Plato & Aristotle Comparison

Shakespeare's play, “Othello, the Moor of Venice,” is a powerful example of a tragedy and it’s main character, Othello, is an excellent illustration of what Aristotle constitutes as a tragic hero. The play imitates life through basic human emotions such as jealousy and rage. In addition, Othello is far from being a perfect character - another quality that meets Aristotle's requirements. Othello also matches Aristotle's ideas of tragic hero because our Othello realizes the error of his ways, causing us to feel sympathy for him. If we carefully examine the third scene in the third act, we can see how Othello fits into Aristotle's definition of tragic hero. This passage reveals how much Othello has deteriorated as far as his ability to reason

A “tragedy, for Shakespeare, is the genre of uncompensated suffering” (Dutton and Howard, 2003, p. 9). To really understand the play Othello is to truly understand a tragedy; thus, this researcher will analyze Aristotle’s view point and compare it to phrases (or quotes) from Shakespeare’s Othello.

Aristotle argues that in order for a polis to emerge, a union between man and women must convene. Later a household must be introduced which unites with other households to form a village, villages come together to form city-states. This theory is Aristotle’s natural view that an individual can not be self sufficient Plato argues that, in order to achieve absolute justice, a city-state is needed.

Everything in the universe was created simultaneously by God, and not in seven calendar days like a plain account of Genesis would require but the six-day structure of creation presented in the book of Genesis represents a logical framework, rather than the passage of time in a physical way - it would bear a spiritual, rather than physical, meaning, which is no less literal.

Excellence is a function which renders excellent the thing of which it is a function is Plato’s definition of virtue. What does this definition really mean though? Plato and Aristotle both had their own unique arguments devoted to the topic at hand, and their own ways of describing what virtue really is. Defining virtue may seem to be an easy taste, but to truly understand the arguments behind the definition can prove to be very challenging.

In ancient Greece two great written philosophers lived. First there was Plato and then Aristotle. Aristotle was a pupil of Plato. Despite being taught by Plato they had different theories and views. Their ethics were very typical and traditional of ancient Greece but Aristotle detailed virtue ethics and the path to happiness. Plato’s political theories for a utopian society varied from Aristotle’s view of ‘best state for each society’. Their metaphysical theories are complete opposites and very contradicting. Even though Plato and Aristotle came from the same era and were closely linked they had very different philosophies.

In these sessions, I have gained a better understanding of Aristotle and Plato’s ideas and theories. Particularly, I have a specific interest in Aristotle and the notion of the two extremes and to aim towards the “gray or middle of the road”. I also have an interest in Plato’s theory regarding the just and unjust and the repercussions of their actions.

Aristotle’s “The Poetics” describes the process of a tragedy. It is not the guide per se of writing a tragedy but is the idea’s Aristotle collected while studying tragedies. A tragedy, according to Aristotle, consists of six major points. The first and most important is the plot, which is what all the other points are based on. Such points are: character, language, thought, melody, and spectacle (Aristotle). A prime example of the usage of these parts in a tragic drama is evident in Sophocles’ “Oedipus Rex”.

In the Poetics, Aristotle provides an outline of how the artist is to portray or represent the perfect Tragedy. A Tragedy, of course, was nothing more than a drama, in which the characters appeared "better" than in real life (in a comedy, they appeared "worse," according to Aristotle). Aristotle's Poetics makes several references to other dramatic works to illustrate his points, but he most commonly calls upon The Odyssey to support his argument for how a dramatic structure should be designed. However, along with the Odyssey, Aristotle extensively references Sophocles' Oedipus Rex. Both poetic works were enormously popular in their time (the former had been passed down orally for generations, and the latter won the top prizes at the dramatic festivals). Therefore, Aristotle is comfortable using both to support his viewpoint concerning Tragedy and the Tragic Hero. This paper will analyze the standards that Aristotle sets out concerning the definition of the Tragic Hero and show how Sophocles' Oedipus exemplifies Aristotle's definition of a Tragic Hero.

Aristotle, a philosopher, scientist, spiritualist and passionate critic of the arts, spent many years studying human nature and its relevance to the stage. His rules of tragedy in fact made a deep imprint on the writing of tragic works, while he influenced the structure of theatre, with his analysis of human nature. Euripides 'Medea', a Greek tragedy written with partial adherence to the Aristotelian rules, explores the continuation of the ancient Greek tales surrounding the mythology of Medea, Princess of Colchis, and granddaughter of Helios, the sun god, with heartlessness to rival the infamous Circe. While the structure of this play undoubtedly perpetuates many of the Aristotelian rules, there are some dramatic structures which

Aristotle, the great fourth-century Greek philosopher labeled this tragedy as “an imitation of an action of high importance, complete and of some amplitude: in language enhanced by distinct and varying beauties…by means of pity and fear effecting its purgation of these emotions” (qtd. in Kennedy & Gioia 885). Aristotle was portraying the epic Shakespearean drama, Othello. Aristotle prescribed three main elements for a disastrous theater recipe: First is a hamartia, or a tragic flaw in the main character that leads to the demise; second, catharsis or an emotional release of the audience’s sensations derived from the actors, so they seem to have felt they have learnt something about the play; and lastly, anagnorisis or the character’s astonishment of something that may have not before realized (Kennedy & Gioia 856-857). The protagonist in Shakespeare’s Othello satisfies all of Aristotle’s necessities for a tragic hero, as Othello is the character of magnificent status, which falls from that status of power to one of shame because of his hamartia. Furthermore the plot of Othello contains an influential katharsis through its peak and deduction, and an anagnorisis when Othello comprehends that Desdemona and Iago are not who they appear to

Aristotle's Poetics: Comedy and Epic and Tragedy comments on the reflection of reality by it's very imitation. As with comedy being an imitation of the inferior and ugly, the role of the epic and tragedy follow the roles of characters of great importance. The idea being that only those of importance are even noticeable in the eyes of the gods, since mankind is relatively insignificant and are nothing more than an amusement to the gods.

            Aristotle approaches reality from a completely different premise. While his ideas do stand in sharp contrast to Plato's, they are not simply a refutation of his former mentor's views. To Aristotle, the world exists in an infinitely diverse series of parts.  These various parts are open to human observation and scrutiny. Rather than an eternally regressing truth beyond the scope of human apprehension, knowledge of truth and good are rooted firmly in the observable universe; truth, or at least gestures toward it, lies in existence rather than essence. Aristotle encourages embracing the particular in order to possibly gain a sense of the universal. There is, however, no universal system of inquiry to investigate each part of the whole. Different parts require different methods of discourse. In The Poetics, Aristotle attempts to articulate a method of inquiry, not a rigid system or standard of evaluation, applicable to tragedy. Tragedy attempts to imitate the complex world of human actions, and yet tragedy is itself still part of a larger, more complicated world of human existence. Tragedy is a

In order to compare these great philosophers, it is important that we first of all view their history from an individual perspective.

At some point and time every college student will face the task of taking a philosophy class and within that class will most likely find themselves comparing the views of the ancient Greek philosophers Aristotle and Plato. As both men knew each other and in fact, Plato was the teacher of Aristotle it's always interesting to see how the thoughts of the student differ from the views of their teacher. Both men are equally matched to compare as both critically studied the matters of science, politics, ethics, and art over their respective life times. While Plato’s works have been documented and keep in style as they have been copied for centuries. It can be argued that Aristotle’s work has had the greater influence in the worlds of politics, ethics, and art. But could that be true? Are the two men so different in the worlds of politics, ethics, and art?