Plato Versus Aristotle on the Imitation of Poetry
Concerning the power of written literature and poetry as considered by Aristotle in his work "Poetics," and Plato in his work "The Republic," it is important tot remember that both philosophers sought to reach universal conclusions regarding not only the nature of reality, but the nature of human perception and the nature and meaning of human ethics by probing into the intricacies of artistic expression. Although Plato's conclusion that poetry risks the distortion of potent cultural myths and ideas to the detriment of society seems at odds with Aristotle's assertion that art expresses -- or imitates -- Divine rationality, both philosophers were able to use their exploration of poetry and art as a method by which to reach specific conclusions regarding the value of poetry and art to society.
When Plato takes up the issue of whether or not poets distort the great myths of the past, his assertions are meant to apply not only to what a modern reader would consider the aesthetics of art -- or even the sociological impact of art -- but to the essential "truths" which can be uncovered through a vivisection of artistic "morality" and purpose. For example, when Plato (through Socrates) remarks that: "Then, concerning these tales too, it seems we must supervise those who undertake to tell them and ask them not simply to disparage Hades' domain in this way but rather to praise it, because what they say is neither true nor beneficial for men who are to be fighters" (Plato 63) his admonition is ostensibly meant to preserve the genuine fighting spirit and martial capacity of fighting soldiers. This shows clearly that Plato felt the deception of poets was a true threat to society. The "imitation" of art which could distort myths might have real consequences. Plato's main objection to poets is that they are but poor imitators of life; that it would be impossible for any single man or artist to fathom enough of "reality" to represent it accurately and without damaging distortion in the form of poetry. Paradoxically, in the same book -- Book III -- of "The Republic," Plato, while condemning "deception" in poets, praises it in politicians: ""It's likely that our rulers will have to use a throng of lies and deceptions for the benefit of the ruled. And, of course, we said that everything of this sort is useful as a form of d remedy" (Plato 138).
What is interesting here is that Plato has offered a set of principles for the ruling class which does not apply to poets. Rulers may lie; poets must -- at all hazards -- preserve "truth." Such a blatant endorsement of dishonesty seems out of place in a discourse on the nature of justice and civil integrity. While the theories forwarded in the Republic make internal sense and stand as a coherent set of ideas which relate to one another with harmony, the central premises of Plato's vision: that the universe is, itself, established on a hierarchical basis, with a bit of "deception" (the world of shadows) thrown in, and that mankind should emulate both the rigidity, deceitfulness, and hierarchical arrangement that Plato claims forms the universe as we know it, makes the entire argument very difficult to embrace as a whole for modern readers.
Plato's assertion within the same book of the Republic, Book III, that artists are imitators, and poor imitators, of life is meant to contrast with the great "morality" of leaders, who are so morally advanced that hey may even lie to achieve the idealization of human society is either an incredible piece of satire, or it reflects Plato's confrontation with what was then a modern media: written language which was destined to displace the oral and mythic traditions of the past an enable a greater range of self-expression by individual artists. In either case, Plato's conclusion regarding poetry as an "imitator" of art cannot be separated from the larger moral, political, and , in fact, ontological ideas which with the Republic is infused.
By contrast, Aristotle, opined that "it has been well said that the Good is That at which all things aim," (Aristotle 1094a) despite the very real presence of corruption or dishonesty within the practice of the "art" itself saw in the production of art and poetry, the expression of an innate moral and rational state which, through universalization, could be said to stand for the "soul" of humanity. While considerations of poetry and art are for Aristotle no less involved with issues of morality adn politics than for Plato, Aristotle is careful to point out that ethical behavior, while originally instilled into humans by the Divine, is also something which becomes more readily evident by practice. In other words, ethical behavior to Aristotle is a form of "habit," one which is increasingly more potent the more one practices, a process which Aristotle likened to achieving prowess at playing the harp. In this way, any artistic act, including poetry, can be said to imitate the Divine, and, as such, honest proximity to art and practice of art is a "moralizing" influence on creative persons.
So, for Aristotle, poetry as expressed by humanity, is of both Divine origin, but must be "practiced" in order to reach true fruition. Aristotle's subtle suggestion that the will of humanity plays some small role in the formulation of what is perceived by the idea of justice or lawful is granted in is envisioning of the "moral virtues" being, indeed, dictated by God but still needing to be "trained" by man. This is a veiled but definite suggestion by Aristotle that the Divine will must be interpreted by mankind and that better interpretations come from the steady application of Divinely inspired principles to everyday human life. In other words, moral sense is a Divine Gift or even a Divine geas, but application of this gift is a human affair.
For example, Aristotle views poetic acuity not as a tendency or opportunity for distortion of myth and "truth" but as a way for poets to embody through language the substance and spirit of lived experience: "Since poets take their mimesis from men in action," (Aristotle 51) they are, also, "men of action" rather than merely potential deceivers as Plato suggested in The Republic.
While Plato's concerns regarding poetic "imitation" rested on the dual premises of distortion and "supervision" by leaders enabled to lie, Aristotle's inquiry into poetry as "imitation" established what can be considered the first truly rational approach to formal aesthetics, searching for the methods and manner by which poetry (and other arts) were able to so successfully convey the essence of life and produce catharsis.
Plato's theory is that poets are incompetent, and therefore dangerous, imitators of life. Aristotle's conclusion is that poets are embodiments of universal "laws" which, when studied and pursued through artistic expression, enable the artist to more clearly represent reality and also to attain a rapport with universal morality. Aristotle, by grappling directly with the materials of art, seems to have fashioned a more complete and much more penetrating aesthetic for poetry than Plato who seems to have been interested in poetry more in terms of its moral and social impacts rather than its artistic capacities.
In conclusion, both Plato and Aristotle sought to establish through their inquiries into the nature of poetry, more extended "laws" of human ethics and human rationality. Accepting the idea of Divine law, while natural for Aristotle, was something that appears to have troubled Plato. In his "Republic" the idea of justice is seen as central to the embodiment of a noble society; however, Plato's ideas are concerned less with the Divine nature of justice than with it's rational interpretation of poetry by human beings whether or not such ideas are, in fact, of Divine origin. While Plato argues that poetry is an ethical paradigm which allows for man to misapprehend Divine intention and therefore unknowingly create unjust laws or fail to create laws at all which actually enforce justice , he also suggests that adherence to the laws as defined by human rationality can govern the potential damage of poetic "distortion" -- so for Plato, poetry is a social problem not a social benefit. By contrast, Aristotle views poetry as imitating Divine rationality and therefore the practice of poetry and other arts is, itself, a morally correct pursuit.
Works Cited
Plato. The Republic of Plato. Trans. Allan Bloom. 2nd ed. New York: Basic Books, 1991.
Aristotle. Aristotle's Poetics. Trans. George Whalley. Ed. John Baxter and Patrick Atherton.
Montreal: McGill-Queens University Press, 1997.
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