Aristotle : Rhetoric and poetics

Rhetoric, for Aristotle, is a topic-neutral discipline that studies the possible means of persuasion. In advising orators on how to exploit the moods of their audience, Aristotle undertakes a systematic and often insightful treatment of human emotion, dealing in turn with anger, hatred, fear, shame, pity, indignation, envy, and jealousy—in each case offering a definition of the emotion and a list of its objects and causes.

The Poetics is much better known than the Rhetoric, though only the first book of the former, a treatment of epic and tragic poetry, survives. The book aims, among other things, to answer Plato’s criticisms of representative art. According to the theory of Forms, material objects are imperfect copies of original, real, Forms; artistic representations of material objects are therefore only copies of copies, at two removes from reality. Moreover, drama has a specially corrupting effect, because it stimulates unworthy emotions in its audience. In response, Aristotle insists that imitation, so far from being the degrading activity that Plato describes, is something natural to humans from childhood and is one of the characteristics that makes humans superior to animals, since it vastly increases the scope of what they may learn.

In order to answer Plato’s complaint that playwrights are only imitators of everyday life, which is itself only an imitation of the real world of Forms, Aristotle draws a contrast between poetry and history. The poet’s job is to describe not something that has actually happened but something that might well happen—that is to say, something that is possible because it is necessary or likely. For this reason, poetry is more philosophical and more important than history, for poetry speaks of the universal, history of only the particular. Much of what happens to people in everyday life is a matter of sheer accident; only in fiction can one witness character and action work themselves out to their natural consequences.

Far from debasing the emotions, as Plato thought, drama has a beneficial effect on them. Tragedy, Aristotle says, must contain episodes arousing pity and fear so as to achieve a “purification” of these emotions. No one is quite sure exactly what Aristotle meant by katharsis, or purification. But perhaps what he meant was that watching tragedy helps people to put their own sorrows and worries in perspective, because in it they observe how catastrophe can overtake even people who are vastly their superiors.