Between Plato and Aristotle: The Role of Art, Freedom, and Tragedy in LiteratureThe debate on the purpose of art and literature began over two millennia ago, with two of Western philosophy’s most influential thinkers: Plato and his disciple Aristotle. While Plato saw art as a potential threat to truth and morality, Aristotle viewed it as a necessary medium to understand and purify human emotions. This classical debate continues to shape modern perspectives on censorship, creative freedom, and the structure of drama.
As part of the Bridge Course on Aristotle's Poetics, this blog addresses key questions relating to the relevance of classical literary theory in today’s world and how some of the literary texts studied during the B.A. program reflect or reject these ancient ideas.
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1. Plato’s Objection to Creative Liberty: Is He Still Relevant?
Plato, in The Republic, famously criticized poetry and drama for being imitations (mimesis) that corrupt the soul by appealing to emotions rather than reason. He believed that poets mislead society by depicting immoral behavior and stirring irrational feelings. Thus, in his ideal state, he proposed banning poets and dramatists unless their works promote virtue and truth.
While this view may seem authoritarian today, it holds a kernel of truth in the age of digital media. Consider:
TV Soaps like Naagin or Sasural Simar Ka often promote superstition and regressive gender roles.
Films like Kabir Singh have been criticized for glorifying toxic masculinity and emotional abuse.
Novels like Lolita by Nabokov, while artistically brilliant, raise ethical questions about the glamorization of morally unacceptable behavior.
In such cases, Plato’s concern that art can influence vulnerable minds seems justified. However, censorship is not the solution. Responsible consumption, content warnings, and critical discourse are better tools in a free society.
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2. Texts That Follow the Aristotelian Tradition
Aristotle’s Poetics (c. 335 BCE) presents the first formal theory of tragedy, arguing that its purpose is to evoke catharsis—the purging of pity and fear through the fall of a noble but flawed protagonist (the tragic hero).
Several texts studied during the B.A. program closely follow this model:
Sophocles’ Oedipus Rex
Tragic Hero: Oedipus
Hamartia: Hubris (excessive pride) and ignorance of his true identity
Catharsis: The audience experiences intense pity and fear upon learning the truth with Oedipus.
Shakespeare’s Othello
Hamartia: Jealousy and insecurity
Unity of Action: All events contribute directly to Othello’s tragic downfall.
Catharsis: His fall evokes both fear (of deception) and pity (for his honest love manipulated).
Aristotle emphasized a well-structured plot with a beginning, middle, and end, and these texts masterfully demonstrate that causal logic and emotional resonance.
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3. Texts That Reject the Aristotelian Tradition
Modernist and postmodernist literature often rejects Aristotle’s structured approach in favor of fragmented, non-linear narratives that reflect chaos, absurdity, or existential themes.
Samuel Beckett’s Waiting for Godot
No clear plot, no peripeteia, no catharsis
Reflects Theatre of the Absurd, where characters wait endlessly without purpose
Challenges Aristotle’s idea of unity and emotional resolution
Virginia Woolf’s To the Lighthouse
Interior monologue dominates over external action
Events unfold through stream-of-consciousness rather than causality
No tragic hero or cathartic moment—just human introspection
These works deliberately resist Aristotelian norms to challenge the reader’s expectations and engage them in deeper philosophical questioning.
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4. Tragedies and the Nature of Hamartia
Yes, we studied multiple tragedies, and each had a protagonist whose flaw led to downfall:
King Lear (Shakespeare)
Hamartia: Pride and rash judgment
Lear misjudges his daughters and gives up power, leading to his and others’ suffering
Dr. Faustus (Christopher Marlowe)
Hamartia: Overreaching ambition and thirst for forbidden knowledge
His pact with Lucifer ultimately leads to eternal damnation
In both cases, the heroes are neither purely good nor evil—just human, making Aristotle’s theory of tragedy incredibly enduring.
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5. Did These Tragedies Follow Aristotle’s Rules?
Mostly, yes:
Chain of Cause and Effect: Each decision leads to inevitable consequences (Faustus sells his soul → damnation).
Unity of Action: The narrative follows a focused plot without subplots.
Magnitude: The stakes are high—empires fall, souls are lost.
Probability and Necessity: The outcomes are not coincidental but logically inevitable.
These rules help tragedies achieve emotional impact and philosophical depth, which is why Aristotle’s Poetics remains relevant.
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6. Recent Controversy: Artistic Freedom vs Social Responsibility
A recent example that echoes Plato’s concerns is the controversy over the film Adipurush (2023), based on the Ramayana.
Critics argued that the dialogues and character depictions were disrespectful to religious sentiments.
The film was pulled from many theatres, and dialogues were rewritten post-release.
Like Plato feared, this modern reinterpretation of a sacred narrative upset moral and cultural harmony.
My stance: While artists should have creative freedom, when engaging with mythology or religious epics, they should practice cultural sensitivity and historical awareness. Freedom should be balanced with responsibility, not suppressed.
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🍀Conclusion 🍀
The literary theories of Plato and Aristotle offer complementary insights. Plato warns us of the power and danger of art, while Aristotle shows us how art can heal and educate. Texts that follow or reject Aristotelian tradition reflect evolving human experience—each valuable in its own way. In a time of social media, political polarization, and misinformation, the dialogue between freedom and responsibility in art is more relevant than ever.
Let us not ban art like Plato, nor blindly follow tradition like Aristotle, but critically engage with literature to understand the human condition better.
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📚 Reference Books:
Aristotle. Poetics. Trans. S.H. Butcher.
Plato. The Republic. Trans. Benjamin Jowett.
Abrams, M.H. A Glossary of Literary Terms.
Peter Barry. Beginning Theory: An Introduction to Literary and Cultural Theory.
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