Aristotle (384-322 BC) presented his theory of aesthetics in his work “Poetics,” which is primarily devoted to literature and theatre. For defining art, Aristotle employed the Greek word “mimesis,” which means “imitation.”
Every form of art involves an imitation of reality according to the artist’s standpoint. The artistic imitation of reality can be more or less accurate, but needs to be recognizable. A random shape on a canvass or a meaningless poem do not constitute art because they have nothing to do with reality.
Art can be produced for various types of physical support. In Aristotle’s times, the main types of art were the performing arts (poetry and theatre) and the objectified arts (architecture, painting and sculpture).
In later centuries, art has been produced for other physical supports such as books (novels and short stories), movies and television shows, music, opera, ballet, etc.
Artistic perception is limited to the human senses (vision, sound, touch, smell and taste), but new physical supports can enrich the experience. Although movies and theatre plays are perceived exactly by the same senses, nobody would contest that movies can offer a richer experience.
Unity of plot in Aristotle’s philosophy of aesthetics
“Poetics” revolves around theatre plays that possess a linear structure, a single purpose, and tight temporal unity. Aristotle regarded such theatre plays as artistic archetypes.
Aristotle’s preference for a strong unity of plot (for instance, stories taking place in a single location and within twenty-four hours) makes theatre plays comprehensible and cohesive.
Unity of plot is the application of Aristotle’s final causation to literature, in the same way as happiness is the application of final causation to ethics.
In plays, novels, movies and television shows, we all prefer tightly-knit stories. We want to read or watch narratives where the events are linked by cause-and-effect, not by serendipity.
Aristotle’s artistic formula has remained valid for centuries. It has widened only when technology rendered it possible to use new physical supports. The invention of the printing press enabled the publication of novels, and the invention of moving pictures enabled the production of feature movies.
Nonetheless, Aristotle’s essential insight has remained true, namely, that well-structured stories, songs, paintings, buildings and sculptures will generate a deeper emotional response. It is the artist’s task to create a structure that reflects his standpoint.
Catharsis in Aristotle’s philosophy of aesthetics
In “Poetics,” Aristotle argues that artworks (theatre plays in particular) can have a therapeutic effect. He calls this healing effect “catharsis” or “emotional purification.” From watching a heroic tragedy on stage, the audience can gain motivation and strength to overcome problems in real life.
Artistic enjoyment, argued Aristotle, comes from watching noble, motivated characters who struggle to achieve their goals and who end up victorious despite opposition and setbacks.
The characters and the plot constitute the backbone of every literary work (theatre, novels and movies). Style, music, acting and settings contribute to the overall effect, but should not take the driving seat in artistic creation.
For instance, the plot of “Oedipus Rex” by Sophocles (496-405 BC) is driven by Oedipus’ tragic journey. The unity of plot is very strict. The audience will experience a strong emotional reaction from watching Oedipus undergo a transformation.
Oedipus’ adventures (“peripeteia”) and reversal of fortune make the plot intriguing. He has a noble character, but his poor self-awareness will end up causing his downfall. His tragedy has a cathartic effect and elicits a strong emotional response.
In “Crime and Punishment” by Fyodor Dostoevsky (1821-1881), the protagonist, Raskolnikov, is also a tragic hero, but ends up acknowledging his crime and seeking redemption. The cathartic effect fits the Aristotelian model for literary artworks.
Aristotle’s philosophy of aesthetics in poetry and sculpture
The field of poetry makes it difficult to achieve unity of plot unless a poem tells a complete story. Aristotle expected poems to elicit a emotional response through their structure, choice of words, and literary devices such as metaphors.
For instance, the poem “I Wandered Lonely as a Cloud” by William Wordsworth (1770-1850) depicts a moment in nature by using imagery that creates melancholic, romantic feelings.
In the field of sculpture, the Aristotelian mimesis involves the imitation of three-dimensional shapes. The aesthetic impact depends on a harmonious and purposeful implementation.
“David” by Michelangelo Buonarroti (1475-1564) provides a good illustration of Aristotle’s aesthetic principles in the field of sculpture because it combines a precise physical rendition with a serenity and determination.
Aristotle’s philosophy of aesthetics in architecture and music
In the field of architecture, Aristotelian principles call for structures possessing unity of purpose, form and function, such as the Parthenon in Athens. Its profound harmony comes from well-proportioned Doric columns, friezes, and pediments.
In the area of music, the Symphony number 9 by Beethoven (1770-1827) with the “Ode to Joy” in its final movement gives a powerful example of Aristotle’s principles. Its aesthetic unity is the result of its harmonious melody and orchestration.
Aristotle’s principles of aesthetics are immutable because of their connection to human nature. They correspond to our five senses and the way in which process information. They mirror natural ethical convictions and the desire to achieve happiness.
If you are interested in applying Aristotelian philosophy to everyday life, I recommend you my book “The 10 principles of rational living.”
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