It can be argued indeed that Plato might be seen to be doing exactly the opposite. perfect, enduring and complementary being with becoming. Plato’s Comments and Aristotle’s Corresponding Critique “Plato on Imitation and Poetry in Republic 10.” In Virtues of Authenticity: Essays on Plato and Socrates. Of course, because of the poetical and mimetic resources of the dialogue genre we cannot with any certainty attribute to Plato such a doctrine of forms. At the time that Plato was writing, poetry was the primary educator of Greece. See Charles H. Kahn, Plato and the Socratic Dialogue, esp. Even though they both thought a bit differently they did agree in a few things. It only gives the likeness of a thing in concrete, and the likeness is always less than real. They both agree that poetry is mimetic but they have different idea about poetry and ‘mimesis’. Cooper E. David [Ed. We use cookies to give you the best experience possible. The just cited passage in Book VI contains the much-discussed analogy of the philosopher-ruler as a “painter using the divine pattern” (500c; for a discussion of the debate surrounding this passage, see Foshay 103-104). The bed or the chair Plato and Aristotle argue that artist (Demiurge) and poet imitate nature, thus, a work of art is a reflection of nature. I believe so. On this strain in Plato’s thinking see Halliwell, The Aesthetics of Mimesis, Part I, Ch. The mimetic theory of literary criticism places primary importance on how well a literary work imitates life. Hence, he believed that art is twice removed from reality. We understand things we wouldn’t otherwise enjoy seeing in person (re: example of the corpse). Plato thinks that poetry is a form of imitation. Naturally enough, Plato is a key reference point for Girard in articulating the relationship of his anthropological theory of culture to the philosophical tradition. What I am saying is that the environment or form that we live in is full of unevenness, imperfection and impurity this due to the fact that this form is merely a copy of the ideal world that one would understand once they rise above our physical environment and grasp it intellectually.... Socrates, Plato, and Aristotle, three men considered to be the quintessential basis of ancient Greek philosophy. The term ‘mimesis’ is loosely defined as ‘imitation’, and although an extensive paper could be written about the cogency of such a narrow definition, I will instead focus on Plato and Aristotle’s contrasting judgements of mimesis (imitation). The Cambridge Companion to Plato. He argues that a work of art does not imitate nature as it is, but as it should be.   Privacy We should recall the passage in the Laws where the tragic poets are anticipated to request entry into the well-ruled city, the response by the philosopher-lawgivers being this: Most honored guests, we’re tragedians ourselves, and our tragedy is the finest and best we can create. * As with much of their respective philosophies, Plato and Aristotle disagree upon the notion of mimesis in their aesthetic approaches. Both philosophers disagreed often and it is no surprise that Aristotle’s thoughts on mimesis are an implicit repudiation of Plato’s thoughts on mimesis. Plato (427-347 B.C. He took lifelong pains to represent and to embody philosophical argumentation as an ongoing inquiry, one that does not harden itself in declarations of philosophical position taking, no matter how tirelessly 2400 years of Plato interpretation has insisted on trying to establish this. chairs are innumerable. 1, “Sokratikoi Logoi: the literary and intellectual background of Plato’s work,” pp. It is tragic displays of agonistic experience that constitute dramatic force and evoke intense audience response: “Now, then, irritable disposition affords much and varied imitation, while the prudent and quiet character, which is always nearly equal to itself, is neither easily imitated, nor, when imitated, easily understood especially by a festive assembly” (604e). Type: However, their attitudes towards imitation are profoundly different. The bed or the chair is only an imitation of the idea of the bed or chair have first come in the mind of the carpenter. Email your librarian or administrator to recommend adding this book to your organisation's collection. By continuing we’ll assume you’re on board with our cookie policy. Please join StudyMode to read the full document. Eric Gans, while drawing on the fundamental insight of Girard into the relation between mimetic desire and violence, emphasizes the linguistically mediated nature of human enculturation rather than the more realist approach of Girard to the founding murder, the scapegoat mechanism, and the mediation of violence through myth and ritual. Art imitates idea and so it is imitation of reality. Your Answer is very helpful for Us Thank you a lot! Aristotle is Plato’s student. The mode of mimesis is a way of representing objects in the same media to which Aristotle believes can be done in three ways: “… in narration and sometimes becoming someone else; or speaking in one’s own person without change, or with all the people engaged in the mimesis actually doing things. Gans is sharply critical of Plato’s doctrine of ideas; I am less convinced that Plato has one. This preview shows page 1 - 2 out of 4 pages. life. Key Words: Imitation, art, literature, mimesis, etymology, ethic. (10). Thus Gans’s model of language is consistent with the Derridean model of the sign as a creature both of difference and deferral: language makes present what is constitutively absent, and Gans points out that this absence is a renunciation of the material referent which generates the presence of a human recognition that the social bond takes precedence over the self-seeking of merely material survival. Aristotle then lays out the foundation for a good tragedy – that is to say – a tragedy that emits emotion to the people watching or reading it. Plato while explaining his theory about mimesis took a very [ 2 ]. His Poetics is the single most influential work of literary criticism in the... ...Imitation Plato and Aristotle The reasons poets cannot be accepted into the ideal community are both epistemological and moral, but whatever the reason they have a word in common: mimesis. Very little is known about “mimesis” until the ancient Greek Philosopher Plato provided the first and unquestionably the most influential account of mimesis. When Socrates takes a philosophical position in Book X of the Republic, he is in open contradiction with his own earlier application of mimesis to philosophical thought itself in Book VI. As for Girard, mimesis plays an integral role for Gans. Philosophy, as we know it today, obtained the foundation of its teachings from ancient Greeks who wanted a logical explanation to the order of the universe we live in. He believed that ‘idea’ is the ultimate reality. “To eliminate the ostensive,” as Gans claims Plato does by means of the doctrine of ideas and the abstraction of the concept, “is to expunge the local historicity of deferral of collective violence by means of the sign” (81). Poetry delivers a poor and unreliable knowledge, according to Socrates – and still in the tenth book of Republic – since it is a second-hand imitation of an already second-hand imitation. Plato was a student to Socrates and was a teacher to Aristotle and was instrumental in laying the groundwork of Western philosophy and science. In this sense, an artist does not violate the truth but reflects the reality. Not only were they responsible for Greek enlightenment, but also foreshadowed the coming of Christ in there speculations. DEPT OF POLITICAL SCIENCE AND PUBLIC ADMINISTRATION (657). ” Aristotle goes on to say that within representations, people can be portrayed as good or bad (‘better’ or ‘worse’) by artists and we will be able to distinguish this property of goodness or badness through use of mediums such as tragedy and comedy. This paper is to discuss the different understandings of Plato and Aristotle on imitation. Developing centuries, the concept of mimesis has been explored and reinterpreted by scholars in various academic fields. However, he is deeply suspicious of the arts because, in his view, they appeal to the emotions rather than to the intellect (Michael). Essay, 7 pages. On this strain in Plato’s thinking see Halliwell, The Aesthetics of Mimesis, Part I, Ch. Princeton: Princeton UP, 1999., Kalinga State University-Tabuk • COLLEGE OF 101, Kalinga State University-Tabuk • SOC SCI 14, Copyright © 2020.