had developed was his theory of catharsis, an aspect that Plato has rejected. [5] Catharsis, or in other words, purging of the emotions "through pity and fear," is accomplished by tragedy. [5]
Aristotelianism (/ ˌ ær ɪ s t ə ˈ t iː l i ə n ɪ z əm / ARR-i-stə-TEE-lee-ə-niz-əm) is a philosophical tradition inspired by the work of Aristotle, usually characterized by deductive logic and an analytic inductive method in the study of natural philosophy and metaphysics.
Dramatic theory [ edit ] The Tractatus states that comedy invokes laughter and pleasure, thus purging those emotions ( catharsis ), in a manner parallel to the description of tragedy in the Poetics .
[4] For Else, catharsis is an Aristotelian concept which must be read alongside the literary concepts of mimesis and hamartia as well. These latter two concepts are usually paraphrased as "literary representation" and "intellectual error" in Else's appraisal of Aristotle's literary aesthetic theory.
Poetic justice describes an obligation of the dramatic poet, along with philosophers and priests, to see that their work promotes moral behavior. [10] 18th-century French dramatic style honored that obligation with the use of hamartia as a vice to be punished [10] [11] Phèdre, Racine's adaptation of Euripides' Hippolytus, is an example of French Neoclassical use of hamartia as a means of ...