Aristotle's Concept of Imitation in Poetry

Derived from Plato, Aristotle's exploration of the term 'Imitation' transcends mere replication, evolving into a form of creative re-creation. Aristotle not only reshapes the meaning but also imparts new dimensions and significance to this concept, distancing it from the sense of inferiority attached to it by Plato.

Plato's Idea of Imitation

Plato's categorization of arts into useful and imitative branches, such as medicine and poetry, establishes a fundamental divide. For Plato, 'idea' represented truth or reality, viewing the world as a mere representation of this reality.

According to him, objects before us are but imitations of the true reality. Poetry, in Plato's eyes, emerges as an imitator of appearances, which are themselves imitations of reality. This places poetry at a double remove from truth, rendering it the shadow of shadows and, in Plato's critique, the "mother of lies."

Aristotle's Redefinition of Imitation

Aristotle, however, redefines and elevates the notion of imitation, dispelling the sense of falsehood that Plato ascribed to it.

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In Aristotle's perspective, poetry stands as one of the fine arts, engaging not merely with the surface of the world but delving into the essence of things. The essence of Aristotle's concept lies in the creative reproduction of the external world in alignment with the artist's ideas. Poetry, therefore, is not a mere reflection of shadows but an imitation of ideal reality, dealing with the universal and the ideal.

Imitation, according to Aristotle, is not a slavish act of copying; rather, it involves a profound engagement with the deeper reality.

In his view, poetry imitates human life, encompassing thoughts, feelings, will, motives, and emotions—both the inward and outward facets of human existence. This conceptualization of imitation is not a mere replication but an act of creative vision, transforming the real and actual into something novel. In essence, Aristotle sees imitation as a process of recreation and, fundamentally, a manifestation of imagination.

The Inner and Outer Dimensions of Poetic Imitation

Within the realm of poetic imitation, Aristotle emphasizes the imitation of men in action, entailing their inner thoughts and outward actions. It becomes clear that poetry, for Aristotle, is a mirror reflecting human life in its entirety—both the inner world and external events. The poet, through imitation, has the power to forge something new out of the tangible and concrete. Atkins reinforces this idea, asserting that Aristotle perceives imitation as nothing but recreation. In its truest form, imitation is a process fueled by the imagination, resulting in poetic truths that are both permanent and universal.

Unlike a mere chronicler of events, the poet's task is not to recount what has happened but to envision what is possible, guided by the laws of probability or necessity. Poetry, thus, transcends the particularities of individual occurrences and is concerned with the universal. Achieving universality and truth demands a process of ordering and arranging, transforming the chaos of everyday life into a designed, patterned, and ordered artistic creation.

The Medium of Poetic Imitation

Considering Aristotle's assertion that all art is a form of imitation, distinctions arise when examining the mediums employed. Poetry and painting, both mediums of imitation, diverge in their chosen tools. A painter's medium is color and form, whereas a poet's medium is rhythm and harmony. This difference in medium contributes to the unique qualities and expressions found in each art form.

The Objects of Poetic Imitation

Central to poetic imitation are 'men in action,' individuals whose qualities may either surpass or fall below those of the average person in real life. This distinction underscores the uniqueness of poetic imitation compared to a photographic replication of reality. Poetic imitation, as Aristotle envisions it, involves a profound engagement with the human experience, capturing the complexities of both internal and external activities.

Conclusion

In conclusion, Aristotle's concept of imitation in poetry not only redefines the term but elevates it to a creative and transformative process. Distancing himself from Plato's portrayal of imitation as a mere shadow, Aristotle sees it as a dynamic engagement with the deeper reality, transcending the surface appearances of the world. Poetry, in Aristotle's view, becomes a mirror reflecting the universal and the ideal, a creative act that involves both the inner and outer dimensions of human existence.

Moreover, the medium of poetic imitation, whether in the form of color and form for a painter or rhythm and harmony for a poet, contributes to the distinctiveness of each art form. Poetic imitation, far from being a mere copy, is a process of recreation and imagination, allowing the poet to extract permanent truths from the chaotic tapestry of everyday life. Aristotle's emphasis on universality and truth guides the poet in discarding the irrelevant, creating a work of art that stands the test of time.