Bridge course: Aristotle's Poetics
This blog task is assigned by the head of the department Of English (MKBU), prof. and Dr. Dilip sir barad.
Here given link is to the research article:Click here
Que-1. To what extent do you agree with Plato's objection to the freedom of expression and artistic liberty enjoyed by creative writers? Identify texts (novels, plays, poems, movies, TV soaps, etc.) that can be justifiably objected to and banned based on Plato's objections.
Ans:
Plato, one of the greatest Greek philosophers, raised strong objections to artistic freedom and the liberty enjoyed by creative writers, especially in his work The Republic. He believed that poetry and imaginative literature could mislead people by appealing to emotions rather than reason. From a post-graduate academic perspective, we can explore the extent to which Plato’s objections are valid in the modern context and apply them to various forms of contemporary media.
Plato's primary concern was that poets and artists have the power to influence people's emotions and behavior. He argued that they often present fictional stories that can mislead the audience about the nature of reality. In "The Republic," he specifically criticized Homer and other poets for portraying the gods and heroes in ways that he considered morally corrupt and misleading. Plato believed that such depictions could have a negative impact on the moral development of individuals and the overall harmony of the state.
Plato also objected to the way in which artistic works can stir emotions. He believed that emotions such as pity, fear, and desire could disrupt rational thinking and lead people away from virtuous behavior. For Plato, the ideal society is one in which reason and rationality prevail, and he feared that the arts, by appealing to the emotions, could undermine this rational order.
To understand Plato's objections in a contemporary context, we can look at various forms of media that might be considered harmful by his standards. For example, some modern novels, movies, and TV shows depict violence, immoral behavior, and unrealistic portrayals of life, which could be argued to negatively influence their audiences.
1. Adipurush (2023)
Director: Om Raut
Plato's Concern:
Controversial retelling of the Ramayana, criticized for its dialogues, visuals, and distortion of religious figures.
Objection:
Misrepresentation of divine characters could mislead public perception and morality.
1.1 Imitation and Misrepresentation (Mimesis)
Plato's View: Artists imitate reality, and imitation is three times removed from the truth. He especially criticizes misrepresentation of gods and heroes.
In Adipurush: The film attempts a modernized retelling of the Ramayana but was widely criticized for distorting revered characters:
Lankesh (Ravana) was portrayed more like a science-fiction villain than a mythological king.
Dialogues such as “jalegi tere baap ki” (You’ll burn like your father) were considered disrespectful and too colloquial for divine figures.
The visual representation of Hanuman and Ravana drew parallels with pop-culture characters like Thanos and Star Wars villains.
1.2. Emotional Manipulation and Deviation from Reason
Plato's View:
Art appeals to emotions and can cloud rational thought, especially in the minds of the youth.
In Adipurush:
The film uses highly dramatized VFX, over-the-top action sequences, and sentimental music to evoke emotion rather than promote philosophical or moral insight.
The emotional core is diluted by unrealistic CGI battles and melodramatic dialogues, shifting focus from the spiritual teachings of the Ramayana.
1.3. Moral and Cultural Corruption
Plato's View:
If literature and drama present immoral behavior (even by gods or heroes), it sets a dangerous precedent for society.
In Adipurush:
Many critics felt the film disrespected cultural and religious sensibilities, turning a sacred story into a commercialized spectacle:
Sita’s character lacked depth and agency.
Ravana’s portrayal included demonic visuals and violent gestures not rooted in traditional scriptures.
The dialogues lacked the dignity and wisdom expected in an epic narrative.
Plato would likely support banning or censoring such a film for presenting revered figures in morally questionable and theatrically inappropriate ways.
Public Backlash:
The film faced mass criticism from viewers, religious groups, scholars, and political leaders. Screenings were halted in some cities, and dialogues were changed post-release.
Cultural Impact:
Rather than uniting society under spiritual reflection, it polarized audiences, leading to debates over artistic freedom vs. religious respect.
Plato believed that young minds are highly impressionable. He would consider such a film harmful to the formation of virtuous citizens, especially if it leads to confusion about moral and spiritual ideals.
2. Aashram (2020–2023) – MX Player (Web Series)
Theme: Exposes corruption by a fake spiritual leader.
Plato’s Objection:
Moral corruption exposed but also sensationalized:
Could be seen as disrespecting religion.
Emotionally charged scenes:
Could mislead the audience rather than foster thoughtful critique.
Descriptive Analysis of Aashram Using Plato’s Objections:
2.1. Imitation of Reality in a Distorted Manner (Mimesis)
Aashram presents a fictional godman, Baba Nirala, who exploits religion for power, wealth, and sexual gratification. While based on real-life patterns, it fictionalizes events and characters.
Plato's Objection:
The series imitates a serious societal issue (corruption in religious institutions) but blurs truth and fiction, leading to potential misrepresentation.
Religious settings and symbols are shown in a manipulative, scandalous context, which may confuse viewers about genuine spiritual practices.
2.2. Emotional Manipulation over Rational Thought
The series relies on intense emotional moments—betrayal, abuse, power plays, revenge, and violence—to engage the viewer.
Plato's Objection:
This kind of storytelling excites emotions like fear, anger, and hatred, pulling the viewer away from rational thinking.
Instead of encouraging moral reflection, it provokes sensationalism and entertainment through outrage.
2.3. Moral Corruption of Society
Baba Nirala, a figure supposed to embody divinity and moral guidance, is shown as a criminal mastermind involved in murder, rape, drug trafficking, and political manipulation.
Plato's Objection:
Portraying a spiritual leader in such a corrupt light may undermine respect for moral and religious values.
Young viewers and emotionally sensitive audiences may lose faith in genuine institutions, which Plato saw as harmful for a stable and virtuous society.
2.4. Dangerous Influence on Public Imagination
Aashram exposes the nexus between religion, crime, and politics, depicting how easily people can be brainwashed in the name of faith.
Plato's Objection:
He feared such media would encourage distrust and instability in the minds of citizens.
Instead of promoting ethical education, it showcases manipulation, deceit, and materialism as dominant realities.
2.5. No Promotion of Higher Virtues
Unlike classical stories that highlight justice, wisdom, or temperance, Aashram focuses on greed, power, lust, and revenge.
Plato's Objection:
He believed art should teach virtue and truth, but Aashram offers a dark, cynical worldview, where evil thrives and goodness struggles.
Que-2. Referring to the literary texts you studied during your B.A. program, write a brief note on the texts that followed the Aristotelian literary tradition (i.e., his concepts of tragedy, catharsis, tragic hero with hamartia, etc.).
Ans:
I studied during the B.A. program which reflect Aristotle’s principles of tragedy as outlined in his seminal work, Poetics. According to Aristotle, a tragedy should evoke pity and fear, leading to catharsis, and should center on a tragic hero—a noble figure who possesses a hamartia (tragic flaw) that leads to their downfall.
1. Othello by William Shakespeare
One of the most prominent examples is William Shakespeare’s Othello. Othello, the protagonist, is a respected Moorish general whose hamartia—jealousy and excessive trust in Iago—leads to the tragic murder of Desdemona and his own eventual suicide. The audience experiences catharsis as Othello transforms from a dignified hero to a remorseful tragic figure, embodying the Aristotelian model of a downfall brought about by internal weakness.
2. Oedipus Rex by Sophocles (Classical Greek Tragedy)
2.1.Tragic Hero:
Oedipus, King of Thebes
2.2.Hamartia:
His ignorance and pride (hubris) in defying fate
2.3.Catharsis:
The audience feels deep pity and fear as he blinds himself upon realizing he has killed his father and married his mother.
2.4.Aristotelian Relevance:
Perfect example of Aristotle’s definition; cited directly in Poetics.
3. Macbeth by William Shakespeare (Elizabethan Tragedy)
3.1.Tragic Hero:
Macbeth, a brave Scottish general
3.2.Hamartia:
Ambition and susceptibility to manipulation by Lady Macbeth and the witches
3.3.Catharsis:
The audience experiences horror and sorrow as Macbeth, once noble, becomes tyrannical and meets a brutal end.
3.4.Aristotelian Echoes:
Despite being a Renaissance play, Shakespeare aligns with Aristotle’s principles by showing how a noble figure falls due to a fatal flaw.
Que-3. Referring to the literary texts you studied during your B.A. program, write a brief note on the texts that did not follow the Aristotelian literary tradition (i.e., his concepts of tragedy, catharsis, tragic hero with hamartia, etc.).
Ans:
During my B.A. program, I studied several literary texts that did not follow the Aristotelian literary tradition. Aristotle's concepts of tragedy, catharsis, and the tragic hero with hamartia were not present in these works:
1. Samuel Beckett’s Waiting for Godot (1953)
This modernist absurd play breaks entirely with Aristotelian tradition. It has:
No logical plot progression.
No tragic hero or central moral struggle.
No catharsis; instead, it leaves the audience in existential confusion.
Time and action are circular, reflecting the futility of existence.
2. Virginia Woolf’s To the Lighthouse (1927)
A modernist novel, this work discards the classical plot structure. Key differences:
No clear conflict or resolution.
Emphasizes internal consciousness through stream of consciousness narrative.
Characters evolve through psychological and emotional reflection, not action.
The “plot” becomes a meditation on time, memory, and perception, not a moral journey. This novel rejects the Aristotelian idea of action-driven plots and moral causality.
3. Franz Kafka’s The Metamorphosis (1915)
Kafka's story of Gregor Samsa waking up as a giant insect is:
Anti-heroic:
Gregor is a passive victim, not a tragic hero with hamartia.
Offers no catharsis—only alienation and absurdity.
Lacks unity of time and place. Kafka’s surrealism portrays a world without justice, fate, or redemption—fundamentally un-Aristotelian.
4. 'Nagamandala' by Girish Karnad:
This play blends myth and reality, incorporating elements of personal and societal catharsis, but does not fit the strict Aristotelian model of tragedy.
In conclusion, while these texts are rich in themes and narrative techniques, they do not adhere to Aristotle's concepts of tragedy, catharsis, or the tragic hero with hamartia. They explore a variety of other literary traditions and forms, contributing to their uniqueness and depth.
5. 'Animal Farm' by George Orwell:
This novella is an allegory and political satire, critiquing power and corruption. It does not follow the structure of an Aristotelian tragedy.
6. 'Lord of the Flies' by William Golding:
Although it explores themes of human nature and societal breakdown, it does not follow the classical tragic structure or focus on a single tragic hero.
Que-4. Have you studied any tragedies during your B.A. program? Who was/were the tragic protagonist(s) in those tragedies? What was their 'hamartia'?
Ans:
Yes, during my B.A. program, I studied several classical and modern tragedies that followed the Aristotelian concept of tragedy, where the protagonist possesses a tragic flaw, or hamartia, which leads to their downfall. Some key examples include:
1. William Shakespeare’s Macbeth
Tragic Protagonist: Macbeth
Hamartia:
Ambition and moral weakness
Macbeth’s excessive ambition (vaulting ambition) and his susceptibility to external influences—especially from Lady Macbeth and the witches—drive him to murder King Duncan. This act sets off a chain of violence and guilt that ultimately leads to his tragic downfall.
2. William Shakespeare’s Othello
Tragic Protagonist: Othello
Hamartia:
Jealousy and insecurity
Othello is a noble general but suffers from internal insecurity about his race and outsider status. His hamartia is his overwhelming jealousy and blind trust in Iago. These flaws lead him to wrongly suspect his wife Desdemona of infidelity, resulting in tragedy.
3. Sophocles’ Oedipus Rex
Tragic Protagonist: Oedipus
Hamartia:
Hubris (excessive pride) and ignorance
Oedipus tries to defy the prophecy that he will kill his father and marry his mother, but his ignorance and pride lead him to fulfill the very fate he sought to avoid. His relentless search for truth reveals his tragic identity and results in self-destruction.
4. Arthur Miller’s Death of a Salesman
Tragic Protagonist: Willy Loman
Hamartia: Delusional idealism and pride
Willy is not a noble king but a common man, which Miller redefines as a modern tragic hero. His hamartia lies in his unrealistic belief in the American Dream and his refusal to accept reality. His persistent denial and pride lead to his psychological decline and suicide.
In each of these tragedies, the protagonists possess noble qualities but are undone by a critical internal flaw hamartia which aligns with Aristotle’s definition of a tragic hero. Their downfall not only evokes pity and fear (catharsis) in the audience but also offers moral insight into human frailty and fate.
Que-5. Did the plots of those tragedies follow the necessary rules and regulations proposed by Aristotle? (e.g., chain of cause and effect, principle of probability and necessity, harmonious arrangement of incidents, complete, certain magnitude, unity of action, etc.)
Ans.
Yes, many classical tragedies—especially those written in ancient Greece and studied in undergraduate literature programs—closely follow Aristotle’s rules and regulations of tragedy as outlined in his seminal work Poetics. Below is a breakdown of how they typically align with these Aristotelian principles:
1. Chain of Cause and Effect
Most classical tragedies follow a logical and interconnected sequence of events. For example:
Sophocles’ Oedipus Rex: The plague in Thebes (effect) leads Oedipus to search for the cause (cause), ultimately revealing his own guilt. Every event is the result of the one before it, forming a tightly woven causal chain.
2. Principle of Probability and Necessity
Aristotle emphasized that the events in a tragedy should be believable (probable) and arise necessarily from the actions and choices of the characters.
In Macbeth by William Shakespeare, Macbeth’s ambition and the witches’ prophecy naturally lead him to murder Duncan. Though supernatural elements exist, the internal psychological realism makes the chain of events probable.
3. Harmonious Arrangement of Incidents
A good tragedy doesn’t just have dramatic events—it arranges them in a way that enhances emotional impact and meaning.
Euripides’ Medea: The plot moves from betrayal to revenge in a crescendo that builds tension and culminates in a shocking yet thematically consistent climax—Medea killing her children.
4. Complete with a Certain Magnitude
According to Aristotle, a tragedy should have a beginning, middle, and end, with enough length to unfold events meaningfully.
Hamlet by Shakespeare is long but structured with purposeful progression: the ghost’s revelation (beginning), Hamlet’s internal struggle (middle), and the final tragic resolution (end), giving the play sufficient "magnitude."
5. Unity of Action
The tragedy should focus on one main plot without unnecessary subplots.
Antigone by Sophocles centers around one main conflict Antigone’s defiance of Creon’s law which sustains unity of action. No distracting subplot takes away from the central tragic theme.
Examples that Deviate:
While many Greek and early modern tragedies follow Aristotle closely, some modern and postmodern tragedies challenge or deviate from these principles—especially regarding unity of action or probability. For instance:
Death of a Salesman by Arthur Miller deviates from classical unity by using flashbacks and a fragmented structure, although it still features a tragic protagonist with hamartia.
In conclusion, the major tragedies studied in most B.A. literature programs (especially Greek tragedies and Shakespearean drama) largely adhere to Aristotle’s principles. This is why they remain core examples in literary theory, especially in the context of tragic structure and dramatic coherence.
Que-6.Discuss a recent controversy in literature, film, or the arts that echoes Plato's objections to artistic freedom. What is your stance on this controversy? Provide an example of one such controversy.
Ans.
The most recent 2025 Bollywood controversy centers around the contentious release of Udaipur Files. Here’s a snapshot:
Controversy: Udaipur Files
What happened: On July 16, 2025, India’s Supreme Court deferred the decision on Udaipur Files’ release and ordered the central government to decide by July 21 whether the film could be certified and released .
Why it’s contentious: The movie reportedly delves into religious and political themes tied to Udaipur, prompting objections over potential communal tensions and its portrayal of real events or communities.
Why it matters now:
The SC’s involvement highlights the friction between artistic freedom and state/social concerns—a core challenge in today’s Bollywood landscape.
Echoes of Plato’s Objections
Plato warned that art can mislead, distort truths, and inflame public passions. Similar concerns are evident here:
Does Udaipur Files risk agitating sectarian sentiment?
Is it responsibly balanced, or does it veer into provocative narrative license?
The legal interjection forces us to question whether artistic expression should yield to societal stability.
My opinion:
I believe creative freedom is vital—films should explore historical or sensitive topics. But with that freedom comes responsibility:
Transparency in intent:
Filmmakers should be open about creative choices and historical liberties.
Constructive dialogue:
Communities and regulators should voice concerns, but through public discourse and screening processes—not censorship by default.
Concern over precedent: If the state routinely blocks films before release, it could chill future artistic expression on important topics.
Another examples:
Other recent Bollywood controversies share similar themes:
Sardaar Ji 3 faced backlash over casting Pakistani actor Hania Aamir, igniting debates on nationalism vs. artistic exchange .
In summary, Udaipur Files is the latest flashpoint in the ongoing debate between creative autonomy and cultural sensitivity. My view: art should critique, question, and provoke—but with responsible foresight, allowing society to engage rather than shut down the conversation.
References:
1. Barad, Dilip. “Aristotle’s Poetics.” Research Gate, https://doi.org/10.13140/RG.2.2.31696.28164
2. “Plato’s Aesthetics.” Stanford Encyclopedia of Philosophy, plato.stanford.edu/entries/plato-aesthetics/
3. Adipurush : epic mythology directed by Om Raut.
4. Udaipur Files: Kanhaiyalal tailor murder produced by Amit jani and Directed by Bharat S. Shrinate.
Thank you!!!
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