Aristotle’s Poetics: A Student’s Reflection on Tragedy and Expression

Aristotle’s Poetics is one of the oldest and most respected works of literary criticism. Written in ancient Greece, it explains how literature, especially tragedy, should be created. Even after so many centuries, his ideas are still used to understand drama, storytelling, and emotional impact. As a literature student, I find his theories not just historical but still relevant today.

In Poetics, Aristotle described literature as mimesis — imitation of human action. He didn’t see imitation as something bad. Instead, he said it is natural to human beings and can help us learn and feel. One of his most powerful ideas is catharsis — the emotional cleansing we feel through experiencing pity and fear in tragedy. Unlike his teacher Plato, who was suspicious of art, Aristotle defended its emotional and moral value.

> Watch: Aristotle's Theory of Mimesis



Let me now reflect on the six “Points to Ponder” as required, using examples from the texts I studied during my B.A. program.


Do I Agree with Plato’s Objection to Artistic Freedom?

Plato believed that poetry and drama could mislead people. He said that poets imitate reality and stir emotions in a dangerous way. Because of this, he wanted poets to be banned from his ideal society.

> Watch: Aristotle - Plato's Charges on Poetry & Poets


To some extent, I understand his concern. Even today, some movies or shows include extreme violence or promote negative values. For example, some TV serials or social media content shows toxic relationships or revenge as something entertaining. According to Plato, such content can damage the minds of young viewers and disturb the moral balance of society.

But at the same time, I don’t fully agree with Plato. I believe that art should be free to express truth, even if it makes us uncomfortable. Creative freedom is important for society to grow. For example, novels like The God of Small Things by Arundhati Roy talk about caste, gender, and forbidden love. Some people found it controversial, but it also made many people think deeply about social injustice. So, artistic freedom should be protected, not silenced.

> Watch: Aristotle's Reply to Plato's Charges



Texts from B.A. That Follow Aristotelian Tradition

Many texts I studied reflect Aristotle’s idea of tragedy, especially his concepts of hamartia, catharsis, and a complete, serious plot.

One strong example is King Lear by William Shakespeare. Lear is a noble king who suffers greatly because of his own pride and poor judgment — this is his hamartia. When he divides his kingdom between his daughters based on flattery, he brings tragedy upon himself. The play creates pity for Lear’s suffering and fear because it shows how easily power and ego can destroy a person. The audience feels catharsis by the end, as we witness the downfall of a once-great man.

> Watch: Aristotle’s Definition of Tragedy


Another example is Julius Caesar by Shakespeare. Although Caesar dies early, the play focuses on Brutus — a noble Roman with good intentions who makes a fatal error by joining the conspiracy. His inner conflict and the eventual tragedy that follows clearly show Aristotle’s idea of a tragic hero with hamartia.


Texts That Don’t Follow Aristotle’s Tradition

Some literary works I studied don’t follow Aristotle’s structure of tragedy but are still powerful.

For example, David Copperfield by Charles Dickens is a novel that tells the story of personal growth and survival, not a tragic fall. There is no single flaw or downfall, and the story is long and detailed. It doesn’t aim to create catharsis through pity and fear, but it still teaches moral lessons.

Similarly, Lord of the Flies by William Golding does not follow classical structure. It is about a group of boys stranded on an island who slowly turn violent and savage. There is no noble tragic hero or chain of cause-and-effect based on a personal flaw. Instead, it explores human nature and loss of innocence in a more modern way.


Tragedies Studied and Their Tragic Heroes

I studied a few strong tragedies where the main characters clearly fit the role of tragic heroes as described by Aristotle.

In King Lear, Lear’s tragic flaw is his pride and blindness to truth. He fails to see the honesty of Cordelia and trusts the false love of Goneril and Regan. His downfall brings great suffering not only to himself but to others as well. His suffering feels deserved but also heartbreaking, making him a true tragic figure.

In Julius Caesar, Brutus plays the tragic hero. His flaw is his naive idealism. He loves Rome and believes Caesar’s ambition will destroy it, so he joins the conspiracy. But his actions bring civil war and many deaths. His inner struggle, mistakes, and honorable nature make him a tragic figure.

> Watch: Tragic Hero – Aristotle’s Concept



Do These Tragedies Follow Aristotle’s Rules?

Yes, King Lear and Julius Caesar follow many of Aristotle’s rules for tragedy:

  • Unity of action: There is one main plot that connects all events.
  • Cause and effect: Each event leads to the next in a logical way.
  • Serious tone: Both plays deal with serious moral and political issues.
  • Tragic hero with hamartia: Lear and Brutus both have flaws that lead to their downfall.
  • Catharsis: The audience feels pity and fear and leaves with emotional relief.

Also, they both have a structured plot with a beginning, middle, and end.

> Watch: Plot is the Soul of Tragedy


A Recent Controversy Related to Artistic Freedom

A recent example that reminds me of Plato’s objections is the controversy around The God of Small Things by Arundhati Roy. When it was published, many people criticized it for dealing openly with caste, sexuality, and family taboos. Some called it immoral and anti-tradition, and even demanded it be banned.

This reflects Plato’s fear that art can mislead or corrupt society. But I believe that the novel gives a voice to those who are often silenced. Literature should challenge us, not just comfort us. So, instead of banning such works, we should encourage open conversations around them. That’s the true purpose of art — to reflect life honestly.


Conclusion

Aristotle’s Poetics may be ancient, but its ideas still guide how we understand and judge literature. His thoughts on plot, character, catharsis, and tragic flaw help us appreciate works like King Lear, Julius Caesar, and many more.

At the same time, not all great literature follows his rules. Novels like David Copperfield or plays like Nagamandala explore other themes and styles. But they all help us understand human nature.

While Plato feared the power of art, Aristotle celebrated it. I believe we need both views — caution and celebration — to truly respect literature.