1.0 Objectives
1.1 Introduction
1.2 Relevance of Classical Criticism
1.3 Plato’s Theory of Mimesis and Aristotle’s Defence
1.3.1 Aristotle's Reply to Plato's Objection
1.3.2 Aristotle's Objection to the Theory of Mimesis
1.4 Aristotle’s Concept of Tragedy
1.4.1 The Definition of Tragedy
1.4.2 Six Formative Elements of Tragedy
1.4.3 Plot and Character
1.4.4 The Tragic Hero
1.5.1 Unity of Action
1.5.2 Unity of Time
1.5.3 Unity of Place
1.6.1 Why Aristotle had adopted this theory
1.6.2 The Meaning of Catharsis
1.6.3 The Relevance of the Theory of Catharsis in the Present Scenario
1.7 Let us Sum up
1.9 Reading List
Study of Classical Criticism gives insight to a student into the critical way of thinking. By studying Classical Criticism students get sense and understanding about how the literary theories increase his/her capacities to think critically without the bias or prejudice or preconceived notions. The student also has a chance to study different points of view in the context of different genres of literature. Furthermore, s/he can develop critical sight and insight not only to judge the literature but also to evaluate any good piece of literature of the present time.
The Greek and Roman critics belong to the classical school of criticism which is still relevant today. The basic concepts they have given us to study literature with are still important and supply us with the basic ideas whereby to examine the literary text. When we study Plato’s theory of Mimesis we come to know that literature is an imitation of nature. Further in Aristotle when we study his definition of tragedy, we come to appraise that this imitation is nothing but the imitation of an action.
Since Aristotle, in Europe tragedy has never been a drama of despair, causeless death or chance disaster. The drama that only paints horrors and leaves souls shattered and mind un-reconciled with the world may be described as a gruesome, ghastly play, but not a healthy tragedy, for tragedy is a play in which disaster or downfall has causes which could carefully be avoided and sorrow in it does not upset the balance in favour of pessimism. That is why, in spite of seriousness, even heart-rending scenes of sorrow, tragedy embodies the vision of beauty. It stirs noble thoughts and serves tragic delight but does not condemn us to despair. If the healthy notion of tragedy has been maintained throughout the literary history of Europe, the ultimate credit, perhaps, goes back to Aristotle who had propounded it in his theory of Catharsis.
Catharsis established tragedy as a drama of balance. Sorrow alone would be ugly and repulsive. Beauty, pure would be imaginative and mystical. These together constitute what may be called tragic beauty. Pity alone would be sentimentality. Fear alone would make us cowards. But pity and fear, sympathy and terror together constitute the tragic feeling which is most delightful though, it is tearfully delightful. Such tragic beauty and tragic feeling which it evokes, constitutes the aesthetics of balance as propounded for the first time by Aristotle in his theory of Catharsis. Therefore, we feel, the reverence which Aristotle has enjoyed through ages, has not gone to him undeserved. His insight has rightly earned it.